Album Review: Black Lips - Arabia Mountain

Genre: Garage Rock/Punk
Origin: Atlanta, GA

The cover of Black Lips latest release, Arabia Mountain, has the band posed in obnoxious outfits amidst floating, vivid, almost drug-induced clouds and half-naked women wearing masks. This is and always has been the attitude of Black Lips, a band that doesn't take things too seriously. From the lo-fi and raw productions to the "Let's have a drink and sing a song" vibe, they've seemed to capture an essential "spirit" found within the comfort of just rocking the fuck out in their own undivided space. Nothing entirely odd about that, right?

Yet on this cover, the band looks out into the distance, as if fixated on an object or a person. Perhaps the thing in question is Mark Ronson, the hot-shot producer looking to give Black Lips a discovery of clean production while still maintaining their eclectic attitudes. You would think this move toward a more "pop" production status would be commercial suicide, but thankfully, with the brighter sound, better atmosphere and more intelligible lyrics, it may be the smartest move the band has made yet.

Arabia Mountain is set out to give you a break and have a drink, bringing along your friends for good measure. There is a lot more coming out of Black Lips' amps than you'd originally think from their past albums like 200 Million Thousand or even Good Bad Not Evil, especially now that you can hear close to everything from the flowery guitar and drums to the saxophone and theremin (courtesy of one Sean Lennon). Nothing is inherently lost by going through this bigger method of maintaining quality if they can still bring the fun, punk personality. Black Lips greatly succeed in that regard.

There are just a lot of great hooks on these tracks. "Modern Art," "Mad Dog," "Bone Marrow," "Mr Driver," to name a few. They provide a kind of "Summer Mixtape" for those looking to spend their days by the pool and have their friends attend. Even "Spidey's Curse," perhaps the most "pop" song on the album, features some really chill vibes even when talking about Peter Parker and Spider-Man. "Dumpster Dive" is also equally lyrical, in that it really talks about what the title implies - living in a dumpster.

Most of the songs on here are pretty good, though there are a few that range somewhere from good to merely decent. Songs like "Raw Meat" and "New Direction," as fine as they are sonically, just sound familiar. They come off as some kind of song you'd hear off a greatest hits compilation of The Ramones or The Clash. The influence is understandable (if that was even their aim), but they don't make the songs fit in their own realm.

Although about 90% of the songs do not run longer than three minutes, Arabia Mountain still feels long at sixteen tracks. There are fantastic tracks toward the end of the album, including the aforementioned "New Direction" and the explosion of joy in "Noc-A-Homa," but the sound does somewhat lose steam. That isn't to say that any of these songs are "filler" because all of the songs on here are fine additions to the album, but it almost makes you wish an EP or new album was cut from it.

Either way, Arabia Mountain's pros greatly outweigh the cons. It's by far not an album a Black Lips fan should doubt in any case. Black Lips keep what they've always had and store it at the core, but now it sounds like this is what they've been trying to achieve since their start. Garage rock or not, cleaner production and personal freedom in partial thanks to Mark Ronson, Arabia Mountain is admirably celebratory.

4/5

Black Lips - "Modern Art"


Black Lips - "Mad Dog"


Arabia Mountain is now available from Vice Records.

-DJ

Indie Premiere: The Sound of Sunsets

Genre: Indie Folk/Acoustic

Origin: Danville, California

Watching the sunset is a bittersweet experience. One can feel many different feelings rushing through them as they stare at the massive star that brings life to our little, isolated corner of the universe. As it slowly and gracefully dips below the horizon we, as humans, are presented with a very direct challenge to our understanding of our daily lives. In simplest terms, watching the sunset is an existential experience that, under certain circumstances, can verge on spiritual. Though this may not be the intent of The Sound of Sunsets, it is certainly what I take away from their eponymous debut album.

The Sound of Sunsets is the work of San Francisco Bay Area musician Zack Hunter. The first thing that gleams off of this album is the quality of the production. Recorded, mixed and mastered over the course of 3 months in Hunter's bedroom during a busy final semester at college, the smoothness of these tracks is pretty impressive. From a casual listen, the album could be derided as a collection of similar, easy-listening songs; but that would be giving very little credit to what is a valiant first effort by a young indie musician making his introductory wave in the indie scene. Rather, the album carries a consistent theme of searching for hope and meaning in a dark reality, much like the existential crisis brought upon by staring up at the starry sky at night, or by watching the sunset for that matter. Just as these crises tend to carry a certain spiritual weight to them, so too does The Sound of Sunsets. One of Hunter's writing inspirations is his Christian faith and it is clear on some level in many of the songs on the album. It is important to note that this is by no means Christian worship music; the songwriter's faith is simply an important aspect to his emotional experience and so it is reflected in his lyrics.

SoS sounds like an indie collaboration between The Fray and Iron and Wine, with some songs resembling one more than the other. Two tracks that really stand out on the album and also demonstrate the sound that Hunter has crafted are "Stumble" and "Around Me." The former sounds like it could have been taken off of The Fray's How to Save a Life. It leads with haunting and innocent guitar picking and finishes with the notes of a gentle piano. "Around Me" falls on the Iron and Wine side of the SoS spectrum. Hunter's vocals are soft and almost whispered as he taps into a feeling of restlessness: "Is this the same, or is it different? Why can't I live a life consistent?" These two tracks act as the cornerstones of the album in that they establish the two sounds that SoS seeks to coalesce, though they are also distinct sounds unto themselves, both vocally and instrumentally. This combination works very well for the kind of vibe that SoS works to create.

The Sound of Sunsets is nothing revolutionary but it is a great piece of work from a new artist entering the scene with an interesting musical voice. The tone that this first album has set for Hunter and his future work is a promising one. As one listens to the album, great potential seems to have a pulse just beneath the surface. SoS' sophomore effort is definitely something to look forward to if this early work is any indication.

Crashing Symbols reviews are regularly accompanied by a number rating out of 5. However, given that this is the debut work of a local indie band, I have chosen to abstain from this black and white standard in favor of letting the review speak for itself, along with the sample tracks below.

The Sound of Sunsets - "Stumble"

The Sound of Sunsets - "Around Me"

The debut album from The Sound of Sunsets is available for purchase now in the iTunes Store.

-JB

New Coldplay track - "Every Teardrop Is A Waterfall"

Those Britpop wunderkinds are back with a track off their up-coming follow-up to the world-wide success of 2008's Viva La Vida. It's called "Every Teardrop Is A Waterfall."

Yeah. If you didn't think the title was enough to make you do a double-check, just look at some of the lyrics:

I TURN THE MUSIC UP, I GOT MY RECORDS ON
FROM UNDERNEATH THE RUBBLE SING A REBEL SONG
DON'T WANT TO SEE ANOTHER GENERATION DROP
I'D RATHER BE A COMMA THAN A FULL STOP

Maybe you should actually listen to the song before assuming the worst, but then again, I can't say I'm digging that either. We're looking at one of the biggest bands on the planet, and we've had three years without a record, so check it out for yourself and tell us what you think.

Album Review: Foster The People - Torches

Genre: Indie Rock/ Pop
Origin: Los Angeles, CA

I can remember the time and the place where I first heard “Pumped Up Kicks.” It was the middle of my last semester of college. I was sitting at my school’s pub debating whether I’d be more productive studying as I ate or eating, then studying. When I heard this song; my head started bobbing, feet tapping, and transporting me out of my surroundings into the fun summer just a few months away. Life’s mediocrities aside, hearing this song made me decide to put my book down, enjoy my food, and not to take life so seriously.

I’m not saying “Pumped Up Kicks” changed my life whatsoever. But it’s exactly what I needed during that stressful time between midterms and finals when you realize, soon you will be shoved out into the real world with years of schooling and you’re either going to sink or swim. With the full-length album release just a few days ago, called Torches, does LA-based Foster the People deliver the light to fiend off the mosquitoes this summer? Not completely, but it’s a start.

The album starts off with a carpe diem attitude, with one of its catchiest songs, “Helena Beat.” With the foremost lyrics: “Sometimes life it takes you by the hand / It puts you down before you know it / It's gone and you're dead again,” you know you’re in for a chilled-out yet upbeat ride to kick off your summer. My favorite track on the album really hits home with the lyrics: “You know those days when you wanted to choose / To not get out of bed and get lost in your head again.” It doesn’t say everything’s going to be alright, but it offers the possibility.

Most of the songs on this album are hit-or-miss, but there are some tracks that really stand out. “Call It What You Want” offers another dancey tune to shake off your burdens, while “Color on the Walls (Don’t Stop),” hints at the more annoying tendencies of pop with a repetitive cookie-cutter pattern we have already heard many times before. The reason why this album is not getting five stars would have to be the repetitive lyrics and patterning in its songs, as well as a lack of originality. Songs like “Waste,” while quite enjoyable, it is plain to see that this group is channeling what MGMT has already done before, that seemingly fresh, off-kilter pop aesthetic, for an alternative audience.

“Houdini,” the second single off this album, offers another well-crafted tune for the summer. It may not be killed on the radio through too much airplay like “Pumped Up Kicks” though. This track is more nuanced and complex than the previous single, with more variation in both the vocals and instrumentation. Though the groups channeling of MGMT is even more pronounced here, when have we dismissed a pop song for being slightly unoriginal?

Another track that stands out would have to be “Miss You.” With lyrics nearing poetry, once again touching upon the psyche of one who needs to ‘just let go’ for a little while, this song truly lets you get lost, or on the flip-side, immersed in the self-reflective present. With a characteristic push-pull drum beat, beautiful vocalization, vivid lyrics, and energetic instrumentation, this song, like many on the album are like the flames of torches. Like the transitory nature of fire, or summer, Torches, while not perfect, is fun while it lasts.

3.5/5

Foster the People - "Helena Beat"


Foster the People - "Houdini"


Torches is now available on Columbia Records.

-SS

Joint Review: Death Cab for Cutie - Codes and Keys

Genre: Indie/Alternative

Origin: Bellingham, Washington

For this particular album, both JB and DJ offer their opinions. Take from them what you will.

For those new to Death Cab, the prevailing energy on their previous albums has been one of 80% hopelessness, 20% hope. Lead singer Ben Gibbard pretty much set the mold for 21st Century indie heartbreak songwriting. Each song felt like the sentimental movie that plays in the head of a recent dumpee; but always with the hint that love wasn't dead, it had just taken a break for the time being. It was this child-like teaspoon of optimism that kept Death Cab relatable and heart-wrenching because at the end of the day we've all been there. However, with their 2008 effort, Narrow Stairs, Gibbard found himself in a very dark place. He recently came clean about his struggles during the writing and recording of the album; he was wrestling with alcoholism and felt totally defeated. The album lacked the taste of hope that is necessary for music to be poignant and the album suffered for it. In three years time, Gibbard has made a 180º turn in both his personal life and, consequently, his creative efforts. He has kicked the bottle to the curb and made indie film sweetheart Zooey Deschanel his bride. For the first time in their 13-year careers, Death Cab have released a happy album about the joys of love, not the bitter pitfalls.

From start to finish, Codes and Keys, seems to tell a story. It is by no means a concept album but the order of the songs and their content are interesting and worthy of taking note. The album opener "Home is a Fire" suggests a longing for something different. The song ends with the line "Nothing's the same as yesterday," signaling the start of something new for our incurably longing and introspective protagonist. The next few songs seem to chronicle the disintegration of a past love (or life) and the cautious progress towards finding a new path. The album really hits its stride surprisingly on first single, "You Are a Tourist." As Gibbard has stated recently in interviews, the song is really a collection of affirmations; as the first verse states: "If there's a burning in your heart, don't be alarmed." This optimistic outlook is really the message of the album. At this point, Death Cab does something surprising. The following track "Unobstructed Views" begins very dark and slowly builds to an extremely positive lyrical exclamation of "just our love, just our love!" It drifts along with a haunting piano base that grows with beauty upon each successive listen. From this point on, Gibbard takes us on a 3-song flight of storytelling-as-lovesong, then a declaration of living completely in the moment on "St. Peter's Cathedral." Codes and Keys finally comes to a conclusion with "Stay Young, Go Dancing." Easily the most explicitly positive title in all of DCfC's music, this is a song that hammers in the final message of enjoying love and life because they are truly one in the same when done right.

Guitarist Chris Walla's arrangements and production are silky smooth in a manner befitting of a love letter album. Drummer Jason McGerr and bassist Nick Harmer provide a solid rhythm section perfectly complementing an album so lyrically-focused. The bottom line is this: on Codes and Keys, Death Cab for Cutie pushes their music into a new space both sonically and thematically. This is what a band looks like as it grows up. This is what a band looks like as its sound evolves beautifully. This is what a band looks like when it is in perfect sync with its songwriting. And to my fellow Death Cab fans, this is what Ben Gibbard sounds like when he's happy. I have to say I, for one, couldn't be happier for him.

4.5/5

-JB

Another Take:

"We are the same," says singer Ben Gibbard on the track "Underneath The Sycamore" on Death Cab for Cutie's seventh studio album, entitled Codes and Keys. It doesn't feel too far off as a generalization of the album, as it tries to sonically change things up without ever embracing it, giving tracks a sense of concept without the execution expected from a band that usually pulls it off. For many fans of the band, Codes and Keys may probably be considered as a slight step-up from the directly same-ole, same-ole musical approach of Narrow Stairs in 2008, but for occasional listeners like this reviewer, it may only somewhat satisfy their fill of Death Cab for the entirety of the record.

There's no doubt that Death Cab for Cutie sounds good here. Their sound is what has made them a homestead in the alternative rock world, utilizing intricate songwriting from singer Ben Gibbard and implementing cathartic atmospheres and sounds that can confound any average listener. Songs like "Transatlanticism" and "We Looked Like Giants" didn't pretend to show their colors, allowing the band to find inner-balance and seek a freedom from ordinary musical trends. It is these situations in which Death Cab breaks the mold and works best.

This is somewhat weaved throughout certain tracks on Codes and Keys, such as on the soothing album breaker "Unobstructed Views" and the aforementioned "Underneath The Sycamore," but for the most part, Death Cab seem to be undercooking their potential. Album opener "Home Is a Fire" starts off well enough, almost with the promise that this may be the album that finds Death Cab finding new sonic direction, but it never quite lives up to that promise. As catchy as "Some Boys" may be with its Depeche Mode-influenced hook, it doesn't really acquire a lead-up to anything transitional or revelatory like in some of the band's earlier work. There's no true sense of "change" that one might expect other than the possibility that the majority of songs can achieve greater potential. The only sense here is one of wanting more with each listen, and not in quantity.

Why they decided to not take the extra step to give these songs the breadth necessary to make them full and promising is somewhat disappointing, but it's still hard to complain that they don't have proper musicianship. There's nothing entirely wrong about Codes and Keys as far as what sounds they create and themes they discuss. Those qualities will remain with Death Cab until they really decide to shake things up, but in the meantime, Codes and Keys turns out to be a temporary blessing, with a few standouts here and there that stay true to Death Cab's earlier efforts on other albums, but that don't entirely change the game as one might've expected.

3/5

-DJ

Check out the tracks below and see what you can make of Codes and Keys, now available at all major music retailers from Atlantic Records.

Death Cab for Cutie - "Underneath The Sycamore"


Death Cab for Cutie - "Stay Young, Go Dancing"

Vid Break! The Grand Rapids LipDub

This video has been making the rounds ever since famous film critic Roger Ebert hailed it as "the greatest music video ever made." His point is a valid one - the video features what appears to be the entire town of Grand Rapids, MI in a 10-minute, one-take lip dub of Don McLean's "American Pie". The video is in response to Newsweek calling Grand Rapids a "dying city," but it's pretty apparent from this video that the city is filled with people who love and take care of one another. Appropriate, then, that this is the song that's chosen because the song is about death and dying, and the video is easily a call to life and living.

As for the video itself, this is no simple feat. The steadiness of the man behind the handheld camera throughout the entire one-take is impeccable, and it rides and moves with fluidity riding backwards down a street, turning to see a wedding and a concert and eventually landing on a scooter and into a helicopter. It feels like the build-up to something grand (hence Grand Rapids?) and then goes even further by the video's end. It's a fine moment in music for sure, but an even finer one in choreography and direction.

-DJ

Album Review: My Morning Jacket - Circuital

Genre: Southern/Alternative Rock
Origin: Louisville, Kentucky

You've got yourself two album releases on this day, May 31st, that come from two big names in alt-rock: Death Cab for Cutie and My Morning Jacket. No, this write-up is not meant to compare the two, but it's worthy to note that they both inspire some of kind of musical transition. While one appears to be switching things up a bit by opting for a more electronic and upbeat tone, the other is channeling and reconfiguring their previous (and better) efforts with more variation. It sort of sounds like they're both headed in different directions, but that also appears to be their main similarity. Deciding which is the better album and which band better understates or embraces the change? That's entirely up to you.

But here we are with Circuital, the latest from My Morning Jacket, and they've done quite well with themselves. This is their sixth LP in twelve years, and overtime it has become quite obvious that they are ones to offer a variety of sounds and instrumentation with each forthcoming record. Even if those efforts were a little off-base on their most recent outing (2008's Evil Urges), My Morning Jacket have never once acted as if they've doubted their sound. And why would they? Their Southern influence in the alt-rock world has only made for more interesting textures in the realm, and Circuital doesn't stop in bringing that to us.

Then again, that also doesn't stop Circuital from feeling like a little more of the same. The whole "return to roots" approach that fans are clamoring to is a rather useless sentiment or intended pun because this is a band that tries out something new all the time. To expect anything less would be unorthodox, but to expect anything more would almost be overkill. In this regard, Circuital is another notch in MMJ's belt, providing some nice tunes but nothing out of the ordinary. It may try to be channeling Z moreso than Evil Urges, but the ballpark still has the same turf.

Band leader Jim James also seems to be having a little more "fun" this go-around. His songwriting talks about drugs and prison on "Outta My System" that are so on-the-nose it's somewhat laughable. It works because the sound is lively and reverberated, and that's mostly where Circuital finds the mold. "The Day is Coming," even if a little more "serious," plays off rather splendidly because his words blend within the confines of the music they provide. The first half, for the most part, is just generally pleasing.

"Holdin On To Black Metal," the album's splitting point, is where things go afloat. While sonically appealing, it doesn't mesh the same way that the album has already established for itself. It let's the air out of the balloon by taking whatever flowed before it and instead fumbling with it. More importantly, if James's lyrics talk about the darkness of the genre, why do we hear bellowing horns and harmonizing children? The song becomes more of a confused and conflicting effort than a realized one, and it's quite a turn off in the scheme of things.

The second half is just a neutral affair. Songs like "You Wanna Freak Out" or the sardonically titled "Slow Slow Tune" sort of straddle along in their influences. It's understandable that bands utilize a genre or artist's influence in their music - there's almost no way not to these days - but this half of the record almost teeters on self-mockery. They sound close to many other songs in their genre, right down to James vocal style. It's just plain, and that's somewhat of a cheated feeling, is it not?

Circuital isn't necessarily a "rebound" since their use of variety doesn't actually change anything this time around, but it generally defines and correctly titles their continued use of it and the balancing act that ensues. It's the kind of hit-or-miss record that MMJ usually releases, so nothing's different. It remains true to what they've done in the past, though sometimes it lacks lyrically and musically. It's not necessarily a case of laziness, but sometimes it doesn't take the opportunity to take some initiative.

3/5

My Morning Jacket - "The Day Is Coming"


My Morning Jacket - "Outta My System"


Circuital is now available on ATO Records.

-DJ

Take 2 Tuesday: "My Sound" by Squarepusher

Genre: Drum and Bass
Origin: Chelmsford, Essex, England

Here are a couple facts about Squarepusher:

1. He's only one guy, and
2. He's only one guy

But you would probably never guess that, considering the amount of work that sounds involved in each of his recordings. Just look at his early albums Feed Me Weird Things or Hard Normal Candy. They pretty much draw the line at what one can do in a genre that's more jazz-infused than anything. His newer stuff is a little bit heavier on his electronics, but we can't forget that he started out providing some of the chillest and downright experimental modern jazz.

So here's "My Sound" off of 1998's Music Is Rotted One Note. The majority of the album has a much more raw vibe to it, with a lot of the recordings performed "live." "My Sound" has this quality, but it doesn't toy around with semantics. It rightfully takes a hit with rocking chair music, stripping down drum and bass to their cores. It's in that way that the song feels raw rather than in the quality of the recording, with atmospheric keyboard for added measure. Perhaps the most accessible track from the album, "My Sound" revels in it.

Check out "My Sound" below and let us know what you think.

Squarepusher - "My Sound"

New Track: "Rise Above" from Spider-Man Turn Off the Dark

For being the most expensive musical in Broadway history, Spider-Man Turn Off the Dark is a very troubling affair. With numerous changes to its crew, early critical reports about the songs and story, and injury after injury from malfunctioning stage and set pieces, it seems like this would be the time to put this musical in the dark itself. Yet the musical is now (finally) set to arrive on Broadway for the general public in mid-June, and the first song has been revealed via iTunes.

There had been reports that the music that U2 frontmen Bono and The Edge had composed for the show were lackluster and ultimately unrewarding. It was even reported that Bono had suggested the show "sucked," but it's interesting what people can accomplish with just a little more time acquired. After listening to the new track "Rise Above," it actually sounds kind of good.

The track doesn't have the typical sing-songy approach that most traditional musicals employ, but then again, this is not a typical musical. It does smell of modern U2-influence, but it doesn't really detract from Reeve Carney's vocals (who sounds suspiciously like Bono himself). "Rise Above" is purposefully pleasing and catchy, and if the rest of the Broadway musical provides this kind of poppy essence, we might have ourselves an intriguing listen.

You can take a look for yourself down below, and if you like what you hear, you can keep track of Spider-Man Turn Off the Dark, whose soundtrack debuts day-and-date with the opening of the show on June 14th (or so we hope).

Reeve Carney (feat. Bono and The Edge) - "Rise Above"

Site Structure Revamp

Hey guys! A big thanks to those of you who've kept up reading our posts and giving us the encouragement to continue expressing ourselves through the music we listen to.

The past 2 months have been a bit stressful, but we are planning on having a lot more to talk about in the near future. Our current "Day" structure worked for the time in which we were feeling the stress, but now that we have better possibilities and unlimited amounts of time, we are going to restructure a few things. For starters, each day will have ANY post, from reviews to insights. Take 2 Tuesday will continue to have a home exclusively on Tuesdays, but the week will now consist of more without feeling limited.

Hope we can all work this out and turn Crashing Symbols into a great music destination. Thank you all once again and keep the record spinning.

The Saturday Symbol: Gil Scott-Heron

In honor of the recent passing of the quintessential "Godfather of Rap" Gil Scott-Heron, here is a music video of "Me and the Devil" off of his last record, I'm New Here.

Vid Break! tUnE-YaRdS - "Bizness"

Yeah, that is how you spell the artist's name. Experimental band tUnE-YaRdS is the conception of New England's Merrill Gabus, a woman whose vocals teeter along the lines of masculinity, but all that really matters is that her artistry rocks. To be honest, all that it does is add to the mystery that exudes from a band this eclectic and imaginative. In this regard, her latest LP w h o k i l l is a fun, sassy, and involving record that plays off eccentric beats and loops, steering you through a maze or jungle that doesn't necessarily have an opening. It's not a trap to keep you there for eternity, though after listening to this sort of album, that may not be such a bad thing.

"Bizness" is perhaps the most accessible track from the record, but the video is something of a disillusioned wonder. It matches the musical style that one could only imagine listening to the record in full, but the energetic choreography, cute children, face paint, syncopated edits and burst of human bodies in the song's second half lift this video from standard fare to an extraordinary sense of stylistic purpose. This sensation is a bit of an overload of nice, but if it weren't for its wild-child of an artist or the eccentricities built into the nature of tUnE-YaRdS, we'd probably have ourselves another by-the-numbers video.

Check out the video below and let us know what you think of the video. You can test the waters of "Bizness" and the rest of w h o k i l l on 4AD Records or on Amazon and iTunes.

Take 2 Tuesday: "Patron Saint" by Philip Selway

Another one of many overlooked solo efforts from last year, Phil Selway of Radiohead fame released Familial under false assumptions. What we got was not a technical drum fest or a project in the vein of Thom Yorke's solo material. Instead, Phil works soothing lyrics and drifting melodies into acoustic atmospheres, providing guitar and vocals and contributing artists Lisa Germano and Sebastian Steinberg. The album has a few shining spots such as "Patron Saint," a quiet and hushed affair that doesn't stray too far away from the album's viewpoints. Phil easily yearns for ideas of growth in our closer relations, all the while setting himself at a distance with a relaxed, melancholic vibe that's soft to the skin. It bears resemblance to the work of Nick Drake, whose influence is very much heard throughout the album, but "Patron Saint" tackles on more intricacies that separate Phil as an artist in his own element.

Take another look at "Patron Saint" here and listen to the rest of Familial, available on Nonesuch Records and on both Amazon and iTunes.

Philip Selway - "Patron Saint"


-DJ

Crash Thursday: The Lonely Island - Turtleneck & Chain

Genre: Comedy Rap
Origin: Berkeley, CA; based in New York City, NY

Well, their appendages are still in a box and on a boat, at least for a little while longer. That's because the Saturday Night Live viral video gangsters known as The Lonely Island are back with their second LP, the handsomely titled Turtleneck & Chain. Their first standard recording, Incredibad, gave consistent viewers a chance to grab a hold of their music sans the audience laugh track, and even though that album may have had its ups and downs, Turtleneck & Chain doesn't really change the game. That's a good thing, however, considering these guys just want to have loads of fun, and I mean loads of fun.

Like Incredibad, The Lonely Island try to up their rap ante by bringing in many musical guests, with mostly good results. The title track with Snoop Dogg has some pretty nice beats going for it (no doubt influenced by the guest himself), and Snoop Dogg makes the most of his appearance toward the end of the song. Justin Timberlake on "Motherlover" is reminiscent of his work on "Dick in a Box," and Santigold provides some pretty cool choral work on the dubstep-laced "After Party."

Perhaps the most stunning of all is just hearing Michael Bolton feature on "Jack Sparrow." It's an absolute riot listening to him shoot off guns and interrupt much better music, and his appearance clearly eclipses that of Nicki Minaj on "The Creep," whose vocals are mostly snores making their way through lyrics better suited for an artist that would give it more breadth. Even Akon, whose influence is pretty ubiquitous on "I Just Had Sex" from the bright synths to the Auto-Tune, has a much better sense of how to approach a song with such a title. Let's just say the consequences of that track might actually produce better results.

Though those like myself who are familiar with the SNL Digital Shorts, there's the underlying feeling that this troupe is always best when they release their "singles" and accompanying videos. The visuals help to greatly exaggerate their already outrageous raps. Take the Rihanna-featured "Shy Ronnie 2: Ronnie & Clyde" for example, whose lyrical nature really requires a visual target for the empty spaces in between the vocals. Otherwise, you have a rather silly concept that's unsure of where it's going on its own. The quick visual edits of "Threw It On The Ground" are also somewhat lost in the translation, leaving oneself wondering how they can obtain the video on Hulu to rewatch it again and again.

There are some greats and not-so greats, but would you have expected any more from any album by these guys? Those that are familiar with the Digital Shorts probably already know what to expect upon release, and there's no reason to deny their listening to this album in order to find their favorites. Fact of the matter is, The Lonely Island know what they're doing and they're having the time of their lives doing it. Don't expect Turtleneck & Chain to be some kind of accomplishment by any means, but it's hard to resist the sprinkled charm of The Lonely Island and their heightened sense of body part awareness.

3/5

The Lonely Island - Jack Sparrow (feat. Michael Bolton)


The Lonely Island - Turtleneck & Chain (feat. Snoop Dogg)


Turtleneck & Chain is available on Universal Republic.

-DJ

Vid Break! Death Cab's "Home Is a Fire"

Death Cab for Cutie's new LP isn't out until May 31st, but Codes and Keys is already making the rounds with singles and drops circulating the net. One such single is the album opener, "Home Is a Fire," which now has an accompanying music video. Directed by alt-artist Shepard Fairey, the song takes on a literal path through Los Angeles with varying degrees of blurs, edits, and lens changes. Lyrics appear to be pasted onto different alleyways and overhangs, later shown actually being made in the process and then placed throughout the city.

It gives the music an interesting twist, if perhaps too literally, in that it makes Los Angeles look more or less appealing and repulsive, especially if you live there (as this reviewer does). Then again, if it's anything like Fairey's work that includes the Obama campaign portrait, the video fits the bill of taking something rather ordinary and replacing it with a glaze that purposely sends an interpretive message to the intended audience. It makes Death Cab for Cutie out to be a band that's fresh and bold, but would you have expected anything different?

Let us know what you think of the music video, and don't forget to check out whatever else Death Cab has up their sleeves on Codes and Keys, available May 31st on Atlantic Records.

Take 2 Tuesday: "Laughing Hieroglyphic" by Avey Tare

David Portner, also known as Animal Collective member Avey Tare, released his second solo record, Down There, in the fall of 2010. The title really meant what it implied; it was a murky, confused, and euphoric album that showcased the complexities that Avey Tare often brings to the lyrics of many of Animal Collective's songs. Considering the smashing success of Animal Collective's most accessible effort, 2009's Merriweather Post Pavilion, listening to Down There is quite a different, more personal experience. Gone are the Beach Boys-equse harmonies and soothing beats, but Portner allows for us to enter his psyche and drown within the sounds, creating some kind of weird and exotic pathway that was best experienced on tracks of Animal Collective's Feels. "Laughing Hieroglyphic," the opening track off Down There, is fantastically hypnotic and sensory, almost asking us for our attention from the get-go and refusing to bubble up to the surface for breath. Even if the album was somewhat overlooked in 2010, at least this track is continually intriguing and worth taking a second look.

Check out "Laughing Hieroglyphic" below and tell us what you think. Is it better or worse than any of Avey Tare's solo outings or of Animal Collective's? Do you feel the eccentricites of Portner's personality through the music or lyrics he creates? Is it self-indulgent?

Avey Tare - "Laughing Hieroglyphic"


-DJ

In Case of the Mondays: PJ Harvey's got it "Written on the Forehead"

PJ Harvey has always gone out with class, whether it's the magical gathering of alternative and indie rock on Rid of Me or the versatility of Stories from the City, Stories from the Sea. You can always expect hearing something from her and feeling a sense of purpose, as if the way she writes or sings or strums was just meant to be. She may not always have the perfect balance of musicality with her lyrics, but you can always depend on having an experience with it. Her latest LP, Let England Shake, is perhaps her best effort in a while, consisting of songs that plant her alternative stylings back with new newer, bolder punches. "Written on the Forehead" is just a great example of the work she puts into this album, gracefully singing "Let it burn!" with her usually fantastic rock sensibilities. If you ever felt the need to take it slow with a message that defines you, take that moment and listen to PJ Harvey.

PJ Harvey - "Written on the Forehead"


-DJ

Crash Thursday: Kurt Vile - Smoke Ring For My Halo

Genre: Indie Rock/Lo-Fi Rock
Origin: Philadelphia, Pennsylvania

Kurt Vile is rightly suited to be signed with a label like Matador Records. The label also has Yo La Tengo, Sonic Youth, Belle and Sebastian, and Thurston Moore, all artists whom really have a specific focus on lyricism and guitar work but whom also apply thematic elements to their style. The fact that Kurt's last record was a lo-fi wonder of indie rock makes it hard to imagine this guy appearing on any other label, considering his emphasis for the ideas mentioned above. Yet he returns with Smoke Ring For My Halo, working with a sound that's a little more "grander" this time around, in the sense that the production quality is a bit of an improvement. It works for the most part, even if the songs themselves are still very well wound up in previous territory.

As such, most of the songs do not respond with exploratory notions or fresh ideas, but they rather relieve themselves by remaining consistent. A lot of Halo is made up of nice little numbers like "Baby's Arms" and "Peeping Tomboy," whose guitar picking is stunning and singing style helps to match the lyrical content. Perhaps the album really hits its stride when songs open up to bolder arrangements. "In My Time" allows Kurt to expand on simple guitar and effects and offer a lot more acoustic variation and instrument implementation. "Jesus Fever" almost hearkens back to swell times when one would just pick up a guitar and jam with friends, without any obtrusiveness.

As I mentioned above, the sound quality has improved to bring out the timbre of his instruments, but the nature of his songwriting places him squarely in a lo-fi zone. "I wanna write my whole life down / Burn it there to the ground / I wanna sing at the top of my lungs / For fun, screaming annoyingly" he softly sings on "On Tour", but the cleaner sounds in the recording almost make the lyrics rather stilted. You can tell Kurt is providing the album with his lyricism, a key component that's just as good as any guitarist would want or expect from others like Lou Reed, but the better production and guitar playing, as good as they are, do not often give him the support his lyrics are searching for.

There's no doubt that Kurt does a commendable job on his second record. He gets plenty of credit for his songwriting and guitar playing abilities, even if it doesn't entirely live up to the full potential. If you're looking for some nice guitar playing that doesn't look to much to impress but heads along the safe route, Smoke Ring For My Halo has plenty to offer. Then again, a lot of artists on Matador have plenty to offer.

3.5/5

Kurt Vile - "In My Time"


Kurt Vile - "Jesus Fever"


Smoke Ring For My Halo is now available on Matador Records.

-DJ

Vid Break! Animal Collective is "Bluish"

Animal Collective have been around for most of the 2000's, but it wasn't until Merriweather Post Pavilion in 2009 that they broke the independent mold and brought about their most accessible album to date. That doesn't necessarily mean that they dropped their experimental tendencies for this one album, especially considering the recent release of the visual nightmare ODDSAC. They've still got it in them to produce intriguing, wonderful sounds amidst a Beach Boys-esque atmosphere. Such is the case with "Bluish," a song that sounds like the title itself and an accompanying video even James Cameron has to be awed with. It's one of the more relaxed songs on the album, yet the video edits intensify with the beats and the dreamy visuals with what appears to be floating belly dancers and jellyfish transport you into a land of wonder. Let this video take you places you didn't think you'd go.

Take 2 Tuesday: "Future Daniel" by Clark

Never heard of him? You might have if you've seen Cartoon Network's Adult Swim during recent televised commercials. Still not? Well, the name might not strike you as immediately as James Murphy or Justice, but English musician Chris Clark, otherwise simply known as Clark, is very much a great asset to electronic music. Though probably more progressive in nature than the two artists listed above, Clark takes whatever it is that's nice about the genre and completely breaks it down into mathematical equations and paradigms, almost as if listening to the motherboard of a calculator over speakerphone. All the synths and drum machines and bleeps and bloops of his recordings can make one's head fry from overloading, though there's a distinct beauty in the trials and tribulations that he somehow molds together. "Future Daniel" from the overtly-named LP Totems Flare is in this kind of category, providing some tightly-knit beats and enough electronics that it barely survives the eruption that follows. Again, it's all constructed in a way that seems beautiful and awesome, even if it does seem too electronic for its own good. Check this out.

Clark - "Future Daniel"


-DJ