Album Reviews

Hundred Waters – The Moon Rang Like A Bell

May 28, 2014

I am afraid that my fingers will have kelp on them from my time spent in the sea. The humid tendrils of wind make me crave a fresh, cold drink. Immersed in the salty water, I hear an echo of a glorious sound, coming closer with each vibration. After I raise my head above water to breathe in air, I am relaxed. Floridian quintet Hundred Waters’ music can be described as Aphrodite music. Singer Nicole Miglis’ voice is a luminescent, deep cry, soaring above the production that Trayer Tryon, Paul Giese, Zach Tetreault, and Allen Scott compose from found sounds and precise electronic instruments. Their first self-titled album, Hundred Waters LP, was released on the Elestial label in 2012 and heard by Skrillex, who immediately signed them to his label OWSLA. Say what you want about Skrillex, the guy has taste. Two years have flown by and their latest release,[...]

The Roots – …And Then You Shoot Your Cousin

May 27, 2014

For a legendary hip-hop band with nearly three decades of legendary albums, it is only natural for The Roots to eventually hit a wall in terms of creative output. With mostly underwhelming production style, their new record …And Then You Shoot Your Cousin is not much more than a hurried concept album with vague moments of continuity. A good representative for the album is the track “Never,” a dreary jazz beat accompanied by Patty Crash’s shrill voice. The song follows a gradual buildup as the instruments become busier, only to be cut off quickly before reaching any sort of climax. This is the atmosphere for most of the album, the music and verses sounding just below the brink of their full potential. With an average song length of 2-3 minutes, it appears there is not enough time given to address the album’s complex issues of teenage angst in an unprivileged[...]

Sam Smith – In the Lonely Hour

May 27, 2014

Anyone unfamiliar with the rather ordinary sounding musician Sam Smith may notice him from his featured vocals in Naughty Boy’s chart topping “La La La” or Disclosure’s club smash “Latch.” Now he faces the challenging task of matching the quality and success of his guest appearances with his solo effort, In the Lonely Hour. Luckily for many fans, Smith takes that challenge as motivation as he attempts to prove his newfound success was well deserved. Like most other UK imports with a hit single or two in the bag, Smith needs his debut to become something more than just an “OK” album if he has any hope of surviving the brutal music industry. Due to his previous collaborative success, it comes as no surprise his record label set him up with top producers Fraser T Smith, Eg White, and Two Inch Punch to help perfect his individual sound. Even with[...]

Deniro Farrar – Rebirth

May 23, 2014

2014 looks to be a pretty big year for Charlotte rapper Deniro Farrar. Last year saw the release of two mixtapes (Patriarch and Patriarch II), which helped him to a selection to the illustrious XXL Freshman Cover for 2014. Signed with Vice Records and Warner Bros, Farrar released his major label debut this week, a six track EP titled Rebirth. Farrar keeps a low, calmly rough flow throughout the project, but each song has a distinctly different flavor to it. Lunice of the electronic hip hop duo TNGHT provides an eerie landscape for Farrar on the second track “Burning Bills.” Smattering vocal samples (similar to the ones he and other TNGHT member Hudson Mohawke helped contribute to Kanye’s Yeezus)are worked in with  graveyard synths. It’s the perfect compliment to the lo-fi, gritty raspiness of Farrar’s voice as he raps about the almighty dollar.  The hook has some pretty cool, demonic imagery to it, leading[...]

Sharon Van Etten – Are We There

May 22, 2014

Sharon Van Etten has followed up the exquisite Tramp with another husky, dusky take on relationship devastation and persistence.  Are We There, the Brooklyn songwriter’s fourth album in five years, is dark and forceful as an expansive folk undercurrent lifts the music up alongside her simmering, rasp-inflected voice. Van Etten’s lyrics are spare, cryptic, filled with loosely linked images and utterances that favor mood over lucidity. Are We There is a mist of impressions, held together by seemingly deeply felt sentiments and the timeless soar of the woman’s vocals. The songs contain a restrained, pointed intensity. With hawk-like drive, the music dives into textures and tones well-matched with the black-and-white on-the-road photography that informs its album art. Though variation often eludes Van Etten, the sound she has developed is mesmeric. From the slinking synth-tinged “Taking Chances” to the direct piano ballad “Nothing Will Change,” Van Etten has created a heavy, melancholic vision.[...]

Mac Miller – Faces

May 16, 2014

Mac Miller has taken an unconventional path as an artist. He gained notoriety as pseudo-frat rapper after a couple mixtapes as a late teen, then released an independent that was number 1 on Billboard. With a style that appealed to the mainstream, and a debut album that was panned and looked at as cheesy, a legitimate future in the rap game is something that didn’t seem to be in the stars for Mac. And yet here we are, Mac’s almost a year removed from a critically acclaimed album and on the cusp of a critically acclaimed mixtape. He has scored collaborations with the likes of UGK legend Bun B, kind of-legend/anomaly Jay Electronica, and consensus top 2 rapper on the planet Kendrick Lamar. He’s befriended Kendrick, has a significant friendship with ScHoolboy Q and Ab-Soul, frequently collaborates with rap messiah Earl Sweatshirt, and is becoming one of the most reliable[...]

The Pains of Being Pure at Heart – Days of Abandon

May 15, 2014

When The Pains of Being Pure at Heart debuted in 2009, the band endeared instantly.  A song like “Young Adult Friction” felt wide-eyed and wistful, vividly realized and alive with youth. The tracks on Days of Abandon, the New York City act’s third album, are aged and exhausted in comparison, sleepy little getaways squatting on acres of sound long occupied by Belle & Sebastian. The record’s stronger second half partly compensates for its listless start. “Eurydice” stands out as a legitimate pop single, full of gentle longing and loss. Yet both Nick Cave and Arcade Fire have performed better art rock takes on the Orpheus and Eurydice myth, and the track still suffers from the same aesthetic gutlessness that permeates most of the album. “Until the Sun Explodes” fares better as a brief nova-burst of twee energy. Perhaps a cleaner, more naked production approach makes Days of Abandon feel less rapturous and[...]

Sylvan Esso – Sylvan Esso

May 14, 2014

There are very few new albums in 2014 that have struck me song by song. The War On Drugs’ Lost In The Dream and Porches’ Lost In The Cosmos are two of those. It pleases me to say that I have found a third. Sylvan Esso, comprised of former acapella-folk singer Amelia Meath and Nick Sanborn, former bass player for Megafaun, merged together as solo artists to create a work of art. Sanborn brings the vision of an electronic music producer to the front, and Meath works her wide range of crafty vocals. The first track, “Hey Mami,” introduces us to the soundscape of walking in a city. Meath slowly builds on the phrase ‘hey mami’ into an arpeggio, as thick drops of bass plop in while the chorus repeats. Meath’s voice is remniscent of the quality of Feist’s–smooth, elegant, and raw. This song is the feeling of being a woman on the street–it’s[...]

The Black Keys – Turn Blue

May 13, 2014

It’s been a busy week for Patrick Carney. The Black Keys have just released their 8th (can that be right?) studio album, and he’s somehow managed to find time to reignite his old beef with Justin Bieber. While he’s correct in his opinion that Justin Bieber is pretty much the worst type of person the world has ever seen, it’s not his responsibility to make everyone aware of it. His responsibility is to be a sick drummer in one of the better bands we’ve ever heard. If this is a PR move, I think we can all agree that it is pretty shameful. I really, really don’t think it is, but I can’t completely dismiss the idea. Offstage, The Black Keys have always struck me as a bit goofy. I remember watching them as extras in an SNL skit a few years ago and being surprised at how remarkably unfunny[...]

Thunderegg – C’mon Thunder

May 13, 2014

C’mon Thunder, the new release from San Francisco’s Thunderegg, is the album we just might deserve. Full of lyrical real life experiences, as in the way they actually happen and not the way we thought they would happen, sometimes a creative licence is just a cop out. The California band is led by singer/songwriter Will Georgantas, the artist that Conor Oberst has always dreamed of being.  With an unprecedented output since the mid nineties, and a revolving door of band members (himself being one of the only constants), Georgantas writes the songs you only dreamed of writing at 14. They are chockfull of truth, consequence, and awkwardness. Even if the music you fell in love with as a teen isn’t as relevant as it once was, C’mon Thunder manages to avoid that problem. The album comes on like a tornado: slow and unassuming. Songs like “We Kissed and Ran Some[...]

Willie Watson – Folk Singer Vol. 1

May 9, 2014

In the summer of 2012, my family traveled two and a half hours to see a musician named Willie Watson play at an anti-fracking festival in his hometown of Hector, NY. The festival was free, in a grass lot, and Willie was one of maybe eight other musicians on the day’s lineup. An untrained eye may have glanced over the list of performing acts without a second thought, but to anyone slightly familiar with bluegrass or Americana music, the fact that WILLIE WATSON was playing a FREE SHOW just TWO AND A HALF HOURS from Buffalo was jaw-droppingly lucky. So travel we did, to what has gone down in history as one of our favorite musical experiences. Ever. You may recognize Willie Watson as the former co-leader of Old Crow Medicine Show. His high harmonies and skillful guitar playing gave the band the unique country sound that made everyone—including Doc[...]

The Horrors – Luminous

May 8, 2014

Names can be deceiving. In spite of their moniker, The Horrors are about as terrifying-sounding as a hot bath or a warm shower (which post-Psycho still might be scary for some). The band also isn’t light and effervescent enough to be described as Luminous, the title of its fourth full-length record. The weight, depth, and density the British rockers imbue their electronic dreamscapes with are qualities that perhaps cannot be labeled tritely or limited to a few ambiguous adjectives. Even if The Horrors decline to articulate their sonic ethos through their titling, the band seems well aware of its place in a musical lineage. Borrowing heavily from seminal bands like The Stone Roses and Spiritualized, The Horrors specialize in stretching influences to meandering, melodic ends. The squealing shoegaze of “Jealous Sun” is a direct descendant of My Bloody Valentine. And yet, in that song and elsewhere, The Horrors feel less murky[...]

Andrew Jackson Jihad – Christmas Island

May 7, 2014

Andrew Jackson Jihad is the type of group that can make you want to laugh and cry at the same time. Their lyrics are undeniably witty and hit you with a punch, and after settle in with a pinch of reality. Christmas Island, their latest album-length release, is both cryptic and hard-hitting. Lyrically, the words resonate on a dual plane, touching on the beautiful and the ugly. Musically this album stands in line with their previous work, exploring more accompaniment but still following suit in a folk-punk tradition. “Temple Grandin,” the opening track, sets the tone for the rest of the work. Sean Bonnette’s voice comes off sounding more broken and exasperated than usual as he chimes the words, “open up your murder eyes and see the ugly world that spat you out.” It’s set in a lo-fi stage without bleeding together the separate components. In the backdrop, the organ[...]

Lykke Li – I Never Learn

May 6, 2014

The Swedish-bred Lykke Li has an incomparable way of conveying her self-reflecting lyrics on I Never Learn, her third and final installment in what she describes as a trilogy about the whirlwind emotions of a young woman. As was the case for her previous two albums, I Never Learn lets listeners intimately peek inside the mind of one of the most quintessential contemporary, indie soul-pop singers today. Showing that she doesn’t need some sort of complex instrumental setup to shine, the title track is heavily rooted in melodic guitar strokes and Li’s harmonious vocal talents. The song is a hauntingly personal view. “I lie here like a starless lover. I’ll die here as your phantom lover,” Li sings. On “No Rest For the Wicked,” a wholesome representation of simplistic designs with a catchy flare, Li keeps true to classical music traditions by leaning towards the always-powerful instrumentation of a punchy percussion[...]

Damon Albarn – Everyday Robots

May 1, 2014

Damon Albarn, of Blur and Gorillaz fame, has always been a maverick, pushing pop music into fairly atypical, frequently imaginative territory. On his first full-length solo album, the legendary alt-rocker, working from a slower, more subdued, sonic position, has mostly eschewed easy hooks in favor of a meticulously produced palette of gray sounds. Though much of Everyday Robots is rainy day music at its most drizzly, Albarn remains a consummate artist, bringing a certain level of affable whimsy to a somewhat melancholy affair. The record begins eerily on its title track with a 1960 sample from Lord Buckley as the former British comic declares, “They didn’t know where they was going, but they knew where they was, wasn’t it…” In the context of Albarn’s skeptical ruminations on modern technology, the quote provides indirect commentary on our contemporary sense of self, and our present reliance on digital tools to locate and[...]