Posted in Album Reviews

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 a rare soda compared to Country Time lemonade mix”. 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”

Review: Arrange – Plantation

Arrange – Plantation

Released: May 17, 2011
Label: N/A
Purchase: Insound | Bandcamp

Some albums are truly a cinematic experience. While perhaps this descriptor is most often relegated to concept albums, Arrange‘s Plantation proves such should not always be the case. For Plantation, created by Floridian Malcom Lacey, unfolds itself song by song much like a film does scene by scene. And also much like a movie, the listener discovers something previously unnoticed (and therefore unappreciated) with each replay. Thus, Lacey has achieved with Plantation what most artists cannot in a career: to create an album that betters itself with each listen.

It is the subtleties which ultimately set Plantation apart from any other album released thus far this year. One need only listen to the first track, “In Old Theaters”, to notice Lacey’s meticulous attention to detail. The song commences with a gradually building wave of white noise, soon awash in buried piano lines, that crashes into electronic, and later piano, melodies bolstered by prominent percussion. It’s incredibly full; if anything more were added, it would only serve to inundate the track, detracting from its quality. Yet it’s also an understated musical gesture; it’s dramatic but not melodramatic. And that’s precisely why it’s such a beautiful moment.

It’s also not an isolated one. Throughout Plantation, Lacey weaves melodic hooks in and out of the proverbial fabric of each song. Whether it be the synthesized horn entrance in the closing refrain of “Turnpike” or the catchy guitar riff that concludes “When’d You Find Me?”, each added theme contributes a new layer of texture to the track. But these layers aren’t simply stacked upon one another; instead, they intermingle. This counter-melodic interaction showcases Lacey’s songwriting ingenuity; it’s incredible how natural each song sounds considering the complexity.

What strikes the listener first, though, aren’t the musical intricacies of Plantation, but the raw emotion that so pervades the album. “Tearing Up Old Asphalt”, with its haunting piano and heart-wrenching lyrics, is a shining example of this. Lacey intones,”We were young/Kept runnin’ our mouths ’til he tore out our tongues/Didn’t hurt like anything”, his voice shaking as he narrates the story. “Melancholy” isn’t a strong enough adjective to describe the song.  It’s tear-inducing.

“Medicine Man” infuses this sadness with fury. Because of this combination, it’s undoubtedly the most affecting track on an album overflowing with feeling. Lyrically, Lacey is devastating, promising, “I am a medicine man/Bring me your colors just to fix them for you”. Yet the narrator, perhaps Lacey himself, has a revelation, realizing that he cannot heal the subject without hurting himself and declares, “I’m not a medicine man/Don’t bring me your colors just to fix them…/I’ll fucking tear you up”. The contrasting sentiment here is profoundly moving, almost frightening. One must wonder exactly what occurred to cause the narrator’s change of heart, but perhaps the brilliance of the lyric lies in that uncertainty.

As the final strains of instrumental closer “Orange Glow (Thank You For the Night)” ring out, one cannot help but picture the credits scrolling down a blank movie screen. Lacey’s — who amounts to the album’s entire crew, acting as writer, producer, and director — final track seems to express gratitude to the listener for givingPlantation their time. It’s an appreciation revealed by both the title and the warmth of the song. The subtle irony here is that anyone who has the pleasure of listening to Plantation has witnessed something incredible and potentially life-changing. Really, it’s Lacey who should be thanked, rather than the listener, for introducing something so indescribably important to music itself.

9.7

Standout Tracks: “When’d You Find Me?”, “Turnpike”, “Tearing Up Old Asphalt”, and “Medicine Man”

You can download the album for free or purchase a physical copy on his Bandcamp page here.

Review: Balance and Composure – Separation

Balance and Composure – Separation

Released: May 10, 2011
Label: No Sleep Records
Purchase: iTunes | Insound | Amazon

Fans of Balance and Composure have been eagerly awaiting a full length release for quite some time now. After releasing two mature EPs and arguably the better side of a split with Tigers Jaw over the last three years, Balance and Composure finally appeased fans with news of Separation, comprised of twelve tracks.

Upon first listen, however, it’s quite possible avid followers of Balance and Composure will be disappointed. Moving towards a more streamlined sound definitely contributed to a loss of “oomph” and raw emotion from the band’s music. However, this more concentrated approach does give Separation a sense of cohesiveness and focus, attributes vital to a successful album.

Separation excels most on songs where Balance and Composure’s 90’s influences are the most apparent. “Stonehands” delivers in this aspect, showcasing both emo and grunge influences, though vocalist Jon Simmons tends to sing a bit nasally especially on words with “long e” vowels. A better culmination of 90’s style and Simmons’ vocal performance is the title track. On the chorus, Simmons utilizes his perfected “sing scream”, a gritty yell, but with definitive pitch. It’s a technique Jesse Lacey of Brand New and Andy Hull of Manchester Orchestra also use, though Simmons’ style feels more passionate.

As a whole, though, Separation seems like more of a turn towards alternative rock. While Balance and Composure do perform this genre with ease and more than competently (take the southern rock vibe of “Galena” or grit and angst of “I Tore You Apart In My Head” for instance), at times the record leans toward typicality, most notably on “Void”, an unfortunate pick for an album opener.

The loss of emotional immediacy might be due in part to the album’s generally flat production. Producer Brian McTernan’s past work has been inconsistent, dipping especially on Emarosa‘s latest self-titled release. WhileSeparation is definitely an improvement for McTernan, the drums sound tinny and lack tone and it’s nearly impossible to tell the band has three guitarists. The production just doesn’t feel as dynamic or raw as a band like Balance and Composure, one who thrives on straddling the crossroads of technicality and passion, needs to fully excel.

However, after multiple listens, Balance and Composure’s passion permeates McTernan’s iffy producing job. Tracks like album standout “Patience” exude intense feeling in the music. Balance and Composure mean every lyric, every guitar strum, every bass line, and every snare hit. Though perhaps Separation only fully demonstrates this with the listener’s patience (yes, I went there), the album isn’t a regression from past work. Balance and Composure is still miles ahead of most other bands operating in their genre. The reason?

Authenticity.

7.7

Standout Tracks: “Patience”, “Galena”, and “I Tore You Apart In My Head”

Review: City and Colour – Little Hell

City and Colour – Little Hell

Released: June 7, 2011
Label: Dine Alone Records
Purchase: iTunes | Insound | Amazon

Recorded to tape in a church sans-computers and fancy recording booths is Dallas Green’s third studio album “Little Hell”, a beautiful record that changes up Green’s pure man-and-guitar sound, yet still maintains the unique City and Colour feel that listeners have grown to love.

Since his debut, the singer-songwriter has grown both musically and creatively. Little Hell is a true indicator of said growth; mixing up the track list with full band rock songs, trademark acoustic songs, and introducing synths and strings to diversify the instrumentals. It’s difficult to describe Little Hell accurately, as it doesn’t fit into one specific genre like Bring Me Your Love may have; however, each song is sung sincerely, and crafted with the utmost care.

The signature minimalist acoustic sound is not all lost in Little Hell, as “Silver and Gold” and “Northern Wind” primarily consist of just the man and his guitar, with the latter being a heart-on-sleeve song taking roots fromBring Me Your Love’s “The Girl”.

“Whether a natural disaster ripped it from it’s foundation
Or an economic tragedy tore apart it’s family
They’re all empty.”

“Natural Disaster” is a full band song that tackles the problems in our world, created by “natural disaster(s)” and “economic traged(ies)”. Given the subject, it’s surprising this song does not drip with melancholy. Regardless, this imagery-ridden track is one of Little Hell’s standouts.

Title track “Little Hell” begins with a riff bearing slight resemblance to those of Death Cab for Cutie. “Will we get out of this little hell?” is a stunning end to the song with Green’s smooth, effortless vocals and slow tempo band instrumental.

“Weightless” is a departure from Green’s more acoustic tracks, introducing an indie rock feel driven by the drumbeat rather than guitar. Interestingly, it works. Green’s distinct voice does not lose its clarity when singing loudly and contrasts unusually well with the dirty, flange-y guitar riffs.

Little Hell is by all means an emotional ride. “Hope For Now” concludes the record, beginning with a soft acoustic sound before the lyrics crescendo the song into a full band, deep guitar blasting second half with Green replying to “If I could sing one song and it could save someone’s life”, chanting “Then I would sing, all that I could sing”. This is a song that you truly feel.

Little Hell is not quite a complete transformation of one-man band City and Colour, but it is a work that reflects the change Dallas Green has gone through in his life since Sometimes. The fact Little Hell did not inherit an acoustic sound may disappoint some; however, Green is at a new stage in his career, in his life, and it is no surprise that his music changes accordingly. What hasn’t changed though, is Green’s second-to-none voice and musical talent that merits him to being one of the best singer-songwriters alive.

8.8

Standout Tracks: “Hope For Now”, “Little Hell”, “Natural Disaster”, and “The Grand Optimist”

Review: Fleet Foxes – Helplessness Blues

Fleet Foxes – Helplessness Blues

Released: May 2, 2011
Label: Sub Pop
Purchase: iTunes | Insound | Amazon

Indie-folk darlings Fleet Foxes shot to fame in 2008 with the release of their highly acclaimed self-titled debut album. Their vocal harmonies and organic, grassroots lyrics and music that define the band were a unique addition to the prevailing music scene. With the release of their follow up, Helplessness Blues, the band faces the challenge of dealing with their fame and living up to the high bar they already set. With a new level of accessibility, they manage to not only reach this bar, but even surpass it.

All across the board, the band displays a previously unseen level of confidence. Singer Robin Pecknold steps more into the spotlight, not shying behind the backup harmonies, though fans of these harmonies should know that they are still adequately present. The music has much more character, with stronger melodies and more varied instrumentation, such as the violins of “Bedouin Dress” or the effective flutes on “Lorelai”. There is also more experimentation in the musicianship, tending away from the traditional verse-chorus structure, especially in its two-part songs, “The Plains/Bitter Dancer” and “The Shrine/An Argument”.

More important than all of these new strides, however, is the improvement in the lyrics. The band’s slice of Americana on their debut was refreshing, but as enjoyable as the imagery and stories were, the lyrics rarely felt deep or relatable. Their success prevents them from revisiting many of these themes, but they have been supplanted with charming, universal musings and beautifully touching tales of love. In an album packed full of high points, the lyrics are the biggest of them.

“Sim Sala Bim” is an excellent combination of all of these developments. It starts with a calm description of a dream, but vanishes with a swelling burst of strings, leading to the questions, “What makes me love you despite the reservations? What do I see in your eyes besides my reflection hanging high? Are you off somewhere reciting incantations, ‘Sim Sala Bim’ on your tongue?” This climax gives way to a relaxing denouement, the same mood as the beginning. A review of The Avett Brothers’ most recent album said that the reviewer didn’t want to listen to it at work for fear of being forced to tears. In this song and several others on Blues, the threat is just as present.

Several other songs employ similarly engaging song structures. “The Plains/Bitter Dancer” builds with the band’s trademark cascading vocal waves, but later evolves into a sound reminiscent of Simon and Garfunkel. “The Shrine/An Argument” has four movements. Hearing the first, with its surprisingly racing intro and Pecknold’s intense, haunting vocal dynamics, listeners may find it difficult to top, but the tonally darker second movement certainly gives it a run for its money. The blatantly ugly and chaotic woodwind outro is the sole weak part on the entire album.

Although not listed as a two-part song, the titular track is perhaps the most dichotomous. The musically and lyrically reflective second half answers the helplessness blues proposed in the first. Deep, catchy, musically interesting, and five minutes of nirvana in general, it stands out as a strong contender for track of the year.

With such high strengths, one might expect that other songs suffer in comparison, but nearly every single track holds its own even in such great company. The mildly swinging “Bedouin Dress” is a fun jaunt down memory lane. “Lorelai” makes excellent use of its bouncing ¾ time with an exceedingly simple, yet beautiful melody. Instrumentals occasionally feel like wasted tracks, but even “The Cascades” is a highly pleasurable journey. Drummer Josh Tillman takes center stage driving closer “Grown Ocean,” which effectively sums up the experience of the entire album.

The only track that doesn’t compare with the rest is “Blue Spotted Tail.” Although it has a poetic structure similar to “Someone You’d Admire,” “Tail” fails unlike “Admire” because its lyrics go slightly too far over the philosophical deep end. While “Why in the night sky are the lights hung? Why is the Earth moving ‘round the sun, floating in the vacuum with no purpose, not a one?” may seem like deep lyrics, they feel out of place on the album and ultimately boil down to meaningless passing thoughts.

“Tail” aside, the album is packed with strong songs and even stronger songs. I felt that I didn’t appreciate their debut as much as everyone else, but such is not the case with Helplessness Blues. The songs have more personality and the lyrics are greater than I could have expected. Just as their debut was oft-pegged for album of the year, Blues is a worthy follow up already in contention for the title this year.

9.4

Standout Tracks: “Sim Sala Bim”, “Helplessness Blues”, and “Lorelai”