Well, They Still Got Their Youth

Youth Group

The Night Is Ours

Fair Records

Action Rating: 4.5/10

Youth Group is an Australian based quartet that originally formed in the late nineties. The Night is Ours is their fourth full length album. Their second album Skeleton Jar was their last highly acclaimed work; it got them signed to the American label, Epitaph. This album’s overall sound is very close to that of Deathcab for Cutie, but that could be because it was produced by Deathcab’s own, Chris Walla.

Unfortunately, the album hits its peak in the first four songs. But those first four songs are as infectious as ever.

The opening track “Good Time” sounds like an anthem for a Monday morning after a fun weekend. Martin sings “I had myself a good time/ and now I don’t feel like myself.” It’s a great track to open the album with. The way the music is used only as a background for singer Toby Martin’s lyrical monologue has emotinal impact and it makes you want to keep listening to what they do next.

“One For Another” starts great. The chorus however sounds almost amateur lyrically. “One for another/ Each for each other/ I'm so glad that you found one another.“ Then comes the bridge followed by a really cheesy horn solo and, just like that, the song ends. Abrupt endings seem to be a trend that carries across the album. It makes the tracks sound rushed.

Any song that uses the lyrics “To dance to die to die to die” had better be a song you can dance to. Luckily for Youth Group, they met the standard. “Two Sides” is carried by a steady bass line accented by a synthesizer. The melody in the music as catchy as heck, however, if you stop dancing and actually listen to what he is singing, it’s less than impressive. “There’s always two sides/You can’t serve two masters/ You can’t take two sides”

On the contrary, “Dying at Your Own Party” actually tells a really interesting story. It is a relatively solid song all around.

“All This Will Pass” really starts the heavy Deathcab influence on the album, blended with vocals reminiscent of the 80’s underground scene. Right in the opening guitar riff, you would expect to then hear Ben Gibbard but then think you’re hearing Morrisey. But then “Friedrichstrasse" takes that in reverse. When it begins, you would swear you somehow picked to listen to a Paul McCartney song, but in the last minute or so, it transitions right back to Deathcab.

Tracks seven through twelve seem to blend into one single track. None of these songs stand out especially in comparison to the rest of the album. They are each pretty forgettable.

Youth Group has everything they need to be great. Toby Martin’s voice is crisp yet smooth. Drummer Danny Lee Allen holds the beat and is able to keep the song interesting without over-doing it. Guitarist Cameron Emerson-Elliot and bassist Patrick Matthews (formally of The Vines) bring real simple riffs that pull you in and tap your foot. Yet somehow, this album falls below par. It’s one that you would be better off just downloading the first four or five songs.

Standout tracks: Good Time, One For Another, Two Sides, Dying At Your Own Party

Silversun Pickups Make You "Swoon"

Silversun Pickups

Swoon

Dangerbird

Action Rating: 6.5/10

Alternative Rock is alive and well in the form of Silversun Pickups. After breaking the surface into mainstream music with their 2006 album, Carnavas, the band is back with their second full length, Swoon.

Based in Los Angeles, California, the band consists of Brian Aubert (lead vocals, guitar), Nikki Monninger (bass, vocals), Christopher Guanlao (drums), and Joe Lester (Keys).

This band is often compared to the Smashing Pumpkins. The first song on Swoon, “There’s No Secrets This Year,” confirms this comparison. The music is very reminiscent of early Smashing Pumpkins. Aside from that song, the band has continued their own sound further on this album.

Brian Aubert’s voice is often described as androgynous, which is part of Silversun Pickups’ signature sound. Along with this are the fuzz-drenched guitars that sound so similar to the keyboard that they are almost impossible to tell apart. Their mysterious sound and lyrics open to interpretation are part of their appeal.

The one element that makes Silversun Pickups is their ear for a great hook and melody.

The highlight of Swoon is “Panic Switch,” the album’s first single and a perfect example of their sound. The song starts with a distortion-soaked riff that fits the aggressive nature of the song. Taking note of other great nineties alternative bands, such as My Bloody Valentine or even Nirvana, “Panic Switch” has a great use of dynamics with the soft, subtle verse and a loud, heavy chorus. “Panic Switch” is almost six minutes long but it is never boring.

“Growing Old is Getting Old” gets old really fast. It is boring and uneventful for more than half of the song. Nearly three minutes go by without anything interesting happening, then the guitar appears and the song explodes into full fashion.

On “It’s Nice to Know You Work Alone,” Nikki and Brian trade off lines in the verses, but it is hard to tell who exactly is singing with Brian’s token androgynous voice.

The band used strings on their EP Pikul, and “The Royal We” reintroduces the use of strings, where they are featured front and center along with the guitar. This song has a sense of urgency and is almost over dramatic, but the strings provide a warm feeling. The strings also add a nice touch to “Catch and Release” as they accent Brian’s emotion-filled vocal.

“Draining,” which uses a sixteen-piece orchestra, goes by unnoticed. It is a slower song that merely acts as a break between two of the most memorable songs, “Panic Switch” and “Sort Of.”

“Is it perfect in our little hell?” Brian sings on "Surrounded" the albums final track giving it an "epic" feel.

The best element about the songs is how dynamic they are. None of them end where they started and they travel all over the place, keeping those pop hooks intact. On their first album, Carnavas, the songs sometimes blended together where as on Swoon they are more diverse. Brian is quoted saying, "Everything that was confusing on Carnavas, especially guitar and keyboard blends and the vocal androgynous thing, we went way further with that. So if that was something you liked, you're really going to like this one, if you hated it, there's other albums out there." At times it feels like they are trying to be too “artsy” and too dramatic. Either way, after a couple listens these melodies will creep into your mind.

Standout Tracks: There's No Secrets This Year, It's Nice To Know You Work Alone, Panic Switch, Sort Of, Substitution

Here Comes The Son

Thenewno2

You Are Here

Vagrant

Action Rating: 6.5/10

Imagine the Beatles (in their later years) and Radiohead (during Kid A) had a child.

In actuality, the band Thenewno2 is co-fronted by Dhani Harrison, the son of late Beatle, George Harrison. Dhani isn’t afraid of the Beatles comparison but rather embraces it. That comparison is pretty inevitable, as Dhani’s voice is so similar to his fathers. Their music is self-described as electro-blues rock. Dhani (guitar, synths, vocals) and Oliver Hecks (drums and synths) take the influence of George Harrison, The Beatles, Cream, and Massive Attack but their overall sound is more experimental and hard to classify.

You Are Here is the first full-length album from Thenewno2. The opening track, “So Vain” is a perfect example of what the album offers. A simple guitar line glides over an ambient beat as the bass and drums pulsate. Beats and synthesizer really provide as the backdrop to just about every song.

“Another John Doe” is the first single and is probably the album’s most unforgettable song. It has a very hypnotic melody that creeps up on you. With each listen the song gets better and exposes something new within its layers of sound. The band really utilizes the layers creating a psychedelic, sort of Pink Floyd vibe.

“Back to You” uses the same formula. The song opens with a sound clip to what seems to be news footage while the lyrics address social problems. "No progression from the situation just oceans of misinformation", Dhani sings over an addicting groove.

“Give You Love” is the album’s catchiest song with a repetitive chorus that is sure to get stuck in your head.

“Yomp” changes it up a bit as it is more of a rock song. This time the guitar is more dominant and Dhani gets to show his guitar skills with a solo near the song’s end.

“Hiding Out” is very electronic and could possibly be mistaken as a Radiohead song. Dhani sings the song in a near falsetto tone that works very well.

A ukulele (George would be proud) starts “Crazy Tuesday”, which really stands out amongst the electronic beats that make for most of the intros. Dhani sings, “I tell you that girl’s gonna make you cry”, in a song about a long distance relationship that is failing.

Dhani’s showcases his vocal range in “Idle Lover”, singing in a lower register. This is one of the album’s most interesting songs. About half-way through, it becomes almost chaotic as a trippy breakdown offers a great dynamic while it melts into the solo.

“Shelter” is more of a rock song. If anything, this feels most like a Beatles song. Dhani channels John Lennon as he sings, “While I’m stuck at home by my own/Silvertone I play alone”.

"Wind Up Dead” starts with an electronic beat but about a minute into the song, it takes on a very jazzy feel. Bryony Atkinson provides backing vocals that work in a call-and-response fashion. Her voice and Dhani’s voice play off each other very nicely.

You Are Here is a really good album, consistent and solid, but its downfall is in its lack of variety. Some of the songs seem to blend together, as letting the electronic rock sound dominate just about every track. Though with each listen the album does get better and better offering new surprises in all the layers. You Are Here is definitely worth checking out. The talent and the potential of this band is great and look forward to more from Thenewno2.

Standout tracks: Another John Doe, Back To You, Give You Love, Yomp, Crazy Tuesday, Idle Lover

"Zero" To 1980 In Ten Tracks

Yeah Yeah Yeah's

It's Blitz

Interscope

Action Rating: 7/10

So let’s just get the cat out of the bag right away: the Yeah Yeah Yeahs have made a dance album.

It’s completely normal to be struck with awe and perhaps confusion at this moment. Following the releases of 2006’s Show Your Bones and the Is Is EP in 2007, the New Yorkers were looking for their next challenge.

The first two tracks double as the first two singles. “Zero” is the perfect way to debut the Yeah Yeah Yeahs new direction. It is totally different from anything they have ever done. Immediately, 1980’s synth-pop groups like Ah-Ha jump to mind. Yet, the more you listen to it, the more infectious it gets! It’s a track that’s hard to sit still to. And if that wasn’t enough change for you, you get “Heads Will Roll,” which immediately throws you face-first into the nightclub. Cue the strobe lights and lower that disco ball.

“Dull Life” is definitely the track you should check out. It is undeniably a continuation of where the band was heading after Show Your Bones. Nick blows the dust off his guitar that collected while you were listening to the tracks that preceded and hits back with full force.”We sing the nightmare of the lies that you speak/The beast that I lie beneath is coming in.” A close second is “Shame and Fortune.” Karen O’s voice bends and weaves in and out of Zinner’s riffs like a serpent.

“Hysteric” is a track that rounds out the album as the rainbow that appears after the storm. Karen’s voice is soft and sincere in each verse to the chorus. “Flow sweetly, hang heavy/You suddenly complete me/You suddenly complete me,” floats like a dandelion caught in a breeze.

“Soft Shock”,”Runaway” and “Little Shadow” could get tossed. They never really make it past mediocre. “Dragon Queen” , however, is for sure a throw away. It sounds as if they’ve made an extra effort to reintroduce straight-up disco to the 21st Century. Although you can pick up TV on the Radio's Tunde Adebimpe and Kyp Malone’s voices in the chorus, their falsettos only add to the time warp. It’s not so much a throw-back to the seventies’ disco era is a terrible thing. The Yeah Yeah Yeah’s have earned themselves a particular fanbase that fell in love with the sounds YYY’s have been producing over the past 7 years. The changes definitely require some getting used to.

It's Blitz was originally set to be released April 14th of this year; however, the album got leaked over the internet February 23rd. So they have pushed the official release up to March 31st and made It’s Blitz available for download on iTunes and Amazon.com on March 9th. Online you can also download acoustic versions of “Soft Shock”,”Skeletons”,”Hysteric”, and “Little Shadow.”

Standout Tracks: Zero, Heads Will Roll, Skeletons, Dull Life, Hysteric, Shame and Fortune

album review by: Pam Wichert (contributor)

Putting the "CORN-E" in Cornell

Chris Cornell

Scream

Interscope

Action Rating: 0/10

Chris Cornell and Timbaland? Odd match, I know. You might not know what to expect.

Chris Cornell is most famous as the singer of Soundgarden and Audioslave. In 1999 Chris Cornell released his first solo album: the very good Euphoria Morning. Then in 2007 Cornell released Carry On, which was mediocre at best. Now on his third solo release Scream Cornell has teamed up with Timbaland, known for producing Justin Timberlake and Nelly Furtado. Cornell’s goal was to create a more modern sound and gain a new audience. The result is what sounds like a bad mash-up.

The cover art is Chris Cornell about to smash a guitar and if you don’t understand the relevance, you will after you listen to the album. Scream is a dance pop album that is generic and full of cliché’s and really does not pertain to rock and roll whatsoever.

“Part of Me” opens with the cheesiest introduction. Horns blare and a creepy voice introduces “Chris Cornell,” the same way a song might introduce some rapper. Then a generic dance beat starts and the last thing you expect to hear is Chris Cornell’s voice. Even more comical is the chorus of the song. Cornell sings, “No that B**** ain’t a part of me”.

“Everybody out for my blood/Everybody want my percent/I don't want to start going off/ I don't want to start talking s***/They just want to take what is mine/How much more can you get?” Chris Cornell sings on “Sweet Revenge”, moments like these beg the question: WTF.

Anyone who was a fan of Chris Cornell, Soundgarden or Audioslave prior to this album will probably gag before the lyrics even hit in the track “Never Far Away.” The music sounds much more fitting to maybe a Beyoncé song. Justin Timberlake is featured on “Take Me Alive”, which is probably the albums most bearable song. Two songs on the album, “Other Side of Town” and “Climbing Up the Walls”, feature real drums. These songs have a more familiar sound to them but lack in any kind of depth, just as the rest do.

I did not anticipate what a struggle it was going to be to get from track to track. The songs keep me somewhere between frustrated and amused.

The question of the album: Is he serious or is this some sort of Joaquin Phoenix ploy? Chris Cornell began his music career in 1984 with Soundgarden. There are several other musicians from that time that are still big players in the industry today and still are able to make good music that’s true to their style. Cornell collaborates with Timbaland to sound fresh and revitalize his career but instead he sounds like an idiot. As far as I’m concerned, he has dug himself a pretty huge hole in his career that he is going to have to work to climb out of. Chris Cornell wrote one of Soundgarden’s most beautiful songs, “Just like Suicide”. That song title would be very fitting as the title to his new album, which should be titled “Just like Career Suicide”.

Standout tracks: lol

U2 Will Believe It's Just Not That Great

U2

No Line On The Horizon

Mercury

Action Rating: 5/10

The album starts strong with the title track. The melody of the song really hooks you in, as all the instruments are layered and feel as if they are hovering over the horizon.

When “Magnificent” starts, it is hard to guess that this is U2. Then nearly a minute into the song you hear the Edge’s familiar guitar style and U2 have arrived. This feels like a typical U2 song. It even has synthesizers that give the song an eighties vibe. “At the moment of surrender/ A vision over visibility/ I did not notice the passers by/ And they did not notice me” Bono sings in “Moment of Surrender.” Bono belts the song over piano and an electronic drum beat as Adam Clayton’s bass line follows close. Clocking in at over seven minutes long, “Moment of Surrender” is the heart of the album. On “Unknown Caller,” Edge treats himself to an extended guitar solo and that’s the only time he does it. “I’ll Go Crazy If I Don’t Go Crazy Tonight” is generic U2. It is very poppy but fun.

“Get on Your Boots” is the first single from the album. The song starts with a guitar riff soaked in fuzz that is actually, pretty heavy riff for U2. It’s a good choice for a single as it is a very addicting song. It drifts between pop and psychedelic. “Get on Your Boots” is just out of place and doesn’t fit the album’s sound. As the first single, it teased a new direction but the band doesn’t go in this direction; it is merely a pit-stop. “Stand Up Comedy” is a rock song as Bono sings, “Stand up to rock stars/ Napoleon is in high heels/ Josephine, be careful of small men with big ideas”, possibly taking a shot at himself.

From here the album starts to go downhill. “Fez-Being Born” is an experimental song but fails to really go anywhere. “White As Snow” just goes by unnoticed. These are by no means bad songs they are just not as strong as some of the others. “Breathe” is an excellent song that would have sufficed as the closing song. Instead the very introspective, “Cedars of Lebanon” ends the album. Bono talks the lyrics, “Choose your enemies carefully ‘cos they will define you/ Make them interesting ‘cos in some ways they will mind you/ They’re not there in the beginning but when your story ends/ Gonna last with you longer than your friend.” With that, the album comes to an sudden end.

Brian Eno, Daniel Lanois, and Steve Lillywhite all taking part in the production of the album could be one of the reasons why No Line on the Horizon feels very inconsistent. More than half the songs are very good but the others fall into mediocre. Some songs feel new, some feel predictable. Still this album is better than anything U2 has put out in recent years.

Standout tracks: Magnificent, Moment of Surrender, I'll Go Crazy If I Don't Go Crazy Tonight,
Get On Your Boots, Stand Up Comedy

The Main Event

Concert Review

The Airborne Toxic Event are a must see act!

In 2008, The Airborne Toxic Event put out their self-titled debut album. Definitely a solid album, the songs are exceptionally catchy. As the band got more hype so did their live show.The band had two shows at Schuba’s on February 28th. Earlier in the day they played a free acoustic show at the Hard Rock Café.

The Airborne Toxic Event is an indie rock band from Los Angeles consisting of Mikel Jollett (vocals and guitar,) Steven Chen (guitar and keys,) Noah Harmon (bass,) Daren Taylor (drums,) and Anna Bulbrook (violin and keyboard.)

Opening with the poppy bass line of “Gasoline,” the band launched into its set. Next was “Papillion,” and the crowd began to sing along. Jollett noted by saying, “You guys know the words!”

From there the band started “Happiness is Overrated,” which was stopped abruptly after Jollett sang only a few notes of the intro. He talked about how he had been sick and his voice is still recovering “but we’re gonna do it until we get it right.” In the second attempt Jollett hit the right notes and his voice seemed to hold up. Although throughout the night he did seem to be nursing his voice, not quite going all out.

They played “The Girls in Summer Dresses,” which is a song based on the short story of the same title by Irwin Shaw. “Echo Park” was a new song that they played and it was less than impressive. When the band played “This is Nowhere” the show was about half way over but at this point the band seemed to get more into the songs. Then they went into full stride with their hit “Sometime Around Midnight.”

As the band started “Wishing Well,” the crowd roared even louder, which was quite the surprise, and this song and next were the shows highlights. Nearing the end, the band played “Innocence,” the closing track to their album, it was high energy and perfect. They quickly exited off stage and went outside into the freezing weather. The crowd continued to cheer and it was not long before they came back for the encore.

Jollett thanked the crowd saying how nice it is to play to a full room. The riff for “Does This Mean You’re Moving On?” started and he said “Jump around like monkeys with us.” He went into the crowd to sing the song as everyone danced around. The microphone went out for about ten seconds and Jollett looked very panicked, but recovered.

For the last song of the night, “Missy”, Jollett invited a young girl named Thomasina on stage to join the band. The girl hesitated to go on stage and seemed very nervous, as she just stood there and stared. Halfway through the song Jollett invited the rest of the crowd on stage. A handful of people ran up there as the band extended the song. Jollett ended the show saying, “that’s all the songs we have, we don’t have anymore to play.”

Overall it was a very good show. Jollett had been sick and they had to cancel a few shows going into these, so I was impressed and thankful for the performance. As the band is only a little over a year old, there were some minor rookie mistakes but regardless it was entertaining throughout, it was rock and roll. Check The Airborne Toxic Event out, it is worth it. The Henry Clay People opened.

Great With Animals, Even Better On Animals in the Dark

William Elliott Whitmore

Animals In The Dark

Anti

Action Rating: 7/10

The first thing that hits you is the voice. It’s an unmistakable voice. Surprisingly you probably wouldn’t guess it’s the voice of a white guy in his thirties. Then the songwriting hits you, telling a story of truth or suffering, very similar to the style of Johnny Cash.

This is William Elliott Whitmore, a bluesy folk singer, from Lee County, Iowa. With his unique gravelly voice, as his preferred instrument, accompanied by either banjo or guitar, Whitmore creates stunningly powerful songs. He has created three albums of stripped down blues. On his latest release, Animals in the Dark, Whitmore changes it up a bit. Adding strings, organ, and pedal steel and in some songs, even a full band.

A drum roll starts the politically charged opener “Mutiny”. This song sets the tone for the album. Whitmore’s pissed off vocals are the driving force of the song. Traveling over the drums, his voice is the lone instrument aside from the call and response chorus.

Whitmore continues the political theme in “Old Devils”. “When I say devils you know who I mean/those animals in the dark. Malicious politicians with their various schemes, charlatans and crooked cops”. It is clear to see who Whitmore is singing about. Yet Whitmore keeps his own view to himself.

“Who Stole the Soul” is beautiful, it’s just Whitmore singing and strumming acoustic guitar but it is the added strings that really convey the emotion. This track showcases Whitmore’s true songwriting talent.

“Oh Johnny Law, Johnny Law/He’s the littlest man you ever saw/With his badge and his gun he’ll just hassle everyone.” That’s the idea behind “Johnny Law”, a country song telling a story of Whitmore feelings on law enforcement. The song seems to have a Johnny Cash influence and it is one of the albums highlights.

“There’s Hope for you,” is the pinnacle of the album. The ringing tones of an organ catch the ear, adding a new element to Whitmore’s sound. Eventually drums kick in and it’s a full band playing while Whitmore sings, “You will overcome/ I promise you”, giving a sense of comfort and hope.

On the album’s closing song, “A Good Day to Die”, Whitmore shares his reflections of the good things in life. It is a very optimistic view in comparison to how dark some songs are from his previous work.

Animals in the Dark shows a change for William Elliott Whitmore. Adding the full band and more instruments created a lush sound, even though it is exclusive on about half the songs. Overall it is a solid album. The lyrics are very personal yet they can apply to everyone. If you’re a fan of Bon Iver, Bob Dylan, Johnny Cash, blues or folk music, check out William Elliott Whitmore. As far a folk singers go it doesn’t get much better than this. As Whitmore says in “Hell or High Water”, "Smoke ‘em if you got ‘em/ drink your glasses to the bottom." Animals in the Dark is worth the listen.

Standout tracks: Mutiny, Who Stole the Soul, Johnny Law, Old Devils, There's Hope For You

Master Of All Trades

Dan Auerbach

Keep It Hid

Nonesuch

Action Rating: 8/10

The debut solo album from Dan Auerbach, one half of the Black Keys (vocalist, guitarist). As you may have guessed, Dan carries most of the Black Keys’ sound over to this record. The absence of Black Keys’ drummer Pat Carney, who provides a ferocious rhythm, is apparent. Dan plays all the instruments with the exception to a couple of guests, such as his uncle James Quine, who provides vocal harmonies and rhythm guitar on a couple of tracks. Dan’s influences are very obvious on this record.

The album has a very vintage sound; it feels like an album from the 60s. It was recorded with an analog recorder. Keep It Hid was made for vinyl. The CD is even divided into Side A and Side B. The album flows as a record should, and incorporates a variety of genres. Songs range from the blues, gospel, soul, and rock and roll.

If you heard the song “Whispered Words” on the radio you might mistake it for an early 60’s rock song.

The song, “I Want Some More” is one of the standouts. Dan sings, “I’m just a kid in your walking candy store/Oh oh oh I want some more.” Complete with a fuzzed-out guitar riff, it is very reminiscent of the Black Keys.

“The Prowl” is a funky rock song that would make ZZ Top proud. It is another standout with it's super catchy riff.

Starting out with a drum machine beat, the title track, “Keep It Hid” is excellent.Dan Auerbach can play the blues as good as anyone, and that is exactly what he does here. He takes his best blues guitar skills, and with distorted vocals sings, “They’re coming for me girl and I ain’t got time/If they ask you darlin’ oh about what I did/baby you gotta keep it hid.” Eventually making it clear what he did, it’s a classic blues song.

“My Last Mistake” is straight up classic rock, very reminiscent of the Eagles. The chorus melody sticks in your head.

“Street Walkin” sounds like a Black Keys B-side; it is a good song but not great and stretches on a little longer than may have been necessary.

Dan’s songwriting truly shines in the acoustic songs. “Trouble Weighs a Ton” opens the album and it is rather cool because it does not have a time signature; it just rides upon Dan’s vocals. “When the Night Comes” is a beautiful song that ends the first half of the album. The second half ends with “Goin’ Home;” it is the most beautiful song Dan has ever written, making it seem that hope is on the way. With “Goin’ Home,” Dan Auerbach has arrived at song writing perfection.

On his first solo album, Dan Auerbach does not really leave his comfort zone, but rather embraces everything he is good at (including a variety of instruments). Nothing feels forced, and the album is “warm,” like you are right there when he is playing. Overall, Keep It Hid is a solid album. The album does not offer anything new; it has all been done before, but it has not been done this well in a long time!

Standout tracks: Trouble Weighs A Ton, I Want Some More, Heartbroken In Disrepair, The Prowl, Keep It Hid, My Last Mistake, Goin Home

Merriweather Post Pavilion Pushes Modern Music

Animal Collective

Merriweather Post Pavilion

Domino

Action Rating: 8/10

Animal Collective are not what you would call “radio friendly”. Considered “freak folk,” yet it is impossible to pin a genre on Animal Collective as they change from album to album.

Animal Collective consists of four members but they come and go as they please. Only three members ,Avey Tare (David Portner), Panda Bear (Noah Lennox), and Geologist (Brian Weitz) contribute to this album. The band members do go by their nicknames, which is strange, but strange is not saying enough.

On their ninth full-length release, Merriweather Post Pavillion, Animal Collective take the weirdness down a notch, but remain psychedelic to say the least. The album is very electronic, as in they use samples and it is beat driven, in a way it is like Radiohead’s Kid A.
The opening song “In the Flowers” starts with an electronic sample and a guitar line which sounds similar to Pink Floyd but it quickly drifts away. It is “out there”. With the delivery of the line “If I could just leave my body for the night” the song explodes with epic proportion until it winds down near the end.

“My Girls,” is brilliant, and by far the standout song. The way they’ve layered all the several digital sounds just absorb you. Not only is the music entrancing, but the lyrics carry a very interesting message as well. “I don't mean to seem like I care about material things like a social status/I just want four walls and adobe slabs for my girls” They put emphasis on that line and repeat it several times, interpret that as you wish.

“Summertime Clothes” is the catchiest song on the album, it is very beat driven, and has an eighties vibe to it. “Summertime Clothes” is an excellent song and another of the albums highlights.

“Bluish” could be considered the album’s dividing point. It is a slower but it is dream-like song. As Avey Tare sings, "I'm getting lost in your curls”, you get lost in the song. The closing song “Brother Sport” is another fantastic song. Drawing influences from several genres including African music, keeping with the album’s upbeat feel it was clearly the best choice to end the album upon.

Each song on the album flows together beautifully. The album as a whole is great and it clocks in around an hour. The only downside is that some songs blend together, yet there are no weak songs or fillers. Merriweather Post Pavillion is a great introduction to the band. If I were to compare this album to other artists, I would call it a mix of The Beach Boys, which are obvious in the harmonies, The Shins, and Of Montreal. Generally speaking, popular music today could use more artists like Animal Collective. We need more artists to experiment and take chances, it is very refreshing. Avant-garde artists like Animal Collective push the envelope with new sounds. With Merriweather Post Pavillion they decided to be a little less strange and it made for a better record all around.

Standout Tracks: In the Flowers, My Girls, Summertime Clothes, Daily Routine, Bluish

My TOP 5 of 2008 (In No Order)

Coldplay
Viva La Vida
I know what your thinking, Coldplay is lame. The truth of the matter is Coldplay tried something different. Working with Producer Brian Eno, Coldplay went into the studio to follow up X&Y. This took guts and the best thing about it is that it worked. From their first two singles “Violet Hill” and “Viva La Vida” you could tell this wasn’t the same old Coldplay. Ranging from the instrumental “Life In Technicolor” to the progressive rock of “42”, the album offers a variety of different sounds. Overall this is an album that flows smoothly, and from start to finish, it feels like one.



Fleet Foxes
Fleet Foxes
Refreshing is a good word to use when describing the Fleet Foxes album. The album draws influences from Crosby, Stills, and Nash to monastery chant. The vocals are often compared to My Morning Jacket yet they take lush harmonies that the Beach Boys would be proud of and wonderful instrumental arrangements that fit perfectly. "White Winter Hymnal" is the perfect example of their sound and an excellent track, on a flawless album.






The Gutter Twins
Saturnalia
Self-described as the “satanic Everly Brothers”, you might not know how to feel about that. Former Afghan Whigs singer Greg Dulli and former Screaming Trees singer and solo artist Mark Lanegan create a raw and dark work of art. Their voices play nicely off one another while Lanegan shows his vocal range across the album. From the dirge of “Idle Hands”, to the bluesy “Seven Stories Underground”, to the electronic “Each to Each” the album never ceases to offer something interesting. In all of its darkness, there is a light and this album shines.




The Airborne Toxic Event
The Airborne Toxic Event
The moment the violin sounds you are overrun with emotions. In "Sometime Around Midnight" those emotions build until the song ends and you realize that you have just been on an emotional rollercoaster. Their self titled debut album is full of memorable hooks that will get stuck in your head. It is only a matter of time before your singing along to the catchy “Does This Mean Your Moving On”. Each song is unique in its own but it all fits together perfectly as a whole. This album offers something for everyone, as it is very diverse, yet does it well enough to keep you sucked in for the whole ride.



The Black Keys
Attack & Release
The riff rock the Black Keys are known for wasn’t as prominent on Attack and Release with the exception of “I Got Mine”. Instead they create a perfect album with the help of Danger Mouse as producer. The songwriting is really solid and every song holds up on its own. The diversity shows in the bluegrass hip-hop of“Psychotic Girl,” the danceable “Strange Times,” and the soulful “Lies”. It is good to see that this Black Keys experiment wasn’t one gone wrong. Instead it resulted in one of their best albums.

If All Goes Wrong: A Concert That Provides Example

Concert Review

Billy Corgan brings the Smashing Pumpkins Back to Life. What Could Go Wrong?

The electronic beat of “Ave Adore” starts. Slowly the members of the Smashing Pumpkins file onstage. Billy Corgan is the last one to reach the stage as he slowly lurks with a plastic pumpkin in hand. Notably, this isn’t the same Smashing Pumpkins. Even though this is their 20th Anniversary tour they are celebrating without two of their original members: James Iha and D’Arcy Wretzky. To my surprise the Smashing Pumpkins now consist of nine members, including Billy Corgan and Jimmy Chamberlin.

The 20th Anniversary tour shows are divided up into two set lists, Black Sunshine and White Crosses. This was a White Crosses show. About one-third of the show was made up of new songs. I didn’t expect anything new from an Anniversary tour. (The new material is featured on their new DVD, If All Goes Wrong.) It seemed that the new songs did not transition well into the old. Yet there were exceptions, like the hard-rocking, “As Rome Burns,” a fantastic song with vintage Smashing Pumpkins written all over it.

The first half of the show felt like 1996 and by no means is this a bad thing. The sold out crowd erupted when the intro to “1979” started. The highlight of the show came with the triple threat of “Cherub Rock,” “Zero,” and “Bodies.” These songs were played with such energy and emotion. Soon after, Billy Corgan went on a rant about his love of the Chicago Cubs, sounding very jealous as he cut down Eddie Vedder’s Cubs song. Corgan unnecessarily mentioned that he was sick, apparently asking for sympathy from the crowd. This was followed by incredible versions of “Disarm” and “Galapagos.” From this point the show took a turn for the worst and it plunged into the unknown.

The Pumpkins busted out several new songs that were near or longer than ten minutes. Corgan then decided it would be a good time to play with his guitar effects. The Smashing Pumpkins soon transitioned from rock, to shoe-gaze, to completely boring in just minutes. The atrocious cover of Simon and Garfunkel’s, “The Sound of Silence”, was a perfect example.

The true low point came during the encore when Billy exclaimed, “I’m tired, I want to go home.” He asked, “Who wants me to go home?” Few people raised their hands. He said, “Well if you didn’t want me to go home now, you will after this song.” Billy Corgan was right about this in two ways. One was that I did want to go home after that song, which was fifteen minutes of jamming. While others just left during this song. He was also right because whether or not you liked it the song, it was the last one, so you pretty much had to go home.

The first half of the show was great, and the second half fell right off the Sears tower and plunged to its death. There was no energy during the encore and if there was any from the crowd it was sucked dry, not to mention the encore was only two songs. The show seemed to severely lack the passion I always thought Billy and the Pumpkins had for their music. There wasn’t much interaction with the fans, and being a Chicago show, one might expect more. Billy never even introduced the band. But as many bad points there were in the show, there were also flashes of greatness.

To put it simply Billy Corgan should just focus on the music and drop the immature antics because the live show suffers greatly from this. When the music speaks it speaks clearly.

Best Kept Secret

The Secret Machines

Secret Machines

Self-Released

Action Rating: 6.5/10

The Dallas three-piece is back with their third release, self titled, Secret Machines. The band has made a few big changes for this album: the independence from their label, Warner Bros. (they chose to self-release the album in collaboration with World’s Fair Label Group), and the departure of vocalist/guitarist/co-founder Benjamin Curtis. He left the band early last year to focus on his new project, School of Seven Bells. He was replaced with Phil Karnats, his former band mate from Tripping Daisy.

The record blasts off immediately into the infectiously electronic “Atomic Heels” sounding like a child of Pink Floyd and Led Zeppelin. This song is the most notable example of the change in the band’s sound as it is upbeat and catchy and for them, as well as a rather short song. It’s definitely one of the albums highlights and one of the band's best songs yet.

"Last Believer Drop Dead" is a heavy song with spacey guitar riffs all over the atmosphere. "Underneath the Concrete" never seems to go anywhere but is not a bad song. “Now You’re Gone” and “I Never Thought to Ask” are somewhat familiar as they could each easily fit well on either of their last albums. While "Now You're Gone" is another standout with great use of studio overdubbing near the end.

Fans of the bands are no strangers to the drawn-out long winded jams the band throws in. “The Walls are starting to Crack”, which oozes with a Pink Floyd influence (think of “Shine on You Crazy Diamond). The song starts as a slow burner then breaks down into just acoustic guitar and suddenly in the middle there are random odd noises. Then rips in a guitar solo and the song is back in full swing. Curtis really paints a picture of the lyrics, “The walls are starting to crack/ How could they hold back/ The waves have always broken through.” The music continues in relatively epic fashion and it concludes. Pink Floyd would be proud.

“The Fire is Waiting” is really heavy and filled with huge riffs but clocks in over eleven minutes. It almost feels like they couldn’t decide when to end it and it drags. Aside from the last track, this is a near perfect album for the band.

This is a great album; it immediately starts rocking at the first track. Although they didn’t completely transform their sound, this album is not predictable and was the next logical step for the band. The change in the line-up seems nearly seamless as Secret Machines continue the journey began by the last two albums: Now Here is Nowhere and Ten Silver Drops.

Standout Tracks: Atomic Heels, Last Believer Drop Dead, Now You're Gone, The Walls Are Starting To Crack.

It's Only Rock and Roll

Oasis

Dig Out Your Soul

Reprise

Action Rating: 7/10

Liam Gallagher sings,“Love is a Time Machine.” Indeed, a time machine back to nineteen ninety five. Dig Out Your Soul is the seventh studio album from Oasis. Just like 2005’s Don’t Believe the Truth it is a team effort, with each member contributing to the songwriting. They don’t look to create a new sound but stick to what they know.

The album opens with "Bag It Up", setting the tone. Though it isn’t an attention grabber, it’s a driving Rock and Roll song. “Ain’t Got Nothin” is along the same lines but it is very generic and it feels as it were written in about two minutes, very forced.

“The Turning” is an upbeat song that takes off with an explosive chorus and ends with homage to the Beatles’ “Dear Prudence”. They wear their influences on their sleeves proudly. They are often said to sound like the Beatles and this album is no exception.

“I'm Outta Time” is a very Beatlesesque ballad that even samples a John Lennon interview that you can faintly hear towards the end. But it’s such a beautiful song and definitely one of the album’s best. The slide guitar even sounds like it was provided by George Harrison himself.

Another possible Beatles reference, "love is a litany/a magical mystery," surfaces in “The Shock of the Lightning,” the album’s first single, is another one of the album’s best. This song could very well be Oasis’ best song in years and the drum solo provided by none other than Zak Starkey (Ringo’s Son). This song, along with I’m Outta Time, and the other ballad, “Falling Down”, fit well with the band’s older material.

“To Be Where There’s Life” is Oasis taking a psychedelic journey. Complete with sitar and lyrics that search for deeper meaning. (It does bring to mind a certain band from the sixties.)

“(Get Off Your) High Horse Lady” is an interesting song that includes hand claps and a slow burning groove. It stands out on the album and it is a good song but fails to ever climax and drags on for too long.

“Waiting for the Rapture” starts with the same riff as the Doors song “Five to One” but the song eventually comes into its own. “Nature of Reality” is one of the album’s weaker songs but the album ends in great fashion with the vocal echo of “Soldier On”.

Just incase you weren’t aware Oasis is very influenced by the Beatles. Dig Out You Soul as a whole, flows nicely and none of the songs are necessarily bad. At the same time the album is by no means “classic” and not many of the songs are great enough in their own right. It remains in the shadows of Definitely Maybe and (What's the Story) Morning Glory. If you like Oasis at all I highly recommend this album. If you are just hungry for some rock and roll Dig Out Your Soul will satisfy your needs.

Standout Tracks: The Turning, The Shock of the Lighting, I'm Outta Time, To Be Where There's Life

Cold War Kids Remain Loyal

Cold War Kids

Loyalty To Loyalty

Downtown

Action Rating: 7.5/10

“We paint paintings/ We write scenes for the stage”, Cold War Kids front man Nathan Willett sings in the slow rolling opener “Against Privacy”. Describing exactly what the Cold War Kids do. They paint vivid pictures with their lyrics and create a backdrop of sounds for the stage upon which they play.

Their sophomore album Loyalty to Loyalty starts just where their last album, Robbers and Cowards, left off. Using the same lo-fi production, they continue to develop their sound of soulful, bluesy, indie rock.

The album’s first single “Something Is Not Right with Me” is an extremely catchy stomper with lyrics like, “I tried to call you collect/ you said you would not accept/ your friends are laughing ‘cause nobody uses pay phones.” The “good old days” is the reoccurring theme of the album. Hence “Dreams Old Men Dream”, which brings up a feeling of nostalgia for simpler times. Nathan sings, "Coca Cola costs a quarter on my block", on the very raw and guitar driven "Mexican Dogs". This song is a rocker (with a hint of The White Stripes).

The album has a variety of musical influences. “Golden Gate Jumpers” is a tale about someone attempting suicide and Nathan is the voice of reason. This song is very unique to modern day as it could be a ragtime song. A tribal drum beat starts “Welcome to the Occupation,” a perfect representation of how important and amazing the rhythm section of the band is. “Relief” doesn't seem to fit the rest of the album as it is very electronic yet it's catchy chorus makes it one of the key tracks.

“I’ve Seen Enough” slowly builds up from some soft, haunting, minor piano chords with Nathan singing “How’s it gonna feel when summer ends/ Out of money out of friends.” Then the drums kick in along with a guitar (complete with reverb) and distorted bass. "I've Seen Enough" is the highlight of the album as it is just a perfect song. The album does end in epic fashion with the stripped down “Cryptomnesia” The title, “Cryptomnesia” is defined as a memory bias whereby a person falsely recalls generating a thought, an idea, a song, or a joke, when the thought was actually generated by someone else. What a very interesting concept!

Cold War Kids have created another great album. The album is just as good as their as their last, keeping with the same gritty formula. Only a couple songs are mediocre and that's being harsh.

These guys are truly artists. That’s really what Cold War Kids provide as they release their music in this digital age. The cover artwork and the photography in the booklet were taken by the band add a very unique touch. Just as the title song says, Cold War Kids make art, their lyrics are poetic, and their music is unique. I can't wait for the next album. Thank God for this damn good band!

Standout Tracks: Mexican Dogs, Something Is Not Right With Me, Welcome To the Occupation, I've Seen Enough, Every Man I Fall For, Relief

Whatever Happed To My Rock And Roll

Concert Review

Black Rebel Motorcycle Club Shake Milwaukee

A breeze hits me and I hear nothing but the roar of motorcycle engines. I myself do not ride a motorcycle but tonight it seemed that everyone else in Milwaukee did. This is home of the Harley Davidson 105th Anniversary Festival. Harley was kind enough to set up some free street shows around the city beginning the night before the actual fest. Headlining the first of the shows is Black Rebel Motorcycle Club, a very fitting choice for a festival dedicated to motorcycles. The opener was a jam band, Tea Leaf Green, who set a good mood amongst the crowd. The people nearest to the stage were dancing up a storm, but this could also have been due to the sponsorship from Miller Lite. During the set change, members of security surprised the crowd (particularly us in the front row) by moving a barricade in place by the stage. It was more than unnecessary considering moshing was highly unlikely to take place and that the overall demographic of this crowd consisted of forty to fifty-year-olds celebrating Harley’s Anniversary. The audience exceeded the crowd before the stage as people were watching from the windows of the surrounding buildings. I noticed that there weren’t too many folks in this crowd who seemed familiar with Black Rebel Motorcycle Club at all. It looked like the band had landed themselves a gang of new ears.

Black Rebel Motorcycle Club took the stage around 9:00 pm and launched straight into the groove of “666 Conducer.” Right away you could tell the band was “on.” Guitarist/vocalist Peter Hayes seemed a lot more animated onstage than in previous shows. The normally energetic bassist/vocalist, Robert Levon Been, was also tearing it up. This newfound energy was rumored to be the result of the addition of drummer Leah Shapiro, of the band Dead Combo. In keeping up momentum the band quickly cranked out “Berlin” and “Weapon of Choice:” both singles from their latest album Baby 81. They played non stop for an hour and a half set, playing select songs from every album and EP that they have. They even threw out a few deep cuts such as “The Show is About to Begin” along with the always epic “American X.”

At this point in the show it became more obvious that the band was able to sway the crowd in their favor. Those who came just looking for a party began to give the band their full attention. However, the only real crowd interaction the band gave was when they thanked the audience and introduced the last number of the night saying, “We’ve got one more for you.” BRMC ended the night with “Heart & Soul,” a perfect summary of exactly what the band had unleashed into this performance.

After the show, I watched as the band packed up their gear. This was not difficult since backstage was the street. Their roadies were helping, but the band was doing a lot of the work. It really showed that being in a band is not easy. Black Rebel Motorcycle Club has had four albums out, 2 EP’s and their songs were featured in television shows such as: Generation Kill, The Sopranos, Entourage, 24, and Six Feet Under. With all that exposure, they still pack their own equipment.

BRMC have been touring for two years straight off their last album. In that time, they have played well over two hundred shows. For the last couple of months they have been opening for Stone Temple Pilots, playing half hour sets across the country. It seemed refreshing for the band to be able to open up their catalog. After the show, an older man with a grey beard dressed in leather tapped me on the shoulder and asked me, “What was the name of that band? They were awesome!” I told him and left knowing that true rock and roll still exists.

Attack & Release, But I Can't Put It Down

The Black Keys

Attack & Release

Nonesuch

Action Rating: 8/10


For their fifth album Attack & Release the dynamic duo of Dan Auerbach (guitar and vocals) and Pat Carney (drums) decided they would do some experimenting.

Interesting enough Danger Mouse was working with Ike Turner and the Black Keys were asked to be Turner’s backing band. The Black Keys also helped writing songs for Turner.

Then Turner passed away and rather than abandon the whole thing, the Black Keys used some of the songs as their own and so fate was a key component in Attack & Release.

They stuck with Danger Mouse to produce the album, making it their first album with an outside producer. It was also recorded for the first time in an actual studio rather than Pat’s basement. And suddenly the Black Keys sound began to morph.

The album opens with, “All You Ever Wanted”, an acoustic song, which immediately gives you the notion they have tried something new and the outcome here end up being a stunning song. The album also ends on a similar note, featuring a beautiful duet with bluegrass singer Jessica Lea Mayfield.

The Black Keys are known for being riff-oriented but now the song writing has developed, making the vocals and lyrics stand out.

A good example of this is the song “Lies” which is one of the album’s best. Dan’s vocals are haunting when singing “I got a stone where my heart should be/ And nothing I do will make you love me.”

The album’s first single “Strange Times” oozes with Danger Mouse production. The upbeat rhythm and a rocking riff result in a song you can dance to.

Although The Black Keys don’t completely shy away from their patented blues rock. “I Got Mine” and “Remember When (Side B)” are great examples of The Keys’ best.

The album overall has such a different feel to it as there is not much guitar theatrics as they are known for. This is a little disappointing but they made up for it with quality song writing. I wouldn’t say they have changed genres, but as I said before there isn’t much blues-rock, rather more blues.

The addition of the organ shows a more soulful direction, which was upsetting. Yet after a couple plays, the album becomes addicting.

It is good to see that this Black Keys experiment wasn’t one gone wrong but instead an experiment resulting in one of their best albums.

Standout Tracks: I Got Mine, Strange Times, Lies, Psychotic Girl, All You Ever Wanted, Remember When (Side B), Oceans and Streams

Midnight Boom!

The Kills

Midnight Boom

Domino Records

Action Rating: 6.5/10

The Kills might be something you’re familiar with. A band that consists of only two people (one male, one female) playing a form of garage rock.

No it’s not The White Stripes and besides what I have stated, they don’t have much more in common with The White Stripes but rather the Yeah Yeah Yeah’s.

The Kills do create their own unique sound which they develop further on their latest release, Midnight Boom.

Alison Mosshart delivers her vocals sounding overconfident and cool and Jamie Hince plays distortion fueled riffs, all done over automatic drum beats, giving it a modern vibe.

The album starts with “U.R.A. Fever” a song with dual vocals that lays down a cool groove and hooks you in.

In the danceable, “Sour Cherry”, Alison asks, “Am I the only sour cherry on the fruit stand?” “Sour Cherry” is the heaviest song on the album, and it is also one of the best.

Other highlights include “What New York Used to Be”, which is dark and sexy and sounds like Lou Reed could have written it.

"Getting Down" is another catchy song that plays off dual vocals and their usual formula.

Hand claps begin "Black Balloon" as they are used to keep the beat throughout the song. "Black Balloon" provides a nice contrast in the album as it is one of the albums only slower songs.

The key to The Kills success lies within the title of one of their songs, "Hook and Line". The songs are loaded with hooks that make them catchy and lyrics provide some good one-liners. Otherwise lyrically the band is very shallow but the music is typically what shines.

Just as the title implies, the album is ideal for a late night listen but make sure your ready to groove. If you’ve never heard The Kills, this is the place to start. I do have to say though; pun intended that this album is really killer.

Key Tracks: URA Fever, Cheap and Cheerful, Tape Song, Black Balloon, Sour Cherry, What New York Used to Be

Lust Lust and More Lust

The Raveonettes

Lust Lust Lust

Fierce Panda


Action Rating: 6/10

The Danish duo is back with their fourth release, Lust Lust Lust; a very fitting title to an album with themes of death, sex, and desire.

If you are not familiar with The Raveonettes they consist of Sune Rose Wagner (guitar, vocals, various instruments) and Sharin Foo (bass and vocals). Their sound is vintage and has been described as garage rock, surf rock, and noise pop. They’ve been compared to the Velvet Underground and Jesus and Mary Chain. But on the other hand they conjure up vocal harmonies that sound like the Everly Brothers.

The Raveonettes didn’t try anything new on this album but rather they remain consistent to their style. The feedback solos of noise, the drum machine like rhythms, and the dark and sexual lyrical content all remain intact. Along with those, as always, they use minimalism to their advantage.

The albums lead track, “Aly, Walk With Me” sounds like it could be perfect placed on a previous record. The song is mellow and at 4:58 in length, a rather long song for the Raveonettes.

“Lust” is a hypnotic song with dark lyrics like, “I fell out of heaven to be with you in hell,” speaking of a romance gone wrong. “Dead Sound” is an upbeat song and easily the most radio friendly. “Expelled from Love” is a song that drags and easily forgettable. The Song “You Want the Candy” is filled with ambiguously sexual innuendoes and is extremely catchy.

“Sad Transmission” is a great song that could be mistaken for something on the oldies station. It showcases the influence that Motown had on the group.

The album closes with “The Beat Dies” a slow but strong song that is possibly the best on the album, and leaves you wanting more.

Lust Lust Lust is a very solid album in comparison to previous releases. The Raveonettes remain consistent and their song writing has vastly improved. The albums weak point is the fact that so many songs blend together. Despite that, this album is their best release to date.

Key Tracks: Aly Walk With Me, Hallucinations, Dead Sound, You Want the Candy, The Beat Dies