Posts filed under ‘Album Review’
Modern Mystery’s Year End List 2011 (Albums & Songs)
Yes, we’re a little late on this, but here is our Year End List(s) in all of their glory.
TOP ALBUMS of 2011
1. Real Estate - Days
Literally the most beautiful album we heard all year. Everything about Days is near perfect. Haunting guitars and echoing vocals provide a stunning LP that will hold the test of time. Real Estate put out the essential record of 2011 and will hold a place forever in indie music history. Congratulations to these guys for pouring their heart and soul into a record, and letting the listener hear every beat, every emotion, and every ounce of perfection.
2. Beirut – The Rip Tide
A close runner up, Beirut proves that they have staying power on their highly anticipated second album. They certainly lived up to the hype and brought the indie rock game to a whole new level.
3. The Drums - Portamento
Catchy, and a little deeper, The Drums plunge into the ocean, not to go surfing this time but to get a little heavier. The outcome? Amazing.
4. Sloan – The Double Cross
Always a MM favorite, the best foursome since The Beatles provide another album of blissful harmonies and catchy riffs. Sloan manages to do it again.
5. The Strokes - Angles
It may have taken 5 years for this little gem, but it was certainly worth the wait. We hope the next album is a little more cohesive, a little more “Strokesy,” but hell, it’s still one of the best records our ears came across this year, not to mention the most anticipated.
6. Neon Indian – Era Extraña
An incredible sophomore effort, that had us dancing around the apartment, the office, the car, etc. Alan Palomo knows what makes our hearts tick, and it’s his infectious brand of chillwave.
7. Ryan Adams – Ashes and Fire
The second anticipated musical act out of retirement this year, Adams put out a tear jerking album of all acoustic material, this time without his infamous Cardinals. Gorgeous as always, that man cannot write a bad song.
8. Bright Eyes – The People’s Key
What may be the last album under the name Bright Eyes, Conor Oberst and company pull out all the stops on this intriguing and somewhat eerie album. Oberst is better than ever, just when you thought that was impossible.
9. Stephen Malkmus and the Jicks – Mirror Traffic
Stephen Malkmus albums always equals a win. Pretend to be surprised. The Beck produced record caught our ears this year. Nice one Malkmus, as always.
10. Sam Roberts Band – Collider
Another great album from SRB, the band is on a hot streak of great releases. Always a little under the radar, this cult favorite is winning over hearts and ears quickly. Jump on in.
HONORABLE MENTIONS:
Atlas Sound – Parallax
Toro Y Moi – Underneath the Pine
Fleet Foxes – Helplessness Blues
St. Vincent – Strange Mercy
Girls – Father, Son, Holy Ghost
Destroyer – Kaputt
Youth Lagoon – The Year of Hibernation
Cults – Cults
Fucked Up – David Comes to Life
Panda Bear – Tom Boy
James Blake – James Blake
Top Songs of 2011
1 The Strokes – “Undercover of Darkness”
2 Neon Indian – “Hexx Girlfriend”
3 Real Estate – “Green Aisles”
4 Bright Eyes – “Shell Games”
5 Chairlift – “Amanaemonesia”
6 Sloan – “The Answer Was You”
7 The Drums – “Money”
8 Stephen Malkmus and the Jicks – “Senator”
9 Beirut – “Santa Fe”
10 Washed Out – Amor Fati
11 Joy Formidable – Whirring
12 Girls – “Honey Bunny”
13 Unknown Mortal Orchestra -”Ffunny Ffriends”
14 Real Estate – “It’s Real”
15 Cass McCombs – “Country Line”
Catching Ghosts with Juviley.
Imagine a pitch black screen.Seconds later, a electronic music voyage kicks in.Glimpses of avatar ghosts start popping up in the window. According to Juviley,there are no rules. A transplant from Israel, he is the brainchild behind a conglomeration of his album Our Choices Rhyme camouflaged inside of a video game. Juviley’s voltage of futuristic beats, and bending synths combine as a project that takes the listener in a progressive labyrinth of winning the game, in order to win a free download of the album. Bravo!
Check out Juviley’s video “My Blood” below
Catch ghosts here!
-Viktorsha Uliyanova
LA RESISTANCE Play Second NYC Residency Show This Week! Release Covers EP
Covers usually never do a song justice, but LA RESISTANCE is out to prove you wrong. The band has just released a brilliant EP collection of covers titled The Candidate, that will surely make the way onto your Year End lists. The covers that appear on the album are sultry and seductive. From the opener “Lips Like Sugar,” from Echo and The Bunnymen to “Disorder,” by Joy Division, every track somehow outdoes the other. A great accomplishment to say the least.
For New York fans, the band are in them midst of a two week residency at the infamous ARLENE’S GROCERY on SEPTEMBER 28TH and OCTOBER 5TH.
**DOWNLOAD “THE CANDIDATE” FOR FREE**
http://www.laresistancemusic.com
Frontman Greg Summerlin offered some words on the album, which come from a very personal place.
“I wanted to pick a time period and a group of bands that had some sort coherency to them and also were major influences of mine. So, I decided to pick a group of bands from the UK that were really influential in the 80′s that I have become obsessed with at some time or other in my musical history. In my opinion, these are the five greatest bands in the UK from this era,” says Summerlin.
“Lips Like Sugar” – Echo and the Bunnymen
“I went to go see them in Atlanta a couple of months ago and left the show wondering how these guys are not considered one the greatest bands ever. Their body of work to me stands up with any of the great bands in rock history.”
“What We All Want” – Gang of Four
“To me, Gang of Four is one of the most original bands that came out of the 80’s post punk era. The guitar work on this song is incredible and Andy Gill had a great sound and really unusual guitar riffs.”
“Cries and Whispers” – New Order
New Order is probably the band out of this group that has had the most influence on the way I tried to make the La Resistance record, (Philosophy) sound.”
“Head On” – Jesus and the Mary Chain
“The way they just pushed the limits on the amount of reverb and guitar feedback they used influenced all kinds of shoegaze and other bands that came after them. But, they also wrote great pop songs and to me this is one of their best.”
“Disorder” – Joy Division
“This is one of my favorite songs of theirs because the bass riff is great, but the whole song is fantastic and Ian Curtis’ vocals and lyrics are haunting and really give us a great idea of what was going on his head at the time.”
TOUR DATES
OCTOBER 5TH10PM- ARLENE’S GROCERY- NYC
Tom Vek – Leisure Seizure
So yes, Tom Vek has been MIA for five years, bla bla bla… We can skip the story of his long, mysterious absence from the airwaves to get to what’s important: he’s back and still kicking butt.
His newest album, Leisure Seizure, which is already available digitally but will only get a physical release on September 13th, kept the essence of what made his first album special but polished it, making his sound more coherent. We’re far from the lo-fi vibe of We Have Sound, but that doesn’t mean Vek’s taken away what was gritty and interesting about his music; the better quality of the production actually makes all the subtleties of his arrangements shine through more distinctly.
We Have Sound played a lot with dissonance and Leisure Seizure is no different. From the electronic loops he integrates in his songs to flat tone of voice when he sings, he manages to find the right balance to make all his seemingly cacophonous elements fit together in a pleasing manner. “World of Doubt,” with its pounding drum, clashing guitar riffs and almost spoken lyrics is a perfect example of that skill.
“We Do Nothing” is like a condensed mix of all the good things from his first LP. There’s a little bit of “C-C (You Set The Fire In Me)” in it, some “Nothing But Green Lights” mixed in as well, which is a nice indicator that Vek’s taken all the years since We Have Sound listening back to the songs to synthesize the best things from his first album and build on them.
What he’s gotten really good at is creating a really hypnotizing ambient mood in his songs, no matter how slow or upbeat they are. You hear it as much in the single “A Chore” or the electronic “Close Mic’ed,” which both succeed in how repetition is used to move the song forward rather than become boring and redundant; it’s quite a feat.
All in all, Leisure Seizure is bigger and bolder than We Have Sound was. It’s more mature but it’s also more danceable. Tom Vek is definitely forgiven for having made everyone wait so long for this sophomore release.
August 15, 2011 at 10:35 am Sedera Ranaivoarinosy Leave a comment
Sam Roberts Band – “Collider”
Brace yourself, this is the start of a new brand of music; this is groundbreaking. That was sarcasm. Collider sounds just like original Sam Roberts material, so Sam Roberts fans rest at ease. With the growing recognition of Sam Roberts work, it is a smart idea that Sam Roberts Band did not stem too far from normality. Fortunately, to avoid being banal, there are new worldly sounds on this album that will give a new texture to the music you have come accustomed to.
“The Last Crusade” is a funky bass-driven groove with fun intentions. Unintentionally or intentionally inspired by afro-beat, “The Last Crusade” is an ethnic rumpus that skillfully avoids being corny. Imagine this: you are bobbing your head to a firm beat when all of a sudden the Star Wars Cantina Band comes in with blistering horns. I kid you not, the horns mimic the jam band from Tatooine. Oddly enough, it fits. The song is a funky, fun, and cool little hymn. “The Last Crusade” has the Sam Roberts feel but the newly added funk gives it a little flare.
Sam Roberts knows how to make rock songs. Each song has something distinctive that makes you crave for a relisten. The soothing progression of “No Arrows”, the vocal harmonies on “Longitude”, and the dancey chorus of “Sang Froid” all make the album frequently worth an entire run-through. Not one song is bad which makes it an easy choice for a great unabridged listen. Even the single, “I Feel You”, which sometimes is a band’s weakest tune, has an explosive chorus and true passion. The tone is beyond powerful.
Collider is not going to blow you away with something you have never heard before. It is the same old style but that is good. Why change the style of an artist that is just now rightfully getting recognized? This album will leave a smile on your face, even if it is only for a short period. It is not a rehash, it is simply a Sam Roberts redux or now the newly formed Sam Roberts Band.
Album Review: Javelin – ‘Canyon Candy’
While Canyon Candy is a far cry from the hip-hop electro Javelin has bestowed upon us previously, it’s not something to miss. Inspired by the rolling tumble weeds and red clay encrusted jeans of the Wild West this brief album brings back snippets of that the Frontier used to be. Word is that this is the future soundtrack of an upcoming epic of the same name, directed by Mike Anderson. Previous fans of Javelin may be turned off by this album, it’s not electronically inclined and if anything, sounds vintage. However, Javelin’s master-sampling and melody-making skills were not missed. The album maintained a melodic sway the whole time, with twangy steel guitars and wavering vocals in replacement of synthesizers and funk samples. With most of the songs finishing between one and a half to two and a half minutes, one of this album’s qualities is certainly brevity. As soon as one song begins it suddenly seems to end, sometimes a bit too quickly. The use of samples in tracks such as “Strawberry Roan” and “Trembler” creates an authentic western sound, and adds to the overall reminiscent feel of the album. At the same time, tracks like “Colorado Trail,” and even “Strawberry Roan,” incorporate a little more of the beat that Javelin is known for. Javelin incorporated some western instruments too, I’m pretty sure I detected a steel guitar, and did I hear a jaw harp in “Love Gulch?” Standouts on this short album are “Estavez,” “Colorado Trail,” and “Streets of Laredo.” If you’re a Javelin fan who is open to an album unlike any of its predecessors, pick this album up. You’ll be amazed by their versatility and willingness to experiment. Available April 16th, 2011.
Album Review: Twin Shadow- “Forget”
To say that everything that producer and Grizzly Bear bassist Chris Taylor touches turns to gold would be a misstatement. It’s more like everything he touches turns into a hazy rainbow of indie genius. This is apparent on one of his record label’s latest releases, Twin Shadow’s Forget.
Twin Shadow is George Wilson, Jr., a gifted singer with a strange past and a penchant for constructing nostalgic, very danceable songs that some classify as chillwave. References to ‘80s new wave are easy to make while listening to his debut album, Forget, and Wilson is clearly a product of the modern indie scene. But that does not obscure how good this album is from start to finish.
Each song is infused with a mixture of synthesizers, shimmering guitars, drum machine beats, and catchy bass lines that are layered together to a precise, almost mathematical perfection. Chris Taylor stretches out the tunes, giving them depth and detailed flourishes that invite repeated listening. Every verse flows effortlessly into its chorus, and each song flows into the next. In this way, Forget achieves a feat that is rare these days: its can be listened to from beginning to end, and yet its songs are also effective individually. Lewis does borrow some sounds from the likes of Beach House and Grizzly Bear, from the drenched keyboards that threaten to fall out of tune on “When We’re Dancing” to the trippy picked guitar on the title track. But overall, Lewis has already found his own unique sound that usually takes some bands several records to find.
He does not falter as a lyricist either, even though, ironically enough, at times he sounds uncannily like Grizzly Bear’s Ed Droste. He draws on his aforementioned past to create poetic and at times romantic narratives that are not boring or overly abstract. In the funky “At My Heels,” he croons “I can’t come up with any reason why/A ghost is following me.” At times, there is a lot of the standard talk about heartbreak and former lovers, but it matches the ‘80’s dance pace and style, and most of the time the music is so good that we don’t care what he is saying.
But for all of the serious, meticulous song writing that went into this album, there is a certain simple playfulness about it. Lewis has a mature sense of melody, and he knows how to loosen up and let a hook dominate a song. He is committed to making accessible songs that beckon all types of listeners to the dance floor. Album highlight “I Can’t Wait” is flat out fun, and its chorus sounds a bit like Don Henley’s classic “The Boys of Summer.” During the catchy chorus he sings, “I cannot wait for summer/I cannot wait for June.” Don’t we all feel this way? If there is one thing that indie music could use a little more of today is the universality of modern pop music. Twin Shadow proves that, prior to common belief, this can go hand in hand with complex, intelligent song writing.
French Horn Rebellion Releases ‘The Infinite Music Of The French Horn Rebellion’
This Milwaukee duo’s debut album is not something to miss. This album explores a wide breadth of genres sonically. It ranges from 70’s and 80’s oriented dance to progressive synth lines and electronic funk. Wavering vocals, punchy bass lines and crisp synth lines pervade this album, linking it. While at times reminiscent of Phoenix, Daft Punk, and MGMT, the unique combination of crowd-friendly, catchy songs and those that are more introspective and nostalgic creates an album unlike any other.
The album opens with an upbeat, feel-good song, “Up All Night,” which rivets the listener with catchy melodies and synth lines. This dance-floor mentality is scattered throughout the album; tracks like “The Body Electric” and “What I Want” are riddled with guitar riffs, bass lines and vocals that stick. “This Moment” is a testament to the marriage of an 70’s or 80’s like riff with punchy electronic moments and a healthy dose of synth action, at the same time, snippets of French horn mingle with the other sounds in the track. “Running Through the Wild” opens with a cool symphony of electronic musings and melodies before taking off with lyrics like “running through the wilderness hunting for love.” This track is easy and fun to listen to, while at the same time it pushes the listener. It would seem they’ve struck the balance between the two perfectly. The seventh track, “What I Want,” is arguably the centerpiece of this album. This seven minute long track is anthemic and not unlike a rollercoaster. With fun and attractive synths and a wavering bass line, this song does not fail to please. With lines like “We can tell it’s not enough, just bring it back to what I want” and the tin of a melody in the higher register, this track provokes more than just the urge to dance.
As this album moves towards its second half, tracks like “The Cantor Meets the Alien,” “Mawson’s Peak,” and “Antarctica/ The Decision” show off the album’s more introspective side. These songs highlight the innovation between the two brothers, who seem fond of pushing the boundary between catchy and pensive. At the same time, “Broken Heart” is an electronic continuation of the same emotional tone of “Last Summer,” whose sentimental and mellow vocals ruminate on events past. “Broken Heart” merges the upbeat qualities of earlier tracks like “Up All Night” with lyrics a touch more introspective: “I’m so sick of it but I can’t help myself . . . and it breaks my heart.”
French Horn Rebellion has done a great thing with their debut album; their unique sound is both progressive and nostalgic, moreover, it’s superb. While at times it can seem a bit saccharine, usually it’s just plain cool. French Horn Rebellion has successfully married 70’s and 80’s-esque chord progressions and brass instruments with electronic funk. Through this, the pair of brothers has managed to create a sound and style completely their own.
Album Review: The Naked and Famous – “Passive You Aggressive Me”
The pathway to success has been a relatively uncharted one for New Zealand based five-piece The Naked and Famous. After recording two EPs in the home studio of vocalists Thom Powers and Alisa Xayalith, the band returned to that same studio, with few expectations, to record their debut LP.
Lead single “All of This” failed to impact but then, a funny thing happened; the album’s second single, “Young Blood” shot to the top of the New Zealand pop charts. Suddenly, an indie band from Auckland was getting more spins than Katy Perry and B.o.B, and soon thereafter pivotal blogs in the U.S. and U.K. were lauding the group. So, by the time Passive You Aggressive Me was released in overseas, The Naked and Famous had been named the “Best up-and-coming band” by NME Magazine.
Consumed in a vacuum, “All of This” and “Young Blood” would suggest a debut album much different than the one they’re actually featured on. Powers, who co-produced the album with band-mate Aaron Short, has a clear affinity for the 1980’s Shoegaze Movement and the more recent Nu Gaze Movement. As such, he and Short provide a glossy sheen of synthesizers and distorted vocals that make for a wonder-wall of sound on both of the Passive You Aggressive Me’s singles. However, the album, as a whole, is far more eclectic in its offerings.
“No Way” starts simple enough with Xavalith’s fragile vocal over an acoustic guitar, but subsequently grows into a boisterous number filled with tambourines, echo effects and heavy percussion. While “Spank” is an outright dance track in the mold of LCD Soundsystem’s more commercial work, and softer cuts like “Frayed” and “Girls Like You” show true versatility. The Naked and Famous may not reinvent the wheel on their debut album, but they most certainly make it turn.
Overall: B+
Album Review: The Strokes – “Angles”
It took five years for five guys to get back to making record with each other. Today The Strokes release the long awaited Angles (BMG) and celebration is in order. It’s funny to hear how much The Strokes have evolved since their early records. They sound so different but appear to be the same all at once. Somehow a band that seems as distant as ever with each other has made their most cohesive record to date. Every Stroke brings a little bit of himself onto Angles and it works well. Really well.
Starting off with the infectious “Machu Picchu,” which has a taste of 80′s vibe in it, kicks off the record with a bang. It starts a little mellow in the beginning and then when you least expect it, Julian Casablancas’ voice punches you in the face along with the driving guitars. The hook in this song is brilliant. We’re in love already. The first single “Under Cover of Darkness,” gets better with every listen as Casablancas’ vocals howl throughout the song. The rest of the band goes along with it as all of the elements come together without flaw. One amazing thing about this record is that it delivers song after song with catchy hooks and melodic vocals. It stands out from the very beginning.
To continue with the 80′s feeling, “Two Kinds of Happiness,” is Cars-esque without a doubt. The Strokes never become copycats though and remain true to themselves in every inch of the record. “You’re So Right,” and “Taken For A Fool,” bring a tad bit of retro punk element into Angles (BMG) but at the same time, carry a bit of old school Strokes into the mix. That’s the great thing about the band. You never know where a song is going to go. That’s a good thing. “Games,” will make you want to get up and start dancing around the room. Albert Hammond Jr.’s and Nick Valensi’s guitars intertwine throughout this song in particular, with a hint of synths behind them filling the space in between. This is something a little different for The Strokes.
“Call Me Back,” slows down the record a bit with Casablancas and a slow picked guitar for the most part. This track is haunting and brings a nice low key tone to the album, something The Strokes have tried on First Impressions of Earth (BMG) with “Ask Me Anything.”
“Gratisfaction,” is dead on Is This It, (BMG) which sounds like it could have been a leftover track. We know it’s not, but it may fool you. With a hint of retro and a tad of T-Rex sound, this song will surely win over your heart fast. The rhythm section of Fab Moretti and Nikokai Fraiture blend nicely together keeping the back bone of the song under Valensi’s blissful guitar riffs. “Metabolism,” is the darkest song on the record that picks up in intensity. It reminds us a bit of an old video game, which is a compliment. The guitar solos swallow the song whole, as the album heads towards the end. Closing the album is “Life is Simple in the Moonlight,” which is a perfect final track. Casablancas knows how to not only write a vocal melody but sing it to perfection. Be prepared to have this song on repeat.
It took us five years to get Angles, (BMG), and it was worth every minute of the wait. Can we say “Album of the Year”?
Album Review: The Demon Beat “1956″
By Jess George
We’re almost a month into the New Year and I’m going to make a prediction: 2011 is going to be all about 1956. What on earth could this mean, you wonder? On New Year’s Eve, West Virginia’s esteemed trio of southern rockers, The Demon Beat, released their new album entitled 1956. This five-track masterpiece, which spans the course of about 38 minutes, is a hypnotic trip for the ears and the mind that is likely to leave you stranded in an altered state of musical bliss.
Each track, aptly titled “Movement 1” through “Movement 5”, progresses in effortless transition. This album is quite different from their last project, Shit, We’re 23, released in 2010. It has a heavier groove; it’s more haunting. It’s a stunning symbol of the growth this band has made in only a year’s time. In addition, the concept of this album focuses entirely on the unfortunate story of Carl Perkins’s missed opportunity of greater fame in 1956. Perkins was the original songwriter and performer of the tune “Blue Suede Shoes,” but a car accident rendered him unable to perform for an extended period of time. During this time, Elvis Presley recorded the song and enjoyed even greater success with the single than Perkins previously had. Heavy, right?
Guitarist/vocalist Adam Meisterhans, bassist Tucker Riggleman, and drummer Jordan Hudkins have created an album that begs to be played over and over again. The boys are currently touring the eastern portion of the country, but they will be making another trip to SXSW in Texas this March. You can find tour dates and other updates from the boys on their Facebook or their MySpace. To buy their album and check out other artists on the Big Bullet Records label, click here.
http://www.myspace.com/thedemonbeat
http://www.facebook.com/thedemonbeat
Fergus & Geronimo- “Unlearn”
Fergus & Geronimo, believe it or not, is not a 1970s sitcom. Fergus & Geronimo is a duo of Jason Kelly and Andrew Savage with collaborations from others and when they perform live, they often do with a large groups of people. Yes, Fergus & Geronimo is a side project but Fergus Geronimo hopes you do not simply see them as a halfhearted attempt. Sorry, I just really think it is fun to type Fergus & Geronimo.
It is 2011 and I do not believe garage rock is still relevant; was garage rock ever relevant though? Anyways, Fergus & Geronimo fill the whole album of Unlearn with a stripped down unapologetic garage rock sound. At times, certain songs may peak your interest, most notably, “Where The Walls Are Made Of Grass”, which may take the award for Laziest Sounding Western Song Ever. Unfortunately, the past winner of this award was Natalie Cole for this great little number.
There is not much to write about this album actually. It is alright. If you want something new and fresh, do not bother even listening to it. The album becomes a bore after the second song and you have heard an album like this a hundred times. Unlearn brings nothing new to the table. As if lack of innovation was not enough, sometimes the musicianship is just sloppy. The anthem, “Wanna Know What I Would Do If I Was You”, is sluggishly sung. The vocals are almost as bad as Bill Murray in Lost In Translation. Sometimes it is nice to have relaxed vocals and at times even imperfect ones but Fergus & Geronimo sound like that drunken asshole that is always at the bar on karaoke night. As a listener of this album I feel similar to a mistreated girlfriend. I just wish Fergus & Geronimo would show that they care about me and put some passion into what they were giving me. I just want attention. I just want to know that they care. Instead, we are left with an uninspired lazy album. We are left with Fergus & Geronimo sitting on the couch and sipping a beer on Saturday night– forcing us to look for another lover that actually will show that they care.
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