Music Capsules | |||
As the self-proclaimed Simon and Garfunkel
of hip hop, the Chicharones are indeed a perfect marriage of
style. Successful musicians independent of each other, Josh
Martinez and Sleep offer acute songwriting over infectious
melody, all delivered with effortless panache. “Little By
Little” observes, “Guys Like Me” humbles and “Freeze
Up” straight knocks. Clever, complex and stirring, the duo
found a stride so fluid even they know it. This album is a
moment-hard to recall what the landscape looked like before,
and difficult to complete a record collection without it.—Emily
Youssef |
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Most of you are probably kicking yourselves
for buying Rough Trade’s release of “Baby” in
January-and for good reason. Not only did you pay import
prices, but you’re missing half an album! To get your
attention, Bloodshot tagged on the 2004 release “Seven
Easy Pieces” and threw in a video track of “Cha Cha
Twist.” Unfortunately, the obscure R&B makeovers they’re
known for aren’t as Cobra-fied as previous albums. Still,
Rachel Nagy’s voice is as raw as ever, and the hip-shaking
induced will be just as swanky.—Angela Larch |
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Fifty-two non-LP tracks + two CDs (divided
between originals and covers) = 138 minutes of Motor City
madness. Funny liner notes, too, including plenty of pics.
When drummer Ben writes, “My least favorite Dirtbombs song
ever,” about “My Last Christmas,” it’s hard not to
agree. (Not bad, just not one of their best.) As for the
rest, there’s something for pretty much everyone: the
Sonics-styled “Theme From The Dirtbombs,” hyper-speed
tribal-funk “Maybe Your Baby” (Stevie Wonder) and
instant grunge-camp classic “I’m Saving Myself for
Nichelle Nichols (No. 3).”.—KCF |
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I’m torn. I like where the Divorce is
going, I really do. I think musically and lyrically “The
Gifted Program” is leaps and bounds better than “There
Will Be Blood Tonight.” But what I just can’t get past
is how the Seattle natives suddenly developed an
all-so-tragic British sounding accent to go along with their
all-so-trendy new-wave/punk/dance sound. I can’t get Franz
Ferdinand out of my head, but at least Franz Ferdinand is
actually from the UK. What’s the Divorce’s excuse.—Josh
Davis |
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Matador’s recent signing restores my faith
that they still occasionally listen to new bands. Having
fallen into the rut of putting out (albeit great) albums
from bands they signed years ago, my ears perked up when the
Double let loose its abstract keyboard pop into the air.
Howling keyboards and nervous percussion swordfight with
warm lyrics and intricate guitar lines; just when you think
one will deliver the death knell, they harmoniously figure
out a way to coexist.—Nathan Walker |
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KEXP hypes the uninterrupted nature by which
"Axes" was recorded and engineered by Steve Albini.
Done in one take or not, remove "Two for Joy" away
from this album, and it sounds like little more than an
attempt to sound like a cooler, artsier Stereolab. Why
try? Another combo consisting of organ, jangly
guitars, and french-sounding female vocals is cheap enough
to come by without being showcased in a run-on
sentence. This album is at times unbearable.—John Lankford |
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There’s nothing particularly clever or
artfully jaded about Falconhawk’s female-fronted
power-pop, but the trio know how to capitalize on
earnestness. Anchored by twinkling piano and shimmering
synth, the rocking done on “Here’s Your Ghost” is
solid and resilient, and with Kara Keith’s laconic vocals
it recalls Sarge sans punk or Metric sans annoying
idiosyncrasies. Keith’s repeated “Wait!” in “Calm
Down” doesn’t quite live up to the power of the same
injunction in the Yeah Yeah Yeahs’ “Maps,” but it’s
not as far off as you might think.—Daniel Levin
Becker |
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Wafting out of your speakers like a field
recording from a country whose only natives are robots and
aliens, “God’s Money” is oddly beautiful while
remaining just a shimmer short of unsettling. If Orpheus’
Argonauts had listened to the Sirens, this would be the last
few seconds before the boat gutted itself on the rocks.—Tyson
Lynn |
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A long forgotten soft-psych album that never
got its deserved attention is reissued by Drag City.
Swirling folk tunes like “I Pick Notes From The Sky”
reflect images of a sonically-adorned Nick Drake while the
dirtier ramblers (“Down On The Farm”) give you the sense
Tom Waits wasn’t entirely original in his styling. A
marvelous record that harkens back to a day when there were
infinite unexplored musical roads.—NW |
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This album is exactly what its title
suggests, but with a fantastic concept sure to appeal to
die-hard fans of this band. With all the names of the
rotating cast of JoA in a hat, each person pulled one and
was paired up to record a guitar instrumental. The songs
range from ambient and melodic to percussive and
experimental. On a couple, the guitars were even re-strung
with bass strings and overlapped, resulting in an
eastern-influenced sound. Overall, it’s great for a solo
listen while reading or replanting your hibiscus.—Jeremy
Wayne |
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A trio of gentlemen from Oregon, Illinois
and Italy came together to produce this well-meaning, but
ultimately uninteresting disc of ambient soundscapes,
disinterested beats and plinking guitar. Each song on here
has potential, but either stops right when things are
getting good or meanders to the point of abstraction.—Robert
Ham |
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After ten years languishing in the
underground, a slew of self-promoted releases and
performances across the country, Kanser is as accessible as
hip hop gets. They’ve held it down long enough to be more
valued than fashionable, and their newest album doesn’t
stray. With tight horns and a feel-good vibe, “Amor Arrows”
is designed for the stage while “Travlin” explores how
to most effectively deliver those flows on the road: “Twenty
kids coming/At least six are chicks/three of us dogg/do the
arithmetic.” As long as they stay honest and hardworking,
Kanser is worth a listen.—EY |
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Finally, an album that will properly gauge
if there is a market for a capella Victorian folk songs. I’m
guessing there isn’t, but I’ve been wrong before-like
the time I accused the Pope of stealing my wallet.—Brian
Graham |
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This Latin pop group from Austin, Texas has
a crisp sound that unfortunately and unnecessarily leans a
little too heavily on the influence of latter-day Los Lobos.
Although there are some gorgeous ballads on here, they are
leavened with tracks that don’t take themselves too
seriously.—RH |
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I’ve always thought the New Pornographers have a larger-than-life sound. “Twin Cinema” is definitely the largest so far. This band of nine, including five vocalists, has presented to the world its soundtrack. The diversity and grandness of song compilation follow rock opera cues-a modern day "Jesus Christ Superstar." Songs to watch for: “Use It”-an amalgam of Iron Maiden, Kiss and Zeppelin drum beats, “These Are the Fables”-lustful Neko Case sings this one, and “Falling Through Your Clothes”-deemed too weird for “Electric Version.”.—AL |
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Skittering, nervous music at times is unlistenable and, believe me, “2012” is as nervous as a claustrophobic liberal locked in a closet with Dick Cheney. Rhythm is the great equalizer though, and the eccentric shuffle and throb on this record gets your foot tapping and your head nodding. Arrington De Dionyso’s madness, ranting and spitting spills out of your speakers and instead of cowering in fear, you jump to the funk.—Lola Ringenbaum |
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Walking around the city, I put the new
Pelican CD on pause, suddenly realizing that I had passed my
destination by a block. Short-term memory aside, it’s easy
to find yourself lost in the ebb and flow of this headphone
hero. Similar in sound to ISIS, this Chicago-based band
interweaves the heavy power drone with melodic, sometimes
acoustic intermissions. Stand out tracks like “March into
the Sea” and “Red Ran Amber,” both at 11 minutes plus,
create musical landscapes so organic you’ll find yourself
asking the question, “How’d I get here.—cB |
The Purrs debut with a nice, strong dose of psych-pop. Long, languid numbers spiral and unfurl into the air like smoke. “The Dreams Our Stuff Is Made Of” follows last year’s “No Particular Bar, No Particular Town” EP, which elicited comparisons to Echo and the Bunnymen, Galaxie 500 and the Verve. On their full-length, they sound more like Love fronted by Steve Wynn from the Dream Syndicate. Promising stuff indeed, although Stima’s uneven vocals do sometimes threaten to break the mood the band is so adept at setting.—KCF |
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Listening to this album left me feeling
something akin to a long game of Mumbly Peg quickly followed
by a long, nasty French kiss-shuddering and strangely
stimulated. This reissue of their debut full length
catapults the listener into a pastiche of spastic punk rock,
noisecore jams and trip inducing samples. Towards the end,
songs like “The Red Shift” become dreamy and more
sample-based, rounding out the chaos and making for a needed
comedown. Recorded back when Racebannon had two singers, “First
There Was the Emptiness” is a good introduction to these
Indiana noise ruffians.—cB |
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Voyager One makes no effort to hide their
interest in interstellar space when, in fact, the widely
ethereal echoes of their music sends me deep into inner
space. Repetition of bass, drums and electro-beats form the
framework for the guitar and synthesizer melodies to bounce
between. From there they build pop hooks with effects pedals
and studio wizardry to drive the eight songs steadily
further into the infinite expanse. The heavily disguised
voice of Peter Marchese emerges from the celestial swirl
once in a while to croon mysteries to your subconscious. Don’t
listen for the message, just listen for the experience.—Shawn
Telford |
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Overall, the latest full-length from the
cross-continental duo of Dan Matz and Jason McNeely is a bit
like traveling into the Doors’ “The End” and never
reemerging. It’s a lonely electro-folk foray into
uncomfortable sorrow without the excitement of their
previous “We Fight Till Death,” which made epic journeys
from layers of simple repetition sewn with slight hooks to
layers of melodic evolution. Windsor didn’t advance from
these lessons. Rather, this follow-up wallows in muddy
emotional mire where it stays distant and isolated, unable
to reach out or bring in.—Shawn Telford |
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ADipping liberally into the Death Cab
playbook, Youth Group brings forth a collection of songs
soft and warm, wanting desperately to be loved. The only
problem is, unlike the band they seem to admire so, Youth
Group has successfully crafted an entire album without a
memorable moment on it. Mediocre without being bad, the band
has created a blueprint from which something worthwhile
could be built, but it seems that their hearts aren’t into
it.—BG |
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Worst CD of the Month Another singer-songwriter whom I want to take aside and tell, “I’ll give you 50 bucks if you will promise not to listen to any Neil Young, Wilco or Bob Dylan for a month and then try writing some new songs.” |