Hello Lovelies...

I know it's been a while since I've posted anything, but I plan on coming back! The past few months of school have been challenging. But a good challenge. Now that the summer is coming and I won't be so busy, I'll be able to catch up on 2009 music. I admit, the only album I've listened to thus far is Lily Allen's It's Not Me, It's You. Sad, isn't it? But fear not, I plan on reviewing the Yeah Yeah Yeahs, the Strange Boys, the Decemberists, Death, Silversun Pickups, Pearl Jam, Dan Auerbach, Kanye West, Cat Power, Bruce Springsteen, Franz Ferdinand, Andrew Bird, Diplo, Umphrey McGee, Heartless Bastards, Ben Kweller, Fall Out Boy, Animal Collective, Glasvegas, Titus Andronicus, Deerhunter, and anything else you would like. Make requests!

See you soon,
Stephen

Keane - Perfect Symmetry

Perfect Symmetry (2008, Island) Keane's third studio album. ***

Radical departures are usually a curse. But when you're a band that doesn't have much to lose (beyond your fanbase), there isn't much harm in trying. Train hasn't learned this lesson, and the Killers did the hard way; they sacrificed undeserved critical praise to get more airtime on MTV with Sam's Town. Keane, however, couldn't make another pseudo-meaningful album without everyone going "You're gayer than Coldplay." So what did they do? Take a trip back to the 80's.

The band comes bursting in with the opener "Spiralling," a whirlwind of energy wrapped neatly into a potential radio-friendly single. It's a fog of synths, interlooping and loud, with Tom Chaplin's vocals soaring above it all. It's this kind of energy that is hard to attain in earnest, and even harder to maintain. That's where Keane fails. Perfect Symmetry certainly has fine moments, but its relentlessness in trying to keep an eleven-track album bursting and bubbling with new wave excitement is too tiring, even for the band themselves. The middle of the album sags when mediocre songs like "Playing Along" come up. An "A" for the effort, but the transformation didn't completely pay off. But as I always say, I salute Keane for trying something new.

The Streets - Everything is Borrowed

Everything is Borrowed (2008, 679) The Streets' fourth studio album. **1/2

Mike Skinner, better known as his alias the Streets, tries to hit hard with Everything is Borrowed. He brings up plenty of issues; religion, global warming, danger of right-wing politics, just to name a few. His delivery is less than spectacular. Not only is his heavy British accent annoying, he even fails to come up with interesting background music, which is supposed to help distinguish hip-hop from rap. On top of all this, Skinner's style is lazy, more like an average slam poetry convention but without the passion. Sure, there's an interesting synth progression on the opening track, but beyond that he fails to do anything that interesting. His 'messages' are less than interesting and have been said far better. So what's left? A meaningless entry by a near-meaningless artist.

Inside Music Album Guide - 10/23/08

Inside Music Album Guide
Jenny Lewis’s tongue is sharp, Anberlin are emo… still
By Stephen Mason

Jenny Lewis – Acid Tongue (Warner Bros.) 4.5 out of 5
Taking a break from her main group, Rilo Kiley, Jenny Lewis has decided to take a rootsier route with Acid Tongue, an album full of folk, southern rock, and even alternative country. It’s a strange transition for sure, but Lewis’s second studio album may be better than anything she’s done with Rilo Kiley. After the epic nine-minute “New Messiah,” a series of amazing moments happen. The rollicking “See Fernando” and “Jack Killed Mom,” the piano ballad “Godspeed” topped with upper-register vocals, and the album’s title track, a simple acoustic song that someone like Neil Young will have wished he wrote. Acid Tongue is an amazing statement by one of rock’s more underrated female stars.

The Streets – Everything is Borrowed (679) 2.5 out of 5
Apart from the interesting synthesizer progression on the opening number, Everything is Borrowed finds the Streets – an alternative hip-hop artist named Mike Skinner from Britain – saying things that have been said better. It’s obvious he doesn’t care too much for right-wing politics or religion, but even his bigger statements (“The Way of the Dodo”) only create cringes. Skinner’s heavy accent distracts from his messages, especially when he decides to sing. It’s not a travesty, but it’s certainly nothing bold as he might want us to think.

Keane – Perfect Symmetry (Island) 3 out of 5
Groups like the Killers brought new wave “back,” and groups like OK Go made dorkiness cool. Keane is somewhere in between, as they’ve fully adopted the cheesy sounds of the 80’s and are trying to embrace being quirky, but still take themselves too seriously. It was passable with songs like “Somewhere Only We Know,” but when you create an album driven by synths, trying to appear noteworthy is difficult. The energy that Keane has works for a short while, as “Spiralling” and “The Lovers are Losing” start things off in style. But that level of energy is hard to obtain and hard to keep going without seeming drab, and Keane can’t quite pull it off. If they aren’t onto anything altogether groundbreaking, they’re at least entertaining… for a few moments, at least.

Anberlin – New Surrender (Universal) 2 out of 5
Emo is a fad. I wish I could have written “was”. Even bands like Fall Out Boy have begun to back into more pop and punk influences (as heard on Infinity On High). Anberlin, however, stand strong – in the sense that they haven’t changed their sound. If they could get any louder, they did. If they could get any faster, they did. If they could get more annoying… well, they did that, too. New Surrender is a by-the-numbers emo album chockfull of three-to-four minute tunes that never amount to anything more than they’ve already done. Experimentation into the unknown isn’t necessary to progress as a band, it can be done in subtle ways. Cranking the amps to “11” isn’t one of them.

Jenny Lewis - Acid Tongue

Acid Tongue (2008, Warner Bros.) Jenny Lewis's second studio album. ****1/2

Somewhere down the Rilo Kiley road Jenny Lewis realized she wanted - and was able - to do more than just indie rock. And so for her second solo album, Acid Tongue, she dabbles with alternative country and southern rock, garnering from all the spirits of the late 60's and early 70's, as there are bits of Janis Joplin, Eric Clapton, Joe Cocker, and Delaney & Bonnie (among countless others) scattered all over this album. Lewis isn't without her own voice, though, as she masterfully crafts stories into every song.

Things start off with the relatively peaceful "Black Sand," and this peace is only interrupted by the eight-minute "Next Messiah," a sprawling, evolving number backed by three distinct sections that, while not seamless, are nonetheless engaging. Things truly become interesting with the title track, performed with an acoustic guitar and with backup harmonies as lovely as CSNY. Lewis's brilliant decision to leave the song as bare as it is gives it all the personality it needs; a story of a troubled woman trying to get out, alone and cold. The far more energetic "See Fernando" follows perfectly, and comes back down again for "Godspeed," where Lewis tells the age-old story of trying to help someone who doesn't want it. Naturally, after a somber moment it jumps into country ridiculousness with "Carpetbaggers," about hookers and soldiers.

Lewis didn't try anything fancy on Acid Tongue, as it is essentially a collection of great songs performed without overly shiny production. In fact, the only way to give the album a more intimate feeling than it already has would be to have it in the vein of Delaney & Bonnie's Hotel Shot. Regardless, the shining moments of Acid Tongue are breathtaking in their simplicity, a strong suggestion that there is always a new song to be heard, and it doesn't take production room tricks. (Black Sand, Acid Tongue, Godspeed)

The Nightwatchman - The Fabled City

The Fabled City (Red Ink) The Nightwatchman's second studio album. ****

Tom Morello returns from his solo debut, One Man Revolution, with another batch of political folk ditties. Unlike his debut, The Fabled City incorporates far more than just his acoustic guitar. It’s still there, as is his signature growling baritone, but the embrace of the harmonica, lively drums, and electric guitar and bass enhance the experience. The sound being louder may not make his message louder, but it still holds all the sincerity that One Man Revolution did. “I will always stand beside you/Defend you and mend you,” is a promise Morello wants to keep, as he always seems genuine about his care for people.

Ben Folds - Way to Normal

Way to Normal (Epic) Ben Folds' third studio album. ***1/2

After several years, the piano rocking god has returned with a new slew of tunes and a new persona. Rockin’ the Suburbs (his first solo album) saw him as the spunky nerd poking fun at the MTV-watching high school kids, and Songs for Silverman had a calmer, father-like tone. On Way to Normal, Ben Folds has steeped into the more absurd, sometimes irrationally angry at the world. The most marked difference, though, is the use of electronics. No track better emphasizes that than “Free Coffee,” which is a fine track, but being surrounded by piano-heavy songs makes it feel out of place. The peak of the album is its center, the string-oriented “Cologne,” which harks back to the days of songs like “Army” from Ben Folds Five. This may be a transitional period for Folds, who, even with a less-than-enthusiastic entry here, is always sure to deliver a few wonderful moments.

Oasis - Dig Out Your Soul

Dig Out Your Soul (Reprise) Oasis's seventh studio album. ****

Dig Out Your Soul never ventures into waters that haven't already been treaded. There's no problem with that. Many artists try the same things twice (or more) and many fail to make it any more interesting than the first time. Oasis is able to, as the tracks on Dig Out Your Soul are fairly monotonous, but in a good way. They end the same way they start, usually with progressive drones. Rarely do the songs build to gargantuan force, rarely do they shift radically halfway through. Instead, they start and end the same way with an almost drone feel. “Falling Down” may be one of the best songs they’ve done in years, with an underlying organ piece overlapped by Chris Sharrock’s rollicking drum performance. Same goes for “The Turning,” with its sonic background wails and gritty guitar. A job well done by experienced veterans.

Inside Music Album Guide - 10/16/08

Inside Music Album Guide
Oasis, Tom Morello return with excellent entries
By Stephen Mason

Oasis – Dig Out Your Soul (Reprise) 4 out of 5
Recent years have been kind to Oasis. They’ve never deviated too far from what they became famous for; guitar-heavy alternative rock. Dig Out Your Soul is no different, as it follows the same format with remarkable effect. From start to finish, each song operates as its own little world. Rarely do the songs build to gargantuan force, rarely do they shift radically halfway through. Instead, they start and end the same way with an almost drone feel. “Falling Down” may be one of the best songs they’ve done in years, with an underlying organ piece overlapped by Chris Sharrock’s rollicking drum performance. Same goes for “The Turning,” with its sonic background wails and gritty guitar. A job well done by experienced veterans.

Ben Folds – Way to Normal (Epic) 3.5 out of 5
After several years, the piano rocking god has returned with a new slew of tunes and a new persona. Rockin’ the Suburbs (his first solo album) saw him as the spunky nerd poking fun at the MTV-watching high school kids, and Songs for Silverman had a calmer, father-like tone. On Way to Normal, Ben Folds has steeped into the more absurd, sometimes irrationally angry at the world. The most marked difference, though, is the use of electronics. No track better emphasizes that than “Free Coffee,” which is a fine track, but being surrounded by piano-heavy songs makes it feel out of place. The peak of the album is its center, the string-oriented “Cologne,” which harks back to the days of songs like “Army” from Ben Folds Five. This may be a transitional period for Folds, who, even with a less-than-enthusiastic entry here, is always sure to deliver a few wonderful moments.

Blitzen Trapper – Furr (Sub Pop) 3.5 out of 5
Imitating an artist isn't always smiled upon, and emulating them even less so. Blitzen Trapper, though, seem to break the mold. Their brand of psychedelic folk-rock is obviously heavily influenced by the four boys, but the elements of Americana and roots that they bring don't always necessitate Magical Mystery Tour references (though its not above CSN and Neil Young references). The title track is the band's strongest moment, which boasts of stability in their Americana roots. It's the story of a life with friends told in a more unorthodox way, but there are not many metaphors that work better; the singer compares his adopted family to a pack of wolves. Strange, yes, but certainly fitting and clever. What holds Furr back is its monotony, which starts to sag towards the middle and rarely picks up again. It's an interesting if not promising entry for a band that needs to shed all its detracting critics - who honestly aren't all in the wrong.

The Nightwatchman – The Fabled City (Red Ink) 4 out of 5
Tom Morello returns from his solo debut, One Man Revolution, with another batch of political folk ditties. Unlike his debut, The Fabled City incorporates far more than just his acoustic guitar. It’s still there, as is his signature growling baritone, but the embrace of the harmonica, lively drums, and electric guitar and bass enhance the experience. The sound being louder may not make his message louder, but it still holds all the sincerity that One Man Revolution did. “I will always stand beside you/Defend you and mend you,” is a promise Morello wants to keep, as he always seems genuine about his care for people.

Blitzen Trapper - Furr

Furr (2008, Sub Pop) Blitzen Trapper's fourth studio album. ***1/2

Imitating an artist isn't always smiled upon, and emulating them even less so. Blitzen Trapper, though, seem to break the mold. Their brand of psychedelic folk-rock is obviously heavily influenced by the four boys, but the elements of Americana and roots that they bring don't always necessitate Magical Mystery Tour references. The evenly placed beats of the opening "Sleepytime in the Western World," with its syncopated organ, piano, drums, and guitar, create a feel that is obviously Beatles-inspired, but not wholly unoriginal. The title track is the band's strongest moment, which boasts of stability in their Americana roots. It's the story of a life with friends told in a more unorthodox way, but there are not many metaphors that work better; the singer compares his adopted family to a pack of wolves. Strange, yes, but certainly fitting and clever. What holds Furr back is its monotony, which starts to sag towards the middle and rarely picks up again. It's an interesting if not promising entry for a band that needs to shed all its detracting critics - who honestly aren't all in the wrong.

Inside Music Album Guide - 10/09/08

Inside Music Album Guide
TV on the Radio score perfect, Plain White T’s struggle
By Stephen Mason

TV on the Radio – Dear Science (Interscope) 5 out of 5
With the swirling ambient synths, 80’s drumbeats, and falsetto funk grooves worthy of the almighty Prince, TV on the Radio’s Dear Science is a magnificent album. It works on a track-by-track basis, reeling in an eclectic mix of influences yet never faltering to sound uniquely like the band. These are indie rockers who aren’t afraid to stand on a stage in front of 20,000 people, not self-conscious or self-deprecating enough to stay latched to an indie label. Whether it’s the neo soul of “Dancing Choose,” the minimalist “Crying” (that sounds like a distant cousin of “Kiss”), or the pulsing “Halfway Home,” TV on the Radio always sound focus, which is hard to do with a collection of songs that are simply that – a collection of songs that sound amazing.

Cold War Kids – Loyalty to Loyalty (Downtown) 4 out of 5
Loyalty to Loyalty will polarize critics and fans of Cold War Kids, as it isn’t as ambitious as their debut. But Cold War Kids are a band that’s confused, not exactly sure of where to go from where they were. So what’s the solution? Write what they know – confusion. Loyalty to Loyalty is a slow album, rarely jumping into pounding beats. The most “exciting” moments are the yell-fest of “Something is Not Right With Me” and the waltzing “I’ve Seen Enough,” though really its numbers like the jazzy “Against Privacy,” the deep, growling guitar riffs of “Mexican Dogs,” and the Barrett Strong-esque “Every Valley is Not a Lake” that make Loyalty to Loyalty the interesting album it is.

Plain White T’s – Big Bad World (Hollywood) 3 out of 5
For those who remember, Plain White T’s performed at 2007’s Barefoot on the Mall. Back then, they were just on the verge of breaking into the mainstream, and their single “Hey There Delilah” launched the band into new territories. It’s not strange, then, that Big Bad World is not so much an album as it is a quest for another hit. They’ve still got bland emo lyrics like “When you’re all alone/Stuck in the dark,” blah, blah, blah, and it renders them almost hopeless. Big Bad World isn’t a bad album, but it’s not good enough to be recognized by critics and not profound enough to win over any new fans. People who weren’t thrilled by their debut won’t hear anything to change their mind, as the album is more restrained than others.

Kings of Leon – Only By the Night (RCA) 3 out of 5
The band crowned as “the Southern Strokes” fights back with a new album, and yet again, an almost new sound. KOL are desperate to make it big in the US, as they’ve somehow already won over the UK. They can’t figure out why this has happened, but it’s not all that hard to imagine. Songs like “Crawl” feature interesting Who or Zeppelin-like riffs, but for a band that wants to try out that sound, they’ve got to get with the blues. How else do you think bands like the Black Keys, the White Stripes, and the Raconteurs became successful? Simple. Dan Auerbach and Jack White get the blues. KOL haven’t traced it back that far, and as a result they wind up being an alternative to those who are dismayed by the breakup of Wolfmother.