Album Reviews
Review: Das Racist – Relax
Das Racist – Relax
Released: September 13, 2011
Label: Greedhead
Purchase: iTunes | Insound | Amazon
“I’m f*cking great at rapping,” Das Racist frontman Himanshu Suri boasts with quite a bit of gusto on lead single “Michael Jackson”. If these words were uttered on past mixtapes/albums Shut Up, Dude or Sit Down, Man, there would be little to object to. But since they entered our ear canals by way of Das Racist’s studio debut Relax, more must be said.
For some reason, the rap duo seem to have lost quite a bit of the wittiness and charm that made their first two efforts stand out so much. For the most part, Heems unfortunately sounds quite sluggish with his rhymes, failing to deliver quotable after quotable like on Sit Down, Man’s “amazing”, “hahahaha jk?”, and “rapping 2 u”. Instead he chooses to rattle off seemingly incoherent thoughts in a raspy, grungy-sounding voice, leaving us wondering what exactly happened to the sharpness he previously displayed. His partner and long-time friend, Kool AD (aka Victor Vazquez), on the other hand, sounds much the same and provides ample reminders of what made us fall in love with Das Racist in the first place.
The social commentary is still there, the glitchy beats are still there, and the genius is still there. The magic, however, is gone. Everything is still seemingly intact though, so what makes Relax sound so detached and uninspired compared to the rest of their catalogue? Who knows? Heems, Kool AD, and Dapwell probably don’t even know.
Perhaps it’s a change of focus. As Heems says on what is perhaps his best verse on the album (on opening track “Relax”), “Juvenile shit / I ain’t really tryna rap about / I don’t remember from b-b-ba b-blackin’ out / These days, I’m mostly focused on my bank account / I ain’t backin’ out until I own a bank to brag about.” Making music that sells is certainly different from making music that shines.
Or maybe it’s the fact that Das Racist have already, well, ‘made it.’ The hook for album standout “Power” tackles this issue head on: “It’s too easy. Even if I told you about it, you probably wouldn’t even believe me.” Bursting onto the scene from literally nowhere with the ridiculously infectious and utterly confusing “Combination Pizza Hut and Taco Bell” and then securing collaborations with the likes of Diplo, Boi-1da, Roc Marciano, and El-P on their second release. And everything was released to critical acclaim. It kind of reads like a script, one where we got to watch the trio hone their art while enjoying huge amounts of success along the way. Perhaps things were way too easy.
Fortunately for us, however, Das Racist don’t stray too far away from their fundamental skeleton. Play the record for anyone familiar with the group and it’ll be clear that it is indeed a Das Racist record. The repetitiveness and non-sequiturs on “Michael Jackson”, the danciness of “Booty In The Air”, the posse-cut “Power”, the unabashed self-referencing on “Selena” – everything is still distinctly Das Racist. The only difference is that altogether the whole record feels less densely packed with references and much less technically satisfying. Even production by Yeasayer’s Anand Wilder and Vampire Weekend’s Rostam Batmanglij fail to make a big impact – without looking at the credits, it’s hard to even tell what songs they worked on (“Middle of the Cake” and “The Trick” respectively).
There’s no need to take these reviews seriously, though. A group like Das Racist obviously isn’t out searching for approval from critics; all they need to do is take everything in stride and just relax. Then, finally, they can come back when they’re ready to put together a more inspired effort.
We’ll be ready.
6.6
Standout Tracks: “Michael Jackson” and “Power (feat. Danny Brown & Despot)”
Review: Artifex Pereo – Ailments and Antidotes
Artifex Pereo – Ailments and Antidotes
Released: July 23, 2011
Label: Unsigned
Purchase: iTunes
Over the past several years, a new species of alternative rock has emerged, characterized by bands that embody a “technical-meets-catchy” approach to making music. Last year, several more high profile bands of this ilk released full lengths; Circa Survive‘s Blue Sky Noise, Tides of Man‘s Dreamhouse, and PMtoday‘s In Media Res all garnered strong critical and consumer reception. So perhaps it’s surprising that, thus far, similarly-styled albums have been so rare in 2011. Yet even so, Artifex Pereo‘s Ailments and Antidotes is an undeniable testament to the sub-genre’s well-being.
Ailments and Antidotes opens with “The Baker Act”, a track that demonstrates both the band’s musical aptitude and frontman Evan Redmon’s impressive vocal range. Arpeggiated guitar leads introduce Redmon’s high, emotive tenor, soon swirling into an ambient section complete with twinkling piano, before an organ glissando transitions the band back into high gear for the chorus. It’s the same “loud-soft-loud” formula many of these types of bands thrive on (and often over-utilize) but the execution and instrumentation is so precise that the track involves, rather than bores, the listener. The lyrics are really the only negative (albeit a minor one); Redmon emotes, “Your poison is the scent that saturates the air/Grab your clothes and head for the back door before the devil knows you were here”, and though poetically phrased, the sentiment is a bit trite. In fact it’s difficult not to recall Anberlin‘s “The Feel Good Drag” (“Your lips, your lies, your lust/Like the devil’s in your hands”), because the songs are so extremely thematically comparable.
The next three tracks are all heavier tracks, similar in sound to “The Baker Act”. Of these, it’s “Suburbanite Sprawl” which excels the most. The groovy guitar riffs are reminiscent of The Chariot in the noisier parts of the tune, and snaking bass fills and sychopated drumming demonstrate the rhythm section’s capability. Redmon is at his most versatile here, soaring into the upper reaches of his range with ease. However, at this point, due to the congruent sound of the first four tracks it’s easy for the listener to infer that the rest of the record will be more of the same.
But the catch is that such an assumption would be incorrect. The middle portion of the record focuses the band’s talents on much more ambient, softer tracks. It’s this that gives Ailments and Antidotes the variety so many albums of this manner (including Artifex Pereo’s own debut EP, Am I Invisible) lack. And what’s more, the added variety doesn’t at all detract from the quality of the record. Because, despite the difference between tracks like “Butcher Hands” and “Mrs. D” and tracks from the first, heavier section of the album, it’s clear that the same band composed this entire collection of songs. Not to mention that Artifex Pereo are more than competent at performing this softer sound. In fact, “Devil and Water” is probably the best song on the record, bringing to mind the ambient sections of Circa Survive’s Juturna with its noodling guitar lines. It doesn’t hurt that it’s also the lyrical apex of the record; Redmon tells of an unhealthy relationship, singing, “Loathing you proved to be inadequate, so I will love you in my sleep and this will be less of a burden on me.” It’s hardly a novel concept, but the word choice and vocal delivery cause the words to ring startlingly true.
Yet, perhaps in an effort to avoid boring listeners with a heavier musical taste, Artifex Pereo revert back to the sound found at the beginning of Ailments and Antidotes for the album’s closing two tracks. While neither are as memorable as “The Baker Act” or “Suburbanite Sprawl” both hold their own and finish the album nicely. It’s interesting that in a scene where so many bands utilize the “loud-soft-loud” formula to writing music, nary a single one has crafted an entire album in the same format, as Artifex Pereo have done here. And Ailments and Antidotes certainly proves it is a blueprint that, when followed by a skilled band, can be very successful.
8.5
Standout Tracks: “The Baker Act”, “Suburbanite Sprawl”, and “Devil and Water”
Note: Evan Redmon is no longer the vocalist of Artifex Pereo. You can check out a video of the band playing an acoustic version of “Edgar Suit” with his replacement, Lucas Worley, below.
Review: The Rosebuds – Loud Planes Fly Low
The Rosebuds – Loud Planes Fly Low
Released: June 7, 2011
Label: Merge Records
Purchase: iTunes | Insound | Amazon
The great thing about music is that it is never meant to be an isolated entity, always finding a way to intertwine itself with the listener’s emotions and experiences. Some music simply embodies the meaning of the word “fun,” while others speak to us when we’re in the darkest of moods. The Rosebuds have always been hard to define on this musical spectrum of emotions, ambiguously falling somewhere in-between. Their upbeat indie rock/folk sound has always been “enjoyable” musically, but lyrically, this happiness always been neutralized by their darker, tempered tales.
Their fifth studio album, Loud Planes Fly Low, is another beast entirely. After the release of 2008’s Life Like, the North Carolina duo divorced and the future of The Rosebuds was in grave danger. Loud Planes Fly Low is the byproduct of their life after divorce, capturing the whirlwind of emotions that Ivan Howard and Kelly Crisp experienced while reconciling their partnership. With so much source material to draw from, the two manage to create their finest release yet and arguably one of this year’s best as well.
But Loud Planes Fly Low isn’t an album about break-up in general. It’s about a transition in their lives, finding the subtle balance between their romantic and working partnerships. It’s painful, but the two don’t mope; it’s been done before, but not cliché, it’s filled with sorrow from start to finish, but not depressing; it’s subdued at times, but not restrained. The record is a surprisingly quiet expression of the intense feelings being shared; although the music isn’t overtly powerful (cautious tempos and generally down-played melodies), the emotions shine through.
Calling for a new beginning rather than a return to older, happier times, the two seem troubled, yet ultimately content on where they stand. On album opener “Go Ahead”, endless waves of synths, organs, and layered vocals blend together to create a feeling of serenity inspired by Howard’s fantasies and dreams. “Go ahead, let’s plant a forest / Where we can hide when the city expels us. / We can sleep in the branches / Our own little outpost in the trees,” he croons, painting a bittersweet picture of what could have been. On album standout “Come Visit Me”, Crisp returns the favor with her painful admission, “And I want to feel something way out here / I need something to happen now, even if it fucks me up / Come visit me, way out here / I need you to see me, even if it makes it worse” with Howard harmonizing in the background. The two, as troubled as they are, make light of their pain by crystallizing it and expressing it fearlessly.
Employing poetry in its rawest form, the minimalistic “Without A Focus” and closing track “Worthwhile” solely feature Howard and his guitar, showing that while the feelings of acceptance and reconciliation are there, the heartbreak that he has felt is still raw and apparent all over; wearing his heart on his tattered sleeves, Howard pleads as he just manages to eke out, “All I want is to make this all worthwhile.”
In all respects, The Rosebuds have managed to create a gem that is clearly deserving of universal praise. It certainly wasn’t an easy recording process for the two, but they manage to do so, struggling with their own personal problems rather than directing their disappointment and pain at each other. The result? A powerful outpouring of emotions that engulfs listeners from the very start. While there’s no clear sense of closure here, that’s okay: Loud Planes Fly Low may signify the end of their romance, but it isn’t the end of The Rosebuds.
9.4
Standout Tracks: “Go Ahead”, “Come Visit Me”, and “Worthwhile”
Review: The Gallery – Come Alive
The Gallery – Come Alive
Released: February 22, 2011
Label: Unsigned
Purchase: iTunes | Amazon | Bandcamp
The Gallery is a band on the rise. Having built grassroots bases in their New England home and later in Florida, they embarked on a national tour in 2009 and have been more recently performing with bands such as The Maine and We the Kings. After a few spins of their EP Come Alive, you’ll see that this brewing rise is well-deserved and you may just be inclined to hop on the bandwagon before there even is a bandwagon.
Just a few seconds into opener “Catalyst”, listeners will likely catch one reason for the band’s increasing popularity: it’s not difficult when your biggest musical influences are already well-established within mainstream and indie circles. In a nutshell, they’re Bruce Springsteen without the synths and saxes, The Hold Steadywith fewer keys and less of a bar-rock sound.
Getting through the rest of the song, listeners will see another reason: “Catalyst” is really good, perhaps even too good. Catchy hooks are a dime a dozen these days, but songs that combine these hooks with such simple, earnest lyrics are harder to come by. It’s true that there are no deep insights, but lines like “This is a walk away / from those dirty little games you played. / I heard your sorrys, but I saw no change. / I gave you love, you gave me pain,” when backed by such honest music and Brendan Cooney’s hometown vocals packs a solid punch. It almost makes the rest of the EP struggle slightly to keep up in comparison, but it gives a valiant effort.
“Ballroom of Broken Hearts” slows down the tempo, but maintains the EP’s pace. Vocally and lyrically, it leans more heavily on The Boss than any other track, telling the tale of a girl “unlucky in lust.” It showcases their mature musicianship by effectively stripping down the first chorus, but doesn’t rely on it for the other choruses, instead adopting a fuller sound becoming less wistful, adapting to the entire song’s structural buildup. It’s less likely to be heard on the radio than “Catalyst”, but it is nonetheless good enough to prove that “Catalyst” wasn’t a fluke.
Tackling a different lyrical theme is “Who’s in the Right”. On one level about a fighting couple, it undeniably speaks to our country’s bigger conflicts as well with the simple observation “We’ll drop bombs all day and night/ to show who’s in the wrong and who’s in the right.” Even though it’s an anti-war song to some extent, it doesn’t fall on the trite clichés that today’s bands loved during the Bush era (i.e. no mention of a “gas war” or “fighting daddy’s battles”). Sincerity abound, it even feels close to The Avett Brothers. Unfortunately, the lyrics are stronger than the music, which relies too much on a bland guitar line.
The lightness of “Last Goodbye” serves as an excellent counter to the heaviness of its preceding track. The drum driven pre-chorus and explosive chorus are certainly engaging, but clocking in at close to five minutes, it runs slightly long.
Rounding out the EP is “Free,” which is actually a bit of a letdown. For once, the music feels too generic and the lyrics are excessively sappy. Though not a terrible song, it’s certainly a disappointment when compared to everything else before it. Not the best end, but it doesn’t detract too much from the quality of the EP on the whole. It’s not the deepest music you’ve ever heard, but it’s a solid effort by a band that you should make a point to know.
8.4
Standout Tracks: “Catalyst” and “Ballroom of Broken Hearts”
Review: Fucked Up – David Comes to Life
Fucked Up – David Comes to Life
Released: June 7, 2011
Label: Matador Recordsl
Purchase: iTunes | Insound | Amazon
Fucked Up is a punk band with epic aspirations. And their recently released third full length album, David Comes to Life, only serves to further demonstrate Fucked Up’s ambition. Divided into four acts, it tells the story of David Eliade, a factory worker, and his lover Veronica Boisson’s scheme to construct a bomb and the aftermath of its early detonation; namely, Veronica’s death. Beyond that, it’s difficult to decipher the plot; to do so, one would have to spend extensive time analyzing the lyrics to each track. But as a listener who still doesn’t fully understand the intricacies of the story-line of this self-proclaimed “rock opera”, I can assure you that complete comprehension isn’t at all vital to enjoyment of David Comes to Life.
Besides the complicated lyrical aspects of the album, David Comes to Life isn’t an easy listen for another reason: its length. At eighteen tracks and seventy-eight minutes, the listener must be patient to easily manage a complete spin of the album in one sitting. Yet when in the right mood, one will find this album one of the most rewarding of the year.
Nearly the moment David Comes to Life commences, it’s apparent this is no ordinary punk album. Opener “Let Her Rest” is an instrumental track, decorated with twinkling piano and ambient noise. To some readers, that description might bring to mind post-rock. Yet the song is more accurately defined as a dramatic build, a preparation for what’s to come; as it progresses, the guitar lines slowly become more punk, more representative of the remainder of the album. In effect, the track’s purpose is to gradually accustom the listener to the sounds that follow.
The following track, “Queen of Hearts”, is the first we hear of Damian Abraham’s (A.K.A. Pink Eyes) snarl. It’s as ferocious as ever, yet Abraham seems to have improved his emotional range. It’s also the first we hear of Cults‘ Madeline Follin, who plays Veronica. The shimmery guitars grant the tune a bright feel and the dual narration is a unique storytelling technique. It’s certainly a standout and has the potential to become known as one of punk’s defining love songs.
The next three songs — “Under My Nose”, “The Other Shoe”, and “Turn the Season” — share lyrical similarities in that each mention “the other shoe”. In fact, it is the track named after that lyric which succeeds the most out of the three. Beginning with Follin’s cries of “Dying on the inside”, Abraham soon makes his most tortured appearance, yelping, “It can’t be comfortable when the whole thing’s about to fall.” Far and away, this is the most poignant moment on the album. An unrelated but significant side-note is that Abraham also declares that “The new lyrics follow the same old meter.” And interestingly enough, many of Abraham’s lyrics throughout the album do follow similar rhythmic patterns. But this only serves to further the cohesiveness – characterized not only by the aforementioned but similar guitar tones and song structures as well — of David Comes to Life.
That concludes the album’s first, and arguably strongest, act. Its second, however, is by no means bad. “Running on Nothing” is the highlight, with its catchy 50′s rock guitar riffing, and “A Slanted Tone”, with its brief acoustic guitar intro, is another solid tune and one of David Comes to Life‘s fastest. Despite all this, it is here and in the third act where the album drags most. It’s simply due to a couple of lesser (but still good) tracks which don’t help distract the listener from the album’s length. Yet despite the bit of unevenness in the second and third acts, it’s impossible to penalize Fucked Up too heavily, because there is just so much to explore. And because of that, David Comes to Life is an album with unquestionable lasting value.
The fourth and final act is probably the second best of the four. Its only real fault is that “One More Night” is so good that closer “Lights Go Up” is a bit of a letdown. Yet the positives of “One More Night” far outweigh the negatives of the track’s placement. It’s truly an anthem. Soaring guitar lines complement accented drumming and Abraham’s violent, defiant bark until Abraham’s shouts of “I don’t wanna be right / Just one more night” enter the mix and the guitars are left to ring out. It feels so much like the album’s conclusion; perhaps that’s why “Lights Go Up” is disappointing, merely because the listener doesn’t want to hear anymore of anything. But that’s a small price to pay for such a well-conceived album by one of the best bands operating in punk music.
8.7
Standout Tracks: “Queen of Hearts”, “The Other Shoe”, “Running on Nothing”, and “One More Night”
Review: Sister City – Carbon Footprint
Sister City – Carbon Footprint
Released: June 14, 2011
Label: Unsigned
Purchase: Bandcamp
Having never heard of Sister City, formed only in 2007, I had no idea what to expect upon downloading their new album Carbon Footprint. I saw the genre “indie punk” thrown around quite a bit, but such a description is too vague to actually say much.
Opener “Hit Too Hard” finally put a sound to the name. Even though it didn’t quite answer the question of what “indie punk” means, it did provide a ballpark sound to work with. Initially, Sister City sounds like an opening band, reminiscent of The Loved Ones or The Measure, taking cues from bigger bands, but still lacking the chops to be headliners themselves. There is a familiar, almost generic feel to the music, but under the surface, there is a passion and effort driving the band, which is demonstrated all throughout the album.
The passion is most easily heard through frontman Adam Linder’s lyrics. Like early Rise Against, he’s usually making a point about the state of the human condition, but instead of actually calling for action like Tim McIlrath, he limits himself to biting observations with a cynicism very much in the vein of Say Anything’s Max Bemis. “The things I want are simple things, like love and trust and sanity” Linder notes on “IMPERATIVE.” Closer “How Much” brings his unease to a climax, “For a couplet I sold what was left of my integrity and I don’t have any goals / but I do have an apartment in a city full of people, and a subtle, sinking feeling we’re all equals.”
Lines like these permeate every song, but unfortunately, few of them actually stick, largely because there’s a distance to them, an apathy that doesn’t inspire the listener to do something about it. Linder’s vocals don’t help much either. They’re neither bad nor particularly good – they just tend to add to the generic overall sound.
While the music in general sounds largely familiar, Sister City does distinguish itself from the pack to some extent with their poignant use of rests. They immediately set to this trend in the stop-start “Hit Too Hard” and continue through with such usages as the pre-chorus holds of “Some Prefer Nettles,” the one beat rests on the repeated chorus of “IMPERATIVE.” The rests are very calculated to add impact to the lyrics, and nearly always work well. It’s just a small touch, but it does make their music more distinct.
There is a certain level of maturity in their musicianship as well. Many of their songs have different phases to them- they don’t usually end up in the same musical place where they were at the beginning, but they’re still within the general sound, so the song isn’t too disjointed. For the most part, this too works fairly consistently, such as with the double-time outro topping off the already engaging “Ellis Island Blues.” The biggest offender with this patchwork style is “Eff That” which suffers from too much schizophrenia. The smooth verses don’t blend well with the No Use For A Name-sounding chorus, and the bridge is much too forced, making it one of the only songs that would be considered weak overall.
While much of their music is familiar, familiarity isn’t always a negative thing either. Sister City wear their influences on their sleeves, and fans of the general scene won’t be disappointed. Much of their music sounds like a lighter version of Against Me!, and they wear this influence proudly, even naming a song “Reinventing Adm Linder.” Ironically, this song is eerily similar to “Hey There Delilah.” Plain White T’s comparison notwithstanding, it’s actually one of the album’s lyrically strongest and catchiest songs overall.
Swaying away from Against Me!, Sister City turn to NOFX with “IMPERATIVE,” driven by a bouncing bass that sounds like it’s straight out of “Timmy the Turtle.” Pulling out all of the stops, “How Much” channelsManchester Orchestra with a slow buildup to a climactic finale. These songs are generally good for what they’re worth, but at the same time, they feel like the diet version of some of your favorite bands.
Overall, even after a few spins, I still find that Sister City is a very difficult band to describe. After some thought, I have concluded that one of the most apt metaphors is that Sister City is a cloud. The band can’t be clearly defined or put into one particular musical box. Their influences are numerous, yet they still have a single cohesive, recognizable sound. Finally, there is definitely substance to their music and lyrics, but when you reach out to touch it, you may not end up feeling much in the end.
7.4
Standout tracks: “Ellis Island Blues” and “Reinventing Adm Linder”
Review: The Dangerous Summer – War Paint
The Dangerous Summer – War Paint
Released: July 19, 2011
Label: Hopeless Records
Purchase: iTunes | Insound | Amazon
For better or worse, we’ve all come to grips with the fact that life isn’t always a smooth ride. Turbulence along the way is inevitable and in these rough patches, we’re forced to find our own way. Sometimes, things just aren’t worth the trouble. Sometimes, we decide to quit and move on. And thus, we put on our war paint and we march through the battlefield.
The Dangerous Summer are no strangers to the ups and downs of life. Between the release of 2009’s Reach For The Sun and War Paint, they’ve had their fair share of struggle: the temporary departure of drummer Tyler Minsberg (who does not play on the album), the feud between guitarist Cody Payne and the now broken-up You, Me, and Everyone We Know, coping with their careers as musicians, and more. But instead of whining on their new record, the Maryland four-piece has crafted a timeless anthem of growth, struggle, and determination, all without appearing trite.
Title track “War Paint” opens the album with a rapid blare of drums and guitars, eventually easing off for vocalist AJ Perdomo to make his entrance. Right away, Perdomo’s honesty and emotional delivery shine through, belting out “There’s a lot on my plate / And the ones I loved stopped answering / They left me to find my self / In my own hate.” Second track “Work In Progress” continues with even more intensity, providing an emotionally moving self-examination that rides out on a wave of reverb and deep panting. Musically, War Paintis the most varied that the band has ever been – one of the only flaws of their debut – a sentiment that is highlighted by the sharp transition from the dark “Work In Progress” to the relatively chipper sounding “No One’s Gonna Need You More”. Ironically, the song’s subject matter is nowhere near as happy as it sounds (“Moving ‘cross the country / I lost track of time / Trying to make a name for myself / ‘Cause every lonely heart / Can use an honest song / They can sing along to.”) but the change in sound does provide a breath of fresh air.
The highly optimistic “Good Things” and lively “Siren” continue with the atmospheric blend of drums and guitars, with a greater emphasis placed on Bryan Czap’s undulating lead guitar line on the latter. Standout track “Everyone Left” slows things down, while also demonstrating just how much the band’s songwriting ability has improved, especially the lyrics of AJ Perdomo. While Perdomo has always been inclined to wear his heart on his sleeve, his visceral lyrics have begun to take a more poetic and abstract turn, painting an even more powerful image of his emotional and mental state. On “Everything Left” he questions, “When you decided to take it / What did you take from it? / Was it worth the heart involved? / The obstacles? / The chemicals? / I need to know what you’re trying to see.” and we wonder ourselves.
That’s the beauty of War Paint. It’s an album that we don’t just passively enjoy, but one that we can all actively relate to; one that reminds us that no matter what life is throwing at us, we can put on our war paint and fight our way through.
9.2
Standout Tracks: “Work In Progress”, “Siren”, and “Everyone Left”
Review: Bon Iver – Bon Iver
Bon Iver – Bon Iver
Released: June 21, 2011
Label: 4AD / Jagjaguwar
Purchase: iTunes | Insound | Amazon
Bon Iver’s debut effort For Emma, Forever Ago was an outpouring of emotional tumult cast against the backdrop of a Wisconsin log cabin and not-yet forgotten heartbreak. Surrealist lyrics meandered through and around softly strummed guitar by way of a subdued falsetto, and as enigmatic front man Justin Vernon laid his miseries bare it was both intimate and understandable. Four years on, and in their sophomore album Bon Iverthe American indie-folk ensemble have realized a sound that is superficially a bold step away from Vernon’s earnestly raw beginnings.
The log cabin is out of the picture, and Emma never mentioned. These two formative mainstays of For Emmahave been abandoned entirely, and in their place what remains is the question as to whether its’ follow up retains a similar sense of sincerity. Ultimately, writing critically about the ardor of this record is a conflicting undertaking, and stirs in the reviewer an inalienable sense of indecency. There is an emotional unrestraint to Vernon’s lyrics that makes any commentary feel facile – as if one were mentioning a subject-verb disagreement in a suicide note, or a poorly constructed metaphor in a wedding vow. These all seem so deeply personal and emotionally charged that perhaps fixating on trifling matters such as lucidity just isn’t decorum. The meanings of these songs are derived holistically – on their own, the lyrics oftentimes seem like gibberish and are possibly intentionally alien to a casual listener – and only after concerted effort. Very few listeners will be able to initially listen to “Calgary” and immediately glean that it is an ode to love between two people – who haven’t yet met. Once you realize this (which for this reviewer took all of four listens) not only does it seem beautiful, but it makes sense, too.
So is the record as honest as its predecessor? I would suppose that it probably isn’t, but therein lies the hidden difficulty of this record: who are we to judge the authenticity of something so obviously individual?
What can be said is that it has lost a sense of commonality that defined For Emma. In Emma, there was a prevalent sense of desperation that shone through the Vernon-specific subject matter simply because it was so relatable. Bon Iver falters here – the album is thematically incongruent. “Perth”, a “civil war heavy metal” piece is followed by “Minnesota, WI”, a declaration of strength following saying goodbye. This trend of dissimilarity is continued across the album and it is less connective as a result.
Where the album truly excels is in its impeccable arrangement, and the sheer technical skill that was less pronounced on For Emma. Their debut was economically constructed and at times sparse, whereas Bon Iveris a work of maximalist near-perfection. Whether this is as a result of Vernon’s continued collaboration with the egomaniacal Kanye West or the inclusion of new band members Mike Noyce, S. Carey (of solo fame) and Matthew McCaughan is unclear, but regardless there is an obvious musical confidence to the album. Consider the oft-discussed “Beth/Rest” – a superficially comical track that treads on the musical DMZ of early-eighties, Richie-esque love ballads but, perplexingly, pulls it off. Very few artists would voluntarily include a church organ in their album’s closer, but Bon Iver has and the result is a track that is both soaring and tender not in spite, but rather because, of the unorthodox arrangement.
The similarities between Vernon and his frequent collaborator ‘Ye end here, though – where Kanye’s confidence extends into arrogance, there are no pretentions in Bon Iver’s work. Consider Vernon’s mournfully trill on “Holocene”, “at once I knew / I was not magnificent”: the persona presented throughout this album is immediately human and moreover likeable. This serves to imbue the record with a unassailable imperative to listen, just listen, and appreciate.
Bon Iver is as lovely, dark and deep as the woods of Vernon’s Midwestern hometown. It is a confusing and touching record, and consistently defies interpretation. It may be less relatable than For Emma, Forever Ago, but don’t let this belie the fact that this is a transformative album. Substantial, buoyant, staunch – Bon Iver’sBon Iver is, at least in this reviewer’s opinion, the best album of the year so far.
9.3
Standout Tracks: ”Holocene” and “Beth/Rest”
Review: The Wonder Years – Suburbia I’ve Given You All and Now I’m Nothing
The Wonder Years – Suburbia I’ve Given You All and Now I’m Nothing
Released: June 14, 2011
Label: Hopeless Records
Purchase: iTunes | Insound | Amazon
Let’s face it: the pop punk movement is nowhere near its past prominence. The former progenitors have all been missing in action, and very few new bands have been able to step into their shoes and keep the movement afloat.
But all hope is not yet lost. This year may mark the resurgence of pop punk, with the return of Taking Back Sunday and Saves The Day, just to name a few – all set to release new records during the next few months. And it’s certainly hard to ignore the new Fireworks album, Gospel.
And it’s even harder to ignore The Wonder Years.
In 2010, the band hooked listeners everywhere with their second studio album, The Upsides, which was later released by their new record label Hopeless Records. In a struggling scene, The Wonder Years shone and shone brightly.
Suburbia I’ve Given You All and Now I’m Nothing is not a new take on the genre, nor is it even much different from The Upsides, but it is a refreshingly honest and raw look into the lives of the Philadelphia, Pennsylvania band. With that in mind, Suburbia is fundamentally built the same way The Upsides was, filled with relatable tales of misery, loneliness, struggle, and ultimately triumph. In essence, Suburbia could be considered The Upsides 2.0, and there’s certainly nothing wrong with that.
Opener “Came Out Swinging”, a track that is aptly titled, fades in with feedback and a muted voiceover murmuring “My mind is made up” and “There’s gonna be trouble.” The intensity of frontman Dan “Soupy” Campbell’s vocals on the opener set the tone of the album, continued with the blaring guitars and unforgiving drumming of the next two tracks – “Woke Up Older” and “Local Man Ruins Everything”.
“My Life As A Pigeon”, a song that details the struggles that accompanied the band’s recent success, is directed at the band’s fans and non-fans. On one of the album’s catchiest hooks, Soupy belts out “I won’t be afraid of making mistakes if you’re listening. Are you listening?”, straying from the outright positivity (“I’m not sad anymore”) on The Upsides and presenting the jaded nature of full-time band life. Tracks like the religion-criticizing “I Won’t Say the Lord’s Prayer” further demonstrate a lyrical maturity from Soupy, while “You Made Me Want To Be A Saint” and “Hoodie Weather” highlight the instrumental progression of the band as a whole.
Guitarists Matt Brasch, Casey Cavaliere and Nick Steinborn and bassist Josh Martin have all become much more technically capable. But the most noticeable growth is that of drummer Mike Kennedy, who delivers precise and rapid beats throughout Suburbia. As a unit, The Wonder Years have improved dramatically as songwriters, backing the raw and largely unedited vocals of Soupy. Closing track “And Now I’m Nothing” exemplifies the band’s new sound, complete with the crunch of the guitars, frantic drumming, and soaring vocals.
Suburbia I’ve Given You All And Now I’m Nothing takes all the qualities that set The Upsides apart and amplifies them, resulting in one of pop-punk’s finest releases in a long time. With Suburbia, The Wonder Years cement their place at the forefront of the scene, accomplishing the tremendous feat of topping The Upsidesand managing to do so without compromising their roots and perhaps more importantly, their authenticity.
9.0
Standout Tracks: “Came Out Swinging”, “My Life As A Pigeon”, and “And Now I’m Nothing”
Review: Arctic Monkeys – Suck It and See
Arctic Monkeys – Suck It and See
Released: June 7, 2011
Label: Domino
Purchase: iTunes | Insound | Amazon
Once hailed as the leaders of the Next British Invasion, Arctic Monkeys have returned with Suck It and See, once again proving that the British are still enchanting all these years later. However, this album represents a departure from the Monkeys’ traditional format of quick vocals and whimsical guitar riffs. With a heavier emphasis on distortion and an attitude befit for a grizzled, veteran rocker, Suck It and See sounds less like pop-rock and more like the album The Strokes should have made.
The album begins with the dark twang of singer Alex Turner’s guitar when suddenly his vocals pierce the vibe and lead into the song’s melodic first verse. Add a triumphant chorus and sprinkle in a bass walk or two and you have “She Thunderstorms” which sets the tone for the rest of the record. You won’t hear any of Turner’s near-breathless courses, though. Suck It and See relies more on a slower melody rather than the usual Arctic Monkeys tempo. While it’s depressing that they shook what used to be their trademark sound, “She Thunderstorms” demonstrates that the new, more mature Arctic Monkeys are just as talented as the band that made “Fluorescent Adolescent “ and “I Bet That You Look Good on the Dance Floor.”
But the most interesting song by far on the album isn’t “She Thunderstorms.” Oh no, my friends, that song is rather tamed compared to “Don’t Sit Down ‘Cause I Moved Your Chair.” Someone must have cranked up Nick O’Malley’s bass because this track is the hardest and heaviest track the Monkeys’ have ever produced. As strange as it feels to write this, this song almost sounds… metal? I’m perplexed that Arctic Monkeys did a song like this, but strangely I’m okay with it. They’ve shed the punk attitude and have taken up the mantle of total badasses. On another other album I would have hated it, but Suck It and See’s darker tone allows this song to shine. Of course, the lyrics are still sarcastic and ridiculous like all Alex Turner-penned songs, especially with the heavy bass and in your face drums. This track is sure to become a fan favorite at concerts because of the audio assault it wages on your ear drums. Just listening to it makes you want to wear a leather jacket, light a cigarette, and spray paint something vaguely political on a nearby building.
The whole album personifies what it means to be a rock star and no song embodies this theme better than the title track and obvious double entendre “Suck It and See.” The song follows Turner as he tries to seduce a young women with golden pick up lines like “You’re rarer than a can of dandelion and burdock/And those other girls are just postmix lemonade.” If you are British, this line is probably hilarious. If you’re like me and are confused why flowers are in a can, the line is basically “You’re as rare as Coca-Cola.” Excluding the lack quick-fired lyrics, “Suck It and See” is probably the most traditional Arctic Monkeys song on the album. Every line is full of sarcasm and the boyish charm that we all fell in love with back in 2005.
Although there are a lot of gems layered throughout the album, Suck It and See is far from perfect. It suffers from a few duds, specifically the track they teased back in March, “Brick by Brick.” Fans of classic rock might enjoy this throwback track, but in my opinion its cheesiness and overall feel doesn’t fit well with the rest of the songs. The call and response verses are really corny and derail the album after its strong start (“She Thunderstorms”, “Black Treacle”). Thankfully they’re able to pull it back together and despite a couple dull moments, Suck It and See is a great example of how a band can successfully evolve and mature. Arctic Monkeys are back and prove that the Next British Invasion isn’t dead. It’s just getting started.
8.4
Standout Tracks: “Black Treacle”, “Don’t Sit Down ‘Cause I Moved Your Chair”, and “Suck It and See”
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