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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.

Album Review: The Decemberists - The King Is Dead

The Decemberists - The King is Dead (2011, Capitol Records)

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For The Decemberists, you can go back again. After two sprawling, epic concept albums, Colin Meloy and company return to a sound originating from their first few albums. This means more straightforward pop songs instead of massive ten-plus minute songs. The Decemberists' brand of pop has always been different than anyone else's. It has a flare of old-time nostalgia mixed with country, bluegrass, and a multitude of other genres. It gives their albums something of a dated feel, but they are still so progressively modern that it can be difficult to really get a grasp for their music. For example, Their song "The Infanta" was used in the TV show Mad Men, and to my knowledge is still the only modern song used in the show, which is set in the early 60's.

The King is Dead is a solid album, but at this point in their careers (this being their 6th album), it is hard for the band to add new layers to a sound that is already unique to themselves.

Track 1: Don't Carry It All
This could easily a Tom Petty song, just from the intro. It becomes apparent very early that this might be the most pop-driven album The Decemberists have made. This really doesn't even sound like The Decemberists to me. Maybe that's why the song is all about the changing of the season. It's a metaphor for their change in sound.
Verdict: 7/10

Track 2: Calamity Song
I like the little guitar riff in this song. Very lighthearted for such a depressing song. "Calamity Song" is very reminiscent of one of my favorite Decemberists songs, "July, July!". It even matches in macabre lyricism. Who just uses California sinking under a giant earthquake as a throwaway lyric?
Verdict: 8/10


Track 3: Rise To Me
The first slower, subdued song on The King is Dead. I have always thought that Decemberists were very good at these types of songs. This style really fits Colin's vocal style much more than anything fast paced. He really has a voice made for slow, melancholy tracks. He should have just been a country artist.
Verdict: 8/10

My Year In Lists: The 25 Best Albums of 2010

25. Strand of Oaks - Pope Killdragon

I'm finding it increasingly harder to describe this album. Is it a folk album? It could certainly pass for it. Introspective, sprawling songwriting is a staple on Pope Killdragon. It also has shades of progressive rock, metal, and post-rock. It also has a song about Dan Akroyd and his emotions after the death of John Belushi. And it's actually a really good song! Even when he is writing about relatively nonsensical things, Tim Showalter still manages to make captivating music.

Standout Tracks: Killdragon, Sterling, Daniel's Blues, Last To Swim

24. Surfer Blood - Astrocoast

I like to consider this album the antithesis to the surf rock genre. While it definitely shares the sound of the other bands in the genre, the lyrical content plays more like it is mocking the genre instead of glorifying it. Surfer Blood also has more of a punk tinge to their sound. I love the sardonic nature of their lyrics as well.

Standout Tracks: Floating Vibes, Swim, Take it Easy, Catholic Pagans

My Year In Lists: The Top 50 Albums of 2010, 50-26

2010 has come to a close. So what's more important than counting down the best albums of the year? I can't think of a single thing. When I look back at this year musically, I have a couple thoughts. A lot of well established artists released good material (Arcade Fire, The National, Kanye West, LCD Soundsystem, for example), Some long awaited rap albums finally saw daylight (Big Boi and Kanye), and punk music had something of a revival (Male Bonding, Titus Andronicus, Tyvek, Let's Wrestle, etc.). Those topics will show up a considerable amount in this list. All in all, it was a great year for music.

50. Liam The Younger - Revel Hidden Worlds

Just a nice, simple, relatively straightforward record.

Standout Tracks: Crossed Water, Lie, Ode

49. S. Carrey - All We Grow

A beautifully lush, low key album from one of the members of Bon Iver.

Standout Tracks: In The Dirt, Mothers, Action

48. Crystal Castles - Crystal Castles (II)

A surprisingly cohesive sophomore album from Crsytal Castles.

Standout Tracks: Baptism, Suffocation, Vietnam

47. Jónsi - Go

Although the absence of a full Sigur Ros limits him a little, Jónsi's still manages to put out a sonically beautiful album.

Standout Tracks: Go Do, Animal Arithmetic, Boy Lilikoi

46. Yeasayer - Odd Blood

Frustratingly top heavy, but the first half is very, very good.

Standout Tracks: Ambling Amp, Madder Red, O.N.E.

My Year In Lists: The Top 50 Songs of 2010

2010 was an interesting year on a song level. While most popular singles followed the same heavily produced, glossy, and manufactured formula, there was a groundswell of great songs being made by bands on the mid to low level spectrum. 2010 had albums from indie stalwarts such as Arcade Fire, The National, and to some extent, Kanye West. While these great albums spawned great songs, there were also bands that I did not expect to have such a profound effect with simply amazing songs. Bands that I had not even heard of, such as Titus Andronicus. Bands that I had forgotten about, such as Caribou, The Tallest Man on Earth, and Damien Jurado. It was a year of comebacks in a way for me, and this list reflects that.

50. Apparat - Sayulita




49. ceo - Illuminata
48. The Soft Pack - Answer To Yourself
47. The Morning Benders - Excuses
46. Avi Buffalo - What's It In For?
45. Les Savy Fav - Sleepless in Silverlake




44. Vampire Weekend - Holiday
43. The Apples In Stereo - Dream About The Future
42. Damien Jurado - Arkansas
41. Los Campesinos! - This is a Flag, There is No Wind

My Year In Lists: My Top Albums of 2010 According to Last.fm

Same rules apply as artists: Everything counts, not just 2010 albums.

10. The Replacements - Let it Be (185 Plays)

The Replacements' best album. This is the album where it all worked in unison for them. It mixed their early works punk aesthetic as well as their later albums pop sensibilities.

9. Mumford & Sons - Sigh No More (210 Plays)

An emotionally devastating album. Maybe not in the sense of a complete loss of hope like, for example, The Antlers' Hospice, but more in a sense of not being able to have what you want. A study in broken hearts and busted promises.

My Year In Lists: My Top Artists of 2010 According To last.fm

I thought I would kick off my music lists by showing everyone what I actually listened to this year. This is in no way my top artists/songs/etc of 2010, it is just the raw stats of what I actually listened to during the year. Because of this is will not be secluded to just artists who were relevant in 2010. But still, an interesting way to look at what I was actually listening to a lot in 2010.

10. Japandroids (265 Plays)

Japandroids had a pretty cool 2010, even though there debut album came out in 2009. They began a singles series that produced three really good songs ("Art Czars", "Younger Us", and "Heavenward Grand Prix"). They played a bunch of live shows as well, including Bonnaroo, where I got a chance to see them. For only having two members they generate an intense amount of sounds. They are the spiritual successors to Death From Above 1979.

My Year In Lists: The Best TV Shows of 2010

Thanks to the invention of the DVR, I have been able to watch more shows that I am usually accustomed too. So here's my top 10 TV shows of the past year.

BUT FIRST: Shows I didn't watch that are probably awesome:
-Breaking Bad
-Justified
-Louie
-Parks and Recreation
-Fringe
-Dexter
-Sons of Anarchy

10. Archer (FX)

A nice little show that ended up being better than I expected. It doesn't hurt that one of my favorite voice actor/comedian's H. John Benjamin does the voice of lead character Sterling Archer. While the humor is somewhat juvenile, it works because the show is animated.

Album Review: Kanye West: My Beautiful Dark Twisted Fantasy

Kanye West: My Beautiful Dark Twisted Fantasy (2010, Def Jam)

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So... I guess there really isn't much to say about this album that you haven't already heard. Blah blah Kanye meltdown blah blah Taylor Swift. But there is another story to this album. This is the story of Kanye's rebirth from a villain to almost a tragic figure. Through his use of twitter, surprisingly ambitious music video for "Runaway", and releasing of free songs every week on Friday, Kanye has managed to somewhat recover a positive image in the media.

The story of  the creation of My Beautiful Dark Twisted Fantasy is almost as interesting. Kanye stowed away to Hawaii where he brought in virtually every notable artist at some point to work on either his new album or a track for G.O.O.D. Friday. Everyone from Jay-Z, Kid Cudi, and Mos Def, to producers like Pete Rock and Q-Tip, to oddly enough, Bon Iver's Justin Vernon. Needless to say, Kanye made this album and its creation almost into his own little sandbox, utilizing any toys he could get his hand on.

And it certainly shows. Mr. West's new album is overtly ambitious and contains possibly his best production (which is saying a lot, considering that I believe he is currently the best hip-hop producer on the planet, and has been for years). While there are times when his lyrics fail to match this level as well as some strange features, this album is still one of the best of the year.

Track 1: Dark Fantasy
OK Nikki, what is up with the British accent? Just wondering. Kanye pulls out a classic sample on this one. How many people do you think had even heard of Mike Oldfield before they heard this song (not me)? This is about as classic Kanye beat wise as you can get. He used to be so into samples. I really like how he uses the keys in this song as well. Lyrcism is just fine, maybe not his best effort though. The probably with this album is that Kanye brought it so hard on the beats and production that it's virtually impossible for him to create lyrics that live up to the music.
"So much head I woke up in sleepy hollow" Man does Kanye love rapping about oral sex.
Verdict: 9/10


Track 2: Gorgeous
This beat gets stuck in my head every time I listen to this album. Kid Cudi just kind of does his "I think I can sing" thing on the chorus. The effects on both Kanye and Raekwon's part isn't necessarily needed. Kind of brings the song down a little. It sounds like they are rapping through the phone. I guess it's possible that Raekwon couldn't make it out to Hawaii, so maybe that explains it. In the end, "Gorgeous" has a cool beat and features two of my five current favorite hip-hop artists, so it's still pretty good.
Verdict: 9/10


Track 3 POWER
What can be said about "Power" that hasn't been in the last 6 months? Awesome King Crimson sample. Big time "Fuck You" lyrics. Pretty much an all around package of Kanye being Kanye. If it hadn't been floating around for a long time, this song would probably seem a lot more epic and powerful. Even given that, it is still a masterpiece.
"You got the power to let power go?"
Verdict: 10/10

My 10 Favorite Moments from The New Girl Talk Album

It would be nearly impossible to review the new Girl Talk album, All Day. Not that I couldn't do it. I just feel like it would end up being a bunch of sentences consisting of "This mash up was cool" and "I really like this mash up". So pretty much there is no reason to review it (if you're wondering, I did think it was pretty good, there is a high percentage chance of it ending up in my albums of the year list).

So instead of a review I'm going to go track to track and try to pick out my 10 favorite moments from All Day. In chronological order for ease. Will also post the time of the sample as noted on the wikipedia page for the album.

If you didn't know, the album is free for download on Illegal Art's Site (here's a helpful link).

Here is a link to the Wikipedia page as well, if you want to look at (most of) the samples used.

1. Track 1 "Oh No" @ 2:09
1. "Teach Me How To Dougie/Jane Says 
2. Cali Swag Distric/Jane's Addiction
2. Track 1 "Oh No" @ 4:11
1. "Bleitzkrieg Bop/Waiting For The Sun
2. The Ramones/The Doors
3. Track 3 "That's Right" @ 2:44
1. Single Ladies/Ante Up/Party in the USA
2. Beyonce/M.O.P./Miley Cyrus
1. This one's like 2 minutes long so you kind of have to wait for it
4. Track 4 "Jump on Stage" @ 2:52
1. "Creep/Shimmy Shimmy Ya"
2. Radiohead/Old Dirty Bastard
5. Track 5 "This is the Remix" @ 3:29
1. "Get Low/Cecilia"
2. Lil' Jon/Simon and Garfunkel
6. Track 8 "Down for the Count" @ 3:45
1. "20th Century Boy/Bounce/House of Jealous Lovers"
2. T-Rex/MSTRKRFT/The Rapture
7. Track 9 "Make Me Wanna"  @ 3:39
1. "Wake Up/Money To Blow"
2. Arcade Fire/Birdman
8. Track 10 "Steady Stock" @ 3:20
1. "Over/I Ran"
2. Drake/A Flock of Seagulls
9. Track 11 "Triple Double" @ 0:00
1. "1901/How Low"
2. Phoenix/Ludacris
10. Track 12 "Every Day" @ 1:19
1. Dirt Off Your Should/I Melt With You
2. Jay-Z/Modern English

So There it is. As of me writing this there has been another site that can be used to help you listen to this album. if you go to http://alldaysamples.com/ you can listen to the album while the samples are shown in real time. Pretty cool, huh?

Album Review: The Tallest Man on Earth: Sometimes The Blues Is Just A Passing Bird EP

The Tallest Man On Earth: Sometimes The Blues Is Just A Passing Bird (2010, Dead Oceans)

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Kristian Matsson, under the moniker The Tallest Man on Earth, has been putting out possibly the best folk music in the past couple of years. His debut album, 2008's Shallow Graves, sent a breath of fresh, Bob Dylan inspired, air into the singer/songwriter genre. This current year he released an even better album, The Wild Hunt, which in my opinion is in contention for album of the year. To complement The Wild Hunt, Kristian has released a new EP, named Sometimes The Blues Is Just A Passing Bird. This EP has actually been available on iTunes for some time, but is just now receiving a physical release.

This will probably a quick review. Only 5 tracks.

Track 1: Little River
There is something to be said about simplicity. Especially in folk music. Simplicity is something that Kristian seems to have a knack for. On this song, his guitar work manages to flow to the point where you barely notice it, leaving the listener the ability to listen to his vulnerable lyricism. There is something beautifully seasonal about this song as well. It just makes me feel like I'm sitting in a log cabin during winter. Just an all around great song.
Verdict: 8/10


Track 2: The Dreamer
This song is pretty much unlike anything we have heard from The Tallest Man On Earth so far. He switches to an electric guitar, which I'm pretty sure he has never done. It fits him just as well as acoustic, so the change is not really noticeable, except in sound. This song is also one of my favorite lyrical showings from Kristian. We have seen, more in his later work, points where his vocals get emotional to the point where he is screaming. While this song doesn't have that intensity, it feels like there was a lot of emotion put into the making of this song.
Verdict: 10/10


Track 3: Like The Wheel
"Like The Wheel" is a very vulnerable song. One thing I love about The Tallest Man On Earth is how he conveys strong emotions without losing his edge as a songwriter. He can be lovesick or depressed without getting horribly sappy. I would go as far as saying that he is currently the best songwriter in his given genre. Similar to "The Dreamer" this song conveys a lot of emotion in a constrained manner.
Verdict: 9/10


Track 4: Trampled In The Tangled Wheat
This is another great song. I can't really say much new about it that I haven't said about the previous songs. Simple, elegant, and strong lyrically.
Verdict: 8/10


Track 5: Thrown Right At Me
This is the only song that I didn't really enjoy on this album. It seems direct and forced compared to the other songs. While it isn't bad, it just doesn't reach the standards of its predecessors.
Verdict 6/10


Final Score: 42/50 = 8.4

Album Review: Kid Cudi: Man on the Moon II: The Legend of Mr. Rager

(great album cover, by the way)

Listen:
No good legal places at the time of me writing this review

Purchase
Official Site
Insound
Amazon mp3
iTunes



It may very well be Scott Mescudi vs. The World (Nice reference to Scott Pilgrim, Cudi, you nerd.). I've heard people talk bad on him in so many varied ways since his wonderful debut album was released. His live show sucks (which, honestly, is kind of true). His music is too introspective (which, honestly, I kind of like). He gets in trouble with the cops for possibly assaulting a woman while on liquid cocain (?). Wale (yes, Wale) dissed him in an interview, creating one of the most hilariously weak beefs in rap history.

So what does Kid Cudi have to show for all this? A new album, of course. The first in a series of releases this month on Kanye West's G.O.O.D. Music label, Kid Cudi's new album is a great start, with Kanye's new album hopefully being a great end. While The Legend of Mr. Rager doesn't reach the heights of Cudi's debut, it is still a strong album in its own right.

And. Here. We. Go.

Act I: The World I Am Ruling

Track 1: Scott Mescudi vs. The World
First off: I love the first sound we hear is a throwback to the first track on The End of Day. Perfect intro track. Kid Cudi really gets the idea of a concept album by now, so it's not all that surprising. Along that note, the beats on this album really flow very well together. While some are better than others, there is a certain thematic quality to the album's beats as a whole, which I thought was pretty neat. On a specific note, I like this beat a lot. The keys could have been brought down an octave, but other than that no complaints. Cee Lo Green (who is apparently the soul machine) also guests on this one for the chorus. I like Cee Lo, but he feels kind of out of place here. Overall and pretty great opening track

Verdict 8/10


Track 2: REVOFEV
This song has been floating around for a long time, which has given us a long time to digest it. I have been a big fan of this song since it was leaked. Strangely optimistic and anthemic for a Kid Cudi song. It also uses such an unorthodox, rock instrument heavy beat that it just stands out, even this early in the album. Definitely one of the stronger tracks on here.
Verdict: 9/10

15 Songs: Modest Mouse

Isaac Brock is a conflicted man. Throughout the years he has been enraged, depressed, happy?, and on and on. But the greatest part of Modest Mouse's output is the great sense of ennui that Isaac feels about the world. God could exists in Isaac's universe, but most likely he doesn't. Isaac could be a genius in his universe, but it's hard for him to believe it.

For the most part, Isaac Brock's, and by proxy Modest Mouse's universe is a ball of clever phrases and surprisingly well thought-out world-views.

Modest Mouse was probably the first band you could say I was obsessed with. Isaac Brock is still my favorite songwriter. So here is my favorite 15 songs by Modest Mouse, in chronological order. Spoiler: it's pretty much all their angriest songs.

Album Review: Avey Tare: Down There

Avey Tare - Down There (2010, Paw Tracks)

Avey Tare has been my favorite member of Animal Collective since he took the lead on Strawberry Jam, my favorite album of theirs. He definitely has more of a pop sensibility to his sound, where Panda Bear is more electronic. He also has a more experimental side to him as well. This is probably why his solo work has always been so hard to listen to. In specific was his last solo album co-created with his former wife, Kria Brekken, Pullhair Rubeye. For some reason he decided to reverse the recording once he released it, making it nearly impossible to listen to the whole way through. Down There is at least a more straight forward effort, and hopefully that means it will be a better showing.

Listen:
Grooveshark

Purchase:
Paw Tracks
Insound
Amazon mp3
iTunes


Track 1: Laughing Hieroglyphic (hell yeah I spelled that right on the first try)
This song pretty much explains what I feel like Avey Tare sounds like without the influence of any other Animal Collective members. Strange downbeat with a mixture of actual lyrics and distorted vocals. The lyrics in this song are actually not horrible when you can make them out. Overall, not a bad start.
Verdict 7/10