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.

Kings of Leon - Only by the Night

Only by the Night (2008, RCA) Kings of Leon's fourth studio album. ***

Dubbed the "Southern Strokes" for some reason that no one really seems the know, Kings of Leon have struck back with an album that, once again, doesn't sound much like what they've done before. It seems that KOL is really into re-inventing themselves like Radiohead or My Morning Jacket, but they do it with less effect. Instead of learning to either adopt one sound that can transcend genres or focus on one style for a particular album, they're all over the place, and it leaves Only by the Night to be a confused - if not contrived - work.

For every great moment Only by the Night has, there's one that's that much more under the bar of satisfactory. None of the material is bad, but it's certainly boring. After moving beyond the strange 80's-esque "Sex on Fire," Kings of Leon slip into territory of the mind-tinglingly boring. They try to imitate bands like Journey and U2 but for no apparent reason, as they are trying to get the edge of hard rock wedged into their name. Caleb Followill's monotonous whining vocals grow tired quickly, as they meet every track with the same intensity and range.

When KOL are on, they're hot as hell. The guitar riffs of the Who bounce off the walls on the churning "Crawl," and straightforward rock of "Notion" gives Followill a chance to do his best Prince imitation (with his pronunciation). It ends nicely, too, with the insightful ballad "Cold Desert." They exert surprisingly good lyrics; "Jesus don't love me, no one ever carried my load/I'm too young to feel this old." Only by the Night will certainly please fans, but anything beyond the potential single of "Crawl" is doubtful to win many new ones. The band can't seem to figure out why they aren't big in the states, but it seems fairly obvious; they're unpredictable, and they don't have a single album under their belt that they can really boast about. Until next time, KOL are SOL on striking it rich in the USA. (Crawl, Notion, Cold Desert)

Cold War Kids - Loyalty to Loyalty

Loyalty to Loyalty (2008, Downtown) Cold War Kids' second studio album. ****

Loyalty to Loyalty could be an album that will polarize fans and critics alike over the years. It doesn't seem to be bold enough to be considered classic, and since not all of the material is not as such, it's destined to be ripped apart. While Cold War Kids sound fairly confused on their sophomore album, they don't let that drag them down. Instead of trying to force a sound of progression or stick with what they already know, they make in album in the vein of how their minds have been working - in confusion. Loyalty to Loyalty sounds disjointed and even hesitant, but it doesn't seem intentional.

Nathan Willett's vocals are a cleaner version of Jack White's, and even on the romping "Something is Not Right With Me," his best emulation isn't always amusing. That's the thing about Loyalty to Loyalty, though. Even when not every band member has gotten something right, there's nothing really bad about anything they've done. And there are plenty of fantastic moments, like the opening jazziness of "Against Privacy," the deep guitar growls of "Mexican Dogs," or the soulfulness of the organ and piano-driven "Every Valley is Not a Lake." The album tends to slow down around the middle, and that's when a lot of people will probably lose interest in Willett's high tenor, but the non-sexy blues-swaying "Golden Gate Jumpers" and the unorthodox minimalism of "Every Man I Fall For" are fascinating bits when taken time to consider. I won't lie, most people will probably view Loyalty to Loyalty as a sophomore slump, but it's clearly a transitional album that should be given a few more looks.

TV on the Radio - Dear Science,

Dear Science, (2008, Interscope) TV on the Radio's third studio album. *****

TV on the Radio are not afraid to make radical shifts in their sound nor are they too independent-label minded to step up to the big stage. Dear Science, is a sprawling, adventurous album, eclectically mixed together to form a daring piece of indie and experimental rock. That genre is always a very difficult one to find any success in - let alone even make anything truly interesting. Most experimental rock bands never find a sound either A) worth listening to or B) controlled and rational. TV on the Radio have done so.

They don't waste time getting started, as the pulsing "Halfway Home" opens things up with a nonsensical "Ba ba baa ba bop" and a swirling drumbeat. As they approach the chorus, Tunde Adebimpe kicks in his falsetto as a wall of ambiance takes over the background. And what about "Crying"? This is the distant cousin of "Kiss" that Prince forgot to write. It's funky guitar and cymbal arrangement make it fun, and Adebimpe's soothing falsetto makes it another winner.

There's neo-soul and funk ("Dancing Choose" and "Red Dress"), heart-straining marching pop (Stork & Owl), and even a slow, melodic, piano piece ("Family Tree"). This isn't a concept album, and it's clear that this Dear Science, is to be taken one song at a time. What makes Dear Science, so amazing is not its attempt to be overly intelligent or overly catchy; these are well-crafted songs that came from the basics, morphed into complicated arrangements that can only be appreciated after several listens. TV on the Radio hit the ground running for sure, succeeding in flying colors to take the sounds that are all over the boards and shape them into one that is all without ever having sounded pretentious. Is Dear Science, the best album of the year? That's always a difficult one to answer. I'll say this - in a year where nothing has blown me away, this is probably the one that will knock me out in about two months. Right now, I know it's all there, I'm sure of it, I'm still waiting for it to sink in. (Halfway Home, Crying, Stork & Owl, Family Tree, Lover's Day)

Plain White T's - Big Bad World

Big Bag World (2008, Hollywood) Plain White T's fourth studio album. ***

Fans of Plain White T's will be pleased with a collection of moderately catchy songs with such 'deep' insights; the band knows how they feel, what it's like to have 'been there.' Problem is, the band's connection is only through generic renderings that only people without souls have never experienced. Take "Sunlight," a melodically pleasing song with a less-than-stellar message: "When you're all alone/Stuck in the dark/When you've lost your way in life/I won't be far." Wow.

Here's the kicker; Big Bad World isn't good enough to win any decent amount of critical praise, so snobby music buffs will continue to write them off. The band only has one hit, "Hey There Delilah," and there doesn't seem to be any material here that's nearly as memorable (or annoying) as that, though tracks like the bouncy pop of "Big Bad World," the indie-leaning "Natural Disaster," or the explosive guitar-and-harmonica play of "I Really Want You" might find airtime. That said, their fan base is already small, and the weaknesses of Big Bad World can't - logically, anyway - propel them any further. It's full of the cliches you'd expect from an emo band still trying to sound original, but it isn't garbage. If there's anything good about it, it doesn't have any painstakingly-irksome moments.

Inside Music Album Guide - 9/25/08

Inside Music Album Guide
The Walkmen stand tall, Buckcherry are Buckterrible
By Stephen Mason

The Walkmen – You & Me (Gigantic) 4.5 out of 5
The Walkmen have managed to create an album that’s nearly organic. From beginning to end, the aptly named You & Me talks about just that, the singer and the one important person in his life. Although never too descriptive as to how the relationship worked, we are never left in the dark. The Walkmen are never cryptic, they say what they mean to beautiful, honest effect. Martin’s signature Bob Dylan/Stevie Marriott vocals soar higher and higher, especially on the album’s strongest moment, “In the New Year,” and the rest of the band is in full swing. Maroon’s distorted guitar shuffle, Barrick’s pummeling drum rhythms, and Martin’s own churning church organ sounds make You & Me a piece of art that bares passion nakedly and proudly.

Jem – Down to Earth (ATO) 2.5 out of 5
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.

Noah and the Whale – Peaceful, the World Lays Me Down (Mercury) 3.5 out of 5
People looking for Arcade Fire imitators need look no further. On their debut, Noah and the Whale exercise the catchy, alternative rock sounds that Arcade Fire garnered from Bruce Springsteen while managing to throw in a decent amount of chamber pop. It’s an eclectic mix of strings over folky guitar, fueled by Charlie Fink’s unique lyrics of science and faith. On its surface, Peaceful is a batch of catchy songs that would lose their fire due to Fink’s less-than-convincing vocal performances, but on a deeper level it exercises themes of uncertainty – do you believe in God? Love? Don’t they go hand in hand? All probing questions that Fink asks and only sometimes chooses to answer.

Buckcherry – Black Butterfly (Atlantic) 1 out of 5
Either Buckcherry have no idea who their audience is or they’re embracing the batch of disgusting perverts who would enjoy this garbage. Black Butterfly is overflowing with generic riffs, gutter lyrics, and pure production sloppiness. The band’s singer, Joshua Todd, still has his Bon Scott/Chris Cornell vocals, but they sound flat over lyrics like “I hear talk about a non-stop flight to heaven/Can’t you just say you’re addicted to medicine?” What? It’s even worse on “Too Drunk” where Todd admits to being unable to perform in bed because of his intoxication. This is the anti-party album; it’s the overzealous guy at the party who no one likes. And in the world of Buckcherry, what happens when the party’s over? Morning comes to cheap white trash.

Noah and the Whale - Peaceful, the World Lays Me Down

Peaceful, the World Lays Me Down (2008, Mercury) Noah and the Whale's first studio album. ***1/2

On their debut, Noah and the Whale aren't trying to be revolutionary. And that's fine, it's rare that bands who attempt to be actually succeed, as most tend to try to be deeper than they really are. The band doesn't take a hands-off approach to themes, though, as Charlie Fink sings about the mysteries of love, science, and religion. He especially likes to connect the idea of God and love, contemplating on the idea that they are hand in hand. Fink asks, "If you don't believe in God/How can you believe in love?"

Peaceful... is a collection of undeniably catchy songs that are advanced by Fink's interesting lyrics. They're not pointless yet not nearly as cryptic as The Da Vinci Code. The opener "2 Atoms in a Molecule" asks the first set of question that the band isn't exactly ready to answer, such as "If love is just game, how come it's no fun?/If love is just a game, how come I've never won?" The answer may seem obvious, but since Noah and the Whale have decided to let the listener answer, they're never didactic. They're not afraid to get close to quoting Paul McCartney, either, as on "Give a Little Love" contains the words "If you give a little love you can get a little love of your own."

It's an extremely balanced album, mixing sullen moments like the simple acoustic periods on the title track, or bouncy pop/rock anthems like "Shape of My Heart." The elements of indie, folk, and chamber pop are very apparent, as their influences from Arcade Fire to Belle and Sebastien are not unpronounced. This is a band that history can remember fondly if they keep this up. (2 Atoms in a Molecule, Shape of My Heart, 5 Years Time)

Duds of 2008: Part Seven

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.

Black Butterfly (2008, Atlantic) Buckcherry's fourth studio album. *

The anti-party album, full of disgusting music and lyrics fit for the white trash that embraces comedy of the likes of Larry the Cable Guy.


Ten Kens (2008, Fatcat) Ten Kens' first studio album. **

Starts off with a bang, but gets muffled by its own confusion. Art-rock is supposed to be arty, this is just contrived.





Child Bearing Man (2008, Absolute Kosh) Little Teeth's first studio album. **

Music only hippies can enjoy, and I know that they will. Little Teeth can tap into a select portion of the Avett Brothers' audience. Beyond that, this is nonsense.

The Walkmen - You & Me

You & Me (2008, Gigantic) The Walkmen's fourth studio album. ****1/2

Sincerity is never easy to convey, even when the effort on all fronts completely is. If there's any problem that the Walkmen don't have, it's struggling to communicate their sincerity. You & Me - as it could not possibly be more aptly named - is the Walkmen's most striking album, an arrow that pierces and is impossibly lodged. Walter Martin's signature voice, a mix of Bob Dylan and Stevie Marriott, completes this album in a way nothing else possibly could. Its themes are excellently rendered by easily decipherable lyrics, and that's not a knock; the relatively straightforward matter that Martin delivers with only increases the force with which the music already hits. You & Me is one of the most upfront albums of its kind, showcasing a relationship we never get the details of but can strangely identify with. On top of that, the themes of holidays and travel are equally recognizable.

"Red Moon" is one of the album's more somber moments, with a stagnant horn arrangement and moments of silence followed by a vocal wrap-up echoes the styles of songs like "Unchained Melody" by the Righteous Brothers. The no-tempo "New Country" serves as what could have been the perfect ending for such a near-perfect album, with its growing intensity of only guitar tracks. But the actual ending is possibly more satisfying, as the Walkmen drop lines like "My head is full of dreams, it's nothing new/But maybe dreaming is all a man can do." Not to mention Paul Maroon's subtle yet brilliant guitar solo.

Easily the finest moment is "In the New Year," with a gut-wrenching organ piece, whose climbing riff struggles so hard to keep up with the tempo, is only topped when Martin's seemingly unstoppable tenor vocal range continually soars higher, laying down hurricane lyrics like "I'll tell you I love you/And my heart's in the strangest place/That's how it started/And that's how it ends." Barrick's pummeling yet dreamy percussion arrangement only help the song to sway carefully like the open path Martin sings of.

On You & Me, the Walkmen have opened up another plane on emotion, as their transparency never feels contrived, instead it shows their vulnerability as human beings. Truly one of the better albums of 2008, You & Me is not an album that can be appreciated after one listen; it's the kind of diamond in the rough that teases you, taunts you, and intrigues you just enough to go on to a successive listen, and with each one it reveals itself until all the skeletons are out of the closet. (In the New Year, Canadian Girl, New Country, If Only It Were True)

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.