Arctic Monkeys: A Review of Humbug 2009

Solid. This is how you could describe the Arctic Monkeys’ upcoming album Humbug. May it’s because it has been a long time since hearing an album from this band, this album insights visions of Oasis of the good years and of more current bands like My Morning Jacket. Nobody likes direct comparisons, so remember Humbug insights visions not comparisons to the other bands mentioned. Arctic Monkeys received a large amount of attention for their first major song release I Bet You Look Good on the Dancefloor only to be somewhat forgotten by the rest of the world in the years following. Originally the sound of the band was rough in execution and considerably more static in its content, not so for Humbug. The Arctic Monkeys have refined there sound not to any point of annoyance, but to the point and station of precision that musicians seem to attain over time. Humbug has a permeating tone that rests comfortably between the now and the then. In that it incorporates certain characteristics more associated with psychedelic rock of years gone by while retaining much of what made them so popular in recent years. Humbug is a solid album and may even get better over time, certain song off of the album deserve special attention, Crying Lightning, Secret Door and Cornerstone.

Release Date: August 30th 2009
Track List
1. My Propeller
2. Crying Lightning
3. Dangerous Animals
4. Secret Door
5. Potion Approaching
6. Fire And The Thud
7. Cornerstone
8. Dance Little Lair
9. Pretty Visitors
10. The Jeweller’s Hands

Neko Case: Middle Cyclone

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 here in with the New Pornographers. But in her latest album Middle Cyclone, there has been a distinct shift away from the heavily country influences, which for the most part 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 to the likes of 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 lyrics. With a voce like Neko Case there is little that comes out that does not have some appeal. That does not mean that there are not a few gems to pay special attention on this album, People Got A Lotta Nerve, I’m an Amimal these two will no doubt have a resounding affect on any listeners.

The Whitest Boy Alive: Rules A Review

The Whitest Boy Alive would technically be described as shoegazer band, a title that becomes self-evident when watching the band perform not because the band members are bashful, but because their musical technique requires a lot peddle work in order to pull off. Personally, their sound seems more akin to an experimental jazz band with elevator music influences. Don’t let that description dissuade you, this band which hails from Germany have cornered the market with this style of music as their niche. The lead singer of this band is also the front man for another, possibly more relaxed band called the Kings Of Convenience. The Kings Of Convenience were and are a excellent band, attracting the likes of Feist to lend vocals on an album. But enough about The Kings Of Convenience, the latest offering from The Whitest Boy Alive, Rules is complex yet allows for a pleasant listening experience. Don’t expect anything too heave from these very white boys, all of the tracks off of this album are melodic and only reach a pace more akin to brisk jog than a head banging heart pounding power ballad. But, that is what the band is going for in terms of their musical style, that being said, Rules is great for what it is. Definitely not for all people and more of an acquired taste to be sure, but what The Whitest Boy Alive have going for them is quality. Rules is very refined and polished which makes it worth multiple listens. Some must have tracks off of Rules are, Courage, Dead End, High On The Heels, and 1517.

Modest Mouse: No One’s First And You’re Next

Modest Mouse is set to put out a few unreleased tracks from their past two albums as well as some B-side material. B-side material is always something to be excited about for almost every band, containing the less commercial more experiment side of a band. With No One’s First And You’re Next we get a solid compilation of the best the band has to offer. If anything at all, No One’s First And You’re Next is a great introduction to Modest Mouse newcomers. These are not the overplayed tracks we are all so familiar with… Float On. These tracks are quite fresh, for those of us who do not listen to artists B-sides or even pick up singles. Which in this case is a good thing, since this compilation of unreleased or semi-unreleased songs is… good. Mind you, this album is small only having eight tracks so you shouldn’t be expecting a Good News for People Who Love Bad News, sized offering. Though, No One’s First And You’re Next is a must have for any Modest Mouse aficionado and makes for a introduction to the band’s pleasant musical style, with its near barking vocals and imaginative incorporation of instruments and melodies. One of the featured tracks King Rat has a dead celebrity connection, as Heath Leger’s production company was connected with the making of the music video for that song. Great songs from this album are, Guilty Cocker Spaniels, Autumn Beds, History Sticks To Your Feet.

No One’s First And You’re Next: Track List

1. Satellite Skin

2. Guilty Cocker Spaniels

3. Autumn Beds

4. The Whale Song

5. Perpetual Motion Machine

6. History Sticks To Your Feet

7. King Rat

8. I've Got It All (Most)

Billy Talent: Billy Talent III

Billy Talent III the very creatively titled album recently released by Billy Talent a band which has reached the heights of success with there own brand of angry punk rock. As tight as the new album may be, it lacks the raw power of the band’s older work. It would be nice to say that this album is just the same old Billy Talent and leave it at that, but the band has moved through different phases and they have become progressively more limp-dicked as time has gone by. Billy Talent III, relies more on the plateau factor than any real innovation. Plateau Factor? You see once an indie band such as Billy Talent emerges from its humble starts, playing in pubs and at parties, and they make a name for themselves then they become locked into a SOUND. With Billy Talent that sound, was good, a style which throbbed with angry energy and marked a generation with a few serious power songs that could kick off anything and maintained. Though, that same sound from then on is the identity of the band and is how others identify also the band, that is when the plateau factor occurs. It is an ugly fact, but we can say that Billy Talent came, saw and conquered… with their first couple of albums and now it is time for them to change or fade away.

Elephant Stone: The Seven Seas

Elephant Stone’s new album The Seven Seas offers a distinct sound with a mix of 60’s era vocals, softly driven guitar rhythm culminating in this new fusion called Hindie Rock. Unique to say the least, Elephant Stone has created an album which crosses certain genres and blends them with seamless ease. A pop album to be sure, The Seven Seas offers the listener a very refined, well thought out sound that is pleasant to listen to and has enough layers for further consideration. As a Montreal based band Elephant Stone is part of the almost endless supply of creative musicians coming together and creating music independently, allowing the idea behind of the music to form freely, no matter how odd the concept of them may sound. As a result we get new and interesting sounds that, as in the case of Elephant Stone, intrigue and entertain us. An interesting expression of music and a style in its own realm, it is worth a listen by those not afraid of a bit of Hindie in their pop rock. The best songs of the album are, How Long, I Am Blind, Oh Heartbreak.

Let’s Wrestle | In The Court Of Wrestling Let's Album Review

Utterly endearing from start to finish the first full length album from Let's Wrestle, In The Court of Wrestling Let's is a winner. 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. This London based band revels in its own raw nature executing songs with a kind of unself-conscious ease that says to the listener, we know what 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 sing 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 Wrestling Let's is filled with tracks that in not being too serious, will bring out the serious music lover in anyone. Though, that is exactly what is intended 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. 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.

Just a note, for this album louder is better.

Discovery LP: A Review

The Discovery LP is the collective realization of two bands Ra Ra Riot and Vampire Weekend. What they have created is not what you would expect as a listener of both bands, with a very heavy electro feel to it you might be feeling confused when listening to the collaborative effort. As the union between the producer/ keyboardist of Vampire Weekend Rostam Batmanglij and the lead singer of Ra Ra Riot Wes Miles you would expect a kind of manic mix of the two bands, not so. Apparently, when you mix the bands together you get a trippy version of Moby, but with better vocals. The 10 track LP is filled with electronic sounds that are more fitting the club than coeds pre-class ear buds, the fact is this album would make Benny Banazi proud. For followers of the bands they might find themselves longing for the original more organic sounds of the members’ main bands. Discovery is more of a response to the electronica sounds of bands such as MGMT and Passion Pit. This album holds its ground against those mentioned bands combining Wes Miles voice with Rostam Batmanglij electronic take on music. There is even a remix of one of Ra Ra Riot’s best tracks, Can You Tell re-titled and packaged in Can You Discover?. The album is well sung and well put together and it speaks to the fans of this reemerging genre. And in its own way, does incorporate some of the elements that made us so attracted to Vampire Weekend and Ra Ra Riot. Nevertheless, the album bodes well for both bands as an expression of their artistic cooperation and creativity.

Release Date July 7th

Track List: Discovery LP

Orange Shirt
Osaka Loop Line
Can You Discover
I Wanna Be Your Boyfriend
So Insane
Swing Tree
Carby
I want You Back
It’s not my Fault (It’s My Fault)
Slang Tang

Ra Ra Riot and Vampire Weekend: The Sound & Discovery

Upon hearing Ra Ra Riot for the first time, we here at Indie Blog Shot were convinced that we were listening to a new album of Vampire Weekend, one that had not yet been released, only to realize that within our own music archive we had discovered Ra Ra Riot. The similarity of both bands sound was unmistakable. These two bands have an unmistakably similar sound and are very much each others contemporaries’. After confusing Ra Ra Riot with Vampire Weekend, we here at Indie Blog Shot were soon surprised by news of the recent collaboration between members of the two bands, Wes Miles (Ra Ra Riot) and Rostam Batmanglij (Vampire Weekend). Over the next three days we will first try to become more familiar with these bands, then try to determine who came first and which is better. Not only that, we are going to look at a collaboration between the bands in what seems like a natural partnership born out of commonality - Discovery.

Both Vampire Weekend and Ra Ra Riot formed in the great State of New York in 2006 while attending collage, one at Columbia and the other at Syracuse State. The only other thing they seem to have in common is that both bands toured Europe before either of them released an album.

A little bit more back ground is needed about these bands, first up Ra Ra Riot. Ra Ra Riot has had a much more subdued reception in comparison to the Vampire Weekend. The band has faced tragedy during its few years of existence. Already losing one of their band members to drowning, drummer John Ryan Pike, Ra Ra Riot has been more plagued with being notorious than notable. The band’s lyrics, sung by Wes Miles, speak volumes and are accompanied very naturally by violin and cello. Their debut album The Rhumb Line is populated with tracks executed with ease though the skill involved in performing them may be greater than the seeming simplicity that each song may let on. The band has been featured in major music magazines and has been on tour with bands such as Death Cab For Cutie and Vampire Weekend, to name a few.

The self titled debut album of Vampire Weekend was widely accepted among indie band aficionados and average music lovers alike, having a style and freshness that we really had not seen in quite some time. With the incorporation of intricate piano parts and a little bit of harpsichord, Vampire Weekend made a unique impact on listeners… or so it would seem. As a kind of intellectual’s pop rock with its’ sweeping visuals and vocabulary more akin to a foul mouthed English major than a pop artist, Vampire Weekend captured the attention and adoration of fans, and those fans would go on to help propel the band to further success via personal blogs and websites. Vampire Weekend had “gone viral” by the end of the summer in 08’ and was plastered all over prestige music magazines like Rolling Stone and Spin, all claiming Vampire Weekend as thee band to watch out for. You can not complain about this reception because they were right. The believers were vindicated, the album is accepted as a piece of pop rock excellence, every track is worth a listen.

Billy Corgan of the Smashing Pumpkins once said after the release of Zeitgeist that there is no more room for full length albums in the music industry any more; it’s an industry of singles sold or stolen over the internet… or something to that affect. He was wrong. In blaming the music industry Corgan said more about himself and his disbelief that his grunge era music had lost its relevance with today’s music listener. The reality of Zeitgeist was that its content could not live up to its title. But let’s bring it back to Vampire Weekend. How is their album a kind of ideological rebuff to his statement? Well, in part the album as a whole really is the draw, every song has something new to offer and each song is worth multiple listens. It wasn’t the single A-Punk that won people over. It was in hearing the rest of the album that is the full album. This is where people became excited over the band, in hearing that the album was not skip button heavy. In fact it was a no skip no miss album, solid through and through. But what of Ra Ra Riot, are they the cheap knockoff or could it be they are the original, the keepers of the flame?

Let’s clear something up first, who came first? Now both bands formed at around the same time in 2006. Well, Ra Ra Riot recorded their first EP in January 2007 and then released it in July of the same year. The sound of Ra Ra Riot goes further back than their six-song EP. You see the same EP was originally self-released by the band before they signed with The Rebel Group for distribution which released it to the masses. On the other side of the coin Vampire Weekend released its first EP "Mansard Roof" released on October 23rd of 2007. An entire summer had passed with Ra Ra Riot out there for everyone to enjoy, even longer if you count their earlier attempt at a self release. All the while Vampire Weekend hadn’t released a thing.

So, who influenced who? It seems clear that if they were both in the same New York indie music scene the older band would have influenced the younger. We can only really speculate on where the original influence for the musical sound that both bands seem to share.
Which is better though? Ra Ra Riot is for lack of a better term a synth rock with strings, but this band offers a kind of honest emotional experience which often comes off as phony in more popular band’s songs. The track Can You Tell off of The Rhumb Line touts a fantastic line in which the lead singer exclaims “my beds to big for just me”, coming from a lowly indie band-er it conveys a real sense of longing. The beds of these band mates are most likely, less empty these days, but that doesn’t take away from the original sentiment of the lyrics. That is what really separates the bands Ra Ra Riot and Vampire Weekend from one another. Vampire Weekend has such a laid back feel to it, you almost feel that the listener is lost in the songs causally listened to while sleeping on your campus balcony, while Ra Ra Riot instills a much deeper sense of meaning in their lyrics. Other than the pleasant incorporation of steel drums in some of the songs which populate the track list of Vampire Weekend’s album, Ra Ra Riot is the wins out.

We know who came first, now what would you do if someone had made some of your sound that impacted the world and you did not receive any of the credit? Apparently the lead singer of Ra Ra Riot is more evolved than the rest of us, because instead of beating the members of Vampire Weekend over the head with some form of blunt object, he decided to make music with them. If one had to choose between the two bands, Ra Ra Riot would have to come out on top in terms of content and sheer ingenuity, they are the better band. As a kind of climax to the bands similarity the two have made a collaboration in Discovery.

The Discovery LP is the collective realization of the two bands. What they have created is not what you would expect as a listener of both bands, with a very heavy electro feel to it you might be feeling confused when listening to the collaborative effort. As the union between the producer/ keyboardist of Vampire Weekend Rostam Batmanglij and the lead singer of Ra Ra Riot Wes Miles you would expect a kind of manic mix of the two bands, not so. Apparently, when you mix the bands together you get a trippy version of Moby, but with better vocals. The 10 track LP is filled with electronic sounds that are more fitting the club than coeds pre-class ear buds, the fact is this album would make Benny Banazi proud. For followers of the bands they might find themselves longing for the original more organic sounds of the members’ main bands. Discovery is more of a response to the electronica sounds of bands such as MGMT and Passion Pit. This album holds its ground against those mentioned bands combining Wes Miles voice with Rostam Batmanglij electronic take on music. There is even a remix of one of Ra Ra Riot’s best tracks, Can You Tell re-titled and packaged in Can You Discover?. The album is well sung and well put together and it speaks to the fans of this reemerging genre. And in its own way, does incorporate some of the elements that made us so attracted to Vampire Weekend and Ra Ra Riot. Nevertheless, the album bodes well for both bands as an expression of their artistic cooperation and creativity.

Release date July 7th
Track List: Discovery LP

Orange Shirt
Osaka Loop Line
Can You Discover
I Wanna Be Your Boyfriend
So Insane
Swing Tree
Carby
I want You Back
It’s not my Fault (It’s My Fault)
Slang Tang