Reviews
Review: Starfucker – Reptilians
Starfucker – Reptilians
Released: March 8, 2011
Label: Polyvinyl Record Co.
Purchase: iTunes | Insound | Amazon
What’s in a name? Unfortunately, a lot; something Portland indie-eletronic rockers Starfucker can certainly attest to. Since forming under the moniker Starfucker, the band has rotated between the more appropriate STRFKR, PYRAMID, and finally, Pyramiddd. What do all of these names have in common? Not very much to be honest, and for that reason, the incredibly erratic name changes have confused fans hoping to catch the band’s stunning live shows. Perhaps on yet another whim, the band finally decided to change back to the notorious Starfucker, keeping STRFKR reserved for all-age venues.
As we all know, there is more to a band than their name, but the hype and notoriety surrounding Starfucker’s choice of names can certainly be accredited as catalysts in the band’s three short and promising years of existence. Reptilians is a capable, ambitious effort to meet the hype and match the expectations of fans after a slightly disappointing debut. Where the self-titled Starfucker was highly inconsistent and spotty, Reptilians is a conscious effort by the band to produce the solid pop songs that they always had the potential to.
Opening track “Born” blurs genres, beginning the journey that is Reptilians. Straying somewhere between acoustic and electronic, “Born” feels like a meeting between Death Cab For Cutie and Passion Pit – a very fruitful meeting at that. “Julius” keeps up the pace, featuring layers and layers of instrumentation. Underneath it all is a simple, throbbing bass line, covered with glittering synth lines and finally, Joshua Hodge’s distinctive, spacey falsetto.
Much of the album is built with a similar blueprint in mind. Reptilians engulfs the listener with its waves of fast-paced, driving melodies and sweeping synth riffs. There is something inherently fun about a solid, chipper synth tune and Starfucker certainly knows this; for the most part, they excel at creating ridiculously catchy dance tunes. “Mystery Cloud”, the second single from the album, is centered on a dancy, repetitive riff, carrying the tune from start to finish.
Further down the tracklisting lies “The White Of Noon”, one of the best songs on the album, but could also be described as the only song on the album or even worse, the band’s entire discography. As Reptilians drags on, the sounds begin to merge together, with no real distinguishing factor between them. Over the course of the album, the mishaps on their self-titled album begin to rear their heads again. While Reptilians is more consistent than the former, the band still seems to struggle to pull together an entire album of solid music.
This is not to say, however, that Reptilians is a bad album or that Starfucker is not creative enough to create a good album – both of these opinions lie on polar ends of the spectrum. Instead, Starfucker lies somewhere in between “an instant classic” and “average”. When considered individually, many songs from Reptilians, such as “The White Of Noon”, debut single “Julius”, and the more relaxed “Mona Vegas”, provide brilliant lapses into a jaunty, atmospheric escape of sound.
For the most part, there is nothing intrinsically new on this album that hasn’t been already done. Starfucker, ironically, find themselves trapped in a genre they helped to father, surrounded by the similar-soundingPassion Pit and MGMT. I, however, am not complaining. This is catchy, spacey, and overly fun synth rock. This is party music to live your life to. Or, if you are more of a partier, this is lively music to party to. Either way, you’ll have a good time.
8.6
Standout Tracks: “Julius”, “Death as a Fetish”, “The White Of Noon”, and “Mona Vegas”
Review: Bright Eyes – The People’s Key
Bright Eyes – The People’s Key
Released: February 15, 2011
Label: Saddle Creek Records
Purchase: iTunes | Insound | Amazon
In the first single from The People’s Key, “Shell Games”, frontman Conor Oberst reflects on his career, referencing the covers of his past few albums and suggesting that fame is a “heavy love.” Such nostalgia should be no surprise, as this will be his seventh and final album as Bright Eyes. Even though this is the only song that lyrically reaches back to his past, it is clear that he had the past on his mind through much of the writing process of this album, taking much from his back catalog musically. Bright Eyes fans may like the prospect, but in reality, it turns out to be one of the album’s significant weaknesses.
As Oberst is wont to do, he opens with a strange monologue, this time a person explaining his vision of life’s origins. This appropriately sets the tone for the album’s major motif: an exploration of different schools of religious thought. When a lonely electric guitar emerges from the speech, listeners are exposed to a darker Bright Eyes, one evocative of Brand New. The song continues to build, adding instruments at effective times, eventually climaxing into its epic end. After a couple of weaker side projects, Oberst is back to form… for a while.
“Shell Games” starts with a familiar Bright Eyes chord progression (think “Clairaudients”), but soon kicks into an odd synth number evocative of Digital Ash in a Digital Urn. Widely regarded as one of Oberst’s weaker efforts, this is perhaps not one of the better sources from which to draw inspiration, but Key does so quite often. The song’s structure and lyrics mostly raise it up above the weaker music, but unfortunately, other songs aren’t so lucky.
“Approximate Sunlight” is one such song. While some may applaud the song’s experimentation, it is very difficult to listen to. The vocals have a hollow echo, which is frustratingly used on nearly half of Key’s songs, and the chorus is mildly cringe-inducing. There are some decent atmospheric guitars, but they are drowned out by excessive production. The lyrics don’t warrant the dark ambience, and there’s no real payoff to the song.
“A Machine Spiritual (The People’s Key)” is a better use of the digital sound, complementing the general feeling of the moderately vague lyrics. Despite going digitally overboard for one repetition of the main theme, the song’s structure and catchy chorus helps it overcome the overproduction. “Triple Spiral” also manages a nice balance between the new and old sounds, making it one of the better songs on the album.
“Haile Selassie” draws musical inspiration from another well: Oberst’s solo material. Sounding very much like a B-side from his self-titled album, it has a fun, bouncy air, but can’t sustain itself for its full length. “Jejune Stars” is similarly upbeat and actually reminiscent of label-mates Cursive. The playful guitars blend well with the lyrics, making it a simple, pleasant song.
While The People’s Key’s lyrics are not bad, it doesn’t feel as if Oberst is trying as hard this time around. Bright Eyes always drew such strength from very simple, very relatable lyrics (e.g. “I’m leaving this place, and there’s nothing I’m planning to take, just you… just you”). On The People’s Key, however, they’re much more vague and the references more obscure. Lines like “Now you are how you were when you were real,” may make sense in context (key word may), but they lack the simple intimacy of previous material, partly because of the album’s themes. Oberst isn’t making observations about life, but general statements relating to different religions, which are much harder to connect to.
The one song that breaks this mold, both musically and lyrically, is the beautiful “Ladder Song,” which is actually one of the strongest tracks that Oberst has put to record. A touching piano complements Oberst waxing poetic about death: “You are not alone in anything. You are not unique in dying.” A late song, it is a welcome respite from some of the album’s weaknesses and highlights exactly what The People’s Key is otherwise missing.
It may be harsh to say that The People’s Key is a disappointment, but it’s hard to deny that there is room for improvement. After the brilliance of Cassadaga, Bright Eyes reverted to a sound that wasn’t widely welcomed the first time around. It isn’t omnipresent like in Digital Ash, but the digital specter rising from those ashes haunts too many songs in either the vocals or music. Although not without its strong points, The People’s Keywon’t be the one that Bright Eyes is remembered for.
7.2
Standout Tracks: “Firewall”, “Triple Spiral”, “Ladder Song”
Single: The Strokes – “Under Cover Of Darkness”
Track: “Under Cover Of Darkness”
Artist: The Strokes
Release Date: February 9, 2011
Label: RCA / Rough Trade
“Under Cover Of Darkness”, the lead single from The Strokes‘ upcoming record Angles, practically cries out ‘classic Strokes’ and ‘return to form.’ Simply put, this new song sounds like The Strokes: the tinny drum sound, the quick, sharp, layered guitar lines, the classic Julian chorus, and the boundless energy that lured fans in ten years ago (yes, it really has been ten years). “Under Cover Of Darkness” is simple yet bold, going back to the basics to collect what works for the band and adapting these facets for a more modern sound, resulting in something like a hybrid between “You Only Live Once” and “Last Nite”. The result is rather magnificent; the music is care-free and comfortable, but it is clear that the band has been meticulous with their song craft. Julian wails, “I’ll wait for you / Will you wait for me, too?” Of course we will.
“Under Cover Of Darkness” is from Angles, out March 21st via RCA / Rough Trade.
MP3: The Strokes – “Under Cover Of Darkness”
Rating: 8/10
Single: The Pains of Being Pure at Heart – “Belong”
Track: “Belong”
Artist: The Pains of Being Pure at Heart
Release Date: March 15, 2011
Label: Slumberland Records
“Belong”, the title track and second single from The Pains of Being Pure at Heart‘s, opens with a rather relaxed, sweet sound, before catching the listener off-guard and launching into a heavily distorted and hard-hitting guitar riff at around the fifteen second mark. This certainly isn’t the same Pains that we saw on their self-titled debut; the guitars are heavier, the drums rattle louder, and the band sounds bolder. The change in sound can be attributed to the new production team of Flood and Alan Moulder, the same team that crafted The Smashing Pumpkins‘ classics, explaining the huge distortion that appears on the track. While “Belong” may not have the same catchiness as past Pains tracks, it carries a more defined and confident sound, a markedly positive step forward for the band.
“Belong” is from Belong, out March 29, 2011 via Slumberland Records.
Rating: 8/10
Single: Yellowcard – “For You, and Your Denial”
Track: “For You, and Your Denial”
Artist: Yellowcard
Release Date: January 18, 2011
Label: Hopeless Records
After a 2 year hiatus from music, pop-punk/alternative band Yellowcard announced late last year that they have been working on a new album, which will be their first album released since 2007’s Paper Walls. A certain amount of excitement and hype has surrounded Yellowcard’s latest release, and last month they gave us a taste of what to expect with their single “For You, and Your Denial.” Taking us back to the early 2000’s, “For You, and Your Denial” reminds every Yellowcard fan out there what got them into the band in the first place. Opening with a classic fiddle intro, Yellowcard shows that they haven’t missed a beat as they deliver their trademark pop-punk sound in glorious fashion, taking us all back to a lighter days of jamming Ocean Avenue all summer long. Vocalist, Ryan Key’s vocals are on par with everything Yellowcard has released and the guitar hooks of Key and lead guitarist, Ryan Mendez are as infectious as ever. Drummer, Longineu W. Parsons III also unleashes an impressive performance, rounding out the track and leaving the listener smiling as this release marks Yellowcard’s imminent return to power.
“For You, and Your Denial” is from When You’re Through Thinking, Say Yes, out March 22, 2011 via Hopeless Records.
Listen: Via Yellowcard’s Myspace
Rating: 8.5/10
Review: Man Overboard – Real Talk
Man Overboard – Real Talk
Released: July 20, 2010
Label: Run For Cover Records
Purchase: iTunes | Amazon
I’ll be honest, I had no idea what to think about four-piece, pop-punk outfit Man Overboard when I first heard their debut full-length album titled Real Talk. I don’t know if it was the discreet use of auto-tune or the incredibly “cutsie” lyrics that nearly every song is contrived behind. But whatever reason forced me to set this album aside for months on end was a silly mistake, as recently I’ve given this legitimately fun pop-punk album the rotations it deserves.
Opening is the title track of Real Talk, which is the one song that lasted with me before I gave the rest of the record a chance. Beginning an album with a huge bang, “Real Talk” hits hard, showcasing the dual vocals of Nik Bruzzese and Zac Eiesenstein in a glorious, truly raw style that left me, as a huge pop-punk fan, salivating to see what came next. Upon first listen I was very disappointed when I heard the rest of the album after my ears witnessed such a stellar opener, but months after my first spin, I’m glad I gave this album one last chance. The addicting drums of then-drummer Justin Collier on “Fantasy Girl” and the huge sing-along outro to “Parting Gift” had left me itching my head in amazement. How I ever shelved this gem of a pop-punk album is beyond me, but once again, I was floored that I decided to give Real Talk a second chance, and I hadn’t even gotten to the meat of the record that is the latter half. “Al Sharpton” and “I Like You” show that Man Overboard know how to incorporate a catchy guitar line with an even catchier chorus, while acoustic driven “Sidekick” and the meaningful lyrics of “Septemberism” add a certain amount of depth to the previously somewhat one-dimensional album.
Though, this album has many major jams, it also falls victim to a common trend of what up-and-coming bands tend to offer with debut albums. The whiney vocals, accompanied by far too sugary sweet lyrics on “FM Dial Style” comes off as if Christofer Drew of NeverShoutNever had guest-written it, and re-released track, “Montrose” offers next to nothing. I would be undeniably satisified if one of these two tracks were scrapped during pre-production, leaving a perfect 11-track pop-punk summer rocker, but unfortunately, I can’t control the track listing.
Man Overboard has proven that they are very capable of contributing quality music to the recently rejuvenated pop-punk scene with this near stellar debut. And with their recent surprise signing to Rise Records, I expect nothing but huge things in the future for this group of young guys from South Jersey, which includes succeeding in their obvious goal to “defend pop-punk.”
7.8
Standout Tracks: “Septemberism,” “Al Sharpton,” “Real Talk”
Track: XV – “SmallVille (Prod. J. Cole)”
Track: “SmallVille (Prod. J. Cole)”
Artist: XV
Release Date: January 28, 2011
Label: Warner Bros. Records and Roc Nation
Recent Warner Bros. signee XV dropped his latest track “SmallVille” a few days ago, collaborating with fellow rapper J. Cole. While Cole doesn’t grace us with a new verse, he crafts a superb track as producer, sampling The Smashing Pumpkins‘ “To Forgive”. Needless to say, XV goes in on the track, dropping clever line after clever line – “They’ll never steal my dreams like Leo DiCaprio.” – all while chronicling his relatively meteoric rise to fame. I haven’t watched the TV show Smallville, so I’m not entirely sure how the track relates, but Vizzy’s superhero references are smooth over J. Cole’s mellow, bass-heavy beat, taking the artistic liberty to add superhero inspired rhymes to the sampled chorus. Stream and download the song below.
“Smallville (Prod. J. Cole)” was released via Twitter; happy birthday to J. Cole! XV is expected to release his highly-anticipated album The Kid With The Green Backpack later this year.
Rating: 8.5/10
Single: The Fair Weathered – “Glass Cities”
Track: “Glass Cities”
Artist: The Fair Weathered
Release Date: January 25, 2011
Label: Unsigned
Piano ballad “Glass Cities” closes The Fair Weathered‘s debut album Last Year slowly and passionately. The track, part pop-punk and part piano rock, primarily features the soothing voice of vocalist and guitarist Tom McQuade, who carries the song with the emotion and passion of his words. The trio, though young, has no doubt experienced the same emotional troubles that pretty much every band in the genre has, and “Glass Cities” is their reflection on the world and their changing lives, opening with the claim, “I can’t explain feelings that I see, like neon skies and these glass cities.” Towards the end of the song, Tom raises his voice and the drums and guitar join in, launching the listener into an inspiring breakdown that ultimately ends the song. For such a low-budget production (see music video), “Glass Cities” is a great song and a fantastic closer for the band’s first album.
“Glass Cities” is from Last Year, out now.
Rating: 6.5/10
Review: Ghostface Killah – Apollo Kids
Ghostface Killah – Apollo Kids
Released: December 21, 2010
Label: Def Jam
Purchase: iTunes | Insound | Amazon
Despite being a largely consistent critical hit across the fifteen years in his solo career, former Wu-Tang Clan member Ghostface Killah has never been able to tap into the commercial success of his former group. His last album, Ghostdini was panned for straying from what he did best, and some feared that he was beginning to lose his touch. His ninth album, Apollo Kids, proves that this was only a misstep and not an indication of future trends.
Ghostface employs his traditional alchemy by combining ’70’s samples, innumerable guest stars, and stories of growing up on the streets of Staten Island, yielding gold in track after track. One of the better samples comes immediately, with Ghostface asking on “Purified Thoughts”, “Am I a good man?” A reverent reflection on how far he has come, the theme of divinity is appropriate for his status in the rap world. This segues nicely into the acceptance of his rise in “Superstar,” boasting some of the strongest music on the album.
Not content to bask in the good life, though, Ghostface is quick to pay respect to his roots, and a good half of the album focuses on different facets of this theme. The gritty “Black Tequila” draws comparisons between New York gangs and Italian mobsters. “In Tha Park” traces Ghostface’s origins, paying homage to his musical and social influences. The album’s best track, “Ghetto” hits all of the right notes. The sample (Marlena Shaw‘s “Woman of the Ghetto”) is touching enough on its own, but to hear the Ghostface and his guests’ responses to such questions as “How do you raise your kids in the ghetto?,” driven by an appropriately soft beat, propels the song to a new level.
The album’s tracks focusing on relationships, or lack thereof, are less effective. The sample on single “2getha Baby” breaks the pace of the song (and through a bold looping decision, even breaks its own pace), but it just isn’t impactful enough to warrant such a break. “Handcuffin’ Them Hoes” is a standard “love ’em then leave ’em” rap that delves into crassness that Ghostface should be above by this point in his career. Guest artist Jim Jones‘ voice fits the beat and lyrics, but that isn’t necessarily a good thing.
Jones aside, many of the guests on Kids pack a punch. Busta Rhymes intricately weaves his way through an exciting verse on the already energetic “Superstar.” Black Thought infuses his rhymes with real passion on “In Tha Park”, aptly concluding his story with “That’s the reason for my real rap penmanship. / That’s where I started it and that’s where I’mma finish it.” Fellow Wu-Tang members Raekwon, U-God, and Method Man bring the album to a strong finish. If the other guests fall short, it’s more often because of what they’re stacked up against rather than their own deficiencies.
Even though Kanye West shook up the rap world only a few weeks before the release of Apollo Kids, Ghostface shouldn’t be overlooked. In contrast to West’s bombastic, radio-friendly songs, Ghostface’s gangster rap is more down to earth, focusing on the content instead of catchy choruses (half of his songs don’t have one to begin with). It won’t make him a commercial success, but it demonstrates his continued relevance in the rap world.
8.4
Standout Tracks: “Superstar”, “In Tha Park”, “Ghetto”
Single: Oh Land – “White Nights”
Track: “White Nights”
Artist: Oh Land
Release Date: October 19, 2010
Label: Epic Records
Track number two from Danish electro-pop artist Oh Land‘s 2010 EP, “White Nights” is a fun, energetic pop song about the singer’s struggles to find inner peace among the “white nights” and hubbub of Brooklyn, New York, where she now lives. The cheery, layered vocals combine with the frantic, jungle drumming in the background to completely capture her inspiration and thinking behind the song. The other instruments certainly are not lacking either; the rhythmic piano and synthesizers drive the song along from the start. I first discovered the track after Hoodie Allen sampled the track in his latest single, “Dreams Up”, which you can listen to here. In traditional Hoodie Allen style, the rapper chose a lesser-known act and added his verse over top, and as usual, the sampled song is also a really good listen. Be sure to check it out below, as well as a new version of the song remixed by Twin Shadow.
“White Nights” is from Oh Land – EP, out now via Epic Records.
Remix:
Rating: 8/10
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