Due to Hurricane Sandy, I’m not able to check out this weeks New Music. Here is what I was looking forward to though:
For more in depth looks check out tinksaysboo. I hope all affected by the storm are safe and dry! See you next week!
Due to Hurricane Sandy, I’m not able to check out this weeks New Music. Here is what I was looking forward to though:
For more in depth looks check out tinksaysboo. I hope all affected by the storm are safe and dry! See you next week!
Shiny Toy Guns are back with III, a collection of strong songs that showcase their brand of electro-Pop with an alt-punk edge. The band embraces a softer sound on this record, due in part to the return of former Co-Lead Vocalist Carah Faye Charnow. Her alluring alto seems tailor made for a bed of dreamy synths, and is a perfect counterpoint to the slightly gruffer work by Co-Lead Vocalist Gregori Chad Petree. Their duets on tracks like “Waiting Alone” (below) and the lush “Wait For Me” make for my favorite moments on III. This is a record you can relax to, but that doesn’t mean it is without its uptempo moments. “The Sun” is a pulsating rocker that spices up the album’s latter half, and “Speaking Japanese” has a dirty guitar fueled grind to it. III has a much more focused feel than previous Shiny Toy Guns records, but that is not to say that their previous albums are unfocused. The often over used (and dreaded) term “more mature” can certainly apply here, but when writers employ that term they are usually referring to the bands focus. III feels like a complete album, one whose recording process started with a specific direction in mind. Fans have celebrated the bands ability to jump all over the musical map, but with their third record the band has chosen to send a specific tonal message, one that I found most engaging. Grab it for yourself today at Amazon MP3.
PLAY IT WITH: Metric, The Presets, Yeasayer, The Eurythmics
Pines is a record that I can get behind. The latest record by A Fine Frenzy not only tells a story, but celebrates it. The album contains 13 tracks that aren’t afraid to paint a picture as well as entertain. This is definitely a headphone record. Whispered vocals, subtle arrangements, and delicate ambiance combine to make Pines an extremely theatrical aural experience. The story of the album is about a tree that has free will bestowed upon it. I know how that may sound to some, but trust me, its not as ‘precious’ as you may think. Much of the album features quiet, light acoustic instrumentation that sets up perfect contrast heavier moments. Dynamic production is the highlight of this album, and though I have placed a track from the record below (‘Avalanches’) I’m not going to recommend any other. You should take the time with this record as a whole. Let it win you over. And when it does, be sure to check out the interactive eStorybook that was created in order to help tell the album’s story. It is available in the iTunes store, and there is a link to it at A Fine Frenzy’s website. Put the record on, relax, and enjoy the experience of falling in love with truly fantastic art.
PLAYLIST COMPANIONS: Andrew Bird, Lisa Hannigan, Florence + The Machine, storytelling in general.
Ben Gibbard makes his solo debut with Former Lives, a collection of tunes written over an eight year span. If you’re a fan of any of Gibbard’s other projects (Death Cab For Cutie, The Postal Service, All-Time Quarterback!) you will be very pleased with this record. Gibbard has a gift for crafting warm melodies that seem familiar to the listener. Not because he is ripping anyone off, but because his delivery is so inviting that the tunes feel like they have always been a part of you. ‘Bigger Than Love’ is a duet with Aimee Mann that marches along a driving tempo and bright melody. ‘Teardrop Windows’ (below) is a nostalgic ode to a bygone era. Its clean riffs and melodic structure brings to mind mid sixties pop, and you can almost hear Roy Orbison singing along. Former Lives proves that Gibbard is not afraid to experiment, featuring an a cappella tune (‘Shepherd’s Bush Lullaby’), as well as a mariachi influenced track (‘Something’s Rattling (Cowpoke)’). The reverb soaked vocals and production on ‘Duncan, Where Have You Gone?’ make the track sound like a long lost John Lennon tune. Former Lives is a delightful selection of tunes by one of this generations top songwriters, and is very worth your time. This week only, you can get the album for just $5 over at Amazon MP3.
PLAYLIST COMPANIONS: Elliot Smiith, John Lennon, Two Door Cinema Club
Within ten seconds of Vital, fans of Anberlin should have a big smile on their face. By the final punch of the aptly named lead off track ‘Self-Starter’, your neck should be sore from aggressive head nods. Anberlin has always been best when they explore the passionate side of aggression, the light within the darkness, and that is exactly what Vital is all about. The blistering guitar solo in ‘Little Tyrants’ screams along the track’s fist pumping backdrop, punctuating what was an already triumphant track. First single ‘Someone Anyone’ (below) is a great snapshot of what the rest of the album has to offer, crushing guitars, energetic rhythms, and some of Stephen Christian’s best vocal work to date. The layered ‘Type Three’ is one of the albums strongest tracks, a gentler number with tinges of acoustic guitar and piano that will help you get lost in the melody. ‘Orpheum’ is another highlight, an exciting mix of big synths and powerful riffs. Vital is an extremely strong record, one that demands your attention.
PLAYLIST COMPANIONS: Foo Fighters, Sevendust, Boys Night Out, Linkin Park
While everyone was complaining about them mentioning their influences, progressive powerhouse Muse have created and released one of their best albums. The ‘hotly debated among people who haven’t heard a single note of it’ record in question is The 2nd Law, and it is one of the best aural journeys you will take this year. The lesson to be learned by all the bloggers, tweeters, and other social media users out there is this: Shut up and listen. They were so focused on the possible inclusion of Dubstep in their beloved perennial experimenters music that they didn’t listen to anything else the band had to say. Yes, there are tracks that have a Dubstep influence, but the band also manage to seamlessly weave in Classic rock, Metal, Electronica, Progressive Rock, Funk, Broadway Pop, Classical, and U2 inspired Power Pop. Seeing as how the “Dreaded” Dubstep’s roots are firmly in Metal/Prog Rock, not to mention the band’s love of aggressive electronic sounds has been evident across their entire discography, this marriage should be viewed as a natural one. Couple that with the fact that there is only one track to wear this influence on its sleeve (The 2nd Law: Unsustainable), everyone who panicked and trashed the band publicly should feel embarrassed. What is truly remarkable though, is that the track is meant to be the sonic representation of panic and fear, juxtaposed against the suite’s calmer continuation (The 2nd Law: Isolated System).
I felt that all needed to be said about the ridiculous pomp leading up to the album’s release, but how about we look at the album itself? Opening march “Supremacy” is a triumphant salvo that sets the adventurous mood upfront. Lead singles “Madness” (below) and “Survival” are as killer as any of the bands catalog, with sways and swells that explore the bands Queen influence in a fresh light. The funky bass driven intro to “Panic Station” will have your head bobbing involuntarily across the danceable three minute tune. The aforementioned title tracked suite that ends the record is some of Muse’s most poetic and bold work to date, a truly remarkable pair of art rock. Muse has long proven themselves to be masters of mashing up genres while staying true to their core, and the fantastic The 2nd Law is another chapter in their ever ascending career. This album deserves nothing but praise, and the music is perfectly capable of arguing that for itself. However, its now time for me to shut up about it, and you to listen.
Indie darlings Matt and Kim have returned with another sunny festival of block party ready tunes. Lightning will certainly delight fans, and anyone not on board with this fantastic duo should certainly take notice this time around. Bright opener “Let’s Go” (below) is the kind of track that you’ll be humming for a week after just one listen. “Now” is a pulsating power pop jam that shimmies and sparkles. Rippling synths lay the bed for “Overexposed” and set the tracks bubbly tone. The piano led “Ten Dollars I Found” brings the party to an eloquent close after just ten short tracks. The tune is anthemic and broad in scope, but never lets go of that homemade feeling that makes the rest of Lightning so inviting. This is the kind of album that will have you smiling subconsciously throughout, and any of its tracks are sure to brighten up any playlist. This is a must add to your library.
The first in an already recorded trilogy of records Green Day‘s Uno! is sure to spark a lot of conversation about the punk rockers. A lot of the record feels in many ways like a career retrospective, which can be taken as either a negative or a positive. Longtime fans will notice the nods to Nimrod and Warning era, and the band will take a lot of flack for this. I think this referential tone was done on purpose. Any follow up to the massive undertaking that was the combined success of American Idiot and 21st Century Breakdown was bound to cause the band to look back on where they had come from, and perhaps this trilogy is meant to acknowledge the past as well as the future. The band feels freshest on tunes like “Let Yourself Go” and “Kill The DJ”. The former rages for its near three minute run time and boasts a frenetic guitar solo, while the latter incorporates some near reggae/funk influences into the bands trademark sound. Lead off scorcher “Nuclear Family” (Below) sees some of Bille Joe Armstrong‘s best lyrical work on the record. “Troublemaker” and “Loss Of Control” enjoy a Classic Rock influence that gives the tracks an exciting tone. Uno! will please fans of the bands 2000’s era output, and may surprise a few people.
Having struck up an affinity for bluegrass and other folksy styles in recent years, it seems as though Mumford & Sons have hit me at the perfect time. If you loved their debut record, there is much to love about Babel. The band certainly has a strong sense of who they are, and all the elements that made Sigh No More special are present, but turned up to eleven. Babel is not going to surprise anyone, but it is a stronger representation of what makes the band great. I don’t mean to say the Babel is a better record than its predecessor, but rather that the band that made this record is much more confident in its approach. They have sold millions of records across continents, and they have played to sold out arenas across the world. The record opens with the trio of barn burners including the title track, “Whispers In The Dark” and “I Will Wait” (Below). “Ghosts That We Know” is a passionate ballad that is sure to receive a lot of airplay, and I’d be mystified if it doesn’t end up in a film somewhere. “Love Of The Light” swells and crashes on a grand scale. Intensely passionate and melodic, Babel is a record that will demand your attention.
For Ben Folds Five fans, the wait is finally over. The trio’s first album in thirteen years, The Sound Of The Life Of The Mind, is here and it was well worth the wait. Songs like first single ‘Do It Anyway’ (below) show that despite the passing of over a decade, the band can still rock with the same exuberance that their earlier albums enjoyed. The track features Robert Sledge‘s trademark fuzzed out incredible bass work, and drummer Darren Jessee pounds out the rhythms as passionately as ever. ‘Hold That Thought’ is rich with harmony and a warm, inviting melody. Ballads ‘Sky High’ and the breathtaking “Away When You Were Here” show the bands versatility. They can rock with the best of them, but its the dynamic between the rockers and softer tunes that give this album its place next to the bands previous records. ‘Thank You For Breaking My Heart’ closes the record in expert fashion, leaving you with one of Folds’ finest ballads ever. Ben Folds Five are back, and after hearing “The Sound Of The Life Of The Mind“, you’ll feel like they never left. Pick up a copy today.
Mirage Rock is filled with inviting, well crafted rock. Band Of Horses shows a strong Americana influence on the record, especially on songs like ‘Slow Cruel Hands Of Time’ and ‘Shut-In Tourist’. The vocal work by Ben Bridwell certainly has a hand in that world, but his haunting tenor lends itself to just about any influence the band tackle. ‘Knock-Knock’ (below) kick things off with fuzzed out guitars and “woo-ooh’s” reminiscent of The Beach Boys. The bass lead in of ‘Dumpster World’ sets up a moody, cowboy-noir like shuffle that erupts into a heavy, distorted march. ‘Electric Music’ is a bright track that echos the tumble and bounce of early rock and roll but never sounds dated or well worn. Mirage Rock is the kind of record that would fit perfectly with an autumn campfire, equal parts exciting and mellow. It is certainly worth adding to your collection.
After a short hiatus that many expected to be the end of the band, The Killers have brought us Battle Born, a record that may arguably be the band’s finest album to date. The record is slightly darker in tone than previous efforts, but it includes all of the rock and roll bombast we’ve come to expect from Brandon Flowers and company. All of the bands previously explored influences find a comfortable home on Battle Born. ‘Flesh and Bone’ begins the record with an electro pulse that gives way to an exciting track that summarizes the sounds that we will hear later on in the disc. Single ‘Runaways’ (below) has all the shimmer and power we’ve come to expect from a Killers single, but has a magic all its own. The driving ‘Miss Atomic Bomb’ grabs a hold of the listener and doesn’t relent for its near five minute run time. Electro acrobatics crescendo into an american rock pulse on ‘The Rising Tide’, a track that will draw many comparisons to other artists but its chorus is unmistakably the bands own. The track also features an exciting guitar solo, a seemingly lost art these days. I was not hotly anticipating Battle Born, but I am delighted to say that my preconceptions were wrong. This a truly fine record, one I know I’ll be spinning for a while.
Amanda Palmer is a true artist in the digital age, and with the release of her new album Theatre Is Evil she makes that point even truer. The album was crowd funded through Kickstarter, a fantastic way for fans to support the artist they love, and Palmer’s fans certainly got what they paid for. As a whole, the record is fantastic. Palmer is famous for her brand of cabaret inspired art punk-rock, and while that theme is certainly explored on the record, there are a lot of other influences at play. Synths and effect soaked vocals begin the album on “Smile (Pictures Or It Didn’t Happen)”, and that kind of shoegaze meets electro pop shimmer reappears on other album highlights like the fantastic single “Want It Back” (Censored video below with a link to the NSFW version). “Do It With A Rockstar” pulsates with a punk rock fury that will supercharge your day. Strings blaze through the stunning ‘Trout Heart Replica’, a tender, emotional piano ballad. By the time “Olly Olly Oxen Free” crashes to its thundering close, you will have fallen in love with this beautiful record. I really cannot say enough about this album. If you are the least bit artistically inclined, Amanda Palmer is the kind of artist that will make you want to create. Head over to her website to grab a physical (CD or vinyl!) or digital copy of Theatre Is Evil, rock out, and enjoy.
I’m not quite sure what I was expecting from this collaboration between David Byrne and St. Vincent, but Love This Giant managed to take me by complete surprise. I mean that in the best way possible about this amazing album. Both of these artists styles are evident on the record, yet they created a sound wholly unique and exciting. Big rhythms and catchy melodies are augmented by beautifully arranged horns that give a feeling of Big Band style records, but don’t get me wrong. While that element is certainly at play here, Love This Giant is definitely not a Big Band album. The way they manage to undercut each arrangement with either an acoustic guitar bed or quick electric riffs is what gives the record its ‘hard to classify’ nature. Lead single “Who” (Below) is a great introduction. If you enjoy that track (and how can you not?), this is a record for you. Equal parts dangerous and safe, you really need to hear Love This Giant. I loved this record, and I know you will too.
Pacifica is a perfect example of what makes an electronic album great. Terrific songwriting, bouncy beats, bold sounds, and the will to experiment make the latest album by The Presets one not to miss. Hyperactive power pop, disco/funk, and soul all find a home on the disc, sometimes in the same tune. “Youth In Trouble” (Below) gets things off to a toe-tapping start, with the kind of ‘in your face’ vocals fans have come to expect. That mood will shift quickly come the much discussed “Ghosts”, a delicately layered, dreamy, synthpop gem that tells the story of a young soldier injured in war. “Promises” is another album highlight, a bright ode that should make its way on to many playlists as summer winds down. Album closer “Fall Epic” is a magnificent send off to the record, a bare yet powerful ballad that is a showcase for Julian Hamilton‘s intense vocals. The album’s end is moving, and will leave you wanting more. Pacifica is a wonderful record, and a must own.
Matchbox Twenty is one of the first bands of my generation that I remember discovering. Most music I was into at age Eleven was hand-me-downs from my parents, and I still didn’t really listen to the radio. I had never heard of MB20 until the summer of 1997, which I spent at a theater program at my town’s High School. The program allowed High School students to direct younger kids in a several different productions over summer break, and I looked forward to it every year. The High Schoolers were all so cool, and everyone wanted to hang out with them. I remember sitting by myself one day at lunch when one of them came up to me and started up a conversation. He was one of the directors I looked up to, so this was huge for me. We mostly made small talk about the different shows being worked on, but as would prove all to common later in my life, the conversation soon shifted to music. I didn’t really know many of the bands he mentioned, and I thought he would be impressed by my knowledge of The Beatles and other Classic Rock. He told me that if I liked rock, that I needed to hear this new band called Matchbox Twenty. His words sold the album brilliantly, and that I would especially love a track called ‘Long Day’.
I hounded my parents until they finally brought me to Tower Records (look it up kids) so i could purchase the album, and I instantly fell in love. I played Yourself Or Someone Like You all day, every day, and ‘Long Day’ was instantly my favorite song. I memorized it front to back. When school started in the fall, I used to carry it around with me in my backpack in spite of the fact that I didn’t have any kind of portable CD player. I just wanted that record on me at all times.
Rob Thomas quickly became a hero of mine, solidified by each subsequent release. I loved him because he was not only responsible for the songs I held so close to me, but his versatility as a songwriter was something I had immense respect for. MB20’s second album, Mad Season, was the first record I purchased in the new millennium, and it remains one of my favorite albums to this day. All of the different genres utilized on that record blew me away, and that quality is something I still look for and enjoy when listening to new music. Check out the very album faithful spectacular live version of ‘You Won’t Be Mine’ below.
The band’s third record, 2002’s More Than You Think You Are, was a move back towards the straight up pop/rock of their debut, and I loved every track. The band was back with a force, as evident on the live version of ‘Bright Lights’ below.
In my opinion at the time, this was an unstoppable band, but history would prove otherwise. MTYTYA would be the bands last full album for ten years. They released a greatest hits compilation, Exile On Mainstream, in 2007, and Rob Thomas released two solo records in the interim, but to me nothing replaced the feeling I got when holding a new Matchbox Twenty Record in my hands.
To say my anticipation for their new record, North, was high would be an understatement. I was trying to be very adult and patient about it, but this was something that I had been waiting for since I was sixteen. After a few listens now, I can honestly say that it did not dissapoint. North is a very poppy record, filled with great hooks and all the ballads and rock longtime fans are used to. The band experiments with a electronic rhythms at a few points, but they never stray to far from the classic Matchbox Twenty sound. The band’s song writing is on par, as evident with the stylistically different lead singles ‘She’s So Mean’ and ‘Overjoyed’, which are embedded below.
You can stream ‘North’ for free right now at iTunes, and it comes out this New Music Tuesday 9.4.12. There’s so much to love about this record, and I hope you give it a try!
Infinity Overhead is the kind of record that makes me so excited about music. There are so many influences at play here that combine to make an extremely poppy and incredibly exciting progressive/math rock record that will play on repeat in my headphones for a long time. Minus The Bear have been a favorite of mine for several years, and with each new record the band has slightly altered their sound to craft something new for their fans. This record packs in all those influences, and the resulting package will please fans of every era. The Hall and Oates influence of their last record Omni is definitely on display here (‘Lies and Eyes’), and the post-hardcore progressive rock (Steel and Blood [below], Diamond Lightning) fans have loved since day one gives this record its core. I can’t say enough about how good this record. You really need to check it out for yourself. You should always listen to albums as a whole, but if you can give this one the time it deserves, I promise you that you will enjoy yourself. Pick it up over at Amazon MP3.
When musicians who are passionate about their craft come together, the result is always worth a listen. That was my attitude going into A Thing Called Divine Fits, the album by indie supergroup Divine Fits. Britt Daniel (Spoon), Sam Brown (New Bomb Turks), and Dan Boeckner (Wolf Parade, Handsome Furs) have created an album that is as fun as it is unique. Each members style is present on the record, but together they find a nice balance of danceable, indie rock. Opener ‘My Love Is Real’ (Below) gets things going with a darkly sweet groove. The track bobs and jumps along a fuzzed out, brooding rhythm that is contrasted by an ethereal synth riff that will be in your head all day. The bright bounce of the expertly layered ‘The Salton Sea’ is exactly the kind of exciting track I would expect from this collaboration. The tune is bright with a darker undertone, and it never seems to go in the direction you think. This will be on many people year end lists, and more than likely on mine. Grab it at AmazonMP3.
Circa Survive have earned their place among many in prog and/or post-hardcore communities as one of the top acts making records today, and with one listen to Violent Waves you might join them. Dynamic, sprawling, and always rocking, this is a record that demands your attention. The big moments seem bigger than anything they’ve done heretofore, and the quieter moments are anything but killing time between the rocking. The seven minute opener ‘Birth Of The Economic Hitman’ kick-starts the album and sets the bar high. What follows does not dissapoint, especially the savage screams in ‘Sharp Practice’ and the propulsive rhythms of ‘Suitcase’. By the time the album’s second epic ‘I’ll Find A Way’ glides the album to its gentle close you’ll be more than satisfied with the price of admission. Circa Survive seem to improve the sound and scope of their ambition with each new album, and Violent Waves is a fantastic addition to their already seminal cannon. Grab it for yourself at Amazon.
This weeks albums are a bunch of Heavy Yeasayer’s having a Bloc Party, and you’re invited!
I fell in love with this record. The Glorious Dead is a powerful, exciting force of an album. The Heavy have taken all the best elements of rock, blues, and early Motown R&B and created a truly epic sound. Heavy, fuzzy riffs and thundering percussion are met with exhilarating String, Horn, and Choral arrangements that augment each track without feeling forced. This is a record that was meant to spin on a turntable in between your Otis Redding/Sam Cooke records as well as your Black Keys and Band Of Skulls. Big tracks like ‘What Makes A Good Man’ (below) and ‘Don’t Say Nothing’ pop and wail, while the haunting ‘The Lonesome Road’ simmers along at a slower, more measured pace. This album doesn’t have a dull moment. Every tune is worth getting lost in, so I recommend grabbing your best set of headphones and letting The Glorious Dead take you away. Easily my favorite album out this week, this is also a strong contender for my top albums of the year. Pick it up at Amazon now for just $6.99!
Bloc Party roar back onto the scene with their new album Four, but longtime fans might have a problem with which specific scene they chose. At its core, Four is more ‘Rock’ than any album the band has done before, almost comepletely forsaking the hipster-iffic dance parties that took place on earlier records. What takes its place is a sound that has more in common with dirty blues and harder edged 1990’s style rock than the groups earlier Franz Ferdinand or early Killers albums leanings. The result will be jarring for some, but if you can get past any pre-conception, what you will find is quite rewarding. Tracks like ‘Octopus’ (below) and ‘V.A.L.I.S’ have the band’s trademark lightning fast precision riffs and beats overlaying fun, hypnotic grooves, but tracks like So He Begins To Lie’ and ‘Kettling’ will make you reminisce about every Cobain influenced band most of us worshiped in high school. When it comes down to it, Bloc Party have shown their versatility with Four. No matter the wrapping, their brand of rock and roll will always be the gift that keeps on giving. Grab it now over at Amazon MP3
As a fan of picking out bands influences, I loved listening to Yeasayer‘s Fragrant World. Yeasayer is rightfully lumped into the Electronic genre, but their songs owe a debt to the worlds of pop, funk, folk, and psychedelia as well as more worldly African beats and Middle Eastern arrangements. Much of Fragrant World doesn’t stray from a mid-tempo bounce, but rather than get caught in a straight forward lulling monotony, the group chooses to create unique and engrossing soundscapes on each of the album’s eleven tracks. The fantastic vocal effects on ‘Longevity’ (below) give the tune a robotic Prince effect before giving way to swirling synths and strings. Other tracks like ‘Devil And The Deed’ and ‘No Bones’ echo paths forged by the likes of Depeche Mode, but their fresh production and looped backing tracks keep the tunes from feeling stale or rehashed. The inclusion of the Dub influenced ‘Henrietta’ gives the record that multi-genre balance that Yeasayer’s contemporaries fail to accomplish when culling together a full length. Fragrant World finds the group in a class all their own, high above what you may perceive as today’s Electronica. Join the fun by grabbing the album over at Amazon.