Ravings of a Mad Music Man

Where you been?

2012-01-31T08:13:00.000-05:00

Hello ladies and gentlefolks,
Sorry about the delays! We've got a couple super-anticipated ones coming up in a bit, but before we get there, just letting you guys know that we're juggling tons of projects over here, and are looking to scale back a bit. Feel bad? Come write for the blog!
But really, 'preciate the patience, and thanks for your continued clicks. Peace out,
-Mgmt.

Unsung Heroes finds a strong voice in Brian Lynch

2012-01-16T12:37:00.000-05:00

Brian Lynch - "Unsung Heroes" (3 Vols)
Hollistic Musicworks
-out now
4 / 5

Brian Lynch is a master of over-achieving: on his Grammy-winning latin jazz album Simpatico (with Eddie Palmieri), we were blown away by the astounding quality - and quantity - of music provided. Jumping far beyond a measly 1.5 hrs here, the brilliant concept behind this three-volume set is worthy of recognition in and of itself; on Unsung Heroes, the Urbana, IL native compiles several relatively unknown jazz trumpeters and their compositions to cover. The amount of aural scholarship and knowledge is valuable enough, in our estimation, but Lynch also provides a tight ensemble here, with his always excellent musicianship and well-crafted solos. Our only regret on this fantastic volume of work is that it isn't as fiery and engaging as Simpatico, with its diverse, driving playlist, and we're going to suggest you to pick up that one first. But hey, intense criticism is what you get for winning a Grammy (sorry Brian!). We're going to recommend this one on its several merits, and suggest jazz-o-philes turn an ear to this modern trumpeter.

Start streaming it right here!

Bella Clava flies straight as the Holy Crow

2012-01-14T09:06:00.000-05:00

Bella Clava - "Holy Crow"
Self-Released
-out now
4 / 5

Paralyzing lyrics, heavy, foot-stomping guitar and blasting melodies make this album one of those rare gems that you can't wait to tell your friends about. Based in Toronto, the classic-rock inspired quartet pounds out high-wire riffs like they'd gone out of style, and here on their debut LP, there's more than enough slash-and-burn going on to make you nauseous from rocking out. It's difficult for us to pick out only a handful of tracks when the album on the whole is incredibly strong, but suffice it to say that if the opener "Ding Dong Ditch" somehow doesn't get you up and started, then you should check your pulse. While the performances here are excellent (especially Caitlin Dacey's driving vocals) the real champion here is the top-notch songcraft, which is dynamic, exploring, and goes into every space it that it should. We regret not catching up on this one for you guys in 'aught-eleven, but here it is: download it, enjoy it, bathe in its sheer, heavy glory. Bella Clava is one band you'll want to keep track of in the coming years. Highly recommended.

Holy crow! They've got their debut for free???

Sunday Update: Craft Spells' debut far from idle, laborious

2011-12-18T07:28:00.000-05:00

Craft Spells - Idle Labor
Captured Tracks
-out now
3.5 / 5

The dream-scapes crafted by the Stockton, CA dream pop outfit well suit their name: they are well crafted, and sneak upon the listener like a spell. Evoking a demure Ariel Pink vocally, Craft Spells balances their tracks similarly, scooping in a big heft of guitar and synth that almost overpowers the shy, almost monotone vocals. While not exactly what we had in mind, there's no denying that "Party Talk" comes off sparkling and shimmering, "After the Moment" just as laid-back, with the overall effect suiting well your 80s high-school-crush flashbacks. We think fellow dream-poppers will adore this album, but the unusual sonic balance and washed-out color (not just on the cover) does take some getting used to. Still worth a couple spins to get into it, and worth a few quid to kick back and slow down all that rushing music in your head. Recommended.

Listen to "You Should Close the Door" at The Fader!

Concert Report: Ivan and Alyosha

2011-12-12T20:00:00.000-05:00

(L to R, c Julia Markowitz: Tim Kim, Tim Wilson, Pete Wilson, Ryan Carbary) They're not just blindly and uplifting, nor depressing and goth, and sport a mean maraca. Leading with "I Was Born to Love Her" off their latest EP, Fathers Be Kind, acoustic quartet Ivan and Alyosha settled into the somewhat compact stage at Great Scott in Allston. Intimate, though tight, the venue proved ideal for harmonies, handclapping, and hushed melodies; also ideal for trying out a handful of new songs on the crowd. While we don't have a recording - and you're certainly going to have to wait until their debut LP next Spring to hear the new ones - let us just state that you missed moments replete with whistle solos and simple country hometown-ness (whatever that may be); a crowd giving in to claps and modest guitar solos; and brothers Tim and Pete Wilson sharing a mic, with the former attempting to kiss and embarrass the latter (c'mon, it's just one on the forehead!). Wrapping up with crowd-pleasing "Fathers Be Kind" and an especially playful "Glorify," their set, though brief, should betoken good things to come for the congenial, down-to-earth foursome. We suggest getting on this wagon early; and picking up a sweet signed tee, nice!

Great Scott! Ivan and Alyosha and Hey Rosetta in Allston!

2011-11-25T16:55:00.002-05:00

(L to R, copyright Jose Mandojana: Tim Wilson, Ryan Carbary, Tim Kim, Pete Wilson) It's all acoustic. And with Ivan and Alyosha, that's all they need: the foursome from Seattle take wing upon crisp guitars, soulful harmonies, and general good feeling. With some good press on their side, we're feeling that their current Fathers Be Kind EP portends a similarly stunning debut full-length, due out early next year. Be sure to catch them in Allston, MA at Great Scott (11-30-11, doors at 9p), as it seems likely they'll need to try their new material on the crowd. Tim Wilson and co. trek through the rugged Montana terrain, traversing mountains, braving snow, and suffering dropped calls to give us updates on their nascent tour.

Matt Keefer: Your band name comes from a scene in Dostoevsky's "The Brothers Karamazov." [Obvious question:] Who is your favorite Russian author?
Tim Wilson: My favorite Russian author? I can honestly say I don't have one. It would have to be Dostoevsky by default.

MK: Fair enough. Where are you guys at right now? Your next concert's in Chicago, right?
TW: We're in Montana right now, we're driving to Chicago.

MK: How's the tour been so far?
TW: You know, this is the first day on the road. So: so far, so good. We've hit two snowstorms so far in about eight hours.

MK: That's impressive. Two snowstorms and you haven't played a gig yet? Awesome.
TW: Exactly.

MK: Who are your influences; who informs your sound?
TW: I mean, we're talking musically, right?

MK: Yeah. Well, you can talk any way about it, I guess, if you think there's another particular novel that struck you and influenced your music.
TW: I would say, musically, it's just whatever I've had on vinyl. Just, like, Elvis, Sinatra, Nat King Cole...
*static and dropped call*

TW: I'm sorry [about the dropped call].
MK: It's okay. You can't help that. Unless you put the satellites and the [cell] towers up. Then you could help it. We left off in the horrible, epic snowstorm, and you were describing your influences.
TW: Elvis, Sinatra, Nat King Cole. Harry Belafonte. As for new stuff, we love a band called Delta Spirit from Long Beach. Richard Swift has always been kind of a big influence. At the end of the day, I think everything goes back to the Beatles for us.

MK: Do you mind if I make a vinyl suggestion: do you have Stevie Wonder? I'm going on a Stevie Wonder binge right now
TW: Stevie Wonder: huge influence. I remember actually playing Stevie Wonder for the first time for my one-and-a-half year old, and he just kind of stood in front of the record player and just stared at it. It was pretty incredible. We took a picture of it. He just kind of stood in awe.

MK: One of my questions that I have written down is "do you have good tour stories," but I guess I would have to change that to "do you have good driving-in-the-car stories?"
TW: We've been on the road off and on for the last eight or nine months. But we don't do anything too crazy. We try to keep it pretty simple.

MK: I was hoping for something completely out of the ordinary. Wayne Coyne of the Flaming Lips has a crazy story about a rotund, sweaty guy attacking another band. I was hoping you'd match up to that, but you just kinda let me down.
TW: Sorry man. In order to stay sane on the road, we try to keep it pretty boring.

MK: Could you fill me in on your upcoming full-length?
TW: The new record we're still currently working on, and we've released an acoustic demo of a new song or two. The new record should be done by the end of January. And then will hopefully come out in the Spring.

MK: The next question I'd like to ask is a very easy one: how do you write your songs?
TW: [Laughs] Ummm... so... me in particular, it takes me a while because I develop either lyrical ideas... I kind of develop ideas in my head or things that I hear that I really like, and I want to try to capture a similar vibe. It usually starts with a song I'm inspired by, and you just want to try to write something in a similar vein.

MK: But make it your own.
TW: Yeah, exactly. So I feel like I kind of mull over stuff in my head a lot, and then, when I feel like there's something really good and interesting, then I'll sit down with a guitar and almost let it write itself a little bit. Very rarely do I sit down and write a song and just say "okay, I'm going to write a song now." It has to be something brewing.

MK: How do you start: with a riff, with the story of the song?
TW: I think it all starts with the melody. There will always be a lyric tied to the initial melody for the song. I feel that always has to happen first. Whatever happens underneath that is kind of secondary to whatever happens lyrically.
*dropped call*

TW: Sorry. Once again.
MK: Oh, you don't have to apologize. Unless you actually make the snow, in which case you would have to apologize for bad timing. Leaving off where we were at.
TW: I'm always looking for a good song and looking to write a good song...

*2 dropped calls later*
MK: Hello again, how's it going?
TW: It's good. We're gonna get through this.
MK: What should people expect from your Boston...
*another dropped call*

MK: You know, Tim, you have a very soothing [voice] message. Your voicemail is incredibly calming, even though I'm getting frustrated with the calls dropping all the time; I just listen to that voice, and it just soothes my soul.
TK: Dude, I'm glad. Okay, here's what people should expect. It's nerve wracking, but we try to go up there and have a lot of fun. You kind of have two choices: to go up there and be self-conscious, or just go up there and make an idiot out of yourself. Which is what we try to do; have fun, have a drink and play our songs.

MK: Good, spirited, clean fun. As opposed to Guns N' Roses kind of fun, where you brawl with people in the audience.
TW: And no brawling, you know. Although Pete almost fought a guy who was trying to get into our RV one time, which was pretty funny.

MK: Was he out of his mind or something?
TW: This guy names Sean in Dallas, TX - oh no, it was Shane - he had a little too much to drink, he was kind of a local. It was three in the morning, and he was trying to take some guitar pedals and run off with them. He was trying to get into the RV.

MK: You want to be careful with drinkers. My roommate in college got drunk once and urinated all over everything in the room. I had to clean up afterwards, too.
TW: That is horrible.

MK: Be thankful the guy didn't make it in and start urinating on various things in the RV.
TW: I'm really OCD, so that would've really pissed me off. I hope you got a new college roommate after that.
MK: [Pause] Eventually.

Hubbard reaches heights on "Pinnacle"

2011-11-18T14:58:00.001-05:00

Freddie Hubbard - "Pinnacle: from Keystone Korner"
Resonance Records
-out now
4.5 / 5

Wow. Let's just say that first. One of the most blazing jazz trumpeters in the history of the music comes back from the vaults with this posthumous live release from San Fran. Next, let's get this out of the way: the sound quality is maybe 3.5/5. It's recorded live, some 30 years old. Get over it. Now, onto the juice of the matter: Pinnacle is pure gold. We don't feature jazz often enough, and Hubbard blasts through with "The Intrepid Fox," tearing a veritable hole in our eardrums - in a good, earth-shattering way - and simply does not relent. The weakest one here is probably "First Light," which is our favorite studio Hubbard release, and we'd probably put it at a mere four stars, mostly because the album version is still favored. But enough nitpicking: if you're looking to get into some serious jazz trumpetition, this is an excellent album to get you started on the Hubbard discography. More importantly, this concert MUST be in your Hubbard collection, and we're not kidding; it's no watered-down sad handful of songs. Get it, enjoy it, grow to love it more than your significant other. Highly recommended

White Denim D-livers in Boston

2011-11-14T21:07:00.001-05:00

One of our favorite (relative) unknowns, Austin, Texans White Denim took the part of first opener to Manchester Orchestra. The rock quartet - that's how you know they're tough to describe, basically 'rock' must suffice - pounded out a graceful act, starting in on "Street of Joy," with vocalist James Petralli pulling from the mic, filling the air with the color in his voice. (Check out that awesome blur effect in the pic c/o Matt Lacorazza; L to R - Austin Jenkins, Josh Block, Steve Terebecki, James Petralli) The foursome cut a clean, gorgeous performance on this one, and drummer Josh Block enjoyed the heck out of bashing through "Bess St." And when Petralli gets down and dirty on a solo during "River to Consider," then we know we're in love. The brief set - a bit less than 30 minutes total - was certainly worth the catching, and included mostly songs from their new album D, as well as their older "Shake Shake Shake." We've got to be honest here: 30 minutes is not quite enough for these guys. We're hoping their upcoming tour will find a better audience than they found in the Manchester Orchestrites; the headliner, in our opinion, doesn't seem the most natural pairing in band dynamics and philosophies. And another moment of honesty: the dead serious MO (and The Dear Hunter, too) don't get our rocks off quite as the energetic, chameleon Denim does. Our verdict? If you appreciate dynamic songwriting that flits to-and-fro, and don't want another drummer banging on the beat, catch them with Wilco in the SW (wait, they're touring with Wilco?? holy cripes, time to relocate). Wonderful set, with our only regret being that they certainly needed more room to flesh out their solos. Oh, and hopefully they'll have time for some pieces from Fits.

Review: Cate Le Bon/ St. Vincent @ Royale (Boston, MA)

2011-11-07T09:06:00.000-05:00

A long-haired brunette came on stage, dressed in a black, short-sleeved shirt, black tights. The stage lights accented her high cheekbones, cut softly, feminine yet harsh. A crowd of St. Vincent fans, ranging in their early 20s to 30s, seemed intent on the headliner, whose distinctive angular songcraft and wild rockstar attitude would woo the crowd already desperate for her. But Le Bon, a relative unknown to the Boston crowd (already they were chatting, perhaps wondering who this woman was; when was Annie Clark's act to come on?) strummed the first few notes on her wood-grained electric guitar, strange, out-of-place notes except for their distinct sense of intention. And when she took the mic (perhaps a soft French accent, more pronounced in her casual speech), the audience had already judged: she was no St. Vincent, could we have the real thing?
And so it would have been, a nervousness behind the woman's singing, an almost alien, art-pop sense of songwriting, had not the wind shifted a few songs in, had she not relaxed after finishing the single she'd been promoting, "Puts Me to Work," and the crowd turned their ear and hushed - briefly - to hear her voice finally soar. "These are hard times to fall in love," she crooned, knocking its truth into the ticket-holders, and they responded, becoming, if only for a few more songs, her congregation. She pushes hair aside.
"I know you don't know who I am," she said. "This is my last song," she tells them, "and I'd appreciate if you could cheer for it." She starts again. "So, this is my last song - " hootings and enthusiasm overtaking her timid voice " - don't cheer for that!" She laughed and introduced her final song, and as quietly as she came left.
(Apologies for the lack of pictures - so we thought we'd try to paint one for all you out there. New album coming out early next year; and if you missed St. Vincent's enchanting performance, well, next time don't.)
-Mgmt.

Takes place in our living space

2011-11-03T21:08:00.000-04:00

Basically, we like these guys. "Fits" was all over the place, just wild and cuh-razy; "D" was more melodic, less psychotic. And their latest EP from last month, "Takes Place in Your Work Space," is a shining example of what a reckless and crazy band can do with pop (shirts or no). Yes, the name of the game is White Denim, and they're coming to - of all places - Boston. The city that practically invented the six-way intersection. Reckless, indeed, and we think they'll fit right in.
This crew is opening (along with Dear Hunters) for the Manchester Orchestra at the House of Blues Friday, Nov. 12 (tics start at $16.25). We're going to go out of our way and say Manchester must have some musical taste to them; after all, Denim just announced dates opening for Wilco in the Southeast. Dying for a ticket? Thought so. Get your best freak-out on and rock out like a madman because, from what we heard, these guys put on a show a la nuts. Now get out there already!
-Mgmt.

Slow Club finds bliss in "Paradise"

2011-11-01T08:18:00.000-04:00

Slow Club - "Paradise"
Moshi Moshi
-out now
3.5 / 5

We admit, we're a little slow to get onto this train, but we'll admit our shortcomings: Slow Club has a good thing going. Yes, we're still a fan of those slower ditties, "You, Earth or Ash" and "Gold Mountain," but on this release (the UK duo's sophomore) we think they hit upon a winning combination of rock, Rebecca Taylor's strong vocals, and Charles Watson's bangin' guitar (he also vocalizes a bit, too). The songs on Paradise run a strong gamut of rockers and ballads, just steaming on the kinda sexist "Where I'm Waking," ("I can see you staring at me/ You've got the brains, I've got the body," Taylor affirms), but heck, it's still good fun. There's nary a track here we don't like, and though we don't love-love to-have-and-to-hold this album, we suspect their next one will show a similar artistic growth. But for now, this one will most definitely do, and comes recommended.

Check out that kinda sexist video.

Cate Le Bon/ St. Vincent @ Royale, Boston 11-4

2011-10-31T08:47:00.000-04:00

Like sandwiches? Cause Cate Le Bon + St. Vincent smacks of a good ole PB + J, in a strictly musical sense. Consider it an aural feast in indie pop-ness: Le Bon, like an early, lyrical Cat Power plus St. Vincent, the rock out, blast noise in your ear and make you bleed happy kinda girl. Yeah, we're looking forward to the duo... now, you know we appreciate Vincent's new one, and we just want to tease you about Le Bon's new one coming out early next year.
There's a link... right... about... here. This one off her single last month.
So, yeah, you guys won't be able to score tics at this point, other than from scalpers, or by stealing them from your Annie Clark-obsessed friends (how's that for a Halloween costume). But - you can still kick back to that single, check out Le Bon's "Me Oh My," and we'll keep all y'all posted on CYRK, her soon-to-be. Expect a good time and, of course, some post-concert pics. Laters,
-Mgmt.

Deer Tick short of Divine, but full of rock

2011-10-25T08:30:00.000-04:00

Deer Tick - "Divine Providence"
Partisan Records
-out yesterday
3.5 / 5

Deer Tick, one of our favorite bands from the Ocean State, has been cranking these albums out like it's a bad case of fleas. But there is good news here: if you have an itch for J. J. McCauley and Co., then you should scratch. Divine Providence, while not truly divine (see War Elephant, Black Dirt Sessions, or one of his many excellent collaborations) is still the same old grizzled, beer-guzzling, ditch-your-blow-up-doll-on-route-195-and-don't-look-back kinda band that rocks out your socks out. But this album isn't somber and gorgeous as BDS, nor is it as brilliant and barebones as War Elephant; still, as vocals go, "The Bump" starts off with some of his finest. Our biggest issue with this generally rockin' affair is its superficiality, both lyrically and sonically. But it's fun, almost divinely so, and comes recommended. (Just make sure you get those three other albums first!)

Get your download of "Main Street" on.

A Classic Education doesn't blaze, smolders

2011-10-24T10:05:00.000-04:00

A Classic Education - "Call It Blazing"
Lefse
-out tomorrow
2.5 / 5

There are any number of ways to make a particular release stand out sonically: good hooks, powerful vocals, Robert Plant's exposed chest. Consider this, then, a backhanded compliment: A Classic Education is capable of making themselves sound like other bands. The vocals and song structure reminisce over Band of Horses, while early Yo La Tengo almost certainly inspires "Place a Bet on You." Now, the reality of these comparisons is that ACE doesn't really add their own to the mix here. At least, we hope not. Because the end result of Call It Blazing is a dreamy album that sounds like any other dreamy album, and, even worse, it drones without particular direction or drive. Call it uninspired, call it lukewarm, call it what you may; but we're calling them out on this one - don't call it blazing. Take a pass.

Listen to "Forever Boy."

My Brightest Diamond shines on "Unwind"

2011-10-17T08:42:00.000-04:00

My Brightest Diamond - "All Things Will Unwind"
Asthmatic Kitty
-out tomorrow
4 / 5

We love this cover. Absolutely adore it. It's as vibrant, fun, and unusual as the work within; and considering Michiganian Shara Worden's penchant for unusuality (see Decemberists' rock opera "Hazards"), that's no minor compliment. What grabs us about All Things Will Unwind, other than the classical orchestration, other than the rock-ish song structure worked with a orchestral ear, is the depth of Ms. Worden's musical vision here. These songs, carried with her, at times, operatic voice (check out "Be Brave"), could easily be the mere eccentricities of an untrained, but curious ear. Yet, with each aside of the flute, with each strange little flourish, we find it difficult to hold back a sense of awe at her musical vocabulary, as delved in the classics as the currents. What to expect from this release: a trained ear, a sense of sophistication and fun, mixed perhaps with a je ne sais quoi - or maybe that's just the strings. Sensible, balanced, and an entirely difficult feat to keep it all strangely familiar and listenable; this one comes, naturally, recommended.

Stream this highfalutin album on NPR. Post-haste!

Brown Bird's album worth its Salt

2011-10-10T18:45:00.001-04:00

Brown Bird - "Salt for Salt"
Supply and Demand
-out Oct. 18
4.5 / 5

It's not Rhode Island love that lights this reviewer's heart (the band is, after all, originally from Washington). And it's not that David Lamb's got to do vocals/ guitar/ bass drum simultaneously at shows. It's, quite frankly, the moody "Bilgewater" and the fire of "Cast No Shadow" that slay us. But, if a couple songs on the previous EP were all that caught our attention, we'd not've given this album such striking marks. As excellent as those two songs are, it's the entire mood of this album, an all-acoustic affair inspired by long-gone days of horse travel and demons (see "Blood of Angels"), all while maintaining a full sound with two-and-a-half members. As replete as it is with gypsy influence and energy, you might expect tales of evil and woe; and you'd be wrong if you thought these weren't danceable tunes, in a traditional gypsy sense. It is dark, it is simple yet deep, it aims for the gut and gets there. In short, Salt for Salt is well worth your time, and comes highly recommended.

Listen to the opener, and check out the EP, "Sound of Ghosts"

Lafarge's effort disperses on Middle of Everywhere

2011-09-30T17:09:00.000-04:00

Pokey Lafarge and the South City Three - Middle of Everywhere
Free Dirt Records
-out now
3 / 5

Style. These guys are all about style. And Lafarge + 3 certainly have it: they've got spit-shine shoes and some knee-slapping grooves. On Middle of Everywhere, you get the pure distillation of early ragtime blues, crystalline, unadulterated, and most definitely traditional, in every and any sense of the word. And, having met this outfit, they dress the part incredibly well; all that's missing is a whistlin' of Dixie. But enough of that, you want to know why we adore these guys but don't quite obsess over their music. As faithful as Lafarge and his South City Three are to the genre, they feel - again, that word - crystallized: they don't alter, they don't take other influences and make this music their own. Instead, one feels the presence of a time capsule: ancient and quaint, valuable as well, but we don't want a history lesson. That's what the Library of Congress archives are for. We want something new and dynamic and exciting, and although Lafarge plays the role - and very well - there isn't quite a sense that he plays from the heart. Look at it this way - the blues have endured, and will endure, as long as there is someone to interpret them, not archive them (Muddy Waters, Hendrix, et al.). Try it because you're traditional and still living in the early 1900s, but otherwise, take a pass.

Listen to some tracks on their site. Right... around... here!

Free EP by Running in the Fog!

2011-09-26T15:55:00.000-04:00

Wow! Luck to you guys; here's another freebie out there by Running in the Fog. What to expect (should we spoil it...?) well, consider it space-pop with ethereal female vocals. Enough description and blabbing about, we know what you really want - other than lawyers, guns, and money - that link is right here.
Tell us what you think! And if you like it, be sure to pass it along! Laters,
-Mgmt.

Portugal. The Man reaches heights on In the Mountain, In the Cloud

2011-09-16T19:18:00.000-04:00

Portugal. The Man - "In the Mountain, In the Cloud"
Atlantic
-out now
4 / 5

We're big fans of Portland, OR's P.TM. Remember the sweet hooks and 60's choruses of 2009's The Satanic Satanist? Thankfully, they're back for In the Mountain, In the Cloud. Their sixth album in as many years (yes, it's a crazy number of releases) returns the rock/pop band to what we feel is their true element: polished, straightforward psychedelia replete with harmonies, highs and lows, and strange-ass lyrics. While we feel lyrically this album is a shade off of par with Satanist, fans of Portugal will find them musically in high form, especially on that smashin' side B. Their greatest strength lies in their ability to craft songs that newcomers can get right into; there're no 'figure out what's going on' spins when it comes to the former Wasillans. This is the kind of music that makes you want to drive around and pretend it's still summer. Try out "Once was One," or just about anything on the second half of the album, as the first half gears up towards it. Now sit back and enjoy; recommended.

Stream the album from their site! Sweet!

St. Vincent cuts strange, mercifully gorgeous album

2011-09-13T21:46:00.000-04:00

St. Vincent - "Strange Mercy"
4ad Records
-out today
4.5 / 5

We're not going to say that "Strange Mercy" is a whole step up from 2009's "Actor." We're also not going to say St. Vincent is a modern female Brian Eno. But what we will say is, this album rocks, in the bizarre, angular-electronic way that Annie Clark is getting known for. Add to that a pop sensibility, and you get the knock-out single "Cruel," which, if you could comprehend the strange lyrics, would make you sing along soulfully. The heart of this album is that it doesn't rest after that second track, and that Miss Vincent rightfully explores a warmer, more accessible (relatively speaking) sound in "Cheerleader," "Dilettante," all the way through to the end. Yes, you'll still get explosions of feedback/electronica ("Northern Lights"), and it's refreshing to hear an artist exploring poppier tracks with such an eclectic ear; that said, if you're looking for the perfect 3-minute pop song, all bets are off here. But fans will be greatly rewarded, and those with an indie ear searching for new talent should be as well - that is, if you were running from the law for a few years and somehow avoided her previous two releases. Pick this one up. And get "Actor," too while you're at it.

Stream this great album at NPR. And then DL it at Amazon for four bucks!

Disco Biscuits make for soggy, stale dance

2011-09-05T12:59:00.000-04:00

Disco Biscuits - "Otherwise Law Abiding Citizens"
Diamond Riggs
-out now
2 / 5

We appreciate dance music of all types, colors, beats, etc. But when it comes to this latest from the Philly, PA dance/trance group, we find these Biscuits need some sweeter jam. Their nine extended tracks here do fit the trance train, and certainly jam a bit, but these beats don't capture, they don't pound and soar like they should from an otherwise tight quartet. What's on this album is repetitive, not particularly engaging beyond the first couple plays, and not terribly dynamic enough to stick with you (or us, for that matter). The vocals are nice but don't inspire, and the songwriting is their Achilles' heel - it doesn't twist and turn, it doesn't bend about, but just stays in a particular groove and festers. As much as we'd like to enjoy the Biscuits' efforts here (and their playing really is tight, fairly dense) Law Abiding Citizens makes us want to throw bricks into windows. Take a pass on this one.

Still, try it for free in 128 kbs at their site!

A band called Wandas disappoint

2011-08-29T20:51:00.000-04:00

The Wandas - Self-Titled
TFMRA
-out tomorrow
2.5 / 5

We like "Do or Die." We enjoy "Forever and Ever." And, if we were to liken their sound to anyone, it might strangely come close to Wilco's "Summer Teeth;" an alt-country feel, Tweedy-ish tone to the vocals, light and poppy (which is a good thing). But, ultimately, we're going to draw the line in the sand and say, unfortunately, The Wandas' self-titled release isn't our bread-and-butter. Why not, you may ask? Ask away: because, unlike "Summer Teeth," these songs are tragically straightforward, lacking the interesting lyricism or sonic departures that made Wilco a groundbreaking band. And, while The Wandas certainly shouldn't be Wilco, they still should be something different, a unique fish in the sea. With a song like "Mr. Mister," we're going to say we were hoping for something far more challenging, or uplifting, or angular and personal; perhaps all of the above, even. These songs simply come off too one-dimensional, too musically bland, and not terribly insightful. Sorry folks, but take a pass!

Still, go listen to "Do or Die" and possibly "Forever and Ever."

Hallelujah just short of revelation

2011-08-25T08:31:00.000-04:00

Hallelujah - Self-Titled
Self-Released
-out now
3 / 5

The Brooklyn octet, replete with a female choir, is self-described as "psychedelic gospel music for atheists." And as self-described "punkedelic anarchists," their description strikes a chord with us. Either that, or it's just the pure infective energy of "Old Time Sickness," which, we'll let you know right now, you can DL for free (see bottom of post). We dig that one something monster, as well as the rockabilly of "Taking It To the Grave." Though you do get songs like "Skinny Women," which just feels too apathetic and dull, we'd put this album as a whole just shy of a recommendation. Add to that the great price, though, and for five smackers, you can hardly go wrong with a couple solid songs.

Grab the first few songs for free here. Or just buy the album if that's your thing.

This Sh!t's for Free!

2011-08-23T20:04:00.000-04:00

Remember that Soft Collapse album the guys were giving away for free? Yeah, earlier this year? Well, here's their punk project, and you can get it right here.
Again, it's one of those 'pick your price' deals. Right away, we're going to kindly remind all y'all that music doesn't pay that much, unless you're Bono or Robert Plant. And also, that bike on the cover? They totally trashed it for this album.
So that last one's a lie, but if you like hard guitar and yelling, then maybe this is the one for you; just check out that opening track. And if you like it, why not pay what you think's a fair price? 'K, enough of that, hope you guys enjoy,
-Mgmt.

Missed Typhoon on Letterman?

2011-08-15T08:20:00.000-04:00

So, you managed to miss these guys on Aug 4th. (Not a problem, we did, too). Here's to not having to miss an awesome, huge (13-man) band that, we're hoping, will blast away when they come up with their new full-length.
Oh yeah, that link's right here. And if you need to get your fix now, check out their latest EP, "A New Kind of House." Peace!
-Mgmt.

Newport Folk Fest 2011 - Sunday Report

2011-08-02T21:25:00.001-04:00

These guys' album has been stuck in my head the past week or so (photos courtesy of Marc Brigante):

Three clues: that's both of them, they're heavy but acoustic, and stationed in RI (currently). That's Brown Bird right there, and if you couldn't tell, well, I couldn't either; MorganEve cut off her hair! Thank god David pointed her out to me, or I never would've known. Their album isn't out until October, but if I were to take a guess, I'd say the audience liked it. And that's putting it blandly; there was a definite mosh-pit going on during "Ragged Old Town," and I grooved the heck out of "Bilgewater." A butterfly passing by landed on David's hair during "Town," though I'm pretty sure he didn't notice; I think that betokens more good luck for their album "Salt for Salt."

This next act we caught at the Narrows in Fall River, MA way back in aught-nine. The crowd then was appreciative (and I got a signed tee), but tragically small; this time around, they finally got the recognition they deserved:

Trampled by Turtles! Quite possibly one of the most brilliant names in the industry (and check out how they came up with it), you can see Dave S., Tim on the now- patched- up bass, and Dave C.'s arm on the left. These guys... well, let's just say if you like the kind of bluegrass playing that puts blisters all over your hand, these guys are the masters of that. Dave joked about the weather being conducive to breaking strings, but honestly, guys, if you're playing 16-th to 32-nd notes at, it must've been over 200 bmp, then yeah, expect to break some strings. And to re-tune after every song. That's like complaining about changing tires during the Indy 500. After their incredible performance of "Wait so Long," the crowd demanded they come back for an encore, which set the whole stage off by 10 min for the rest of the day. Jeez, what show-offs.

Elvis Costello. 'Nuff said.

A snap of the Civil Wars:

Joy was sweet as pie when I met her in the morning, and John Paul was just as nice when I caught him on the way to this set. Do we like the Civil Wars? I don't know, maybe a little. Tiny bit. We could only stay for a brief glimpse of this soulful duo, and I could hardly tell you what song it was they were playing, because they kept cracking each other up. But I know it killed me to have to cover the other acts during their performance, though "Barton Hollow" had my attention on the ride back.

Now these guys:

These guys were nuts. These guys were crazy. On the Quad Stage in the Fort, they didn't have the largest crowd at that stage, but theirs' was the most pumped; everyone knew who these guys were, and they were on their feet before they even picked up their instruments. Middle Brother, a collaboration of Taylor (Dawes), Matt V. (Delta Spirit) and John J. McCauley (Deer Tick - all D's) took it all out with material from their self-titled release this year. Why were these guys our pick of the weekend? I have no idea. Let's just say Matt V. jumped it up a notch (should be in the NBA, that guy) and was dancing with a lucky lady in the audience. No small feat, considering those four-foot photo barriers (how did he even get back?). These guys know how to party, and we're going to go out there and say we liked them first. We're not the huuuugest fan of guest Jonny Corndawg (not pictured), but he's pretty damned congenial and unexpectedly polite. All that crazy facial hair kinda threw me off. And he mistook me for a Trampled by Turtle'er, which doesn't hurt. I don't think I have that much beard, do I?

So we started this coverage with a bit of the stinky underbelly of the business yesterday. The musicians love it, certainly, but sometimes they come across someone who wants to love it a bit more. If there were budget for a "Man of the Hour" trophy on this blog, it would go out to Taylor of Dawes. No, we didn't really dig his album that much this year, but after overhearing a bit of a social, erm, faux pas on part of another apparently tactless media-type, right after his sweaty, heat stroke-inducing set, we're going to say he had a #@%-load of tact for holding his tongue and not flipping out at the woman in question. (Where was I? Waiting for a signature from the guy... trying not to overhear while he was venting at his fellow band members.) That takes - grandpa word - character, man, and though I probably shouldn't've caught it, well, I felt it appropriate to share that with my readers. So, like, 10 more people know. And after that, he jumped back on stage to jam with this dude:

(Love the photo, Marc!) He played a whole slew of songs from his "Hold Time," and did an encore, but I'm sure you guys can catch all that on NPR. He's a pretty big deal, I'm told.

So, what happened with that signature? He assured me I really wasn't being a dick for asking for it, and maybe we'll reveal where it's going to at the right moment...

So thanks for stopping by! Keep in mind, if you're in the Boston area and are traveling to any big festivals on the East Coast, we'd love to hitchhike with you, as there's no travel budget for the blog. Actually, there's no budget at all. And pay for my room and meals, too. Keep on truckin'!

Newport Folk Fest 2011 - Saturday Report

2011-08-01T22:14:00.000-04:00

Myself and the photographer-for-the-day, Dave "Bizarro" Cordeiro - all photos copyright him, by the way - arrived on-site early enough to get the lay of the land before all music broke loose. We stumbled across a drummer bathing in one of the sinks, and were regaled with the typical tales of the touring musician: a pinch of sleep, warnings about body odor, and the scramble to cover hundreds of miles to the next gig.
I wanted to start this with a little perspective. I think every bit of pure fun should have a pound of that, lurking somewhere.
But despite the untold, rather grimy side of the life, this is the Newport Folk Festival, which is all about the more glamorous aspects: hanging out with your crew on a summer weekend; running into the random artist peeking through a telescope or catching their favorite act; and, of course, the music itself, thick and hot as the humid July air. Life is about making decisions, and having a rather limited (and admittedly lazy) staff to cover 21 hours of music this day, we had to make some. No offense intended.
This is where our day started:

This lovely lady with the cat-eye glasses came straight out of the 1950s - perhaps literally - with her rollicking brand of retro Rock-n-Roll. The quartet known as Sallie Ford and the Sound Outside (SOS) took to the Quad stage in the middle of Fort Adams, and we've got to say, she's got bounce and energy in that voice of hers. Remember the diner scene in Pulp Fiction? Tarantino would've died to get her in there, no joke. But not too far into her performance, the power cut on this bobby soxer. What's a girl to do? Strum on her un-electric guitar and keep on singing. Thank god it came back on for "Cage."

Now, these guys caught us off-guard:

Well, gals in the pic. Count that: two violins, one cello. On the left of the stage: two trumpets, a baritone horn. That's six, and not quite half of the baker's dozen that is Portland, OR's Typhoon. We were blown away by the grandeur of their sound, which is orchestral with indie vocals (a bit more straightforward than Sufjan Stevens, but long and well-paced), and can't wait to get their full-length when it comes out. They've got a new EP out now, and if you close your eyes and wish, maybe it'll sound like they're playing just for you. Or you can just catch them on David Letterman August 4th if you have patience enough.
The pics don't really do them justice; they're far cuter and nicer in person. (Call me!)

Here is Gogol Bordello:

And here is the crowd on Gogol Bordello:

I'm not sure we need to add a whole lot more. But just to humor y'all, they play the sweaty gypsy music you'd find pounding from the open windows of a basement bar in rural Europe. It's as intoxicating as the dark liquor they serve there, and Eugene's accent pours just as thick. We were almost tackled by some crazy What Cheer? Brigadiers who, unblamingly, were musically possessed backstage. Moving on.

These fine young chaps are Delta Spirit (well, 2/5 of them). That's lead-man Matt Vasquez with the hair in his eyes. Probably the most direct way to describe them is to say they play rock; pure, loud, unabashed rock. It's our first listen to the remaining third of the collaboration known as Middle Brother, and if you didn't feel the raw power of "Ransom Man" that day, alas, you probably never will. Needless to say, the guys laid it into the crowd after a few songs and Mr. Vasquez shred the bejesus out of "People C'mon" vocally. We'd love to say that was the highlight of our day but to be honest, it really belonged to this lass, and probably always did:

Ah, Gillian Welch, is there nothing you can't do with your plain-Jane vocals and a simple acoustic? She and David Rawlings (you can kinda make out his guitar on the upper left) took out most of their new album, maybe with a few handclaps added ("Six White Horses"), a sprinkle of self-effacement and perhaps some exhaustion in there, too. Having missed some acts we were dying to cover (Pokey LaFarge, Devil Makes Three, most of Tegan and Sara), Welch made that right again, as it was just refreshing to listen to something so simple and uncluttered by the sea.

So, you think you know what 10,000 music-goers looks like.

That's all of them. Can you spot me?
Come back for part two!

Emergency Newport Folk Fest Update!

2011-07-30T00:05:00.000-04:00

So you don't have tickets to the sold-out Newport Folk Festival. But you still want to contribute/ party out. Well, here's your lucky chance.
These guys (see Deer Tick, above) are rocking out at our friends' joint, a little place we like to call the Newport Blues Cafe. They're pretty crazy (so much so it kinda irks us, but what the heck) and damn, do we love their albums. Anyway, entry is $10, and the proceeds go to the nonprofit organizer of the Newport Folk Fest. They be jammin' tonight (which is of little help, we know), but also Saturday night, before Mr. McCauley hits up the NFF itself as part of indie country group Middle Brother the next day. They're still probably rocking out through the morning as we speak, and will be on the stage 10:30 tomorrow night. Be sure to pay a visit, because Deer Tick is every bit as raucous and crazy as that homeless guy who drinks from a bag and tells you about the flying Jupiter aliens. Except their singing is good. (We aren't saying that because they're RI'ers.)
Peace out! See you this weekend!
-Mgmt

Newport Folk Festival up-and-comers: Brown Bird

2011-07-21T21:15:00.002-04:00

For a little Rhode Island pair, Brown Bird is doing well. Having opened for fellow Providence Americana band The Low Anthem, Connecticut's 26 year-old MorganEve Swain (left - just kidding!) and the 33 year-old Illinois native David Lamb (actual left) are, as they say, in it to win it. As part of Sunday's lineup at the Newport Folk Festival (www.newportfolkfest.net - sorry, tickets are sold out!), the gritty, down-the-river folk duo will display their chops in anticipation of their new album, October's "Salt for Salt," on the Harbor Stage. But, if you're really dying for a sense of Lamb's emotive vocals (and Swain's great backing), here's a link to their satisfying EP and a spoiler off the new album here. We scheduled for a Sunday (that happened to be Father's Day), but Swain was gracious enough to give the gritty on Lamb's rather paternal (but mostly feral) beard. (Photo by Mikael Kennedy.)

MK: I got your email. So who were the other bands you were jamming with on Father's Day?
MorganEve: When I was fifteen, I joined two different bands that were made up of basically the same group of people. They were all in their 40s and 50s, playing kinda Irish music, but mostly Grateful Dead and The Band covers. I've been with them for almost ten years... it's been three or four years since I've seen them.

MK: One of my questions was going to be how you two got into the real folk genre. I suppose Irish folk music isn't too far a jump from that.
ME: Yeah. That's true. For me, it's just the music that I've always loved. I mean Dave grew up - well, in his parent's church for a long time, so he really loved old gospel music and stuff like that. And then his first instrument was the drums, and he loved rock music. That was his first experience performing: playing in rock bands.

MK: What bands do you enjoy listening to?
ME: Right now, I'm listening to Them Crooked Vultures. We love Queens of the Stone Age. We love a lot of the heavier stuff. But we also listen to a lot of gypsy music, Romanian music, the Harry Smith Anthology of Folk Music. I don't know if you're familiar with that.

MK: Not really. What kind of Romanian music?
ME: We have several collections of Romanian/Ukrainian music that, I don't even know what the bands are, but they're really really great... A lot of violin, a lot of accordion, just really really soulful folk music.

MK: It's hard getting in touch with you guys. I'm guessing you keep 9-5s?
ME: Yeah, we have day jobs right now, but we're quitting them in September. We're going to be touring full time.

MK: Tell me a little bit about "Sound of Ghosts."
ME: Alright. We just released it in May. It was recorded over the Spring. It's four songs, and two of them I believe will be on our full-length in the Fall.

MK: Hints? Any particular two? Or are we just going to have to hang tight?
ME: I can tell you, if I remember what the songs are. One of them is Cast No Shadow, and Bilgewater is the other one.

MK: Awesome. I definitely love Bilgewater a lot.
ME: Thank you. Yeah, we love that one, too. It's our first release as a two-piece. It's also the first release where I'm playing upright [bass].

MK: Really? What instrument did you grow up on?
ME: Violin was my original instrument, which I happen to still play. I picked up cello a few years ago, and the bass a year ago.

MK: So two of the songs on the EP will be on the full-length; can you tell us anything more about your upcoming album? Can you sing a riff off of it?
ME: Can I what?

MK: Maybe I shouldn't ask you because you're driving, and I don't want you to crash.
ME: I won't crash. What can I tell you about the LP? I don't know. I mean, we're really excited about it. There's a couple of heavier songs that we cheerfully call our "metal songs." My brother is guest appearing on violin on one of those songs. He used to be in a band called Zox, he toured with them for almost ten years. It's been a while since he's done anything, so we're excited to have him on it [chuckles].

MK: So it's going to be acoustic? No heavy synth or electric bass twanging on it?
ME: No! It is a little more rocking than our past stuff, though. It's still acoustic, but there's some overdrive on Dave's guitar.

MK: So your brother plays violin. Did you come from a musical family?
ME: My dad played drums in a bunch of bands when he was younger. We're all musically inclined. I have a cousin who played in a hard rock band. Hardcore band, I mean. We're all musical.

MK: So I take it your cousin shows up with spiked hair, and you just shake your head and say "why?"
ME: Yes. Pretty much.

MK: My younger brother was in a ska band, and I think that's the only natural response to it. This coming from a jazz person, though.
ME: Yeah. It's not my thing, but my cousin's a really awesome drummer, so it's pretty fun to watch, anyway. The double-bass drum pedal and stuff.

MK: Out of this year's Newport Folk Festival lineup, is there anyone you're hoping to jam with?
ME: Umm, yeah, I mean, everyone? That would be awesome with Gogol Bordello, I love them, and I know they're doing an acoustic set. Emmylou Harris. And our friends The Devil Makes Three are playing - we just toured with them in April - they're playing a different day than us, but know knows. Maybe we can hop up on the stage with them. Or they can hop up with us.

MK: So basically you're going to try to jump up onto every stage that you possibly can.
ME: Yeah. I'm just going to walk around with my instruments and just guerrilla attack people and say "I'm part of your band now. Shut up!"

MK: There's going to be a ton of media coverage there, so you probably don't want to make too much of an ass of yourself while you're doing it.
ME: That's true. Maybe I won't do that.

MK: I have another really important question, and unfortunately I believe David isn't around to answer it.
ME: No.

MK: His beard is pretty fierce, I'd say, and that's a polite way of putting it. I wonder if you know who inspired it.
ME: I think it's just natural. There's no way around it.

MK: I definitely couldn't grow something like that. It's definitely more than [My Morning Jacket's] Jim James, and probably a little more than [Iron and Wine's] Sam Beam. It just seems like the kind of task that you do need a muse or some inspiration for.
ME: Yeah, I don't think that he would name anyone. I do know that he has an uncle who won a beard contest once, a long time ago.

MK: Are you making this up to mess with me?
ME: It's true.

MK: So what kind of things do you do to win a a beard competition? Put oils in it or something? I guess I just don't get the concept of it.
ME: I'm pretty sure it was judged by amount of hair per square inch.

MK: Oh just total mass. So he didn't have to put bows in it to win or anything.
ME: No, not that I'm aware of.

MK: I'd mentioned Iron and Wine in a beard instance, and wanted to know if, like the band, you'd consider going from acoustic to electric at some point in the future?
ME: Dave keeps talking about wanting to play electric guitar, and that's probably going to happen in the very near future. I'll probably keep my instruments acoustic for Brown Bird, but we'd also talk about doing a side project that would be a lot heavier, maybe get my brother on board. We'll see what happens.

MK: Oh yeah, one last question: where did David come up with the band name?
ME: He used to have a dog named Bird, who was brown.

MK: Oh, that's actually kind of random.
ME: Yeah. It is. It's random and kinda sweet.

Locksley release tepid album

2011-07-12T07:27:00.000-04:00

Locksley - Self-Titled
Feature Records
-out today
2.5 / 5

Madison, WI is the hub of the Mid-West musical universe, as far as we're concerned. The capital is a fantastic crossroads for traveling bands, as well as home-grown groups such as punk-rock quartet Locksley. While they have seen some success, we're going to have to be blunt: this latest album is not the cat's meow. It's got pep, it's got pop, but it doesn't have much personality; if we were to put it on the scale of actors, we'd say this album ranks somewhere between post-Seinfeld Jason Alexander and Keanu Reeves with Christopher Walken's voice. And if you still don't get that, it's just bland. That's the blandest sentence this blog has ever produced. But enough of that, the sum of it all is that Locksley is like any other album you could possibly imagine and find by any other band in the punk/pop genre, and we can't put our seal of approval on this one. Take a pass.

London Souls need a bit more of that

2011-07-11T07:55:00.000-04:00

The London Souls - Self-Titled
Soul on 10 Records
-out tomorrow
3 / 5

Rock + roll + soul = The London Souls. This talented trio know what their sound is, and should be, and confidently display their chops on their debut. When you get a song like the opener, "She's So Mad," a heavy rocker with Zeppelin-esque riffs, you know what you've been missing by listening to too much obscure cerebral indie (we love you, Antlers, but sometimes straight rock is where it's at). That's the good news, though, and here's the flip side to that: the Souls don't really bring much new to the genre. Unlike the Strokes' apathy-stricken debut, U2's soaring (and preachiness), or Led Zeppelin's brilliant hooks, this brash trio don't breath fresh air into rock, so much as the air that everyone else has been breathing. While not stale, The Souls don't charge their performances with crazy energy, shred with vocals and guitar, or lay in that perfect, laid-back groove; the end result is a good, but not particularly enduring, album. While that opener definitely rocks, the album peters out and you get things like "Country Road," which are merely passable. A good start, but there's no reason to toss aside those classics yet; take a pass.

Still, though, listen to "She's So Mad."

Sondre Lerche hits a poppy stride on his self-titled

2011-07-04T07:43:00.000-04:00

Sondre Lerche - "Sondre Lerche"
Mona Records
-out now
4 / 5

Sondre Lerche's songs are, in a word, addictive. The Norwegian has a natural talent for pop that swims about into different-
Okay, metaphor on hold, we've just got to get this out first: "Private Caller" is the pop song of the year. Just laying it out there.
Yeah, that pretty much describes how we feel about the Norwegian's self-titled. That metaphor up there was going to describe something about his penchant for taking his listeners on a pop mini-journey, taking the opener "Ricochet" and "Go Right Ahead" as prime examples of his brilliant sense of diverse songcraft. But we know you just want to crank up that unbelievable single, that and "Domino," all day long. Much of the album is still good, with maybe a couple passable tracks of the ten, thus coming recommended.

Listen to "Private Caller" and/or "Domino."

Welch album far more harvest than harrow

2011-06-28T22:02:00.000-04:00

Gillian Welch - "The Harrow and the Harvest"
Acony Records
-out today
4 / 5

Eight long years. Almost a decade, if you've been keeping track since her last solo release, "Soul Journey." The traditional folk duo of Welch and David Rawlings release a spare, bare-bones treasure trove of below-the-dixon-line croons, and if you're a fan of banjo and whiskey in the moonlight, then it's safe to say this album should be in your collection. There are several reasons, not the least of which are the haunted "Tennessee" and the sheer drive of "The Way It Goes"; we might site the clarity of the hard-luck images, the ease with which the performances flow; the fact that Welch and Rawlings aren't looking to impress or overwhelm, just to sit down and tell a story set to song. We admit, we're not often soft to traditional folkies, but her performance at last year's Newport Folk Fest (did we mention she's coming back, too?) was sublime enough to melt even our hardened, dance-beat heart. This album should do much the same, even if you don't consider yourself a grass-chawing river folk. Highly recommended.

Emergency post! Newport Folk Fest plug!

2011-06-23T17:35:00.002-04:00

Hello all and (every)one,
We just received info that the Newport Folk Fest (July 30 + 31) is almost certainly going to sell out early for Saturday, and most likely for Sunday, too. If you're in the N.E. area, we're wondering what other things you could possibly do if you can't get a ticket:

-Complain about how the weather's hotter than Florida, just like a native (it's really not)
-Get pinched by a lobster when you try to put it in the boiling pot, then proceed to drop the crustacean and watch it scramble away
-Reminisce about how beautiful the fall leaves are, and complain (again) about the summer heat
-Get stuck indoors because it's really just pouring out for your VACATION WEEKEND (no, we're not bitter)

Actually, the Folk Fest is most fun when wet. But gosh darnit, if you want to show especially for Saturday, get those tickets ASAP. Especially considering they've got Elvis Costello, Gillian Welch, Middle Brother and an acoustic set by Tegan and Sara. And if you need to live vicariously through this blog (and that's just sad, plain sad) we've got some pre-and post-Fest coverage coming up, with pics C.O. the lovely and talented Allie Runnion. Will keep you New Englanders updated on this important story as it unfolds. Gotta find where that little red guy went to...
-Mgmt.

PS Don't forget the weekend after, which happens to be the always awesome Newport Jazz Fest (Aug. 5-7)!

Cassettes won't listen, but that doesn't mean you shouldn't

2011-06-15T08:57:00.002-04:00

Cassettes Won't Listen - "EVINSPACEY"
(Not KEVIN SPACEY)
Daylight Curfew
-out June 21
3.5 / 5

After all's said and done, this is what Los Angeles-based Jason Drake has to show for his latest full-length: a handful of catchy, electronica/ pop pieces ("Perfect Day," "Wave to the Winners"), some hip-hop inspired beats, and a cease-and-desist. So certain famous actors don't appreciate the shout-out; we do, and here's why: despite Drake's demonstrated cheekiness, he's also got a good ear for pop, simple, enduring melodies, and a sense of joy and playfulness. Drake never bogs himself down with oversampling and overlayering (all the more impressive for the hip-hop producer), and each track maintains a clarity and directness about it, even with synth and bass and beats (amongst other electronica). The highlight here is that "Perfect Day," but to say we didn't also enjoy the dance beat of "The Night Shines" and "The Echoes." Enjoyable, breezy electronica that comes recommended.

Listen to "Perfect Day," and, what the heck, "The Echoes."

Mid-year recap!

2011-06-13T21:37:00.000-04:00

It's that time of (mid-) year again! Keep in mind, we're something of a limited blog here; we haven't gotten TV on the Radio (thumbs up), the Decemberists (thumbs down), or Iron and Wine (definite up and up). But other than that, here's our picks based on our (admittedly) limited selection; still, there are definitely some you should check out - and avoid.

The Civil Wars, "Barton Hollow" - A gorgeous, tender album lifted with male/female duettery. But honestly, if you enjoy earnest, bare folk with vocals that strike deep, then this is your album.

Panda Bear, "Tomboy" - The much-awaited solo from Animal Collective's frontman has arrived. Delayed for a number of years, it's dense with their trademark electronic-layering and sonic depth, making it recommended. Though with a caveat: it's something of a difficult album to get into.

The Low Anthem, "Smart Flesh" - We'd forgive the weird title, and we'd forgive that it took three years to come out. But what we can't forgive is that our only favorite track is "Apothecary Love," and the rest is... sad and mopey. Kinda too much, even if you're an angsty teen, so you'll most likely keep their brilliant "Oh My God, Charlie Darwin" on your ipod instead.

Fleet Foxes, "Helplessness Blues" - While not as scintillating and titillating as their eponymous debut a few years ago, their sophomore is still a fantastic baroque-pop thrill-ride teetering with harmonies and violins and just general awesomeness.

Middle Brother, "Middle Brother" - A brainchild of frontmen from Dawes, Deer Tick, and Delta Force (wow, alphabetical order!), this little country peach is anything but warm and fuzzy. It's definitely one of our favorites so far, because, let's face it, each singer is in probably their best form. Ever. They complement and refract off of each other, so much so, that we're hoping they'll abandon their bands and stay together. Oh well, at least they're playing the Newport Folk Festival.
We didn't just plug them, right...?

Dawes struggles to find something right on "Nothing Is Wrong"

2011-06-07T08:38:00.000-04:00

Dawes - "Nothing Is Wrong"
Ato Records
-out today
2.5 / 5

We're still reeling from brilliant folk collaboration Middle Brother which, we admit, led us to Dawes. Taylor Goldsmith's performance as 1/3 of Brother is certainly one of his finest ("Blood and Guts," "Wilderness") and now that we've calmed down from getting the Los Angeles band's second full-length, that opening, "Time Spent in Los Angeles," is certainly... definitely... something of a letdown. "Nothing Is Wrong" feels too complacent, too placid, especially in light of Goldsmith's serious vocal chops displayed earlier this year. Lyrically, Dawes is hit-or-miss, but our biggest complaint comes from Goldsmith himself, who doesn't stretch himself out on these vocals. And we know he can definitely belt one out (did we already mention "Blood and Guts?"). Yeah, we still like "Million Dollar Bill" on this one, and it certainly is written well, but even there, we've got to say Middle Brother caught him at the right place, right time; "Nothing Is Wrong" just seems to have caught him tired and off-guard. Take a pass.

Corea, Clarke and White revisit the band that will last "Forever"

2011-06-06T07:07:00.000-04:00

Chick Corea, Stanley Clarke, Lenny White - "Forever"
Concord Records
-out tomorrow
3.5 / 5

There's just such a breezy way that Chick Corea dabbles on those ivories that, we're certain, melts even the un-jazziest of hearts. And on this reunion album-slash-tour of his eternal Return to Forever band, it's all there: drummer Lenny White, bass virtuoso Stanley Clarke (btw, check out his "School Days"), and some jazz/ RTF standards (plus a handful of new ones). Replete with guests (Jean-Luc Ponty, "Upon the Wings of Music" for one), this album can't help but to measure itself again the catalog of 70s releases, and in that respect, "Forever" still meets the test. With a nimble band, light, delicate performances, there is little to complain about (though they forgot "Spain"! - can't win them all) on this live, acoustic two-disc set. It is, in fact, an excellent primer to those unfortunate enough not to have been introduced to one of the premier fusion bands of all time; furthermore, we're certain that you (the jazz-discerning part of our audience) will enjoy the precise, yet warm performances within. For neophytes or fans, we're most certainly recommending it, and especially urging a look (yet again) into their classic albums.

White Denim's latest is "D" bomb

2011-05-31T19:10:00.000-04:00

White Denim - "D"
Downtown
-out now
4 / 5

We never realized how much we loved White Denim's previous "Fits"; their wild, rambunctious sense of punk and pop ignites like a wildfire. And here, on D, there is a sense that some of the fire has died down a bit: no worries, though, because the wild half-yelling has been replaced with thoroughly impressive instrumentals. Think of it more as an exchange: the jarring punk aspects have matured into a more melodic, more assured sense of song structure. You will like this album, that much is sure; but will you love it, will you devote your waking moments away from the ones you love to air-guitaring along? Perhaps not. There is still a beautiful sense of laid-back, almost sensual sonic depth, and if you don't manage to absolutely love the pure pop gorgeousness of "Is and Is and Is," well, then, we don't love you. Just kidding. But seriously, this one comes recommended.

Barton Hollow civil and powerful

2011-05-24T08:32:00.000-04:00

The Civil Wars - Barton Hollow
Sensibility Music
-out now
4 / 5

There is little as refreshing as an intimate male/female duet; Swell Season knows it, and Fleetwood Mac certainly knew it. Joy Williams and John Paul White must sense something special in their debut studio LP, because without flash and without pomp, we can say "Barton Hollow" is a delightful, gorgeous slice of Americana. Their romantic tracks here are pared down, sporting rhythmic guitar and sometimes banjo/piano, because who wants to hear anything else when the vocals are so soothing and beautiful? We dig the title track especially, but there's nary a weak one here, which is all the more impressive considering Williams and White have nearly no instruments to hide behind. What else is there to say? It's delicate, it's straightforward, it's passionate; pick this one up and play with wine. Certainly recommended.

Connect to the Civil Wars site, and download their previous album!

"Rocket Science" still comes natrually to Flecktones

2011-05-21T17:09:00.000-04:00

Bela Fleck and the Flecktones - "Rocket Science"
Entertainment One Music
-out now
3.5 / 5

After an excruciating, nearly twenty-year hiatus, self-described blu-bop quartet the Flecktones have released another space-themed dozen tracks, seemingly from out of that same inky nowhere. For those stranded under a rock these past few decades, the best way to describe the Flecktones may well be this: add one part world-renowned banjo master (Mr. Fleck), one part bass virtuoso (Victor Wooten, ever happy to hear), harmonica and crazy futuristic drummer, and shake together with a tinge of world/jazz/bluegrass fusion; the result is one of the lightest, most talented groups you're likely to find outside of Corea's Return to Forever. We should probably mention Chick has toured with Bela, right? In any case, "Rocket Science" isn't as complicated as it sounds, and that may be due to the Flecktones' natural ability to present technically complex phrases without the look-what-I-can-do pretension. Fleck-heads will get their (space) rocks off here, but our one regret is that these tracks don't seem as if they're challenging the foursome. Take our favorite albums, "Live at the Quick" and "Outbound," which craft stupendous, melodic tracks: those albums showcase the self-same top-notch musicians foraying out of their comfort zone into poppier material. We've also heard "Flight of the Cosmic Hippo" is another fan favorite, and our main quip is that as good as "Rocket Science" is, we find it tough that someone might single this one out as their best. But it's still excellent, it's still Bela, and still comes recommended.

Sam Roberts Band hits a wall on "Collider"

2011-05-10T07:30:00.000-04:00

Sam Roberts Band - Collider
Rounder Records
-out today
3 / 5

Sam Roberts certainly can find a groove. The opener to the band's fourth studio full-length hits a great stride, with a loose, loping guitar and the right amount of bounce to the rhythmic vocals. In all, "The Last Crusade" displays the kind of understated musicianship from the band as a whole that shows a steady head/hand at work. Collider, from this vantage point, would be the perfect pop/jam band album to cruise to ("Let It In": eat that, Phish), except that it's missing a couple things. First, the vocals: Roberts voice, despite a great sense of rhythm and clarity, lacks a compelling element. See Robert Plant, Joe Strummer, John Fogerty et al. Okay, so those comparisons are a bit unfair, but the point is still valid: Roberts voice is too much backdrop to the solid instrumentation of his band. The second complaint is that the excitement seems to deflate about halfway through the album."Streets of Heaven (Promises, Promises)" drags a boring 1-2, 1-2 percussion and the on-the-beat guitar makes this track swing as well as Frankenstein's monster. Past this point, the lightness and joy so well established through the early tracks gives in to blander, straightforward pop/rock. It's just a slight, but noticeable shift in the band, perhaps taking a back seat to Roberts halfway through who, unfortunately, is not enough to carry the show. A great, light, understated start, but it doesn't quite carry through far enough for a recommendation.

Ed.'s note: Phish be damned, anyway. Oh-verated.

Listen to "The Last Crusade."

Delay on getting Delay Trees' debut

2011-05-09T07:47:00.000-04:00

Delay Trees - Self-Titled
Friendly Fire Recordings
-out tomorrow
2.5 / 5

Mixed with a bit of shoegazery comes Delay Trees' debut full-length, a dreamy, laid-back affair with a soft spring of pop in its step. And while "Cassette 2012" is a good start, with carelessly tossed vocals, soaring chorus, and a strong musical arc, it's not enough to bring this album into your home. The fact of the matter is that here, the Nordic quartet doesn't shock, doesn't surprise, doesn't pull themselves into uncomfortable territory. There are certain, almost 'aha' moments, when a band pulls the rabbit out of the hat and the audience wonders how it was done. The problem with this debut is that they feel content enough to pull that rabbit out of the hat, not questioning whether they should try to pull, say, a Siberian tiger, or use a mixing bowl instead of a hat. In other words, Delay Trees feels too conservative, too middle-of-the-line, too afraid to try something that hasn't been tried. Instead, we get fairly basic guitar riffs, decent but not surprising vocals, and just a tepid album overall. Take a pass on it.

But listen to that cool single: "Cassette 2012."

No sophomore blues for Fleet Foxes' "Helplessness"

2011-04-26T07:17:00.000-04:00

Fleet Foxes - "Helplessness Blues"
Sub Pop
-out May 3
4.5 / 5

As one of the most anticipated albums of the (indie) year, the Fleet Foxes have their work cut out for them. Having delayed the release of Helplessness Blues since announcing the sophomore album last year, critics and fans alike have been wondering: is this second release going to be as brilliant and polished pop-perfect as their self-titled debut? The answer to that question, is this: Helplessness Blues is good. Quite good. Rife with their celestial male harmonies (which are most of the show) and clean, classic guitar, Helplessness Blues will repay fans itching for more Foxes and undoubtedly satisfy the newcomer. While this release may come up half a step short of their debut in terms of song polishing (a whole step in lyrics), the Foxes make up for that by reaching out a further in their song construction. With "The Shrine/ An Argument," the eight-minute mini-epic on side B, fans (and critics, too) can't help but to prickle with the potential of this band. Does this track betoken a longer form for the Foxes? Will they consider, perhaps, a concept album? Hopefully yes and yes, but regardless of what that future outcome might be, there are still plenty of fantastic baroque pop pieces here, certainly enough to highly recommend the whole.

Stream "Helplessness Blues" on NPR until the release.

Jazz Month - Al Di Meola

2011-04-22T07:40:00.000-04:00

Al Di Meola - "Elegant Gypsy"
1977

Jazz fusion in the 70s was rife with guitar talent. John McLaughlin, Pat Metheny, and this guy (see glasses, left). Di Meola is a one-man band, and on Elegant Gypsy, he showcases his out-and-out rock-jazz style, never rushed, and chock-a-block with insane Yngwie Malmsteen-speed guitar riffs. This man's talent makes us sick. So does his shredding ("Race with the Devil on Spanish Highway") and, you'd've never guessed it, acoustic duet with Paco de Lucia on "Lady of Rome, Sister of Brazil." At this point in his career, Di Meola had come off the breakup of star-studded Return to Forever, and we wanted to make sure you'd never run out of albums by RTF and its members. But seriously, this is a fusion masterpiece, and even if you've forsworn fusion in favor of acoustic jazz, this album is worth your time. One of our Jazz Albums You Must Own.

Jazz Month: McCoy Tyner

2011-04-21T08:28:00.000-04:00

McCoy Tyner - "The Real McCoy"
1967

Straight jazz never had it so good. As John Coltrane's pianist on A Love Supreme, Tyner's career was only just getting started. Here he's assembled the rhythm section that drove A Love Supreme, with a cooking Elvin Jones on percussion, fiery saxophonist Joe Henderson, and, of course, the legendary Ron Carter. The man who's appeared on more classic jazz albums than, jeesh, we can't really count (excepting maybe Paul Chambers). The opener, "Passion Dance": awesome. The closer, "Blues on the Corner": likewise awesome. Everything's incredible about this album, including even the logo (attention Blue Note, send a shirt this way). The tight musicianship, coupled with tracks that just grab you, have kept this one a personal favorite for the past... maybe five years? More? Who knows; just know that a friend who does not appreciate The Real McCoy is a friend without taste. Harsh, but you know it's true.

Jazz Month: Chick Corea and Return to Forever

2011-04-20T07:46:00.000-04:00

Chick Corea - "Light as a Feather"
1972

Coming across this album in college was like a heaven-send; "Spain" is one of his best compositions, in humble opinion, and Flora Purim's vocals give a summery, blistery fire to "500 Miles High" and the album as a whole. Stanley Clarke's bass blows away the competition, giving the kind of performance that even Jaco Pastorius' fans would be envious of about five years later. And while everything's excellent about Light as a Feather, truly, it is the main man, the piano man who shines: Chick Corea's sheer virtuosity and unwavering brilliance on electric piano is what makes him, without a doubt, the most challenging, complex, and satisfying living (jazz) pianist. The sheer density of this album is staggering, but what makes it brilliant is its simplicity; it is just as easy to pick up on the first try, and just as satisfying on the 20th spin. This is the jazz album for those who can't get into jazz (technically, it's jazz/fusion). First-class musicianship, excellent songs, and the kind of groove that doesn't require a jazz background are a few among the many reasons Light as a Feather is a Jazz Album You Must Own.

Jazz Month: John Coltrane

2011-04-19T08:31:00.000-04:00

John Coltrane - A Love Supreme
1964

The granddaddy of all modern jazz albums, we've decided to start the jazz retrospection with A Love Supreme. There is no reason not to own this album: it is a classic, the classic, and just owning it makes you more interesting. As Coltrane's musical meditations on God, the master saxophonist started musing on math and the sciences, and here you can hear the sum product of all those mental wonderings and wanderings. It's grand, eye-(or ear-) opening music that challenges the very reason that music is played. That said, A Love Supreme is complex, brilliant, too, and not easy to grasp in the first couple spins. But when you do get it, the payoff is enormous, better than winning the state lottery (we'll give you a leg up: that last track is Coltrane's poem in the liner notes). Seriously. Mega points if you own a vinyl of this one. A Love Supreme is The Jazz Album You Must Own.

National Jazz Month!! Yippee!!

2011-04-19T08:30:00.000-04:00

Hello everyone,
You thought this little blog forgot about National Jazz Month, did you? Well, Al Di Meola put us in the mood to send you a few CDs that You Must Own. Yes, capitalized. These are the kinds of albums that you can find on any music-lover's shelf, the kind that jazz aficionados own multiple copies of, and that jazz snobs can't help but admit are absolutely brilliant. (Yes, you can assume they're each 5 of 5 on this site.) We're finishing out the week with a diverse set of albums that we'd recommend to everyone, and though we're lacking in Miles Davis, our first post does have the tenor sax powerhouse that is...

Al Di Meola's "Pursuit" comes up a little short

2011-04-18T16:10:00.000-04:00

Al Di Meola - "Pursuit of Radical Rhapsody"
Telarc
-out now
3 / 5

When judging a record by such a technically renowned master of the fusion guitar as Mr. Di Meola, there are a few difficult things to consider: technical prowess, the crafting of the songs, and how they match up to past accomplishments. Ultimately, we want to tell you whether to put your money on this CD or another. That first one, technical prowess, is no issue here: Di Meola is as fine as he's ever been, and has definitely retained his delicate touch. The songs, though, lack a bit of that je ne sais quoi that might make you (you the purchaser, the ultimate guide on this blog) put this CD in over, let's say, Bela Fleck or fellow Return to Forever-mate Chick Corea. And now the third part, that these songs lack the immediacy of some of his back catalog. Yes, we're going to be unfair and say "Elegant Gypsy" and "Land of the Midnight Sun" are albums that deserve time on the turntable, but it's true; "Pursuit," while technically fine and dense, misses some of that fire that makes for memorable songs. Fans of Al's complex song construction and supple technique will enjoy this release, especially the intriguing "Michelangelo's 7th Child" and beautiful "Bona," but it doesn't quite catch the imagination or set the heart beating as 2007's "Diabolic Inventions and Seduction for Solo Guitar." We want to say it's excellent, and in some ways it is, but unless you've already got those other albums (and some others), we can think of a few better places to start. Good for the entrenched fan, but the casual listener can invest better.

Ed.'s note: During the writing of this review, another classic Di Meola CD was acquired. Currently in pursuit of a radical vinyl of it.

Pop/rockers should hold their ears to Tin Can Radio

2011-04-13T08:53:00.000-04:00

Tin Can Radio - "Chase the Sun, Hold the Night"
Self- Released
-out now
3.5 / 5

If there's one thing that can be said about the debut album from Aussie rock group Tin Can Radio, it's this: poppy. But in this case, saying one thing isn't enough: "Chase the Sun, Hold the Night" is energetic, fun, and contains some varied, really well-constructed music. The kind of music that surprises, just catches you off-guard. "A Deafening Silence" is a perfect example of this, opening like a light pop act before breaking into thrumming guitars and punked-up dancy vocals. What these guys do best, in order, is 1. Maintain excellent rhythm and cadence, vocal and otherwise; 2. Polish their tracks like each one's a '72 Chevy Camaro, and 3. Pull out guitar riffs that must have been played a million times, and make them sound fresher than a Prince of Bel-Air (just try the bridge on "Hot Trash"). Their biggest detractor is that they're playing to a crowded market (pop/rock with a bit of punk) and they might have a little trouble sticking out; also, they hit on some synth that feels a bit aged for them. Regardless, this is a fun, enjoyable release by any stretch of the imagination, and comes recommended.

Listen to "Skeletons."

Panda Bear's "Tomboy" in seven takes

2011-04-11T07:31:00.000-04:00

Panda Bear - "Tomboy"
Paw Tracks
-out tomorrow
4 / 5

It's here. It's finally here. After Animal Collective's incredible Merriweather Post Pavilion, the much awaited solo album from AC frontmant Panda Bear (aka Noah Lennox) has finally come to the masses. If you've kept up with the creation of Tomboy, the tracks here have been released on separate singles, though this LP offers different versions of the tracks. First impression: this is going to take some getting used to. Just like MPP, the denseness of this album is something of an acquired taste, and P Bear doesn't give much ground. Around listen 3-4 is when you finally get used to the almost cyclical, wandering drone of the electronic background (and vocals, for that matter), and by the time you hit listen #5, you've probably made up your mind. The sixth spin is when we're able to pull it apart a bit, finding this album far less poppier than MPP, which may certainly be a detractor, and by the seventh try, it finally sunk in. Not an album for lightweights, and if you didn't enjoy MPP for some reason (be it dizziness or nausea from all the disparate parts), this is probably not for you; same if you're expecting a clear verse-chorus-verse construction. Still, grand, uplifting, and certainly different; the perfect album for the adventurous listener, though a step down from MPP. (Plus, it comes with a solid live set!) Recommended.

Listen to "Surfer's Hymn."

Dirty River Bourbon Show settles like bathtub mix

2011-04-07T08:28:00.000-04:00

Dirty Bourbon River Show - Volume Two
Self-Released
-out now
2.5 / 5

(Ed.'s Note: yes, there is a Volume One. No, it's not reviewed here.) True to the creole mish-mash of the Big Easy, the Dirty Bourbon River Show mix rock and blues (with a shot of jazziness) and perform the kind of music you'd expect to find marching down Bourbon Street on uneasy legs. Volume Two is soaked in tradition, and eschews the tight, efficient sound of pop/rock for the deceptively "lazy" sound of the south. It's by-and-far a more difficult act to pull off, especially in studio, and there's no doubt fans of this fun, swaggering American music look forward to a spare number of releases; but music, like the mob, should keep pulling us back in. For Volume Two's quirks and smirks, The DBRS don't make that connection, either through exceptional vocals and instrumentals, or through inventive songwriting (or through intimidation, for that matter). The biggest crime this album commits is that the opener "Mad" promises energy and exuberance, and what Volume Two delivers is more flat than that OK Cola in the fridge. Take a pass.

Streams: Panda Bear, TVotR, Paul Simon, Alison Krauss

2011-04-05T20:03:00.000-04:00

What a crazy week for album streams! Try to catch up on "Tomboy" on NPR, and if you miss it, we'll try to get a review for ya. Or, if you prefer the classics to crazy electronic layering, Paul Simon's "So Beautiful or So What" is up there, along with Alison Krauss' gorgeous "Paper Airplane."
Oh, and TV on the Radio follows up their brilliant "Dear Science" (probably one of 2008's best) with "Nine Types of Light." We're not enthused about the Rhapsody website in general, but it doesn't seem to require a login or anything, so maybe - perhaps - we might change our minds about it. Dunno. Depends how good this album is.
Enjoy enjoy enjoy!
-Mgmt.

"Strange Song" takes Cohen's to Nadia Kazmi's world

2011-04-05T08:34:00.000-04:00

Nadia Kazmi - "Strange Song"
Zero to One
-out now
3 / 5

Mondo props to Miss Kazmi for conjuring the idea: take Leonard Cohen's songs, set them to a guitar rock beat, and just pound the living indie out of them. And when you get something like her smoky, sultry "I'm Your Man," then there's no denying that there's something special in this young singer. Nadia strikes the right amount of sensuality and gloominess, and when that guitar hooks you on "True Love Leaves No Traces," we're sure you'll be smitten by an old white guy's music. There's no doubt here that Kazmi adores the old coot, or at least his music, which helps this album enormously. Nonetheless, that's not to say it's perfect: true to indie form, she hits some "juicy notes" in the opener, and much of the album strikes the same dark, gloomy mood. As an experiment in Cohen, it's fabulous and entertaining; as an album on the shelf, it's a shade too monochromatic, which is strange considering how vibrant the music should be. "Strange Song" on the whole doesn't disappoint, not if you've been waiting for new interpretations of some true classics, but it doesn't surprise, either (at least not from an indie point of view). What a brilliant idea!; just wish we loved it.

Ray Davies has friends. A lot of friends.

2011-04-01T08:43:00.000-04:00

Ray Davies - "See My Friends"
Decca Records
-out April 5
3.5 / 5

In the interest of full disclosure, let's get something out of the way: The Kinks > The Beatles any day of the week (honestly). But seeing a collaboration this big almost evokes those ginormous humanitarian causes celebs sang about in the 80s; also, Davies hasn't penned a new one here. Coming off of 2006's brilliant "Other People's Lives" (and the excellent follow-up, 2008's "Working Man's Cafe"), one has to admit "See My Friends" looks like a creative rest for one of rock's (and punk's) most influential songwriters. What it boils down to is this: the album is something of a mixed bag. The lows: Paloma Faith tries too hard on "Lola," and Metallica, though cool-sounding, don't really add much more to "You Really Got Me" than Van Halen already did (though: imagine what Karen O would do on this track). To be expected from a reprise album. The surprise is the freshness that some of these musicians bring to the songs: Mumford and Sons sing "Days/ This Time Tomorrow," tearing it out as if it were one of their originals; Amy McDonald is so perfect on "Dead End Street," we argue this recording's perhaps better than the original; and Jackson Browne adds '"stunning" to the description of the already gorgeous "Waterloo Sunset." The verdict? Davies fans shouldn't fear buying a cheesy "greatest hits" revamp; that is to say, it should tide them (us included) over until the next original. New listeners have a good place to start on the Kinks library, but we're going to suggest picking up "...Are the Village Green Preservation Society" and "Lola" before this one. Still fun, still recommended.

Help Japanese survivors of the tsunami (and listen to music, too)

2011-03-25T09:18:00.001-04:00

Hello all,
We're taking a break from our break for a brief announcement: record label Thrill Jockey is donating 100% of the proceeds of certain titles in their library to Peace Winds and Civic Force, which are among the recovery efforts in the troubled nation. Here are links to these groups (in case you want to learn more, or directly donate):

http://civic-force.org/english/index.html
http://www.peace-winds.org/en

And now, onto the music slant of this story. The first link is to an MP3 compilation by David Daniell/ Antiopic Records, with a whopping 64 tracks of great music! All for $15! That's like three discs of music for (and all of it goes to those organizations above).

http://fina-music.com/catalog/index.html?id=105344

Some of these bands include Nat Baldwin of the Dirty Projectors, Giant Sand, and School of Seven Bells, who made it onto our year-end list (so definitely not lightweights).

Moreover, Boredoms and OOIOO will be donating the dough from these discs:

BOREDOMS - Super Roots 9 - http://www.thrilljockey.com/catalog/index.html?id=102475

OOIOO - Taiga - http://www.thrilljockey.com/catalog/index.html?id=100441
OOIOO - Gold and Green - http://www.thrilljockey.com/catalog/index.html?id=100216
OOIOO - Eye Remix EP- http://www.thrilljockey.com/catalog/index.html?id=100697

Hope you guys (and gals) enjoy the music,
-Mgmt.

Takin' Care of some Business

2011-03-21T19:18:00.002-04:00

Hello all,
Just got a new job, and a really nice one at that! We're going to be off for a couple weeks, and we'll be back with a review of one of our all-time favorite performers (he's old, coined "kinky," and adores Waterloo). We'll see you in a few, and till then, catch up on Twitter. Peace out for now,
-Mgmt.

Starfucker indulges in celestial, electro-pop therapy

2011-03-16T07:26:00.000-04:00

Starfucker - "Reptilians"
Polyvinyl Records
-out now
3.5 / 5

Okay, so the band name sounds like an insult a Stormtrooper would throw during a South Park episode. But give us a minute, because we think this Portland, OR electro-pop group is onto something. Right out of the gate, Starfucker has us right away, with a bit of guitar and Flaming Lips-styled electronica melting into a dense, pounding dance/pop groove. Then most fun thing about Starfucker is its, ummm... sheer fun. They play well, play hard, and don't take themselves too seriously. And just because Starfucker lacks a serious bone in their collective bodies doesn't mean they don't mean business: "Reptilians" lacks pretension (look at the album name, for one), is chock-a-block with great, effortless melodies, and is stacked with wonderful layers. We don't think this is going to be your next "Graceland" or "Joshua Tree," but we do know that if Superman had to save a city with super-groove, this would be his album of choice. Enjoyable, well-constructed, and a simple joy; recommended.

Listen to: "Death as a Fetish."

Longwalls make "Careers" a science, instead of art

2011-03-14T07:24:00.000-04:00

The Longwalls - "Careers in Science"
Static Motor Recordings
-out now
3 / 5

Nothing against Boston's Kurt von Stetten, but his quartet's blend of Americana/ country comes off a bit tepid. The Longwalls hit a good stride in title opener to "Careers in Science," introducing us to the band's sophomore full-length with a simple, catchy whistled hook that erupts into full-on guitar and drums; it's got pep, step, and sway. But after this solid opening, the rest of "Careers in Science" leaves much to be desired. This is what we think they're lacking: the fifth element, the quintessence of music. You break down their individual elements - interesting song construction, some fun sonic elements, a good singer and lyrics - and, on paper, you've got a good band. Take it up a notch, and you get a great band. But what the Longwalls don't quite do is gel together; simply put, they perform music together, but we don't get a sense that they play that music together. The result is a collection of songs (well under 30 minutes) that don't pull in their audience, that aim but don't quite impress, perhaps because the musicians themselves aren't pulled into it. It's the joy of music that yields all those great guitar solos, all those great vocals and magic moments, and here, The Longwalls come close but don't hit it. Take a pass.

Listen to "Careers in Science."

Pains of Being Pure at Heart stream new album, "Belong"

2011-03-11T08:28:00.001-05:00

You guys heard that right: The Pains of Being Pure at Heart stream their new album before it comes out on the 29th. We're excited, we're giddy, we're expecting a great album... but the connection is down right now. Nuts.

Here's where you can listen to "Belong"; let us know what you think (when it starts working)! Ciao ciao,
-Mgmt.

Edit: okay, so we found another, still official place for "Belong." Enjoy!

Honey Pies think of England, should think of catchiness instead

2011-03-09T07:23:00.000-05:00

The Honey Pies - "Think of England"
Self-Released
2.5 / 5
-out now

The Austrailian punk (yes, not British) of The Honey Pies is much like any other punk: rough, agitated, and pretty bad (in a good way). Coming off like a punkish Strokes on their debut, The Honey Pies have some good things going for them: a rough, distorted sound, some grit, and that album cover. They also have some detractors, including that band name (my girlfriend thought they'd sound more like Ms. Deschanel). Their biggest detractor, however, is just a lack of song stickiness, that is to say, these songs come and go, and don't really linger. Though "Get it Right" does, indeed, get it right (with surf guitar sounds, no less), much of the album could well go through you as if it were fiber, minus the health benefits. It's not bad, but it's not great, and on this blog, you need to at least be great at what you do. Here's to the next one, and until then, take a pass.

Listen to "Get it Right." Or, what the heck, just stream the album.

Noah and the Whale enjoy this cheery "Last Night on Earth"

2011-03-07T07:05:00.000-05:00

Noah and the Whale - "Last Night on Earth"
Island Def Jam
-out March 15
3.5 / 5

London's pop quartet sends out an uplifting album rife with tender melodies, handclaps, and general cheeriness. Their third full-length, "Last Night on Earth," cements Noah and the Whale's ability to craft enjoyable choruses filled with bright instrumentation and a general upbeat attitude. Now, let's be very clear: depressing is good. We like depressing. But that's not to say Noah and the Whale hasn't done a fantastic job on "L.I.F.E.G.O.E.S.O.N.," the clear single here, as well as on the rest of the album. That track, on which one of the characters is a rather lascivious waitress, is more infectious than the diseases she likely carries (yes, it's a good track, though we're not doing it justice). "Last Night" is one of those albums that makes it easy to enjoy music: straightforward, fun, and definitely recommended.

Listen to "Life is Life" and "Tonight's the Kind of Night" on a really cool website.

The Seedy Seeds make grammar slip in Verb Noun

2011-03-02T07:30:00.000-05:00

The Seedy Seeds - "Verb Noun"
-out now
3/ 5

Cincinnati's electro-pop trio The Seedy Seeds know how to make good music. Check out the dense "Ethel" or "Nomenclature," a soothing, harmony-laden chill-back-and-sway-to-it song. Then why aren't we recommending this particular album? Excellent question: as a whole, "Verb Noun" falls a bit short of the expectations built up in the first three tracks. "Hey Exponent," an instrumental track, is bland as a biscuit, and the title track, despite it's NPR accolades, isn't all that special. Why not special, then? Another excellent question; gut instinct. Perhaps it's the lack of vocal variation and a need for just a bit more energy that negates the excellent bridges, the banjo and strings. That's not to say we won't be blown away by their next album, as there is definite potential here, but two in the bush isn't the one in the hand. Get those recommended tracks and cross your fingers for their next.

This Middle Brother doesn't suffer syndrome

2011-02-28T07:29:00.000-05:00

Middle Brother - "Middle Brother"
Partisan Records
-out tomorrow
4 / 5

We make it little secret here that John Joseph McCauley III is, indeed, absolutely fawned upon. With Middle Brother, the Deer Tick frontman joins with Taylor Goldsmith of Dawes and Matt Vasquez of Delta Spirit to produce some inspired country (not "inspired" inspired, no). Starting with the takeout single, "Me Me Me," which rockabillies all the way to Tennessee, you have to notice that there is some serious jam in these guys; so much so that one must wonder how McCauley can maintain so many projects over these past couple years. Nonetheless, "Middle Brother" isn't a frazzled, frantic side project by some guys who just want another album (and definitely doesn't fizzle like "Monsters of Folk"). Rather, this album is a cohesive unit, despite having three equal contributors. Check out "Blue Eyes" or the Beatles-ish "Someday" if any doubts linger about the sheer fun of good country. There's nary a weak track here, and we highly recommend this one, even if you still think all country musicians are drunken hicks (McCauley doesn't seem far off).

Listen to: "Me Me Me."

Smith Westerns choose right color on "Dye it Blonde"

2011-02-23T07:23:00.000-05:00

Smith Westerns - "Dye it Blonde"
Fat Possom Records
-out now
3.5 / 5

Chicago, IL's Smith Westerns give a bit of glam to their cluster-f*** pop. We mean that gently: these instruments don't sing or soar, but meld together like that Nutella stuff you used to be addicted to. Minus the sick feeling afterwards; that told, "Dye it Blonde" works on the simple principle that it's simply enjoyable to listen to. It's something of a mystery to us how it works, but listen to "All Die Young," and you get the Westerns at their apex on this album. The depth of their layering may, at times, leave you digesting a large lump of sound, but the fact of the matter is that there are good bridges, good choruses, and just generally good writing here. While we generally prefer music to be a bit cleaner and less like an overgrown wheat field (yes, somehow that analogy makes sense), stick it through, and you may find yourself enjoying a fun, playful, mucky little album. Recommended.

Listen to "All Die Young."

Bright Eyes unlocks poppiness with "The People's Key"

2011-02-21T08:46:00.000-05:00

Bright Eyes - "The People's Key"
Saddle Creek
-out now
4.5 / 5

According to NPR, "The People's Key" is Conor Oberst's best album; no minor statement, considering Bright Eyes has seen 2007's "Cassadaga" and 2005's "I'm Wide Awake It's Morning," let alone Oberst's various side projects ("Monsters of Folk," "The Mystic Valley Band"). Take him or leave him, Oberst is doubtless one of the most skilled lyricists of his generation, and on "The People's Key," he does not disappoint. He is still capable of drawing up strong, concise images, such as in "A Machine Spiritual (In the People's Key)": "And little Hitler sat in his giant's chair/ While dreaming of nowhere." While this may be no news to fans of Bright Eyes, what is new the groove of "Shell Games"; for all that Oberst is known for, perhaps it's these damned catchy choruses that caught us most off guard. The sheer ease of these tunes, when matched with such depth, is simply... well, we're at something of a loss to describe. But be assured, if Bright Eyes' obtuse lyricism may be, to some, off-putting, then the choruses on "The People's Key" merit giving Oberst another chance. It may be a bit premature to say this is his best album, but it wouldn't be far off to say it is one of his strongest, and certainly worth your time. Highly recommended.

Check out the video for "Shell Games."

Julianna Barwick's Magic Place lacks magic, is a place

2011-02-16T07:44:00.000-05:00

Julianna Barwick - The Magic Place
Asthmatic Kitty
-out. Feb. 22
2.5 / 5

The ambient nature of The Magic Place makes Julianna Barwick's latest a bit tough to place. The tones here are celestial in nature, with strings and vocals that map out a sacred - indeed, magical - scenery. On the other hand, the cyclical, repetitive nature of these ambient tones gives it little form. We're going to go out on a limb here (the one in the album cover, right over there) and suggest that Ms. Barwick add some spoken lyrics to her work, as that would help give The Magic Place form, story arc and direction. While The Magic Place may satisfy the ever-elusive self-actualized, crunchy-granola hippie, we're going to pass on giving it a recommendation because, let's face it, those self-actualized hippies have no sense of musical taste (not to slight Barwick's intriguing take on music, though). So take a pass, and let's hope the next one has more variety and arc to it.

Listen to "The Magic Place."

Low Anthem feels low and bummed out.

2011-02-14T07:26:00.000-05:00

The Low Anthem - Smart Flesh
Nonesuch Records
-out Feb. 22
3 / 5

Since RI's wunder-quartet released 2008's "Oh My God, Charlie Darwin," they've toured with Iron and Wine, played several festivals, and, in short, became a national act. But on their new album, Smart Flesh, we're going to argue they've hit their sophomore slump (and this is their third album). While it gets off to a good start with the bluesy "Apothecary Love," most of the album falls somewhere between a foggy London day and an out-and-out funeral dirge. "Matter of Time" has the pulse of a doomed hospital patient, and "Burn" has a similar diagnosis (despite their ingenious use of cell phones). While somber isn't necessarily bad, you probably shouldn't be reaching for that bottle by an album's end. Smart Flesh plays a single note for too long, and while it can be pretty at times, it drags too much to give it a real recommendation. Pick up the brilliant "Charlie Darwin" instead.

Watch the music video to "Ghost Woman Blues."

And another album stream...

2011-02-09T20:04:00.000-05:00

This time from a band called Laetoli Steps. Their album's from 2010, but heck, music's music, right? You can check out their self-titled album here. Hope you guys enjoy this one, too, and feel free to shoot comments at us. Don't worry, we'll be getting reviews up in no time. Peace,
-Mgmt.

Bright Eyes streams latest on NPR

2011-02-09T08:56:00.000-05:00

Because you need to know:
Bright Eyes is Conor Oberst.
Their last album was the brilliant "Cassadaga."
Their latest album is streamed on NPR here.
That is, until the release on Feb. 15.

Enjoy!
-Mgmt.

Just so you guys know...

2011-01-27T20:23:00.000-05:00

The blog might take a mini-hiatus, as the main and sole contributor has started a new job. No worries, he'll get booted and be back to the blog in no time (not like he needs to try). Send him the best of wishes here!
The year's gone off to a great start, with Bright Eyes and Iron and Wine releasing within a month of each other. So what do you think the hot albums are going to be this year (other than My Morning Jacket)? Anything you want to see reviewed on the blog? Keeping you guys in mind, so peace out with extra peace,
-The Mgmt.

Weekend Edition: Sharon Jones rocked!

2011-01-22T15:16:00.000-05:00

Wow. So we don't usually post on the weekends, only in times of complete and utter emergency (like hearing the Decemberists streaming their new album), but we felt this rated somewhere between "Five Alarm Fire" and "Twelve Car Pile-Up," as far as emergencies go. Speaking of fires, Sharon Jones, the one and only soul singer in our hearts, nigh well burned down the house at The Music Hall in Portsmouth, NH last night, and shout-outs are especially deserved for her (and her Dap-Kings') performance. Let it be said, there was much a-singing and a-ringing, shaking and shimmying, and a general good time was had by all. Especially by the rather corpulent gentleman to whom she crooned on-stage ("Give it Back," we believe was the love song), and doubly-especially by some mysterious haberdashed "Tom" figure, who go the full onstage treatment for "Window Shopping" (was the scarf thing too much? Nah, just enough). Did this blog mention Jones was a fantastic soul singer? Perhaps it's somewhere on one of these posts. But in case you want a fuller experience (no photo pass this time, sorry!) suffice it to say Jones was in fine form, and the double-encore was definitely necessary.
So. What are you still doing around here? Go out and watch her!
(Ultra shout-out to the girlfriend for landing these tickets!)
Peace out,
-Mgmt

Shimabukuro's latest full of peace, love, and yes, ukelele

2011-01-17T11:11:00.000-05:00

Jake Shimabukuro - "Peace Love Ukelele"
Hitchhike Records
-out now
4 / 5

So then, you think you know everything about the ukelele. Not until you've heard Jake Shimabukuro's "While My Guitar Gently Weeps," the infectious cover from 2006's album of the same name (YouTube it!). How does "Peace Love Ukelele" measure up to that high water mark? It's still good, it's still an impressive talent on display, and it still gives solid originals and covers (one of Queen's "Bohemian Rhapsody," strangely enough). And while Mr. Shimabukuro is in excellent form, we're going to suggest that "Gently Weeps" is still our favorite; nonetheless, "Peace Love Ukelele" delivers all that: peace, love, and ukeleles. This album showcase a powerful musician who has settled in with a diverse setlist, and we suggest you try out "Bohemian Rhapsody" and "Hallelujah." Strongly recommended if you want to kick back, turn the heater on "blazing," and quaff Hawaiian drinks in this icy weather. Mini-umbrellas strongly suggested.

Visit Jake's site and listen to samples of "Peace Love Ukelele"

Fergus and Geronimo come off too unlearned

2011-01-12T14:35:00.000-05:00

Fergus and Geronimo - "Unlearn"
Hardly Art
-out Jan. 18
2.5 / 5

There's nothing wrong with lacking polish. Some acts benefit from it: it often shows frustration, or grit, or is just a style in and of itself. The blues band Jimi Hendrix started with complained he was out of tune; Coltrane, too, received harsh criticism early on for a lack of a full sound: yet there's no denying either musician's pure technical talent. But on the Denton, TX duo's premiere, a lack of polish is an obstacle to understanding "Unlearn." One thing that we don't get is a clear sense of Fergus and Geronimo's ability to craft simple, clear songs, which may be why the more complex selections here don't grab the listener's attention; rather, they flounder and frustrate like a fish out of water. Writing and performing music is a life-long task, and hopefully these two musicians will come to a stronger understanding along their music career sometime down the line, because some of the concepts are interesting: "Powerful Lovin'" and the title track surprisingly take their cues from Motown. While the album doesn't pay out like it should, one hopes a bit more practice and, yes, learning would help out these two. Until then, take a pass.

Listen to "Powerful Lovin'"

No analog(ue) to Tapes 'n Tapes latest rock album

2011-01-10T14:50:00.000-05:00

Tapes 'n Tapes - "Outside"
Ibid Records
-out Jan. 11
4 / 5

There's no "magic bullet" to what works in music, no specific tempo or chord changes or guitar hooks, but if there were one element we'd have to pin on the success of Minnesota, MN's Tapes 'n Tapes latest album it would have to be Josh Grier's pushing his vocal boundaries. The punkish color to his vocals is in part what makes "Outside" more successful than "Walk it Off;" it charges these rock songs with an energy lacking in their previous release. The other part of it may well be the whimsical attitude of the instrumentals on some of these songs (guitars on "One in the World," for instance), which keeps the heavy instrumentation in check. Tapes 'n Tapes aren't here to make particularly deep music, but that's okay when you get something joyous and synth-heavy like "On and On and On," our first looped and relooped single of the year. It's pop/rock in its finest form, and deserves your listen. The remainder of this album is strong, and though "Nightfall" seems a bit heavy in comparison to the other material, Tapes 'n Tapes arrive in fine form and end on a high note. Pull out that Strokes album you've been listening to for the past decade, as it's time to crank something new. Recommended.

Steam "Outside" at Spinner.com!

Weekend Edition: Decemberists stream album on NPR

2011-01-08T15:42:00.000-05:00

So here it is, finally: The Decemberists' latest album. We're prickling with anticipation, and figured, "Hey, since you can listen to the full thing, why muck this up with a review right now?" Decide for yourself whether The Decemberists' "The King is Dead" deserves to be on our year-end list of 2011. And feel free to post comments galore here; just keep in mind it's only going to be up until the release on Jan. 18, so be sure your listen in before you crack open that (warning: "Pulp Fiction" reference) "Bad Motherf*#!er" wallet. Here's the link to the NPR stream:
"The King is Dead"

Tell us what you think!

For a "Toxic Apartment," it's got some charm

2011-01-06T14:33:00.000-05:00

Ethan Gold - "Songs from a Toxic Apartment"
Gold Records
-out Jan. 11
3.5 / 5

Nothing's ever perfect, but at least with Ethan Gold's "Songs from a Toxic Apartment," you won't have to put up unsanitary listening conditions. These off-kilter pop songs give you solid choruses, good beats, and strong song structure; and when the sound opens up, the album can be unabashedly satisfying, if in a strangely predictable way. Still, when you're given a song like "Poison," it's hard not to appreciate funky guitars, the steady drive of the vocals, and the full sound Gold is capable of. The album presents a diverse sound within rock/pop, and the moments where it pays-off is generally in the earlier parts of the album. Unfortunately, some of the later tracks are plodding and a bit undeveloped ("I.C.U. (Toxic)"), but it wraps up well, and overall you find a few tracks on here that you'll be happy with. Like we said, nothing's ever perfect, but Gold gives a strong enough performance to garner a recommendation from us.

Listen to "Come Beat it Down": http://www.planetarygroup.com/newmedia/pages/ethangold/mp3/comeonbeatitdown.mp3

The Soft Collapse offers album for DL

2011-01-03T10:27:00.002-05:00

It's a tough time out there. That's why Brooklyn's Soft Collapse is offering their album "Little Songs" potentially for free on Bandcamp .com. We'll give you the link in a little bit, but considering the following: "Easy" is a somber little track with National-styled vocals; "Black on Black on Black on Black" references Johnny Cash AND Batman; and though the best things in life are free, you probably wouldn't mind supporting whoever gave them to you. So we suggest you try out those two tracks up there, and determine what you think is a fair price for this pleasant, patient, shy-from-the-light indie release. So help them out a bit, as they're working on a new album as we speak. Now here's that link:

http://thesoftcollapse.bandcamp.com/

In lieu of a full review, tell us what you think! (It's pretty good, no?)
-Mgmt

And big ole #1: Deer Tick

2010-12-24T17:13:00.001-05:00

It's not the trashy mustache John McCauley usually wears (not pictured). It's not the raucousness during shows, the fact that he oversleeps for interviews, or even our shared RI connection. It's the fact that, after all's said and done, "The Black Dirt Sessions" is still one of the best alt-country albums we've ever heard. Composed of Ian O'Neil, Chris Ryan, and Dennis Ryan, their brilliant debut "War Elephant" put them on the national stage, and for all its merits, we're arguing "Black Dirt" is even better. With a mostly acoustic setup, it's dark, crushing, and absolutely fantastic. McCauley's agitated voice and a piano sounds, well, not all that desirable, but it works marvelously here, and if you don't give it a try, then we feel sorry for you. As strong now as it was when it kept us glued to the stereo months ago. Raise a Coors: happy holidays, John Joseph McCauley III.

No.2: Horse Feathers

2010-12-23T16:39:00.000-05:00

Justin Ringle is a nice guy. As the lead singer/ songwriter for Portland, Oregon's Horse Feathers, we are impressed not only with his general niceness, but with his delicate vocals, lush instrumentation, and sense of beauty on "Thistled Spring." Speaking of instruments, his band, which consists of Nathan Crockett, Sam Cooper, and Catherine Odell must have a couple buses of instruments between the three of them (that's Crockett bowing a saw in the yellow shirt). It's their collective talent that crafts a kind of folk that's so gorgeous, it's an occasion in and of itself to sit down and listen to it. "Starving Robins" and "Belly of June" are only a couple tracks that capture our imagination with an acoustic explosion of that startles and tingles the senses, and any fan of Iron and Wine's acoustic material will find an equal in Ringle's songwriting and performance here. Heck, any fan of good music should be able to put this in and think of a couple people they'd like to share this one with. Here's to a strong 2011, guys (and gal).

No. 3: Chain Gang of 1974

2010-12-22T15:06:00.000-05:00

It's funky, it's infectious, it's none other than Kamtin Mohager's Chain Gang of 1974 (see vampire at right). The Denver, CO native breaks out all the stops for a perfect blend of punk/dance/pop explosion that is the solo debut "White Guts." We've cranked up "STOP" on the sound system for more than half the year, a beat-driven psychediscopunkadelic opener that layers choruses and simply doesn't relent. While you're at it, you might as well put on "F'n Head," a bass-heavy, tangled mass of electronica that damn well makes you punk out your f-ing head. The ten tracks here play fun and tough throughout, and the only requirement to enjoy them is to have an open ear and a live pulse. Or maybe that last one's not a requirement (see vampire again at right). Regardless, we're so certain that anyone can pick up and enjoy this thrill-ride that we're willing to wager our collection of shiny pants and fuzzy dice on it. Not for the kiddies, due to that one track mentioned above, but they're too young to have this kind of fun, anyway. Keep in touch, Kamtin.

No. 4: Sharon Jones and the Dap-Kings

2010-12-21T18:22:00.000-05:00

True soul singers are tough to come by. So when we finally heard about Sharon Jones and her Dap-Kings, we were a bit skeptical. "Yeah," we thought, "but can she really sing the part?" Thankfully, she can. Sophomore album "I Learned the Hard Way" is coursing through with soul, body, too, and is the kind of album we were dreaming of since Motown had its day. It's tough to pick only a few highlight tracks, considering the whole album truly is fantastic, but try on "Mama Don't Like My Man" and the title track. If you're still not convinced after listening to those tracks, then maybe you should have your ears checked. Seriously. Great, authentic soul music that'll always have a home in your collection.

No. 5: School of Seven Bells

2010-12-20T18:02:00.000-05:00

If you've ever purveyed your local dance/ trance halls, you've probably noticed that there's much too much bad dance music. You know, the kind of stuff that requires that extra drink just so you can try out that new dress on the dance floor. With "Disconnect from Desire," the sophomore album from the trio composed of twin sisters Claudia and Alejandra Deheza, as well as former Secret Machines rocker Ben Curtis, you'll gladly get out and groove in a potato sack. The reason why is simply: good dance music grabs you and puts you on your feet. Whether it be "I L U" or "Bye Bye Bye," SVIIB puts the perfect amount of polish on these sonic gems, and if we were to make a comparison to, say, cars, it comes off feeling like a Porsche: it's svelte, it's intoxicating, and it makes you feel good just for being around it. Layered electric guitars, synth, and vocals makes for pure pleasure, and you can always check out "I L U" on the MySpace site above. Excellent job, gals (and guy).

Year-End Review! Yippee!

2010-12-20T13:34:00.000-05:00

Hello all,
We're sitting around, mulling over which albums should be in our top 5. It's really tough, considering this blog has covered twice as many albums this year as last, and hopefully will cover two times more next. A select few haven't come through (Arcade Fire, for one), so keep in mind the scope of this tiny, teensy-weensy little blog. If you're really aching to know what our selections will be, we'll give you a little hint: The National doesn't make the list. Sorry to lovers of "High Violet," it's too monochromatic for our tastes.
Hopefully decisions will be made, and there's time for revisions which a minute needn't reverse. Thanks for keeping up, and if all goes according to plan, we'll get started today until X-Mas Eve (just to help with your last-minute shopping). Peace and holidays,
-Mgmt

Von Stetten's "Pyramid" could be built stronger

2010-12-18T17:17:00.003-05:00

Kurt von Stetten - "Pyramid"
Static Motor Recordings
-out now!
3 / 5

Admittedly, it takes a few listens to get used to the Boston-based multi-instru-mentalist/ photographer's fifth solo release. It's probably Kurt von Stetten's authentic and organic approach to "Pyramid" that makes it an acquired taste, but our main complaint is that it still lacks that mysterious force that grabs you and makes you put his record on. There's no one way about it: memorable guitar hooks, catchy choruses, and strong power-vocals are among the common ways a band crafts a song that sticks with you. And, in a good way, there's nothing common about von Stetten's off-the-beaten-path indie approach; nonetheless, tracks such as "Aioki" and "1st Base" could benefit from a bit more sprucing-up in all three departments. "Come Correck" doesn't need this extra flash to pull it off: it's the most realized of the tracks here, easy to pick up on the first listen, and not lacking in depth and replay, either. A select few may be willing to sit down and appreciate the unusual song structures and general low-fi, low-key attitude, but overall, there are other albums in the style that deserve your cash more. Take a pass.

Listen to "Pyramid": http://kurtvonstetten.bandcamp.com/album/pyramid

Analog Moon ascends on "Secret There Below"

2010-12-15T15:22:00.001-05:00

Analog Moon - Ascent and the Secret There Below
Circuit Rider Productions
-out now!
3.5 / 5

With a little twang of country does Asheville, NC's Analog Moon release their second full-length. On "Ascent and the Secret There Below," pop is ultimately the flavor of the day, especially on "Soda City," replete with falsetto in the chorus and a great, driving beat. The self-described "band of ideas" has good ones throughout, and has obviously taken time and care to hone them down. The moments of weakness are when the whetstone of editing (how's that for a metaphor?) has ground down a little too far, and not left enough room for these strong ideas to flourish a little bit. The proof is in the pudding right on the opening track, "True Secrets of the Wiser," which feels like it's missing a guitar lick and maybe a bit of instrumental layering. Otherwise, you get a track like "The Hillside Cries for Carmen Fry," with good balance, good vocals, and a good presence. A good, but not great, album; still recommended.

Listen to "Soda City": www.myspace.com/453173424

Liz Janes doesn't anchor down her latest

2010-12-13T12:04:00.002-05:00

Liz Janes - Say Goodbye
Asthmatic Kitty
-out now!
2.5 / 5

Liz Janes can be cool, Liz Janes can be smooth. But on Liz Janes' "Say Goodbye," her latest release in five years, she comes off slight and under- whelming. While the opener, "I Don't Believe," sways sexily with Rhodes and percussion (and we do adore that), much of the album comes off too pretty and music-box-y. "Bitty Thing" and Time and Space" fall into this description almost intentionally, with glockenspiel and whispery voices making the track a bit too saccharine. What makes that opening track so strong is the depth of personality it has, striking a fine balance between delicate and seducing; the next closest moment would be "Anchor," on which she colors her voice with a bit of aggravation in it. A track and a half, though, aren't quite enough to lift up an entire album, and one reason why it might not work for us is that these tracks don't spread their net wide enough in terms of diversity; another might be Janes' similar attack on the vocals. Pop in your favorite album, and probably your favorite track is the one where the singer gets out from behind her mic and really belts one out. Here, Janes doesn't have a moment where she steps into the unknown, and what begins with a promising start, simply doesn't follow through. Some moments, but not enough to recommend it.

Listen to "I Don't Believe": asthmatickitty.com/liz-janes

Sharon Jones is a queen among Dap-Kings

2010-12-02T10:10:00.001-05:00

Sharon Jones and the Dap-Kings - "I Learned the Hard Way"
Daptone Records
-out now!
-4 / 5

So you've been lamenting the end of Motown ever since you learned about the Temptations and the Four Tops. We'll, we've got good news for you: Motown is alive and well in Sharon Jones. The powerful singer belts in the tradition of Diana Ross, and her Dap-Kings back her all the way: horns, backup singers, strings and glockenspiel carry the tradition of the Supremes et al. It's no surprise that many groups of the Supremes' era have carried well over the years, as they contain powerful lead singers and harmonies, as well as deep, layered instrumentation that damn well grooves. Jones and her Dap-Kings have certainly done their homework with all the above, and the feel they produce here could easily have fit into the golden '60s. It's classic (and classy) music executed the way it should be: full-force, for the sheer love of it. This worthy visitation of a difficult genre makes all the hard stuff seem easy, just the way it should be. Recommended.

Listen to: "I Learned the Hard Way": www.myspace.com/453173424

Linfinity blooms on "Martian's Bloom"

2010-11-24T11:51:00.002-05:00

Linfinity - "Martian's Bloom"
American Myth
-out now!
3.5 / 5

Dylan von Wagner's vocals haunt like Duncan's ghost on the sophomore release by New York quintet Linfinity. Spinning up this mixture of somber rock via David Byrne, we're reminded of the strong vocal presence of the National's and Shearwater's lead vocalists. There is no denying that it's Wagner's voice, take it or leave it, that supports Linfinity's efforts, but credit should be given to such tracks as "Choo Choo Train to Venice," which rocks like an iconoclastic surf-influenced punk, and "MSG," which feels inspired by the Talking Heads. While, lyrically, "Martian's Bloom" doesn't grip as tightly as we'd like it to, these tracks are sonically solid, and likely to please any fans of the aforementioned artists. What impresses especially about Linfinity is their attention to song structure (see "Morning Heights"), and their diversity of sound and mood; while that's no guarantee of a successful music career, we're definitely going to keep our ear out for the next release. Recommended.

Listen to "MSG": www.myspace.com/453173424
Or listen to Linfinity live in Providence, 11/28: www.venuevents.net/venue/CLUBHELL

Avi Buffalo balances art and uncouthness. Mostly.

2010-11-17T11:44:00.002-05:00

Avi Buffalo - Self-Titled
Sub Pop
-out now!
3.5 / 5

The debut by Long Beach-native Avigdor Zahner-Isenberg begs the question: is there such a thing as beautiful crassness? Should vulgarity sounds so pleasant? Perhaps the answer lies in "What's in it For?" the clear, takeaway single from this collection of light, airy tunes. Nothing here hits harder than a light pluck, which is surprising considering some of the material ("Five Little Sluts," "Where's Your Dirty Mind"). While Zahner-Isenberg carefully straddles the line between art and outright disgustingness, generally he plays it just risque; our main regret on here is the song "Summer Cum," which is a needless overflow of... perhaps it needn't be mentioned. But other than that track, "Avi Buffalo" is indie pop strong enough to support itself. For the future, hopefully this act will show a bit more restraint and a little less juvenile impulse. Still recommended.

Listen to "What in it For": www.myspace.com/453173424

Free Holiday music! And no more fever!

2010-11-15T07:50:00.000-05:00

Sorry everyone,
I'd just been stricken down with a terrible bout of the lazies, followed up with a nasty cold. So these past two weeks have kinda been slow, and I felt it would be nice to give away some free music, courtesy of XO Publicity. Here's the link:

http://www.xopublicity.com/xofortheholidays3.html

Tell me what you think! Hope you enjoy it, and Happy Holidays,
-Mgmt.

Blizten Trapper captures classic-rock vibe on "Destroyer"

2010-10-27T11:23:00.001-04:00

Blitzen Trapper - "Destroyer of the Void"
Sub Pop
-out now!
4 / 5

Since 2008's breakout "Furr," Blitzen Trapper has been (in personal opinion) a somewhat over-hyped band. But on "Destroyer of the Void," the Portland, OR rock group pulls out all the stops, culminating in a fine selection of songs that would enthuse even the strictest of rock listeners. The title and opening track hits such a strong classic-rock vibe, that this little blog believe it merits comparison to "Stairway to Heaven": with strong, rock-out guitars, it is Blitzen Trapper's height by and far, a dizzying array of musical themes whose structure feels at ease with Led Zeppelin's famous rock-suite. Will "Destroyer" be compared to "Zoso" years from now, Eric Earley to Robert Plant? Probably not, but damn, it is such a fantastic ride that Zeppelinites and those classic rock guys who say the art is dead (you know, all that "there is no good music anymore" garbage) will choke on their tongues. Listen to the title track and be impressed; the rest is also fantastic. Recommended.

Listen to "Heaven and Earth": www.myspace.com/blitzentrapper/music

Interview with Susan Cowsill

2010-10-21T11:10:00.002-04:00

... is in the Newport Mercury this week. Pg. 12 has all the details. Check it out: www.newportmercury.com.
Peace out!

Slow Club's debut drags

2010-10-14T12:21:00.001-04:00

Slow Club - "Yeah, So"
Moshi Moshi Records
-out now!
3 / 5

If every song from every band could be as intimate and quirky as "When I Go," the opener from Slow Club's debut, we'd be pleased as punch. The UK duo creeps into this track like a strange little She and Him, acoustic with a touch of sadness, and it comes off soaringly. But when the rest of Yeah, So picks up, the driving percussion and fevered pop energy aren't enough to carry through (but still check out the story on "It Doesn't Always Have to Be Beautiful"). Comparisons have been drawn between Slow Club and the White Stripes, and if there is a belabored comparison to be made, it is with a caveat: while one is sonically and lyrically cleaner, the other's grime and distortion speaks more effectively. Polish isn't necessarily a bad thing, but Slow Club has too much of it, which has the unfortunate effect of blanching out the personality to the music. The live tracks on the bonus bonus disc are nice, but not quite enough to give it a recommendation. Nonetheless, download that fantastic single, and check out the link below.

Listen to "It Doesn't Always Have to Be Beautiful": www.myspace.com/453173424

Climber reaches new heights on "The Mystic"

2010-10-11T11:44:00.002-04:00

Climber - "The Mystic"
Sparklet Records
-out Oct. 19 (DL available tomorrow)
3.5 / 5

The Portland, OR outfit's third release comes in the form of "The Mystic," a psychedelic rock-suite not unlike something the Flaming Lips might put out. Opening is "The Simians Speak," a sonically delightful tale that blends philosophy with - indeed - sign-language talking monkeys. Before you run out screaming, let us say this: the paired down psychedelia joined with a deep, meaningful statement (plus monkeys!) just plain works. Even without the apes are sonic and lyrical statements that you might expect from Pink Floyd ("Flying Cars") and Brian Eno ("I Have Seen Everything"), which makes for a varied and colorful album. The weakest aspect of The Mystic, other than the Jolly Green Giant (TM) on the cover, is that they play in a genre that is rife with such strong and bizarre talent, that it makes it difficult for Climber to make a strong statement that will stick. Consider that even Wayne Coyne covers himself in gallons of fake blood during shows, despite glowing critical reviews. Climber, then, may find themselves a bit too middle-of-the-line to breakout here, both in terms of their sound and lyrics (yet), but if the material here is any indication of their future, it won't be too far away. A pleasant and unexpected surprise, as well as recommended.

Listen to "I Have Seen Everything": www.myspace.com/453173424

A new feel for Sufjan's new "Age"

2010-10-07T08:44:00.002-04:00

Sufjan Stevens - "The Age of Adz"
Asthmatic Kitty
-out Oct. 12
4 / 5

Perhaps a more appropriate title for Detroit-native Sufjan Steven's latest album might be "Sufjan Battles the Pink Robots." That is to say, there are certainly Flaming Lips-ish space-a-delic themes both lyrically and sonically throughout on his seventh full-length album (excluding Avalanche), and those attuned to Beck's electronica will almost certainly enjoy themselves here. The downshot is that fans of his breakthrough album Illinois may find themselves surprised, and not always in a pleasant way, as to this new direction; stepping back, Stevens still provides an excellent sense of the pop dynamic, as well as several layered and gorgeous songs ("Too Much," "I Walked," and the title track, to name a few). The only real sense of disappointment comes in contrast to 2005's Illinois, his previous album of original pop material, which is soaring and majestic; Age of Adz approaches this height, albeit a bit more distractedly. Nonetheless, any other electronica musician would proudly list this album under their accomplishments, and Age of Adz certainly is an accomplishment. A melding of the synthetic and acoustic, Steven's latest opus is absolutely recommended.

Kings Go Forth as royalty

2010-10-04T14:53:00.001-04:00

Kings Go Forth - "The Outsiders Are Back"
Luaka Bop
-out now!
4 / 5

Take Earth, Wind and Fire, add dense layers of percussion and a female lead vocal, and you might come close to Milwaukee's retro-funk-soul outfit Kings Go Forth. With uplifting melodies and soulful harmonies, Kings brings back everything you loved about the 70s scene (shiny suits aside) on their debut release. And if you forgot what some of those things were, "You're the One" will certainly remind you again: singable choruses, bright, danceable rhythms, lyrics that transport you straight back to back-seat first-kiss nostalgia. Our favorite, "High on Your Love," is so pure and gorgeous that even the bitterest cynic must surrender and put on a smile. On it, Black Wolf declares "Let's make love on Jupiter/ While the Earth sleeps tonight," and if there's one thing this album does on each track, it is to make love. Enjoyable, refreshing, new (and old), and definitely recommended.

Listen to: "High on Your Love": www.myspace.com/453173424

Frontman Wayne Coyne approaches the tour at his own pace.

2010-09-28T11:35:00.000-04:00

Few could predict that an indie punk group from Oklahoma City would have such an innovative presence in the music world. At 49, Wayne Coyne (center) and his quartet of space-a-delic freaks, including bassist Michael Ivins (right) and drummers Steven Drozd (left) and Kliph Scurlock, have earned a Grammy, covered Pink Floyd’s “The Dark Side of the Moon” in its entirety, and toured relentlessly across the world. Currently on tour for their first double-album Embryonic (excluding Zaireeka, their 1997 four-album experiment), the self-deprecating Coyne delivers about the not-so-glamorous side of touring, as well as about future projects. And definitely feel free to check out their 10-10-10 concert in Austin, TX (www.flaminglips.com/tour/2010/10/10, www.ticketmaster.com), which promises to drench you in 100% authentic fake blood.

M: Thanks for your time. Do you mind if I record the interview?

WC: Sure. I don't expect you to write it all down and remember it. I'm not doubting your ability to remember, but, see, I just talk. It might be a lot easier for you to say, 'Nah, that fucker goes on too long.'

M: At 27, being 49 seems like a long way to travel.

WC: I remember when I was 27, I would think about someone who's almost 50 years old: 'Dude, are you alright?' I don't ever get the feeling that I'm any different. It's only when I look in the mirror sometimes that I think, oh wow, I look like a weird old guy. I don't feel different to myself. It's a strange phenomenon.

M: How's your tour for Embryonic going so far?

WC: We're never really on tour for very long. We'll go out for maybe about ten days, play some shows, then we'll go home for ten days... we're always doing everything at the same time. Since we're playing some shows in the summertime, you always run into other groups, and we ran into a group, Trombone Shorty, just last night. They're almost into their third consecutive month of playing. That can beat you down. I already did that several times - when I was your age - and it can be such a mind-fuck, you're so torn away from your life that you're trying to build, the people that you knew. Like I said, I'm 49 years old, and the other guys, they're not as old as me, but they're not in their early 20s. I think they don't want to be taken away from their families and their lives for that long. And you can almost go endlessly the way we're going. You can almost never stop, because we're going full-time. Doing the Flaming Lips tour is kind of like working at Target: it just kinda is. It's not too hard, you just get up and go to work.

M: I know some musicians that have kids, and touring must be rough on them.

WC: Especially for musicians. The reason I say musicians is that they have a sensitivity about them, or they probably wouldn't like music. And all these things that play into human dramas and emotions are just a little bit more, either enjoyable, or a little bit more painful. Sometimes I think groups try to say 'we're going to play for six months straight,' and then take three years off. You know, that's easy to say, but a lot of things happen to people in six months that you cannot reverse. Especially if you have young children. Six months, they'll be completely different little creatures by then. We don't want that. We want to make our music, do our performances, do all these things because we love what we do, not put one thing that we love on hold so we can have another. We want to have it all at the same time.

M: On the positive aspect of that, do you have any good tour stories?

WC: (Laughs) I don't know, a lot of times there's not that much crazy shit going on. When we played at Bonnaroo about a month ago, you play into the night pretty long, and there's a lot of young people there that are doing drugs and stuff. So those [gigs] always play more into the good old rock and roll stories. After we got done, it was about ten minutes after three in the morning, I went over to the LCD Soundsystem stage, where they had just started their set - and I sort of Tweeted about it the day afterwards - but this big, naked guy sort of attacked the stage. Me and, what's this comedian's name, Aziz Ansari? - this giant, freaked-out naked guy, had to be doing some acid or something, simply attacked the stage, and we sort of had to hold him down until the security guards could take him away. It was a very strange, charged moment, where that doesn't happen to you every day. You know, where you're suddenly assailed by a 300-pound, naked guy, and he's all sweaty and he's drenched. That's probably the last phenomenal rock-and-roll moment that happened to us.

M: I guess at that moment you're glad that you pump iron five times a week.

WC: I don't do that much, but I do yoga almost every day. So, yeah, you're glad that you have energy and you can react and you don't feel intimidated. I know you're saying that jokingly, but I mean it. To be in a group, and to do all these things; you wouldn't want to do it if you don't have a lot of enthusiasm. So yeah, I jumped right to task. We didn't really want to. The guy was very strong but he was pretty slippery, because he was so sweaty. The slipperiness made it impossible to grab him. It's a good trick. If you're ever going to run from the cops, strip yourself naked and be slippery.

M: Sure. I should probably carry some cans of grease, too.

WC: (Pauses) Then their only solution is to taze you.

M: You've also toured Europe and around the world. Any places you’ve enjoyed outside of the US?

WC: It's all pretty great when you're a group like the Flaming Lips. Most everywhere that we would go nowadays, we're invited to play by a group of enthusiastic 'freaks.' We just recently went to Croatia, and we played the Glastonbury Festival (in UK) and got to see Snoop Dogg, meet Mick Jones from the Clash. Hang out with Damien Hirst. There's a lot of great things that can happen to you simply because you're just traveling the world all the time. But the other side of it is that you spend a lot of time in airports and on airplanes. Sometimes you get done playing at two-o-clock in the morning, and you have to get to the airport at four-o-clock in the morning. Running from one show to the next, everything is 'hurry hurry hurry' all the time. Sometimes I think it's too many experiences. It'd be like having to eat twenty meals in one day. There's just no way you can enjoy all the things that are happening.

M: Do you have anything new on the horizon?

WC: We're always - I don't know if 'contemplating' is the right word - but you're always considering new musical ideas, new things that you want to play into. We're always doing little movies and little videos. I just shot an ending of a video for a song on Embryonic called "See the Leaves." We were shooting this guy on the north side of Oklahoma City who has a big acreage where he's burning a bunch of his brush that he had chopped down. So we saw this giant fucking bonfire. We shot for an ongoing piece in our storyboard there. So it's always a kind of combination of everything: new music, and new movies, new videos, new things for our website, new toys, new t-shirts. Everything is a Flaming Lips creation. The great range of things that you can do readjusts your focus on music.

M: Last question: Karen O of the Yeah Yeah Yeahs made a brief appearance as a frog on Embryonic. Would you consider a fuller collaboration with her?

WC: These are definitely collaborations of a sort. I don't know. For me, I'm more comfortable doing these types of collaborations, where I have the song written, and I have the arrangement, and I just simply call Karen and say 'All you have to do is be you, and I'll do all the work.' A lot of artists don't really want to collaborate in the sense that people think they do. The art is a lot of times just made very intensely. You simply say, 'I like this and I don't care what you think.' That is in a lot of ways how art is made. And when you're collaborating with someone that you love and admire, the way that I was working with Karen O, it's not so much a collaboration, as it's me giving her a format for her to be her pure self. And that's different than us writing a song or writing lyrics or writing an arrangement together. So, I don't know. If whoever called me up and said, 'Hey, do you want to do this,' I would always be open for it. I'm open to new experiences and new failures or successes. But I could understand how a lot of people wouldn't be. It's nerve-wracking; it's not always very pleasant. I try to make ours as easy, as quick, and as pleasant as possible. They simply can do this little thing, and be part of this bigger thing. That's why most artists would want to do it in that way, more than a 'Hey Henry (Rollins), why don't you write a song today?' A lot of people will do that to us. I'll say 'not really, but I will, if that's what we're doing.'

M: You're definitely right: you talk a lot. But it works with interviews.

WC: (Laughs) I know I paint it like it's going to be torture, but I'm trying to give you as much a lay of thinking about me as you can. Make me sound cool.

Fake Problems make for (a few) real grooves

2010-09-27T12:13:00.001-04:00

Fake Problems - "Real Ghosts Caught on Tape"
One Side Dummy
out now!
3 / 5

Pure adrenaline pop/rock is the order of the day when it comes to the Naples, FL indie outfit Fake Problems. Perhaps some of the best direct comparisons would be the bands Fun., the Gaslight Anthem (downtempo, without echo on the vocals) and perhaps Motion City Soundtrack (without the extreme sugar rush), and that does fine with us; it's that opener, "ADT," that pulls us in. Then why the long face? Well, (thanks for asking), it's that Fake Problems doesn't present particularly fresh material. Scrabbled together from a handful of catchy guitar licks, a few cliches ("Hold out your weary hand," "When you think it can't get any worse") and some familiar-sounding songs (the opening guitar riff and backup vocals to "Soulless"), "Real Ghosts" doesn't have enough substance to haunt everyone's CD collection. But there's enough energy and drive here to recommend it for the pop enthusiast.

Listen to "Soulless": www.myspace.com/453173424