23rd Mar2011

Album Reviews: Beach Fossils – What A Pleasure

by Adam Finley

This is what I hear whenever people talk about Beach Fossils: “Nostalgia blah blah blah. Brooklyn rooftop blah blah blah. Quintessential hipster blah blah blah.”

Here’s what those same people will be saying in 3 years, when the indie hype machine has landed Beach Fossils a disappointing major label deal then moved on: “Overrated blah blah blah. Sell-out blah blah blah. Their first album was better blah blah blah.”

Beach Fossils (yes they’re from Brooklyn thanks for asking!) are cool dudes. I wrote a live review of them for this site last year. But from the first time they touched microphones they have been hyped to the point of ridiculousness. Essentially, they’re a clinically depressed, fuzzy Best Coast. Their new EP carries this sentiment in spades: there’s no way to disguise the fact that What A Pleasure is just fucking average.

Listen to “Fall Right In” While You Read

The Pros

Structurally the songs are sound. Functional. They don’t feel under or over developed, and they could never be accused of trying too hard or not fitting into the whole. Beach Fossils can churn these songs out by the dozen, and it’s impressive to see a band with such a strong sense of self and such a singular aesthetic.

The Cons

That aesthetic gets old fast, to the point where the casual listener, even after a few listens, cannot distinguish one song from another because the tempo, instrumentation, and vocal delivery are virtually identical. And this is the fatal flaw of What A Pleasure: not a single song really shines. Not the minute-long intro. Not the duet with Jack Tatum. Not even the most single-ready track, arguably “Fall Right In”. What’s more, the tracks don’t add up to a nice whole (I still think Winamp is lying when it says this album is only 23 minutes long– it feels like 40). These are mud-colored blocks stacked together to make a mud-colored wall. It’s sound. It’s functional. But who wants to stare at a mud-colored wall?

The Verdict

What A Pleasure is by no means a bad album, but Beach Fossils is a classic example of music blogs putting the hype cart before the talent horse. Every Beach Fossils release has been heralded as the quintessential Brookyln rooftop party soundtrack, but I’ve got news for you: if the parties you attend are soundtracked solely by Beach Fossils, it’s time to find some new friends.

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17th Mar2011

Album Reviews: Stacey Koziel – Now Playing

by nickwan

Stacey Koziel is a Michigan product, although probably more closely tied to the Chicago scene rather than the Ann Arbor and Detroit scene since her town of Three Oaks is what some lower peninsula folk would call “far west Michigan”. Koziel has a handful of accomplishments, including being noted as best female singer/songwriter by West Michigan NOISE magazine, and seems to continue to attract many towards her beacon of sound. Her latest release, Now Playing, is a sort of raw indie-pop talent that’s cute and quirky that should attract the likes of Feist and Zooey Deschanel fans.

Take a listen to “Fall Into You” here!

The Pros

A sort of love here would be the rawness. Some artists are too rough around the edges these days, sort of like kids who can’t color inside the lines. Koziel is more like the kid who colors within the lines but with weird colors. Maybe the sky today is purple. Maybe the grass is red. Maybe the random introductions of techy-drums, weird post-production effects, and random one-off appearance of auto-tune (or it could have been a different vocoder) were scattered around her latest release. It’s all here: the lyrics, the songwriting, the ability to play it all herself. It’s just sort of messy. But in all of that messiness, it’s really cute and quirky. She’s got this sort of early 2000′s pop vibe, lyrically-driven, and still sort of experimenting with all sorts of things instrumentally (digital or otherwise). Think of what the first Sara Bareilles demos could have been like. This has potential.

The Cons

I don’t know if it was the presser copy of the album or if this is what went out, but there were some weird aspects of the album that were sort of confusing from a production standpoint. First off, the leveling could have been better throughout. At times, the vocals were overly presented — like if someone was singing in a recording booth and the band was playing in the room down the hall. At other times, some stuff was just over the top. Koziel doesn’t need bells and whistles via obscure studio instruments and effects. She is most in her prime on her own, potentially with one or two accompanying musicians. If I could, I would just take a few Kevin Devine albums, package them up, and ship them over to Three Oaks and tell her “DO MORE LIKE THIS”. I think less is definitely more for Koziel — that is, if she wants to become that sort of indie-pop musician. There is the other side to the coin as well, where Koziel is looking for more of a way to become this fancy acoustic singer-songwriter fused with even further ridiculous post-production hoopla… but if that’s the case, then I think we are all in for a strange and bumpy ride. Check her out live below!

 

Another issue was track listing in general. Her bio says the second and third track are “Renaissance Man” and “Until”, respectively. However, Amazon and the press copy I have have those two tracks flipped. Also, “50 Years” (track 5 on the bio, track 6 on Amazon) and “Fall Into You” (track 6 on the bio, track 5 on Amazon) are flipped. I personally think “Renaissance Man” second is a much better way to present the entire album. “50 Years” is definitely the closer. However, the concentration of “Until” and “Fall Into You”, with all the electronic post madness, might be a bit much. Try tracking out the album both ways if you have the album. See which one you like better.

The Verdict

This album is definitely enjoyable, for the sheer fact that it’s something to look back on after a few more releases from Stacey Koziel. Stand alone value itself is decent, mainly because two songs — “Until” and “Wishing Well” — anchor this album. I’d like to hear different versions of almost all the songs on this album, since Koziel is one of those writers who seems to be able to play a song a million different ways (see: Jonah Matranga). Maybe if she finds some permanent accompanying artists at some point, some of these songs will really pop. Until then, we can only wait for Koziel’s next move.

 

 

 

If you are inclined to, you can pick up this album via Amazon (as well as check out a few more samples from her album).

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14th Mar2011

Album Reviews: Talib Kweli – Gutter Rainbows

by Adam Finley

In the 2005 documentary Art of 16 Bars, a disgruntled Talib Kweli had this to say about the standard hook/16 bars hip-hop songwriting formula: “Music has become such a business that that formula has actually been put into lyrics.”

The words tumbled out of his mouth like he was unloading a turd. His belief is that major label artists lack the freedom to use anything but established song structures and that because of this major label hip-hop artists and albums can’t be innovative (forgetting, of course, that some of his most innovative albums were affiliated in one way or another with major labels).

But fair is fair: independent artists do have more control of their art. So Kweli decided to buck the system completely and release Gutter Rainbows, an album that he recorded, released, distributed, and promoted independently in an attempt to make an album that could never exist on a major label. So how successful was he?

Listen To “Cold Rain” While You Read

The Pros

When Kweli goes hard he raps as fiercely as anyone. There is a level of intelligence in his lyrics which irrevocably sets him apart from the vast majority of MCs (prime example here). Even so-so Kweli tracks require careful listening to make sure you don’t miss anything. Moreover, Gutter Rainbows sounds like an album rather than a collection of singles stuck together with chewed gum. There are a few good tracks here (“I’m On One”, “Tater Tots”), some classic East Coast production, and a great guest verse from Jean Grae. Gutter Rainbows is an overall stronger, more coherent product than Kweli’s last studio album, 2007′s Eardrum.

The Cons

For being an attempt to escape the strictures of major labels, this sounds identical to any other Kweli release. It starts with a skit and cycles between shit-talking, songs for the ladies, and socially conscious raps, all of which follow the same basic songwriting structure that a major label would demand. Gutter Rainbows is two club bangers and a neighborhood shout-out away from a T.I. album– so much for bucking trends and being innovative.

This isn’t Kweli’s finest lyrical outing either. Some of his punchlines bounce between silly (“Don’t test the brain, son, I’m quite good at Scattegories”) and nonsensical (“you need some Vaseline cuz your shit’s dry as a desert”). On the title track he attacks rappers whose histories are “short as the month of February in a leap year.” Doesn’t a leap year add a day to the calendar? That shit doesn’t even make sense! Check out this Def Poetry Jam performance for a taste of Kweli’s usual level of thoughtfulness and depth.

The Verdict

I love Talib Kweli, which is pertinent because I’ve given this dude more chances than I would a younger artist who never made The Beautiful Struggle. If Curren$y put out as many consecutive mediocre albums as Kweli I would forget he ever existed.

Still, Kweli is one of the finer lyricists in hip-hop and he will wreck a track if given half a chance (in the last few years he’s upstaged Stat Quo, RZA, Kanye, Gucci Mane, and Royce da 5’9″, among others) but for some reason he hasn’t turned in a really great album in quite a while. Gutter Rainbows doesn’t completely reverse this trend, but it’s a step in the right direction.

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04th Mar2011

Album Reviews: Del The Funky Homosapien – Ice Cold Leak Pack

by Adam Finley

Del The Funky Homosapien has long taken a leading role in pioneering new modes of music consumption, offering pay-what-you-want pricing models for his albums and releasing regular free EPs to promote everything from upcoming musical projects to his line of Osiris shoes. This works to my benefit since I’m a big Del fan and I don’t like paying for music. What he gives away for an email address isn’t typically fantastic, but free music is free music, especially from a great artist.

Listen To “Afterburnaz” While You Read

Ice Cold Leak Pack is a short EP featuring Del and assorted acts from the in-progress Ice Cold Tour. In line with my expectations, it scratches the new music itch even if it doesn’t completely satisfy.

The Pros

Every track here has something to offer, and it exposed me to a couple of unsigned hip-hop acts with a lot of raw talent. Opening the EP is Santa Cruz crew Serendipity Project with “Rock The House”, a Jurassic 5-esque throwback joint guaranteed to make you nod your head. Del is up next with “Afterburnaz”, a minimalist track that reminds why Del was once one of the best rappers around. Even given his recent mediocrity, he’s capable of hilarity and lyrical dexterity like none other: “You talkin’ hella shit, I’m ridin’ through on two elephants.” Bukue One comes next with an old school West Coast riding vibe and last but not least we have Zac Hendrix of AllFlagsBurn, a dude with some pretty fierce rhymes.

The Cons

At just four tracks (the last of which is called a ‘Bonus Track’) it’s too short to do anything but expose Del fans to a couple of new names and keep Sir Dzl in everyone’s ipod. At just over ten minutes long, it wouldn’t even soundtrack a decent dump. I would have liked another song or two– maybe some live cuts (this is supposed to be a concert promo after all), freestyles, or a collaboration, similar to what Brother Ali, Toki Wright, and Evidence did for their Fresh Air tour last year.

The Verdict

As a short collection of free and fun hip-hop it can’t be beat. But as a promo for the Ice Cold Tour it fails to make me want to buy a ticket any more than I might already. Ah well, I got this shit in exchange for an email address. Who am I to complain?

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02nd Mar2011

Album Reviews: The Window Theatre – Away

by nickwan

 

The Window Theatre, which is mainly comprised of the two Duemig brothers Joseph and Erik, is a Chicago indie-pop product in the vein of Jack’s Mannequin and Straylight Run.  Their EP, Away, is a sort of homage to their personal travels around the United States. They cite living in five different states throughout their lives thus far, claiming Chicago as their home for now. This album, a product out of the Austin-based studio Hot Tracks, is a sort of further introduction to what the band could become.

Listen to it all right below!!

The Pros

The brothers play upon their strengths, which are their instrumentation matched with their vocals. The bulk of the EP is based around a very singer-songwriter feel, with other instrumentation (such as bass, drums, etc) being a third wheel to the acoustic guitar and vocals they represent so strongly. The actual lyrical substance of the album really does ring the bell of the album’s title, Away. It really is an album that can sort of soundtrack a Fall semester for a good handful of students out their. It’s fairly impressive that two musicians like these two are streamlining themselves towards something very professional sounding and very professional looking. They could have said they were signed to Sub-Pop and I probably would have believed them. Good heads on their shoulders.

The Cons

An EP shouldn’t try to do too much, as some EPs have tried to do in the past. This EP definitely doesn’t do too much, but that is also a bit of a hindrance as well. Their is a sort of plateauing effect that appears about halfway into the second track of Away. It falls from listening to some interesting new music to listening to muzak, as I caught myself a good handful of times not paying attention due to the almost-monotonous vibe  “Away”, “Holes May Grow”, and “Almost Home” give off. I wouldn’t mind these songs in the context of a full LP, but I really don’t know what else these two have to offer other than songs generally around 170 bpm that include a very heavy pop vocal presence and an acoustic guitar accompanied by a piano. Another major con, which is sort of a personal opinion, is… whoever the lead singer is (I’m assuming that’s Joe, the guitarist) should just go solo. The whole brother thing seems underplayed in this “band”. Unless Erik is writing all the songs and Joe is just the person who can pull them all off, there is really nothing on this EP that shouts out this is a joint-effort. I would almost hypothesize that one of these brothers are more musically inclined towards a different sort of genre other than indie-pop and one of them is more of that singer-songwriter type. Either way, something that could have helped would be a little more definition in the whole brother aspect of the album. When I’m thinking definition between siblings, I think of Tegan & Sara. They definitely have two distinct writing styles, yet complementary. The Window Theatre seems more lopsided. And if this is what both of the brothers do as individuals, maybe they should try different routes just to find out more about their own style of writing rather than combining forces and doing something one person can do normally.

 

The Verdict

There are a lot more questions than answers from this EP. This is more of an appetizer to what The Window Theatre can become rather than a flavorful bite of what they actually are. What these two brothers actually are is undefined at the moment. I would give them a year or so to develop into their own mold before throwing down a real judgement about them. It’s sort of like saying whether an infant will be a lawyer or a construction worker. That’s just impossible to predict at that point in time. I would have enjoyed maybe another two tracks added on to this EP to see whether they would have stuck with the same style of songs or possibly varied their track options a little. We’ll just have to wait for the next release to find out what happens next.

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16th Feb2011

Album Reviews: Disappears – Guider

by nickwan

Disappears, and their latest album Guider, is a sort of carefree trip that jumps between old punk roots, some psychedelic 70s type effects, and a general lathering of shoegaze. Ideally, these guys were going for The Clash meets Pink Floyd. What they ended up with was Guider.

Listen to “Superstition” Below

The Pros

This is a really easy album to just throw on at a party or something. Long progressions, generally entertaining vocals, and relatively different sounding songs. At times, it has this New Jersey ultramega-reverb sound. At other times, it has this sort of driving sound that is similar to the driving forces of Surfer Blood and the like, except less chill and more mosh. Two ways to introduce this album that I’ve envisioned would be mostly when you need some sort of muzak. That doesn’t really speak to the creativity of this album, but I’m trying to say that this album is versatile in almost all situations.

The Cons

For everything it could be (shoegaze, punk, psychedelic, etc), it isn’t anything in particular. For that, it’s sort of a jack-of-all-genres, king-of-no-genre. It falls into that abyss of albums you could listen to but have no urge to want to listen to. I keep having to remember what band I’m talking about when I write this review, but to that notion… this band is fairly forgettable. There is no interesting pull. There is nothing that makes me want to start a similar band. This isn’t a band where I’m wowed from track to track. Their con is their mediocrity. And because of that, I have no real idea as to what they should do to become a better band. If they expand more, they might just incorporate more genres or more songs within their style that are just average. If they streamline towards a specific sound set, they might lose out on what makes them enjoyable at the moment (their encompassing of three not-so-incorporated genres).

The Verdict

In some universe, this is the music for alien gods. Unfortunately, we are not those alien gods. At least, not yet. There are many things that are likable on this album, but there isn’t anything in particular that is lovable. All shrugs and no hugs from here.

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09th Feb2011

Album Reviews: Cage The Elephant – Thank You Happy Birthday

by Adam Finley

If you paid attention to the general musical landscape between 1995 and 2008 then you know exactly what Cage The Elephant sounds like already. It’s like Beck fronting the Yah Mos Def, or the guy from Deer Tick recording with White Stripes and Citizen Kane. It has a 2000′s indie feel with hints of late 90′s DIY alt-punk and a dash of ‘don’t give a fuck’. Thank You Happy Birthday, the band’s second proper album on Relentless Records, is a Frankenstein of sounds that came before it. They are used to decent effect most of the time, but they are still a mish-mash of new and old styles purporting to be the next big thing.

Check Out “Shake Me Down” (one of the better cuts):

The Pros

These songs have a way of worming their way into your head and sticking around for a little while. ‘Always Something’ is immediately catchy, and ‘Aberdeen’ has a soaring chorus that MGMT would be proud of. ‘Indy Kidz’ is a cautionary tale (sort of) about not trying to be like everyone else… which might actually makes you like someone else. It’s so fucking hipster ironic that I should hate it, but something about the way it slides off the rails just as you’re getting sick of it makes me appreciate it. The rest of the album is similar– sloppy, driving, and modestly enjoyable.

The Cons

Albums typically have a peaking effect where it takes a couple of listens to get into it, and then you have a bunch enjoyable listens before it starts to feel old. The peak for this album happened sooner and was over much faster. The majority of this is generic indie-pop from the past 15 years slammed together in what appears to be a synergistic attempt to sound “indie” and sell records. Cage The Elephant’s web site is a graphic-laden wonderland that at one point featured the word ‘re-tweet’ and entreated the buyer to purchase  the 120-gram, single gatefold vinyl and “add a hoodie” to the order, which makes me want to shit hot fire. More importantly, it makes me wish the guys put as much effort into making this album as they are into selling it.

The Verdict

Thank You Happy Birthday has the feel of a $100 hair cut designed to make you look like you just rolled out of bed. There’s something carefully controlling its chaotic moments, and it has a distinctly commerce-driven flavor to me. Not that this means the music is necessarily bad but if this was Pacman the body would be standard, derivative indie-pop and the mouth would be innovation. It’s not a huge amount of innovation but still a reason to give this album a listen. Maybe two. Probably not more.

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07th Feb2011

Album Reviews: TimPermanent – Marker

by nickwan

In a sort of kooky way, pop in general doesn’t leave too much to be hopeful for. Not too long ago, girls just wanted to have fun or you put your hand upon my hip and we dipped. Now it’s sort of this realization in lyrics where there is this common theme of I’m just doing me. In that sort of pompous, egocentric environment, one might be afraid to venture forth in producing their own pop album. TimPermanent definitely took his stab at it. Reminiscent of earlier 2000s pop-scene, TimPermanent diverges from the path of I’m just doing me with his album, Marker, trying to explain I’m just doing what I love.

Check out “Extraordinary” below

The Pros

This is the sort of “lower-fi” that I enjoy. It’s not crappy sounding quality. It’s minimal in it’s production approach. There is a streamline to what TimPermanent wants us to be listening to, rather than throwing a kitchen sink at us and wanting us to sift through layers of filler. The instrumentation is definitely as simple as possible, with the vocals being the driving force for the entire project. Checking out some of his live stuff, there are two live sides of TimPermanent: the solo vocalist singing over the studio instrumental with dancers and the solo acoustic TimPermanent (see below). On one hand, you have that pop vocalist but on the other you get that clear emotional attachment when watching him basically bleed it out of his guitar as well as belting it out of his mouth.

The Cons

The bio describes TimPermanent as a self-taught singer and guitarist. While the guitarwork I’ve seen through videos is very solid, the vocal apparatus seems to be shaky. At times, I feel like there is no real direction as far as vocal melodies are concerned. It seems more like those decent or good American Idol auditions, but with some synths and vocal layering. At times I want to say I totally get what he’s going for here but then he either doesn’t live up to what he’s building up to or it’s way over the top. Some lyrics, like on “Extraordinary”, just end up repeating and I don’t really understand what exactly he’s talking about. On the same track, you can tell that TimPermanent can sing but he decides to throw on some weird vocal filters, including some sort of Auto-Tune sounding thing at some point. Would TimPermanent be better off singing a sort of solo acoustic thing? Well…

The Verdict

It sounds like TimPermanent has done a handful of things already as a musician, from his French horn and clarinet upbringing to his indie-pop production, but I don’t know if he is necessarily just trying this TimPermanent thing out or if he’s committed to excellence. Just listening to his last song makes you kind of see the sort of artist this guy could be, combining both instrumentation skills and singing.

In the end, I’m sure this venture isn’t what TimPermanent has in mind for being the project he pursues for the rest of his life. However, no one really thought Gabe Saporta was serious when he released his Cobra Starship cover of Gwen Stefani’s “Hollaback Girl” (Saporta’s is titled “Hollaback Boy”) and yet Gabe Saporta has been doing Cobra Starship for nearly six years now (maybe it is six and closing in on seven… time flies). Gwen Stefani ventured out and did that sort of electropop thing only to realize she really just wants to do No Doubt. Whichever side TimPermanent picks, let’s hope he fills it out to the fullest.

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01st Feb2011

Album Reviews: Sam Trapchak’s Put Together Funny – Lollipopocalypse

by nickwan

Sam Trapchak, the bassist in this outfit, is well versed in his instrumental stylings as Lollipopocalypse proves to accomplish, or as I like to call it NotRealWordThatIsTooLongTooRemember. Sam Trapchak, a not-so-far-from-Detroit native, Livonia to be specific, is cited to have bass playing in the blood. After a stint of jazz in a couple of universities, he wound up in NYC playing music full time. In my own opinion, what do you call lower peninsula of Michigan? Lupers? I mean, obviously Upers makes sense… but Lupers is kind of catchy too. Forgive me, natives of the D. It’s quite cold there I hear.

Listen to Different Dance below!

[powerpress]http://samtrapchak.com/hp_wordpress/wp-content/uploads/01-Different-Dance.mp3[/powerpress]

The Pros

Clearly, musicianship is the pro. The Put Together Funny, consisting of Tom Chang (guitar), Greg Ward (sax), and Arthur Vint (drums) have put their minds together for Vince Guaraldi’s wet dream. As their album notes say, they do pull from a slew of other styles that all have a very strong jazz backbone tying it altogether. It’s not known whether or not this quartet have been playing together since high school, since college, or only recently, but it’s as if they have been playing together for ages. That just might be the musicianship proficiency, as they are all very well-versed in their instrument of choice, but there is a sort of wild chemistry that also bleeds through. Think of Karate meets A Boy Named Charlie Brown.

The Cons

As many jazz albums come, many jazz albums go. The problem with a very traditional jazz album these days is the utilization of the genre. Karate had a thing going for them, as they fit into a half-jazz, half-indie rock genre. Weirder takes on jazz, such as some forms of post-rock or math-rock, also take on a more indie rock vibe as well. When this sort of scene is presented with a more jazz-than-indie-rock-hybrid, it’s usually not received too well. Although, Sam Trapchak and crew might not be in it for the brownie points of the scene. However, if not, then there are not too many options to go when trying to break into some sort of indie scene. Try coffee shops, or maybe young owners of restaurants who want a jazz band? I don’t see this too much further than an opener or a lobby band when it comes to the instrumental indie scene.

The Verdict

Good stuff, and very enjoyable on an iPod. Not so much to offer past that. If you’re looking for something to throw into a smooth, slow mix, this is definitely a great addition. If you see these guys any further on a bill than opening, I really hope you enjoy jazz. Not just appreciate… enjoy it.

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13th Jan2011

Album Reviews: Anna Calvi – S/T

by nickwan

Sometimes you look at someone and see where they are in life and just nod your head and say, “Yeah, that’s exactly who that person should be”. For example, that friend you know who was always into politics and fighting the good fight… he or she ended up becoming a lawyer. I mean, you wouldn’t really consider his or her life goals to accumulate into something like chemical engineering. Anna Calvi is sort of the same way. At 17, Anna had the notion to go into art school but for whatever reason she ended up going for a degree in music. She was already playing guitar four years prior to that decision, so logically it seems like the glove fits. Fast forward to today, it would be a real shame if Calvi went to art school — not because she wasn’t good at art (I honestly have no idea) but because we might not have been gifted with her debut self-titled album.

Listen to it here!

The Pros

Anna Calvi’s guitar mastery, with her touch of flamenco, blues, and soul, creates some amazing soundscapes on this album. Vocally, each song presents some new way Calvi utilizes her voice, whether it’s belting lyrics or that sort of whisper-singing. The massive genre lexicon that Calvi can tap seems limitless, as many songs include multiple different genres.

The Cons

Although Calvi notes that she was not a singer first, the vocal prowess definitely is not on the same level as the musical prowess. I would be more inclined to listen to more instrumental songs from Calvi than what she is offering on her album.

The Verdict

Definitely worth the listen. I could see this being loved by many. Hopefully next album will offer either longer, more progressive sounding songs or better vocals.

Average

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