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Album Review: St. Vincent - Strange Mercy

St. Vincent - Strange Mercy (2011, 4AD)

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“I don’t wanna be a cheerleader no more”

That line in the aptly named “Cheerleader”, the third track on Annie Clark (AKA St. Vincent)’s third album, Strange Mercy, sets a very simple tone. But, oh how complex it truly is. Ms. Clark has touched on a number of dark themes throughout her previous two albums, which is what initially attracted me to her work. Songs like “Paris is Burning” and “Black Rainbow” just by their titles give you a pretty easy understanding of what her themes seem to revolve around. But for the most part her albums, while brilliant, have felt almost disconnected from the artist herself. Strange Mercy is far and away the most personal of Annie Clark’s work under the St. Vincent moniker. It’s an understandable step in the normal progression of an artist, but she was so adept at the sardonic style she used on previous albums, that it actually feels like a slight letdown. The album focuses much on her breaking out from the sheltered and protective life of a “safe” woman in society (the cheerleader, the housewife, etc). It also focuses on some of the feelings of hopelessness that not only young women, but young people in general feel. Naivete, ignorance, delusion, and subjugation are themes that crop up throughout the album. It is an album that is at times darkly personally, but also liberating.

Track 1: Chloe In The Afternoon

Annie's guitar playing on this album is relatively unique. It's apparent right in the opening of the first song. Very layered and heavy. Which I liked a lot about this album. This song is much better instrumentally than it is lyrically. Something about the chorus being the repetition of the track title kind of irks me. Just a weird thing to make a chorus out of. Annie's ability when it comes to composing songs is still top notch, which makes this a good song despite my reservations.

Verdict: 7/10

Quick Review: Gold-Bears - Are You Falling In Love?

Gold-Bears: Are You Falling In Love? (2011, Slumberland Records)

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Nostalgia is a funny thing.

So what does it mean when the debut album from Atlanta based Gold-Bears made me seek out and listen to Sunny Day Real Estate's 1994 emo masterpiece Diary? Although they only share the basics of a musical style, they share a very emotional tone. Even though Are You Falling In Love? was released in 2011, it feels like an album that fits more precisely somewhere between the years of 1993 and 1995. Right down to the nearly unsubtle feelings of loss and emotional distance.

There's no mistaking that this is a break-up album. It's pretty obvious just from reading the title of the album. But I do have a soft spot for these types of albums. Even if the emotions are stunted, unsubtle, and obvious, at least they are there. The album rarely strays from these themes, which hinders it slightly, as there is really no letting up from the bleak songwriting. The album also has a very predictable sounds structure as well. Most songs plod along with a listless rhythm, with plenty of distortion mixed in. There are some upbeat songs, such as the second track "All Those Years", which would be interesting if it wasn't for the doo-woppish "ba ba ba da"s. Even if they are pretty early 90's, I hated them in the music of that decade and I certainly don't enjoy them now. Sadly, one of the more interesting and fast paced songs, "In This City, I'm Invincible", is only close to a minute and a half long. It tells the story of the moment the narrator breaks up with his significant other, and the rushed feel of the song does give it a sense of confusion. And there is a female guest vocalist! I love that shit! Other than that, the songs are mostly only differentiated by the lyrics and some kind of different musical addition, mostly distortion of some sort.

Reading this, you probably think I don't like this album. Like I said, nostalgia is a funny thing. While far from perfect, Are You Falling In Love? is an album that doesn't try to be anything it isn't, and has a very honest emotional core. Sometimes that and the feeling you get from all those old emo bands like Sunny Day Real Estate is enough to get you to gloss over some pretty glaring weaknesses.

"Remember that time in 1993, that song made you weep. How could she be so mean to the boy that loved her. Remember that night in 1995, well I guess I felt alright. Your tiny hand in mine, just before our last fight."

/\

ACTUAL LYRICS! I'm convinced this album came out at least 18 years too late.

Final Score: 7.4/10 and I hope y'all find a time machine.

Album Review: Okkervil River - I Am Very Far

Okkervil River - I Am Very Far (2011, JagJaguar)

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"The goal was to push my brain to places it didn't want to go. The idea was to not have any idea – to keep myself confused about what I was doing,"

Will Sheff is one of the greatest modern songwriters. More a poet than a lyricist. But Okkervil River as a whole has undergone some interesting changes in the years leading up to I Am Very Far. At this point the only original member of the band is Mr. Sheff himself. Gone are Bassist Zach Thomas, Drummer Seth Warren, and pianist Jon Meiburg. And even members that have been around since their seminal work, Black Sheep Boy, are mostly gone and replaced. While this new version of Okkervil River may look strange to long time listeners, it has always been Will Sheff running the show, and as long as Will Sheff is here, Okkervil River will exist in some form.

Will Sheff insists that I Am Very Far is a standalone album, unlike their last three albums, each of which can be considered concept albums, with their own main themes. The Black Sheep Boy narrative on the album of the same name. The perils and triumphs of stardom on The Stage Names. The emotional toll of the inability to gain recognition as an artist on The Stand-ins. The problem with Okkervil River now making an album of relatively standalone songs is that Will Sheff is such a great songwriter that his skills are almost wasted without a main theme. It's almost as if a great novelist, instead of releasing another great novel, has decided to release a collection of short stories. While they are still enjoyable by themselves, it leaves the reader (or in this case the listener) wanting more.

Track 1: The Valley
While I enjoy to marauding drums, that is really the only redeemable part of this song. Strangely lazy songwriting and lyricism. There are other bands where I would appreciate the repetition in this song, but it's not something that Okkervil has really utilized in their career. I'm surprised that this song even made the album let alone led it off.
Verdict: 5/10


Track 2: Piratess
Although this song has much better lyrics, it suffers from similar problems as "The Valley". It seems to mostly just plod along, With Mr. Sheff's storytelling being the only thing keeping it afloat. it does earns some points back with some interesting breaks and sound mixes near the end.
Verdict: 6/10

Album Review: The Antlers - Burst Apart

The Antlers - Burst Apart (2011, French Kiss Records)

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How do you follow up the most emotionally devastating album of the last decade (2009's Hospice)? Well if you're The Antlers you head to the studio, mess around with your sound a little, and release Burst Apart. While it lacks the emotional power that Hospice was able to convey, Burst Apart is still a beautifully delicate album that should be appreciated in its own right. The most important thing to come from this album is lead singer Peter Silberman's confidence in his unique falsetto singing style. Burst Apart also feels like a fully fleshed out album, where Hospice was mostly Peter working by himself. It is a much more fully realized work that is powerful in its own right.

Track 1: I Don't Want Love
The strength of this album really lies in its bookends. "I Don't Want Love" starts the album with a clear message. As much as the song title would like you to believe otherwise, this is an album about love. But it's not about the good things that happen in love. It's about the bad things. It's about the hate that festers, the silence, the cruelty. The other bookend "Putting The Dog To Sleep" almost acts in complete contradiction to this song. But we will save that for later.
Verdict: 10/10


Track 2: French Exit: 
This is certainly what I would call the most pop oriented song on the album. Of course it also contains the lyrics "Everytime we speak you are spitting in my mouth". The Antlers have a knack for these somewhat cryptic lyrics that just seam to make sense on another level. Very reminiscent of The National.
Verdict: 9/10

Album Review: Fleet Foxes - Helplessness Blues

Fleet Foxes - Helplessness Blues (2011, Sub Pop)

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Helplessness Blues is an album about growing up. The first lyrics that Robin Pecknold sings on the album are

"Oh now that I am older
Than my mother and father
When they had their daughter
Now What does that say about me?"

Maybe its not talking about growing up, per se. It's about growing old. It's a fear that we all have. We look at the lives around us and wonder: Am I going about all this wrong? Robin Pecknold's worry (or lack of worry) that he should have children at his age is probably something that we all have thought or are now beginning to think about. Or something else of that nature. Helplessness Blues sounds older as well. It has a much more mature, almost adult contemporary sound to it. Many people have compared it to Simon and Garfunkel. Which in this case isn't a bad thing. The songs are more expansive and fleshed out compared to the band's self titled debut. Helplessness Blues is a worthy successor to that album, and shows that Fleet Foxes, while maybe not the most groundbreaking band in terms of sound, have the ability to craft folk music as beautiful as any of their contemporaries.

Track 1: Montezuma
As I mentioned in the introduction to this review, this song works as a competent opening track. Begins slow and then picks up a harmony on the way. It may be obvious through my love of bands like Fleet Foxes that I am a sucker for harmonies. This song is almost completely carried by Pecknold's vocals, with only the harmonies and a soft guitar to keep it going. It threatens to break into a full song at times, but never quite meets that point. While this annoys me a little, this song really showcases Fleet Foxes ability to carry their music with just their voices, which is impressive.
Verdict 7/10


Track 2: Bedouin Dress
The first "song" on the album. Guitar takes a back seat again, but this time we have piano and some string instruments to add to the sound. Unlike the last song, this one relies mostly on the string section to carry its weight. Another strong song lyrically. "The borrower's debt is the only regret of my youth" I hear that Robin.
Verdict 8/10

Track 3: Sim Sala Bim
This is the first song we get with a real thematic shift. There is a couple songs on this album that do this, most of which are two part songs that are specified in the track name, with the exception of this one. The lyrics are intimate and feel very personal. What really makes this song is the musical breakdown at around 1:25. It works into a frenzy (or whatever you call the folk version of a frenzy). Something that you really didn't see on their previous work. It shows the amount of work they put into making this new album, and coming up with new ideas to keep the sound fresh.
Verdict 8/10


Track 4: Battery Kinze
The most pop oriented song on the album. As of right now my favorite song on the album as well. Robin feels the dual pain of heartbreak and bitter jealousy on this song. Something most of us can probably relate too. Even with the depressing lyricism, the song is surprisingly upbeat. Normally this contradiction would bother me, but not on this song.
Verdict 10/10


Track 5: The Plains / Bitter Dancer
The first of two more experimental, two part songs. The Plains is mostly instrumental, leading into Bitter Dancer. Or actually who knows. There is really three parts to this song. The last part is clasic Fleet Foxes, which makes up for the slightly dull earlier parts.
Verdict 7/10


Track 6: Helplessness Blues
Our titular track. This song could fit in with any 60's folk standard. Very relate-able lyrically. Well, at least to me. I think people do fall in love with the idea of simple work that is rewarding, ("If I had an orchard I'd work til I'm sore"). It is becoming apparent that an escape to a simpler life is something that many people strive for (not just me? I'm STUNNED). But I digress. A beautiful song all around.
Verdict 10/10


Track 7: The Cascades
Instrumental. Not bad. Nothing special (it must be becoming obvious that I value lyricism over instrumentalism by now)
Verdict: 6/10


Track 8: Lorelai
And speaking of lyricism! Oh how I love sad songs about girls. Maybe not the most exciting song, but wistful and delicate, which is good for a folk song.
Verdict: 9/10


Track 9: Someone You'd Admire
There isn't anything inherently wrong with this song. It's just boring compared to the other songs on this album.  Feels plodding and almost like filler. Just ok.
Verdict: 5/10


Track 10: The Shrine / An Argument
This is the better of the two two parter songs. With Robin Pecknold's amazing voice, it's really amazing when he even shows a slight amount of emotion. This makes "The Shrine" a pretty awesome song. "An Argument" is just as strong. Very powerful and albeit being more slowly paced, is quite epic in its own right. It reaches into some very experimental territory as well, which is a nice change of pace.
Verdict 10/10


Track 11: Blue Spotted Tail
Very reminiscent of "Blackbird" by The Beatles. Sublime and intimate both lyrically and musically. This is folk music at it's best.
Verdict 9/10


Track 12: Grown Ocean
Great way to end an album. Although you could have easily switched the last two song. Upbeat and frantic. Another example of how their sound has grown on this album.
Verdict 9/10


Cohesiveness Score:
Could have switched the last two songs. Other than that no complaints.
Verdict 9/10


Final Score: 107/130 = 8.2


Final Thoughts
A competent album in it's own right, muddied by a few throwaway songs. They have managed to add new sounds to their already established style, while not losing what made their first album so great.

Album Review: Destroyer: Kaputt

Destroyer - Kaputt (2011, Merge Records)

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I know Dan Bejar mostly from his other band, the so called "Canadian power-pop super group" The New Pornographers. That's not to say that I have not heard of Destroyer. I have previously listened to his most recent albums, Trouble in Dreams and Rubies, and Thief was on my best of 2000 list (which sadly has never been published on this blog). Destroyer released the Bay of Pigs EP way back in 2009. "Bay of Pigs" is the last song on this album. Dan Bejar has, in essence, built two years of hype for this album. Kaputt delivers on that hype in every way. It is a record that manages to encapsulate a feeling of nostalgia, while feeling new and creative at the same time. It is already one of the best albums of a young 2011.