بالاخره پس از امروز و فردا کردن، چهارمین آلبوم گروه سمفونیک دِث متال¹ (کلاسیک متال) هاگارد²، با نام افسانه ایتیریا (Tales of Ithiria) پنج روز پیش منتشر شد. این آلبوم پس از انتشار آلبوم Eppur si Muove در سال 2004 منتشر شد که بیش از یک سال، طرفداران را منتظر خود گذاشته بود (قرار بود در ژانویه 2007 منتشر شود).

اینبار بر خلاف آلبوم های پیشین که اشعارشان براساس شخصیت های بزرگ حقیقی و تاریخی نوشته شده بود، داستانی تخیلی به سبک قرون وسطی را روایت می کند که احتمالا 1700 سال پیش اتفاق می افتد. (در مورد آلبوم Eppur Si Muove در وبلاگ پیشین نوشته ام)

متاسفانه هنوز به میزان لازم آلبوم را نشنیده ام تا در مورد موسقی، اشعار و درون مایه آن نقدی بنویسم (حداقل دو هفته باید مکرر شنیده شود)، اما به آهنگ "پسر ماه"³ در این آلبوم که بازنوازی از گروه Mecano است اشاره ای می کنم.

آهنگ Hijo de la Luna یا پسرِ ماه، توسط گروه اسپانیایی Mecano در سال 1986 نوشته شده (بوسیله Jose Maria Cano)؛ توسط افراد مختلفی از جمله Sarah Brightman و Loona بازنوازی شده و شهرت فراوان یافته است. اینبار هم در لیست آهنگ های آلبوم جدید هاگارد قرار گرفته است.

اصل شعر به اسپانیایی است که داستان یک زن کُولی است که یک شبِ کامل را از ماهِ کامل طلب شوهر می کند. در آخر، ماه تقاضایش را قبول می کند با این شرط که اولین فرزندش را به ماه بدهد.

وقتی فرزند متولد می شود، پسری است روشن با چشمان خاکستری که هیچ شباهتی به پدر ندارد (احتمالا زال است). مرد فکر می کند که همسرش به او خیانت کرده است و زن را با چاقو می کشد. پس از آن پسر را بالای کوه می برد و رهایش می کند.

ماه پسر را به آسمان می برد و وقتی ماه کامل است، نشان این است که پسرک خوشحال است و وقتی گریه می کند، ماه کاهش می یابد تا برایش گهواره ای بسازد. شعر می گوید که ماه فرزندی می خواسته است اما هیچ عاشقی نبوده است تا حامله اش کند.

این آهنگ با نواهای خاص گروه Haggard در سبک سمفونیک متال بسیار زیبا و شنیدنی است.

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1. Symphonic Death Metal

2. Haggard

3. Hijo de la Luna

Singer-songwriter and multi-instrumentalist Richard Swift has just released a new recording, the digital EP Ground Trouble Jaw. The five tracks run the gamut from 60s girl group pop to Motown soul to Swift-flavored 50s street gang doo-wop (remember Dion anyone?) to synth-fueled pop classics, all with Swift's emerging trademark vocals which bring his songs to life like few other singers of today. The EP is being given away for free for a limited time via emusic. You will find the tracks featured over at Swift's myspace page as well. By the way, Richard Swift is soon hitting the road again, this time together with Stereolab (which, according to Spin Magazine, happens to be "one of pop's 50 most influential ensembles").

A video featuring "Kisses For The Misses", a track from Dressed Up For The Letdown, Richard Swift's excellent album released in 2006:

Not often am I generally satisfied and refreshed by a post-rock album. There are albums like Have a Nice Life’s Deathconsciousness which are refreshing for all their originality, and then there are eargasms like This Will Destroy’s 2008 record, etc. Even The Flashbulb's latest is an artistic masterpiece, yet it is filled only with sparse enjoyment. A defining record that accomplished both tasks was Yndi Halda’s Enjoy Eternal Bliss, an album that just destroyed me when I first heard it. Spokes aren’t trying to recreate the huge effect Yndi Halda made, but they display the same finesse on a smaller scale. People Like People Like You is an excellent album for post-rock beginners and veterans alike.

Whether it's the beautifully concise "We Like to Dance and Steal Things", or the simply gorgeous "End Credits/Love Letter", Spokes songwriting talent is evident. The British quintet play instrumental rock, but they also tastefully employ vocals on a few tracks. Most prominent on the slightly exiguous "Precursor"; the voice isn't the most pleasant one I've ever had, but it has an attractive raw emotion to it. The vocals accentuate their creativity, for it is not very often that they are used in the genre.

People Like People Like You is simply a brilliant post-rock album that I can't imagine anyone disliking. At first I was a bit underwhelmed by it, yet after turning up the volume and really soaking up the tracks, the albums power became clear.  If you pick us this album looking for some eccentric creativity I may have (unintentionally) implied in this review, you may be a little dissapointed.  The freshness of this album (partially attributed to vocals, yet they aren't really all that uncommon) is mainly due to how well Spokes do post-rock.  The instrumentation and voices are just so easy to enjoy, it's almost criminal.  This is an album everyone should check out.

4/5

Dr Manhattan is a florid Illinoisan post-punk quartet. This, their eleven-track debut, is a solid start for a young group.

One need only skim the album’s liner notes to recognize Dr Manhattan’s outlandish attitude. Nothing like their steely namesake, Dr Manhattan consists of keyboardist/percussionist (he basically beats on a giant floor tom) Andrew Morrison, guitarist and singer Matt Engers, drummer Nick Vombrack “our dad”, and bassist Adam Engers who provides backup vocals as well as “fur”.

After Foal’s underwhelming and overhyped debut release Antidote I became quickly disinterested in the current post-punk scene. It seems that all of the experimental/dance-punk bands I’ve listened to lately fail to really deliver long-lasting hooks or show any diversity. Either that or they crash and burn in their idiotic pretension, with cringe inducing lyrics ala Black Kids or just poor instrumentation. Welcome Dr Manhattan. As unlikely a visitor as you’ll get, they’ve garnered attention by playing Vans Warped Tour supported by Brit scenesters Bring Me The Horizon, quite possibly the oddest match ever. Dr Manhattan's live show is ridiculous and one of the funniest performances I’ve ever witnessed. Whether because of their antics or apparel, you find yourself laughing and dancing all at once. Plunging beneath a group synopsis, Dr Manhattan is one of the freshest albums I’ve had the pleasure of hearing this year.

The album begins with the distorted and upbeat “Big Chomper, Big Chomper”. Reminiscent of a Forgive Durden track, it is charged yet groovy, completed by higher pitched vocals. “You Put The I In Team” is a more aggressive track which includes piano lines and vocal harmonies. “Claims Should Echo” sounds like a combination of !!! and Kiss Kiss, a group Dr. Manhattan has befriended and previously toured with. The definitive track on the album is easily “Gunpowder: A Ballet”. Engers voice shines as he sings strong melodies throughout. Morrison’s keyboard lines really compliment the track and Vombrack’s drumming is creative and tight.

Then comes “Tracey’s Buns”, an acoustic interlude of sorts. Shamelessly plain and poorly performed, it’s careless simplicity makes it a loosely accepted track. It sounds more like a homespun ballad then some pretentiously overblown acoustic moment. milkshakes are pretty ***ing tasty / but I enjoy you more / because you’re Tracey / and I love you so much sings Engers. After “Tracey’s Buns” Dr Manhattan returns to its frenzied catchiness with four strong closers. “To Feel Cozy Surrounded By Cats” is another catchy dance-punk track featuring quick high-hat work and thick synthesizers. “Minds Like Ours” has a chorus that would fit in any pop-punk song if it wasn’t surrounded by tenuous organ chords.

In conclusion, Dr Manhattan is a group brimming with fresh wit, tight both instrumentally and lyrically. Engers voice is pleasant, and the group is even better live then they are on the album. A promising rookie act, look for them to develop in the future, a bright spot on a dismal scene.

3.5/5

]]> http://rocksyndicate.wordpress.com/?p=24 Fri, 01 Aug 2008 12:07:17 +0000 The Rock Syndicate http://rocksyndicate.wordpress.com/?p=24 [/caption]

It's already been about four years since the release of Sam Phillips' last album A Boot and A Shoe but finally the critically acclaimed singer-songwriter has returned to the limelight. "With Don't Do Anything, Sam Phillips has struck out on her own with a work that's among her most challenging to date, and it reveals that she's held on to the gifts that have made her one of the most rewarding singer/songwriters of her generation" according to the review over at AMG. According to Pop Matters "Phillips realizes that music, like life, is found in the flaws. She creates sonic sandcastles with strings and percussion and croons above it, but her inner eye is open and sees the waves crashing to the shore." Finally, in the words of Boston Globe: "Anyone who rues the scarcity of smart, serious pop music for grown-ups should snap up the entire Sam Phillips catalog."

Among the tracks on the new recording you will find "Sister Rosetta Goes Before Us", a Sam Phillips original which was covered on last year's Alison Krauss/Robert Plant project Raising Sand. Raising Sand was produced by T-Bone Burnett who also happens to be Sam Phillips' producer for her last seven albums but this time around Phillips stepped out of the comfort zone and did it all by herself. Way to go, Sam!

MP3: «Little Plastic Life» by Sam Phillips

The Acorn is a Canadian indie-folk outfit hailing from Ottawa, Ontario. Formed in 2003, their prevailing songwriter and frontman is Rolf Klausener. The quintet have released three albums so far, but Glory Hope Mountain is their first full length record.

Catchy and bright---emotionally stimulating as well as empowering, Glory Hope Mountain is one of the premier indie-rock albums of the year. Folkish in that the group employs exurban instruments and is propelled by various percussive elements, it has an unsullied freshness to it, carried by its various eccentricities. "Even While You're Sleeping" is a good introductory track; featuring vocal harmonies like those used chartered by Fleet Foxes, it has a beautifully rural feel to it.

On "Crooked Legs" horns accompany vocals, stringed instruments, and atavistic percussion. It has a very strong vocal melody above of its beautiful chord progression. The entire album is filled with real musical sensibility. The songwriting is first class. "Flood pt. 1" is gorgeous with its chorus of singers and groovy bass section. An extremely fun listen, it carries emotion while simultaneously exploiting an African tribal feel. The lyrics are strong as well; alliteration is utilized in the lines you lift your head from wild and wicked sleep / the withered river sputters at your feet. Opener "Hold Your Breath" is one of the greatest tracks on the album. It climaxes innocently but powerfully; guitar melodies and drum-set culminate in a bridge section that is an extremely dynamic texture.

As sprightly an image as I am painting, don't be fooled into thinking these guys are some mutated form of folk whose foundation is rooted in aggression and trenchant displays of pep. Rather, The Accorn's brand of folk is just accessibly alluring, vigorous in that it avoids wearing. The record has its genre-typical sparse moments like "Sister Margaret" (a track I love), but they are rare and provide appropriate breaks.

The way I see it, The Acorn is a less timid and more emotionally charged Fleet Foxes (I hate to make the same comparison twice in one review but I'm not too worried about name dropping others right now; besides they relate by both being 2008 artists). Nothing against the Fleet Foxes, but the Acorn manage to really pull at your ears; appreciation doesn't take days of digging.

Glory Hope Mountain is based on the life of Rolf Klausener’s mother Gloria Esperanza Montoya (notice the parallel album title). Her life was one filled with numerous trials and hardships. Rather then penning a narrative account of her life, Klausener wisely chose to poetically capsulize moments and emotions she experienced, creating a painterly representation of her life. By avoiding blatant descriptions of her life Klausener dodged the troubles faced by concept albums. It is easy for a concept to result in some banal rape of an idea that has been previously expounded upon. The Acorn managed to eschew from that path, and the resulting freshness of this album is why it can be so overwhelming satisfying. Regardless of the story of the album or the band, this album is a smashing listen musically, and has cruised to the top of my 2008 list. Prepare to add it to

4.5/5

After their terrific Yes I Am EP, pg.lost was marked as a group to watch out for. With It's Not Me, It's You, they fully deliver with an immense follow up. The quartet are shaped like any conventional post-rock group, with guitars and percussion forming their sound. Very well produced, they sound a lot like This Will Destroy You and Mogwai, yet unlike the horde of TWDY clones, they bring a lot more to the table.

They are exceptional songwriters for one thing, which is pretty damn important. "The Day Shift" is a superb opener. Taking you quietly from a reverb and delay soaked intro into more structured phrases, it eventually explodes with unbridled aggression. "Yes I Am" focuses more on melodiousness, remaining in soft but beautiful textures before exploding in epic fashion. Throughout the album there is a healthy balance of aggression and aesthetic sensibility. "Sirens" rises slowly out of a subtle repeated guitar line, and it isn't until about five minutes in that any real sense of direction is realized. When it blooms it is a dynamic moment; falsetto vocals weave in and out of the harmonious texture, and the guitar builds off of itself through layering, eventually exploding violently yet tastefully.

An obstacle for me when I first heard the album was how expansive and consequently sparse it can seem. It took several listens for me to really locate it's personality and learn the 'story' of the album, or however else you want to phrase that. Yet, as demanding a listen as it originally was, it is also accessible in its simplistic style. The music is lively enough to avoid boring, and pretty enough to satisfy.

"Pascal's Law" especially balances that line perfectly. The beginning is a tight rhythmic section, dripping with radiant guitar melodies. The snare drum propels it effectively, giving it real energy. You are simultaneously moved by the prettiness of the music while being charged by its aggression.

It's Not Me, It's You is easily a standout 2008 album; with it pg.lost have declared themselves to be mainstays of the genre. I eagerly await their future work.

4/5

Critics of bands like Protest the Hero or even Death Cab Cutie have been known to cite repulsive vocals as a reason for their displeasure. Those opinions have always bothered me because they deal less with the songwriting and musicianship of the band, and more with a variable the band themselves really couldn’t change. So, when I say Matt Mazzali’s vocals are utterly loathsome and simultaneously stick this record with a poor rating, know I’m not crutching my entire opinion on that one intangible factor.

Let’s start by listening to “The Creation Ruin”. Immediately the band strikes you with their combination of jerky chaos and musical harmoniousness, and throughout all of it you have Mazzali choking out his angry lines. An actual criticism I would give Mazzali is his syllable usage. When you pay attention to his pacing it is pretty typical. Perhaps with some creative vocal rhythms he could really contribute more to the music.

Five years in the making, the record actually begins with “Venomspreader”, an explosive opener. Just 1:45 in length, it is a jarring listen. Wackier then it brutal, it ebbs and flows like water in a pool directly above an earthquake. "Venomspreader" also blatantly displays the band's punk influence, most apparent in Andrew Gormley’s drum work. The title track begins smoother and more melodically. The drumming is fast, but the music moves slowly which is a cool effect. Mazzali’s shouting leads as usual, and the track suffers a bit under it. Still more detrimental is the song’s structure. “Misanthropy Pure” weaves in and out of sections haphazardly, and the result is a forgettable and ineffective track. Also, several times the song sets up for a breakdown or a really heavy section, and they instead choose to resolve with some melodic, measured progression. Choices like that irk me. Being a metalcore band they combine hardcore-punk with heavy and sometimes melodic metal; possessing more of the hardcore-punk side then typical contemporary metalcore bands, the result of that lopsided amalgamation is just awkward.

“We Who Finish Last” suffers in the same way that “Misanthropy Pure” does; the song’s movement is clumsy. Both melodically and rhythmically there is no clear sense of direction or focus. Guitarists Chad Kishick and Matt Fox leap from riff to progression in a dizzying and annoying way. Not to say that I don’t enjoy any of the riffs or progressions, but their holistic effect is unpleasant.

On “Chorus of the Dissimilar” we are submitted to more misanthropic (ho!) lyrics, like all embattled we cynics and outcasts / raze and reshape the accepted social ordered for total rehumanization. “In the Mind and Marrow” features atonal guitar harmonies resulting in a really dissonant tone. When Mazzali croaks brother, you are in error, it could be a really chilling moment, yet with the lack of flow in the song it awkwardly backhands you in a gauche manner. The track ends as harshly as ever, but the final time that phrase is repeated it does hit you deep, and that alone makes it a standout track on the album. The tempo picks up on “To Bear the Brunt of Many Blades”. With some of the most disquieting lyrics on the album, it packs some real power. Musically it is one of most cohesive songs, and that adds to its poignancy. Palm-muted guitar bursts propel the song early on, and when Mazzali shouts out from the shadows, well-wisher / the gleam of your blade gives you away / drawn from me, my smiling assassin it is truly affecting. This song especially is stuffed with killer phrases, but after the song ends you’re left off balance in a bad way. The flow is just really poor, and the end is way too sudden. That is my main problem with the album. It kills potential energy and causes the album to really drag. So while I express satisfaction with parts like the aforementioned one in "To Bear the Brunt of Many Blades", the track fails as a whole. It is too disjointed.

I do have some compliments for the group. Their lyrics are genuinely thought-provoking and intelligent. That’s not something metal is typically commended for, though of course there are exceptions. Also, they avoid using filler breakdowns like you find in ever-so-imaginative groups like the Devil Wears Prada. At the same time, I wouldn’t have minded hearing more then just the few short ones like in “Set Your Body Ablaze”. Also notable is the good production on the album. My other real compliment goes to “To Bear the Brunt of Many Blades”, for being as epic as it was in the midst of my confusion.

But then I listen to a song like “Cold Lord Quietus” and return to my state of exasperation. It’s just so jagged in its progression; there is hardly any musical fulfillment at any point. Perhaps someone with more tolerable ears will love this, as apparently so many people do. By calling my ear intolerable I don’t mean to imply that I struggle to stomach Shai Hulud’s brutality or heaviness. In no way are they very brutal at all, and I could name a wealth of bands heavier (this is only metalcore after all) that I really appreciate and enjoy. What I fail to tolerate is the lack of sensibility with regards to aesthetic direction. I applaud their melodic and sometimes even anti-melodic atonal passages which sound largely inspired. The problem lies in their piecing together and structuring of such passages with regards to some harmonic or even discordant goal. There are even more chaotic bands that I dig for a lack of cohesion in their music, but here Shai Hulud hover between that and accessible, melodic metalcore. An issue as deeply rooted as that is enough to destroy a potentially ‘superb’ album for me. Pile the vocals on top of that, and Misanthropy Pure is an album I’ll have no trouble forgetting.

2/5

]]> http://thisishowsquaresroll.wordpress.com/?p=152 Thu, 10 Jul 2008 05:39:57 +0000 Nate S http://thisishowsquaresroll.wordpress.com/?p=152

Todd Osborne's eponymous full-length debut is a joyful collection of American house music. Whether it's the tribal beat on classic "Afrika" or the emotional synth on "Detune", Osborn's prowess behind the computer is evident.

On Osborne, there is no hesitation when it comes to delving into past decades, or sampling the sounds of the future. Creativity is unchecked, yet there is a healthy balance of nostalgia at the same time. As a whole, the album is pretty cheerful, yet there is also a wonderful range of emotions present. "5th Stage" feels almost morose, with its droopy synthesizers and simple percussions. It almost sounds like an atmospheric Ratatat tune. The aforementioned "Detune" creates a passionate texture with its poignant affecting melodies, and is one of my favorite songs of 2008. "Outta Sight" is clearly one of the tracks borrowing influences from earlier decades, yet there is something very unique about it. "Ruling" is another track made for the dance floor, nodding back to younger times. "Our Definition of a Breakdown" is an explosive track that grooves so hard your feet refuse to sit still. He's a magician when it comes to molding fun and powerful textures.

And of course an Obsorne review wouldn't be complete without mention of his other talents. The plane, computer, and hovercraft building owning and fixing technological genius builds much of his own musical equipment, and has been doing so since an early age. Who said Legos were a waste of time?

In the end, fans of the genre will definitely love this, and who is to blame them? Me not being a mainstay of the genre it is less affecting then it could be, but I still appreciate it. An original and fun album, I couldn't think of a more welcome combination.

3/5

The High School Musical starlet is back with her sophomore album. Surprisingly, she, or more likely her songwriters, actual display some real sensibility with a number of catchy dance tunes.

Whereas V aimed directly at her tween fans, this attempts to nail true teens, and as a 19-year-old the progression makes sense. Unfortunately, after last years pornographic foray into scandal she stays far enough from the risqué to really lose any tweens. So while she turns on the dance beats and sings of how love hurts like a paper cut / so sweet / never even feel the slice / you’re so deep, she really isn’t developing or maturing in a way that will invite a new audience. Borrowing from Gwen Stefani, Christina Aguilera, Fergie, and Nelly Furtado, her emulation is also flawed, and the result is a little tasteless.

Examples of such weakness include the title track; on it Hudgens creates a electro-pop club jam that is undeniably catchy. Unfortunately, her voice is malleable enough, but the lyrics are just bland. Repetition is a useful literary element, but the way Hudgens uses it is criminal. “Don’t Ask Why” is an apologetic song, one that is a small success, yet her voice is gallingly lean, and it’s hard to get past that. V went down in an amateur manner as a result of it, and this album tries to dodge that through digital manipulation and elaboration. However, that can be as annoying as an untamed voice, and the album suffers because of it. “Party On the Moon” may try to make it feel organic with some sort of astronaut theme, but to me it is as sickening as music gets. “Sneakernight” is catchy enough to serve as her first tremulous single, but tasteless melodies and a sketchy voice really sink it. (not to mention lines like so are you ready? / did you eat? / do you have the energy?)

On a more positive note however, opener “Last Night” is a great R&B number featuring slide guitar and a catchy refrain. “Hook It Up” also delivers, as catchy as her contemporaries’ singles such as Miley Cyrus’ “See You Again”. The lyrics are predictably idiotic like you got the money money / she’s got the hottie body and i’ll hook you up with my friends / i’ll hook you up with her friends, but it’s really a fine pop song, musically at least. Likewise “Did It Ever Cross Your Mind” serves as a valid pop hit, although android-Hutchens is particularly evident. Even “Don’t Leave” is pseudo-dynamic, as affecting as an Alicia Keys ballad. “Gone With the Wind” puts a slightly jazzy spin on things, and as the closer could be a slightly promising sign of things to come. Her voice sounds pretty ok, and the result is a really tight tune.

If you’re like me, mainstream pop music can only do so much for you, and this isn’t anything above average. On top of that, soulful melodies and tones combined with chatter about sneaker-dancing is also a turnoff. So while there are several tracks I’ll steal for a playlist performance in my closet, as an honest critic I can’t justifiably exalt this. At the same time over half of this record is extraordinarily catchy, and if you are into mainstream pop, this could be the sex you’re looking for. Personally, this record can only hit me so deeply, and the immaturity is pretty repulsive. Probably the cutest teen automaton I’ve ever seen, I’d prefer her to switch focus back to the film and image industry.

3/5

Being a sort of obsessive music enthusiast, I listen to a large quantity of music. With so much music to listen to, it can take an insalubrious amount of time to really become familiar with an album. Fortunately that was not the case with Mates of State’s Rearrange-us. Flying out to Sasquatch Music Festival at the end of May, I played the album once in anticipation of seeing the unfamiliar band there. With just that one listen and the ensuing concert I have become passionately attached to Re-arrange Us. Perhaps it’s the joyful simplicity of their music, or the overwhelming catchiness of it. Regardless, It’s easily the most charming record of the year so far.

“Get Better” is the opener. An emotionally charged uptempo track, it introduces the group’s peppy drumming and harmonized vocals. “Now” begins with a drum intro and a synthesized keyboard line. The chorus is invigorating with its energy. “My Only Offer” is based on a simple piano riff; with that one riff Mates of State weave a captivating, laid back track. Horns are featured in the post-chorus section, creating a soothing texture. “The Re-arranger” pushes the group’s pop limits a bit by creating a really epic moment. Paralleling the intro, the bridge section is very poignant. “Blue and Gold Print” features an electronic drum beat in its verse, also being one of the prettiest tracks on Re-arrange Us. ”You Are Free” recalls some of the grandness of “The Re-arranger”. Its closing section is really powerful. A nice attribute of all of the songs is that they avoid feeling formulaic. There is a real range of diversity on the album, due to the shifting song-structures, instruments, and moods. The husband-wife duo of Kori Gardner on keys and Jason Hammel sound extremely tight, on record and live. When I saw them at Sasquatch they also utilized two stringed musicians which added a lot and gelled perfectly with their live show.

Track summaries really fail to describe the strength of the group. Their instrumentation is choice. Keyboards range from synthesizers to traditional piano tones; guitar tones appear from time to time and electronic elements are also incorporated. The tracks intertwine seamlessly. There isn’t a single track that fails to satisfy, each dynamic and catchy, displaying impeccable songwriting. Kori and Jason's voices perfectly compliment one another whether harmonizing or leading a melody. They balance gently on the line between fun and passionate, managing to be affecting without losing their playful air. Needless to say, this album isn't for everyone. If you aren’t one who gets down with indie-pop you likely won’t be impressed. If you are a fan then do yourself a favor and buy this. Now now now now now now now…

4.5/5

This isn't a list of total shit, but these are the albums that populate the bottom end of my 2008 lists.  They range from awful to ok.

Maps & Atlases have to be one of the sweetest bands out right now. Formed in the fall of 2004, Their style is an organic blend of math-rock technicality and melodic indie rock. Tree, Swallows, Houses really displayed the technicality. A bit of a rough listen, to some like myself it was music to the ears. On You and Me and the Mountain, some of the finger-tapping is toned down which creates a more relaxing and accessible sound, yet the technicality and eccentric guitar work is still prevalent enough to define their sound. "Our goal was to put existing technical elements in a new context, and create something artistically unique, but still accessible." That vision, quoted verbatim from a statement by guitarist Erin Elders is fully realized on this EP.

"Ted Dancha" contains a typical verse chorus structure, and the chorus itself is very relaxed. Yet at the same time the drummer is as feral as ever, clicking and clacking in ways bands do not normally stretch to incorporate. The bassline is also abnormally prevalent, spelling out harmonies and melodies at high speeds. All this is done on the level of a group like Fall of Troy, yet the result is so much more atmospheric. The title track is similar. Drums and bass go far beyond their conventional limitations, creating really dynamic textures. Vocals are often harmonized, and the melodies used are choice. This EP shows the quartet is maturing, (not that they even needed to) and it excites me to no end. I can't wait to see what comes next.

4.5/5

Spencer Krug, why have you forsaken me?

Or maybe not. Just after hearing this I began working on a scathing review antagonizing the group for leaving their Apologies to the Queen Mary ways and becoming Okkervil River, The Cure, and Paul McCartney and the Wings. My bumbling confusion spawned from the fact that I encountered no “I’ll Believe In Anything” or “Shine A Light”. What kept me listening for seven more listens was the fact that I could only find one negative review online and it lacked any justification whatsoever. I’m not surprised to find myself in the minority, but rarely am I so isolated as to be the sole possessor of my opinion. So what I did was after my sixth or so listen I put on Apologies to the Queen Mary, the Canadian group’s critically acclaimed debut, for a fresh perspective; I wanted to really affirm my negative opinion. Well, after listening to Apologies to the Queen Mary I went directly back to At Mount Zoomer, and what do you know… At Mount Zoomer works.

Formed on a whim back in 2003 by prolific indie rocker Spencer Krug, Wolf Parade now return in to the indie spotlight with their sophomore release, At Mount Zoomer. Drawing its sobriquet from drummer Arlen Thompson's sound studio, the album features several key shifts in sound. Isaac Brock is no longer their producer, replaced by Thompson himself. A direct result is more restrained and less spastic vocals. It aids a bit in creating more structured textures, but the yelping ways of Apologies to the Queen Mary are not totally forgotten.

The first track is “Soldier’s Grin”. An epic ballad, it contains mystifying lyrics and dynamic music, elements which mesh to create a strong opener. Beautiful and familiar, it is an exciting way to start the follow-up to Apologies to the Queen Mary. Second, is “Call It a Ritual”. It is a dark, piano-driven song. Initially turned off to the track, repeated listens allowed the groove to really find a niche in the back of my mind. Dan Boeckner’s tone is thick and his lead lines hearken back to decades past, decades which I’ve never been too fond of but enjoy this small sample of. The pounding piano riff has that strange orchestral rock sound. The third track “Language City” has become one of my favorites. Initially frightened by its weighty alt-country feel, repeated listens have revealed the beauty of the song. I love the keyboards toward the end.

Probably the easiest track for me to swallow has been “Bang Your Drum”, with its synthesizers and flaccid melodies. The tonal modulation on the track nods back to Krug’s work in Sunset Rubdown, especially on Random Spirit Lover. It is terrific and really recaptures that swaying drunken feel I love on Apologies to the Queen Mary. “California Dreamer” is another of the highlights on the album. Tight keyboards propel the dark song to a bridge rife with tension. Sloppy lead guitar adds to the friction before the song ends with one last whirling refrain of with all the other young lovers their mothers may have found / California dreamer. “The Grey Estates” carries the sentiment of an Arcade Fire track but still the quirky Wolf Parade ambiance we all love with the percussive keyboards. I found this song initially silly but now am in love with it. The refrain switches to a minor chord progression which is very satisfying. “Fine Young Cannibals” is another great track; ordinary but the ending packs some energy, and the track grooves really tightly. “An Animal In Your Care” is a softer track which shifts at the end into a more dynamic number, with Krug singing you let me hang, hang, hang around / you put your ribbons in my hair. You can tell distinctly which tracks are Krug tracks and which are Boeckner’s, and lucky for the group both are satisfying. Then there is the closer, “Kissing The Beehive”; it is a glorious track, breathtakingly epic, and musically thick. On the rest of the album Krug and Boeckner sing only in separate songs, whereas on “Kissing The Beehive” they alternate within the same track, sharing composition duties as well. Driven by hi-hat clicks and powerful chord progressions, it’s ten minutes are gone before you know it.

At Mount Zoomer shows real musical development. Not necessarily that the group needed to grow much, but the sound is a bit more fine-tuned in an accessible sort of way. This by no means trumps Apologies to the Queen Mary, but it serves as an admirable follow-up. Some of the eccentricities have been tailored off, but the group maintains most of their quirks, and I am happy they’ve stayed as similar as they have. With At Mount Zoomer Wolf Parade have thrown their best into the picture, crafting a second record which feels more established then it does sophomoric. My initial disappointment and anger stemmed mostly from the lack of really danceable, drunken and toppled barstool tracks. I loved the yelping, grating, skipping; I loved Spencer Krug in the spotlight. What has really changed is that Dan Boeckner has become far more visible. He holds his end up admirably, but it’s the end I care less for. So while this record warrants a positive reaction, part of me is still disappointed. I’ll just wait for the next Sunset Rubdown album.

3/5

I remember when my friend first introduced me to Protest the Hero. He was obsessed with Kezia, and more specifically the track "Heretics and Killers". Years later I know every track on that album, one that has grown very dear to me. Kezia blows my mind every time I listen to it. Each song packs so much energy I can't sit still when I listen to it. It is extremely heavy but there's something so clean and beautiful about it; I can't compare it to any other album I've heard. "Turn Soonest to the Sea" might just be my favorite track, but then I hear pretty much any other song on the album and I'm ready to change my mind. The musicianship, technicality, and creativity on Kezia are unbridled, and it sounds pretty damn fine.

This follow up to Protest the Hero's amazing Kezia is a decent record, but only decent. Whereas on Kezia the music felt inspired and heartfelt, this record reeks of immaturity. Fortress has its moments, but there is a lack of consistency in songs; tracks take you through boring verses with intermittent technical bursts of speed which do little to satisfy. Then suddenly there is a climactic section, but unlike on Kezia where you enjoyed the entire song and then were pleasantly surprised by the climax, these songs surprise you, but it's not all that satisfying. Also, the overproduced sound, inclusion of synths, and grittier guitar tone were a turn-off for me. Singer Rody Walker has called Fortress "a natural progression for (Protest the Hero)", and that they wrote "without linear boundaries and created something less commercial than ever". I don't know about less commercial, considering the deference it's been given all across the blogosphere.

As far as tracks go, "Bloodmeat" is great, quintessential Protest; after the funky intro PTH lay down a charged verse which deviates into an aesthetic refrain. However, others like "Bone Marrow", "Wretch", and "Spoils" sink this album. They're stuffed with filler verses and dull choruses. Aesthetic sections burst in and out at random. I'm honestly not turned off by the technicality at all, but this album doesn't feel like it has anything substantial driving it along. Fortress is a nice record, but nothing by comparison to Kezia, and a disappointment.

2.5/5

]]> http://thisishowsquaresroll.wordpress.com/?p=103 Sun, 29 Jun 2008 23:06:07 +0000 Nate S http://thisishowsquaresroll.wordpress.com/?p=103

I'd heard songs by Bullet before, but this was the first album I'd listened to. It's basically pretty bland. The title track and “Eye of the Storm” are extremely mediocre, featuring no standout parts and feeling totally uninspired. The vocals sound pretty terrible as well, as are the lyrics. The transition into “Hearts Burst Into Fire” is just silly, a poppy song which is obscenely unimpressive. And that's the story of the album; after hearing it once there's barely a track I want to go back to. There's a bit of variety on the album but it seems like everything they try sucks, except being mediocre. Tracks like “End of Days” have their rare moments, but the vocals and lyrics are so bad I can't help hating it. Altogether forgettable. Hopefully I can forget it soon...

2/5

“Life in Technicolor” is a clear rip-off of Blind Melon’s “No Rain”.

Past all the hullabaloo of thieving and influences, Viva la Vida is leaps and bounds ahead of X & Y and maybe even A Rush of Blood to the Head. I am a big X & Y appreciator. Every track was so substantial I had the album memorized after a few listens, a lot like with CAKE’s Comfort Eagle or Death Cab For Cutie’s Transatlanticism, two of my favorite albums of all time. On the flip side however, there is something wearing about Coldplay’s music. Like U2 it balances on that epic scale in an exhausting way. Chris Martin has a signature voice, yet his voice is so accessible and his melodies so familiar they go down easy but rot in my stomach soon after I’ve suffered their ecstasy. I dig them for weeks and then I become repulsed by anything Coldplay. So although when I first spun Viva la Vida three weeks ago I was ready to declare it King or atleast top-five 2008 material, it’s already worn off on me. Sorry Coldplay.

One track that hasn’t worn on me at all is the opener, and that’s probably because of how unfamiliar it is. It feels more like Caspian then Chris Martin and friends. “Life in Technicolor” has been my driving song since I first heard it. “Lost” is a tremendous track; victim to the aforementioned Coldplay curse, it has such a killer melody it still deserves mention. The verse and refrain are equally dynamic, and the song is one of my favorites. “42” is boring at the start but the end is amazing. Midway through the song it transforms from a wilting piano verse into an uptempo bridge. As Martin croons you thought you might be a ghost / you didn’t get to heaven but you made it close I can’t help violently tapping my feet and singing along. Then there is “Lovers in Japan/Reign of Love”. This song hits me so hard, it is the one I’ve gone back most to after “Life in Technicolor”. they are turning my head out / to see what I'm all about / keeping my head down / to see what it feels like now. The meaning of the song has evaded me so far but it packs such musical force I have yet to be bothered by that. There is the trademark emotion in Martin’s voice, propelled by the music, and it has been enough for me. “Yes” is one of the tracks I actually don’t like. The weird violin part turns me off and I skip it when I’m not too lazy. “Death and All of His Friends” is the dynamic closer, a musical odyssey beginning with a grooving piano riff that within three short minutes brings the album full circle, reuniting with the intro of “Life in Technicolor”. It is beautifully done and the song really delivers.

So there you have it. In the end I really enjoy seven out of the ten tracks, and am only really bothered by one of them. Yet will I grovel at Coldplay’s collective feet and fellate to images of the great Chris Martin? Sorry Coldplay. I really love the majority of the group’s music, but there’s just something oppressive about them. Already I’m preparing to file Viva la Vida away for a few months, maybe years. Coldplay has a unique effect on me; ironic, considering the accusations regarding the possible borrowing and mimicking of other groups and songs. I can't say this isn't great, because I have loved it and still love some of it; yet, when I listen to it it is as though I'm drowning. Listening to Coldplay is a lot like drowning in mint chocolate chip ice cream. It's intoxicating but kills you in a bad way. Now I'm going to go listen to "Lovers in Japan" and get all hyped up. It will probably ruin my day.

3.5/5

Our Brother the Native’s ambition does not outshine their skill, yet it displays a teaspoon of naïveté.

Fatcat children Our Brother the Native are certainly gifted. John-Michael Foss, Joshua Bertram, and Chaz Knapp were all crafting music in their preteen years. At the age of fourteen Knapp was playing classical guitar at a college and even teaching some. Foss and Bertram met in high school in Flint, Michigan, while Knapp met the others online from his home in California. Their first album Tooth and Claw was actually recorded on the internet, through the trading of sample recordings. It marked the group as companions of CocoRosie and Animal Collective in the freak-folk genre. With Make Amends, For We Are Merely Vessels, however, Our Brother the Native take off in a determinedly post-rock direction, borrowing from bands such as Godspeed You! Black Emperor and Fatcat colleagues Mum.

The departure on Make Amends… is elucidated by Bertram in an interview; “Tooth and Claw was conceived with acoustic instruments, a mic and a sampler, sitting in front of a computer, whereas Make Amends… is made up of songs that were written in my basement and practiced for a long time before being recorded… we tried to keep this album much like our live shows, in the sense that we were creating a sonic tide that came in and out, with waves of sound building up slowly, and then finally coming to a huge crescendo and then calm again.” The idea of making it as live as possible is definitely evident here. Movement is measured on the album; at times it takes whole minutes for cohesion to develop from some of its sparser moments. When the songs do develop however, the result is immense and passionate, like on the ending of “Untitled” or the climax of “As They Fell Beneath Us”.

Every track runs over six minutes in length. Inspired by noise-rock, melodies are subtle even in their most definite moments. The group exploits a number of commonly understated musical elements in their music. Dynamic contrast is fully utilized; decrescendos and swells are used to build and release tension. Electronic noise is also perceptible throughout the album. Vocals are sporadically present, ranging from soaring falsetto harmonies to emotional screaming. Percussion is played in an atmospheric way utilizing cymbal rolls and mallet percussion. The songs are not structured in typical verse/chorus ways. Creativity is unchecked on Make Amends…

Each individual song is so expansive it is tough to really summarize them holistically. More apt to be analyzed is the album as a whole. Ambitious, immersive, it features a score of instruments, a dynamic range of textures, and deep emotional power. For the sake of citing more musical moments on the album, the ending of the final track is beautiful. Harmonized vocals chant over textural percussion and euphonic noise. Opener “Rejoice” builds slowly for the first three minutes before rapidly acquiring intensity at about four minutes in; it erupts into a spooky distorted section filled with dissonance and screamed vocals. The intensity of that moment is repeated throughout the album in various manners, each as potent as the next.

As much as my review compliments the album, I am going to avoid bowing to it. It has deep affecting power for those willing to absorb it in a sensitive fashion; from a detached perspective however, it is incoherent. If you are unwilling to stoop to its level, the songs become too distant to be truly accessible. It requires too much attention for it to have significant replay value. The group can and should do better as they mature and grow older. Make Amends…shows the group is extremely talented and inspired to deliver something fresh and powerful. It will be improved upon as they grow into more purposeful artists, more adept at perpetrating their emotions and talents. I will return to Make Amends… from time to time, partaking of the powerful emotions and blissfully ecstatic moments, yet it’s too far-flung to really amount to anything. Tooth and Claw may even receive more frequent plays on my various music-making appliances if only for its shorter track lengths and more direct melodies. Make Amends… does deserve various adjectival praises but don’t mark it down as life changing.

4/5

They bear cute Scottish accents reminiscent of Shout Out Louds, the wounded, intimate lyrics of Conor Oberst, and the musical aesthetics and sensibility of Sufjan Stevens.

Hailing from Selkirk, Scotland, Frightened Rabbit was formed in 2004 by brothers Scott and Grant Hutchison. Billy Kennedy joined the group in 2006 making it a trio, and debut album Sing The Greys was quietly released that same year. This, their follow-up, The Midnight Organ Fight, was recorded back in 2007 and released on April 15, 2008. In 2008 Frightened Rabbit also became a quartet with the addition of keyboardist/bassist Andy Monaghan.

Opening track “The Modern Leper” serves as the perfect exposition to the album and the group as a unit. In Scott’s own words, “it sums up the album's sonic and lyrical scope. It’s not that dark a song but the lyrics are a bit more intense than some of the ones on the last record.” The rest of the album follows suit with blatant, at times profane lyrics. Musically, the album is just as interesting. The quartet manages to create a number of different enveloping textures. From the raging energy in single “Fast Blood” to the beautiful, almost traditional “Good Arms vs. Bad Arms” featured in a Grey’s Anatomy episode, the album is extremely moving. There’s just a real emotional power in Scott’s vocals, and the accompanying music compliments it perfectly. It’s a wonderful combination having heartfelt, raw vocals combined with dynamic but sensitive music. I can’t say how many times I’ve driven to “Good Arms vs. Bad Arms” and “Fast Blood” shouting at the top of my lungs, jumping around my trucks cab. Frightened Rabbit have crafted something truly hazardous in its emotional intensity.

On “The Twist”, Scott’s voice is as cutting as ever as he sings I need human heat. Not all of his songs are totally depressing, yet his voice is just so passionate I feel like exploding no matter what he is saying. The percussion at the end of the track is very tasteful, and the repeated keyboard counterpoint in the background is beautiful. Besides all of the vocal led tracks there are also two instrumentals on the album. “Bright Pink Bookmark” is the first, serving not so much as filler but as a nostalgic moment. It nods back to “The Greys” with similar chord structure and it borrows the trumpet and percussion parts in “I Feel Better”. The other instrumental is “Extrasupervery” which is a simple but enjoyable break. The affecting power of Frightened Rabbit’s music isn’t so much in epic or beautiful moments like those shaped by Sigur Ros or post-rock composers; rather, within the group’s emotional setting, the music forms its own unique poignancy.

“Keep Yourself Warm” showcases some of the cruder lyrics on the record. It takes more than fucking someone to keep yourself warm, and you won’t find love in a hole. The lyrics could be dismissed as immature, yet their earnest delivery somehow excuses their repugnance. And behind every line in every song is emotive music, making it that much harder to be bothered by them. It is definitely an odd album to swallow, but the meal is so satisfying it erases a lot of potential quirks. Your opinion of the album will definitely change based upon the angle you view it from. If the frank emotion is perceived as feigned or idiotic then hating this album should feel pretty natural. Yet if the passion is embraced then this album has the ability to inspire and enchant.

Compared to Sing The Greys, Frightened Rabbit’s sophomore album shows among other things a much more expansive range. “Poke” showcases that range, turning a catchy, innocent number into an emotional song with its moody bridge. Sing The Greys definitely had its highlights, but it didn’t travel anywhere beyond typical indie folk. On this album Frightened Rabbit really move beyond the conventional limitations that may have hindered them earlier in their career. It’s a release that I expect will excite different responses in different people. Those able to appreciate it will likely fall in love with it. I am one of those devotees, and am continually unbound by the album’s desperate emotion.

4/5

It feels like Miles Davis jamming on bud.

Memory Drawings is the follow-up to The Drift’s debut album, Noumena. Coming three years after Noumena, the music is familiar yet much more mature. There is a much deeper quality to the textures created by the group.

The Drift’s music is emotional and relaxing. Songs have the air of chilled out jam sessions, yet their melodies are as strong as those found in more structured bands. Guitar oriented Bands like Explosions in the Sky and Mogwai work their songs toward climaxes and releases, whereas the Drift specializes at meshing less dynamic moments into a comfortable zone; their comforting music unbinds the listener in an almost hypnotic fashion. Brass cuts through the psychedelic grooves making cohesive the gentle chaos. It feels like Miles Davis jamming on bud.

“If Wishes Were Like Horses” sets the experimental tone for the record. Unlike a lot of post-rock, the bass voice is utilized to its full potential. A fast arpeggio is plucked behind slowly strummed guitar chords. Then comes trumpet over the top, playing off of the jazzy drumming, reminiscent of Do Make Say Think. The song doesn’t just content itself with settling there however, increasing pace and dynamic in its bridge section, before it returns to the top and fades out. “Uncanny Valley” grooves in a funkadelic way that feels very natural. The brassy waves cascading over the be-bopping bass display afro-beat influences as well as a cavalcade of others, and that wealth of seemingly paradoxical influences makes it hard to really nail an exposition on the group. As previously stated, however, the culmination feels perfectly natural.

One of the shorter tracks is “I Had A List And I Lost It”. It’s a simple ambient track, yet one thick with emotion. Provoking images of city lights bleeding past at high speeds, the gentle drumming and firm trumpet seep through the listener in an orgastic way. Rather then leading toward a climax, the song holds the listener in its steady grip, content to slowly twist him around with its pervading passion. By contrast, “Golden Sands” is a track which departs a bit from the steadiness of the rest of the album, seeking to draw the listener into its slow crescendo. It really builds energy at the end, with trumpet slicing through its rhythmic groove. My favorite track is “Lands End”. Beginning slowly and distantly, its beauty becomes clear when drum set enters, creating a euphonic phrase as pretty as anything put out by bands like Sigur Ros or This Will Destroy You.

I’ll preface my conclusion with a simple statement; music shouldn’t need to be technically advanced or unconventional to be appreciated. Yes, Do Make Say Think has done made said stuff in a similar vein, and I wouldn’t say any of this music is tough to comprehend or perform. However, what is most important to me is how music moves the listener, and on all of the occasions that I’ve played this album it has moved me in a very satisfying way. The album is entirely instrumental, and easily accessible for being so. Its repetitive steadiness could be considered a weakness, yet it is still extremely enjoyable. The seven track record spans over fifty-five minutes, and is potent throughout. It is definitely worth checking out for those who appreciate pretty and relaxing music.

4/5

این آلبوم که نهمین آلبوم –جای عکسی- گروه است، A Sense of Purpose (حسی از غَرَض) نام دارد که حدود دو ماه پیش منتشر شد و به رتبه شماره یک جدول آلبوم های رسمی سوئدی رسید. قابل ذکر است که این اولین بار است که آلبومی از این گروه برچسب "اشعار آشکار" یا همان برچسب «مواظب باشید، اشعار بی ادبی داریم» می خورد. به طور کلی ما که این آلبوم را بسیار پسندیدم و به عنوان یک اثر بیشتر Aggressive و کمتر Melodic از گروه In Flames قبول کردیم.

این آلبوم نسبت به آلبوم های دهه نود گروه که ملودی های زیادی دارند، کمتر ملودیک است اما طرفداران دهه نودی را هم ارضا می کند چرا که جنابانJesper Strömblad  و  Björn Gelotte هنوز آن سنت های هارمونی نوازی را حفظ کرده اند. از آنجایی که همه آهنگها به سبک In Flames یی هستند، نمی توان آنها را بهتر یا بدتر گفت؛ همگی مناسبند. هرچند منتقدین اکثرا این آلبوم را ادامه ای از آلبوم های قرن بیست و یکمی گروه دانسته اند و آن را تکراری از سه آلبوم پیشین دانسته اند، اما به نظرمان از آنجا که هنرمندان گروه ثابتند، چندان نباید به دنبال تغییرات زیاد گشت. بعضی هم از این موضوع ناراحتند که گروه توانایی و پتانسیل ارائه آلبوم هایی همچون Whoracle و Colony را دارد اما اینکه از آن سبک مقداری فاصله گرفته است، افسوس می خورند و دلگیرند.

به هر حال بدجوری شنیدن این آلبوم را توصیه می کنیم و برای اینکه نظری هم در مورد آهنگ ها داده باشیم، برترین های آلبوم را به صورت زیر دسته بندی کرده ایم:

 Condemned – The Mirror’s Truth – Sleepless Again – Drenched in Fear – Eraser - I am the Highway –March to the Shore

و این هم بُرش تصویری یا همان ویدیو کلیپ آهنگ حقیقت آئینه (The Mirror’s Truth):

Stephen Merritt has to be one of my favorite songwriters of all time. Whether he’s formulating clever synth-pop like on Magnetic Field’s 69 Love Songs, or crafting more finely produced pop numbers like those on i, Merritt does it with seemingly unnatural ease. During 69 Love Songs he claimed to be writing three songs a day, though not necessarily good ones. I don’t doubt that he was writing so much, for he has a knack for the act that makes it appear almost a sport for him. His songwriting ability is showcased on an episode of NPR’s Project Song, where within a limited time frame he manages to create a loveable pop song. I’ve loved every album I’ve heard by him, and going into Distortion I had little doubt that I would not be disappointed.

Switching focus to the group, The Magnetic Fields have been active since 1990. Beginning solely as a studio project of Merritt’s, the band has developed over time to include several regulars, although he is still definitely the main force in the band. On Distortion, The Magnetic Fields alter their style rather directly, ironically incorporating fuzzy distortion reminiscent of groups like Jesus and Mary Chain. Sticking to Merritt’s guns, it is still a pop album, just drenched in oceans of fuzz.

The most striking aspect of the album when you get past the distortion is female vocalist Shirley Simms. Singing on over half of the thirteen tracks, she tenderly steals the show from Merritt, without debasing his presence. Her voice is gorgeous. Single “California Girls” is a charming number with rather innocuous lyrics but such catchiness that there’s little reason to be bothered by them. “Xavier Says” has her pleasant voice gliding over a very satisfying chord progression. “The Nun’s Litany” is probably her best appearance. Strong melodies and beautiful development of phrases create dynamic pop that matches beautifully with her voice.

As pop-oriented as the album is, it still carries plenty of emotion with it. On “I’ll Dream Alone”, Merritt sings drearily of loneliness. “Old Fools” resonates deep within the listener, the music perfectly suited for Merritt’s bassy vocals. “Courtesans” isn’t necessarily a sad song, but it strikes an emotional chord in the listener regardless. Many of the tunes have emotional effects that are totally unrelated to sadness or passion. It’s more of a heartwarming sensation that you may have to experience to fully understand.

Initially I was disappointed, saddened by the absence of Merritt’s vocals on so many tracks. His baritone voice is the first thing that comes to mind when I think of the band. However, with the conceptual use of distortion and the way the album is laid out, I wouldn’t have it any other way. Simms voice is amazing, and a pristine match for the watery pop on the album. Merritt is without a doubt a genius, and his latest release is a fine example of it.

4/5