Broken Bells | Self-titled LP… Very Shinny

Broken Bells has an album coming out within the next few months, but we have had the privilege of an early listening. James Mercer of The Shins leads this side project with producer Danger Mouse. Both men are wearing many hats on this project, taking on more than six instruments between them while Mercer handles the lead vocals. Its’ been a while since The Shins came out with a new album, so any offering by the bands front man is a welcomed addition to the extended catalogue of The Shins band members and their side projects. Here is a question though, what is the difference between The Shins and the newly conceived Broken Bells, other than the obvious absence of The Shins alum? When listening to this self-titled debut you instantly think of The Shins because of Mercer’s voice and singing style which any of fan his knows only after a few notes sung. There is a lot going on in this album. Touches of The Beatles mixed with more modern synth lined rhythms. The additions of organ with synth in songs like Trap Doors create a psychedelica tone which is revisited in other tracks on the album to greater or lesser effect. All and all, the self-titled LP of Broken Bells is very similar to The Shins and their albums.

If you are like many people you were introduced to The Shins via the film Garden State, in which New Slang and Caring Is Creepy are featured. So, that would raise one important question (as silly as it is) will any of the songs off of this self-titled endeavor change your life? The answer is not really, but that is a pretty high standard to live up to for any band, impossible even. For a song to change your life you have to be as ready for it as it is for you. That is, there are songs that can perfectly capture a state you are in or about to transition into being, giving that particular song or set of songs special meaning to you as an individual and in a way changes your life. Perhaps for someone out there one of the ten tracks off of Broken Bells debut album will the one that takes on special meaning, but as it stands the album is not very far from what Mercer has done in the past with The Shins. The addition of Danger Mouse to this project doesn’t propel the musical offering to any real heights of auditory nirvana nor does it break new ground in terms of style. There are however a number of memorable tracks Vaporize, The Ghost Inside and Trap Doors.

Track list for Broken Bells’ debut LP. Due out March 9th 2010
1. The High Road
2. Vaporize
3. Your Head Is On Fire
4. The Ghost Inside
5. Sailing To Nowhere
6. Trap Doors
7. Citizen
8. October
9. Mongrel Heart
10. The Mail and Misery

Bob Dylan | Christmas In The Heart Is Not So Christmassy

Merry Christmas or it would have been if Bob Dylan didn’t try to frighten every child who heard his new album Christmas In The Heart. Dylan a living legend in most peoples books, came out with this antichrist of a x-mass carol most likely with one former Beach Boys Christmas album’s success in mind. The thing is, Dylan’s voice as unique as it is, does not befit the season due to its tobacconist’s rasp n’ growl. There is a lot one can say about Bob Dylan he is one of the most interesting figures to arise from the social strife of his time. For the Christmas lover who is sick of pumping old Bing during the season of sugar cookies and snow, Bob Dylan’s Christmas In The Heart may be right for you.  Dylan is the anit-Bing.

Via Audio | Animalore

Via Audio are a band based out of New York. Although formed in Boston, they have been making waves in New York for some time now. Their latest album Animalore due out March 2010 is deeply rooted in dance inspired melodies. The cuts that populate the album have qualities of other contemporaries, making playful use of near Passion Pit synth portion accompanied by straight forward lyrics about making babies or love making in general. Definitely more of a pop album than anything else in the first half, Animalore is fun while at the same time provides the emotional experience that any good album should, which is, for the most part delivered in the second half of the album. In its second half the album, takes on a more subdued tone often interlacing funk fueled guitar rhythms with electronic backbeats.

Click on the following link to listen to their new single "Babies".
Via Audio's Single "Babies" - FILTER Mag

We All Have Hooks For Hands | The Shape Of Energy

What is the best thing to come out of South Dakota since Deadwood? Answer, the indie folk act We All Have Hooks For Hands, and they have just come out with a new album very appropriately entitled The Shape Of Energy. Energy is the best way to describe this falsetto blasting group, the album is fast paced and in comparison to other folk acts that have come out with albums this year, e.g. M. Ward, Monsters Of Folk, We All Have Hooks For Hands resonates a near dreamy positive glow. Unlike the contemporaries mentioned, We All Have Hooks For Hands steer clear of the introverted ballads paced at the speed of a broken heart. Not to make to direct of a comparison but the album, The Shape Of Energy feels a lot like the first release of Band Of Horses a few years back. Mostly because of the vocal work of Tim Evenson and Eli Show, who both have Jane’s Addiction high vocal ranges. Driven by the heavy footed drum progressions and the energetic guitar portions, the haze The Shape Of Energy leaves the listener in is almost euphoric. Even though the band is slightly rough around the edges in terms of song structure and the variety is a bit lacking on this album, it all sort of works for the band. As an alterative to all of the weepy eye inducing indie folk acts out there We All Have Hooks For Hands has just the right amount of positive energy to bring life to the most conservative of music libraries. Key tracks on The Shape of Energy are; Howlina And Bellowing, Made Up Of Tiny Lights, California, Bring Me Home.

Dead Leaf Echo | On Their New Vinyl & Shoegazers In General

Gotta love vinyl, and that is exactly what Dead Leaf Echo, a shoegazer band for New York is releasing in limited quantities. It’s an old timey 7inch featuring their new single Half-Truth; the B-side is a previously unreleased cut by the name of Babyeyes. What little we have heard of Dead Leaf Echo we like and the release a vinyl album is a large step for such a small band. It should be noted though, that Deaf Leaf Echo is not the only interesting shoegazer band based out of NYC. Asobi Seksu only recently came out with a very good full length album called Rewolf. But here is a question that has been on our minds, what is the real difference between the European style of shoegazers as seen in bands like The Whitest Boy Alive or The Mary Onettes, and these North American based ones like Deaf Leaf Echo and Asobi Seksu? All of whom, mind you, are very good bands.

Whitfield | Looking At Their New EP Tornado Cutie

They are based out of Vancouver B.C., however, all but one of the members of the band is Canadian. The others originally hail from the U.K., most obviously from across the pond is lead singer Jobie Mallett. There have been many notable U.K. acts to distinguish themselves over the past year, making use of The Cure’s catalogue as inspiration, (The Bravery and White Lies to name a few). Whitfield although are ostensibly a band of the U.K. seem to take from a similar generation as inspiration, but doesn’t lean so heavily on the likes of Robert Smith. The EP itself is well put together and each track is worth listening to, and will make you excited to hear their full length LP once it comes out. You can download this EP for free from their myspace page http://www.myspace.com/whitfieldtheband but only if you tell five friends, i.e. give them five more email addresses to add to their mailing list, or you can pay between $1 to $25. This marketing strategy has become the norm for most indie bands. In order to gain any popularity among the download generation unsigned or unknown musicians have to at least present current or perspective fans with the choice to either pay very little or not at all. This just seems to be the way the music industry is going, digital music has taken on a purely emotional value with little to no economic value attached to it by its listeners.

Everything Is Made In China | Automatic Movements

Everything is made in China, otherwise known as Eimic, is a band that formed in Moscow Russia in 05’. Even with their first album receiving high praise by critics, Everything is Made in China remained for the most part a little Russian secret. Hopefully that has changed with Automatic Movements, the band’s newest album. It will open a new chapter in its existence and more importantly its visibility. In style this album seems to take its inspiration from band’s such as Radiohead, in fact, lead singer Maksim Fedorov’s voice is strikingly similar to that of Thom Yorke. Where you can say with total confidence that Everything is Made In China is just a Radiohead clone would be off base and a step to far. Mainly because they are not nearly as good as Radiohead, but that is a high standard to measure another band against. As well, this band has a kind of art nouveau feel to it, if you venture a visit to their website you are inundated with the overall concept of the their newest project, and the expression and examples of automatic movements. The band goes as far as to define the phenomenon as;

“Automatic movements are movements people often make without conscious thought.”- automovements.com

The meaning of the albums title and the subsequent songs can be taken as a direct attack of the social system that all of us live in and its obligatory responses, the ones that have been programmed into all of us since we learned to cover our mouths when we cough. The album itself takes the listener of a dark journey filled with experimental sounds and barely audible lyrics. Though what you do hear clearly on the album makes you want more. If you never thought you would have a Russian artist in your music library other than Rachmaninoff, then Everything Is Made In China just might be the right band to change your mind.

Top Ten Indie Albums Of 2009

Let’s Wrestle: In The Court Of The Wrestling Let’s (U.K.)

Utterly endearing from start to finish, this is how you could describe the first full length album from Let’s Wrestle, In The Court Of The Wrestling Let’s. A post-punk group with bits of the 80’s lining the vocals, Let’s Wrestle has an energy that propels its deceivingly simple style to incredible heights. The London based band revels in its own raw nature executing songs with a kind of unself-conscious ease that says to the listener, here we are. The vocals in this band are shared well between Wes Patrick and Mike Lightning placing them in the ever popular sing sing, clap clap, we all thing together sub-genre of music which seems to be making its way into every crevasse of the alt rock scene. Nonetheless, it works well, In the Court of the Wrestling Let's is filled with tracks, that’s nature in not being to serious, will bring out the serious music lover in anyone. Though, that is exactly what is intend by the band members, having made it a point to create this album for you and your mates to enjoy together as loud as you want. And with as many tracks as there are on the album there is a lot to explore. Let’s Wrestle’s album stands out among other albums this year because of this tone it exudes, this youthful outlook of apathy mixed with fun. Tracks to that will get the most plays on your iPod off of the album, My Arms Don’t Bend That Way, Damn it!, I’m In Love With Destruction, Diana’s Hair, My Schedule.


The Big Pink: A Brief History of Love (U.K.)

At first listen to this emerging band out of East London, you get a sense of overwhelmingly erratic stimulus. The entire album seems to be dedicated to the expression of noise as the distorted angst of the heart. It’s all in the title of the album, A Brief History Of Love seem to capture something pure through its feedback riddled melodies. The two members that make up this band, Milo Cordell and Robbie Furze have an extensive musical background one in music production the other as an accomplished guitarist. With all this experience the duo has created an album with the touch of the undefined and admittedly at some points the inspired, possibly in spite of itself. As some seasoned musicians seem to go a bit far when let loose to combine and create new hybrid genres such as this one, that being, a kind of darkly ethereal version of Placebo. As an album A Brief History Of Love has legs and grows in its definition the more times you listen to it. At first it’s noisy and feedback filled, then after that it becomes more resounding and you can hear the simple yet provocatively driven pop like choruses. After a while The Big Pink’s album has found its way into the introspective lonely hearts club portion of your music library, and it will be there to stay. Key track off of this album are, To Young To Love, Dominos, and Count Backwards From Ten.



Neko Case: Middle Cyclone (U.S.A)

Who is this Neko Case? A voice that’s as familiar as it is implacable, Neko Case has been apart of Canada’s most unrecognizable export for years, and its not soft wood lumber or Brian Adams. Neko Case has been the better part of the New Pornographers lead vocals, but don’t box her in. Case has released eight solo projects over the years, making good use of her velvety soft vocals, in a style that has been more country western than the indie pop rock we have heard her in with the New Pornographers. But in her latest album Middle Cyclone, there has been a distinct shift away from the heavy country influences, which for the most part would put off fans trying to follow Case off of the success of the New Pornographers last album Challengers. Let’s put it this way in previous Neko Case sole albums we heard a style more akin the Shania Twain, while in this album we are more in the Ryan Adams territory. Kind of a bridge between country and alterative rock, a nomads land where artist like Ryan Adams, Deer Tick, and Aimee Mann dabble oh so sweetly in. You can Add Niko Case to that list, as Middle Cyclone offers us a kind of gentile recounting of acts of love hate and all the things that make up the tapestry of musical lyricty. With a voice like Neko Case there is little that comes out that does not have some appeal. That does not mean there are not a few gems to pay special attention on this album, People Got A Lotta Nerve, I’m an Animal these two will no doubt have a resounding affect on any listeners.

Kings Of Convenience: Declaration of Dependence (Norway)

The Kings of Convenience fall into the category of artists that are so smooth and relaxing they may actually put you to sleep if you are not careful. If you do fall asleep within the first few songs you will be missing out. This is not the only album to come from the musicians that constitute this band. One of them, Erlend Øye, has a side project that is as good as Kings of Convenience called The Whitest Boy Alive, which released an album earlier this year.
In comparison to their last album though, Declaration of Dependence does not fall short. It’s as good as the one which featured guest vocals from Lesley Feist of the band Feist. The new album is more of a reflection on being young and not having made the most of it. With songs like 24-25 telling the story of a year in the life of an age specific person, engaged in futile social games, involving heart shaped balloons and post cards. From the imagery of this song in particular you get more of a sense of where this band directs its energies and attention. In attempting to tell engaging narratives to the soft musical backdrop the Kings Of Convenience transport the listener to a quiet place filled with just enough darkness to counteract their positively relaxing melodies. Perfect for morning commutes on buses and trains, Declaration of Dependence will put in the proper mood for days filled with less pleasant prospects. Key Tracks off of Declaration of Dependence are, 24-25, Boat Behind, Rule My World, Renegade and Freedom and Its Owner.

Phoenix: Wolfgang Amadeus Phoenix (France)

Phoenix has been around for over a decade now, but it wasn’t until their album Wolfgang Amadeus Phoenix that people truly started to take notice. The band’s appearance on Saturday Night Live solidified them as known and their appeal as a broad one and expanding beyond the boarders of France. The latest album itself is a fully functional indie pop explosion, it’s keyboard and guitar rhythms accompanied by the lead singers high pitched voice allows for each track to project a kind of power that compels the listener to hear more. Even the track Love Like A Sunset, which is over seven minutes long, and is mostly instrumental, has a payoff at the ending in a climactic ballad delivered by the lead vocalist Thomas Mars. Wolfgang Amadeus Phoenix stands out among other indie pop acts mainly due to the quality of every track. Most indie pop acts find themselves caught between the artistry/appeal divide, here with Wolfgang Amadeus Phoenix the two flow together effortlessly. At least that is how Phoenix makes it seem. Key Tracks off of this album are, Lisztomania, Rome, 1910, Love Like A Sunset, Girlfriend.

M. Ward: Hold Time (U.S.A)

If you haven’t heard of M. Ward and are a fan of the Portland Oregon music scene, then this band might be right up your ally. M. Ward a.k.a. Matthew Ward has been very busy over the past year or so, being caught up with the wonderful Zooey Deschanel on the She and Him project and more recently Monsters of Folk. That hasn’t stopped him from coming out with a rich and complex album of his own with his newest sole release Hold Time. With fourteen tracks you would think a few would be worthy of your iPod’s skip button, not so. Ward has delivered a value album if there ever was one, loaded with solemn and moody tacks, accompanied by Ward’s signature soft raspy voice. When listening to Hold Time one can’t help but feel relaxed and slightly more content with the universe, it’s just the nature of his music, darkly peaceful, filled with a kind of imagery that will take you places. Tacks to pay close attention to on this album are, Jail Bird, To Save Me, Fisher of Men.


Sunset Rubdown: Dragonslayer (Canada)

The band, lead by one of Wolf Parade's co-lead singers' Spencer Krug, has already released two full length albums with his side project Sunset Rubdown. With the latest of which only having eight tracks, you may think that you are being cheated. That is until you hear what the foursome has produced. Dragonslayer holds true to the vision of Spencer Krug, leaving the listener feeling engulfed in the wonderful yelping anarchy which is Sunset Rubdown, yet the tracks are not as extended as some from previous albums. The work of Sunset Rubdown is the finished expression only touched upon in Krug’s other band, Wolf Parade’s, fantastic album, Apologies to Queen Marry. More specifically, one could say you can hear the beginning of Sunset Rubdown in one song in particular, I Believe In Anything. It really does seem like the touchstone for the musical philosophy of Sunset Rubdown. To say this album’s style is just synth/psychedelic rock is a misstatement, it is many things, as with all of Sunset Rubdown’s albums you never really know what type of musical instrument or turn of phrase will be in a song. “When someone says fuck me, someone else says O.K.” after hearing this lyric in one of their former albums, Shut Up I Am Dreaming, you will fall in love with this band. What a pleasant shock it was to hear that phrase after an extended instrumental part in the The Men Are Called Horsemen There. In Dragonslayer, Camilla Wynne Ingr takes on a more noticeable role in this album to a pleasant affect; her soft voice curbs the often overpowering lyrical delivery of Krug. Track to look out for in Dragonslayer, Idiot Heart, Pager Lace, You Go on Ahead (Trumpet Trumpet II), and the ten minute twenty-eight second monster of a track Dragon’s Lair. Dragonslayer is a great addition to any indie library. If you are of the Wolf Parade persuasion then Sunset Rubdown’s Dragonslayer is a must have.

Timbre Timbre: Self-titled (Canada)

Timbre Timbre, a band out of Toronto Ontario, has been making some indie waves over the past few years. The band has put out two other album, 2006's Cedar Shakes and 2007's Medicinals. The self-titled third album has a distinctive musical flavour to it, one that is dark and consoling. Lead singer of the band, Taylor Kirk possesses a distinct vocal aptitude when singing and is able to reflect both an understated strength and overwhelming unease with every syllable sung. The album’s songs have the qualities of a band whose era is hard to put your finger on. Timbre Timbre is a part of the growing number of era nondescript concept bands, whose first impression always is the cause of some reflection. The thing is, this album could have been made in the 60's 70's 80's 90's etc. Blues, Folk and possibly the supernatural are the main influence for the self-titled album. Making the sound one that takes the listener to a world where imagery and mood could be likened to that of a Grimm Fairytale, played out to brooding melodies of a nondescript era gone by.
As with bands such as, Dr. Dog, Sunset Rubdown, M. Ward, Deer Tick, Kings of Leon, and now Timbre Timbre, we are seeing a new bread of music. One that takes its influences from a host of genres and eras, what results is a style of music that is getting harder and harder to place. These bands do not come off as trying to be something from the past, or unfamiliar, it is simply a reflection of the musicians’ musical interests, which in the case of Timbre Timbre and its members seems to be diverse and refined. Key Tracks off of this album are, Until The Night Is Over, Magic Arrow, I Get Low and No Bold Villain.

White Lies: To Lose My Life (U.K.)

If you haven’t already heard of them…you will. White Lies are an Alt Rock band form West London, and their first album To Lose My Life, has been making its way to the surface of the mainstream music world. Relative unknowns in the U.S. the White Lies have already reached # 1 on the UK Album Charts early this year, that is until they started to pop up on video game soundtracks (Dirt 2) and teen oriented TV shows (Vampire Diaries). Not exactly a ringing endorsement but that is the only way some bands can gain visibility, by filling in the background music of a teen soap. These boys from London have made an album which incorporates the BIG sound music of the 80’s had in spades…think White Wedding, with lyrical balladry that would make even the most hopeless romantic blink an eye. With lyrics like, “lets grow old together…and die at the same time” you get a sense of there intensity or melodrama… either way it is excellent. The entire album seems to be dedicated to death and all his friends. Songs from their debut album to keep an ear out for would be, To Lose My Life and From The Stars.

The Mess Hall: For the Birds (Australia)

There are now two Aussie bands that we need to pay attention to. Wolfmother is a must and has proven itself a power house to be reckoned with, the other is The Mess Hall. The Mess HahUHall is a two man band consisting of Jed Kurzel vocal/guitar and Cec Condon drums/vocals. Wait two man rock band, what comes to mind The White Stripes right. Wrong, they sound nothing like The White Stripes. The sound of The Mess Hall is much grittier than that of the other dynamic duo. In their newest album For The Birds the vocals are often buried beneath with overwhelming low note progression. Stylistically, the band has a lot going for it, combining certain aspects of classic blues with the added bonus of vocal effects making the listener feel as though some of the songs were performed and recorded in an endless hall way, creating echoes and depth and richness of sound. Some tracks off of the new album give you the sense that they were loosely inspired by The Headstones (does anyone remember them?) while others bare a more Ryan Adams feel. What makes things more interesting is the incorporation of ‘the funk’ with Beck-centric style in songs like Bell. Each song off of the album tells a different story and each is worth multiple listens. If you have never heard of The Mess Hall before, then this is a perfect album to spark your interest. It’s richness of content and familiar style makes this Aussie band feel accessible and this album as world class.

Metric | Plug In Plug Out

Metric came out with a new album, Fantasies yearly in the year. As a type of alt-rock with a deep electronic foundation, Metric is a fine example of what happens when you take classically trained musicians put them in Montreal, then mix. This is just what happened in the formative years of the band, all members coming from some kind of Arts background whether it be training in Juilliard (James Shaw) or being the daughter of a well known poet (Emily Haines). Their newest major offering is more ethereal if not confused than pervious albums. Later in the year Metric released an acoustic collection of five songs called Plug In Plug Out, that for some, dwarfed their major release of Fantasies. Songs from Fantasies that might be considered the best if not the only good songs of the album, were Gimme Sympathy (acoustic), Help I'm Alive, Satellite Mind, all of which ended up on Plug In Plug Out plus Twilight Galaxy and Gold Guns Girls. This may seem like a merger sort of album only having five tracks however, they are the highlights from Fantasies put to more appropriate musical settings. Plug In Plug Out showcases was makes Metric a great band, which may have been called into question by some in regards to Fantasies. Many people like the Fantasies album most likely because they had not heard the older albums of Metric which were more apt and properly represented the talent of the band.

Silent League | A Review of Their New Album But You've Always Been the Caretaker

As a band from Brooklyn New York, Silent League stands distinguished from the often roughly depicted city of the band’s base of operations. That is in part because of lead vocalist Justin Russo, closely associated and former member of a psychedelic rock band Mercury Rev. After cutting his teeth with this band, Russo went on to create Silent League, a band that could have been opened up for The Band back in the day. With its delicately woven together list of tracks, But You’ve Always Been the Caretaker is an experiential sort of album. Visceral and complex, the tracks that populate the album stir an oh-so-good kind of feel in the listener that you may become completely swept away in its movements. Currently comprised of five members the band, at least in terms of vocals, sounds similar to Death Cab For Cutie’s Ben Gibbard repackaged in dreampop/Chamberpop style. Don’t be confused though Silent League is not an EMO band drowning in anguish, the vocals are the only real similarity. This is their third album, the first of which was extremely well received by the music community, though the second never got its American release. But You’ve Always Been the Caretaker is sure to make an impact in the Americas. As a mainly orchestral band, many of the tracks off of the album either lead into or out of extended instrumental portions, adding to the album’s depth and length.

The Bravery | Stir the Blood Album Review

The NYC based band The Bravery has come out with its third album Stir the Blood and you can tell that this band has had an effect on the musical currents in the world when you listen to a band such as White Lies, a recent edition to the Robert Smith-centric style of music. That is why we should take notice of The Bravery when they release a new album. Stir the Blood, doesn’t offer much more than the predecessors did, in terms of innovation. Though by maintaining the status quo in terms of style while working on refining what makes The Bravery great, synth heavy creations and a floor rattling level of pumping drum rhythms, the band has produced a noteworthy album. The music of The Bravery often attractively dresses it’s drearily sung vocals with the swirling energy delivered by the instruments. The combination of these elements allows for some interesting song designs and this album Stir the Blood is no exception. The overall tone of the album is that of a disgruntled lovers quarrel, tipped off by some of song titles, Hatefuck and She’s So Bendable. But that same tone continues throughout Stir the Blood moving from lyrics depicting the bendiness of a certain someone to the more heartfelt yet provocative imagery by the end of the album in Sugarpill. Whoever this Flexible Sweetie is, I think we would all like to meet her and in a way by listening to this album, we do. Key Tracks off of Stir the Blood are; Slow Poison, She’s So Bendable and Sugarpill.

Here's a question: there have been a number of bands of the same genre to come out with an album this year. Which was the best? Not exactly the same but similar in sound, bands like Franz Ferdinand with Tonight: Franz Ferdinand, White Lies with their To Lose My Life, Arctic Monkeys with Humbug and Editors In This Light And On This Evening. Which was best?

Track List for Stir the Blood. Due out December 1st 2009
1) Adored
2) Song For Jacob
3) Slow Poison
4) Hatefuck
5) I Am Your Skin
6) She’s So Bendable
7) The Spectator
8) T Have Seen The Future
9) Red Hands And White Knuckles
10) Jack-O’-Lantern Man
11) Sugarpill

Battle Of The Supergroups | Chicken Foot Vs. Them Crooked Vultures Vs. Monsters of Folk

Right off the bat you might be asking yourselves what the hell is Monsters of Folk doing in this head to head… to head? Well, there have been three major Supergroups to produce an album this year, Chicken Foot, Monsters of Folk and the latest Them Crooked Vultures. One of these just happens to be less metal/rock oriented, and the title of this band might have given away their style of choice. This should not exclude the Monsters of Folk from being involved in this battle, they stand a fighting chance. By the numbers alone Monsters of Folk has a head start as a foursome, albeit a foursome of thin, pasty skinned banjo wielding folk artists. One of the bands, Them Crooked Vultures is for all intents and purposes a threesome (if we omit Alain Johannes who is only featured and not a member of the band), a threesome of glass eating, fire breathing legends of rock/metal. Luckily, for the members of Monsters of Folk, there will be no actual physical confrontation between the groups. And the physical description of them, that was so delicately crafted, bares little resemblance to the members that constitute Monsters of Folk, just so we are clear.
Supergroups seem to be all the rage these days and why not? The effect of Supergroups are obvious and economical, musicians like to play and perform with their peers, it’s what they do, they perform, and the better the group is as a whole the better they feel about their individual performances. The Monsters of Folk is a variation on the whole super group idea. And Bands like Them Crooked Vultures are made up of some of the most prolific figures in the music industry and rock world. The Monsters of Folk and its’ members are cut from a different cloth. Made up of some very talented men, the guys that constitute the Monsters of Folk are much less prolific than the men who make up the roster for Them Crooked Vultures. Jim James of My Morning Jacket was very much responsible for the eclectic and richly performed tracks off of My Morning Jacket’s last album Evil Urges, (the track Librarian is especially odd and enjoyable, highly recommended). He and Matt Ward of M. Ward and She & Him make up the notables of this group. There is of course Conor Orerst and Mike Mogis of Bright Eyes, they round out the foursome, though they are lesser known by most. But the principle that gathered these men together also brought the members of Them Crooked Vultures together, the effect of musical collaboration, and most likely the thrill of performing with musical peers and in the case of John Paul Jones, a living legend. Though, Monsters of Folk is an impressive assembly of musicians the end result does not propel then as a group above anything they have done on their own. Some of the tracks off of Monsters of Folk self-titled album just fall flat keep that in mind while listening to the Them Crooked Vultures’ album and you will realize the difference.
Them Crooked Vultures, a Supergroup comprised of vocalist and guitarist Josh Homme of Queens of the Stone Age and Eagles of Death Metal. As the drummer Dave Grohl famously of Foo Fighters, Nirvana, fills that position and bassist and keyboardist John Paul Jones of Led Zeppelin, the band also features Alain Johannes another member of Queens of the Stone Age as the rhythm guitarist. The self-titled debut album starts off with a bang, with No One Loves Me & Neither Do I, Grohl’s drum work is one of a kind and may make you have Nirvana flashbacks. Grohl isn’t a one trick pony among this collection of apex musicians, he also pulls out a little Phil Collins action on Mind Eraser, No Chaser. Let’s not forget the rest of the band though, it’s the whole package that makes the album work so well. Homme’s voice is one of the best in the music industry, the highlights of which came out of his Queens of the Stone Age album Lullabies To Paralyze. John Paul Jones is a living legend, and at 63 years old Jones’ fingers still work just fine. So many bands these days try and recapture the visceral bass power riffing of classic bands such as Led Zeppelin, with Them Crooked Vultures there is no need to emulate because they posses one of the sources. Combined, the group sounds like a supercharges version of Queens of the Stone Age, a band that has always managed to find great talent to fill the band’s roster, but never the likes of Zeppelin alum. That’s a whole other bag of peanuts boys and girls. Of course we could be mistaken, the associate contributors to Queens of the Stone Age stands at thirty-five, who knows maybe Robert Plant slipped in for a couple of tracks without anyone noticing…doubtful.
What about Chicken Foot and how does that band measure up against Them Crooked Vultures? Well, Chicken Foot is comprised of big name musicians too, Sammy Hager, Joe Satriani, Michael Anthony and Chad Smith. Essentially that band is made up of the bones of Van Halen and the Red Hot Chili Peppers. Their self-titled debut album consists of numerous tracks that are easily identifiably as Hager’s brand of rock. That is both the best part and the downfall of this album. At first is seems that the failure of Chicken Foot is in its inability to do something different, even with great tracks like Oh, Yeah littering the album. In reality, the track My Kind of Girl acts as kind of a touchstone for the whole concepts of Chicken Foot, with lines like “she’s broken down, broken hearts, broken fool, out of touch in a modern world. But she is my kind of girl.” It is interesting that a band filled with such lotharios would choose the image of a spend woman with a tattoo on her ass as a representation of themselves. The sentiment though, is one that is shared by many followers of Hagar and the genre alike, in that, even though Chicken Foot’s style of music is out of touch with the modern world it’s still what they love and they are not going to turn their backs on it. On that basis alone you have to respect the members of Chicken Foot and what they produced. In contrast, Them Crooked Vultures managed to expand on the style of music the band members have been made famous for and taking it in a new direction. For diehard fans of Hagar, in particular, the Chicken Foot experiment will no doubt be added to their music libraries.
Where does this leave us? Perhaps a tie is in order between Monsters of Folk and Chicken Foot but when you get right down to it (as a personal preference) Chicken Foot comes in third in this ranking. As for Monsters of Folk it turned out that the sum of the band was not as great as the parts it is made out of. Even though some of the tracks off of this album are less than spectacular, the originality of others redeems the album and places it above Chicken Foot’s. That is it then. Them Crooked Vultures take the battle of the Supergroups of 2009 due to the records overall quality.

What order would you put them in?

Asobi Seksu | A Review of Rewolf

Shoegazers unite! It seems that the subgenre of shoegazer is one that can bridge language barriers. And its growing popularity of continent is becoming more prevalent. Two other bands come to mind, at least from this year, who fall into the near mystical class of music. Those bands are The Whitest Boy Alive based out of Germany and The Mary Onettes who hail from Sweden. Each band is distinct but bares that very identifiable feeling of a shoegazer/dream pop type band. Now, you can add the band Asobi Seksu to that list of notable musicians of that music scene. This album is not the first go around for the band that is based out of New York City. Rewolf is the fifth full length album that the band has released, the first under the band’s previous name Sportfuck. As with shoegazer bands the melodies in Rewolf put the foot peddles and keyboards through their paces. The lead vocalist of the band Yuki Chikudate performs a delicate set, genially drawing in the listener. Why you might what to listen to this album, boils down to the unique experience Rewolf provides incorporating very stylized vocal work and soothing instrumental performances. Key Tracks off of the album are, Breathe into Glass, Meh No Mae and Familiar Light.

The Mess Hall | Taking a Look at the Album For the Birds

There are now two Aussie bands that we need to pay attention to. Wolfmother is a must and has proven itself a power house to be reckoned with, the other is The Mess Hall. The Mess HahUHall is a two man band consisting of Jed Kurzel vocal/guitar and Cec Condon drums/vocals. Wait two man rock band, what comes to mind The White Stripes right. Wrong, they sound nothing like The White Stripes. The sound of The Mess Hall is much grittier than that of the other dynamic duo. In their newest album For The Birds the vocals are often buried beneath with overwhelming low note progression. Stylistically, the band has a lot going for it, combining certain aspects of classic blues with the added bonus of vocal effects making the listener feel as though some of the songs were performed and recorded in an endless hall way, creating echoes and depth and richness of sound. Some tracks off of the new album give you the sense that they were loosely inspired by the Boss while others bare a more Ryan Adams feel. What makes things more interesting is the incorporation of ‘the funk’ with Beck-centric style in songs like Bell. Each song off of the album tells a different story and each is worth multiple listens. If you have never heard of The Mess Hall before, then this is a perfect album to spark your interest. It’s richness of content and familiar style makes this Aussie band feel accessible.

Them Crooked Vultures | Why Should You Listen To Them Crooked Vultures

Them Crooked Vultures, a Supergroup comprised of vocalist and guitarist Josh Homme of Queens of the Stone Age and Eagles of Death Metal. As the drummer Dave Grohl famously of Foo Fighters and Nirvana, fills that position and bassist and keyboardist John Paul Jones of Led Zeppelin. The band also features Alain Johannes another member of Queens of the Stone Age as the rhythm guitarist. The self-titled debut album starts off with a bang, with No One Loves Me & Neither Do I, Grohl’s drum work is one of a kind and may make you have Nirvana flashbacks. Grohl isn’t a one trick pony among this collection of apex musicians, he also pulls out a little Phil Collins action on Mind Eraser, No Chaser. Let’s not forget the rest of the band though, it’s the whole package that makes the album work so well. Homme’s voice is one of the best in the music industry, the highlights of which came out of his Queens of the Stone Age album Lullabies To Paralyze. John Paul Jones is a living legend, and at 63 years old Jones’ fingers still work just fine. So many bands these days try and recapture the visceral guitar power riffing of classic bands such as Led Zeppelin, with Them Crooked Vultures there is no need to emulate because they posses one of the sources. Combined, the group sounds like a supercharges version of Queens of the Stone Age, a band that has always managed to find great talent to fill the band’s roster, but never the likes of Zeppelin alum. That’s a whole other bag of peanuts boys and girls. Of course we could be mistaken, the associate contributors to Queens of the Stone Age stands at thirty-five, who knows maybe Robert Plant slipped in for a couple of tracks without anyone noticing…doubtful.
Supergroups seem to be all the rage these days and why not? The effect of Supergroups are obvious and economical, musicians like to play and perform with their peers, it’s what they do, they perform, and the better the group is as a whole the better they feel about their individual performances. The Monsters of Folk is a variation on the whole super group idea. And Bands like Them Crooked Vultures are made up of some of the most prolific figures in the music industry and rock world. The Monsters of Folk and its’ members are cut from a different cloth. Made up of some very talented men, the guys that constitute the Monsters of Folk are much less prolific than the men who make up the roster for Them Crooked Vultures. Jim James of My Morning Jacket was very much responsible for the eclectic and richly performed tracks off of My Morning Jacket’s last album Evil Urges, (the track Librarian is especially odd and enjoyable, highly recommended). He and Matt Ward of M. Ward and She & Him make up the notables of this group. There is of course Conor Orerst and Mike Mogis of Bright Eyes, they round out the foursome, though they are lesser known by most. But the principle that gathered these men together also brought the members of Them Crooked Vultures together, the effect of musical collaboration, and most likely the thrill of performing with musical peers and in the case of John Paul Jones, a living legend.
Not to depart much, but it seems with bands such as, Dr. Dog, Sunset Rubdown, M. Ward, Deer Tick, Kings of Leon, we are seeing a new bread of music. One that takes its influences from a host of genres and eras, what results is a style of music that is getting harder and harder to place. They do not come off as a style that is trying to be something from the past, or a style that is unfamiliar, it is simply a reflection of the musicians’ musical interests. In contrast we have Them Crooked Vultures comprised of some very well respected musicians, who instead of saying ‘hey, we should have some serious throwback riffs on this album…something like you would hear on a Zeppelin album,’ during the initial formation of the band and its sound didn’t say just said, ‘Let’s get John Paul Jones to play in the band we are putting together.’ The distinction is what really puts Them Crooked Vultures at the top of the heap, they didn’t simply absorb the essence of the great music of decades gone by in a wonderful synthesis, they went to the source. They released the album on the 9th of November from their YouTube page to the dismay of some onlookers. The main release date is the 16th of the same month. Key Tracks off of the self-titled album of Them Crooked Vultures are, No One Loves Me & Neither Do I, Scumbag Blues, Warsaw Or The First Breath You Take After You Give Up and so on. It might just be that the whole album is key.

Tracklist:
01 - No One Loves Me & Neither Do I
02 - Mind Eraser, No Chaser
03 - New Fang
04 - Dead End Friends
05 - Elephants
06 - Scumbag Blues
07 - Bandoliers
08 - Reptiles
09 - Interlude With Ludes
10 - Warsaw Or The First Breath You Take After You Give Up
11 - Caligulove
12 - Gunman
13 - Spinning In Daffodils

The Mary Onettes | A Look At Their New Album Islands

The Mary Onettes have released their second album Islands. The band is categorized as an indie dream pop style of band, which is an apt description of the Swedish bands style. Like some heart wrenching moment out of a 80’s teen movie, the cuts off of Islands’ resonate in the light haze of the band’s musical ambiance. Not to draw too direct of a comparison, but The Mary Onettes bare some similarities to bands such as The Cure and Jesus and Mary Chain, but what makes this band more than just another band in the lengthening list of retro revive bands popping up all over the globe is that they have made it enough their own so that when you listen to the album you don’t feel as though the musicians are trying to be something they are not. The music they have produced seems to come not as a forced menagerie of bands gone by but more as a synthesis of the uncongenially appreciation of all things 80’s. There are a few other bands that came out with albums this year that are within this reemerging style of music.

Unlike The Mary Onettes these bands all come out of the U.K. The White Lies, came out with their first album at the start of 09’ and has been gaining popularity ever since. The Big Pink and their album A Brief History Of Love seem to capture something through its Feedback riddled melodies. The XX or just XX released their first album in August of this year and for such a new band it is impressive just how refined the tracks that populate this self titled album really are. The keyboard and guitar play a more mood setting role on the album creating a flat often numbing sensation which in a very real way captures the essence of the 80’s.

Lady Led Canadian Indie Bands In a Full On Versus Extravaganza | Metric vs. Tegan And Sara vs. Magneta Lane

There have been three major album releases from Canadian based lady led bands. The First came with Metric’s Release of Fantasies. The Second came much later in the year with Magneta Lane’s Gambling With God. The Third act is that of the twin sister lead Tegan And Sara who have only recently come out with their sixth album Sainthood. These three bands create a good representation of what is out their in the music world in terms of stylistic ideologies. But which came out with the best album this year? Putting aside any past glory we are going to look at each bands’ latest offering and rank them on that basis. Now, a major issue with comparing these bands comes with the simple fact that, like I said, they are stylistically different, Metric has more of a contemporary underground feel to it while Tegan and Sara convey a much more pop-centric tone accompanied by delicate melodies, Megneta Lane distinguishes itself with it’s familiar Ramones/The Pretenders vibe.
The best way to start is with comparing the most similar artists, in this case that would be Metric and Tegan and Sara. These two bands have a lot going for them including but not restricted to their sounds. The voice of Metric, Emily Haines, and lead singers of Tegan and Sara seem to have similar characteristics, ones that embody a kind of arid sadness, and both bands reside in the bread of indie-pop. Emily Haines and her band Metric have come out with a new album months ago, Fantasies. As a type of indie-pop with a deep electronic foundation, Metric is a fine example of what happens when you take classically trained musicians put them in Montreal/Toronto, then mix. This is just what happened in the formative years of the band, all members coming from some kind of Arts background whether it be training in Juilliard (James Shaw) or being the daughter of a well known poet (Emily Haines). Their newest offering is more ethereal if not confused than pervious albums. Nevertheless, this album offers us a music selection which is inventive at some points and comfortingly familiar in others. Though, this album is far less appealing than others released by the band and if you are a fan of Metric you may be disappointed with this one.
If you could compare the offerings of Tegan and Sara to any other bands, it would be a kind of perverted mixture of Courtney Love’s Hole and the Yeah Yeah Yeahs. That is not to say they somehow are outdone by Metric, it is actually the opposite. Tegan and Sara’s Sainthood somehow finds itself more redeemable than the confused Fantasies delivered by Metric. In visceral appeal alone Sainthood stands about Fantasies, it contains more interesting, if not pleasant tracks than the other. (Side Note: Metric's acoustic album Plug In Plug Out contains some amazing renditions of the tracks off of Fantasies, ones that might make you think… ‘why couldn’t they make the whole Fantasies album sound like this?’.)
So what does that leave? Magneta Lane and Tegan and Sara, it seems that sibling/cousin filled bands are popping up all over the place in Canada, I guess there really are not that many people in that country. Tegan and Sara being twin sisters and all and Magneta Lane’s members also have a pair of sisters plus a cousin, making both bands a family affair. Magneta Lane, a band heavily influenced by classics such as The Pretenders, Sonic Youth and The Kinks, and have most recently released the album Gambling With God. The album features a number of finely executed tracks, so much so you may think the band hails from some nook in down town Montreal or played their way through the dive bars in and around New York City. This threesome is in fact from Toronto Ontario and Gambling with God as their third album is… quite the album. As you listen to it you can hear a number of influences and they coalesce in a way that brings about a sense of the band’s appreciation of both the new and old.
Gambling with God is a more clear-cut brand of Alt-Rock, filled with a casual sense of lyrical storytelling. The vocals delivered by lead singer Lexi Valentine are at some points reminiscent of Zooey Deschanel of She & Him, that is, if Zooey had any vocal edge at all. The melodies are relatively simplistic, and while the execution is precise. Gambling with God is no gamble at all (hold for applause). With a solid collection of tracks this album is by far the best female-only rock album of the year. But what makes Magneta Lane’s album superior to that of the others mentioned is heart, Fantasies and Sainthood are too pop-centric, they leave you feeling musically malnourished. Stepping over both Metric and Tegan and Sara for the simple reason that the album Gambling with God is a surprise that continues to maintain its initial appeal due to the more potent content, while the other two albums are more suitable for the Wal-Mart ‘Hot Picks’ rack.
How it all played out: Metric’s album Fantasies finds itself at the bottom of the pile in third place due to its overall disappointing nature. Tegan and Sara fill in the middle slot with Sainthood, with its pop pleasant sound and numerous catchy tracks. The winner overall is the less notable yet more musically interesting Megneta Lane’s album Gambling With God.

Thao And The Get Down Stay Down | Know Better Learn Faster

Thao And The Get Down Stay Down have released a new album Know Better Learn Faster. With breezy guitar riffs and occasional banjo this Indie folk band is in the same line of performers as M. Ward, but with a female lead vocalist. Lead singer Thao Nguyen was raised in Falls Church, Virginia by her mother and met her band members throughout high school and College. Thao And The Get Down Stay Down have made a total of four albums together, Like the Linen (2005), Day Trotter Sessions (2006), We Brave Bee Stings And All (2008) and their newest Know Better Learn Faster (2009). Thao And The Get Down Stay Down have produced a number of thoughtful albums that embody varying moods. Know Better Learn Faster has more of a darkly whimsical undertone that shows itself in the album’s fast paced songs and lyrics spouting things like, “What am I just a body in your body in your bed?”. The entire album has a mood separate from the older albums mentioned while feeling as though it is standing of the shoulders of came before it.

Julian Casablancas of The Strokes | Taking A Look At His Solo Album PHRAZES FOR THE YOUNG

It’s been three years since The Strokes came out with First Impressions of Earth in 2006 and with the next album’s drop impending within a few months, Julian Casablancas the voice of the band has released a solo album entitled PHRAZES FOR THE YOUNG. This is not the only side project that has sprung from the members of The Strokes. Albert Hammond, Jr., the band’s guitarist has also taken the time between The Strokes albums to make two of his own, Yours To Keep in 06’ and ¿Cómo Te Llama? in 08’. Interesting albums in their own right but lacking the gusto of anything The Strokes have produced.

Casablancas’ album has definite similarities to the albums of The Strokes with a few exceptions. Violins, drum machines, and synth line the tracks of this album, however, accompanied by Casablancas’ signature vocals PHRAZES FOR THE YOUNG begins to take on a ‘what if’ feeling. As in what if The Strokes was a synth filled near 80’s revival band. The intro of the song Left & Right In The Dark sound strikingly similar to the main melody of Walk of Life by the Dire Straits. But this album is more than that, the diverse instrumental coupling, synthetic or not, allows for the uniquely constructed to get its vision across. The goal of PHRAZES FOR THE YOUNG, as well as its’ title, was inspired by the Oscar Wild quote “Phrases and Philosophies for the Use of the Young,” in that Casablancas tries to both tap into the heart of popular music currently out there while at the same time incorporating his own interpretations. In other words, PHRAZES FOR THE YOUNG is a trend album based on what Casablanacas likes and wants to add to. The songs of this album run slightly longer than most alt-rock albums, perhaps making up for the minimal number of tracks that make up the album. With only eight tracks and shortest song having a run time of 4:05 one shouldn’t feel too upset given the full run time of the album finishes up a little after the 40 minute mark. For The Strokes fan base this will be a nice departure into ‘what if land’ comforted in the knowledge that with the experimental forces at work within the members of the band being met in side projects their next album, set to be released in early 2010, will stand true to the style and spirit of The Strokes.

Weezer | RADITUDE (Deluxe Edition) A Review

It has only been a year and a bit since the release of Weezer’s The Red Album, an indie rock based love note to a misspent youth. The Red album was vintage Weezer, a little bit nerdy with a lot of catchy tunes. Raditude the Deluxe Edition is a 53 minute exploration of the lighter side of Weezer’s musical style. Rivers Cuomo, the voice of Weezer, has always exuded a certain breed of self flagellating charisma, note songs such as Buddy Holly and more recently The Greatest Man That Ever Lived (Variations On A Shaker Hymn). Raditude, to be honest, brings out a different less appealing side of Weezer, with its multiple guest musicians it comes off as the beginning of an unwanted stylistic mash-up. Featured contributions on Raditude include Butch Walker, Jermaine Dupri and the All-American Rejects. Not exactly a line up that makes you get excited. A Hindi influence comes into play with the song Love Is The Answer, which might make some think that somebody has seen Slumdog Millionaire a few too many times… that means you Cuomo.
When front man Rivers Cuomo was working on The Red Album it more intriguing that he would spend so much time interacting with fans online and using their input to develop the songs that we ended up hearing. Perhaps it has not been long enough since the last album or maybe fans feel a little bit less connected with this one but Ratitude stands out as one of the lesser Weezer albums to date. With a few exceptions in tracks like, Tripping Down The Freeway and I Don't Want To Let You Go hardcore Weezer fans might be left wondering what happened to their band. After listening to Raditude (Deluxe Edition) you have the feeling that a lot of experimentation was going on while making the tracks that populate the record, which for some might come as a greatly appreciated departure for the band into some less carted stylistic waters. But for others Raditude the ‘Deluxe Edition’ or otherwise will be less enjoyed and more distained. Perhaps after getting this out of the band’s system Weezer will get back to making more palatable albums like their Blue Album or even a Make Believe would do. If the band continues to create albums every year as they have been over the past two year then we can just hope that next year will bear better results.

Grant-Lee Phillips | A Review Of Little Moon

As a relatively unknown artist Grant-Lee Phillips has hidden with the shadow of his indie label Rounder Records making world class music. His albums call to mind the legends of eras gone by like the Boss and Bob Dylan even a little bit of Neil Young for good measure, they touch upon the very fabric of what made those artists so prolific. Maybe because Phillips is himself more generationally apt when it comes to such men, Phillips became known and distributed only ten years ago but within that time he has released a number of albums that achieve a kind of humble greatness. In his latest album Little Moon, Phillips delivers an emotive auditory experience that genuinely excites the listener.
There is something to be said for musicians of the working class and their take on music. It seems they have created their own niche where lyrics speak of the impossible which has been achieved and all of the dreams seem to of come true while baring the red and white banner within their front shirt pocket, boldly titled, Marlboro. These images are the embodiment of the American Dream-centric artists whose gentle souls seem to exude reflective playfulness and insight in every note and lyric. Songs like the Strangest Thing highlight the style of Phillips as a piano laced tune with the refrain that states “I don’t feel bad when Cash wares black I hear the train coming…”, you get an idea of where this singer song writer is coming from. Key tracks are, Little Moon, Strangest Thing, Seal It With A Kiss and Older Now.

Wolfmother | A Review of Cosmic Egg

The Biggest thing to come out of Australia since giant cans of Fosters beer, Wolfmother’s sophomore album entitled Cosmic Egg is also extremely intoxicating. Wolfmother seemed to come out of nowhere, as a cross between the White Stripes and Black Sabbeth they tore it up with cuts like Woman in their self-titled debut album a few years ago. What Wolfmother seems to have in spades is the talent and with the addition of two new members to the line up the album has taken on a different sound than their first, more ballsy and more epic in lyrical imagery. Nice touches of the old and the new are in Cosmic Egg rotating between metal, hard rock and bluesy numbers. While listening to Cosmic Egg you will feel as though the music is being blown through your ears and into your brain creating a gypsy riddled world filled with mythological creatures in a battle to the death, under a full moon psychedelically coloured with the blood of the fallen. Though that may be a bit sardonic the intent is pure. Wolfmother must be taken as a visceral experience like the feeling of bass that you get in your sternum during one of their shows every time a low note is hit.

It’s a driving album. If Cosmic Egg were the theme to a road trip it would take place on an endless stretch of dessert highway on the way to Las Vegas, picking up hitchhikers on the side of the road only to happily leave them stranded in even worse places then they began, making strange acquaintances with women that you meet standing in front of truck stop chapels along the way and in the end never really making it to your final destination. That’s the point though, the journey from point A to point B. As it stands, attempting to define a rock or metal band is like trying to catch the tail of a commit, or trying to bottle energy and sell it as a drink. People try and try to do it, but in the end you just look ridiculous and are left with the shakes.
Track List For Cosmic Egg Out October 27th

1. California Queen
2. New Moon Rising
3. White Feather
4. Sundail
5. In The Morning
6. 10,000 Feet
7. Cosmic Egg
8. Far Away
9. Pilgrim
10. In The Castle
11. Phoenix

12. Violence Of The Sun

Dawes | A Review of Their Debut Album North Hills

Dawes a band out of Los Angeles has come out with their first album North Hills. Fans of similar roots-rockers like Dr. Dog should be excited over this new addition to the music world. The album North Hills has a hearty sound to it as though it was forged in a vintage whiskey bar. The songs that populate the track list are light and subtle. With a simplicity of sound of the band that lulls you into a sense of comfort and familiarity which only makes for a more enjoyable listening experience. Tracks like Give Me Time have an unmistakable feel to them, a feeling that just doesn’t seem to belong to this time unless they are being played on a classic rock station. Even so, Dawes does not come across as a poser band or wannabees. What they seems to be doing is taking from a golden era of music that for the most part has managed to prove itself timeless. North Hills could be considered a retro rock revamp by some, when in fact they are a part of the growing movement of musicians all around the world that have not revamped a type of music because it was popular, but like so many other people have rediscovered the classics and want to be apart of it. Even though the musicians who make up Dawes were still in diapers while music similar to theirs was becoming popular, that just means their music was inspired by the best. Musicians like Bob Dylan, Neil Young, CCR, The Rolling Stones and of course The Beatles are either so engrained in the hearts and minds of anyone who has ever listened to music or are on their way to being so through the vast/free collection of music available on the web. What it comes down to though more than anything or any inspirational influences is the end result. And what Dawes have created feels substantial and will no doubt live on past the life of all of the fellow releases of that month filled with uninspired electronica and 80’s reboots. Dawes is a sweet California dream that contains echoes of the past and speaks to the present. Key tacks of North Hills are, That Western Skyline, When You Call My Name, Give Me Time and If You Let Me Be Your Anchor.

Royal Bangs | A Review of Let It Beep

Royal Bangs, a band out of Knoxville Tennessee, has just released their second album Let It Beep, an album that is filled with Beck-centric sounds. As a relatively new band the Royal Bangs have yet to make much of a name for themselves in the music industry. As a nice blend of electronica and indie rock Let It Beep gives little in terms of shocking originality or anything like that. Instead it offers us a fully functional set of tracks that provide the listener with what music should be an escape. The imagery of the album is secondary to the tone of the music, which is above all well paced. This self proclaimed ‘neo-soul’ band may not have the customary brooding attitude that one might ascribe to a ‘soulful’ band, but that does not mean that Royal Bangs does not have heart. Among the synth lined tracks and semi-power ballades is the impression of playful feelings mixed with self-deprecation for good measure. The bottom line on this band is that it has produced a quality album that should be enjoyed by all in the mood for a little bit of Tennessee goodness.

Timbre Timbre | Demons Like To Dance To The Music Of Timbre Timbre

Timbre Timbre, a band out of Toronto Ontario, has been making some indie waves over the past few years. The band has put out two other album, 2006's Cedar Shakes and 2007's Medicinals. The self-titled third album has a distinctive musical flavour to it, one that is dark and consoling. Lead singer of the band, Taylor Kirk possesses a distinct vocal aptitude when singing and is able to reflect both an understated strength and overwhelming unease. They have the qualities of a band whose era is hard to put your finger on. Timbre Timbre is a part of the growing number of era nondescript concept bands, whose first impression always is the cause of some reflection. The thing is, this album could have been made in the 60's 70's 80's 90's etc. Blues, Folk and possibly the supernatural are the main influence for the self-titled album. Making the sound one that takes the listener to a world where imagery and mood could be likened to that of a Grimm Fairytale, played out to brooding melodies of a nondescript era.

As with bands such as, Dr. Dog, Sunset Rubdown, M. Ward, Deer Tick, Kings of Leon, and now Timbre Timbre, we are seeing a new bread of music. One that takes its influences from a host of genres and eras, what results is a style of music that is getting harder and harder to place. They do not come off as a style that is trying to be something from the past, or a style that is unfamiliar, it is simply a reflection of the musicians’ musical interests, which in the case of Timbre Timbre and its members seems to be diverse and refined. All of this may be a result of the sheer amount of readily available music at the touch of a button, from so many different eras. The history of modern/popular music now stretches back almost seventy years and it is available for anyone from now on to review, emulate, refine and do so without bounds. Taking the musical style of their choosing from any genre or era and make it their own. It’s that damn pot… it’s melted. Key Tracks off of this album are, Until The Night Is Over, Magic Arrow, I Get Low and No Bold Villain.

Editors | A Review of In This Light And On This Evening

The Editors have given us two albums before In This Light And On This Evening, both of which were lightly inspired by the sound of the 80’s. They were for the most part a straight indie alt-rock band and had the sound to prove it, but this new one has taken the idea of a reenvisioning the sound of the 80’s to a whole new level. Not to mention the vocal adjustment of lead singer Tom Smith to a somehow deeper expression of his singing style. The Editors have taken a new approach to this album adding familiar synth sounds that you may not be able to place all at once. On the track Bricks and Mortar the entire genesis of the song seems to be based around the ominous music that populated the background of the original Terminator movie. Although a variation from what you hear in the cult classic theme, the idea of taking something so deeply ingrained into the consciousness of a certain generation and twisting it into something new is either campy or genius. At some points of the album you feel like you are listening to New Order, that is not a bad thing. The whole 80’s reenvisioning seems to be gaining the most steam in the UK with bands like XX, Big Pink and others leading the charge. Why not they are only proving the idea of the 20 year cycle, what is that you might ask? The 20 year cycle simply put, revolves around the idea that every 20 years people or record labels seem to become nostalgic and look back two decades for inspiration and this is why the music and fashion of years gone by tends to reemerge in a slightly different form. What is the date again? 2009 right? How long will this re-varnished version of that decades music be around for, a year or two, maybe more. As for the Editors their new album is an interesting and pleasant mix of the new and old, like spraying canned new car smell in a 1984 Chevy Malibu. It’s enjoyable, slightly nostalgic and it may give some people a headache to be around. Key tracks on In This Light And On This Evening, Bricks and Mortar, The Boxer and Eat Raw Meat = Blood Drool.