Category Archives: Album Review

04.14.11
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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+

03.22.11
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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”?

02.03.11
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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

01.20.11
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Fergus & Geronimo- “Unlearn”

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.

01.11.11
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Album Review: Libby Koch “The Shadow of This Town”

It’s only right that true Alt-Country music hails from the South. Carrying the torch is Libby Koch, a Houston, TX singer/songwriter that will draw you in with her country, bluegrass, and folk brand of music. Koch has just released the enchanting album The Shadow of This Town and the Texas staple is finally starting to branch out to the rest of the world.

Starting off the record is the captivating song “Lonesome Bound,” which sets the perfect tone with a harmonica. Already the listener will be drawn in. Koch’s voice isn’t soft as it has a rather raspy tone to it, even while she is hitting high notes. “Walk Away” has a driving beat behind it that you will not be able to resist tapping your foot to. One thing the listener will notice about Koch is her Southern accent. It comes out clear in her vocals and it is charming to say the least. It allows her to put a unique twist into her music that doesn’t tire.

“Texas Saturday” brings a dose of kitsch to the album, and it’s not a bad thing, though it tends not to fit into the album lyrically. The words are playful but come off as a bit childish. Telling the story of a Saturday night in Texas, the song takes the seriousness away from the music on the record in general. Picking it back up is the title track, “Shadow of This Town,” which shows Koch’s ability to write a great song. The slow picking of the guitar and brushes used on the drums set the mood for the track and it must sound even more effective in a live setting.

“Still in Love” is a touching piece that comes right from the heart. Lyrics such as “I got a thousand songs to sing you if you stay” come off as romantic and sincere. This is the standout track on this record as it showcases Koch beautifully both vocally and musically. And yes, there is a hint of banjo in there. “Too Damn Hard,” which is a low tempo song, continues to carry on the audacity of what Koch is trying to do. She doesn’t play by any rules but her own, and that is what makes a successful musician. Though the album rarely deviates from the path it was set on, it not only works, but it works well. “Settle Down” brings the energy back up and carries in with that classic harmonica that the listener will hear throughout the record. The down-down-up-up strokes of the guitar add life into a song that could come off as dull otherwise.

“Starting to See” begins with a slide guitar in a haunting tone. A new twist on the album begins when harmonies enter and the sorrowful song about heartbreak invokes the emotion in Koch’s voice. On the other side of the spectrum is “Here By My Side,” which is the complete opposite of having sadness. The track picks up not only vocally but musically with its fast paced tempo in which Libby doesn’t have a second to catch her breath. “Tonight,” continues on this route and will have the listener out of their chair and dancing in no time. Infused with a great deal of country, it will appeal to everyone no matter what type of music they enjoy. It shows another side that we haven’t seen of Koch before but seemingly it fits.

Closing out the album is “Feelin’ Good Again,” which seems like an homage to her entire piece of work. Ending with the same harmonica that carried the album in, Libby Koch managed to make a record that knows almost no boundaries with The Shadow of This Town. She plays by her own rules, and that is what will set her apart from the others and get her through to the top, where she rightfully belongs.

01.03.11
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Album Review – Valleys: “Stoner” EP


The cover of Valleys’ newest release, Stoner EP, is well suited to the mood of this three song spell: an image of tainted youth in the form of a young girl painted with Day of the Dead-like makeup. The music is dark and eerie, almost Wiccan, while retaining some sweetness with the celestial, soothing female vocals best showcased on “Ordinary Dream.”

As with the other songs on the EP, the soft vocals are offset by aggressive guitar and drums made jagged by the fuzzy feedback and reverb. This track is appropriately titled as it is deliciously dreamlike with lyrics like “your eyes are steadfast” that melt into the song.

“Ten Thousand Hours” begins with rumbling drums and a steady keyboard line that leads into static and noise as the introduction to the screaming of upset male vocals. In comes a feedback solo that seriously lasts several minutes, during which the mind wanders from the song until it is lured back in by the keyboard and reminded that there is actual music here. As soon as that happens, the song has come to an end.

“The Cold Cold Skinny” starts with ominous xylophone and girl and guy voices singing in unison, with a regimented rhythm that sounds like a chant. Distressed electric guitar in conjunction with shrill, tense keys becomes a recipe for a scene in a horror film, made even moreso with the creepy lyric “Walk into the evening with your cold, cold skinny legs.”

These three songs strategically serve as a tease or a taste, rather, to what this band may be all about, but more must be heard to discover what that really is. From Stoner EP, we get experimental rock, sultry feminine vocals and lyrics with cryptic imagery.