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ALBUM REVIEWS
  • Lady Gaga <br/><i>Born This Way</i>

    It's a shame most of Born This Way is designed to appeal to the easily amused foot-tapping twelve year olds and/or socially bemused "little monsters" looking for some sort of weird, sexually ambiguous icon to rally them with a generic battle cry (Gaga's base). Her most elating work has always been filled with hooks we didn't see coming (until they haunted our commutes) or simple yet strange phrases now permanently ingrained in the fabric of the collective conscious as Gaga-isms worth knowing ("Bad Romance" and "Paparazzi" to name a few). Those songs were, on first listen, odd and enticing, and later, realized as "hits" in the truest sense. Unfortunately on Born This Way only half the songs make the enticing cut, and beyond them, almost none to the level of ubiquitous joy that the Lady has achieved with her Fame Monster persona.

  • Ladyhawk<br /><em>Shots</em>

    Poor Ladyhawk, with the sudden rise of label mates Black Mountain, the comparisons will be sprinkled all over every review you read. What shouldn’t be lost is the soul, sweat, and booze that had to be consumed to create their new aptly titled album, Shots (Jagjaguwar). Hints of the bands' previous efforts are notable throughout, but so is the volume and screaming guitars that may be new for some fans.

  • Ladytron<br /><em>Velocifero</em>

    Welcoming listeners like a closed fist, "Black Cat" - the song that opens Ladytron’s fourth album Velocifero (Netwerk) - kills the ears with a buzzy bass line and forceful, mechanical drum work. It’s a sinister new sound; one that conjures up the seediest of S&M clubs and quite possibly might drive you to wear anything leather. It’s also the work of Alessandro Cortini (who’s worked with NIN) and Vicarious Bliss. With their help, the long time electro rock group employs dramatic timing to tremendous effect over the course of the album.

  • Lana Del Rey <br/><i>Born To Die</i>

    Only Elizabeth Grant could encompass exactly what her stage name implies. Drawing her forename from equally blonde and voluptuous 1940s actress Lana Turner and combining it with the name of a 1981 Ford Model Car, Lana Del Rey has created a sound that matches her nom-de-chanson perfectly-- her smash single "Video Games," that was digitally released back in October, melds sultry vocals with electronic ambiance to create a tone that is at once sweeping and bleak. Yet, Born To Die cannot flourish from one good single. And with fourteen disconcerted efforts to reach "Video Games" stature, Born To Die is a fifteen track failure.

  • land of talk <br/><em>fun and laughter ep</em>

    The Fun And Laughter EP is a continuation in a long line of growth via small releases (and that one big one), but this small collection feels different for several reasons. The songs are more matured; following the full length debut there is a new cohesion in the body of work, a binding element some might refer to as a "fully realized sound" (but that is a boring way of saying it). Fans have plenty to be excited about here: the small, four song EP carries its own weight in songs, and even includes videos for three Some Are Lakes tracks.

  • land of talk <br/><i>cloak and cipher</i>

    Land of Talk has always sounded like they could be the impressive garage band of that one swoon-worthy girl from your English class. But a thorough listen to Cloak and Cipher, the Montreal trio's ambitious third release, reveals that these guys wont stay the best kept secret on the block for long.

  • langhorne slim <br/><em>be set free</em>

    Folksy guitarman Langhorne Slim takes his jam band to new places with Be Set Free, the latest installment in the prolific band's menagerie of uplifting tunes. Being introduced to the band initially in the live setting set me up to expect a strong translation. I'm happy to say the colorful personalities of his band mates shine through the lush production and smile-inducing moments abound. The record has an interesting blend of nostalgic charm and bluesy wit, with its mostly traditional instrumentation and melodies you can sing along to before even hearing them; Be Set Free lives up to its name literally and figuratively.

  • lcd soundsystem <br/><em>this is happening</em>

    Can you dance to a mid-life crisis? That's the question James Murphy seems to be asking on This Is Happening, the third and perhaps final LCD Soundsystem record. Rampant internet speculation that this is the band's swan song, is backed up by the corrosive, weary world view that permeates the album. Murphy complains about fans, lovers, the music industry, almost daring you to dismiss him as whiny and self-centered. This is a 'bite the hand that feeds me' record, and Murphy's certainly earned the right. "You Wanted A Hit" is about as subtle as a large mallet, aimed squarely at the record companies. "You wanted a hit/But maybe we don't do hits." Really? Just about all of the nine tunes on here could be hits, were it not for Murphy's tendency to deliver songs above the eight minute mark. Murphy declares "We won't be your babies anymore." Well maybe if he stopped throwing tantrums like a baby...

  • Leonard Cohen <br/><i>Old Ideas</i>

    Leonard Cohen is one of the most prolific and treasured song-writers of the last 50 years, but the average listener probably knows most of his songs based on the more popular covers. The most obvious example is Jeff Buckley's take on "Hallelujah", but whether it's a more recent Cults' take on "Everybody Knows" or The Pixies re-imagining "I Can't Forget," you're more likely to associate his music with a different act rather than the genuine article himself. After filing for bankruptcy in 2005, Leonard Cohen has released his first studio album in 8 years. The appropriately titled Old Ideas finds a 77 year old Cohen looking back on his long life and contemplating death, regret, and the hazy reminiscences of the past. Leonard Cohen's songwriting is as strong as ever, and with subtle and quiet instrumentation, this long awaited album is a study in a man whose skills haven't come close to atrophying with age.

  • letting up despite great faults <br/><em>letting up despite great faults</em>

    Letting Up Despite Great Faults is unfocused electro-pop with a touch of sentimentality, so it is definitely treading in the territory of derivative work. But one of the things I like about this band is that the various influences coalesce more than they step on each others toes, and instead of sounding like a rip-off, throughout the record, they develop a style of their own.

  • lewis and clark<br /><em>light time</em>

    Lewis & Clark walk in a sparse forest, in silent shoes and with heavy eyes. In between tall lonely tree trunks towering toward a sky smoky with clouds, accompanied by floating ghosts and whispers, a haunted beauty evident in every track on their EP, Light Time (La Societe Expeditionnaire).

  • Lianne La Havas <br/><i>Is Your Love Big Enough?</i>

    Lianne La Havas' album title seems to be a very important question for her -- Is your love big enough? The title-track expands on the question, adding, "...for what's to come," but methinks that the question just below her name on the album cover can be interpreted differently -- as in, "Is your love big enough to be compared to mine?" And based on the album's contents, La Havas would surely have to answer confidently, "No."

  • Liars <br/><i>WIXIW</i>

    Liars' new album WIXIW (pronounced "wish you") is different-- the forty-three minutes of playtime show the album to be more vastly electronic than what Liars have done in the past. Over the course of WIXIW, the band probably used the majority of the patches on the band's synth, but we're surprisingly okay with it. They use the experimental sound as way to deepen their sound rather than clutter it.

  • Liars<br /><i>Liars</i>
  • light pollution <br/><i>apparitions</i>

    When bands are in search of their true music selves, they often make the mistake of being overly ambitious, and as a result, their own hyperactive expectations tend to consume them. Thankfully the band Light Pollution, who hail from the Midwest, have bitten off just enough shoegaze and chillwave to make their debut album Apparitions pleasantly satisfying.

  • lightning dust <br /><em>infinite light</em>

    Wavering vocals, fragile piano, and subdued shades of melancholy are the hallmarks of Lightning Dust's latest CD, Infinite Light. The duo weaves poignancy that, if it were more fleshed out, has the potential to be as heartwrenching as some moments on Arcade Fire's Funeral. But when Lightning Dust wants to hurt, it's a quiet hollow mass lodged in your throat or lurking in the pit of your stomach, it's an intimate knowledge of empty moments in lonely apartments.

  • Lightspeed Champion<br /><i>Falling Off the Lavender Bridge</i>

    For some, success goes down like sweet nectar, settling the anxious stomach of years of uncertainty and recharging both the malnourished body and soul. For others, however, the supposed happy times never taste as sweet. While certainly not apparent upon first listen, the life and times of Dev Hynes, former guitar twister for the short lived outfit Test Icicles, have apparently not sit so well. Sporting a rather dashing name in Lightspeed Champion, Hynes’ solo debut, Falling Off the Lavender Bridge (Domino) might play like the sonic shedding of his previous party punk ways that he so badly needed. But a closer plunge into the country kissed collection reveals a goofy getuped English kid plainly at odds with the world around him.

  • lil wayne <br/><i>i am not a human being</i>

    No, I Am Not a Human Being isn't Weezy's best — not even close — but like a message in a bottle it serves a preemptive purpose. It not only reminds us of how much Wayne's been missed, but that even at his most forgettable he's still better than 90 percent of the other rappers out there.

  • Lil Wayne <br/><i>Tha Carter IV</i>

    It's been a long wait for Tha Carter IV, ever since our brash review first mentioned the assumed LP, and dismissed the third installment of the Carter series as less than a classic (I'd disagree with that sentiment...it sold over a million copies first week,). One of the 'criticisms' was listenability over lyricism, and Wayne's ability to create true Hip-pop with his constructions in ways other rappers couldn't, through a combination of his unique timbre, humorous wordplay, and hook-happy beats. It was a magical combination, well worth a lesser emphasis on true lyrical genius—Wayne had a masterpiece and a crown-jewel for his 'best rapper alive' placard based on sales alone. But jail time, lingering thoughts of retirement, and a few loose forays into adjacent genres have left Wayne a caricature of his own background noise, and Tha Carter IV is a collection of Wayne's friends outshining his entire collection of jabs with one or two verses a pop.

  • Lil Wayne<br/><em>Tha Carter III</em>

    With a release date of upwards of six months ago, the hype surrounding Weezy F Baby's tha Carter III could not have been any higher. Common released Finding Forever, Ye released Graduation, Jay released American Gangster, and Lupe released the Cool, leaving hip hop fans thirsty for nothing more than the next installment in the carter series, an album which, based on the previous success of tha Carter II, could have been Lil Wayne's claim to the throne in the form of a much needed classic. Finally released on June 10th, tha Carter III would unfortunately come as close to meeting its expectations as the Lakers would come to winning game 6 of the 2008 NBA finals.

  • lily allen <br /><em>it's not me, it's you</em>

    How does one create that perfect pop song? Is the recipe merely a catchy beat and simple lyrics that everyone can sing along to? Perhaps it's just the right marketing? Or is there more to it than that? If you compare Lily Allen's new album with some of the other pop albums out there right now you will get your answer.

  • Limp Bizkit <br/><i>Gold Cobra</i>

    With Gold Cobra, Limp Bizkit has tried to create the perfect Limp Bizkit album: irreverent, upbeat, silly, offensive in its immaturity, and totally out of its mind. If they didn't have a legion of dissenters calling shenanigans at their work, they'd be doing something wrong. No one (I hope), least of all myself, expected the band to put out some sort of mid-life crisis filled missive on life and love and fading glory. Bon Iver is for soul searching, Limp Bizkit is just a good soundtrack for making potentially jail-bound mistakes. In that respect, the band is right on the three dollar bill (y'all) with Gold Cobra, a series of nonsense and insults catered to the seventh grader in all of us.

  • lissie <br/><em>why you runnin</em>

    When I hear Lissie Maurus' music I imagine her walking through the prairies barefoot or sitting on a porch next to a big red barn and a vast expanse of wheat or corn or some other sprawling, hearty crop. That's exactly who she is, and where her music comes from, the land of Lincoln, Rock Island, Illinois. Why You Runnin' the new EP from this mid-western singer songwriter, is a charming morsel of rustic bluegrass folk. Lissie sings about country weddings, broken hearts, and all those good American standards that make for a good American folk song.

  • lissie <br/><i>catching a tiger</i>

    Catching A Tiger is an album that's always moving, preoccupied with love, family, creation of art, and the relationships that bind them. Through the varied emotive contexts of bluesy riffs and folk balladeering, Lissie can tell a story about herself while blurring the details... the tall tale of the record adds color without sacrificing the sincerity. Plus the extremely nimble pipes of Lissie act as a conductor, electrifying everything around her, elevating the songs from exciting to memorable. Her voice is the centerpiece of the record, and it coats even the most black and white tracks in vibrant, vivid color.

  • Little Dragon <br/><i>Ritual Union</i>

    The Swedish electro-soul quartet, Little Dragon, have released their third album Ritual Union with impeccable timing. Over the past year, the band, particularly frontwoman Yukimi Nagano, has garnered attention from high-profile artists that have led to collaborations and thus wildly rapid public exposure. Nagano offering her distinctive vocals to Raphael Saadiq and SBTRKT definitely propelled the group forward, but it was the bands work (and tour) with Gorillaz on Plastic Beach that really allowed them to reach a wider audience. With two more collaborations underway (one with Big Boi of Outkast and one with DJ Shadow), Little Dragon have set themselves up for groundbreaking success.

  • little joy <br /><em>little joy</em>

    When bands break-up, sometimes everyone wins. Take the disappearing act post-9/11 rock revivalists The Strokes performed after their '06 album First Impressions of Earth failed to deliver the goods. As it turns out, the album would be the public's last impression of these stylish young trailblazers. And while the band's early '00 efforts were, in retrospect, kind of monumental for the genre they helped recover, The Strokes' undoing was a-ok. Not only was First Impressions, how do I put this, really bad, but the solo recordings guitarist Albert Hammond Jr. released in the band's wake helped to keep the band's original sonic aura aglow. And while Hammond's had the market for post-Stroke relevance cornered up to this point (that Converse commercial Julian participated in does not count), drummer Fabrizio Moretti recently threw his hat in the ring. And wouldn't you know it? His effervescently titled new trio Little Joy might have just upped the ante.

  • local natives <br/><i>gorilla manor</i>

    Rhythmic riffs, three-part harmonies, and a large investment in their energy made Local Natives stand out in their brief New York appearances last fall. But promises can be broken, and the bar was set pretty high for this record. The first few tracks sounded good, but I'm happy to report Gorilla Manor has burnt up the fears that these outbursts aren't sustainable across an entire LP. The first full-length from the group reaches for the sun and almost gets there, with finely crafted songs that dazzle as much as puzzle... songs that are as catchy as they are complicated.

  • Local Natives<br/> <i>Hummingbird</i>

    Back in 2010, LA's Local Natives released their debut LP, Gorilla Manor, introducing the world to a sunsplashed concoction of recognizable tones that were circulating the current indie scene. Most noticeable was the vocal harmonization of Taylor Rice and Kelcey Ayer, which closely resembled that of Grizzly Bear's Edward Droste and Daniel Rossen, who were doing so on the opposite end of the country. For Gorilla Manor's follow-up, Hummingbird, Local Natives headed east, outside of their comfort zone, to record in Brooklyn and Montreal with the production assistance of The National's Aaron Dessner.

  • Loney, Dear <br/><i>Hall Music</i>

    Emil Svanängen has come a long way since his self-produced bedroom debut in 2003, yet he retains the earnest humility of a newcomer. In Hall Music, his sixth full-length album under the name Loney, Dear, he expands on his carefully cultivated sound, while retaining the deeply personal essence that has gained a devout Loney, Dear fan base. He said in our interview, "I felt I wanted to improve a lot" on previously released work, such Sologne and Loney, Noir, and improve he does.

  • Looker<br /><i>Born Too Late</i>
  • Lord Huron <br /><i>Lonesome Dreams</i>

    Lord Huron's music jet sets the mind to the most exotic surroundings the imagination is capable of producing. Tropical island coasts, arid rust-colored desertscapes, sweat-inducing rainforest canopies, and gently waving green and yellow prairie grasses stretching to the far reaches of the horizon. It's as if head honcho Ben Schneider's not quite at home in his manmade, urban oasis of Los Angeles. Just beyond that cities' mountain ranges lie real opportunities to inhabit the very same places his dreams probably take himhence the title of his band's debut full-length, Lonesome Dreams.

  • Los Campesinos <br/><i>Hello Sadness</i>

    One of the more difficult things for bands to do is to stay consistent while keeping it interesting. Los Campesinos! fourth studio release, Hello Sadness, is what we've come to know and expect from the band, but that's not necessarily a bad thing, especially with a band occupying the last legs of a forgotten genre. There are no true surprises, no jarring experimentation, but the album is still different and darker in timbre, and absolutely, undeniably Los Camp. Sometimes it's nice to get what you paid for (even if you didn't actually pay).

  • los campesinos! <br/><em>romance is boring</em>

    There is a franticness about your early twenties. There is a jittery claustrophobia that can pulse behind your eyes and make your breathe short and make your chest tight. On Romance Is Boring it seems Los Campesinos! are writing strictly from that cloisterous, failing universe of early adulthood. Manic and frenzied Romance Is Boring blisters with swells of strings and horns and crunching unapologetic guitar and explodes so sublimely on every track that you can't imagine they made fifteen of them.

  • Los Campesinos!<br /><em>Hold on Now, Youngster…</em>

    Boisterous, brash, and bratty might sound like characteristics best used to describe foul-mouthed punks and the “ready, steady, go” rush of guitars and drums they embrace. But as Los Campesinos!’ debut album Hold on Now, Youngster… (Arts and Crafts) affirms, such aforementioned adjectives are hardly limited to rock and roll’s pissiest of genres. No, this crew of Cardiff kiddos (who all sport the mythical surname of Campesinos) flip classic punk cynicism on its’ head instead, fashioning something a little more pure in spirit. Why they even tune their instruments (almost) up to notes that resemble that of the melodic tones they were always meant to output. Thus results in a band that fondly embraces the energy and spirit of their punk rock brethren, without ever tapping into the chaos and madness that made it so dangerous (at times). Of course Los Campesinos! aren’t wimps either. They just play pop music of a more highly caffeinated variety.

  • love is all <br/><i>two thousand and ten injuries</i>

    Love Is All have been mining the same angular, hook-driven pop punk since 2006's, Nine Times That Same Song, and they've stuck to their guns on their third record, Two Thousand and Ten Injuries. While there are still strong traces of Blondie, most clearly on the albums opener "Bigger, Bolder," they are now able to pull off incorporating more unlikely influences, like The Mamas and The Papas, on the insanely catchy "Kungen," with its "ba-ba-ba" chorus.

  • love is all<br /><em>a hundred things keep me up at night</em>

    No, that's not Dick Dale sliding down the guitar neck on "New Beginnings"...though that doesn't mean the opening track of Love is All's excellent new disc A Hundred Things Keep Me Up At Night (What's Your Rupture?) doesn't set a totally tubular kind of tone from the get go. Devoted fans and newcomers alike: prepare yourselves for giddy gobs of party starting pop from listen one. Electric tempos, gigantic breakdowns, spazzed out saxophone lines, "ba ba ba's" galore, and Josephine Olausson's faintly accented vocal yelps all help to minister the group's second recorded outing a genuine success.

  • low <br/><i>c'mon</i>

    Low's ninth studio album, C'mon, finds the band in a sonic wasteland of their own thoughts, wandering aimlessly through mid-tempo introspection and the instrumental equivalent of the weather in London (foggy with a chance of rain, always). But despite thin textures and a Fleet Foxes mentality on use of melodic harmonies (although arguably a Low mentality first), the space of the record is infinite and awe-inspiring, with some fantastic production giving even the simplest of passages the feeling of an orchestral blowout.

  • Lower Dens <br/> <i>Nootropics</i>

    The question of whether good music comes from an immediate reaction or careful thoughtfulness pervades present day music. There are usually obvious differences between bands that have reasons for the music they make and bands that stick to the enjoyment of melancholic hooks and nothing more. Lower Dens is somehow at the center of this venn diagram. 'Nootropics' (the namesake of the album) refers to memory enhancing drugs. The idea of the synthetics altering the capacity of man is a concept that saturates the album. This might induce a "Really? Seriously?" reaction but Lower Dens succeeds in incorporating their philosophical concepts seamlessly into their music. Introspective lyrics ("I feel different now than I did before" in "In The End Is The Beginning") and sensory focus are ingredients of a sonic experiment from an existential band. Like Lower Dens' idea of nootropics, Nootropics is a successful chemistry experiment, combining the likes of organic matter and machine.

  • lykke li <br/><em>youth novels</em>

    Minimalism, percussive focus, and crooning vocal prowess all find a home on Youth Novels, fourteen chapters of nomadic chanting, with a Swedish heart. Newcomer, globetrotter, and New York City poseur Lykke Li once masqueraded the big apple karaoke dives as a Swedish superstar (she was not). Her debut shows serious swagger... so much so, she may no longer need such a mask.


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