Check us out on iTunes, yo. (Opens in a new window, and then opens iTunes.)

In this: News, Fang Island interview, Red Sparowes, Local Natives, This is Our Fight, and jj

Errors: I think I mistake This is Our Fight's song "Easy AM" for the song "Across the Sky".

Music by:

Alvin Pingol

Angels and Airwaves

Ceremony

Minus the Bear

The Fall of Troy

The Pixies

Fang Island

Red Sparowes

Local Natives

This is Our Fight

jj

The xx

Pronounced "Number 3", jj's newest nº 3 is a mixed bag. Although there is one bright light at the end of the tunnel: jj is a zillion times better than The xx.

Their freshman album, nº 2, was a major hit with many. At first, I couldn't sit through it. But soon thereafter it grew on me and is a nice playlist buffer alongside Efterklang and Sigur Ros. After being fashioned into jj's sound, this new album of theirs was definitely easy to digest. The plus side to the album isn't that it was easily nice to listen to for a listener like myself but rather it's just a nice album to listen to regardless.

The album itself seems more of a positive step for jj in various ways. Firstly, the album itself is a very soon-thereafter release, as their first album only debuted last July. Not even a year later, jj has submitted a completely new set of songs. Many times this happens, the band wants to get out of some sort of label contract... but in this case, their sophomore album in nº 3 is actually a great set of songs. Their selection of songs on this album is more along the lines of "Things will never be the same again" rather than their cult club hit in "Ecstacy".

It's better than The xx. All joking aside, I really have no idea how The xx had a better showing than jj. In fact, I believe that The xx, if they released an albums worth of songs today, would be a let down. Unlike jj, I don't believe The xx will be relevant. jj's feel seems more fresh. It's like the indie-Swedish version of the 90s Enya. The xx is just the indie-British version of 90s sadness. To jj's advantage, they will best many of the experimental indie-pop this year with this album.

As I started this review off, the album is a mixed bag. At times, brilliant. At other times, lacking. The words "experimental" never seemed more true than this album... the thoughts of song writing seemed to be along the lines of, "Hm, will this work? I guess other people will have to be the judge of that." In other words, they really seemed to include things in their songs, may it be melodies or harmonies, that were off. That's the experimental jamb though. A work in progress in song form. In my opinion, this album will be a great staple in the ever-growing experimental pop community, but as far as the big picture of the entire scene goes, this might be overshadowed by the fast-growing renaissance of post-rock. I guess the competition is on.

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People who will like this album: people who want something that sounds like The xx but doesn't suck, people who want the indie version of Enya. Others who would like this: people who hate post-rock's 2010 revival and want something that will counter it.

Although a mix of good and bad, it's generally good. However, that's where the recommendation ends. Enjoy this album, but the potential of overplaying it and/or getting sick of it is somewhat higher than others. But until then, enjoy it.

p.s. for those interested in what "Ecstacy" sounds like... here's a video of it!

The current pride of Brooklyn, Fang Island, has had many ups and downs in the past few weeks. I don't even know if you could write it like it has happened: Fang Island got a new van, released their first full length album,  began preparing for their upcoming national support tour... then had their van stolen, found again, and are still on track to make it to their shows on time, all the while gaining universal praise for their album. Our interviewing machine Shane "Dufus" Kalantari sheds some light on the friends that compose Fang Island.

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Dufus: First off, how is the land of “Philayorkadence?”

Fang Island: It was a difficult land, now we all live in Brooklyn.

FI: The band started off as an art project at school. It was a way of cutting classes, smoking weed, and still getting college credit. Then we realized that our musical collaboration was more important/enjoyable to us than learning lithography.

FI: Someone we will write a riff, then we add other riffs, then someone else adds a solo, then its done.

FI: Cure and Cura combined.

FI: We tried to talk to the kids about the power of rock and roll and friendship, but it was way over their heads. So ultimately it was about rocking out with kids.

FI: It helped give our music a colonial/bicentenial vibe.

FI: True story, we were about to buy a new van when our Visualizer man, Sam, decided to take a nap, and during this nap he went into the dreamscape, found our van and when he woke up we received a call that our van was at the 78th street precinct in Brooklyn and had been there all along...or was it? The lesson we learned was never underestimate the power of positive thinking and astral projection, but we would like to thank everybody that supported us. There was a huge outpouring of support that we are extremely grateful for.

FI: Nick and Jason. Instant acceptance.

FI: We have a few new songs in the works and a couple top secret ideas. We are also trying to get a sponsorship with Coca Cola and Pepsi.

FI: We are looking forward to getting out on the road in and of itself.  With the exception of Nick, none of us have ever been out on the road before for long periods of time.  Also, our bassist is an excellent chef and he's going to buy a hibachi.

FI: Napster has really been marshing my mallow.

FI: Before any show we set off fireworks and watch the Who's "The Kids Are Alright." Afterwards, we set off fireworks and watch Smashing Pumpkins "Vieuphoria."

FI: Three guitars a-wailin', a bass a-thumpin, and our drummer has cornrows

FI: The theme would be Under the Sea, November 12, 1955. It seems appropriate considering that's when and the setting where Marty McFly invented rock n roll and penned the hit "Johnny B Goode."

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When someone recommends me an album, or I get sent some EPK from some small label/no label band or artist, I really try my best to give them credit where credit is due. But sometimes... I have to play the devil. Judge and jury indeed.

This is Our Fight, from Gaitherburg, MD, is in the category of "uh?" and "um... no". If this came out in 2005, back when Set Your Goals and a zillion copycats from Northern California flooded Gilman's, I'm sure this band would end up on a tour with one of these bands, if not signed to some hardcore label of some sort. Unfortunately for that entire era of hardcore-pop-punk, it has been tossed to the way side. Some bands are still scratching for a chance, while others are just unchanging because... well, that's what they are. Then there are these types who are too late for recognition past a local scene and not enough wow to make a splash past a self-promoted tour. Maybe somewhere, at a festival or something, they'll make some friends and maybe land a bigger tour and possibly sign and get some recognition like You Me at Six has in the recent times. Until that big break, here is some notes on their first official release.

I would like to start by saying naming your first song "Get Pwned!" not only is slightly embarrassing but makes me think "our fight" is more like a Mortal Kombat fight rather than an alley way brawl. Also, the song itself talks about not getting in your way and if you do you should watch your back or else a gang of kids who wear slim fit jeans and love Underoath will come and fight you. As much as I love hardcore and most things surrounding hardcore, as far as production goes... forced one-liner shout outs are now up there with auto-tune with me. If some band came out with an album like this with primarily auto-tune vocals and double the shout outs, I might crap myself laughing. Unfortunately this time around, I'm just embarrassingly looking around to see if anyone can overhear what's coming out of my headphones.

But not all is lost. Like how stereotypical punk music has the overly-amazing bassist who can shred, stereotypical hardcore pop punk has the randomly out of place awesomely-technical guitarist. Although there is a major difference at times. Rancid's Matt Freeman is clearly the prototypical bassist, and most bassist's favorite bassist who plays with a pick, but for all the Matt Freeman copycats in the world, there are infinitely many more sound players who just are out of place playing in a punk band. Such as This is Our Fight. Although every hardcore pop punk band would love that hybrid guitarist who has a strong hardcore backbone and an eclectic guitar style with staples in punk and metal, only few sprinkle around and have a touch of tasteful riffing. Take in account the "hit" song from This is Our Fight, "Easy AM". Pinch harmonics wailing in the beginning at first is surprising, but then... over played. Although your homage to the late Dimebag Darrell is well received, please remain tasteful. The effect is there, and it caught me by surprise. The song itself, not as much. And the repetitive nature of each riff only embeds more ill-feelings, I feel.

Every musician in this band would be a star in a separate band suited to their talent. The drummer seems dynamic enough to play in some straight up hc punk band. The guitarists seem to jive well together to form their own metal band of some sort. The bassist is just a straight up bassist, nothing exceptional. The vocalist has a good range and can fit into something less... well, less this. And that's the pros.

The music choice is the con. If this band was just a straight up run-of-the-mill hardcore punk or hardcore metal band then there would just be a mediocre review for a mediocre band. This band decided to throw in a style that isn't really fitting, nor does the music elude to a new or fresh style of the not-so-fitting music created. For example: you have a room of classical composers. They are all musically intelligent and know all sorts of things about their instrument of choice, techniques, and even all sorts of different styles. They all, however, levitate towards some sort of classical style... let's just say it's baroque. So, you have a room of baroque musicians and then they all listen to acid jazz and think it's the coolest thing ever. Will they be the best acid jazz musicians? No. Will they even be good? That's up to interpretation. But they definitely will be mimicking the acid jazz style for a while. As goes This is Our Fight. Mimicking, not innovating. Painters trying to become sculptors.

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People who would like this: people who love You Me at Six, people who wish You Me at Six and New Found Glory had a bandgasm together, people who wish Set Your Goals turned into a hybrid version of You Me at Six.

As far as this album overall goes, it's not great on the ears for people looking for new music. Also, when you have two songs start with the same note ("Brutallity of the Balto Bear" and "Pandas" both start on G) it's a producing no-no, as well as a tracklisting no-no. Avoid at all cost. But there were a lot of things seemingly to avoid with this band... sorry to say, lads.

There is a type of music that I feel never really caught on in this scene. Did you people ever listen to Colour Revolt? Some people relate them more to Manchester Orchestra (they toured together), but I feel that Colour Revolt had something more sinister about them than the bearded epics of Andy Hull and team. Not to begin this review with an overshadowing tone, but rather a very nice appeal to Local Native's new release, Gorilla Manor.

Now, if you view the video above, you will note that there are some amazing things this band has on lock down: vocally, the entire band can support each other. Musically, they aren't forcing anything jarring on their audience, and that's always a plus. Lately, the music scene has been lacking vocally and forcing arrangements that don't really work out too well. This experimental pop trash that's out there right now is upsetting. If I had to choose what the "in" thing should be, it'd be something along the lines of Local Native. These guys have all these correlations with what's going on right now that should be promoted: great vocals, interesting music, and that touch of hipster vibe that makes you want to buy out a vintage store. And I'm very glad it's just a touch... because this review would have gone a different way had it been over-the-top.

This might be obvious, but... the music. Have you listened to this before? If not, LISTEN TO WHAT IS GOING ON IN THAT VIDEO!!! Also, if not, here's another clip:

Doesn't this just make you feel better? It really puts me in a good mood. Not just because it's great music, but because it is different. I've heard these guys compared to bands like Arcade Fire and Vampire Weekend but I think they are doing something more. They aren't in line for any hit singles to be heard or for any of their songs to be turned into car commercial music. Rather, they are just doing something that should be the crux of any musical effort: making good music that makes you feel good when you write it. Not making songs for anyone else but yourself first, then the audience. Good music, especially like this, will always attract a crowd. It's the honesty behind the good that makes it great.

At times, the album gets vocal-heavy. This is just a preference, possibly, but I feel that the band itself can do even more instrumentally. Their sound at times does revert back to that Arcade Fire type sound... but I'm not listening to this album because it sounds like The Arcade Fire. I want to listen to this album because it sounds like Local Natives. Some more instrumentation elaboration could potentially give Local Natives even more of an identity of their own. This is their freshman album, and it's a very very strong stab at the world in my opinion. Their sound seems to be prototypical, as in it involves a very vast amount of sounds from the current music scene, and they are trying to make an effort towards maybe more of a vocal effort rather than the ambient, jam-rock-ish indie-pop attempts that have entered the scene as of late. I'm interested to see what's next for these guys; to see which direction they want to push their sound towards. Although my wanting more begs the question, "how will they surprise me next?" I'm pretty happy with what they have to offer as far as this album as of right now.

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People who would like this album: people into good singing, people who enjoy singing along to songs with a twist of dancing involved, people who want to find their next favorite album. Others who would be interested: people who are surprised to find dollar bills in their pockets before they do laundry, people who like walking home after a good night, people who sometimes spend their time sitting back and just thinking.

A note: this album was released in the UK last year, but has been released in the US this year.

Ryan "Tambo" Tamborski (left), Erik Schau (cntr), and Nick Wan (right)

I've realized that there is not a lot of "other" articles on this site other than music reviews. So, to lighten the mood, I'll show you some things the fellows of 402 Productions do from time to time, since we are all busy bees.

Ryan Tamborski and I met somehow... I don't know when or where, nor do I recall any stories from "The Early 402" days. And even if I did, I wouldn't tell them. But because of this, folklore seems to be our best bet as to how we met. I know it has to do with me talking like a little girl and him jumping on my car's hood and leaving a dent the size of a 6'7" man, but much else is lost in this frizzled memory. In the end, Tambo and I have tried our best to keep ourselves occupied with various little-girl-voice-plus-large-man-body type things.

Although music is what we do mostly, our spare time is usually used to either: 1) write songs we end up forgetting 2) write scripts we never end up shooting and 3) being awesome. What might be included in being awesome?

A few nights ago, Tambo had some tickets to go to a basketball game. Of course, tickets is a plural, implying he had a ticket for himself and someone else. Sadly, since Tambo scares everyone he meets, he had no one to go with. After many hours (maybe just one hour) trying to find him a person to go with (we tried really hard, no joke) Tambo ended up giving up on his efforts. During this time, he posted an initial Craigslist ad for someone to go with... but to no avail. The ad itself was posted under "missed connections". If you haven't been entertained enough today, you should probably go and read some missed connections. Here's a picture of Tambo's hopeless effort (click to enlarge any pic):

Now, you may be thinking, "damn, I would have totally gone with him!" at this point. If so, shame on you for not parusing missed connections in the LA area. This ad, by the way, got him a total of ZERO replies. Anyway, Tambo's failure, as well as our collective failures of trying to get him a date of some sort, left us to question whether anyone would ever reply to our craigslist ads. And so, the challenge was born. I would make his personal ad and he would make mine and the person who got to best emails wins. Simple enough. Here are both of our emails:

Tambo's ad created by me, Nick Wan

Nick Wan's ad created by Tambo

Now, you are definitely thinking to yourself, "no way in hell will either of these idiots will get any responses!" but rest assured... we did. For the ad I created for Tambo, he aquired 13 responses, the majority of them being fake people (like robots or spam), hookers, or guys (??????? this is the m4w forum). As for myself, Tambo forwarded me all my emails he receieve and I got 6 responses, most being fake as well. But within the mess of emails, there were some actual people replying back. For Tambo's ad that he did for me, here are some quotes:

well you've succeeded in making me laugh at 3am.

I'm 37, a RN by profession. I just recently moved to SF bay area, originally from Calgary, Canada...

I liked your ad, it made me laugh. You got a facebook? If so, ad me: [censored email] and we'll go from there.
Cheers

So, I had a good amount of real responses some how. I don't know how, but I did I guess. Now, Tambo thinks I won... but I honestly believe he won because of the following:

heya...saw your ad..
tell me more about you.. also send me some pics and i'll send you some.

Gold star my friend, you got me to giggle, and for a brief moment, realize that there are somewhat normal/smart people on the ol Craigs(shit)list
-Nina

Are u really the coolest guy everrrr lets  see whats your major at UCLA? lol

but the cream of the crop was a chick who sent us some nude pics of her. Of course, I can't really show that... but she definitely showed it up. And so, since Tambo got porn from some random chick based off of my ad about chess teams and pokemon, Tambo won it.

So, in our spare time... we do things like this. There are a ton of other things we do that are already recorded and just need some commentary to go along with it or things we are doing and we just need to do them to write about them. I'll try to make these types of posts here and there, so check back often.

It's hard not to lose yourself in the music. Eminem said that once, didn't he? Well,  Mr. Shady was correct. It's definitely hard not to jump into an album and get immersed by feelings. Sometimes we jump into some bad music, filled with nasty production or unfulfilling melodies, and we're left with... well, bad feelings. And those are still feelings I suppose. But how much does it take for an artist to evoke good feelings? Enter, The Fear Is Excurciating, But Therein Lies the Answer by LA's Red Sparowes.

I personally have had an affinity to Red Sparowes by association. My ex-roommate, Matt Jehly, introduced me to many of these instrumental post-rock bands ranging from Godspeed You! Black Emperor to Neurosis to Red Sparowes. Many a night spent drinking and playing video games with a playlist of post-rock blasting. But nostalgia aside, Red Sparowes musically do induce these similar feely-goody-feelings.

Some might call it "thinkingman's music". Record label-mates Russian Circles seem to occupy a post-rock niche more along the lines of mosh pits and head banging whereas Fang Island seems to occupy more of a dance party high fiving category. Red Sparowes might not have the throwback metal breakdown jive that Russian Circles produce at times, nor do they dance jam to a 4/4 beat in a major key, but there is something these fellows do that their other instrumental friends might not do: expand emotion. As the title suggests, where fear is experienced an answer is hidden. Each song off this album represents another journey, accompanied with a darker, sinister tone. Through the thoughts shot through your mind lies an answer. To what? It's your puzzle, not mine. One you can choose to solve or not. Within that is the answer the Red Sparowes might be hinting towards.

Doesn't let down. I love that, by the way. When an album sets a pace and it follows through with the pace... not breaking the momentum with some slow, off-ballad, just to flex musical muscle. Manymanymany bands seem to have a problem with arranging which songs make it on an album, as well as screwing up the order of songs on an album. Some albums might have the right songs on the album in the wrong order, and that is the deal breaker. Luckily for Red Sparowes, this album is flawless as far as pace and production goes. Also, the instrumentation and arrangement of each song seems to take on their own identities. This skill is also lost to many indie post-rock bands. Emotion is not verbally emoted in these kind of albums... so what separates the sound of one song from another? Imagination through song writing. There is a story behind each song, surely. And when you stick to your story, there is no gray areas between tracks. And that is a feat, believe me. In other reviews, what I just described is what I usually akin "expansion of sound" or "variance in style" or something like that to. Red Sparowes definitely exhibits a great control of their own style while being able to channel many other forms in their music. Many bands either go too extreme and seem like they have split personalities on an album (sometimes nice, but very hard to make well) or stick themselves into one style with no real variety to their style (usually boring and hard to enjoy if you are a new listener). Red Sparowes does a very good job maximizing their sound on each song, leaving the rest up to the listener. Finally, as I pointed out in my Joanna Newsom review, some bands take the route of creating an albums-worth of stand-alone songs in hopes that the songs created make up a great album. Red Sparowes themselves have pointed to this idea as a way they ended up creating this album. In my opinion, I enjoy these types of albums more, usually.

Hard to pinpoint a con, really. Although there might be some, as far as fans are concerned. Now, I will admit that this is the first Red Sparowes album I've listened to from beginning to end on my own will, which makes me not the best candidate to point fingers, but from what I've heard from previous albums, Red Sparowes have taken a different route in their sound.

Now, you can be the judge. In my opinion, their sound hasn't drastically changed, especially in the sense that it has changed for the worse. However, if I may conclude, their previous full-length efforts were created with an idea/theme that was tackled in form of a full album. What I mean is that all their songs and representing one story, or one idea, or one theme. Within that, it's easier to allow longer forms of styles to be represented on an album. So, you could have your hard, crashing, mega distortion part of the album extend for an entire song if warranted. On this new album, each song is representing a stand-alone theme of fear and truth. In this form, your hard, crashing parts no longer can extend five minutes or longer since each song only lasts anywhere from two to eight minutes. Which brings me to what I've heard through the grapevine... and by the grapevine I mean Matt Jehly, the one who is writing up the interview questions for Red Sparowes. He has said that the past albums seem to be more heavy at times, a selling point to Matt. Of course, there isn't a lull of heavy on this album... but rather, shorter heavier parts to allow for stand-alone songs. From what I can tell, the band has progressed positively in their sound without tampering with what their core sound is comprised of. All the elements are still there, just interpreted differently. I don't know if that's a con (it's not really a con for myself) but to represent the hardcore fans of Red Sparowes, I view your opposition.

People who will like this album: people who enjoyed my recommendation of The American Dollar and Russian Circles. Any post-rock lovers. Any instrumental lovers. Other people who would like this album: people who listen to some sort of closet-music (I'm a closet Blue Oyster Cult fan), people who debate whether to spend your merch money on the album or a shirt, people who always want to be front and center of a live show but wishes the sound quality was like the quality when you stand in the back of the venue.

So, earlier this year I said I'd be waiting on an album that could possibly shove The American Dollar in or out of the running for album of the year. Well, since there seems to be a strong representation of post-rock coming out lately, Red Sparowes and The American Dollar seem to have a strong case for a nomination nod... but I still hold my reservations for now. Although a great album, I would like to still see some more post-rock emerge before suggesting that the post-rock scene is back in full effect. There are definitely strong bands representing the genre as of right now, but I would like to see a few more newcomers out there. Until then, Red Sparowes will have to wait just like The American Dollar on a nomination until June.

P.S. As I said before, Matt Jehly will be conducting an interview with them which will go up very soon. I'll keep you posted!!

If I have to distill my review of the album down i would call it "intentionally epic". The album is packed with swelling guitars and choral vocals.  As the album starts it is perfectly clear what 30 Seconds to Mars wants this album to be.  Songs taken individually do, at times, approach that tingling since of "epicness".  Regrettably when taken as whole that same epic quality feels forced and a bit cheesy.  Track after track of choral backed bridges becomes tired by the end of the album.  Lyrically the album has the same impact.  Song after song of rousing calls to unity and victory become grating by the time the albums closer, L490, rolls around.  Had the album been compressed down into an EP its "intentional epicness" would probably have been much easier to swallow.

In this: Xiu Xiu, Fang Island, Joanna Newsom, Husky Rescue, and Best Coast reviews. Maxi helps out with the outro music as well.

Errors: A few plural errors here and there. I said the cover of "Peach, Plum, Pear" was a cover by John Nolan. Although correct, it was actually by Straylight Run (probably just John and Michelle). A few other errors as well, but I really don't recall them unfortunately.

Notes: Sorry if this one is a little drawn out... still trying to figure out this podcast thing. Any ideas as to what I should do is definitely welcomed. Also, feel free to check us out on iTunes for the same podcast, and all other 402 podcasts as well, if that's more convenient for you.

Music:

Flirtphonic - New Car Smell [note: help out Flirtphonic by showing him some comment love at DJ Shadow's site!]

Husky Rescue - Sound of Love

Xiu Xiu - Dear God, I Hate Myself

Fang Island - Careful Crossers; Daisy

Joanna Newsom - Baby Birch; Occident; Soft As Chalk; Bridge and Balloons

Straylight Run - Peach, Plum, Pear [note: I couldn't find John Nolan or Straylight Run doing this... so here's Owen Pallett, who I mentioned in this podcast]

I guess you would call her a heartthrob, right? Jonathan Taylor Thomas is to girls in the early to mid 90s as Joanna Newsom is to hipster boys of the now. Although, I'm personally frank towards the stylings of Sara Quin (second only to the girl from Baggy Time I suppose), Joanna Newsom is nothing short of clearly beautiful.

But is her album as beautiful?

The album itself is a conundrum. Three discs, no real direction as to which goes before or after either, and no real linking themes throughout each disc, separately or together as a 3-piece story of some sort. The artwork for the album is as wtf as the packaging... but the artist, Ms. Newsom, is also one to stir confusion.

First off, how did she appear as the leading lady in a world of glasses frames and vinyl records with no record players? She's no newcomer either; Ms. Newsom has seen the last decade filled with her music... albeit... overlooked at times. What is the cause, though, of her resurgence in this scene? Other than the good looks, of course.

Well, regardless of what hype machine you've been reading, Ms. Newsom has successfully put to shame the doubters that have tooted all looks and no music.

The first of the three albums is definitely a no-frills-straight-up-Newsom disc. There is everything to love (or hate) about Ms. Newsom in here. A friend of mine once said Joanna Newsom would be the greatest artist of our generation if she didn't have the voice of Lisa Simpson. At times, the Lisa Simpson is apparent... at other times, and I would go on to say the majority of the time now, Joanna Newsom has honed her singing skills into something more... dare I say... sensual?

The second disc is a little slower-paced in feel. There are glimpses of new Newsom, with introductions of horns and a bigger orchestration. Also, it seems as if Joanna Newsom is trying to show a little more vocal-love on this second disc, both lyrically and musically. The first disc had it's instrumental track (which isn't out of the ordinary for Newsom) but the second disc erred more on the side of words, with broken down songs more along the vein of something I would expect from Owen Pallett. As Owen Pallett's style also encircles, Joanna Newsom switches between instruments as well as the amount of instruments throughout this second disc. At this point, the last track of each disc is a great bookend. And also, makes the wanting listener want even more.

The third disc starts off just how the second one left off, with a slightly more jazzy-paced track. I would venture out to say that the tone of the third disc begins more punchy than the other three. Maybe the glue that holds the other two together? As far as beginnings go, this third disc has the most full feeling to it and could have possibly been released on it's own, a part from this three-disc entity. Yet again, Joanna Newsom proves to be a step ahead of all of us when you realize that the evolution that has occurred from disc one to three is the exact thing we've been waiting for since we all played out Ys. Ms. Newsom, on this third disc, takes more of an upbeat vibe, similar to her 2004 Milk-Eyed Mender songs, but with a more updated twist. As if her almost-rough-draft sounding tunes from discs one and two provided the path to disc three... it's as if you took disc one and two and had Newsom song babies with "Peach, Plum, Pear" and "Bridges and Balloons". Speaking of which, here's a new song from her album and an old song!

For the Newsom-enthusiast, there is a lot to love. First off, it's 18 tracks of Joanna Newsom. Definitely a great way to quell the past three years in anticipation. Second, she has done a great job in progressing in her own style while still giving the old hats something to chew on -- no Schizophrenia Newsom on this album. Third (but not final), the style achieved although might not sound vastly different from her past works, the times are definitely different. In 2004, what the hell were you listening to? While Joanna Newsom was pumping out songs you cover for your local battle of the band shows, you were most likely watching The OC and downloading Death Cab for Cutie songs off LimeWire. If not that, you were still MySpace Bulletin-ing about Straylight Run + Taking Back Sunday + Brand New, placing bets on whether Hot Rod Circuit or Hot Water Music would break up first, or just finding out that Say Anything's song "Belt" was the next coming of a musical Godsend. In any sceney-weeny case, you definitely weren't listening to Joanna Newsom. Here we are, six years later, and Joanna Newsom hasn't changed much and now she's as hip as those Grizzly Bear and Beirut dudes. But the difference is that she's been doing the same music since she's been putting music out. She's not in the scene's pool. The scene is in her pool. But, she knew that... or else Ms. Newsom wouldn't have been so kind as to let you have one on her.

Although the 18 songs and the kick-back-but-not-so-kick-back sound is very nice, Joanna Newsom seems to have stepped away from something I believe everyone loved from her and that is single, stand alone tracks. Unlike her first album, these 18 songs seem to support each other in more of a "we need each other" way rather than a "we're great together, but alone we also rock" way. Some other examples of this common phenomenon: Brand New's Deja Entendu versus The Devil and God are Raging Inside Me. Deja had the stand-alone songs whereas The Devil... had more of a "lean on me" type build to the music. Now, although this isn't really a con... I personally believe that Joanna Newsom had a really strong quirk for making indie hits. This album doesn't seem to have those same quirks that I originally fell for... but that doesn't mean it's bad. Just different. Who said cons have to be completely negative???

People who would like this: all hipsters and scenesters, all closet indie music listeners, anyone who loves the Simpsons. Maybe I should try something different then...

People who wouldn't like this album: people who put a premium on "how easy is it to listen to this music?", people who are more into electric instruments rather than acoustic instruments, people who didn't like Karen O and the Kids. Other people who wouldn't like this album: people into Xiu Xiu's newest album.

I don't know what to make of this new album, in my honest opinion. I know it's a good album. But I'm really not sure if it's an album of the year nominee yet. Some of the albums this year were so clear-cut that it was just instant for me to know... I know most (if not all) music blogs will cite this album as their album of the year, if not top 10. I'm just not inclined to do so just yet, especially when Owen Pallett set such a high bar for this style. Yet again, I feel as if there was a competitor against Mr. Pallett, it'd be Ms. Newsom's album. With that in mind, I'll give this the nod... but it's tentative, and definitely not guaranteed a shoe-in.

Relay

Here's some more Newsom for those who are more in my quirky song club.