Saturday, December 3, 2011

Review: Lady Gaga: Born This Way [B]


Artist: Lady Gaga
Album: Born This Way
Released: May 2011
Label: Interscope Records
Genre: dance pop

Purchase date: 26 May 2011
Format: mp3 files
Source: Amazon

I have to admit that I fell for Gaga's marketing ploy: for one week this album was available in mp3 format from Amazon for $0.99. What I was unprepared for was how much I really liked many of the tracks! The album is very uneven, with in my opinion, too many nods to early '80s retro-kitsch. But the tracks "Born This Way" and "Marry the Night" really carry it. I particularly like the "be true to yourself" message that suffuses the music, particularly in the title track.

So, a surprisingly enthusiastic recommendation for Lady Gaga's latest!

Rating: B+


Artist not available at eMusic

Saturday, November 19, 2011

Review: Okkervil River: I Am Very Far [A-]


Artist: Okkervil River
Album: I Am Very Far
Released: May 2011
Label: Jagjaguwar
Genre: indie rock

Purchase Date: 11 May 2011
Format: mp3 files
Source: Amazon

I'll start by saying that Okkervil River has been, consistently, one of my favorite bands of the past few years. The sixth release from this band from Austin breaks a bit from their usual style of producing tightly-written thematic albums that tell a sonic story. I Am Very Far is much looser, and the lyrics of the songs are much more free-form and obscure than those of earlier albums. At first, I found the songs to be a bit more hit-and-miss than earlier releases, and while the album had some stand-out tracks (notably "Rider," one of their best songs), I didn't think it worked as an album. After repeated listens, the album grew on me, and while I don't think it's quite as strong as the outstanding The Stand-Ins, it's still one of the best albums of the year so far.

Rating: A-




Review: Mamiffer: Mare Decendrii [A-]


Artist: Mamiffer
Album: Mare Decendrii
Released: March 2011
Label: Conspiracy Records
Genre: Post-rock / neoclassical rock

Purchase date: 27 April 2011
Format: mp3 files
Source: eMusic

I don't really know a whole lot about this Seattle-area trio. They have a dark, ambient, neoclassical sound that would work as the soundtrack of a horror movie. Actually, when I stumbled across this band, I became interested in their music for just that reason: I thought it would be great mood music for a horror role-playing game that I was putting together at the time. Since then, the album as really grown on me, and I find myself playing it at the office as background music that helps keep me focused on the task rather than on the music itself. That said, it's delightfully creepy music to play when you're alone in the house at night with the lights off. For those with similarly off-kilter sensibilities, I would strongly recommend this album.

Rating: A-


Saturday, November 12, 2011

Review: Parts and Labor: Constant Future [B+]


Artist: Parts and Labor
Album: Constant Future
Released: March 2011
Label: Jagjaguwar
Genre: experimental rock

Purchase Date: 27 April 2011
Format: mp3 files
Source: Amazon

The fifth full-length from the Brooklyn-based experimental rock trio, Constant Future, brings more of the guitar-synth-and-noise sound that has become their style. Unlike a lot of noise-rock acts, they focus more on the rock than the noise, and all of their songs have a strong sense of melody through the sludge. This seems to be their most accessible album yet, full of big sounds that teeter on the brink of chaos but always manage to stay cohesive. One downside is that Constant Future isn't as strong lyrically as some of their previous releases. Still, it's an enjoyable album and definitely worth a listen.

Rating: B+



Sunday, October 16, 2011

Review: The Mountain Goats: All Eternals Deck [A-]


Artist: The Mountain Goats
Album: All Eternals Deck
Released: March 2011
Label: Merge Records
Genre: indie folk

Purchase Date: 19 April 2011
Format: mp3 files
Source: Amazon

John Darnielle, leader and often only member of The Mountain Goats, returns with his 14th full-length album. All Eternals Deck features a rich, polished sound to Darnielle's character-focused story-songs, now with a full band. Lyrically, the songs are intricate, witty, and uncompromising, and have a theme of survival against the odds. Musically, they run the gamut of quiet folk to almost unhinged folk-punk. It's a fun ride, and I heartily recommend it.

Rating: A-


Album not available at eMusic

Review: Esben and the Witch: Violet Cries [B-]


Artist: Esben and the Witch
Album: Violet Cries
Released: January 2011
Label: Matador Records
Genre: dream pop / nightmare pop

Purchase Date: 15 April 2011
Format: mp3 files
Source: Amazon

Named for an obscure and macabre Danish fairy tale, this British trio's sound uses the dreamlike and ethereal tones of dream-pop, but to disturbing and nightmarish effect. (Several other critics have dubbed this "nightmare-pop".) Layered, echoed vocals, whispered spoken-word, guitars sounding like they are coming up from the bottom of a well, and an overall tone of melancholy-bordering-on-despair, this isn't music for the faint of heart. These elements come together with a brooding, dark intensity on the tracks "Warpath," Marching Song," and "Skeleton Swoon," but don't quite gel for much of the rest of the album.

Rating: B-


Artist not available at eMusic


Review: Starfucker: Reptillians [B+]


Artist: Starfucker
Album: Reptillians
Released: January 2011
Label: Polyvinyl Records
Genre: electronica

Purchase Date: 01 April 2011
Format: mp3 files
Source: eMusic

Another good band with a terrible name, Starfucker (or STRFKR, as they bill themselves on public marquees) is an electronica quartet from Portland, Oregon. The music is upbeat, catchy electronic rock with a philosophical bent. Many tracks include recorded spoke word from the late philosopher Alan Watts, an odd yet fascinating feature. The songs are tremendously fun while they're playing, but they don't have a lot of sticking power: it's been a month or so since I've listened to this record, and I can't remember the tunes to any of them. Nevertheless, Reptillians is a very good album and deserves a listen. Recommended.

Rating: B+


Wednesday, August 31, 2011

Review: Ringo Deathstarr: Colour Trip [A-]


Artist: Ringo Deathstarr
Album: Colour Trip
Released: March 2011
Label: Sonic Unyon Records
Genre: indie rock / shoegaze

Purchase date: 1 April 2011
Format: mp3 files
Source: eMusic

I first heard of this Austin-based indie rock trio during NPR's coverage of the 2011 SXSW Muisic Conference. They are a very young band who uses blistering, layered, distorted guitar sounds and murky vocals over a heavy drum and bass rhythm. When I heard them, I immediately thought "My Bloody Valentine" or "Jesus and Mary Chain" with a female lead singer. Despite the heavy influence, I thought that they bring a fresh take to a sound that had been the cutting edge of the early 1990s.

This is an immensely fun summer album that drips equal amounts of joy and angst. I've been blasting this on the car stereo with the windows down on every sunny day I can. It's nothing terribly new: just a whole lot of fun.

Recommended.

Rating: A-


Monday, July 25, 2011

Review: Wye Oak: Civillian [A]


Artist: Wye Oak
Album: Civillian
Released: March 2011
Label: Merge Records
Genre: indie rock

Purchase date: 22 Mar 2011
Format: mp3 files
Source: Amazon

The third full-length from the Baltimore-based male/female duo finds Wye Oak growing both more comfortable in their own abilities and more ambitious in their sound. Jenn Wasner's haunting vocals sound in sharp contrast to her powerful guitar, but she seems to get that balance exactly right. Drummer/keyboardist Andy Stack fills in the rest of the sound. Live, he's got to be the best one-handed drummer in music today, as he plays three keyboards simultaneously with his other hand. In the studio, his precision shines through.

Wye Oak has always liked to play with large dynamic shifts. They are still here, but the shifts are less abrupt, subtler, and manage to draw you completely in. The highlight of the album is the title track (which appears about half-way through the album), and it is one of the best songs of the year so far.

This is most definitely Wye Oak's best album yet, and is one of my favorites of the year so far. Highly recommended.

Rating: A

Album not available at eMusic

Sunday, July 24, 2011

GrassRoost Festival: Saturday (Day Three)

Saturday is always my favorite day of the GrassRoots Festival. This year, for various reasons, I won't be able to attend on Sunday, the last day, so I decided to go all-in for Saturday this year.

I got to the fairgrounds at around noon, and set up my blanket, cooler, and chair on the Infield again. The crowd by the stage was very thin, and it looked like the previous performer had just left, so I wandered the fairgrounds a bit. I caught one number by the Dead Sea Squirrels in the Dance Tent, and enjoyed their traditional American folk. The fairgoers dancing to their set were doing contra dancing, so I just watched for a few minutes, and then moved on.

Returning to the Infield Stage, I got there just as The Believers took the stage. Singer-electric guitarist Craig Aspen and chanteuse/acoustic guitarist Cyd Fazzari hail from New Orleans (via Seattle), and have consistently been one of my GrassRoots favorites. This year was no exception. Aspen said on stage, "We love country music but grew up listening to punk rock and heavy metal." On their website, they describe themselves as "a rock band with a country problem." I stayed for their full set. While I was hoping they'd play a cover of "Helter Skelter," which was their final encore last year, they closed with their eponymous signature song, which I also really like.

After their set was over, I went over to Cabaret Hall to catch the local traditional Celtic fiddlers The Grady Girls. They are always a lot of fun, but they were having some trouble with their amps and it was very hard to hear them.

After a bite of lunch, I went to the Grandstand to hear The Horse Flies, one of the most popular and longest-lived local bands. I know fiddler Judy Hyman and bassist Jay Olsa personally, so it's always fun for me to see them on stage. They were also having some sound trouble, but their extended sound check was pretty much a improvised song, and was very danceable. Once the engineers got the mix straightened out, they put on a great show. The highlight was "Roadkill," which Ritchie Stearns introduced as "our tribute to the local food movement." Despite the heat, I ended up dancing very hard in front of the stage. After about 40 minutes, I was getting a bit light-headed from dancing in the heat, so I left the performance to buy a lemonade and find some shade.

I returned to the Infield Stage about an hour later to catch Blackfire, the Navajo punk band. I've seen this trio of siblings (brothers Klee and Clayson Benally and sister Jeneda) at every other GrassRoots I've been at, and always find them to be a highlight. I'd missed their first few numbers, and was surprised to see them performing as a duo-- their guitarist/lead vocalist Klee Benally wasn't on stage, and I wasn't sure why. Unfortunately, when a punk band is missing its guitarist, it really takes a toll on the sound, and their performance was very much off this year. I stayed for two numbers, then decided to go see someone else.

That someone else was our local African musical legend Samite. With his stunning looped vocals and kalimba, I find his music to be soulful, joyous, and wonderful. I was sorry that I only managed to catch two numbers before he left the stage.

I went back to the Infield Stage to hear the local prog-rock band Ayuvrveda. I'd heard of them, but hadn't seen or heard them before, and they were a real treat. I was a little too tired to dance, but I thoroughly enjoyed their full set. The sun was just starting to set when they left the stage, and I took a brief nap to gather energy for the rest of the night.

Next up at the Infield Stage was the high-energy Afrobeat band from Nigeria, Seun Kuti & Egypt 80. Wow. They were amazing. Another band I hadn't encountered before, they brought the house down. I haven't danced so hard since... well, since that afternoon at the Horse Flies show, but I digress. I will most definitely be buying their album sometime soon.

After they left the stage, I rested for a bit, then sat for a short performance by Americana legend John Specker. I've seen John Specker play at every GrassRoots Festival I've attended, and he is always a real treat to see.

Specker left the stage a little after midnight, and about half an hour later Donna the Buffalo took the stage to raucous applause. The host band and founding member of the GrassRoots festival, Donna attracted a huge crowd-- the biggest I'd seen at this year's festival. I got into the thick of it in front of the stage and danced the night away to one of the best performances by Donna that I can remember. At one point, Tara Nevins dedicated a song "to water," and half-way through the song, it finally started to rain. The rain was welcome, as it was still above 80 degrees well after midnight.

They left the stage at about 2:00 AM, and I gathered up my stuff. The line for the shuttle bus to the off-site parking lot seemed immensely long, so I wandered back to the Dance Tent to hear some of Keith Frank and the Soileau Zydeco Band. Keith Frank is another long-time GrassRoots favorite, and while I was too tired to dance, I listened for about half an hour until the line for the bus got short enough.

As I borded the bus back to the parking lot, I bid GrassRoots a farewell for the year. Despite the heat and my abbreviated attendance, it was a great fest this year.

Friday, July 22, 2011

GrassRoost Festival: Friday (Day Two)

I just came back from the second day of the GrassRoots Festival of Music and Dance in Trumansburg NY. I have a weekend pass, but I decided not to go yesterday due to the weather-- it was a record high in Ithaca (official temperature at the airport was 100ºF, with a heat index of 109). This is the 21st annual GrassRoots Fest, and my tenth.

The Kid and I got to the fairgrounds a bit later than we'd intended, and set up our chairs, blanket and cooler on the Infield.

We managed to catch the encore of The Town Pants, a Celtic and Americana band from Vancouver. I hadn't heard them before, and I really liked them: high energy and a lot of fun. I'm hoping to catch them again tomorrow afternoon in Caberet Hall.

After a delicious gyro and a frozen chocolate-covered strawberry, we settled in for one of my festival favorites, the local funk/soul/reggae act Thousands of One. Their infectious groove and rhythm got me out of my seat and dancing. They also announced the release of their second CD, SoulForce. I'll probably be picking that one up sometime soon.

After dancing so hard, The Kid told me that a strong weariness had set in, so we decided to head back home. While we were packing up, we heard the sound check for Balkan Beat Box, a gypsy-rock/hip-hop act from NYC that seems to be attracting quite a following. They sounded great, but we had to catch the bus back to the parking lot, so we said good-bye to the first day of the festival.

Tomorrow's line-up includes some other festival favorites that I hope to see, including The Believers, Blackfire, The Horse Flies, and Donna the Buffalo. I hope to encounter some other acts that will become new favorites, too. More to come later.

Friday, July 15, 2011

Review: Mumford & Sons: Sigh No More [A]


Artist: Mumford & Sons
Album: Sigh No More
Released: February 2010
Label: Glassnote Records
Genre: indie folk

Purchase Date: 11 Mar 2011
Format: mp3 files
Source: Amazon

I'd heard of the West London-based indie folk quartet Mumford & Sons in early 2010, but I hadn't actually heard the music. Pitchfork, the hipster Bible, gave this album a terrible review, (primarily challenging the band's authenticity), and none of the other critics I follow reviewed it at all. My spouse was the person who turned me on to this band-- and what a find!

The music is heartfelt, warm, and played pretty much exclusively on acoustic folk instruments. These aren't traditional folk songs, but they sure are played that way. Marcus Mumford handles the lead vocals, and he puts just enough emotion into his presentation to make you feel what he's feeling, without crossing the line into melodrama. His lyrics are literary, intelligent, and amusingly self-depreciating. I loved this record. Highly recommended, especially to fans of indie folk.

Rating: A



Monday, July 4, 2011

Review: Caribou: Swim [B-]


Artist: Caribou
Album: Swim
Released: April 2010
Label: Merge Records
Genre: Electronic

Purchase Date: 10 Mar 2011
Format: mp3 files
Source: Amazon

I really wanted to love the fifth full-length album from Dan Snaith, who is the band Caribou. His 2007 album Andorra was one of that year's best. Swim is rather a dark record: most of the songs are about the end of relationships and the music is awash in heartbreak. While dark, this album is much more dance-friendly than his previous release. Musically, Snaith's meticulous precision comes through overall: as the whole album is sequenced, there's not a bleep or bloop out of place. Snaith has always been an electronic artist, but I feel that this is far less organic and feels a lot more sterile than his previous output.

That's not to say that there's no fun to be had in this album. The opener, "Odessa," is the high point, and it is a very enjoyable track. The twists and turns, the numerous false endings, and sever changes in tone speak to a very ambitious musician making very ambitious music. While I applaud the ambition, the actual results of this experiment are mixed. Overall, I do like this album, but I was hoping to love it.

Rating: B-

Album listing at Amazon
Not available at eMusic

"Odessa" official video

Thursday, June 30, 2011

Flashback Review: Bratmobile: Ladies, Women, and Girls [B+]


Artist: Bratmobile
Album: Ladies, Women, and Girls
Released: 2000
Label: Lookout! Records
Genre: punk / riot grrrl

Purchase date: 2 Mar 2011
Format: mp3 files
Source: eMusic

I first heard of the riot grrrl punk movement in 1991 when I was a senior in college. A friend of mine who was a self-described radical lesbian feminist was playing Bikini Kill's self-titled record, and when I said I liked it and asked who it was, she dubbed me a cassette copy. That cassette is long gone, but I always had a soft spot for fiery female-led rock. Then Sound Opinions did a brief retrospective of riot grrrl in March of this year, and I bought this album by the other American exemplar of riot grrrl, Bratmobile.

Ladies, Women, and Girls was released by Bratmobile in 2000, seven years after the band's debut, and a year after the band re-formed after a five-year hiatus. The band retained its energy and message espousing female empowerment, and it's a whole lot of fun. Bratmobile would release only one more studio album in 2003 before disbanding.

Rating: B+


Review: Sufjan Stevens: The Age of Adz [B-]


Artist: Sufjan Stevens
Album: The Age of Adz
Released: October 2010
Label: Asthmatic Kitty Records
Genre: Electronic / experimental

Purchase Date: 02 Mar 2011
Format: mp3 files
Source: eMusic

This is one album I bought unheard based solely on the reviews of other critics that I respect. The Age of Adz showed up on the "Best of 2010" lists from just about every other music critic I follow, so I decided to take a chance and see what the fuss was all about.

Stevens' music is deeply introspective and extremely complex. He merges the an acoustic folk structure with strangely experimental electronic effects, which can be both intriguing and jarring (sometimes at the same time). Many songs start out simple and then deconstruct themselves into near-chaos, only to coalesce into something else entirely. The songs on the album are also very different from each other, to the point where I found it difficult to discern the connection between them.

This is difficult music that demands repeated listens, if only to try to tease apart what the artist was trying to accomplish with it. It is also music that I didn't find compelling enough to to want to make that kind of investment. While I found bits and pieces of this album to be intriguing, on the whole I found it to be a bit of a mess, with songs exploding into cacophonous electronic bleeps and bloops with nigh-indecipherable lyrics. This experimentation seems to have worked for a lot of critics, and while I applaud the ambition behind this record, as a piece of music, it mostly left me cold.

Rating: B-



Review: DeVotchKa: 100 Lovers [C+]


Artist: DeVotchKa
Album: 100 Lovers
Released: February 2011
Label: ANTI- Records
Genre: indie folk

Purchase date: 2 Mar 2011
Format: mp3 files
Source: Amazon

I'd heard of DeVotchKa for years, but had never bought an album of their before. All Songs Considered put up the album for free streaming for a week or so back in February in their "First Listen" series, so I gave it a listen one afternoon while I was working. I liked what I heard, so when Amazon listed 100 Lovers among its $5 albums for March, I downloaded it.

It's an interesting album, and a bit hard to classify. They use eastern European chord and song structures with alt-rock instrumentation, for a sound they call "Gypsy punk." The music is fun, but after a few listens, I found that it didn't have a lot of staying power, and it never entered my high rotation. Basically, I can't say anything bad about this album, other than it just didn't click with me all that much. Honestly, the songs kind of run together in my mind, and I can't really pull a lyric or melody of this album from my memory.

So, it's kind of fun, but a little on the bland side for my tastes.

Rating: C+


Sunday, June 26, 2011

Review: Dum Dum Girls: He Gets Me High [A]


Artist: Dum Dum Girls
Album [EP]: He Gets Me High
Released: Feb 2011
Label: Sub Pop Records
Genre: garage rock / lo-fi

Purchase Date: 02 March 2011
Format: mp3 files
Source: Amazon

I loved this band's 2010 debut full-length I Will Be, and when I saw that they had released a new 4-song EP, I bought it two days after it came out. I was not disappointed. They polished their sound a bit, taking maybe a quarter-step away from lo-fi toward an ever-so-slightly richer production. They have kept the '60s garage rock sound, and the four tracks are three rockers and a ballad. The highlights are the title track and a cover of The Smith's "There Is A Light That Never Goes Out," which closes the record.

This is an extremely fun record. Highly recommended.

Rating: A


Review: Glasser: Ring [B]


Artist: Glasser
Album: Ring
Released: Sept 2010
Label: True Panther Sounds
Genre: experimental pop / electronic

Purchase date: 28 Feb 2011
Format: mp3 files
Source: Amazon

Glasser is a hard act to categorize. It's another of those one-person bands: Glasser is really Cameron Mesirow, and she brings along other session musicians for her stage shows. Mesirow's voice is extremely expressive and fluid, with a very wide range. Paired with electronic instrumentation and driving percussion, the music of Glasser is arresting and hypnotic. Pitchfork and the AV Club have compared her music to that of Bjork, and I would agree that the two share some similarities on the surface. Glasser's music is brighter, and does not plumb the darkness of the human soul as Bjork so often does. I think a better comparison would be Bat For Lashes.

It took me a few listens to appreciate this record, and I do recommend it. It's kind of difficult, but I thought it was worth the effort.

Rating: B

Album not available at eMusic



Saturday, June 25, 2011

Review: Ludicra: The Tenant [A-]


Artist: Ludicra
Album: The Tenant
Released: March 2010
Label: Profound Lore Records
Genre: black metal

Purchase date: 31 Jan 2011
Format: mp3 files
Source: eMusic

I first heard of Ludica (and Agalloch, for that matter) on a "Viking's Choice" episode of NPR's All Songs Considered. In that episode, Lars Gotrich, NPR Music's resident fan of and expert on metal, hardcore, post-rock, and other polarizing music, shared his 2010 best-of. It contained a lot of music that I didn't like all that much, but Agalloch and Ludicra both stood out.

Ludicra is a black metal band from San Francisco with the unusual feature of a female lead vocalist. As is the custom with black metal vocals, Laurie Sue Shanaman howls, shrieks, and stage-whispers the lyrics over blistering guitar and bass with pneumatic percussion. However, it's not all power chords and trolls-under-bridges: Ludicra varies its tone and can suddenly shift into folk-metal moments with eerie tonal vocals in two-part harmony. The instrumentation is moving: powerful yet melodic with a strong sense of emotion. This is powerful stuff, and if you can move through the shrieking, a very rewarding listen. Recommended.

Rating: A-






Review: Best Coast: Crazy For You [B+]

Artist: Best Coast
Album: Crazy For You
Released: July 2010
Label: Mexican Summer Records
Genre: indie rock / garage rock

Purchase date: 31 Jan 2011
Format: mp3 files
Source: Amazon

I've said this before, and I'll say it again: December and January are the best months to discover new music, as you scan other critics' annual "Best Of" lists and find things you either missed or dismissed when they were released. Best Coast fell into the latter camp for me when their debut came out in the middle of summer 2010. I half-listened to a track on the radio over the summer, and it failed to move me, so I didn't pay this band much attention until this album started appearing on a number of other critics' lists. I decided to give it a full listen.

As their name implies, this is joyful summer beach music. As with the Dum Dum Girls, another band I really liked this year, Best Coast evokes the sounds of garage rock, surf rock, and '60s girl groups while remaining firmly in the 21st century. Lead singer and songwriter Bethany Cosentino doesn't go for profound or heavy philosophizing with her lyrics, but she sure has a lot of fun with what she's got. This music isn't deep, but it sure is fun. Recommended.

Rating: B+