On their fourth studio album Halcyon Digest, Atlanta based Deerhunter tightened up their reins and released one of the best albums of the year.
Deerhunter is often described as “ambient punk.” With the help of Ben Allen (Animal Collective, Gnarls Barkley), Halcyon Digset is quieter than previous albums; less punk and more pop, without any sacrifice of innovation.
In an era of singles Deerhunter has done something truly impressive with Halycon Digest – they’ve created an album. Each track manages to sound unique while holding a collective sound. This album is meant to be played from start to finish.
Minimal beats ascent into a hazy synth cloud in the opener track “Earthquake.” The sound of a mandolin provides a framework for “Revival,” the album’s first single, a blissful groove with lyrics that sing of darkness and melodies that sounds like light.
“Freedom, silence, always
All this darkness … always”
Guitarist Lockett Pundt does vocals on “Desire Lines,” an 80’s-esque number with an eloquently beautiful rising and falling guitar solo.
The album spins around themes of dreams and the chase for internal youth.
On “Basement Scene” vocalist Bradford Cox sings,
“I don’t want to wake up, I don’t want to wake up
I don’t want to get old, I don’t want to get old”
The album fades to a close with “He Would Have Laughed,” where Cox mourns the passage of time “Only bored as I get older…” the perfect ending to an iridescently innovative album.
There are simply not enough chicks in rock n’ roll. Correction, there are not enough talented chicks in rock n’ roll. More specifically, there are not enough talented chicks in rock n’ roll that despite their pretty little faces look like they could kick some serious ass, and have the musical goods to prove it.
Grace Potter & The Nocturnals
The self-titled album Grace Potter & The Nocturnals was released in June of 2010, launching the group past festival scene recognition into the eyes of the world. Along with Potter come the talents of bassist Catherine Popper (Ryan Adams & the Cardinals, Hem) lead guitarist Scott Tournet, and drummer Matt Burr.
Mark Batson, known for his work with Dr. Dre, Eminem, Jay-Z, and Dave Matthews Band, produced the record. “Bluesy pop” has been the most consistent label for the album, although that profile is limiting. Classic rock, folk, and reggae influences are found, such as “Goodbye Kiss,” a melancholy, reggae-laced sweet goodbye tune, an honest ode to a breakup.
“Paris” and “Medicine” pack the most heat, the two tracks Potter says are the most fun to perform.
“When I wrote ‘Paris,’ I was listening to the Kinks nonstop, and I was going for something with a big, primal riff, like ‘You Really Got Me,’ says Potter. “It was the first time I ever really just said, ‘I’m not going to try to tell a story, and I’m not going to try to communicate an emotion. I’m just going to say, basically, “I want to have sex right now.”’
Onstage, Potter is ignited with sexual energy. She flirts with the audience, moans in pleasure, and
Grace Potter
knows how to shake what her mama gave her, all while tearing apart the keyboard. The gift of natural good looks enhances her sex appeal, but there’s more to it than that. It’s her raw talent that makes Potter so powerfully attractive. That talent and energy has elevated Potter to the ranks of respected musicians (comparisons have been made to Bonnie Raitt and Tina Turner), not just another pretty singer-songwriter surfacing long enough to get a single played on “Gossip Girl.”
The group has been criticized for going too mainstream with Grace Potter & The Nocturnals, abandoning their signature soulful country grooves for “glam pop rock.” Some of the tracks, such as “Only Love,” may cause music snobs to turn up their noses at the stereotypical lyrics, however Potter’s powerful voice adds enough soul that the track seems touching, rather than cliché.
While earlier performances and recordings by Grace Potter & the Nocturnals may hail more character, Grace Potter & The Nocturnals is the groups’ first cohesive album, a beautiful melding of musical styles and emotions, talent lasting from start to finish. With the production of Mark Batson, it’s bound to sound cleaner and more “mainstream” than previous recordings. Potter’s artistic abilities and powerful charisma weren’t lost in the process, proving that the group is worthy to take the next step into stardom, packing enough soul to deflect a sell-out.
On Blitzen Trapper’s 2008 Furr, the experimental-folk rock group sang of their fur turning to skin and being ushered into a world they did not know. Their 5th studio album, Destroyer of the Void, officially released June 8, proves that although their identification with the human race may have left them a bit lost, they certainly know the world of music. Yet scattered at times, Destroyer of the Void is a bold work of art. Filled with classic American tales of traveling the rails and running away to join the army, Destroyer of the Void takes Blitzen Trapper one-step further on their exploration.
The diverse track set ranges from 70’s classic rock riffs to haunting, melodic piano pieces such as “Heaven and Earth.” On “Laughing Lover,” a standout on the album, dancing grooves rev up the engine then break to a smooth chorus, carrying you on a ride you don’t want to end.
The diversity of the tracks is mirrored in the lyrics, Destroyer of the Void has a theme of searching that lasts throughout when the musical styling ranges. “This road that we’re on isn’t where we belong,” sings Eric Earley, whose vocal skills hold strong, adding flame to the fire he started with his songwriting.
Nature continues to be an omnipresent theme for Blitzen Trapper; the album invokes the power of a death-black night sky, hurricanes and wild, untamed freedom. As the heat of summer falls heavy, Destroyer of the Void is a definitive soundtrack for the season. Animals- rejoice! An otherworldly album crawled from the depths of the soul for us to enjoy on Earth.
This is an album by The Black Keys. The name of this album is Brothers.
This album rocks hard.
By the thumping intro of “Everlasting Light,” the first track of the album, you‘re hooked. With his smoky howl, Dan Auerbach pleads “let me be your everlasting light.” A flame is lit and doesn’t burn out until the record stops.
Through NPR.org you can stream the album now, Brothers is released on iTunes May 18.
Now would be where I discussed jewels of the album, yet individual songs are difficult to pluck out, this album is dirty in its entirety. The Black Keys rolled around in the mud and came out filthy smooth.
Compared to past albums, the beats and melodies are more developed, with a hint of R&B flavor. Retro.
The lyrics alone are a work of art, dripping with metaphors and painting stories in your mind, dark and haunting; yet incredibly sexy.
“Tighten up your reins, you’re running wild…” murmurs Auerbach on “Tighten Up,” a track produced by Danger Mouse. The Black keys don’t need to tighten up their reins; it’s the fluidity of their sound that makes this diamond in the rough of shine.
Welcome back Harlem, loved your Free Drugs , even more turned on by Hippies.
Sexy in a sort of awkward way, the Austin-based trio that is Harlem consists of Michael Coomers and Curtis O’Mara, who share the tasks of vocals, drums and guitar. Jose Boyer covers the bass. Their debut album Free Drugs released in 2009, recorded for a measly $300 in Coomer’s mom’s house. Despite the low budget the album propelled the band into enough recognition to grant them the opportunity to record their sophomore album, Hippies, in a real live studio.
It would be pop music, if it didn’t play so dirty and the lyrics weren’t so raunchy. It would be punk, if it didn’t feel so chilled out. So forget genre categorizing, Harlem’s Hippies is an ode of its own. Retro 50’s rock vibes bubble up through the beats, especially apparent on “Be Your Baby.” The 50’s influence ends with the melody, with lyrics “If I wanna be your darling/I just gotta start falling/for all the bullshit you give me.”
Part of Hippies’ charm is that it feels sloppy, recorded eloquently without a care. Even in a recording it feels damn right real, images of a filthy live performance emerge, sweaty hair tossed as Coomers makes love to his guitar. The band’s tour schedule is up on their MySpace page, http://www.myspace.com/harlemduh, although I can’t wait to see them crawl onto the muddy festival scene.
“Gay Human Bones,” the first single off the album rocks hard, with a name that promises you won’t catch any Harlem picked up by a top-40 station, thank God. (As if a debut album named Free Drugs didn’t give it away that they aren’t concerned with impressing anyone’s mother.)
Hiding underneath distractingly good guitar riffs are some killer lyrics; songwriting is clearly the foundation of Harlem, a task also shared by Coomers and O’Mara. With tongue-in-cheek perverse lyrics, solid hooks and nasty beats, Hippies jams its way onto the radar of best new albums, a talent so curious all you can do is listen and watch for what’s next.
David Byrne and Fatboy Slim Here Lies Love: Three stars
Imelda Marcos, known as Steel Butterfly, former First Lady of the Philippines, spread her wings into a symbol of corruption; outcries spanning the world that she owned 3,000 pairs of shoes during a time of despair and poverty of her country.
A tale well suited for a lengthy drama film, an opera, or perhaps even a HBO mini-series.
Or a two-disc disco album from David Byrne and Fatboy Slim?
Here Lies Love is a concept album by joined forces David Byrne and Fatboy Slim, featuring 22 mostly female vocalists brought in to channel Marcos, such as Cyndi Lauper, Santigold, and Kate Pierson of the B52’s.
Byrne certainly did his research, much of the lyrics are intertwined with direct quotes from Marcos, and a 120-page book accompanies the CD/DVD package. Most of the content is inspired by Marcos’ love affair with a servant.
Slim’s beats are a little less funky than usual, relying more on world beats and Latin flair than originality. The smooth grooves and sheer oddness of the album are pure Byrne. The entire album has an air of delicacy, an undeniable retro feel. The fluffy elegance of the beats and lyrics may be laced with a tint of irony, considering Imelda Marcos’ glamour was considered a mark of her corruption.
What the album does best is showcase lesser known artists featured, such as Florence Welch of Florence & the Machine.
Impressive tracks on the album are “A Perfect Hand” sung by Steve Earle, where Marcos’ role in violence in the Philippines is exposed – “I knew if I did not react, they’d kills us; everyone” hums out Earle.
Another noteworthy track is “Dancing Together,” sung by Sharon Jones, primarily due to Jones’ stellar vocal skills and some saucy drum beats. Sia performs playfully well on “Never So Big,” a colorful favorite that drives you to pull out your dancing shoes, regardless of how large your shoe collection is.
Overall the album spirals a bit out of control, many of the 22 songs mush together. Clearly a steep undertaking, it could have been reined in more.
Byrne is still full of bizarre ideas and creativity, and stands on enough solid ground as an artist to play with such concepts. Despite being overwhelming, Here Lies Love is absolute art.
“Americans are dancing in discothèque!” proclaims Byrne on “American Troglodyte.” Yes we are, thanks to you Byrne.
On “Christmas in the Heart,” Bob Dylan sings classic Christmas carols and less traditional tunes all shook up. The first question that comes to mind when learning that Dylan recorded a Christmas album is, “is he serious?” Yes, Dylan is serious. But he’s having a whole lot of fun too. And to add to the Christmas spirit, all of the U.S. profits will go to the hunger relief charity Feeding America, a reason to feel good about spending the $7.99 it costs on iTunes.
Christmas in the Heart
The album’s single “Must be Santa” is a festive polka jingle that sounds like it’s great fun to dance too after several glasses of eggnog. Watch the music video – you’ll want to be invited to Dylan’s next Christmas party. Dylan lists “Reagan, Bush and Clinton” as a few of Santa’s “eight little reindeer.” There’s a witty humor also present on the opening track of the album “Here Comes Santa Claus,” you can picture Dylan in the studio doing a little holiday jig while recording. Background singers flirtatiously coo “Aloha” on “Christmas Island,” a Hawaiian track Dylan gets groovy on.
Yet Dylan makes it clear his feelings toward Christmas run deeper than jolly debauchery. In “Hark the Harold Angels Sing” and “O’ Come on Ye Faithful (Adeste Fideles) there is sincerity to his voice that warms the heart harder than strong eggnog. Dylan made news in the late 70’s with his widely publicized conversion from Judaism to Christianity. The honest, soulful feel of “Christmas in the Heart” shows Dylan’s heart is still strong in his faith.
“Little Drummer Boy” is one of the best tracks of the album. His iconic voice sounds uncharacteristically soft, crooning an excellent “Pa rum pum pum pum.” Dylan also does a great jazz version of “Have Yourself a Merry Little Christmas,” another noteworthy track. Dylan breaks out the harmonica on “Christmas Blues,” a blues tune that evokes visions of dancing next to a fireplace on Christmas Eve.
Dylan sounds older, raspier, and out of breath on a few songs. Yet the warmth present on the album melts any possible criticism. For those already annoyed by Christmas music being played everywhere in America, “Christmas in the Heart” will get you in the Christmas spirit. Kissing under mistletoe is so much more fun when it’s Bob Dylan playing in the background.
Halloween has come and gone. Yet music fans, all your favorite folk candy is haunting the music scene dressed as the Monsters of Folk.
"Superband" Monsters of Folk
Monsters of Folk is a sweet showdown/collaboration album of Conor Oberst, Jim James (pseudonym Yim Yames), M. Ward, and Mike Mogis. For those of you still off the hay ride:
Conor Oberst is best known as front man for Bright Eyes. He has also played with his other band, the Mystic Valley Band, and has a successful solo career.
Jim James is the front man for My Morning Jacket, and has also followed a solo career under the pseudonym of Yim Yames.
M. Ward has released several acclaimed solo albums, and collaborated with Zooey Deschanel in her band She and Him.
Mike Mogis is a producer who plays multiple instruments in Bright Eyes, among other facets of his impressive career.
While the idea of the collaboration began five years ago, it was February of 2008 that the four finally got together in Mogis’ home to begin molding the record that would become Monsters of Folk. The only bump in the road was when they realized no one was a drummer. Yet they all gave it a shot, and still cranked out some pretty gnarly beats.
You would think that such powerful musicians brought together might bump horns, yet as joyfully sung in “Baby Boomers,” the happiest, sure-to-get-your-shoes-a moving track reminiscent of Johnny Cash proves otherwise, with lyrics, “You got to L-O-V-E your neighbors, at least the ones who are still left!” The album is jam packed with an explosive array of energy that will make you want to both dance and cry.
This reviewer has not yet been blessed with seeing the Monsters live; yet reviews of live performances have been positive. Their shows not only include tracks off the Monsters of Folk album, but hits by the individual member’s solo careers and bands Bright Eyes and My Morning Jacket.
Oberst and James take turns with lead vocals. Oberst brings his signature story-telling words of wisdom on the darker track “Man Named Truth” with lyrics “So don’t think too slow in the syrupy sun/You’ll get buried alive when the caterpillars come.” Oberst mournfully pours his voice over another classic Oberst tune “Ahead of the Curve,” with “I’m not carefree no; I’m free to care, I just never do.”
Jim James’ vocal skills are otherworldly. His vocal range is incredible; his signature ethereal sound hits your soul and moves your mind. Even on the tracks he doesn’t lead on, his background presence takes the song to a while new level. Like Bob Dylan, Oberest has often been praised more for his song-writing abilities rather than his vocal skills. Thus, the pairing of James and Oberst is a match fit for the Gods.
Other notable tracks include “The Right Place,” and “Good Way,” which speaks to saying goodbye, perhaps a reference to past musical relationships, “You taught me everything I know about taking other people for a ride.”
The album is explosive, with perfect variation of speed and tones on the tracks, insightful, meaningful lyrics, impressive guitar skills and top-notch vocals. True to the title, the album is heavily folk. Even those who hadn’t previously considered themselves folk fans will dig it. Anyone who has listened to any of the four’s previous work must check out this album if you haven’t already.
Backspacer, the band’s ninth studio album launches Pearl Jam back into the top of the charts, currently ranked number one on Billboard’s top 200 albums.
The album’s success is despite the backing of a major label. Backspacer is only available at indie record stores, Target, iTunes and Pearl Jam’s Ten Club. Producer Brendan O’Brien produced the album, his first work with Pearl Jam since Yield. With the iTunes purchase the album comes with a live video performance of “the Fixer” and a short film about the album. The film opens with front man and icon Eddie Vedder describing the writing process: “It’s like with oil painting, or painting or something. You know a friend of mine said ‘paint 100 and see if you’re good of it. After 100, maybe you’ll know.’ ”
The album bursts with explosive energy on the first three tracks, “Gonna See my Friend,” “Got Some,” and “the Fixer,” yet the fire dies down as the album progresses. While the punk element is subdued, the remaining six tracks do not disappoint. “Unthought Known” channels a yearning reminiscent of Vedder’s soundtrack for Into the Wild, with lyrics “Feel the path of everyday, which road you taking? Breathing hard and making hay, yeah this is living.” According to Vedder, “Unthought Known” is a sort of investigative piece on the human psyche. “Amongst the Waves” is an epic ballad that also takes you into the wild. According to Rolling Stone, “Amongst the Waves” also demonstrates an album theme of recovery and addiction, also sung in “Speed of Sound,” with lyrics “Every time I get me some, it gets the best of me.”
Compared with past albums, Backspacer lacks any hints of political rage. It appears Pearl Jam is happy with Obama in the White House. While he may be happy with the president, Vedder hasn’t lost his robust, soulful voice that gives him his signature powerful sound. Emotion is radiated on opener “the Fixer” with words “Wanna feel withdrawal, wanna overhaul, wanna be there, hard as a statue. Black as a tattoo, never to wash away.”
Backspacer is a relatively short album, running 37 minutes in its entirely. Each track is jam-packed tight with intention and plays clean with confidence, a noticeable change from the band’s earlier albums. The boys are back, and they know they’ve nailed it. While the duration of the tracks make for a tight album, fans await tours to see how the new songs are transformed onstage. As popular as an album is on Billboard, the stage is where its soul is put to the test.
Originally published in Elon University’s the Pendulum
"Joy" album cover
“Joy,” Phish’s 11th studio album and its first since its five-year hiatus, proves that the group hasn’t lost its groove after 20 years and that Trey Anastasio can rock out sober. The beauty of the album is that the group members are clearly having the time of their lives playing together again.
Anastasio, lead singer and guitarist, said the reunion sparked on his birthday, when Tom Marshall, co-writer of many of the band’s songs, gave him a poem as a birthday present. The gift became the lyrics to the album’s first track, “Backwards Down the Number Line,” which states “Happy happy oh my friend, blow out candles once again.”
Many tracks of “Joy” reflect friendship and time past, such as the epic 13-minute “Time Turns Elastic,” an odyssey sure to become a Phish classic. The jam reportedly was recorded 260 times before the band thought it perfect.
Bassist Mike Gordon shows off his guitar skills on “Sugar Shack,” the reggae-laced tune that also promises to become a concert favorite. “Kill Devil Falls,” a Southern rock blues number, is another highlight of the album introduced to fans far before the release of the album at summer performances such as Bonnaroo.
“Kill Devil Falls” has been interpreted as a metaphor for too much partying and Anastasio’s drug addiction. “I learned my lesson … Don’t go back to Kill Devil Falls.” “Light” shines as another gem of the album, with impressive vocal skills and a stunningly heady intro.
Many Phish fans are ecstatic about the reunion, and the album shows the band’s appreciation for its fans’ loyalty. The title track “Joy” shines like a lullaby to listeners cooing, “We want you to be happy, ’cause this is your song too.”
The bonus track version, available on iTunes, is worth the few extra dollars. This version has the beautifully melancholy “Let Me Lie” along with a few rowdy, crowd-pleasing tracks taken off “Party Time,” a selection of unused takes and songs cut from “Joy.” A deluxe set called “Joy Box,” containing both “Joy” and “Party Time,” is available on Phish.com.
Like a bright koi on his way home from the pet store, flailing about his restrictive container and eager to be set free into larger waters, “Joy” is straining against the walls of its music file waiting to be performed live.
Any Phish Head will agree that you haven’t experienced the band until you’ve seen it live. The stage is its home, where a four-minute long recorded track is often transformed into 15 minutes of explosive energy.
While “Joy” has already earned a spot in rock ‘n’ roll history as one of the best reunion albums, the real joy lies in what the album promises — epic future performances that, if Phish keeps up the energy shown on “Joy,” are sure to be explosive.
On their fourth studio album Halcyon Digest, Atlanta based Deerhunter tightened up their reins and released one of the best albums of the year. 
, even more turned on by Hippies. 
