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

Beastie Boys - Hot Sauce Committee Part Two

“Yes, here we go again, give you more, nothing lesser. Back on the mic is the anti-depressor.” I can think of no more appropriate opening salvo for the Beastie Boys’ latest release Hot Sauce Committee Part Two. Here we are, back with Ad-Roc, MCA and Mike D, a remarkable 25 years after their first album and an even more impressive 30 years after the trio joined forces. Here we go again. And man, that anti-depressor part is right on.

There’s a lot that separates the Beastie Boys from the others in the rap and hip-hop arena. They’re actual musicians, playing instruments both on their albums and live. Their lyrics vary in focus, and are a little more judicious with where and when to drop f-bombs and the like. They work as a collective while still leaving plenty of room for individuality. But above all, what differentiates these guys from their colleagues is, for this guy anyway, their unceasing ability to make me laugh. I mean, “Sometimes I get pad thai as a starter. My other order, pad see ew is much darker.” How do you not laugh?

Always taking their craft (but only occasionally themselves) seriously, these guys have found a way to unite all types of music lovers. And while Hot Sauce Committee might not have quite as much musical variety as some past albums, it still has plenty to offer in the way of catchy-as-hell leads, deep bass and some stellar guest mc appearances by Nas and Santigold.

“Make Some Noise” is a perfect starter and they seem to know it. Hooked again, I’m with you. And “Nonstop Disco Powerpack” follows with a familiar bass groove and an opportunity for each of them to step out and introduce themselves. “Ok” comes right back with another catchy synth lead and, honestly, just okay lyrics. That’s alright though, “Too Many Rappers” picks it right back up with some sweet lead from Nas and summed up perfectly: “That was dope.” Heavy distortion and a powerful chorus make “Say It” another solid track, even if the lead on the chorus is “borrowed” from “Pass the Mic” on Check Your Head. And the last 20 seconds? Awesome.

The reggae beats of “Don’t Play No Game that I Can’t Win” combined with Santigold’s outstanding vocals make for what is easily one of the highlights of the album. The Boys really let her drive the track. And while “Long Burn the Fire” isn’t my favorite, it definitely keeps things going with a solid bass and backing track.

Funk is a word that is continually misused in music, but “Funky Donkey” keeps true to its namesake with its bass and clav lines, all offset by some island steel drums. “Lee Majors Come Again,” the album’s first single, puts the Boys back on their instruments and takes you back to “Sabotage” and “Tough Guy.” The instrumental “Multilateral Nuclear Disarmament” is unfortunately probably the least appealing track on the album, but even still, it’s not that bad. And again, you can’t help but laugh at the kids vocals on “Crazy Ass S**t,” Little kids rappin’ “On and on till the break of dawn” and “You can’t stop, you got to keep on”? C’mon, that’s funny ass s**t right there.

So, yeah, no surprises here. The Boys delivered again. Sure they have had a few misses over the years, but what band hasn’t, especially one that’s been around as long. In fact, most people would be hard pressed to name more than handful of popular bands that have enjoyed the same longevity while consistently putting out a quality product. Yeah, they’re grayer and hoarser than those little punks that introduced white people to rap in the 80s, but they’re still strong and Hot Sauce is evidence that they probably will be for some time to come.

Rating
Overall: 3.75/5
Originality: 4/5
Production: 3/5
Listenability: 4/5

Moby - Destroyed

You know who Moby is, but do you really know Moby? Yes, in many respects he’s quite an open book, keeping an online journal and never shying away from discussing religious beliefs or political tendencies. Digging into his musical mind though? That’s a whole different story. We’re talking about a guy who has put out 10 original albums, largely on his own. He always welcomes a guest vocalist or two and loves to sample from other works, but mostly his albums are a trip through his mind and his mind only. Knowing this helps make sense of Destroyed, his latest effort which was mainly composed during late-night insomnia sessions. It probably shouldn’t be surprising then, that many of the tunes come off as…sleepy.

Starting with a whimper more than a shout, Moby’s clearly not trying to grab anyone’s attention with the first couple of tracks. “The Broken Places” opens on a soft and cyclic pattern with, by the song’s end, little departure from note one. It immediately leaves the hope of wanting something more, and while “Be the One” heads in the right direction, it isn’t until “Sevastopol” that things get rolling with a little more tenacity. The driving beat and leading strings are clearly the focus, but where Moby begins to deviate with “Sevastopol” is through amazingly simple chord changes. Who knew so little could mean so much?

“The Low Hum” is the first of several vocally-focused tracks, which really give the album some heart. The vocals not only add some instrumental flavor, but also give the tracks the lead melody that is lacking from many others. And while “Rockets” teeters between the instrumental monotony of the early tracks and the depth of the middle tracks, “The Day” offers the best combination of electronica, conventional song structure and even some clarity into what Moby is thinking, as he jumps in on vocals.

One of the things that made Moby’s 1999 hit album Play so successful was his inclusion of so many musical stylings, incorporating acoustic instruments and alluring vocals with synth strings and techno beats, leaving something for everyone to savor. And while there are tastes of this on Destroyed with tracks like “Victoria Lucas,” “The Right Thing,” and “The Violent Bear it Away”, what seems to be lacking is the creative song structures. There are clearly hints of genius in many of the tracks, but there are also strong traces of someone who’s just dialing it in and not giving it his all. The last quarter of the album is perhaps the best example of this, with “Lacrimae” going as far as nearly replicating “Why Does My Heart Feel So Bad” from Play. Luckily, the fact that there are 16 tracks means a greater portion of the album is worthy of some attention.

In the end, Destroyed certainly won’t turn as many heads as Moby’s other works, most notably Play, and for good reason. As many brilliant music reviewers have said before, there is a fine line between good, creative electronica and doing something anyone with a midi-controller and some recording software can do. And while a greater portion of Destroyed offers the passion that we know Moby has in him, unfortunately that ingenuity is overshadowed by the album’s lackluster bookends. And seeing as the overarching “theme” of the album ultimately falls flat, maybe next time he’ll hone his focus to a shorter, and consequently more powerful product.

Rating
Overall: 3/5
Originality: 2.5/5
Production: 4/5
Listenability: 2.5/5

The Kills - Blood Pressures

Top ten musical duos. Go ahead, I’ll wait. Oh, and the ones that played with backing bands don’t count.

Tough isn’t it. There’s a reason for that. When it comes to putting together a solid music project, too many cooks can definitely spoil the pot, but not enough ingredients and that pot can fall desperately flat. Certainly Simon and Garfunkel have enjoyed the most success as a true duo, but their acoustic style had much to do with that. More recently The White Stripes topped the charts as a duo, and over the past few years The Kills entered the fray.

Easily most comparable to The White Stripes as far as style, Allison Mosshart and Jamie Hince have garnered similar attention as well. It’s not surprising then that Mosshart and Jack White collaborated on The Dead Weather. The Kills even recorded their first album in the same studio where The White Stripes recorded Elephant.

When listening to Blood Pressures, the duos fourth album over an eight year span, it’s hard to decide what kind of ear to give it. Should the fact that it’s mostly just guitar, vocals and a drum track be impressive, that they’re able to make a relatively full sound with so little. Or, should the fact that there are clearly aspects missing be considered. Or maybe just turn that voice in your head off and sit back and judge it as if you don’t know who the hell is in the band.

Admittedly skeptical at first listen, Blood Pressures does actually bring something to the table. There definitely isn’t anything mind-blowing, but there clearly is thought and creativity put into the tracks. Hince, or “Hotel” as he named himself at the bands outset, does a good job of covering bass lines and setting a rhythm while Mosshart, or “VV”, covers the majority of the vocals with a style most comparable to PJ Harvey. It’s also worth noting that the drum tracks are as solid as you’d hope for from a live drummer, just without any added flavor along the way.

“Satellite” combines a dub rhythm and haunting multi-tracked vocals that dig deeper and deeper as the song progresses. “Nail In My Coffin” most closely resembles Mosshart’s work with The Dead Weather, but also demonstrates TDW’s superiority. Hince’s only vocal solo on the album, “Wild Charms” has a Beatles and Pink Floydish sound to it, with the autoharp and detached vocals, and a seamless segue into the Lenon-esq guitar riff of “DNA.”

“The Last Goodbye” is complete departure from the rest of the album, and almost seems more appropriate for the closing track. But maybe that would have been too expected. The waltzing piano and soft strings provide a subtle and gentle accompaniment for Mosshart as she bids farewell to a “half-hearted love that will never be whole.” The “Pots and Pans” that does bring the album to a close does so with a fittingly industrial and edgy tone.

Overall, Blood Pressures is a fine album. I just can’t help but feel like it’s missing something. That what they’ve created could be made a lot better with the addition of one or two skilled musicians. They would obviously have to be carefully selected, but the right match could result in a band that is able to branch out not only from track to track, but within each song as well. As it stands, many of the songs come off as flat and limited, but the potential is there. Unfortunately, The Kills are and, most likely will always be, a duo.

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