Rose Hill Drive - Moon is the New Earth

Moon is the New Earth (2008, Megaforce) Rose Hill Drive's second studio album. **1/2

Many critics have already given Rose Hill Drive the flattering comment that they are like Cream; a power trio of sorts who do hard rock. Problem is, that's about all they have in common. Let's get this straight; Rose Hill Drive are not Cream. Cream were innovators, men who fully understood the blues, mixing it with the sounds of psychedelia and setting the stage for hard rock and heavy metal. Cream were masters of their craft in every sense of the word. I cannot say the same for Rose Hill Drive. Yes, all three are very talented with their instruments, particularly Daniel Sproul, who time and again exerts sheer force over the guitar, but in no way are Rose Hill Drive being innovative. What they understand is how to copy songs from the 70's hard rock and heavy metal acts - that's the music they understand. But like Wolfmother, not only do they never show their blues side, they almost tell us that they've no understanding of it. And that is why this music isn't very good, because to play hard rock you must understand the blues, the very foundation of that music itself. And to mix it in with some of the powerpop trends of today is not only lazy but idiotic, as it's been done a thousand times before. Better go back to basics, fellas, because this brand of rock is nothing more than a cheap imitation of the Darkness.

James Jackson Toth - Waiting in Vain

Waiting in Vain (2008, Rykodisc) James Jackson Toth's first studio album. ***

As with so many other albums, it would have been so much better had some of the excess been cut off. It starts off wonderfully, with the easy-listening of "Nothing Hides" and "Doreen," moving straight into the album's pinnacle, the slow and comforting "Look in on Me." Surely the accents he adds occassionally are unwarranted, but Toth's wide array of veritable influences (Mick Jagger, what?!) are interesting to listen to. But the sheer length of the album mixed with some lazy production pull Waiting in Vain down from the heighth it should have achieved.

¡Forward, Russia! - Life Processes

Life Processes (2008, Cooking Vinyl) ¡Forward, Russia!'s second studio album. **1/2

An otherwise interesting album - sonically epic in music and lyrics - is nearly ruined by absolutley ghastly vocal performances. The unrelenting energy of the music is, while engaging, fairly exhausting, but the added layer of a terrible 80's-esque goth-metal impersonation of Win Butler is far too much. So little is working against this album, but it brings it down so much, making it nearly impossible to listen to.

EP Update: The Avett Brothers and One Day As a Lion

The Second Gleam (2008, Ramseur) The Avett Brothers' fourth studio EP. **1/2

The Avett Brothers are a definitive college-esque band. Hippie circles love 'em and they've got enough spunk to attact even offended ears, but on The Second Gleam, the energy is lost. That in itself is not the problem. In fact, if anything, it shows maturity. However, the material is just downright dull from start to finish. In fact, only on "The Greatest Sum" do soulful vocals actually appear, as the rest of the EP is dominated with cliche remembrances of love, family, and death. To say it is bad is one thing; awful, certainly not. But what makes it bad is its own laziness, which is a cumulative would-be effort of simple rhythms and lyrics.

One Day As a Lion (2008, Anti) One Day As a Lion's first studio EP. ****

For a long time there was talk of Zack de la Rocha releasing solo material (apparently material he had been working on even before Rage Against the Machine split), and even more talk when he worked with Trent Reznor. But now we get some sort of taste of what de la Rocha is like on his own, but he equally shares the stage with Jon Theodore, former Mars Volta drummer. As expected, One Day As a Lion is explosive, with de la Rocha spitting hateful messages at the powers-that-be while taking a minimalist effect. The idea is fantastic; Theodore's drumming is superb, playing a central role in not only developing an effective beat, but also being fairly responsible for filling the sound, as de la Rocha's vocals and keyboards are either sparse or start-and-stop. Sure, it sounds like lost Rage material, but it's fairly intimate for what it is, and what it is is fantastic. A full-length LP would be outstanding. On it, boys! (Wild International)

Review on YouTube: One Day as a Lion - One Day as a Lion

Nine Inch Nails - The Slip

The Slip (2008, Null) Nine Inch Nails' seventh studio album. ***1/2

Trent Reznor is even more of a perfectionist than Billy Corgan, lead singer and basically commander of Smashing Pumpkins, a similar role that Reznor plays for Nine Inch Nails; he writes all the music and sings all of it, and the "band" that is Nine Inch Nails has always had a constant rotating group of members, so much so that either NIN is Reznor's alter ego or his back-up band. And that's what shocked everyone when only a few months after the release of Ghosts I-IV, a sprawling four-disc set of instrumentals, he would follow it with The Slip. Normally, Reznor spends years - upwards of five - crafting an album. But now he is free of a major label above his head, and apparently that has inspired him to make more music.

The Slip is a mixed bag, with probably the strangest progression an album has ever taken. The opener is a signature soundscape that leads into the foot-stomping, fist-pumping anthemic "1,000,000," which features a killer riff and hollow but excellently minimalist drum backing. It then drops off for a few songs, which keep the momentum but lose the feeling and inspiration. Easily listenable, sure, and especially so for the fan - who, by the way, should be creaming their pants due to Reznor's sudden awakening - but the slag doesn't wear off until "Head Down," a perfect blend of a factory-like drum rotation with electronic ambience floating and building in the background, topped with Reznor's full delve into an emotional vocal performance. From there the piano ballad of "Lights in the Sky" drones by, echoing classical tastes of Bach, which leads into "Corona Radatia," another model Reznor soundscape. All in all the album has some very strong moments, and while some seem almost half-assed, it still is great listening. Recommended, indeed. (1,000,000, Echoplex, Head Down)

Review on YouTube: Nine Inch Nails - The Slip

Brendan Canning - Something For All of Us...

Something For All of Us... (2008, Arts & Crafts) Brendan Canning's first studio album. ***

When Canning and Drew started Broken Social Scene in 1999, it seemed like a great idea; some of the greatest musicians from Canada getting together and forming a huge supergroup. And it wasn't until 2001 that their first album, Feel Good Lost, appeared. It was frustrating, a collection of nearly all instrumentals from a group that was certainly more capable than that. Eventually the band let loose, and on their second two releases ran wild, especially on the self-titled third album.

Now, Brendan Canning is a talented musician, and his debut is a bit of a head-scratcher. It's all very easy to listen to, and there are moments where a few concurrent songs form together and form an atmosphere. And that's when it's working the way he wants it, but when Something For All of Us... isn't on, well, it's just bleak. The start isn't bad, but it isn't captivating. There's enough energy in the title track, but it all disappears for the dreamy "Chameleon," which, while being a decent tune, isn't the musical landscape Canning believes it is. And it's like this the whole way through; depending on the listener, there are tracks that work and tracks that don't, and it will differ for every set of ears. What Something For All of Us... proves, though, is that Canning can be a decent songwriter without Drew or the rest of the band. And while it isn't stunning in any sense, he joins the list of artists from Broken Social Scene to put out entertaining solo material.

CSS - Donkey

Donkey (2008, Sub Pop) CSS's second studio album. ***

Another addition in the long line of indie-electronica bands, CSS has potential, more potential, than several of their contemporaries. Lovefoxx (the alter ego the lead singer goes by) has a very sexy voice, and she flexes it from time to time. It rings well on "Reggae All Night," an unorthodox dance number as well as on "Move," which sounds like a lost 80's track in the vein of Animotion. That being said, it's clear that CSS functions best when emulating the synthesizer usage and dance tricks of the 80's. Anything else renders Lovefoxx's vocals emotionally inert. It's when CSS forces you onto the dance floor when everything moves together, and beyond that, it's a truly hit-and-miss engagement. (Reggae All Night, Move)

Duds of 2008: Part Three

Here are a handful of albums that hardly deserve a full-length review. Duds consist of albums that have received a rating of two stars or less.

O (2008, Team Love) Tilly and the Wall's fourth studio album. **

Ultimately dry, a very disappointing album from a band that has potential to be a decent underground band. Sure, they're respected there, no doubt. But they could be good.


Partie Traumatic (2008, Columbia) Black Kids' first studio album. **

For anyone who ever entertained the thought of a B-52's and Roger Waters collaboration... and enjoyed it.

Can't Stop Won't Stop (2008, Fearless) The Maine's first studio album. *

Remarkably uncatchy and predictable. The unhookiest hooks since Lit. What more can you say about a band who tries to make an anthem statement with "She makes me feel like shit"?

YouTube Update

The latest reviews on my YouTube channel: www.youtube.com/user/politicianrock

Entry #6: Coldplay - Viva la Vida
Entry #5: The Hold Steady - Stay Positive
Entry #4: Albert Hammond, Jr. - Como Te Llama?
Entry #3: The Raconteurs - Consolers of the Lonely
Entry #2: Beck - Modern Guilt
Entry #1: PoliticianRock Introduction

Thanks all,
Stephen

Radiohead - In Rainbows

In Rainbows (2008, XL Recordings) Radiohead's seventh studio album. *****

There are several artists - Madonna and Bowie come to mind - who are chameleons when it comes to changing times. They are able to adapt to the what is up-and-coming, what the next big sound will be. Radiohead adapts as well, but not to be popular, not to fit in with the times. If anything, Radiohead creates the times, already handsomely showcasing heavy influence on many of today's artists. OK Computer was an album renowned for its ability to blend a three guitar attack with electronic sounds flawlessly. Kid A, while polarizing fans and critics at the time of its release, managed to yet again break new barriers, as it became among the first of the indie-electronica albums, and at that point the most successful. What Kid A also did was show Radiohead's outright refusal of the title of "The Biggest Band in the World."

Over their next two studio albums, they struggled to put out true quality recordings. Surely neither Amnesiac nor Hail to the Thief is bad, but they weren't as visionary as their earlier works, and in the case of Hail to the Thief, seemed like a combination of desperation to not only please the fans, but to squeak out an album to finish their contract with EMI. After that, the speculation as to what Radiohead would do next was tremendous. It wasn't until 2006 that anyone had a real clue as to what their fate might be. After performing at Bonnaroo, Thom Yorke's unexpected solo album The Eraser came out that fall. A flurry started, people claiming that The Eraser was a sign Radiohead was through. Yorke denied this, and finally word of a new album began to leak.

In October of 2007, the monumental In Rainbows was put out, the first of its kind not only in sound, but in its style of release. Fans were able to download the album online or pay for an $80 "discbox" which included two CD's (the album and a second CD of B-sides), two heavyweight 45-speed vinyl, lyrics booklet, and art booklet, all neatly wrapped in a fold-out case. For those who decided just to download, the option of paying whatever you pleased was offered. In the end, Radiohead made more money off of this one release than they had from royalties of all their other releases combined. The reaction from critics was phenomenal; not only was the music brilliant but the release scheme had worked in flying colors.

But In Rainbows isn't about the money, and it isn't about the way it was released. It is, in short, about how Radiohead crafted their best album to date. For a while I wrestled with the idea that In Rainbows was superior to OK Computer, and even after listening to both relentlessly it was hard to decide. What makes Radiohead the best band on the planet today is their ability to do whatever they want; OK Computer and In Rainbows sound nothing alike, yet it is impossible to mistake either for anyone else.

In Rainbows is the most personal Radiohead has ever been, most notably through the lyrics. The change in Thom Yorke's approach was apparent from The Eraser, which with its political message also mixed in songs concerning him and another significant person. The album is also a distinct difference because of the lower amounts of reverb put on Yorke's vocals. Though it is not without it, compared to Kid A, it is remarkably less.

Starting with "15 Step," a song with a blistering beat, Yorke spits out lyrics suggesting that In Rainbows is about a relationship; "You used to be alright/What happened?/Did the cat get your tongue?" And even when the songs are fast-paced and fist-pumping, like "Bodysnatchers," there is still a romantic feel to all of it. It comes through because of the lyrics yet again; "I've no idea what I am talking about/I'm trapped in this body and can't get out." The wistful, sighful "Nude," laments with one of the first entry of a string arrangement, something that becomes more prominent as the album progresses.

"Reckoner" marks one of album's best points, with a beautiful falsetto delivery by Yorke and a superb drum arrangement by Selway. And even when the album closes with the simple though haunting "Videotape," the listener must re-start the journey again. Like any Radiohead release, it is impossible to crack within one outing. In fact, one may miss the subtle details of "All I Need," because it's what marks the differences between it and its similar cousin, "Climbing Up the Walls."

The entire album sounds like a cleaned-up jam session, and while some may say that is a drawback, it isn't, if it is anything at all, it's an element that makes it better. These aren't simple arrangements. There's nothing that isn't compelling about the guitar part kicking into full gear and out of its muddiness on "Bodysnatchers" once the quasi-chorus starts up. There's nothing that isn't short of genius about the meandering in "Weird Fishes/Arpeggi." The jam element also tells us - and it's easy to hear - that the band is enjoying themselves. And anyone who has seen them perform this new material can attest to that. Quite simply, In Rainbows is a spinning blast of sound and color, a journey about the doomed relationship and all the emotions that come with it, a testament to the powers of the classical guitar and the wonders of electronic music, and an unforgettable entry in 21st century art. (15 Step, Bodysnatchers, Nude, Weird Fishes/Arpeggi, All I Need, Faust Arp, Reckoner, House of Cards, Videotape)

Author's Note: Although released as a free download or discbox in 2007, the actual physical release was available on January 1st, 2008. However, due to its prominence last year in "Best-of" lists, it will not be included in any lists on this blog this year.

Review on YouTube: Radiohead - In Rainbows, Part I, Part II

The Notwist - The Devil, You + Me

The Devil, You + Me (2008, Domino) The Notwist's sixth studio album. ***1/2

Electronica is a beautiful thing, because it doesn't necessarily exclude itself to just computers. Look at Hot Chip, for example, they play drums and guitar and all that good stuff. And no album better represents the successful crossover of rock and electronica than Radiohead's 1997 masterpiece OK Computer. But the Notwist have taken an interesting turn with their album, which seems like a more detailed version of Thom Yorke's The Eraser.

What separates this indie electronic album from others is its level of sophistication. All the details are carefully placed, and none of it is for dancing. This is listening music, mood music, and thankfully good music. The Devil, You + Me is full of slow, scratchy beats, sounding like distortions in the final recording, like faults in the master tapes. It's glitchy and trippy, and that becomes apparent early on with "Where in the World," which moderates itself between the bare minimums and the ultimate limitations, being scarce and overflowing with sound at different points. At times it feels like the album is too detailed for its own good, as added layers become unneccessary or irksome. Acher doesn't have the best vocals, either, and his accent, although slight, does seep through too often to be ignored. They've done better, but The Devil, You + Me is still an interesting entry in intelligent electronica. (Where in the World, Your Alphabet, Gravity)

The Hold Steady - Stay Positive

Stay Positive (2008, Vagrant) The Hold Steady's fourth studio album. ***1/2

The glorified bar band is back with their fourth entry, the energetic Stay Positive, an ode to the summers wasted away on beer and narcotics. It's supercharged and ready to explode, as the obnoxiously loud "Constructive Summer" opens the package. This is a new direction for the Hold Steady, whose message is overwhelmingly, well, positive. In addition, it's brimming with sloppy punk rock riffs, and Craig Finn isn't afraid to spit out the lyrics with his distinctive pipes.

To be honest, the hooks aren't necessarily up to par with what the Hold Steady has put out before, most notably on their last album Boys and Girls in America, which started with the wonderfully powerful "Stuck Between Stations." And even though there's nothing that's as instantly pleasing, there are still a handful of moments that take you back to the good times spent with friends getting drunk. "Sequestered in Memphis" is a great anthem for the thirty-somethings that the Hold Steady are. "Navy Sheets" features an interesting 90's rock break, and the hard-rocking title track is the band at its most primal.

All the while I don't understand why Stay Positive is receiving an incredible amount of critical support; certainly it's a good album, but I do believe that they have done better in the past. Either way, it's easy enough to listen to, as the Hold Steady (God, what a terrible name) have proved themselves to be a band that anyone can enjoy.

Review on YouTube: The Hold Steady - Stay Positive

Barenaked Ladies - Snacktime!

Snacktime! (2008, Desperation) Barenaked Ladies' tenth studio album. ***1/2

At first, it seems like a transtition to children's music is odd for Barenaked Ladies. They've always been more concerned with wit, something children of a young age don't catch onto. Not only that, but their image as the geek band that everyone loves doesn't necessarily lend itself to being childish. However, when you really think about it, it makes perfect sense. The college crowd that embraced them upon their 1998 smash hit "One Week" is now ten years older. They're in their late twenties to mid-thirties, and, like the band members, probably have children of their own. Snacktime! appeals to both the avid BNL fan as well as children, and is the equivalent of a Pixar film to music, though not as good.

BNL adopt They Might Be Giants' sound fairly regularly throughout Snacktime!, but they still have their signature wit hidden sporadically every few tracks. "Raisins" marks the first one to have it, with its opening lines of "Raisins come from grapes/People come from apes/I come from Canada." The banter between Page and Robertson on "I Don't Like" and especially "Crazy ABC's" is genuinely funny, though surely the youngsters won't think twice about it.

The major theme, as would be expected, is food. The best representation of this is "The Canadian Snacktime Trilogy," which opens by mocking classical radio station hosts and then delving into a soft and touching song, filled with bandmembers and their kids naming their favorite snacks under aliases (I assume, anyway) and a nice - albeit strange - message of world peace through snacks. Another heartwarming moment is Robertson's song, short and sweet, to his children, entitled simply "Things," with lyrics such as "There are things that make me Dad/You seem to be all of them." While some may argue that Snacktime! is not as refreshing as They Might Be Giants' No! or Here Come the ABC's, it's still a pleasure to listen to for the family. It's good music with silly lyrics that anyone who's not an elitist can enjoy. It's full of imagination and warmth, something the Barenaked Ladies have always been capable of deploying. And on a side note, Kevin Hearn's cover art is simply stunning, a beautiful piece indeed. (Pollywog in a Bog, Louis Loon, The Canadian Snacktime Trilogy, Crazy ABC's)

YouTube Channel

Hey all (basically the five crazy motherfuckers who have accidentally come to this blog), I now have a YouTube channel where I'll review albums. I'll continue to post articles here, this is mostly just for fun. I won't exactly be doing music articles on it, but I'll do an occassional list and such, as well as rant about shitty music. Drop by and let me know what you think!



http://www.youtube.com/user/politicianrock

Much love,
Stephen

The Black Angels - Directions to See a Ghost

Directions to See a Ghost (2008, Light in the Attic) The Black Angels' second studio album. ***

Back in fall of 2006 I stumbled across what was then a very little-known band called the Black Angels. I had found them on MySpace through a music search of the top psychedelic artists (that's another story in itself) according to the number of fans. On the third or fourth page back in the independent label column, I found this band. I clicked the link simply because I liked the artwork that was their logo. Back then they were featuring songs from their debut album, Passover, that had been released earlier that year. Upon my first listen to "Black Grease," I instantly classified them as a mix between Zeppelin, the Doors, and the Velvet Underground.

That album - Passover, I mean - was a decent affair. For every song that was interesting to listen to, there was one that was boring. But here, on Directions to See a Ghost, the Black Angels have changed things up a bit. Maas is no longer trying to sound like anyone else. Passover found him switching between a pissed-off Lou Reed and a stoned Jim Morrison, but here Maas has accepted his own style, and that's good, because he has a very distinctive voice. As far as the music goes, it's not as gloomy as Passover, rather, it's more psychedelic. They dig even deeper into that sound, emulating the Doors, for example, on "Never/Ever," a song too similar to "The End." They emulate a heavy version of the Velvet Underground on their brilliant second track and first single, "Doves." The drones are just as strong, the slow, riff-tastical numbers are still prevalent, but with less aggravation. It's not the angry record that Passover was, and it's not as difficult to sit through.

The standout, as was with the first album, is drummer Stephanie Bailey. Never since Bonham has a drummer shown so much love for the bass drum, and her constant, churning rhythms are such a breath of fresh air in a world filled with bouncy loops. The whole band has stepped up a bit, expanding their experiments with guitar reverbs and vocal distortion. It's a trippy affair for sure, and interesting at first, but like Passover, the formula for Directions to See a Ghost is too tiring to hold up. (Doves, Mission District)

O.A.R. - All Sides

All Sides (2008, Atlantic) O.A.R.'s fifth studio album (eighth overall album). ***1/2

You have to admire O.A.R. Not many jam bands are capable of making quality studio albums, and even fewer have been able to do it once. Like all jam bands, the studio stuff isn't always a great as their live albums, and neither compares to the actual experience (even if you don't like the style) of actually being at a concert. Still, for those who don't have the means to make it to a concert or don't want to listen to the mindless whirlings of live albums, All Sides is a suitable companion.

O.A.R. isn't an original band in any sense of the word. All jam bands have to have the same certain elements, and O.A.R. borrows from Dave Matthews generously, but unlike their contemporaries - or influences, for that matter - they're able to make songs that are begging to be fleshed out into concise four minute bursts. All Sides is overflowing with anthemic rock, from the blast of the opener "This Town," or the stuttering "Living in the End." And, of course, there are the random but expected reggae-inspired bits such as "What is Mine." But there are more heartfelt moments, such as DMB-heavy (and even U2, who would have thought?) "Whatever Happened," and while it serves fantastically as a radio-friendly single, it could easily be torn wide open into a stomping fifteen-minute opus. That's what's great about All Sides, the songs sound fine the way they are, but for fans, when they hit the stage with them, it'll be a grand affair. In the end, All Sides is a tad too much, with several songs blending together in the middle of the album. Certainly all of it is fun, but few cuts are very memorable. The ones that are, though, should be cherished. (Whatever Happened, On My Way)

Sigur Ros - Med Sud I Eyrum Vid Spilum Endalaust

Med Sud I Eyrum Vid Spilum Endalaust (2008, XL) Sigur Ros's fifth studio album. ****

As any fan of Sigur Ros knows, they're fantastically strange. And anyone who does not like them would say the same, only changing that they're too strange, and that they're being different for the sake of being different. It's easy enough to say that the lyrical approach is pretentious; Sigur Ros sing in a Norwegian jibberish, encouraging their fans to make up their own words. No album better expresses their artsy tactfulness (or lack thereof, as some may say) than 2002's ( ), which had no titles, no lyrics, no acknowledgements, no nothing. The cover simply had the parenthesis and the band's name, and beyond that it was a mystery.

Now Sigur Ros have taken a new direction, and even the most devoted fan would have to say it is fairly different from anything they've done before. The opener, "Gobbledigook," is probably the most upbeat song the band has ever performed, and the whole album feels this way. While with Takk... and ( ) Sigur Ros explored the depths of moodiness, subtlety, and spaciness, Med Sud I Eyrum takes a turn for the spiritual, presenting itself in different fashions. The genres range from folk-stomp to church hymn to tribal beats, but no where does the album not feel as if it was made in the spirit of hope and the unknown. Sure, we've no idea what they might be saying (as the lyrics are again in a foreign mix of nonsense), but Sigur Ros have successfully demonstrated that they are only about music, and that their voices are merely tools for creating beautiful sounds and that the words are unimportant. Without saying anything, they have communicated a message purely through music, and that is a feat in and of itself. (Godan Daginn, Festival, Med Sud I Eyrum)

Albert Hammond, Jr. - ¿Como Te Llama?

¿Como Te Llama? (2008, Red Ink) Albert Hammond, Jr's second studio album. ***

I suppose ¿Como Te Llama? can't be too much of a surprise, Hammond hasn't the artistic integrity or genius to stray too far from what the Strokes do without completely changing genres. To his benefit, he did add some electronic sounds, which, somehow, don't sound too out of place. Like anything the Strokes do, Hammond's solo album starts off great but wears down after awhile, for there's nothing we really haven't heard before, and it becomes nothing more than another generic garage-rock revival piece. Granted, the first two tracks are exhilerating, and the long instrumental "Spooky Couch" is, while seemingly from nowhere, a pleasure to listen to. That being said, the rest of the album is mostly a bore. A decent bore, but still a bore. And by the way, are fans of Hammond going to willingly accept the fact that he blatanlty lifted the vocals for "Lisa" from Snow Patrol's "Chasing Cars"? It was a pretty popular song, buddy, I think people might notice.

Review on YouTube: Albert Hammond, Jr. - ¿Como Te Llama?

Beck - Modern Guilt

Modern Guilt (2008, Interscope) Beck's eighth studio album. ****

Produced by the very much acclaimed "Danger Mouse" Burton, Beck's eighth studio album is a step in a new direction; back into the past. While Beck's other outings tend to sound very fresh, fusing several different genres - sometimes even in one song - such as hip-hop and jazz, Modern Guilt sounds distinctly vintage. The opener "Orphans" could pass for a lost Byrds track, and "Gamma Ray" goes on as a very mellow 60's pop tune by the Yardbirds. The odd thing about all this, though, is that the overriding message throughout is focused on global warming, a very real and very now issue. The last thing to add to that is the album's run time, which with ten songs clocks in at a little under thiry-five minutes. It's very lean, very tight, and very monotonous.

While there are some really astounding songs (the experimental "Chemtrails" comes to mind), the few things that hold the album back ultimately are only slightly frustrating. The message is too vague to have any real meaning; it's in no way difficult to tell what Beck is talking about, but nothing is insightful, nothing is frightening, it's merely "We should deal with this shit." The album's pace is also very constant as there are no sudden movements anywhere. It's all very hum-drum and "Gee, shucks"-worthy, but none of the material is bad. In fact, Modern Guilt is a step up from The Information, which found Beck scrambling around without any real clue as to what he should be doing. It's well worth the listen even if you're not a fan; Burton's production is top-notch and the two work much better together than DM with the Black Keys. Modern Guilt doesn't start or end with a bang, but perhaps Beck wanted to imply what Eliot stated, that the world - and this album - ends with a whimper. But what a wonderful whimper it is. (Orphans, Chemtrails)

Review on YouTube: Beck - Modern Guilt

Love As Laughter - Holy

Holy (2008, Epic) Love As Laughter's sixth studio album. ***

Holy can be a magical album when it works well, and when it doesn't, it can put you to sleep. What's more, some of the songs take several listens to expose themselves as the gems that they are, which can be frustrating for an album that doesn't necessarily earn all the listens it takes to soak up everything. When it's on, though, you'd think they were geniuses. The title track is pure John Lennon, a track that would have fit perfectly in any of the Beatles' last albums. "Konny and Jim," has their trademark sound with a little bit of Band of Horses mixed in. The album's grand point is "Cleaning Man," a story-told song that grows with intensity and somewhat sparse (and ridiculous) lyrics, a perfect model for what Van Morrison should return to, albeit it is no masterpiece. But there are bumps as well, such as the painfully loud "Paul Revere." Holy may not be the best thing around, but it is well worth a listen.

Show Review - Dave Matthews Band @ Walnut Creek 7/02/08

Last night I was fortunate enough to get to see the Dave Matthews Band live in Raleigh at Walnut Creek. My friend (also named Stephen) is a big fan, and since I've been bugging him and a few other friends to see the Black Keys, we all decided to go to shows that the others wanted to see. We'll be seeing Coheed and Cambria at Myrtle Beach in August, the Black Keys in October, and possibly Matisyahu as well. While searching Ticketmaster for all sorts of shows we might be interested in, I came across the Dave Matthews Band. I told Stephen, and he was all for it. Our plan originally was to sneak in wearing uniforms like the folks who worked there (Stephen worked for them for seven years), but we found out once we got there that they had been bought by Livenation, and thus the uniforms had changed. We walked around, debating about what to do, and eventually snagged two reflector vest thingies out of a truck and planned to wear those. But, Stephen ran into one of the dudes he worked with, and he told him that the concert actually hadn't sold out and that there were still plenty of lawn tickets available. However, I had told Stephen from the beginning that I was too poor to buy a ticket, so he was nice enough to pick it up for me (honestly, I wouldn't have been able to pay rent had I bought a $45 ticket). I'd never been to a DMB concert before, nor I had I listened to his music much. I've heard plenty of it, but I've never sat down with an album and spent time with it. Needless to say, the show was absolutely amazing.

7/02/08 Time Warner Cable Music Pavilion at Walnut Creek, Raleigh, NC

First Set: Seek Up, So Damn Lucky, Corn Bread, Granny, Crush, Sledgehammer, #41, Pantala Naga Pampa>Rapunzel, The Space Between, Dancing Nancies, The Idea of You, Smooth Rider, Everyday, Louisiana Bayou

Encore: Gravedigger, Tripping Billies

Unfortunately, I didn't bring a camera. I kinda sorta kick myself for not doing it now, but all is well, the show was two-and-a-half hours long, in which time I probably wouldn't have taken more than five pics. They all came out with a bang, and the intensity didn't for once die down. All the members impressed me, for all are true masters of their craft.

Tim Reynolds was one of the highlights of the show. He has played with DMB on and off for many years. Tim was able to make his guitar plead for mercy, especially when he played slide. He took it beyond the frets, practically to where he was picking the notes. Tinsley also put on a great show, beating the hell out of that fiddle on every song he could. He shined, along with Stefan Lessard, on “Louisiana Bayou,” one of the last songs of the night.

Jeff Coffin from Bela Fleck and the Flecktones was also an amazing spectacle. Coffin was filling in for LeRoi Moore, who was in an ATV accident earlier this year. In fact, before Dave decided to start the encore, he had the entire audience chant “We want LeRoi!” Even though Moore was absent, Coffin was a superb replacement. Matthews, Lessard, and Coffin all jammed together on the fantastic “#41,” where Coffin went into an amazing solo with Lessard and Matthews right next to him, all of them bouncing up and down and having a genuinely good time.

That was the feeling that the entire night had; a genuine sense of fun. All the members were smiling at each other, and Dave was caught several times dancing around the stage and just enjoying life. As for everyone on the lawn, they were all drunk and smoking cigs, shouting out the lyrics as they fell over each other. I thoroughly enjoyed it and will be sure to go to another one soon.

If you were there or have been to any of Dave’s concerts this year, please drop a line and leave your story! I’d love to read it, as well as see any pictures/watch any videos you might have of it.

The Ting Tings - We Started Nothing

We Started Nothing (2008, Columbia) The Ting Tings' first studio album. ***1/2

Much like Does It Offend You, Yeah?, the Ting Tings are a half electronica-rock band/half alternative pop band with only a few differences. One, the Ting Tings lead singer is a chick. Two, the Ting Tings are not as intense as Does It Offend You, Yeah? Three, the Ting Tings name is, while still stupid, not as stupid as Does It Offend You, Yeah? Four, the Ting Tings are better.

The album opens with the wonderful "Great DJ," where Katie White mimics a DJ scratching his vinyl with her stuttered delivery during the chorus. The duo is able to make successful hooks that never get annoying - perhaps they aren't too catchy, but they do stay fresh. The mood shifts occassionally, most notably on "Traffic Light," a simple off-kilter song, almost like a children's melody, with White's simple yet elegant voice lifting the deceptive lyrics. The album's title track marks another shift, as the dance aspect is abandoned for a more soulful pace. White's vocals are anything but, however, the riff and bass line are too good to keep you from tapping your foot. The album's greatest moment, though, is "That's Not My Name." Layers find their way into the song as it progresses, and the bratty vocal delivery is remarkable, especially during the chorus where White adds a drawl. It's a great hip-shaking beat, minimalist at first but eventually fleshing itself with De Martino's backing vocals and a horn arrangement.

This first album from the English pair is a great place to start, as We Started Nothing earns the Ting Tings instant respect. (That's Not My Name, Traffic Light, We Started Nothing)

Wolf Parade - At Mount Zoomer

At Mount Zoomer (2008, Sub Pop) Wolf Parade's second studio album. ****

Certainly Arcade Fire's church studio didn't work the wonders for Wolf Parade's sophomore album as it did for them, but that doesn't mean the duo don't know how to make good music. At Mount Zoomer is strangely dense; in a way, it avoids the overly-layered approach that come to plague indie rock and alternative rock bands that want to veer further away than what is considered the all-too-obvious quirkiness. At the same time, they don't come off as too bouncy or weird. It's a delicate balance of a wide array of influences, but in the end, Wolf Parade are easily a staple band of the indie rock community. "Language City" has a whirlwind of synths, marking its independence from a run-of-the-mill studio single. "California Dreamer" sounds like a lost Doors take, featuring heavy electric keyboards and brooding vocals, mixing in some very progressive sounds. One waits to hear Morrison chime in on the chorus, "I thought I might have heard you on the radio/But the radio waves were like snow." The only snag may be "The Grey Estates," which sounds all too much like an Arcade Fire song. And while that in itself may not be bad, the idea that Arcade Fire could have done it so much better makes you wince. "Fine Young Cannibals" features a very orderly procession, with sparse bass, keyboards, and guitar. It sometimes meanders, but never does it stray too far, and Boeckner and Krug's vocals always bring it back. The album finishes with "An Animal In Your Care," a Simon and Garfunkel would-be complete with "La-la-lies" just like "The Boxer." At the end of the day, artists will be forced to look at At Mount Zoomer as a new twist with the same ingredients, because while there is no message or theme like there was on Neon Bible, the music itself is far more complex than it appears, revealing more intricacies with each listen. A very decent sophomore effort. (Soldier's Grin, Fine Young Cannibals)