Apollo Sunshine - Shall Noise Upon

Shall Noise Upon (2008, Headless Heroes) Apollo Sunshine's third studio album. ****

I would recommend that everyone listen to this album at least once, especially if you enjoy late 60's psychedelia. No doubt you'll find at least one song you like, because every song sounds like a different band; early Pink Floyd, Cream, the Beatles, the Byrds, etcetera. And while most of the album is fairly captivating, Shall Noise Upon fails to act as a coherent piece. Nothing is really put together, it's like having a puzzle where all the pieces are the same color, making it impossible to figure out how to shape it into one thing.

"Singing to the Earth" moves like George Harrison's work, bouncy and full of sunshine. "666" mixes Aorta with Floyd, reeking of fairly impressive guitar distortion imitation. The beginning of "Happiness" is almost identical to "I Talk to the Wind" by King Crimson. All of this isn't necessarily bad, the music sounds great; but there really isn't a voice to be found anywhere. Shall Noise Upon, then, acts less as art (though it seems Apollo Sunshine meant it that way) and more as pure entertainment for stoners who miss or would have wanted to be a part of Woodstock. I don't scold that. Because even though they do sound like other bands from the era, they're not ripping off anyone's work. I enjoyed it thoroughly, and I highly recommend it to anyone who is a friend of the hookah. (Singing to the Earth, The Funky Chamberlain, Money)

Inside Music Album Guide - 9/04/08

I've started writing for the university newspaper as a music critic... sort of, I guess. I get to review albums. It's a bit frustrating; I've a feeling there will be a lot of misprints (as today was my first article and already there were a plethora of them). Below is how the article was supposed to appear.

Inside Music
The Stills do it right, Jonas Brothers are still learning
By Stephen Mason

The Stills – Oceans Will Rise (Arts & Crafts) ****
There are three things that make Oceans Will Rise work, and none are by accident. First, the Stills know how to be radio-friendly while layering their message into the hooks of their indie-rock driven style (“Being Here,” for example). Second, they’ve mastered the dynamics. There are no points where Oceans Will Rise is too loud for too long like a Muse album, nor does it whisper until you fall asleep. Third, the message they convey – while obvious – isn’t as boisterous as someone like Marilyn Manson. All in all it’s thoroughly enjoyable, and let’s face it; they make global warming sound fun.

The Verve – Forth (RED) ***
Unfortunately for Ashcroft and company, the Verve is ten years too late to reunite and answer the age-old question of “What would the Verve have done next had they not broken up?” Certainly Forth is only partly an answer; the band is older – though not necessarily wiser – and has used any great material elsewhere. There’s no “Bittersweet Symphony” here, only imitators; “Valium Skies” is the only track that features reminiscent string arrangement and truly impassioned vocals by Ashcroft. While other notable tracks like “Love is Noise” (which, not ironically, features a sample of a truly strange barking sound) may be remembered by the few remaining fans or the dedicated music connoisseur, the rest is forgettable. All listenable, but not engaging.

B.B. King – One Kind Favor (Geffen) ***1/2
The hailed “King of Blues” is back again with an array of blues covers, ranging from the legendary Big Bill Broonzy to the equally great John Lee Hooker. There’s no big production values that water One Kind Favor down, it’s still as basic as blues gets (King going so far as to have an upright bass in the recording sessions). It’s lop-sided as well; “Blues Before Sunrise” is the mark where King gets into it. After that, every track is golden, especially his cover of Chatmon’s “Sitting On Top of the World.” He may be old, but he sounds just as fresh as he did in 1957.

The Jonas Brothers – A Little Bit Longer (Disney) **1/2
Teen pop has always been the prostitute of the music industry; it’s easy and it makes a lot of money. You can’t blame the Jonas Brothers for that, their intentions are better. They know their target market and are responsible enough to keep a distance from drug and sex references (something Katy Perry cannot). For that, I tolerate them. As far as the music is concerned, it’s overly-produced, slick, trite nonsense. Strained vocals and excessive hooks. Lyrics about relationships they pretend to have had and understood. Drivel for the most part. I’ll admit, though, the kids can play guitar.

YouTube Update

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Entry #18: Has Rolling Stone Lost Its Touch?
Entry #17: The Jonas Brothers - A Little Bit Longer
Entry #16: The Mars Volta - The Bedlam in Goliath
Entry #15: Randy Newman - Harps and Angels
Entry #14: Cat Power - Jukebox
Entry #13: Music You Should Be Listening To

"When once you had believe it,
Now you see it's sucking you in."
- LCD Soundsystem

-Stephen

B.B. King - One Kind Favor

One Kind Favor (2008, Atlantic) B.B. King's twenty-fourth studio album. ***1/2

Long hailed as the "King of the Blues," B.B. King is back with an array of blues covers. There's nothing out of the ordinary and his style hasn't changed much, and what's surprising is that even at eighty-two years old, his signature voice doesn't sound weathered at all. It's a bit of a slow-starter, as One Kind Favor eases in with the jazz-flavored "See That My Grave is Kept Clean." The most invigorating and soulful moments don't come until the second act, really opening up with "The World is Going Wrong" and "Blues Before Sunrise." The ensuing songs are equally rattling and rollicking, especially "Backwater Blues" which features King's best and most convincing vocal performance on the entire album. If you love the blues, you love the King, and although it's not his greatest work, it's still enthralling to hear a master make a tried genre sound as good as ever. (Blues Before Sunrise, Backwater Blues, Sitting On Top of the World)

Ra Ra Riot - The Rhumb Line

The Rhumb Line (2008, Barsuk) Ra Ra Riot's first studio album. ****

The tragic death of drummer John Pike in 2007 didn't detract Ra Ra Riot at all. If anything, it pushed them on, almost forcing them to stay on course with a goal they all agreed on; to make beautiful music. The Rhumb Line is mixed with tributes to Pike, but instead of sounding depressive and mournful, they sound inspired. It is clear that the band feels things will never be the same, but they don't make the audience pay for something they can't understand. It starts off with "Ghost Under Rocks," a galloping introduction. The Rhumb Line is full of string arrangements (actually played by band members, imagine that!) and energy, bordering on the cusp of something I can only describe as proto-classical rock. Make sense? Didn't think so. Let me explain:

The Rhumb Line and Neon Bible used strings extensively, and since they could so easily be transposed into classical arrangements - especially "Winter 05," which is almost a classical piece on its own - that they push the boundaries of alternative rock and chamber pop, possibly further into something completely new. Maybe?

If Ra Ra Riot has any shortcomings, it's that their energy isn't always engaging. It doesn't tire, but sometimes a slower moment would be welcome. I unfairly compare The Rhumb Line with Neon Bible (because I do so unfavorably) in pointing out the balance that Neon Bible had. The title track was perfect after the sonic blast of "Keep the Car Running." And while the first three cuts of The Rhumb Line are then thankfully mellowed by the sleigh bells of "Winter 05," the tempo speeds up again for "Dying is Fine" and never again backs down. It doesn't hinder the album horribly. They're so damn good at writing genuinely good hooks that if they ever learned the value of pace, they'd already catapult themselves among today's best artists. But don't fear, Ra Ra Riot have already placed themselves as one of the most exciting and most promising breakthrough bands of the year. (Ghost Under Rocks, Dying is Fine, Oh, La)

Lykke Li - Youth Novels

Youth Novels (2008, LL Recordings) Lykke Li's first studio album. ***1/2

In 2007 I became very tired of minimalism. It had been around since the late 1990s, and only few bands were able to do it successfully, namely blues-based bands such as the White Stripes and the Black Keys. There were others of course, but they seemed to be the only ones who had it down pat. And even then I wasn't crazy about it; Icky Thump, while still an exceptional album, ranked as one of the Stripes' weakest outputs. At the same time, wonderfully flourished albums like Neon Bible were sonically epic in every sense, and that was the direction that I had been waiting for.

And now in 2008, we've been seeing less minimalism in favor of bigger sounds. That doesn't always make things better, but it was a nice change from the norm. Li, however, seems to have missed the memo, and has actually put out one of the few truly great minimalist indie electronic albums (assuming there's more than this one). It's dance music for the kids who are too cool to dance. Youth Novels is disjointed, and it tends to sputter more than it stands solid. Things don't kick in until "Let It Fall," a very simple Prince-esque groove with lapping vocals. Even after this moment, it doesn't always work. The next great moment doesn't come until the robotic "Complaint Department," and appropriately it meanders until the end. There is no bad material here, what's here is just uneven, and Li is merely inconvienced to have a debut that's not quite as proper as it should be. We'll see where she can go from here, because while it's a promising start, the genre she's adopted as well as her sound don't lend to a whole lot of growth. (Let It Fall, Complaint Department, Breaking It Up)

The Verve - Forth

Forth (2008, RED) The Verve's fourth studio album. ***

When the single "Bittersweet Symphony" was released, the Verve were launched to superstardom. It came with a price, as they would have to release 100% of the royalties of their hit single because of unwarranted sampling. The band became involved heavily with drugs. Finally, the tension between Ashcroft and McCabe broke, and the Verve dissolved before they could release a follow up to Urban Hymns.

Forth then (almost) answers one of the long-debated questions in recent music history; what would have happened to the Verve had they stayed together? They would have been unquestionably the biggest band in the world, and even back home they were considered the leaders of the British alternative scene. The answer is that it's monotonous, but that's not because they have run out of good ideas. It's been nearly ten years since they were writing music together, and Ashcroft used a lot of material - albeit mostly bland - for his solo work, so we find them struggling to come up with anything fresh. Forth is not hard to listen to, but it's not engaging, either. Only two songs, "Love is Noise" and "Valium Skies" are standouts, but more so for wrong reasons. "Love is Noise" features a strange, well, noise that sounds like barking throughout its duration, and "Valium Skies" is the poorer cousin of "Bittersweet Symphony."

It's not that the Verve aren't good songwriters or performers, but the album is ten years too late. It is true that Forth is not as heavily steeped in shoegaze as other releases, but without the biting lyrics, without Ashcroft's emotional vocals (he sounds weathered now), and without impact of their earlier work, the Verve's "comeback" is more saddening than anything else. They are a band who should have come back in flying colors, but it seems like they're the only ones marching in the parade with no one to watch. Pleasant material, none of it memorable. And thus is the tragedy of the Verve in the US. (Love is Noise, Rather Be, Valium Skies)

The Stills - Oceans Will Rise

Oceans Will Rise (2008, Arts & Crafts) The Stills' third studio album. ****

The best part of Oceans Will Rise is its culmination of three great bands; Radiohead, Coldplay, and Muse. The Stills borrow from each appropriately while keeping good aesthetic distance, and the end result is an accessible album with a darker picture painted in the lyrics. They manage to do several important things the right way. First, they're able to keep the material radio-friendly and memorable. "Being Here" is the obvious highlight with Fletcher's soaring vocals and Hamelin's Edge-like guitar riff. Second, they know how to work dynamics; there's never a point where the album gets too loud for too long, nor does it start off rocking and then slip into snoozing acoustic tranquility. Third, they get their message across without ramming it down everyone's throat, and they recognize that being louder doesn't make the message more so. With that, they succeeded where Black Holes and Revelations failed, which started with three masterful songs but then didn't know when to tune it down a bit.

Whether it's the percussion rally on "Snakecharming the Masses," the soft electronic whirl of "Snow in California," the melancholy "Everything I Build," or the indie-inspired "Panic," the Stills demonstrate that they've learned a lot from their last record. For this "post-rock" group (an idiotic label in itself), Oceans Will Rise is a triumph. (Snow In California, Being Here, Eastern Europe)

Xavier Rudd - Dark Shades of Blue

Dark Shades of Blue (2008, Anti) Xavier Rudd's fifth studio album. ***1/2

Xavier Rudd has more of a sound than a specific genre that he fits into. It's not necessarily complex, as it allows him to transcend from musical realm to musical realm. Take the first ten seconds, even; the fade-in of the guitar distortion is nearly identical to "Foxey Lady" before it dives into an instrumental in the vein of something from Jeff. He relies on several unorthodox instruments to complete his sound; harshly distorted and reverbed guitar accompanied by didgeridoos? Impressive. The underlying Hammond organ plays an integral role in the gloomy reggae-inspired "Secrets." He doesn't just rely on blues and prog rock, he also pulls influences from Middle Eastern and African music as well (particularly with the percussion). Dark Shades of Blue is a record that is more easily experienced than described, as its fairly low-volume instrumentation makes a stronger statement with its subtleties than it would full-speed. And since I'm not a real music critic and am honestly having trouble to describe the album, this review is not very good. (Dark Shades of Blue, Guku, This World as We Know It)

Hotel Lights - Firecracker People

Firecracker People (2008, Bar/None) Hotel Lights' second studio album. ****

Few fans of Ben Folds have ever really wondered what happened to Goodman and Jessee after Ben Folds Five split, and even fewer probably cared. And why should they? The frontman had already proved he was a great songwriter, and his emerging solo career was further proof of his skills. But if a Ben Folds fan ever does happen to cross Hotel Lights, they may go back and listen to Whatever and Ever Amen more closely. Sure, Folds dominated the trio throughout their tenure, but Jessee was involved in writing some of the group's better material, including songs like "Kate" and "Brick" (the latter of which Goodman shares credit as well).

Finally, Jessee has broken out and released Firecracker People, an eclectic mix of wonderfully gripping songs that are very memorable. The formula is great; Jessee takes songwriting duties and sings as well - and he's remarkably good. His voice is soft most of the time and doesn't venture to suggest that he has any sort of range. It's all above-baritone delivery, yet it's not high tenor. But it works, as Hotel Lights isn't as explosive as Ben Folds Five was, rather, it's more subdued like Broken Social Scene. And although many of the tunes do have that Folds-tinged sound, it still writhes with originality, especially the album's finest cuts like the rolling title track or the elevating "Chemical Clouds," which pulls the trick of never seemingly reaching the peak you expect it to. The opening isn't electric, but it's engaging, as "Blue Always Finds Me" and "Dream State Flying" are melodic enough to bring anyone in.

The album's finest moment, though, is the neo-psychedelic "Norina." Jessee sings, "Norina, your man is a ghost," and in the chorus simply sings a beautifully reverbed "Ahhh" that is a better statement than most everything else on the album. Jessee has a knack for writing unpredictably catchy songs, and Weatherhead's production is astounding. This is another alternative rock singer-songwriter who everyone should keep their eyes on. Not many drummers write music as gorgeous as this. (Firecracker People, Norina, Chemical Clouds)

Death Vessel - Nothing is Precious Enough For Us

Nothing is Precious Enough For Us (2008, Sub Pop) Death Vessel's second studio album. ***1/2

Probably the most shocking thing I discovered about Death Vessel was that the singer, Joel Thibodeau, is, well... a guy. Upon my first listen to Nothing is Precious Enough For Us, I didn't for any moment doubt that the singer was a woman with a decent voice. It wasn't until I did a little research that I found that Thibodeau had quite a... unique falsetto.

The style is a very laid-back folk approach, as refreshing as Iron & Wine was when he first came about. But unlike Iron & Wine or Bon Iver, Death Vessel has a much more uppity feel to it. While there are slow moments, Nothing is Precious Enough For Us can be bouncy on numbers like the bluegrass "Obadiah in Oblivion." And Thibodeau proves to be a great composer on some of the album's earlier moments, most notably the dreamy "Block My Eye," or the innocent child-like tune "Jitterakadie." It's all relatively simple stuff, never diving into the strange studio sounds that The Shepherd's Dog has. It's about as raw as raw can get, and that's a mixed blessing, because while Death Vessel has the sincerity of his folk peers, the production values aren't as clear as an album like Fleet Foxes, which manages to both be organic and ear-friendly. Sadly, a collection of exceptional tunes is brought down a tad by hiss-tape-like production.