Late to the Party:

Seeing as we’re all human, there are occasionally going to be bands and albums that we just flat out miss…at least for a while. Welcome to what I call, “Late to the Party.”

~~~

Bing Crosby. Frank Sinatra. Barbara Streisand. The Carpenters. These are the artists we can thank for some of the most classic Christmas albums. These are the albums our parents would dust off each November and throw on the record player. They’re the ones that, when they pop up on iTunes, take us back to our childhood, running around the house in footie pjs counting the days till the Big Man comes. Surprisingly though, there is one iconic name missing from this list of classics. Where the hell is Ray Charles?!

Sure, The Spirit of Christmas didn’t come out until the mid-80’s, but that’s no reason for it to not be a classic. In fact, I would argue it deserves a spot right up there with the rest. First of all, it’s Ray f-ing Charles we’re talking about here. You know it’s going to be good. Second, he doesn’t just dial it in, half-assing the same old tired tunes you would expect. Yeah, there’s some traditional ones like “Drummer Boy,” “Rudolph” and “Winter Wonderland,” but there’s also the much lesser-knowns like “This Time of the Year,” “That Spirit of Christmas,” “All I Want for Christmas,” and “Christmas in My Heart.” And regardless of if their popularity, every track has that great Ray Charles flair that seems to span generations. Take “What Child Is This?” for example. It starts true to its “Greensleeves” roots, but just a minute and a half in, he double-times the tempo and turns it into a big band, swing tune, almost entirely abandoning the main theme.

The album features all of your favorite Ray Charles elements: the dirty, raspy voice; the Fender Rhodes he made so popular (remember The Blues Brothers?); the jazz meets gospel meets blues style only he could perfect; and let’s not forget the ladies. The Spirit of Christmas takes holiday tunes to a whole new level. And apparently I’m not the only one who thinks this way. Remember the scene in Christmas Vacation where Clark is locked in the attic watching old family movies? Yup, that’s “That Spirit of Christmas” playing. His version of “Winter Wonderland” also appeared in When Harry Met Sally and Elf. So, it has gotten some recognition, but it deserves some more.

If you are a fan of holiday music and need a change of pace, or even if you’re not but like Ray, give this one a spin this year. If you don’t like either holiday music or Ray, well, I’m not sure there’s much hope for you. But before we go, can we talk about the album art for a second? Is he really driving that sleigh?

Watch footage from the 2003 concert, Ray Charles Celebrates A Gospel Christmas, recorded just a year before his passing:

She and Him - A Very She and Him Christmas

It's that time of the year when the world falls in love…and when our auditory system is assailed with an endless barrage of Christmas songs. One can't step inside an office building, retail store or restaurant or turn on the tv or radio without hearing sleigh bells and a chorus of voices reminding us how wonderful and joyous the season is. And like clockwork, the new release shelves are full of the latest attempts, by popular and washed-up artists alike, at reinventing tired classics like “Jingle Bells” and “We Wish You a Merry Christmas.” But, every great once in a while, if you have the time and patience to weed through the Mariah Careys and Scott Weilands, you can find one that actually offers at least a touch of originality. This year, newcomers She & Him have given us such a gift.

Have you seen Elf? If you have ever sat through a Christmas movie and not wanted to gouge your eyes out and haven’t seen Elf, put it on your list for this year. For those that have, you are probably in the camp that, when Zooey Deschanel sings “Baby It’s Cold Outside,” thought to yourself, wow she’s got a great voice! Apparently Oregon singer-songwriter Matt Ward (M. Ward) is too.

Asked to record a duet for the closing credits of the film The Go-Getter, in which Deschanel had a leading role, she and Ward immediately formed a bond over their similar musical interests and decided to collaborate further, using songs from her secret stash of previous self-recorded tunes. Since then, She & Him have released two studio albums, Volume One and Volume Two, to positive critical analysis. A mix of originals and covers, the albums bring a sound that is both original and classic at the same time. The same can absolutely be said of their latest effort, A Very She & Him Christmas.

Foregoing the big band, big sound album, A Very She & Him Christmas stays true to the She & Him style as a fairly stripped-down, bare-bones take on some winter classics. More coffee shop than concert hall, Ward’s Gibson and acoustic guitars provide the foundation for most of the tunes, with occasional additions of piano and drums. Deschanel’s voice matches her quiet and sweet personality, kind of what you might expect from PJ Harvey if she wasn’t so damn angry.

What’s probably most impressive, though, is the song selection. Rather than forcing an album-full of songs to meet their style, they go after 12 that all seem a natural fit. Hits like the Beach Boys’ “Christmas Day” and “Little Saint Nick”, the Elvis favorite “Blue Christmas,” and even Joey Spampinato’s “Christmas Wish” all suit the duo well and make for a much more pleasurable listening experience than if they had gone with the more typical choices. For those expecting the Elf version of “Baby It’s Cold Outside,” that would have been too obvious. Not only is this version faster, they also chose to go with the Miss Piggy/Rudolf Nureyev role-reversal version (thanks to Dolph Chaney for that amazing reference).

Producing a Christmas album that encompasses any sort of originality could truly be one of music’s greatest tasks. How in the world can someone be expected to take something so overdone and make it sound new again? This is why, for the most part, the new releases can be pretty much ignored, save for those put out by your favorite artist…and even then it’s not always a welcome addition. A Very She & Him Christmas, however, is certainly an admirable effort. No, it’s not the most original option out there (that award still goes to Bela Fleck and the Flecktones, Jingle All the Way), but it is definitely a good attempt. In fact, while most musicians seem to put out Christmas albums because they don’t know what else to do, She & Him, like the Flecktones, seem to have put theirs out because they actually felt they could bring something new to the scene. And that they did.

Rating
Overall: 4/5
Originality: 4/5 (all things considered)
Production: 3/5
Listenability: 5/5

Watch their recent appearance on Leno:

Jennifer Hartswick - Ocean Floor

Getting to play regularly with one of the world's best guitarists might be enough for most musicians, but not Jennifer Hartswick. This Vermont native isn't content serving as some one else's support. A dual threat with a powerful, soulful voice and both technical and improvisational proficiency on the trumpet, Hartswick is beginning to make a name for herself outside of Trey Anastasio's world, and her latest album, Ocean Floor, is another notch on her belt of independence.

Mostly r&b meets soul, her self-produced sophomore effort (and first of entirely originals) might not blow everyone away, but it will absolutely give a glimpse into the talent that is there for the taking. Joined by Nicholas Cassarino (guitar), Dezron Douglas (bass), John Davidian (keys) and Cory Healy (drums), Hartswick leads each of the eight tracks with confidence but also looseness, never becoming too rigid or structured, giving plenty of time to the band to showcase their skills.

Starting with a trio of fairly standard r&b tunes, the one thing that immediately stands out is Hartswick's voice. You hear it two and a half minutes into "Liar." There is no doubt this girl can sing. It's the title track though that gives Hartswick the chance to display some originality, as well as the softer side of her voice. It is also her first appearance on trumpet, immediately adding a new flavor to the standard set-up. A dip into freeform jazz, "Ocean Floor" is easily a highlight.

"On and On" is an around-the-horn standard, giving each of the artists a chance on the solo floor. But, again, it's the down-tempo "Possibility" that, like "Ocean Floor," seems to stand out. Highlighting Hartswick's vocals and trumpet, Davidians work on the Rhodes adds a soft and subtle touch, complimenting the tune nicely. The snap-funk of "Walk Away" serves as the juicy meat of a ballad sandwich, and is the most attention-grabbing of the up-tempo tunes with some blaring sax and back-up vocals.

A sharp departure from the hard r&b of the other tunes with the acoustic guitar and piano, "Let Go" is absolutely one of the best tracks. Closer to what you'd expect a female Dave Matthews to sound like, it's not a bad way to end the album. It may even give her a launching point for her next work.

Ocean Floor is largely a fine album, and definitely leaves us wanting more. It is absolutely clear that Hartswick has tremendous talent. You can hear it in her work with Anastasio, and it's obvious on Ocean Floor. Perhaps as she becomes more comfortable in the spotlight she will expand her reach, going beyond the traditional and creating a sound that is truly her own. We can only hope because she surely has a gift to give.

Rating
Overall: 3/5
Originality: 2/5
Production: 2/5
Listenability: 3.5/5

Late to the Party: Muse

Building my musical foundation on the likes of Pink Floyd, Led Zepplin, The Beatles, and Radiohead it’s amazing that a band like Muse could slip entirely under my radar until recently. Filled with all of the depth and fortitude, drama and excitement, creativity and precision of these others, the English trio brings with them a sound that, while bearing similarities, also brings an incredible amount of originality.

Looking to pinhole Muse into one specific category would prove to be a nearly impossible task. They certainly don’t span every genre, but they do touch enough that labeling them with one would be a disservice. Undoubtedly a rock base, they weave their way in and out of alternative (watch: “Knights of Cydonia“), drama (watch: “Time Is Running Out“) and space rock, metal (watch: “Stockholm Syndrome“), electronica, and classical, and amazingly enough there isn’t one moment in any of these when it seems like they’re not in the right place.

School friends Matthew Bellamy (lead vocals, guitars, piano, keyboards, keytar), Dominic Howard (drums, percussion, synthesisers, sampling, harmtar) and Christopher Wolstenholme (bass, backing vocals, keyboards, guitars, harmonica) are able to produce a sound much fuller than their numbers would suggest. Yes, they unabashedly take advantage of multi-tracking in the studio, but even live (often joined by multi-instrumentalist Morgan Nicholls), they are able to fill the venue with an intense and energetic aura that is truly amazing.

Looking for the closest similarities, Radiohead and Queen instantly come to mind. Bellamy exudes some of the same vocal characteristics as Thom Yorke, and the band’s frequent use of multi-part harmonies along with emotional composition and emphatic climaxes will definitely take you back to the days of A Night at the Opera. But that’s not all. Bellamy’s vocals could easily just be compared to those of Rufus Wainwright, and, as a band, there are definitely tones of Keane, Coldplay, The Killers, a even a tad of Weezer, among many others.

Since 1999, the band has put out five studio albums, all of which are exemplary. The most recent, however, Black Holes and Revelations, easily takes the cake. From the opening track (watch: “Take a Bow“) they are right in your face and don’t ease up for even a second. It’s not surprising that it’s this same album that earned them a Mercury Prize nomination as well as ranking of third in the NME Albums of the Year list for 2006. They are hoping to release their sixth album in the fall of 2012.

Most of the people I’ve talked to either have never heard of Muse or know a song or two from the radio but have never really explored them with any purpose. The packed stadiums clearly indicate I have not spoken with the masses, but to those who fall into the categories above, do yourself a favor and give them a(nother) chance. There is far too much good in what they do to be ignored.

Take a look, it's in a book...

The Goat Rodeo Sessions

Some bands, some albums, some songs are beyond technical critique. The talent and proficiency is so refined that, unless the critic is equally as well-versed, there will inevitably be a gap between the product and the comprehension. When Yo-Yo Ma, Stuart Duncan, Edgar Meyer and Chris Thile get together, such a product is born.

Many musicians have brought their instruments into the spotlight with innovative and exemplary playing. It is arguable, though, that none have done so with as much prestige as Yo-Yo Ma. In fact, while it’s easy to bring up other guitarists than Hendrix, other bassists than Flea, and other drummers than Buddy Rich, it may prove more difficult to think of even a name of another cellist, much less one as on the forefront as Ma. Having played for numerous presidents and world leaders and with the top musicians from virtually every genre of music, Ma has become a symbol of greatness.

Joined by the lesser known but equally as inventive Duncan, Meyer and Thile, The Goat Rodeo Sessions is a collaboration that makes even the most popular supergroup seem like a band of scrubs. Each member adds their touch of individuality while meshing nearly perfectly with the others. It’s this individualism and cooperation, combined with astounding composition accounting for these two variables that lead to the album title itself.

According to the urban dictionary, “A goat rodeo is about the most polite term used by aviation people and others in higher risk situations to describe a scenario that requires about 100 things to go right at once if you intend to walk away from it.” Initial analysis of this definition may lean more towards chaos than harmony, but it is the latter that’s the reality. These are four outstanding musicians, all from various backgrounds but all with unifying characteristics, penning arrangements that require each note, each phrase and each instrument to be played with such precision that even the slightest hiccup could ruin the piece. Even though Ma’s name is first on the cover, make no mistake, this is a group effort, lead by each member at various times. In fact, with Ma’s cello, Meyer’s double bass and Duncan’s fiddle, it’s Thile and his mandolin that are often the most distinguishable, adding chunk and snap to the otherwise smooth flow of the bows. Perhaps Meyer said it best himself, “We chose this group of people based more on who the individuals were and their voices than what would be an ideal instrumentation, because there is no getting around the fact that violin, bowed bass and cello and mandolin is not an ideal instrumentation.”

Each member certainly brings their own personality to the album, but The Goat Rodeo Sessions is a complete work with as much thought put into how everyone relates to each other as how they work on their own. Ma brings the classical fortitude, Meyer the high Appalachian sound, Duncan the classic Americana and Thile the modern bluegrass. The result is a seamless weave that gives the listener the amazing choice of who they want to focus on at any given time, be it one, two, three or all four at once.

From the opening track “Attaboy,” you can hear exactly what this weave is all about. In fact, watching it might help make it clearer. No one member is more important than the other, and without one, the rest cannot complete the piece. This is the way it goes for the rest of the album. And as a bonus, several tracks give them a chance to show they aren’t limited to their main instruments alone. Duncan picks up banjo for “Helping Hand,” “Less Is Moi,” and “Here and “Heaven”. Thile shows his versatility with a steel-string guitar on “Helping Hand” along with a gamba and some outstanding vocals (joined by Aoife O’Donovan from Crooked Still) on “Here and Heaven” and “No One but You.” And last but certainly not least, Meyer’s piano work on “Franz and the Eagle” is superb for someone who hasn’t already mastered the bass, much less someone who has.

The Goat Rodeo Sessions certainly isn’t going to be a universally loved album. But for anyone with an affinity for classical, bluegrass, classic country, folk or even jazz, it is absolutely worth a listen. Heck, even if you don’t tend to like those styles, it’s worth giving this a try. Life is just far too short to not take time to appreciate the best of what the world has to offer, and this is one of those contributions.

Rating
Overall: 4.5/5
Originality: 4.5/5
Production: 5/5
Listenability: 4/5

Deer Tick - Divine Providence

The little known, and relatively new group, Deer Tick, is a near poster child for independent music. Getting their start in 2004 in Providence, Rhode Island, the now-quintet (John McCauley – guitar, vocals; Ian O’Neil – guitar, vocals; Chris Ryan – bass, vocals; Rob Crowell – keys, saxophone, vocals; Dennis Ryan – drums, vocals) fits the mold almost perfectly. Their folk roots mesh well with the clear influences from a variety of genres like country, blues, rock, punk and even, dare I say, the slightest touch of pop. Their dirty, sometimes cheap tone, gives them that “we don’t give a fuck” sound. Hell, even their website gives off a “we don’t need no stinkin’ corporate money” vibe. And this can all be felt in their latest, Divine Providence.

The fourth album in their repertoire, Divine Providence is as straight forward an album as any indie fan could want. Nothing fancy, nothing revolutionary, and also nothing stale. It’s just five guys, their instruments and some no-bullshit emotion, all smashed together in a collective effort that rocks you…and them.

It’s not every day a band starts an album with a call-and-answer tune. And can you find the one moment in “The Bump” when McCauley channels his inner Johnny Cash? “Funny Word” is a sax solo and strutting lead singer away from being a Rolling Stones tune. “Let’s All Go to the Bar” really needs no comments, other than to say that pretty much every one of us has been on either the giving or receiving end of this conversation. The Johnny that’s got a bottle of wine in “Something to Brag About” might just remind you of another Johnny…that one from deep down in Louisiana, close to New Orleans. How about throwing in a hidden/bonus track as an homage to cigarettes. Why not?

There’s also the more subdued “Clownin’ Around,” “Main Street” and “Chevy Express,” the needy “Electric,” and the downright charming “Now It’s Your Turn” and “Miss K.” So, it’s not necessarily all fun and games. They have a serious side too.

Deer Tick is the band, and Divine Providence the album, you want playing in the bar. It evokes that beer- and whiskey-drinking desire–to be sitting around a table with friends, the music weaving in and out of your mind between the hearty laughs and angry diatribes that accompany such a night. And while it might not be the album you throw on with headphones hoping it takes you to your Zen place, it definitely is one you put on when you feel like just being human. Anger, humor, sarcasm and honesty, the emotions that get us through every day, they’re all there and you can feel them from start to finish.

Rating
Overall: 3.5/5
Originality: 3/5
Production: 2.5/5 (but that’s not a bad thing in this case)
Listenability: 4/5

Coldplay - Mylo Xyloto

In a world where dramarock is seemingly king, Coldplay has definitely made a respectable bid for the throne. In the company of greats like Radiohead and Muse, Coldplay continues to make strides towards supremacy. And whether you agree with the masses or not, it may not make a difference. Album after album, the British quartet delivers on that mass appeal it takes to reign, and well, if you’re not already on board, their latest release may just give you that chance.

Frontman Chris Martin once described Coldplay as “limestone rock.” Not quite hard rock, but definitely not…whatever rock isn’t, the foursome (Guy Berryman, bass; Jonny Buckland, lead guitar; Will Champion, drums, percussion, backing vocals) has that just-right mix of edge and sentiment. Mylo Xyloto, the band’s fifth album, is no different. However, while a band knowing its place and not over-reaching is generally a good thing, the album does, at times, need just a little bit more, a little something extra to make the tracks really stand out from each other. Nonetheless, each track on Mylo Xyloto does prove that the band is deliberate in their efforts to put out a product that’s imaginative and contains a certain amount of freshness.

After the brief title track intro, the album drops into the snappy “Hurts Like Heaven,” which is a start on the right foot. The glee club vocal effect and “You used your heart as a weapon, and it hurts like heaven” chorus are definitely attention grabbers and easily make this a highlight of the album. “Paradise” keeps the focus with its multi-tracked chorus and strings. And while “Charlie Brown” is adequate, it’s the first taste of that need for just a little extra, something to separate it from “Paradise.” Not that it’s structurally the same, but more that it’s too stylistically similar to evoke any feelings about it otherwise.

Conversely, just as quickly as that need for something extra presents itself, it is remedied with another highlight. “Us Against the World” removes the intensity of the previous tracks and leaves Martin almost entirely alone in an honest and emotional ballad, pledging his loyalty to his love in this otherwise dog-eat-dog world. Followed by the throw-away (and appropriately short) “M.M.I.X.,” “Every Teardrop Is a Waterfall,” the album’s first single, is a more melodic and fresher (there’s that word again) version of the fist-pumping club rock we’ve heard all too much of from the likes of the Black Eyed Peas. Keeping a nice balance, never letting the thumping bass take over, the tune definitely reenergizes the album after the mellow “Us Against the World.”

As a product of the 90s, it’s no surprise to hear influences of U2, R.E.M. and the other popular acts of that era. What is a welcome surprise is to hear the influences of more recent acts, like TV on the Radio. It can be heard at various points throughout the album, but the rockin’ “Major Minus,” with its falsetto vocals and leading bass, is the first time where it really comes to the front. The mellow and somewhat forgettable “U.F.O.” that follows is again a dip into the too-similar pool. Heck the opening chord is almost identical to “Major Minus,” and while it does deviate later on, it isn’t enough to make it stand out.

An unexpected appearance from Rihanna adds a nice touch to the otherwise mediocre, albeit robust, “Princess of China.” “Up in Flames” brings back some of that TV on the Radio with the tracked drums and falsetto chorus. “Don’t Let It Break Your Heart” really brings out that true Coldplay sound. The cyclic piano, driving guitar and drums and emblematic Martin vocals are the Coldplay calling card. It’s almost odd that it’s taken this long for it to really come through. As a closer, “Up With the Birds” unfortunately falls a little flat. It definitely isn’t a rocker, nor is it a peaceful send off. It falls somewhere in between and actually leaves an “Is that it?” feeling.

Mylo Xyloto delivers on many fronts and fails on a few. It doesn’t take many chances, but it is a solid work beginning to end. There are those few moments of needing more, but there are equally as many that deliver. So, it most likely won’t catapult them to the top, but it definitely maintains the pace. And really, Radiohead won’t be around forever…will they?

Rating
Overall: 3.5/5
Originality: 3/5
Production: 4/5
Listenability: 3.5/5

Ryan Adams - Ashes and Fire

Ryan Adams. Just say the name and you’re bound to get one of two reactions: love or hate. And while there are plenty of bands out there that elicit this same effect, Adams seems to have done so in a very different way. Many times the polarization of music lovers comes from the style of the band, loving those that fit your wants and desires and loathing those that don’t. Other times it comes from an understanding, hating those that you just don’t get and worshiping those touch your cerebral cortex. And while some might argue that those that don’t like Ryan Adams don’t understand him or that he’s just not their style, the deepest sentiment for Adams is much different. Adams has done something unique—he’s fit in.

Over 11 years, nine solo albums and four with The Cardinals, Ryan Adams has been remarkable at fitting in. He’s that guy at the party that never says anything controversial but changes his tone depending on who he’s hanging with. His friends love him because he’s the guy that anyone can talk to, and his enemies don’t because he seems disingenuous.

So, it is with a tinge of apprehension that I approached his latest release, Ashes and Fire. I just want to make sure I know who I’m talking to here.

Ashes and Fire opens with “Dirty Rain” and “Ashes & Fire,” two good openers, and, while not ground-breaking, they offer promise for an entertaining album to come. That is after all what we’re here for, right? To be entertained?

Well, that’s the end of that fun.

“Come Home” drops the album into an abyss of slow and sappy songs…a bland, ordinary and tiresome mix of tunes, none of which most musicians with an acoustic and four track couldn’t do themselves, and all of which you’ve heard before in some form or another. In fact, this may be the most frustrating thing about Ashes and Fire—it’s almost entirely unoriginal. It’s nothing new for Adams or for the genre in which he’s working. He’s done it before with albums like Gold and Heartbreaker. And his influences, ala Lyle Lovett, Iron and Wine, Band of Horses, Bob Dylan, Alison Krauss, have all done it better. Sure, there is always going to be someone that’s done it better, but when he spends so much time apparently trying to sound like these predecessors, it’s hard to provide that same forgiveness.

You see, Adams has always been a sponge and chameleon of sorts, absorbing the sounds of popular acts and changing his sound to fit. That’s what Ashes and Fire is—his continued blend into the acoustic folk scene, done without making the slightest splash. And if this is his goal, I’d say it’s mission accomplished. But if this is any attempt to make his mark on an already over-saturated market, my advice would be to leave it to the experts.

Rating
Overall: 1.5/5
Originality: 1/5
Production: 2.5/5
Listenability: 1/5

Wilco - The Whole Love

Over its respectable 17-year career, Wilco has, if nothing else, excelled at one thing: being quite average at making good music. This may seem harsh on the surface, but digging deeper it’s just another way of saying the music is good, but it’s not that good. Most of Wilco’s eight studio albums are a fine collection of tunes, many of which demonstrate an amount of thought and craftsmanship, especially Sky Blue Sky, but none necessarily providing that wow factor. In fact, Rolling Stone described Wilco as “one of America’s most consistently interesting bands,” and while it’s hard to disagree with that statement, it might be more appropriate to debate the intent of the word “interesting.”

Wilco is definitely interesting. It’s been an interesting collaboration of artists—a revolving door of members, all with their own talents, but none (besides lead Jeff Tweedy) ever truly standing out. It has an interesting catalog of songs and styles—a mixture of folk and rock with that tinge of indie punk, mostly enjoyable on the surface but often lacking in depth. So interesting is definitely appropriate, but maybe more as an explanation of what is missing rather than what is there.

The Whole Love, the band’s latest release, is unfortunately par for the course. It’s interesting. It’s interesting to contemplate why three minutes of the seven-minute opening track is wasted on pointless guitar noise. It’s interesting that the title to this same track is “The Art of Almost,” as that could practically be the summation of Wilco’s career—the art of almost being great. It’s interesting to hear tracks like “Dawned on Me,” “Capitol City” and “Whole Love” that bring out the best in the band and wonder what it is that the others are missing. It’s interesting to guess why a solid tune like “One Sunday Morning” would be effectively wrecked by stretching it over 12 long minutes, offering little-to-no variation along the way. Interesting indeed.

To be clear though, Wilco is not a bad band, and overall, The Whole Love, like the others, is decent. There’s talent present. There’s variety in styles and instrumentation among and within the tracks. There’s a degree of depth in structure. It’s not overly-aggressive but rather quite placid. But unfortunately it, like the others, is missing that one key element, that one extra piece that takes it from being just okay good music to really good music. Maybe it’s that the styles, while varied, are sometimes stale. Maybe it’s that the structures, while beyond elementary, can be hasty and end up repetitive as a result. To be honest, I’m not sure what it is. And if I thought encouraging words would make a difference, I would offer them, but unfortunately, I think we’ve seen the best they can and will offer.

Rating
Overall: 3/5
Originality: 2.5/5
Production: 3/5
Listenability: 3/5

Blitzen Trapper - American Goldwing

A wise man once discussed the beauty of those bands that astound for their creativity and uniqueness. Yeah? Well, maybe there’s just as much to be gotten from a band that absorbs its surroundings and assembles a sound that is equally as impressive for its comprehension and inclusion of what has come before it. Maybe in just one album you can hear traces of The Band, The Rolling Stones, The Byrds, Little Feat, John Hartford, Josh Ritter, Cat Stevens and even Sublime. And if there is such a thing, it’s Blitzen Trapper’s latest, American Goldwing.

Hailing from Portland, Oregon, Blitzen Trapper isn’t a newbie to the music scene, but it is definitely greener than its classic sound implies. Comprised of Eric Earley (guitar/vocals), Brian Adrian Koch (drums/vocals), Marty Marquis (guitar, keyboards, vocals), Erik Menteer (guitar/keyboard), and Michael VanPelt (bass), Blitzen Trapper is among a number of indie folk bands to come on the scene in the last decade. What separates their creation from the others though, is their ability to take something old and make it sound fresh and new.

Their six full-length album, and third under the Sub-Pop label, American Goldwing is an all-inclusive look at the greatest parts of the country- and folk-rock scenes. The acoustic guitar and piano play nice in the sandbox with the harmonica and electric guitar. Country twang meshes suitably with two- and three-part harmonies. Southern-roots rock opens the album with “Might Find It Cheap” and “Fletcher,” which yield to American folk with “Love The Way You Walk Away” and onto classic rock with “Your Cryin’ Eyes.” There is unity here.

Goldwing goes in and out, back and forth, adding enough stylistic, thematic and instrumental variety to keep the listener’s interest, while neither straying too far from the nest nor becoming stale. “Taking It Easy Too Long” offers just as much emotion as “Girl in a Goat,” and “American Goldwing” just as much heartland pride as “My Home Town”. “Street Fighting Sun” isn’t a surprise, but instead a reminder of how Goldwing began, and “Stranger in a Strange Land” is the send-off you’d expect from a band that wants you to enjoy what you’ve heard as much as they’ve enjoyed making it for you.

Truth be told, Blitzen Trapper probably won’t blow you away. There’s nothing flashy or overtly extraordinary about them. But that doesn’t mean they don’t fulfill their obligation as professional musicians—to create an honest product that pleases the ear. Not every band has to be the next big thing. In fact, it is those that know their place, that play what they know to be true and don’t try to be something they aren’t that accomplish the most. American Goldwing is the paradigm of this thought, and, as long as you don’t gauge accomplishment solely in dollars, it should be thought of as a hit.

Rating:
Overall: 3.5/5
Originality: 3.5/5
Production: 3.5/5
Listenability: 4.5/5

Primus - Green Naugahyde

Don’t you just love those few-and-far-between bands? They’re truly like no other. Sure they have a hint of this or a touch of that (other band) in them, but for the most part they are one-of-a-kind. Even if it’s not your cup of tea as far as genre is concerned, it’s always impressive to hear it and what separates it from the pack. For me, Primus is this band.

Even though one might need a graph to keep the members straight, one thing has remained the same: Primus has made some of the most unique music to ever hit the hard rock/metal scene. Founding (and constant) member Les Claypool (bass/vocals) has all of the best characteristics. Bizarre, angry, funny, and exceptional, he is inarguably the foundation of this group of misfits. Joined by guitarist Larry “Ler” LaLonde (1989 – present) and drummer Jay Lane (1988, 2010 – present), they are a combination of sounds and talents genuinely in a league of their own.

Green Naugahyde, the trios seventh full-length studio album and first in almost 12 years, is an extension of the Primus of old and brings an energy that is refreshing and, at the same time, somewhat disturbing. All the elements of old Primus are there. Claypool is an all-star on the bass–an absolute mastermind ala Victor Wooten, Jaco Pastorious and Geddy Lee, bassists that transformed the its role in music. Slapping, strumming, picking, bowing, Claypool brings the bass from the background to front and center, taking over the lead of tunes with jaw-dropping creativity and accuracy. LaLonde does a superb job of keeping up, complimenting Claypool at every turn, while simultaneously adding his own chaos. And the “team player award” goes to Lane, laying down a steadfast foundation for all of this madness and never staggering on sick lick after sick lick.

Although, the most stand-out characteristics of Naugahyde may be its lyrics. An overt statement on current American society, it seems to leave no stone unturned. Pop culture (“Eyes of the Squirrel,” “Moron TV”), the environment (“Last Salmon Man”), capitalistim and economic woes (“Eternal Consumption Engine,” “Hoinfodoman”), and movie stars (“Lee Van Cleef”), Claypool pops the cork on all of the emotions he’s bottled up over the past decade, and to be honest, I’m not sure how I feel about it. He avoids going all-out political and focuses more on the man rather than the machine. For the post part, I’m in his boat, but there’s something odd about it…something unsettling. Maybe because it’s so overt. Maybe because that exactly what he wants. Who knows. Let’s just say, you probably won’t walk away from this with a smile on your face. But did you expect to?

That aside, for those new to Primus, Green Naugahyde is as good a place as any to start. It’s hard to expect anything quite as good as Sailing the Seas of Cheese–like Pink Floyd after Darkside–but Naugahyde does fit well in the catalog and is hopefully a sign of more to come. Primus is just too good of a thing lose.

Rating
Overall: 4/5
Originality: 5/5
Production: 4/5
Listenability: 4/5

Trombone Shorty - For True

A great friend once told me, “If you don’t like mushrooms, don’t eat mushrooms.” I’ve found myself employing this life motto for many years since. If you don’t like something, don’t sweat it. Just don’t do that thing. But sometimes, you just need to give mushrooms another chance. The same could be said for Trombone Shorty’s newest work, For True (Verve Records). Some people just aren’t horn people. But sometimes you need to give them another chance, and this album would be a great place to start.

Raised in the Tremé neighborhood in New Orleans’s 6th Ward, Troy “Trombone Shorty” Andrews took to music with the seemingly greatest of ease. Starting at the age of three with drums, then trumpet and eventually landing with, you guessed it, trombone, pretty much all you need to know about Troy’s childhood can be summed up in one picture. Yes, that’s real. And yes, that’s how he got his nickname. Strolling the streets of New Orleans, barely big enough to hold his trombone, Shorty’s musical life story took form, and in the short 25 years since has included more than most musicians could hope for in a lifetime.

Living with an unceasing love for all things music, Shorty has explored the ins and outs of virtually every genre, while never abandoning his roots. Gigging with the likes of Lenny Kravitz, U2, Green Day and Galactic, all while penning seven albums of his own, Shorty has immersed himself in music and everything that’s a part of it. The results? Well, besides accolades like Performer of the Year and Best Contemporary Jazz Performer (Offbeat), he has the honor of, at age 23, being the youngest artist ever to be pictured on the official poster of the New Orleans Jazz & Heritage Festival. The next youngest: Wynton Marsalis…when he was 41.

You can hear everything that has gone into Shorty’s musical experiences in almost every track on For True. There’s those hints of his time with Kravitz in “Encore,” while also touching on the blues with a guest appearance from blues-rock guitar great Warren Haynes. You can find the Galactic funk in “Buckjump” and “For True” and hip-hop in “Mrs. Orleans.” “Then There Was You” brings in some r&b, and, well, there’s jazz everywhere. But above all there is always that little taste of gumbo that he can’t, and shouldn’t, get away from. It’s in his blood, after all. Parts one and two of the aptly-named “Lagniappe” take you straight down to the French Quarter, and not that spring break one, the classy, cultural and historic one.

Clearly nothing is off limits for Shorty. But don’t be confused, For True is not mismatched. In fact, it’s all put together quite nicely. It will definitely grab you and shake you around a bit, but it doesn’t leave you confused. There is an amazing maturity to it that you might not expect of people twice his age. His writing and playing are tactful, cultured and graceful on one hand and bold and expressive on the other. The only thing it leaves you wondering is what he might possibly accomplish in the next 25 years of his life.

So, yeah, you might not like mushrooms, but before write them off entirely, try this portabello.

Rating
Overall: 3.5/5
Originality: 4/5
Production: 3.5/5
Listenability: 4/5

Mike Doughty - Yes and Also Yes

Mike Doughty is kind of an anomaly. Listen to his work with Soul Coughing and you’d guess he’s a hard-edge cross between alt-rock and hip-hop. But listen to any one of his nine solo albums and you’d think that, while not entirely soft, he’s more of a have-guitar-will-travel emotionalist. The funny part is, when you break it down to its roots, there isn’t much difference between the two.

If you’re entirely unfamiliar with his solo work, think Cake, G love, Beck, Eddie Vedder (especially his Into the Wild soundtrack) and Glen Hansard (The Frames). Yes and Also Yes, his latest foray into the solo world, is a mostly-acoustic, non-complicated but pleasing look into this aforementioned softer side. The album is filled with introspective tunes that get back to his folk roots, while at the same time, not entirely abandoning the rock of Soul Coughing.

While there isn’t necessarily a stand-out track on the album, there are subtle and sometimes obvious facets of almost every song that make it original and pleasing to the ear. It’s the bitterness in “Na Na Nothing,” the delayed strings in “Dive into the Un,” and the contrast of the hip hop verse and Jack Johnson-like chorus of “Day by Day” (not to mention the sweet and subtle Rhodes accents).

With sleigh bells and a duet with Rosanne Cash, “Holiday (What Do You Want?)” has the makings of a traditional Christmas tune, but amazingly it’s not. The blend is just right to instead make it feel appropriate right where it is, in this middle of an album that is anything but Christmassy. And to follow it with the driving drums and punk guitar of “Strike the Motion” and “Have at it,” he clearly doesn’t just want to hem and haw over sappy memories.

It’s comforting to know that Doughty has admitted that “Makelloser Mann” is “just a bunch of random, peculiar phrases,” since that’s all it sounds like anyway. But “The Huffer and the Cutter” is a little clearer, bringing back that bitterness and resentment we heard at the beginning. “Telgenic Exes, #1 (Hapless Dancers),” along with its later partner, are the only true solo tracks on the album. They’re also where the Vedder characteristics really come through.

So very close to the end, “Vegetable” lays down some surprising funk that is almost the perfect combo of solo Doughty and Soul Coughing. And closing with the second of the “Telgenic Exes,” is a good way to bring it back down and send it off with just Doughty and a 12-string.

It’s rare that you can listen to a solo/acoustic album and come to the conclusion that it really will appeal to most musical preferences. There’s truly something for everyone in Yes and Also Yes, with a blending of folk, rock, hip hop, punk, and funk throughout. At some points it’s in the forefront and at others dancing in the background, but it’s there nonetheless. And while it’s often hard to be blown away with originality on a solo album like this, Doughty tries his best and does manage to show some inventiveness. So, whether you love or hate Soul Coughing or haven’t heard of it or Doughty, take time to give Yes and Also Yes a try. I bet you’ll find something you like.

Rating
Overall: 3.5/5
Originality: 3.5/5
Production: 3/5
Listenability: 4/5

Crystal Antlers - Two-Way Mirror

Is it two faces or is it a vase? It all depends how you look. A similar puzzle could be used to analyze Crystal Antlers. Is it 60s psychedelic or is it modern indie rock? It all depends on how you listen. Through the approach of members Andrew King (guitar), Cora Foxx (keys), Kevin Stewart (drums), Damian Edward (percussion) and Johnny Bell’s vocals and bass, Crystal Antlers is able to take listeners through an auditory illusion, dipping their toes in and out of classic and modern pools, sometimes collectively and more often individually. In the end however, having gone through the ups and downs typical of a young, indie band, they have settled in and developed one, collective sound that should vault them to the top of the indie scene. And it is their sophomore effort, Two-Way Mirror, that should propel them there.

Right in your face, Antlers don’t waste any time introducing themselves. “Jules’ Story” is as bold an opener as you’d expect from a band who isn’t just releasing their second full-length album. Gritty and distorted throughout, there’s almost no time for thinking. Bell’s vocals border on death growl, but thankfully remain above. It’s right here that you hear it. It’s that complex mix of genres. It’s that confusion and yet infusion of two similar but also very different ages of music. And it’s pretty much that for the remainder of the 11-track album.

Following “Jules,” the three-four circus feel of “Séance” should really be accompanied by a dizzying, nonsensical video. Instead they opted to save that for “Summer Solstice,” which is perhaps the most upfront track, but that’s only saying so much. “By the Sawkill” and “Two-Way Mirror” are appropriate follow-ups, keeping with the indie and often punkish tone.

But enough of this thinking-you’ve-got-it-figured-out stuff. Here comes the second half, led by “Way Out,” which may as well be an unreleased track from Pink Floyd’s Ummagumma. It should also be noted it’s in this latter half where Foxx’s keys (mostly organ) really come out from the shadows and lead the Antlers on the rest of their trip, which remains a constant touch-and-go of musical accord.

As the last few tracks fade out, all of them short and fairly inexplicable, Two-Way Mirror leaves as baffling as it arrived. But one thing has been made clear: Two-Way Mirror is good. It’s really good. It’s the kind of album that doesn’t come around very often, and if it did, it would already be overdone. Unique, thought-provoking, frustrating and satisfying all at the same time. Crystal Antlers has uncovered something that was possible all along but no one knew it. And we should be grateful. But before we go, there’s just one thing left to ask…Is it a damn vase or not?!

Rating
Overall: 4/5
Originality: 5/5
Production: 4.5/5
Listenability: 3.5/5

Phish Dominates Three Nights at UIC

For Phish fans, no summer is complete without tour. Deer Creek, Alpine Valley, Camden. These are the vacation homes of fans throughout the summer months. So, when Phish announced a three-night run at the University of Chicago’s UIC Pavilion (the only Midwest, and indoor, shows of the tour), it immediately had the feeling of something special. Trey Anastasio, Page McConnell, Mike Gordon and John Fishman, returned to UIC for the first time since 1998, and treated fans to three nights of classic Phish.

Since returning from a (second) hiatus, which included a drug conviction and rehab stint for Anastasio, Phish have dedicated themselves to rebuilding that excellence that launched them to the top in the 90s, and each night of the UIC shows proved this. Below is a night-by-night recap, but for those not as interested in the specifics, know that for all of the pre-show hype (and ticket demand), Phish treated their fans, new and old, to an amazing run, displaying not only their unmatched talent but also their commitment to entertaining their fans. These shows truly had it all.

Night 1

Set 1: Back on the Train, Rift, Guelah Papyrus, Scent of a Mule, Jesus Just Left Chicago, Wolfman’s Brother, Anything But Me, Babylon Baby, Reba, Alumni Blues ->; Letter to Jimmy Page ->; Alumni Blues

Set 2: Sand ->; Light ->; Dirt, Waves ->; Undermind ->; Steam; Fire

Encore: Camel Walk, Guyute, The Horse ->; Silent in the Morning, Harry Hood

How is it all going to start? Will they start low and slow and build to an explosive climax at night three? With Phish, you never know, and we certainly didn’t

Night one brought the heat, in every sense of the word. From note one, the night rocked and rolled its way through peaks and valleys, all the while maintaining a momentum that left most gasping for air.

Save for the welcomed bathroom-break of “Anything But Me,” there wasn’t a weak song in the evening. “Wolfman’s” provided the first jam vehicle of the night, and this is one that they have really let go of in 3.0 Phish. Locked in and tight, the jam went three or four directions before circling back to the head. Mike’s “Babylon Baby,” off his third solo album Moss, provided the only debut of the evening and had a nice, peppy feel to it after the slow “ABM.” An homage to playing on UIC’s campus, a ripping “Alumni Blues”->;”Letter to Jimmy Page”->;”Alumni Blues” closed out the set and left everyone desperate for a breather…and water. (Holy steamin’ hot venue Batman!)

This 3.0 version of Phish has most decidedly included less experimentation and a greater focus on tightness and accuracy, and there is no doubt they have accomplished the latter…but, as of this night, the former too. Seven songs. Seven segues. Seven stratospherical jams that contradicted their earthbound titles. Each song of the night one second set ebbed and flowed with that wanderlust and freedom that many came to know (and expect) of Phish throughout the late 90s and early 2000s, tying it all up with the rage of Jimi Hendrix’s “Fire,” just to let you know who you’re talking to here.

Feeling that the more than two and a half hours of fun they had already provided wasn’t quite enough, the boys returned to the stage for the first five song encore in more than 20 years. See what happens when no one tells Trey about the curfew? So, clearly this was no typical encore. This was 35 minutes of “Camel Walk” funk, “Guyute” nastiness, “Horse”->;”Silent” dreamscape and “Harry Hood” jubilation. Woah. Didn’t see that coming.

Thank you and good night. Oh, and see you tomorrow.

Night 2

Set 1: Dinner and a Movie, Ha Ha Ha, Chalk Dust Torture, Mexican Cousin, Walls of the Cave, Runaway Jim, Foam, I Didn’t Know, Ocelot, Ginseng Sullivan, The Wedge, Limb By Limb, Let It Loose

Set 2: Down with Disease ->; Twist ->; Backwards Down the Number Line, Theme From the Bottom, Golden Age ->; A Day in the Life, You Enjoy Myself

Encore: Heavy Things, Slave to the Traffic Light, Rocky Top

So, what to do now? I mean, you’re not supposed to START a three night run with such a burner. How can you possibly live up to that? Well, maybe night two of UIC wasn’t quite the stellar performance from night one, but that doesn’t take a single thing away from it. Night two’s first set featured a 13 song slew of classic Phish tunes spanning their repertoire, from “Dinner and a Movie” and “Foam” (Junta), “Chalk Dust Torture” (Picture of Nectar), “Mexican Cousin” and “Walls of the Cave” (Round Room), “Ocelot” (Joy), “The Wedge” (Rift), and “Limb by Limb” (Story of the Ghost), and covers of Norman Blake’s “Ginseng Sullivan” and the Rolling Stones’ “Let it Loose”, the set almost covered the bands entire history, from old to new. And while the set didn’t feature much in the way of jams, it did showcase the bands compositional chops and demonstrated their commitment to, once again, playing tight and precise.

To be expected after last night, set two loosened up and dove right into experimentation with a stellar 21+ minute “Down with Disease.” Dipping their toes back into the inventive waters of night one’s second set, “Disease” took them and us on a psychedelic free-fall before perfectly segueing into an unexpectedly deep “Twist.”

The remainder of the second set offered some pep and vigor and was appropriately capped off with a stellar “You Enjoy Myself.” Start to finish, this “YEM” gave it all. The post-trampoline deep funk lead to a raging peak and closed with a tight and purposeful vocal jam.

Again, it was hard to beat the five song encore (third set?) from Monday night, and with “Heavy Things” they clearly weren’t trying to. But a smooth and defined “Slave to the Traffic Light” certainly was a welcomed treat, and just try not to smile during “Rocky Top.”

So, for those at home keeping score, we have a ballgame here. Night one is still in the lead after a solid and upstanding night two. How will the trilogy end though? Give me a few hours and I’ll tell you.

Night 3

Set 1: Colonel Forbin’s Ascent > Fly Famous Mockingbird, Gumbo, Possum, Weigh, The Divided Sky, Alaska, Bathtub Gin, Maze, Cavern, First Tube

Set 2: Crosseyed and Painless -> No Quarter -> Timber (Jerry) -> Tweezer -> Prince Caspian -> Piper -> Ghost -> Makisupa Policeman, Sleep, Buffalo Bill, Golgi Apparatus , Character Zero, Run Like an Antelope

Encore: Funky Bitch, Show of Life , Tweezer Reprise

Alright, so here we are. Walking into the third and final night of what quickly became a very special Phish run in Chicago, all of the talk seemed to be not so much around what they would play, but what they could. Even after the incredible song selections of the previous two nights, still many gems laid out there for the taking. They hadn’t even touched any of the Gamehenge classics…that is until note one of tonight’s first set. Setting off with “Col. Forbins “->”Mockingbird” gave the impression that the boys might continue to dig deep into their repertoire. Instead, the rest of the set fell back into the more typical song selection of 3.0 Phish. However, the execution was just as spot on as the previous nights, highlighted by a raging “Maze” featuring outstanding solos from Page and Trey, and the always high-energy “First Tube.”

Ok, but how would it all end? We have experienced five incredibly solid sets of Phish that all offered quite a bit, even for the most hardened of fans. There’s been hard rock, spacey jams, short tunes, long tunes, old tunes and new tunes, all of which were executed with the rigor that drew fans to Phish in the first place. So, how would it all end? Would they set into orbit or keep with the high energy of the first set? As it turns out, they chose both.

Starting with a trio of covers, The Talking Head’s “Crosseyed and Painless” is always a welcome set two opener. Typically a launch pad for exploratory jamming, tonight’s stayed a little closer to the frame, with Trey leading the way before transitioning into Phish’s newest and best cover, Led Zepplin’s “No Quarter.” McConnell’s Rhodes and vocal work make this a natural fit for Phish’s large collection of covers. “Timber (Jerry)” also stayed a little closer to the chest as opposed to its typical dissonant and atonal jam.

It’s from here that the set started to become a little disjointed and random. “Tweezer” kept the energy high, but “Prince Caspian” quickly dropped it down. “Piper” brought it back up, and what has to be the shortest “Ghost” on record almost instantly, and somewhat disappointingly, dropped into “Makisupa.” The remainder of the set was a mix of ups and downs through some of the band’s shorter songs, more typical of those expected in a first set. “Character Zero” and “Antelope” definitely ended things on a rockin’ note, but seemed to leave people wondering how to feel. And after two stellar encore performances from the previous two nights, it’s not surprising that the “Funky Bitch,” “Show of Life,” “Tweeprise,” while fine choices, felt a little anti-climactic.

And so…

No matter what people say about this latest version of Phish, one thing that is hard to do is complain. Most fans feel lucky enough that they are even able to see the band perform live, and when they do, they are most often treated to the Phish that they hoped for. Each member of the band is contributing on an individual and collective basis. There is tightness, accuracy and yet still freedom in every tune. And for those that were lucky enough to catch all three UIC shows, we saw this in spades. Every single aspect of Phish was present: face-melting solos, fitting covers, wide-open jamming, thoughtful song selection and, even a touch of Phish humor. And while night one of this run definitely comes out on top, each show is great on its own. Worth the downloads? Yes. Worth seeing the next time they come through your town? Absolutely. And most importantly, UIC was worth the hype.

And now, if you’ll excuse me, there’s a pillow somewhere that’s calling my name.

Beirut - The Rip Tide

Born in Santa Fe, New Mexico, Zach Condon’s musical influences span a far greater reach than the southwestern sky. An early desire to explore the world and the music it offers, much of Condon’s college years were spent absorbing European culture, language and composition. It’s no shock then that it is abroad where his band enjoys much of its success. Beirut formed in 2006 and, with its varying members, has become an indie hit in both America and Europe, and has even, surprisingly, spawned a series of tribute bands across Brazil.

Beirut’s third full-length album, The Rip Tide, doesn’t quite abandon those worldly influences of its short past, but arguably seems to lack the reach of its others. Keeping with the unique combination of guitar, accordion, horns, piano and Condon’s distinct voice, Rip Tide treads the line between folk and indie. And overall the album is fine, but it doesn’t seem to do much to hold the interest of the listener. It’s almost as if you’ve heard everything they have to offer after just two or three tracks. Eight-bar intro over simple structure, enter lyrics, add horns, repeat, end. Yes, that’s an over-simplification, but by track nine, it feels like that’s all you’ve heard. Most tracks finish just how they start, sometimes with a little more or less intensity, but often without having included something as simple as a bridge or even an outro.

However, two of the most interesting tracks on the album (using that term somewhat loosely) do come in the middle and end. “Payne’s Bay,” while not deviating far from the main march theme, does switch from the three to four-four time at the midpoint, as it brings in the repetitive “headstrong today, I’ve been headstrong” and comes to an abrupt halt. And “Port of Call,” with its six-eight drive finds a way to layer and build, first with piano, then backing vocals. Horns drive the middle before ebbing back into the vocals, ultimately putting it all together for a grand-ish finale.

Some albums aren’t meant to be dissected. There isn’t a need to pick them apart line by line because that’s not the intent of the artist in the first place. Sometimes an album is made just to please the ear. It’s better to just hit play and relax. Maybe that’s a more appropriate approach to Beirut. They certainly are a fine band, and Rip Tide a fine album, in those respects. But for the listener looking for a little more, something that can provide a bit more of a challenge, it’s probably better to look elsewhere.

Rating
Overall: 3/5
Originality: 2.5/5
Production: 3/5
Listenability: 3/5

They Might Be Giants - Join Us

Whatever your feelings are about They Might Be Giants, we all owe them at least one thing, and that’s for teaching us that Istanbul was once, in fact, Constantinople. From there though, it’s a mixed bag. It’s nearly impossible for anyone who grew up in the 90s to not know at least a few tracks off their third and arguably most popular album Flood, but it’s also realistic to find that beyond that, there isn’t much else. A couple of Grammys and a few songs on the charts is about it. Why? Well, put on an album and decide for yourself.

No one can argue that founding members John Flansburgh and John Linnell don’t have the musical chops to be a success. Every album is an assortment of styles and instrumentation. Folk, rock, classical, grunge. Accordion, strings, horns, keys. Mixing and matching tempos and time signatures. They’ve got it all. They’re certainly original too. You know a Giants song when you hear it. So what is it?

It’s silliness.

The one thing that has remained unvarying over their nearly 30-year career is these guys are just plain silly. This might explain why they’ve even had recent success as a children’s act. Almost every song has some childish quality to it. Sometimes it’s the lyrics. Sometimes it’s the music. Sometimes it’s the vocals. Sometimes it’s everything. But the one thing they can’t seem to get away from—which apparently they have no desire to—is silliness. And, well, sometimes that’s not gonna cut it.

This probably explains why the start of Join Us is accompanied by a bit of an eye-roll, as if to say, here we go again. There’s Linnell overstating the Dylan-esq whine in his voice. And from there it’s track after track, no one in any way resembling the other, all having some redeeming if not admirable musical qualities, but none giving that wow factor you would hope for. There’s the chorus of “Canajoharie,” the up-tempo “When Will You Die” and oddly sweet and slightly disturbing “Never Knew Love.” These are the ones you might put on for a curious friend. But the rest? The rest is a sometimes commendable but often confusing, non-cohesive ball of silliness.

The die-hards will most definitely disagree, as they should. But it’s not that They Might Be Giants aren’t a good band or even that Join Us is a bad album. They are and it isn’t. But, you can’t help feel that they and it could be better. On the other hand, it’s this childishness, this lack of attention span that has made them who they are. So, who’s to say the status quo isn’t sufficient? It certainly seems to be paying their bills.

Rating
Overall: 3/5
Originality: 4/5
Production: 4/5
Listenability: 2/5

Thievery Corporation - Culture of Fear

Technology has left no shortage of self-appointed DJs in the music world. Walk into a music store and you’ll likely find someone that can put together some beats. Put on some headphones, push a few buttons, and presto, the makers of whatever device it is has turned them into a mix master. Thankfully there are artists that understand it a little deeper, that can conceptualize tracks from start to finish and mesh a variety of sounds and styles into one cohesive, complete and original work. Thankfully there’s Thievery Corporation.

Unlike some of their contemporaries who try to wow the listener on the first beat, Eric Hilton and Rob Garza approach their tracks with a more subtle touch. Rather than start with a bang and end with a tedious whimper. Thievery starts simple. Basic instrumentation, building and layering. Easily, subtly and emotionally. Each track offers the chance to listen either actively or passively. It’s up to you.

Coming off their 2008 “incendiary and bombastic call to arms” Radio Retaliation, Thievery backed off a little with their latest social commentary, Culture of Fear (released June 28). Revolving around the idea that we are surrounded with reasons to live our lives in fear, the album, save for the opening tracks, isn’t quite as doom-and-gloom as its name suggests, especially on the musical front.

Culture does smack you upside the head with its opening porn-funk “Web of Deception” and keeps right on with the title track, led by hip-hop MC Mr. Lif and his imploring “don’t succumb to this culture of fear.” The random shame is that the opening line of the song is actually dated, calling out the recently abandoned color-coded threat level system.

From there, the album cools off and sets off on a flight through mellowed out jazz and reggae jams. It’s highlighted by the bossa beats and ghostly vocals from LouLou Ghelichkhani on “Where it All Starts,” and the aptly-named “False Flag Dub.”

Surprisingly, the most disturbing song in the bunch is in name alone. In none of the 7 minutes and 48 seconds of “Tower Seven” do you get the impression they’re talking about a time and place where conspiracy theorists think the government killed thousands of Americans.

Yeah. So there’s that

“Overstand” comes somewhat out of nowhere, but it’s not unwelcome. The deep reggae and lay-it-on the table lyrics from Ras Puma make it clear we’re not just talking about the government either. And rounding it out is Kota’s haunting vocals on “Free,” sending the album off and leaving the man behind. It’s time to move on. “I am free. Come with me.”

Alright, so where are we? Are we more afraid, less afraid or just chilled out and feeling good? I’ll go with c. Relatively unchanged. And not just about fear. Culture of Fear is definitely a keeper. There’s things to be learned here. But it’s not necessarily a changer. That you’ll find more in Radio Retaliation. Certainly not taking anything way from a cohesive, complete and original work though.

And who says you need changing, anyway?

Rating
Overall: 3.5/5
Originality: 3.5/5
Production: 3.5/5
Listenability: 4/5

TV On The Radio - Nine Types of Light

Where is music today? Sure even at its lowest points, select musicians and bands have kept hope alive. But 20 years from now, it’s unlikely people will look back on the 2000’s as a time when popular music was anywhere near its peak. When industry was smacked upside the head with the explosion of the internet and its capabilities, they turned inward and, rather than coming up with a solution that would work for both us and them, they decided on products over musicians. Who cares that the person didn’t write a single song on the album or even play an instrument. We can sell t-shirts!

Not surprisingly, this wasn’t a sustainable model, and the times have caught up with them. And finally the music lovers of the world are being rewarded for their perseverance and dedication. We are now seeing that talent (that has always been there) emerging in popular music scenes. And thankfully, TV On The Radio has fallen right into the new rising movement, whether they meant to or not.

The Brooklyn-based group – Tunde Adebimpe (Vocals), Kyp Malone (Vocals, Bass, Guitar, Synth, Strings), Dave Sitek (Keyboards, Guitar, Bass, Horns), Jaleel Bunton (Drums, Guitar, Rhodes, Organ, Synth, Bass, Strings), and the late Gerard Smith (Bass, Organ, Synthesizer, Rhodes) – has just released their “fourth proper studio album” and isn’t trying to appeal to the masses. They aren’t trying to sell t-shirts. Instead they’re following their own model. Perhaps they even said it best themselves: “TV On The Radio do not write traditional pop songs. Often, they change direction two or three times in one song.” They took the words right out of my mouth. And as with many good bands, their adherence to this non-formulaic method doesn’t come off as forced or unnatural. Instead it sucks you in. Sure there are times of simpler chord structures, but most often those are tweaked and twisted so much by the end of the song that you’ve forgotten where it began. Just as you think you’ve got a tune figured out, it takes a turn, sometimes so subtly you barely notice and at others it’s a slap in the face...but the kind that feels good.

Perhaps it’s the fact that Nine Types of Light is the first TVOTR album recorded outside of Brooklyn (L.A.) or maybe it’s that while even though the members are the same, their instruments aren’t. Whatever it is, there’s a freshness about it. There are definitely influences and hints from other bands, but from start to finish, the album brings that newness with it that makes you feel good, that makes you feel like we’ve made a turn and that music is good again.
It’s the blend in the very first track from folk to somewhere between classic rock and electronic. It’s the throwback synthesizers on “You” that yet sound brand new. It’s the David Byrne influence you hear in “No Future Shock” and the brilliant juxtaposition between it and “Killer Crane” that follows. It’s how the Police-sounding “Repetition” is one of my favorite tracks even though I typically don’t have patience for a song with so much…repetition. It’s how Adebimpe’s and Malone’s coarse vocals come off as soft-hearted when paired with the many affectionate lyrics.

No, these aren’t necessarily signs of genius or great innovators, but rather of talented musicians interested in putting together an entire piece rather than selling a single. It’s an indication that there is thought and originality being put into each song. It’s the realization to us that music can be good again, and indeed it is.

Rating
Overall: 4/5
Originality: 4/5
Production: 4/5
Listenability: 4/5