Jem - Down to Earth

Down to Earth (2008, ATO) Jem's second studio album. **1/2

Down to Earth is so in between audiences that it'll be lucky to ever find one. While with one foot Jem has stepped into electronica and hip-hop as heard on tracks like "Crazy" and "Aciiid!" she simultaneously has piano ballads appealing to teen-drama watching high schoolers like "You Will Make It." So guideless is this album that it's almost transparently clear that Jem is not concerned about making music she likes; she wants to make music that's cool. Cool to who? Wannabe art chicks who think this is more exciting than Feist? I can't say. What I can say is that Down to Earth is anything but, as it's aimlessly floating in outer space.

Vampire Weekend - Vampire Weekend

Vampire Weekend (2008, XL) Vampire Weekend's first studio album. ****

The Strokes, Lily Allen, Black Kids... all artists who built up a certain amount of hype before unveiling their debut. Vampire Weekend are no different. They'd been knocking around New York City since 2006, maintained a following and were finally signed to XL - probably the leading independent label in the world - for their first album. How does a band accomplish this? Either they cheat the system like Metro Station or Panic at the Disco or actually work for it and earn it by a certain amount of luck. Vampire Weekend has done the latter.

Eleven bouncy walls performed by guys who know what they're doing in the bounds of what they actually are doing; i.e., they don't try to sound smarter than they actually are. They don't try to write songs that are too complex for their own good. Sure, they've studied Paul Simon well enough, that's heard right from the beginning with "Mansard Roof." But their best moment is their bouncy and sly falsetto-linked "Oxford Comma." With its beautiful harmonies and irresistible verses, the band has already made a classic pop song.

Then there's the charming "Cape Cod Kwassa Kwassa," which manages to maintain catchiness and reference an influence - Peter Gabriel. One of their best moments is the exponentially growing "Campus," which perfectly displays their subject material; college kids doing college thinks. Vampire Weekend is a delicate balance of indie pop/rock with just the right amount of chamber pop; not too much, but the classical moments shine through when they need to. But the band isn't off the hook yet. Hype and praise have been thrown at them, and it's very clear when listening to the album that these are some boys who have no idea what they're getting themselves into. (Mansard Roof, Oxford Comma, Campus)

The Subways - All Or Nothing

All Or Nothing (2008, WEA) The Subways' second studio album. ***

All Or Nothing is actually quite a pleasant surprise, as I'd only heard the Subways once before during their performance on David Letterman (or was it Leno?). Either way, their performance was terrible, as was the song. Needless to say I went into All Or Nothing with low expectations. I still don't believe they're good, but their latest album almost proves me wrong.

"Girls and Boys" suffers from being the perfect opener; it features a killer riff that has energy that couldn't possibly be fabricated. On the downside, it's the best song on the album, and nothing after it comes close to matching its brilliance. Why the Subways didn't follow the punk and metal instincts that the riff suggests is unfathomable. Instead they lay down vocal tracks and emotion that sound like post-grunge. It could be worse - namely, it could be pure grunge. Doesn't anyone get that Seattle's grunge scene was just a fad? There's none of it left and it doesn't seem to be anywhere near coming back.

Ensuing tracks like "Kalifornia" aren't half-bad, but they do sound like Nirvana B-material. All fairly loud with boring, predictable time signatures and riffs. After the above-mediocre sprint of "Shake! Shake!" the album winds up fishing for interesting moments, but only reels in variations of already-established grunge motifs. Really, there isn't anything on All Or Nothing that can be identified as the pinnacle of their mistakes. Instead, it's a collection of work that could have, should have been better.

Inside Music Album Guide - 9/18/08

Inside Music Album Guide
Newman strikes it rich, The Quilt has too many holes
By Stephen Mason

Okkervil River – The Stand Ins (Jagjaguwar) 3.5 out of 5
Forever the band-next-door, Okkervil River have always come so close to creating a classic album, and with last year’s The Stage Names, they nearly got there. The Stand Ins isn’t quite as good as its predecessor, though it does expand on similar themes such as love, loneliness, and the like. It’s propelled by engaging moments, most notably the album’s opener, “Lost Coastlines.” A soft, folk-rock number that expounds into a sonic tour-de-force of electric power, topped with Sheff’s heartfelt vocal performance. It succeeds and fails in relaying the message track to track, but The Stand Ins is still a worth entry in their entertaining catalogue.

Gym Class Heroes – The Quilt (Fueled By Ramen) 2.5 out of 5
Gym Class Heroes haven’t quite figured out who they are or what they want to do. The Quilt is made up of tunes seemingly made in the spirit of creating fun club music, but McCoy’s lyrics don’t match. There’s a fine line between being clever and annoying, and McCoy always finds his way to the latter. Take the monster single “Cookie Jar.” Musically compelling with lamenting synths and a notable appearance by the Dream, but bogged down by lines that mix races with treats. “Oatmeal raisin Asians” and “Macadamia Caucasians” may be the most laughable. And while the top half is loaded with potential singles like “Like Father, Like Son,” or “Catch Me If You Can,” the second act is loaded with boring filler. A decent effort by artists who take themselves too seriously for their own good.

The Subways – All Or Nothing (WEA) 3 out of 5
The head-banging riff that dominates “Girls and Boys” acts as a promising start by a group desperate to be respected, but never has an album lost so much steam so quickly. That’s not to say All Or Nothing immediately drops into a collection of ballads, but there is no moment that matches the tone the band sets at the start. The Subways would have been better off following their more metal and punk instincts, but they quickly find comfort in post-grunge, a genre that, like its forefather, is dying quickly in all spectrums. There’s not a song on here that you can point to as a truly weak moment. Rather, it’s a large collection of them that make up a sound that’s repetitive.

Randy Newman – Harps and Angels (Nonesuch) 4 out of 5
One of the more unorthodox singer-songwriters of the past few decades, Newman has always found himself stuck between two dimensions. One, his voice isn’t as pretty as Elton John’s. Two, his messages aren’t as genius as Bob Dylan’s. But Newman never tries to be either, and his cartoony, mush-mouthed vocals mixed with his “Aw, shucks,” lyrics make Harps and Angels a near-masterpiece. He never ventures too far outside of simple blues and ragtime melodies, using all the generic tricks along the way. And while he’s sure to make his acerbic political views known on tracks like “A Few Words in Defense of Our Country,” he also makes room for sincere, though comical, anecdotes as on the closing track. And to think, most people know him as the guy who wrote “You’ve Got a Friend in Me.”

Gym Class Heroes - The Quilt

The Quilt (2008, Fueled By Ramen) Gym Class Heroes' second studio album. **1/2

Either Gym Class Heroes are idiots who think they're way cooler and way better than they actually are, or they're pulling one of the greatest pranks in music history. McCoy talks a big game throughout the album without ever treading upon lyrics that make any of what he's saying sound true or even interesting. Even on The Quilt's first track, his first words are "Ladies and gentlemen," a cliche used so much in rap that scoffing is almost a natural reaction. It's a fictional court case that's impossible to follow, and that's a trend that unfortunately plagues almost all of The Quilt.

He pulls a Limp Bizkit-like approach to rapping when he repeats the same words for the chorus, "Papa was a rolling stone/But I want to be the cover of a Rolling Stone." I doubt that McCoy or any of the band members took a music class - and I don't require it of musicians - but one of the most obvious things is to never rhyme a phrase with the exact same phrase. And "Cookie Jar" is even cheesier when he gets to likening women of different ethnicities to treats; "Butter pecan Puerto Ricans/Or them oatmeal raisin Asians/Hazelnut Brazilians/Macadamia Caucasians." Oh, the line between being clever and ridiculously stupid is so fine!

Despite McCoy's total failure to write a decent line, the music is actually quite good. It's such a shame that it all fell into his hands. The trumpet flourish of "Guilty as Charged," the innocent guitar and piano of "Like Father, Like Son," the Latin influence of "Blinded by the Sun," or the whining synths of "Cookie Jar," (not to mention the Dream's excellent cameo appearance and untouched falsetto vocal performance) are all musically competent. Hell, they're downright brilliant. The best moment is stuttering keyboards that guide the honestly catchy chorus of "Catch Me If You Can."

It's a strange album, because while the band should be commended for making a relatively clean album (usually devoid of unneeded profanity) and is made in the spirit of fun, the second half of the album immediately following "Cookie Jar" falls into uninteresting filler. The first half, while fascinating musically, is dragged down by McCoy's beyond idiotic rhymes. Think of it this way, if Kanye had written the lyrics for the first half of the album, it'd probably be terrific. It can definitely be enjoyed, just make sure to never, ever think about anything McCoy says throughout its duration.

The Kills - Midnight Boom

Midnight Boom (2008, Domino) The Kills' third studio album. ****

On their latest album, the duo known for being another minimalist blend of punk and blues sounds anything but. Minimalist, yes, they're still that, but if anything, this is garage pop. It works for them, too, as Midnight Boom may be their best album. VV has never sounded sexier, and together her and Hotel's performances and songwriting have never been tighter. The droning, monotone delivery of the opening "U.R.A. Fever" is nothing but foreshadowing; the Kills have mastered the craft of the memorable chorus. On "Cheap and Cheerful," VV sings "I want you to be crazy/Cuz you're boring, baby, when you're straight," mixing in dance elements. "Last Day of Magic" has one of the most compelling guitar lines in recent history.

Midnight Boom is a perfect example of what so many artists fail to do. VV and Hotel are able to take so many genres of music (the Devo-esque "Getting Down," the hard-rocking "Sour Cherry" with its descending bass riff) and make it their own without anything ever sounding displaced. And everything, and I mean everything, sounds effortless. That's a compliment in the highest form, because it doesn't suggest they were being lazy. Instead, it's showing that the Kills have reached a level where they are able to craft killer tunes and never have to throw in filler. If this album doesn't launch them to the recognition that they deserve, then it's our fault. (U.R.A. Fever, Cheap and Cheerful, Last Day of Magic)

Fall Out Boy - Live in Phoenix

Live in Phoenix (2008, Island) Fall Out Boy's first live album. **1/2

Fall Out Boy are the heroes of emo, and its sole respectable artist. Panic, Plain White T's, whoever, Fall Out Boy are the only ones left standing who give the genre any credence (though one could certainly make an argument for Jimmy Eat World). And while Live in Phoenix will without a doubt entertain fans, it's still a compilation of uneven performances.

It opens with "Thriller," one of FOB's better and more underrated songs, but when it comes to the chorus, Stump sounds like he has a sock in his mouth. Worse yet, you can hear the media whore of a bassist Pete Wentz shouting in the background. Wentz occasionally butts in and shouts to the audience between songs, revealing a truth among fans; if you're an artist who has sold out a good sized venue, you can say anything - anything - and have the crowd go nuts.

There are decent numbers in here, especially towards the beginning. But none of them exceed what was done in the studio, and that hurts, especially when somewhat weaker songs show up and sag the middle. Even the cover of "Beat It" is less than spectacular; no one expects it to be better than Michael Jackson's, but what FOB have done with Mayer is the same approach that Alien Ant Farm took with "Smooth Criminal." None of this is to say that Fall Out Boy are poor in concert; I doubt that, it's far more likely that this was an unfortunately sub-par performance with a bit more than mediocre recording. (Stump's vocals are sometimes lost in the barrage of guitar tour-de-forces.) Live in Phoenix is not evidence for or against the band's credibility, and for fans it's a decent listen and enough to hold them over until November.

Vinyl Vs. CD

Music purists and audiophiles claim that vinyl sounds far better than CD. Others claim that CDs are far cleaner than vinyl and avoid the annoyance of pops and unavoidable skips. Recently, Rolling Stone had an article that discussed the return of vinyl as well as asking master engineers which sounds better. It is interesting to note that Neilsen Soundscan have reported that in 2007 nearly one million new vinyl records were purchased, and that by the end of 2008, it could be around 1.6 million, nearly doubling the amount of vinyl sold in 2006. CD sales continue to drop as online downloading (both legal and illegal) progressively and almost aggressively becomes more popular.

So, is vinyl on its way back in? Among two small crowds, yes, it will maintain its power, and probably among the masses it may become a fad amongst "cool" kids. As for making a full-fledged comeback, it's not likely. Vinyl can cost nearly twice as much (or more) as a new CD. It's more expensive to make and is more expensive to ship, not to mention the labor is more difficult, resulting in hiked prices. Now, CDs don't need to be nearly as expensive as they are, as the production and shipping are far, far less than that of vinyl (and relatively cheap anyway, as a CD is estimated to cost about $2 US). In that sense, the music industry is screwing itself when it asks for $14 to $16 for a new album. The two pockets that are genuinely interested in vinyl are the older crowd, generally baby boomers who hold vinyl with nostalgia. The other are younger, mainly high school through college who listen to a good deal of music and enjoy sharing it with their friends. Album art and detailed liner notes interest them and add to the experience.

In hindsight, it's almost pointless to discuss whether CD sales will ever pick back up or if vinyl will ever surpass CDs as the second most popular medium (over downloads). What is worth discussing is the quality of each medium, and if one is truly better than the other.

Rolling Stone asked Bob Ludwig about three recent albums, concerned about which format was superior. The albums were Evil Urges by My Morning Jacket, Beggars Banquet (reissue) by the Rolling Stones, and Magic by Bruce Springsteen. Ludwig recommended vinyl for Evil Urges and Beggars Banquet, but went with CD for Magic. But only one one did he comment about the quality of the sound system, and that was for Magic. He said of it, "... On a really good sound system, it sounds a little bit warmer on vinyl."

I think that is the main thing that should be considered on the debate of vinyl vs. CD. How good is your sound system? I personally have a fairly mediocre system. My father picked up the equipment at a garage sale for $25, it included all Kenwood products; tuner, amp, pre-amp, and CD player. Before I moved into my apartment I snatched some of his old equipment, a Kenwood cassette player and surround sound setup. I have a turntable as well, an old Dual 1229. My speakers are two old KLH speakers, I do not know what model they are. In that respect, my system - depending on medium and quality of the release - can only sometimes audibly display one version as superior to the other.

I own somewhere between 150 and 200 albums, of which over 100 are CDs, the remaining being vinyl. This is another thing to take into account; the quality of the originals. Think about it this way, in 1967 the album Vanilla Fudge was released by Atco Records. I own both vinyl and CD. The original pressing from 1967 (or subsequent years, it is definitely very old) is in remarkably good condition considering its age. However, it seems to be slightly muffled and doesn't sound quite as good as the CD. One of the band's following albums, Near the Beginning, sounds even worse on vinyl. Yet, my Led Zeppelin records sound just as good as any CD of theirs that I have. My point being that the quality of the recording may vary from band to band based on the popularity of the band and quality of producers and engineers. Likewise, early CDs suffer the same problem. Take Slowhand by Eric Clapton. I own a CD from pressed in 1994, and compared to vinyl it sounds like a tinny FM rendition.

Finally, how much money do you have to spend and what do you want out of it? For those who want a complete musical experience, both audibly and visually, vinyl takes it, hands down. The sound of new 180 gram vinyl is just as good or better than a CD, and the gatefold albums with blown-up album art and liner note inserts make the experience all the more enjoyable. Plus, many modern artists include free online downloads so you can have the music on your iPod. For those who want a tangible copy for home entertainment or for the car, CD is the way to go. It is fairly cheaper than vinyl and can be burned to computers and therefore to iPods. Tracks can be mixed to make playlists, etc. For those who just want an album on their iPod or only a few tracks off an album, downloading from the iTunes store is the road to take. It's even cheaper than a CD and you get exactly the tracks you want.

It basically comes down to a few factors. 1) The quality of your sound system. The better it is, the better you'll be able to differentiate superior formats. 2) The quality of the format (vinyl or CD). Early CDs tend to sound very bad compared to remasters in the late 1990's to the present. Equally, old vinyl - especially those that have been passed down or bought in record stores - aren't always quality, as they can be over forty years old with unknown amounts of plays. 3) What do you want to get out of it? For an experience that can be shared with friends, vinyl is it. For the sake of having it, CD. Only need a few tracks? Download off of iTunes.

Not everyone is an audiophile, so the eternal debate is useless for most of us. What people need to think about is what they want, as that greatly dominates what they should purchase. Downloading music illegally is, well, illegal. While artists do make money off of tours, many need to prove to their labels (either major or independent) that they're worth keeping. Unfortunately, the artist doesn't see much money from a CD sale. I won't condone or condemn illegal downloading, but think about it this way; using torrents for getting albums and then putting them on your iPod is the equivalent to walking into a Best Buy and grabbing Highway 61 Revisited and then strolling out.

Is there a verdict in all this? What format is better? For me, I have begun to get back into vinyl. I prefer the experience, and since most new vinyl includes a free and legal download, I don't mind shelling out a few extra bucks. Does it sound better? Depends on my state of mind if you catch my drift, but that's not always what it's about. I enjoy listening to music with friends much more than walking around with headphone in my ears.

References: Rolling Stone - Vinyl Returns in the Age of MP3

The Duhks - Fast Paced World

Fast Paced World (2008, Wel) The Duhks' fourth studio album. ***

I'm not sure how the Duhks attained the label of "progressive bluegrass," but I think that is hardly what I would call it. In fact, to even attempt to define their genre is difficult, and in their case it's not necessarily a compliment. Fast Paced World often finds the band trying to do too much, ranging from their original bluegrass roots to world, blues, and straightforward jam. To add on top of that, lead singer Sarah Dugas hardly fits the band's approach. Dugas is a jazz singer, plain and simple, and her husky Feist/Winehouse sounding vocals don't suit what the band should be attempting. Now, her voice is very rich and is excellent, and it works great on African pieces like "Magalenha" or the thunderous opener, "Mighty Storm." The problem? A cover of something like "Magalenha" doesn't belong here.

None of the material is bad or poorly performed, but because none of it adds together in any logical sense, you're left wondering what the band was thinking when they went into the studio. It's not unreasonable to entertain the thought that a computer came up with the track sequencing, as random order would work nearly as well as the arrangement they have here. While Fast Paced World may sound good, it's ultimately an aimlessly meandering album, attempting to bring an established sound (which isn't established) to a wide array of genres.

Charlie Hunter - Baboon Strength

Baboon Strength (2008, Reap and Sow) Charlie Hunter's nineteenth studio album. ***

A guitar "god" of a different genre, Charlie Hunter has been playing seven and eight-stringed guitars for some time, immersing himself primarily in jazz music. Baboon Strength, his latest and self-released album, doesn't see him taking any new turns. It'll be pleasing to the jazz fan, but beyond honestly interesting moments like the funky opener "Athens," the album sulks into easy though intricate instrumentals. It's not a bad thing at all, and Hunter's guitar technique is impressive, but not enthralling enough to say that Baboon Strength has anything to offer that others or even Hunter himself have said better.

Fujiya & Miyagi - Lightbulbs

Lightbulbs (2008, Deaf, Dumb & Blind) Fujiya & Miyagi's first studio album. ***1/2

Easy, dark, minimalist electronica. That sums up Lightbulbs. That's no criticism, it's fun to listen to. Not exactly a blast of energy or an album that cools you down after a long night, it's somewhere in between. Along with that, it veers between the possibly observant and outright ridiculous. I've no idea if there's any actual meaning behind lyrics like "Vanilla, strawberry, knickerbocker glory," but the tune itself is carefully constructed, with a very tight beat, even bassline, and chirping keyboards. The same goes for "Uh," which relies more heavily on the funky bass riff. The sounds of the album emulate 80's synth numbers but also works in more modern influences like Air and Hot Chip, though the tone is definitely darker, especially with Best's whispering vocal delivery. A well-rounded electronica debut, though topheavy, as the tunes mellow into near-filler after "Rook to Queen's Pawn." (Pickpocket, Goosebumps, Rook to Queen's Pawn)