A new beginning...

Hey everyone!  It's been over a year since I restarted this music blog, and it's been an experience more fulfilling than I ever thought it would be.  I enjoy writing these pieces almost as much as I enjoy listening to the music I'm writing about, and I hope you've been enjoying reading them, and maybe even downloading some of the albums!

Over the past few months, I've been involved with a new project that happens to be launching today.  My friends Jon and Sean, two dedicated and talented bloggers, decided to create a website to effectively combine their blogs, and they kindly invited me along for the ride.  So, as of today, I am shutting the doors on Post-Whatever and moving on to what I hope will be an even better experience.

The new website, Nowhere Plans, is a multi-topic blog site with articles not only regarding music, but sports, politics, and other current topics as well.  Each of the writers involved have their own unique point of view and are a pleasure to read.  I hope you guys will bookmark it and check it daily not only for my reviews and features, but everything else it has to offer as well.  I'm very excited about this new start and I hope you'll join me for the ride!

Thanks for reading!
-Andy

Review: Coldplay - Mylo Xyloto

Grade: B-


Few pop groups in the last decade have been as inventive as Coldplay.  Chris Martin and company have hit the target of every aspiring musician; to be able to experiment with their sound from album to album while maintaining an astonishing level of popularity.  "We are not as good musically, but much more attractive," Martin recently said of fellow British band Radiohead, a band which has achieved something similar to Coldplay.  But while Thom Yorke is willing to alienate his fans in the pursuit of achieving an artistic vision, Coldplay prefers to cater to the masses.  This is extremely apparent on Mylo Xyloto, where Coldplay expand their horizons a little bit but still keep their sights focused on pleasing their fans.

To be honest, I was put off a little by the first two singles, "Every Teardrop is a Waterfall" and "Paradise."  "Every Teardrop..." had the sound of a band that was content with where they were, simply going through the motions and accepting their paychecks.  "Paradise" at least showed some signs of creative flair, but the song was stagnant, on its own it sounded like one big shambling sigh.  Both of these tracks, though, take on new life when put in context of the album, which is a good sign.  "Paradise" becomes the closing fanfare to opener and standout track "Hurts Like Heaven."  "Every Teardrop..." transforms into an invigorating re-energizer after a couple of subdued tracks.  This really demonstrates Coldplay's ability to order their tracks and craft a real album rather than merely a collection of songs.

This record finds Coldplay using a lot more electronics than we're used to, which is apparent right from the start with Martin's modified vocals on "Hurts Like Heaven."  Coldplay aren't an electronic band now though, there are still a couple of acoustic songs, but these mostly miss the mark for me (see U.F.O.).  The most interesting move is the inclusion of Rihanna on the song "Princess of China."  Coldplay fans will probably be divided on this one, but I think it was a good idea that could have been executed better.  The record ends with a fantastic duo.  "Don't Let It Break Your Heart" is a dense, fast-paced epic that leads into "Up With The Birds."  A beautiful piano ballad that transforms into a pretty standard piano/guitar Coldplay tune, "Up With The Birds" ends the record on a note of wistful bliss.

While Mylo Xyloto is a step away from the epic instrumentation of Viva la Vida, it manages to be almost as effective.  Mylo Xyloto balances its highs and lows well, and if not for the inclusion of a couple of questionable guitar ballads, it would be right up there among the group's best works.  Still, the band has to be commended for their ability to think outside the box and deliver an album of fresh tunes that are sequenced beautifully.

Review: Justice - Audio, Video, Disco

Grade: B+

Justice have always felt a little like a poor man's Daft Punk to me.  They do bear a lot of tangible similarities, both being French electronic duos adored by both critics and hipsters.  Both experienced a rare form of crossover success for a genre that doesn't get much of that.  And while their styles of music aren't exactly the same, both duos use a similar template: uplifting, sometimes-danceable-sometimes-not, but always catchy music.  Daft Punk were the masters, but ever since Justice released their 2007 debut Cross, they felt like a stand-in, simply filling the void that DP has left since their last real album, Human After All (no, Tron doesn't count).  Well, it seems Justice seem to have decided that they aren't particularly pleased about where they are anymore, and have decided to move on to something new on their second record, Audio, Video, Disco.

One thing Justice have that separates them from DP is a penchant for mixing house music with indie rock sensabilities.  Justice take this one step further on AVD, creating a type of music that can clearly be labeled "arena-house."  Pretty much every song on the record makes heavy use of guitars along with the typical synth and drum machine.  The result is something pretty similar to Ratatat, with guitar figures forming the basis for much of the melody.  "Brianvision" is a prime example of a song that could easily be mistaken for a Ratatat tune to a first-time listener.

Fortunately, this record doesn't just blatantly copy contemporaries like Ratatat.  There is a much more anthem-y feel to a lot of these songs, like they're meant to be played in big spaces for big crowds.  "Ohio" opens with 40 seconds of a capella vocals before slowly building into a complex mess of synth lines.  The use of vocals is nothing new for Justice, but never before have they been used as such a key part of the songs.  What's even more interesting is that they sound perfectly assured in their new sound, which is impressive considering the stylistic leap.  But fear not, fans of Cross!  Songs like "Helix" and first single "Civilization" will satiate your appetite for the tried-and-true Justice sound (for the most part!).

Justice have taken a huge risk with this change, but I think it pays off.  Even though they pull from the template of Ratatat a little, these songs sound just unique enough to flourish.  Justice made a good decision in trying to break through their genre-chains.  This sort of jump sounds like the work of a band not happy with being confined to a single genre, so here's hoping future releases are just as exploratory.

Review: M83 - Hurry Up, We're Dreaming

Dreams are a fascinating phenomenon.  The way our brains piece together brand new worlds from our memories, the way our moods and thoughts affect them, the way they almost always completely disappear from our minds in the morning -- it's a mind-boggling part of human nature.  Whether your dreams are fantastical or terrifying, certain ones tend to stick with you throughout your life.  It isn't too much of a stretch to say that Hurry Up, We're Dreaming, the newest upcoming record from French dream pop titans M83, is an album that has the potential to stick with you for a very long time too, and it just so happens to be about dreaming.

M83, the brainchild of songwriter and multi-instrumentalist Anthony Gonzalez, has gone through a number of phases as a band, from the shoegaze-y ambience of Dead Cities, Red Seas & Lost Ghosts to the 80s pop-influenced Saturdays = Youth.  Hurry Up is a interesting synthesis of the two styles; though most of the full-length songs are glorious pieces of 80s-style pop, there are also a number of ambient interludes.  Some may be put off by the fact that Hurry Up is a double album, and while the album clocks in at 70 minutes, it is remarkably consistent throughout.  The pacing of the record is pretty much perfect, with the catchiest long-form pieces spread out nicely throughout.

Good pacing doesn't mean anything without great songs, and Hurry Up has more than it's fair share of those.  (I'm going to apologize for the lack of Youtube links in advance, since the album isn't scheduled to be released until October 18, only one track can be found on Youtube.)  After the choir-laden, stage-setting "Intro," the listener is thrust right into first single "Midnight City," a triumphant piece of synthpop which makes possibly the best use of a saxophone in a non-jazz song ever.  Standouts on the front side include the gorgeous ballad "Wait" and the funky "Claudia Lewis," as well as the irresistably cute "Raconte Une-Moi Histoire," which I'll speak more on later.

After an introspective middle section, the record kicks back up with the unstoppable duo of "New Map" and "OK Pal."  If you aren't singing along to these tunes after a couple of listens you have no soul.  Standout interlude piece "Another Wave From You" leads the listener into "Splendor," a beautiful piano-led ballad.  "Year One, One UFO" builds from a simple guitar progression into a heavily-layered wall of vocals and multiple guitar lines, while "Steve McQueen" offers one last burst of 80s pop before the record closes with a trio of short bombastic tunes.  The record ends abruptly on "Outro," an interesting feature which seems to mirror the experience of suddenly waking up in the middle of a dream.  It could also mean I have a bad copy of the record, but we'll see.

One of my favorite things about the record, besides its sonic diversity and incredible consistency, is its whimiscality.  The album is about dreams after all, and it seems as though Gonzalez explores every facet of dreaming through the music and lyrics.  In his dreams, he is able to explore new worlds, see old friends, and get the girl he couldn't in the real world.  He even recalls the dreams he had as a child in the aforementioned "Raconte Une-Moi Histoire," which features narration by a small child, describing a magical frog which changes people into peace-loving frogs themselves.  It's the little things which make Hurry Up truly special.  Apologies for the pun, but Gonzalez couldn't have dreamed up a better record.  4.9/5.

A slew of new records means a slew of mini-reviews!

What's up, everyone?  It's a been a busy couple of weeks in music-land, and with a bunch of new albums out I've decided not to focus on any particular one and do short evaluations of each.  Here we go!

St. Vincent - Strange Mercy

Singer/songwriter/guitarist Annie Clark returns to the fold with her latest record since 2009's acclaimed Actor. The record starts out with a discordant wave of synths and abstract guitar figures on "Chloe in the Afternoon," which then resolve themselves very nicely by the first chorus.  The whole record has an air of slight dissonance about it, as if the songs are teetering on the edge of going mad.  Clark's arrangements are the spotlight here, as she uses all manner of instruments along with her own breathy tones to create intricate, varied soundscapes.  With highlight tracks such as "Cheerleader" and "Cruel," Strange Mercy may be Clark's strongest solo album yet.  4.1/5.


The Field - Looping State of Mind

Think loops are boring?  Listen to this record.  Axel Willner's newest record under his minimal techno moniker, The Field, is a dense, transfixing, semi-dance record that makes use of gradually shifting electronic loops to create its hypnotic effect.  Beautiful chord changes and driving beats make tracks like "Is This Power" and "It's Up There" brilliant works of minimalism.  Unfortunately Willner can't replicate these highest levels of beauty for an entire record, but this is definitely worth a listen for fans of good electronic music.  4.2/5.

Laura Marling - A Creature I Don't Know

Precocious English folkie Laura Marling returns for her third record at the tender age of 21.  Now an established artist, Marling attempts to change her formula a bit on the newest record, using fuller arrangements and a more "rock" sound.  While some of the results work to great effect ("The Muse," "Sophia"), others simply mask Marling's strengths, including the fragile beauty of her voice.  I'm happy Marling isn't getting complacent in her songwriting, but I think she can do better. 3.4/5.


Wild Flag - Wild Flag

Highly anticipated by fans of the seminal riot grrl group Sleater-Kinney, this supergroup's (an S-K reunion of sorts) debut record is, as expected, a callback to the '90s girl punk movement.  The music is a mix of spurts of punk energy ("Boom", "Short Version", "Romance") with a few too many laid-back songs mixed in.  This group's strength is their energy, and too many of these songs are flow-stoppers for this album to reach its full potential.  The record isn't bad, but it isn't anything special or unexpectedly great for a guitar-rock record.  3.1/5.


Thanks for reading, more to come hopefully next week!

Review: Red Hot Chili Peppers - I'm With You

It's been a long, strange trip for the Chili Peppers.  "All my life, I was swingin' for the fence.  I was lookin' for the triple, never playin' good defense," (kinda) sings Anthony Kiedis on "Factory of Faith," a track off his band's 10th studio album, I'm With You.  While he isn't referring to his own life or the life of his band on the song, it's definitely a suitable analogy for a man whose life has been a cacophony of bad decisions and drug abuse and whose band has fought through a myriad of line-up changes (many due to addiction).  RHCP was faced with yet another change after 2006's Stadium Arcadium when guitarist John Frusciante left the band to focus on his solo work.  While this split was more amiable than the last time Frusciante left the band (in 1992), it still brought about fears of a drop-off in the quality of music.  After all, One Hot Minute, the last album recorded without Frusciante, was their least successful record in what can be called the 'modern' Chili Peppers era.  But fear not, Chili Pepper fans!  I'm With You is no One Hot Minute, as the Peppers mix up their various styles to create a very listenable, if lengthy, record.

Don't get too excited though.  The presence (or lack thereof) of Frusciante looms over the record, and while new member Josh Klinghoffer certainly does an admirable job with the guitar parts, the soulful solos and backup vocals of Frusciante are sorely missed.  Klinghoffer and bassist Flea do their best imitations of Frusciante's soaring, high-pitched backup vocals, but they're just that, imitations.  The fact that they're typically mixed very low says it all.  Enough mourning over the loss of Frusciante though, I'm sick of spelling out his name.

One of the best things about this album is a resurgence in the "slap bass" funk sound that has slowly dropped out of RHCP's releases through the 2000s.  Flea does an excellent job with some killer bass lines, especially on "Monarchy of Roses" and "Look Around."  That vintage Chili Peppers funk sound is mixed with some of their newer influences to create a very unique record.  Sometimes it works better than others, but this record has its share of good tunes and a few bores.  Ever since "Under the Bridge" shot them into stardom, I think they feel obligated to try and repeat that success with another ballad even though ballads don't play to the strengths of this band.  Without Frusciante's guitar (dammit, sorry), ballads DEFINITELY don't play to the strengths of this band, and songs like "Brendan's Death Song" and "Meet Me At The Corner" are flow-stoppers.  Additionally, I'm also happy to report that Anthony Kiedis must still be sober, because many of his lyrics are still pretty nonsensical.  When he was doing boatloads of heroin and having tons of sex he had those things to write about, but since coming clean he either seems to just pick rhyming words out of a hat or he has a deeper understanding of metaphor than Maya Angelou.

The whole affair ends with "Dance, Dance, Dance," which is an interesting twist for the band, as they switch from their funk-pop into a dancey (go figure) mode with what sound like bongos helping drummer Chad Smith drive the beat.  At nearly an hour in length, I'm With You feels a bit bloated and could have used some more editing.  If you like the Chili Peppers, you'll probably find some new favorite songs on this record, but age takes its toll, and I'm beginning to doubt they'll ever find their way back to their 90s peak. 3.5/5.

Review: Girls - Father, Son, Holy Ghost

Father, Son, Holy Ghost.  Quite the album title for a band whose lead singer was forced to be part of the extremist Children of God cult for much of his youth.  Christopher Owens led a disturbing and chaotic childhood, and much of that pain shows through in his music, especially his band's 2009 debut album, Album.  Owens still has some demons to fight though, and he's chosen this album as the arena for that confrontation.

The general gist of this record is the same as the previous one; unrelentingly sad lyrics about relationships masked by cheerful jangly guitar pop melodies.  The major difference is that Father, Son, Holy Ghost feels more subdued, and Owens' voice isn't quite as, for lack of a better word, obnoxious.  Obnoxious really isn't the right word, but there was this sneering quality to it on Album that isn't present on the new record.  The result is a record that's much nicer and easier to listen to despite all the woe in its words.

First singles "Vomit" and "Honey Bunny" showcase the band's great range.  "Honey Bunny" displays flashes of Dick Dale-like drums and guitar fills before diving into the verse like a sped-up Beach Boys tune.  On the other hand, the slow, sprawling "Vomit" builds up from silence into repeated climax and recession (multiple guitar solos included, as well as...an organ solo?), as Owens croons about his ill-fated search for love.  There are a number of great tunes on the record, especially the driving drums and restless guitars on "Alex."  The simplicity of "How Can I Say I Love You" makes it another song that is easy to love.  The record stagnates a little toward the end, but most will at the very least find a tune or two that suits them here.  Father, Son, Holy Ghost is immediately rewarding, and most of these tracks are worth a listen or two, just like Owens' story. 4.4/5.

In other news, there's been a recent influx of anticipated releases into my library (Red Hot Chili Peppers, Laura Marling, maybe Lil' Wayne?) so check back soon for my takes on these new records!

Review: Jay-Z and Kanye West: Watch The Throne

Damn.  Look at that cover.  Only arguably two of the three current monarchs of hip-hop could get away with that, and Weezy would just sound silly rapping some of these verses.  "Luxury rap, the Hermes of verses/Sophisticated ignorance, write my curses in cursive" raps Kanye on second single "Otis," and that basically sums up the theme of the record.  Two giants of a genre, a mentor and a pupil, celebrating their combined success with a spectacle of brash extravagance.  Watch The Throne not only showcases two all-time great MCs at their best, but it also feels sort of like a changing of the guard.


Kanye first really got his foot into the door of the music industry through Jay-Z, producing Jay's hit single Izzo (H.O.V.A.).  This relationship helped West persuade Jay to sign him as a solo performer when most other record companies didn't want to.  West was a breakthrough success, and as his popularity and talent grew, the relationship between the two MCs got rocky at times (as evidenced in the Kanye track "Big Brother").  Watch The Throne is the first full collaboration record between the two friends and rivals, and hearing them side-by-side really makes it apparent that Kanye is in his prime while Jay's career is nearing its end.


Anyway, enough backstory and speculation, and onto the music.  Overall, the album is really solid, and the reason why is the production.  Kanye and his laundry list of producer friends take sampling in hip-hop to a new level.  Whether it's the dubstep-rap (!) of "Who Gon Stop Me" or turning Otis Redding's "Try A Little Tenderness" into a rhythm track on "Otis," the production crew keeps finding new ways to surprise listeners (including sampling Will Ferrell!).  Another highlight is the great guest appearances by Beyonce and Frank Ocean, whose inclusion on two songs marks the Odd Future singer's grand entrance into the public consciousness.  A few more guest appearances may have been needed to stop Kanye from trying to sing though, something which he has proven again and again he can't do naturally.  Another complaint is that a few songs feature these weird little interludes which kind of kill the flow of the record.


As far as the raps go, Kanye's rhymes pretty much kill Jay's on this record, not to insinuate Jay's are bad or mailed-in at all.  For the most part, Jay feels a little more laid-back and slow while Kanye lays down the majority of the faster rhymes.  Lines like "Heard Yeezy was racist, well, I guess that’s on one basis/I only like green faces" and "I made 'Jesus Walks,' I'm never goin' to hell." are hilarious and classic.  There isn't a whole lot of personal material like on most Kanye records, except on the standout tracks "New Day" and "Made in America."  "New Day" is particularly interesting, as Kanye and Jay talk to their unborn children, wanting them to have a normal life and not to be affected by their father's fame and crazy lifestyle.


Without a really epic, standout track and a few missteps, I don't think this is the instant classic hip-hop record a lot of people expected it to be.  However, the interesting sampling and production techniques may open the door for more producers to try using genres like dubstep as backing tracks for their hip-hop records.  Instant classic it isn't, but it's still a very good record, and perhaps even one we'll look back on in a few years as being the one that spawned a new subgenre or two.  4.1/5.

Review: Beirut - The Rip Tide

I've always been a fan of ornate instrumentation.  When used right, brass and other unconventional rock instruments fit right in with your guitar and synths.  Great examples of this interesting combination include Neutral Milk Hotel's impeccable In The Aeroplane Over The Sea, or The Beach Boys' masterful Pet Sounds, or a pretty decent chunk of The Beatles' post-Revolver catalog.  Beirut really doesn't deserve to be compared to these musical behemoths, but mastermind Zach Condon and his friends have been bringing that brassy sound back amid the current wash of electronic-driven music.

The idea for Beirut, a 11-piece folk group from mostly New York, came from Santa Fe resident Zach Condon after a trip to Europe, where he discovered Balkan folk music.  Much of that sound can be found in the music of Beirut, which is eclectic in its use of both electronics and traditional instruments such as the trumpet and accordion.  The Rip Tide is Beirut's third record, and while I am no expert on their previous work, it seems if you liked that you will very much enjoy this as well.  But you don't have to be a Beirut fan to get into these tunes.

The Rip Tide is a very accessible album, something that might come off as a bit of a shock given its influences and instrumentation.  The band works very well together, with Condon's pleasant tenor leading everyone along.  Synths give way seamlessly to a horn ensemble on standout track "Santa Fe", an homage to Condon's hometown.  "Santa Fe" is a very breezy track, much like the rest of the record.  These are light, upbeat tracks, and the majority of them are very easy to like.  The breeziness of the album makes it feel even shorter than it's already brief 33-minute timespan suggests.  Closer "Port of Call" is another highlight, with its syncopated acoustic guitar and bells providing a great background to Condon's vocal.

The Rip Tide feels like a recall to the Decemberists' album from earlier this year in many ways.  Both albums are folky, feature frontmen from interesting western locales, and manage to be quite pleasant but not earth-shattering, or even just really good.  Most of these tracks are worth a listen, especially the two mentioned, but the album as a whole is just good, not great.  Beirut fans will love it, and you might love it too, but I doubt I'll be coming back to it too often.  3.6/5.

Review: Washed Out - Within and Without

Was he'd out?  That doesn't even make sense.  I mean, grammatically, that's just...what?  Oh, Washed Out.  Why is it formatted like...never mind.  Bedroom producer Ernest Greene, aka Washed Out, is one of the most well-known artists in the fairly recent chillwave scene.  Chillwave is a style defined by dreamy, repetitive synth loops and filtered vocals, sort of like synthpop on Vicodin.  Within and Without is Greene's first full-length, coming on the heels of last year's critically acclaimed EP Life of Leisure.  The cover of the record is very appropriate; these songs are great for relaxing in bed, or doing other things that involve beds.


Most of the songs on Within and Without are pretty simple, but that isn't a mark against them.  These tracks ebb and flow gracefully, repeating gorgeous synth line after gorgeous, reverberant synth line.  For the most part, the vocals just act as another instrument, filtered so much that it's nearly impossible to tell what Greene is saying.  These songs don't need stories, they simply excel at being meditative and just generally pleasant.

The record is pretty much a perfect length, and that length is not too long, because even the most beautiful synths get boring when every song is pretty much structured the same.  In fact, nearly every song incorporates the same instrumentation, with the exception of the last one (which dumps the synth for *gasp* plain ol' piano).  It's also pretty frontloaded, with the first four tracks probably being the standouts.  But boy, are they standouts.  "Amor Fati" and "Eyes Be Closed" are soaring, uplifting tracks that burst with color and joy.  Closer "A Dedication" features a very pretty piano line and is a perfect note to end on.  Unfortunately, some of the tracks in the middle can be a little laborious, especially the lengthy and slow "You and I."  But the even longer "Soft" proves that if the music is good enough, it doesn't matter how long the song goes on.

Within and Without is a pretty good record all things told.  While I don't think it will age well as a focusing listening album, it is wonderful, chilled-out background music, and I'm sure the first few tracks will be mainstays on my listenin rotation for a while yet.  3.9/5.

Top Albums of 1st Half 2011

Hey folks!  I know it's been a long time since I've posted anything here, but that's about to end.  Know why?  Cause it's SUMMER!!  That's right, my friends, summer is upon us, and that means the year is about halfway done.  And that means it's time for a half-year in review list!  The following are the 20 albums I have enjoyed the most this winter and spring, and they all deserve your attention!  So check these out, yo.  I've also included a choice track from each album.

20. Destroyer - Kaputt (Kaputt)
19. Fucked Up - David Comes To Life (A Little Death)
18. Low - C'mon (Try To Sleep)
17. The Rural Alberta Advantage - Departing (Tornado '87)
16. The Mountain Goats - All Eternals Deck (Birth of Serpents)
15. Dustin O'Halloran - Lumiere (Opus 43)
14. The Decemberists - The King is Dead (Calamity Song)
13. Cut Copy - Zonoscope (Take Me Over)
12. Bon Iver - Bon Iver, Bon Iver (Calgary)
11. Explosions in the Sky - Take Care, Take Care, Take Care (Last Known Surroundings)
10. Heinali - 67 Breaths (Into The Sea Part II)
9. The Strokes - Angles (Under Cover of Darkness)
8. Grouper - A I A: Alien Observer/A I A: Dream Loss (Moon Is Sharp/Alien Observer)
7. Bill Callahan - Apocalypse (Universal Applicant)
6. Battles - Gloss Drop (Futura)
5. This Will Destroy You - Tunnel Blanket (Communal Blood)
4. Wild Beasts - Smother (Albatross)
3. James Blake - James Blake (Limit To Your Love)
2. Radiohead - The King of Limbs (Separator)
1. Fleet Foxes - Helplessness Blues (Bedouin Dress)

So there you have it!  Can Fleet Foxes' folk-rock masterpiece Helplessness Blues hang on to become the best album of the year?  We'll find out once December rolls around! (But please Mother Nature, stay right here for a while, don't rush yourself.)

Review: Wild Beasts - Smother

Unique UK indie poppers Wild Beasts have experienced an odd wave of success since releasing their critically acclaimed debut Limbo, Panto in 2008.  The band's tried-and-true formula of mournful yet bouncy tunes, fronted by the operatic countertenor of vocalist Hayden Thorpe, has skyrocketed the band to being one of today's most universally critically acclaimed groups.  While the band's lyrical content is rather samey (sex sex sex sex sex sex sex), Thorpe has always done an astounding job of looking at the subject from a rather large number of angles and personas.  Smother continues the band's natural progression, with most of these songs taking on a much more somber mood than their earlier tracks.

These ten tracks don't really see the band exploring much new territory, but expanding on what they're good at already.  For instance, Standout "Reach a Bit Further" feels like an updated version of "All The King's Men" from their previous album Two Dancers, with its triplet-heavy melodies and groovy tom-snare beat.  "Reach a Bit Further" is pretty much the only standard upbeat song on the whole record; even though others ("Loop the Loop," "Bed of Nails") are quick-tappers, they are musically subdued and thus feel like ballads anyway.  Not that this is a bad thing, every song on this record is achingly gorgeous, especially when given multiple listens.

I'm no expert on Wild Beasts' music, but the main difference I've noticed between this album and their others is the increased focus on electronics.  This is most clearly heard on "Bed of Nails" and especially on "Burning," which is awash in ambient, almost drone-like manipulated guitar strumming and background noise.  There's nothing transcendently masterful about this record, but it is a collection of beautiful tracks that can be challenging, but greatly rewarding if given the chance.  4.4/5.

Couple other recent big releases that I won't have time to do full reviews of:

Tyler, the Creator - Goblin - "Yonkers" is incredible, sadly the rest of the album just doesn't match up.  Like Tyler says, it's made for him, not me.  3/5.

Okkervil River - I Am Very Far - Much more groove-based than their previous work, sadly it bores me a bit, maybe I just need to listen more.  3.2/5.

Review: Battles - Gloss Drop

After frontman Tyondai Braxton left NYC math-rock band Battles to focus on his solo work, I wasn't really sure what would happen to the band's dynamic. After all, Braxton seemed to be the primary songwriting force in the group, and his goofy manipulated vocals added charm and character to the outrageous tracks on their excellent debut, Mirrored. The three remaining members soldiered on, and in June they'll officially drop their second record, and first without Braxton, Gloss Drop. Luckily, Braxton's departure didn't make this group any less fun to listen to.

Gloss Drop features many of the same elements that made Mirrored so great, lots of fast songs with complex instrumentation and polyrhythms. Since none of the members are particularly strong vocalists, a few of the songs feature guest vocalists in place of the departed Braxton. The strongest of these performances, and the one that adds the most to the song, is Matias Aguayo's work on first single "Ice Cream." His silly, gibbering singing adds a sense of playfulness to the track as it bounces along, it's actually almost like a ska revival kinda feel.

Most of the songs are purely instrumental, and out of these come the strongest tracks. "Futura" is the standout, a six-minute buildup of stacking guitar and synth lines over an constantly varied drumbeat that repeatedly climaxes in a frenzied burst of synths and then resets to do it all again. "Wall Streeet" is the most fun song here, a ridiculously fast and bubbly track with a climax that sounds vaguely eastern European (this is kinda hard to explain, listen to it and maybe you'll hear what I mean).

The record, like so many recently, is frontloaded with all the best songs, and it slows down a little at the end. Closer "Sundome" is a pretty big yawn when juxtaposed with the upbeatness of the rest of the album. Still, Gloss Drop is a triumph for Battles' new lineup, and I for one hope that they continue to record fun, happy music like this. 3.9/5.

(Sorry I could only find the one link, since this album isn't due to be released for another month or so, there aren't any up yet.)

Review: Fleet Foxes - Helplessness Blues

First off, I'd like to thank everyone for all the nice things I've heard about the blog. This iteration seems to be going much better than the previous one and I've been very happy to read and hear everyone's comments. Thanks and keep readin'!

Above you can see the album cover for Fleet Foxes' new record, Helplessness Blues, to be released everywhere on May 3. No, it doesn't make sense to me either, but that's pretty much par for the course for this Seattle band. The group burst onto the indie scene in 2008 with their eponymous debut album and catchy but lyrically ambiguous single "White Winter Hymnal." The album was met with considerable acclaim (though I struggled to understand the extent of the praise), and the music world has waited with bated breath for the folk group to release a follow-up. Three years later, it finally happened, and I am pleased to say that it is a considerable triumph.

Frontman Robin Pecknold stated that after the arduous process of striving for perfect recordings on the first album, he wanted to attempt the opposite; doing most of the recordings only once and accepting small errors in the performances. Interestingly enough, there is almost no trace of errors in the final product, just a beautiful, carefree record that effortlessly showcases Pecknold's incredible songwriting. The band plays off each other beautifully, particularly on standouts "Bedouin Dress" and "The Plains/Bitter Dancer." The trademark vocal harmonies are again excellent, as Pecknold and the rest of his band (most of them contribute backup vocals) manage to improve their austere, old-timey vocal sound to make it fit even better with the music. While I found a few of the songs on the first record pretty boring, nearly every song on Helplessness Blues draws the listener in.

Really the only misstep here is an ill-fated attempt to add an avant-garde jazz section into the two part track "The Shrine/An Argument," a move that just comes off as ugly and a little pretentious. Otherwise, this is a beautiful indie folk record and one that everyone should have in their collection. 4.7/5.

Other excellent tracks:

Helplessness Blues

Lorelai

Grown Ocean

Review Times Two! Panic at the Disco and The Decemberists

Been a slow week in terms of music I actually want to review, so I took some requests! This week, I'll take a look at the third album from pop stars Panic at the Disco and the new (chart-topping?!) folky Decemberists record.

To be honest, I had forgotten Panic at the Disco were still around. After their slightly annoying yet popular debut A Fever You Can't Sweat Out and the massive sonic turnaround of their second album Pretty. Odd., the band lost two of its members, leaving only do-it-all frontman Brendon Urie and drummer Spencer Smith. The band cited musical differences as the reason for the split. I actually enjoyed Pretty. Odd., so it seems that it was the brainchild of the two departed bandmates, because Vices and Virtues marks a return to the modern pop sound of AFYCSO. Unfortunately, this is not a good thing.

The saving grace that first album had was that it was at least interesting. Annoying as it was, the band had a unique edge to their sound. Vices and Virtues takes the sounds from their debut and removes the edge, taking the annoying and making it simply dull and uninspired. The 'band' just kinda slags its way through the ten tracks; it's music for the sake of no one. I say 'band' because Urie plays everything but drums, which makes me think that losing those two members is really going to do this band in. With no band members for Urie to play off of and vice versa, the music dips into a state of stagnation. The most interesting/worst part is the last song, which features an epic choral outro. Interesting because it's at least trying to be creative, worst because it's like putting a Lord of the Rings war scene at the end of The Social Network; it's inappropriate and makes absolutely no sense. (Disclaimer: No, I did not mean to compare this record to The Social Network, it's just a simile.) 1.5/5.

Ah, this is better. After recording four pretty standard (but good!) indie folk-rock albums and a slightly ill-advised rock opera, The Decemberists returned to form in January with the country-laden The King Is Dead. This is almost certainly the most country record I've ever listened to and liked...maybe it's the lack of lyrics about tractors and booze, or the fact that frontman Colin Meloy is from Montana and not Alabama (accent-wise, I don't have anything against people from Alabama!). Anyway, take an otherwise good folky country record, replace the obnoxious Southern vocals and lyrics with some actual substance, and there you have it.

This review has turned into me just dissing on country music, hasn't it. This is a good record though! I've played through "Calamity Song" countless times, and the guitar work on "This Is Why We Fight" is impeccable. There are also some very pretty ballads throughout, with "January Hymn" and "June Hymn" highlighting these. Meloy's penchant for verbose lyrics isn't changed in the slightest by the slight musical shift. Honestly, there really isn't a bad song on here, but besides "Calamity Song" there aren't many great ones either. That sounds degrading, but on't let that turn you away, an album with no bad songs is still a very good piece of music. 3.6/5.

The Strokes - Angles

Angles, the fourth record from NYC rock kings The Strokes, is a far cry from their early albums. Once dubbed the ‘saviors of rock’ by many fans and critics, the band has undergone a series of recording and style changes that sets their latest album apart from the edgy, fuzzy sound of albums like Is This It and Room On Fire. Some of the change has to be attributed to frontman Julian Casablancas’ venture into solo territory; his album Phrazes for the Young also has a much more polished sound than that of his previous work with The Strokes. Nevertheless, the tighter sound is an interesting evolution for the band, and one that should be met with considerable praise.

“Everybody’s singin’ the same song for ten years,” yells Casablancas on first single ‘Under Cover of Darkness,’ and that couldn’t be truer. Ever since the band’s critically acclaimed debut album Is This It, fans and critics have been praying for a worthy follow-up, but they have been mostly disappointed with what they’ve been given. If you’re looking for a return to early 2000s form, you’ll again be disappointed, but if you want some tight catchy rock tunes, this is the record for you. The guitar hooks on ‘Under Cover of Darkness’ and especially album opener ‘Machu Picchu’ are so infectious you’ll need to be sedated to stop from whistling them. One of the most striking changes for the band is the emergence of a rhythm section that does more than just keep time. The Strokes have always been a guitar driven band, but on Angles there are some great drum patterns and fills to complement the onslaught of awesome guitar riffs. Casablancas’ vocal performance is spot-on throughout, as his tired drawl shifts between ranges effortlessly.

The real problem here is that after a rocking start, the album loses steam rather quickly at around the halfway point. Some of the songs in the final half sound like filler, and they failed to keep my attention at a few points. Overall though, the quality here is very good, and even though at some points it really does sound like Casablancas forced some of his solo work onto his band, they perform it flawlessly. A few of these songs will be finding their way onto my year-end list for sure. 4/5.

Since it’s been a while since I posted last (finals and all that), here are some scores I’ve given for other recent releases (or impending releases).

The Mountain Goats – All Eternals Deck – 4.3/5

The Rural Alberta Advantage – Hometowns – 3.7/5

Low – C’mon – 3.4/5

Explosions in the Sky – Take Care, Take Care, Take Care – 4.2/5

Radiohead - The King of Limbs

They're baaaaaaaaaack...renowned English quintet Radiohead dropped their eighth studio album last week, almost completely by surprise. Sure, there had been talk of the band being in the studio, various random singles released between In Rainbows and now, but Thom Yorke and Co. still managed to catch everyone off-guard by announcing The King of Limbs less than a week before its release.

I suppose it would be wrong of me not to fully disclose my love for Radiohead before writing this review. After all, being my favorite band, there is obviously going to be some bias here. If I give it a good score, it's going to be taken as fanboyism, and if I give it a bad score, you might just say it simply didn't reach my lofty expectations. (Side note: If you haven't put on a good pair of headphones, lain in bed, and given Kid A an attentive, zero interruption listen, stop reading this and do that right now.) That being said, I will try to review this record as neutrally as possible, but I'll let you know now, it is damn good.

The King of Limbs is pretty much an amalgamation of everything Radiohead has done since the Kid A days, yet it is unique in its own right. The band has continued to craft its unique blend of haunting electronics and driving rock, but the difference here is that this record is groovy in places, something that we don't see from them often ("I Might Be Wrong" and "Where I End and You Begin" are the only examples that come to mind immediately). But while those moments were just changes of pace on their respective albums, groove is a real theme on this latest record. The driving drums and great guitar/bass lines in "Little by Little," "Lotus Flower," and the awesome "Separator" really showcase the band's ability to make you get up and dance a little. (And don't we all wish we could dance like Thom Yorke in the Lotus Flower video?) "Separator" in particular continues a trend of incredible album closers for Radiohead; they seem to have this knack for ending their records on exactly the right note. The Jonny Greenwood guitar riff that jumps in about halfway through the song is just glorious. I have a feeling that Separator will end up being one of my very favorite RH songs.

Not that the album is without its abstract moments and its pretty ones. "Codex" really invokes memories of "Pyramid Song," while "Give Up The Ghost" might be the most starkly pretty song the band has ever written. Opener "Bloom" is the most Kid A-esque, with a jumpy beat and processed Yorke vocals soaring above the whole affair. Oh yeah, Thom Yorke has still got it folks. His vocals carry the entire album, but especially shine on "Give Up The Ghost."

Really I only have two complaints, and one is just a mark of the strength of this record. Midpoint "Feral" is a little weak, it feels like it was supposed to be an instrumental break in the vein of "Treefingers" but it doesn't have the same effect. Also, the album feels too short, like the ideas explored weren't fleshed out as fully as they could have been. I have hope that this isn't the last we'll hear from Radiohead this year, though. As Yorke so sweetly croons on "Separator," "If you think this is over, you're wrong." 4.7/5.

A music-related thought I thought I'd share

Recently I've been listening to a lot of stuff that I loved a year or two ago and fell out of loving. Maybe I latched onto something else, maybe I overplayed it, who knows. The thing that occurred to me as I listened to mewithoutYou's magnum opus Brother, Sister, was that music is simultaneously living and static. It breathes life into a dead and tired brain, yet it is always the same, consistently providing the same comfort, entertainment, and food for thought as it did the first time it was listened to.

This is interesting in a couple ways; first, music provides a base that you can always trust and come back to. The notes never change, and to me music gives a sense of order to my life. At the same time though, having a large variety of options helps me to not stay in a rut and keep life interesting. (I suppose to make this whole thing make sense it would help y'all to know that I am listening to some sort of music probably 8+ hours a day.)

Another thing this made me consider is that since music remains static, our perceptions of it are ever-changing. Sometimes I'm just not feeling an album one day, but the next day I listen to it again and it's like being reborn. Music is alive in this sense just like your friends. One day they can bother and annoy you, and the next day you want nothing more than to talk to them for hours on end.

Cut Copy - Zonoscope

Sleep-deprived review coming up so ignore any typos or sentences that don't make sense.

Australian synth-pop group Cut Copy have been making folks (like me!) get up and dance since 2004, but they've only really been in the limelight since 2008's wildly popular and successful In Ghost Colours. That album featured a seamless flow of impossibly catchy dance tunes the likes of which hadn't been seen since Daft Punk's Discovery. The undeniably infectious tunes have even broken through the indie/mainstream wall, I heard 'Lights and Music' being played at Easton last time I was there. When they announced a follow-up, it seemed impossible that the greatness of In Ghost Colours could be duplicated. Well, it may be impossible, but 2011's Zonoscope is definitely an admirable effort.

Much like IGC, Zonoscope begins with a flurry of instant-favorite songs, with relatively mellow 'Need You Now' setting the stage for the bouncy 'Take Me Over' and the interestingly different 'Where I'm Going.' The former is pretty standard Cut Copy material, but the latter dumps the synths and catchy vocal choruses for a vaguely bluesy beat and chanted 'yeah!'s. It's a fairly drastic change in style for a pretty consistent band, and while the song stands out well on its own, the flow of the record is somewhat disrupted by it. After that detour into new territory, the synths kick back in on Pharaohs and Pyramids and everyone can start dancing again.

The remainder of Zonoscope sees the band continue to stick true to their guns, pumping out the kinds of songs that made them who they are. Unfortunately, the 15 minute final track, 'Sun God,' is a bit overbloated and doesn't really have enough ideas to warrant its length. All in all though, Zonoscope is a solid third album from a band that I've come to expect good things from. 3.8/5.

Choice Tracks

Take Me Over: http://theneedledrop.com/?p=1954

Blink And You'll Miss A Revolution: No Youtube link yet:(

Pharaohs and Pyramids: http://www.youtube.com/watch?v=TqPEW2OVxyA

What's Next in 2011?

2010 was a wonderful year for music, but 2011 has the potential to be even better! Here are some notable artists that should be releasing albums in the coming year (and by notable I mean stuff I am personally looking forward to :p)

Radiohead - "No Title" - The mega-influential English quintet has been recording for the past half-year or so, and rumor has it that they are done with a new set of songs and are currently in the process of figuring out what to do with them.

Expected release date: February/March

The Mountain Goats - All Eternals Deck - Prolific singer-songwriter John Darnielle's primary group will be releasing their newest record this year.

Expected release date: March 29

Iron & Wine - Kiss Each Other Clean - Folk singer-songwriter Sam Beam's newest record promises to be a stunning change of style from previous releases based on early singles.

Expected release date: January 25

The Decemberists - The King Is Dead - This influential modern indie rock band continues their run of genre-defying releases with a countryish new record.

Expected release date: January 18

Deltron 3030 - Deltron Event II - A record which I consider to be the "Duke Nukem Forever" of hip-hop albums, this decade-in-the-making sequel to Del, Automator, and Koala's futuristic debut record looks like it might finally come out this year, based on reports from Del that all recording is in fact finished.

Expected release date: Sometime?

Coldplay - "LP5" - Chris Martin has promised that Coldplay's fifth (and final?) record will be even more ambitious than the excellent Viva la Vida. Based on what I've heard, my expectations have been tempered a bit, but we'll see.

Expected release date: Spring/Summer 2011

The Shins - "No Title" - Rumors abound about a new Shins album finally being released this year, but with a new lineup (with Modest Mouse's drummer!) and frontman James Mercer's involvement in other projects, this one will probably show up late this year if ever.

Expected release date: Late 2011

Explosions in the Sky - "No Title" - The bombastic post-rock outfit from Texas promised fans a tour as well as a new record in 2011.

Expected release date: Spring/Summer 2011

Modest Mouse - "No Title" - This is mega-hopeful on my part, but Isaac Brock said in June that Modest Mouse spent the first half of the year writing and recording "random shit" so please please please get that shit together!

Expected release date: Late 2011 if at all

Those are the ones I'm super excited about but there are a bevy of other groups also planning releases for 2011, including:

Kanye West/Jay-Z

Mogwai

Red Hot Chili Peppers

R.E.M.

CAKE

Fleet Foxes

Lupe Fiasco

The Avalanches (?)

I'm sure there will be more surprises too!