Lorde – The Love Club EP review

Sixteen year-old New Zealand singer-songwriter has been making waves since the release of her first EP titled The Love Club. Her single “Royals” has been picked up by US independent and college radio stations and is gaining traction. Her voice sounds mature despite her young age and is cleverly recorded with complex, minimalist, yet forward-thinking beats. Lorde, born Ella Yelich-O’Connor, was actually signed to Universal at age 13 after an A&R scout saw video of her performing at a school talent show. Years later, she unveiled her talents to the world. Since blowing up the charts in New Zealand, Lorde released The Love Club EP in the US this June and saw it sell 85,000 copies in it’s first week.

Her songs are poppy and vocally driven, with innovative beats to rival the best in hip-hop. “Bravado” opens the collection with a sort of personal admission that she knew she was destined to be here someday. Our heroine sings: “I was raised up to be admired, to be known.” Layered vocals preclude the entrance of a dynamic beat. Lorde, who writes her own songs, sounds confident in her delivery. The nuances in the production make for a well-rounded and exciting listen.

“Royals” is far and away her strongest song on the EP. Witty lyrics describe an opposition to the materialistic boasting that is often found in pop-culture and popular music. She bounces through the pre-chorus, singing: “Everybody’s like: ‘Cristal, Maybach, diamonds on a time piece, jet planes, islands, tigers on a gold leash,’ we don’t care, we aren’t caught up in your love affair… we’ll never be royals….” This type of perspective is perfect for a generation more in tune to the issues of the world. The generation who is growing up with iphones giving them a world of information at their finger-tips… subsequently creating a generation too knowledgable to be caught up in meaningless materialism, especially in the midsts of today’s world economy. The layered chorus almost literally soars, bringing the listener to new heights of appreciation. “Royals” is infectious and content driven; it is no surprise this song is such a hit.

More impressive production is displayed on “Million Dollar Bills” and “The Love Club” which feature beats created out of Lorde’s own vocal samples. This innovation gives Lorde a unique sound. “Million Dollar Bills” has the energy of a club song mixed with the lo-fi keys one might find in a Foster the People tune. These tow songs sound more typical for a high school artist: cheeky and energetic. The closing track, “Biting Down,” has more of an experimental, “out-there” vibe, with Lorde unexplainably repeating “it feels better biting down” over a pulsing beat. 

Lorde has released a few singles since the release of this EP, namely “Tennis Court” and “Swinging Party.” She has plans to release her first full length album in September 2013, which will be titled Pure Heroine. With The Love Club EP, Lorde has successfully provided a teaser to build hype for a huge response on her first full length album. Stay tuned.

Demon Queen – Exorcise Tape album review

The LA electronic beat maker Tobacco has teamed up with Zackey Force Funk to make the tight outlandish sounds of Demon Queen. For anyone not familiar with Tobacco’s previous work, the creative sounds he laces into neo-industrial beat driven tracks seem to pull you in multiple directions at the same time, which can be a mind warping experience. Meanwhile, and unlike really any other rapper, Zackey Force Funk relies on his ability to croon, opting for a falsetto and soft-spoken delivery where other rappers typically boast with bravado. Tobacco is known for his work with Black Moth Super Rainbow, and a sort of obsession with analog electronic insturments, such as the vocoder and the Rhodes keyboard. He has also had a productive career as a solo act, releasing two full length albums and three EP’s in less than four years. With both his solo efforts and Demon Queen, he has notably taken a more experimental and slightly more adventurous approach to his music.

Dropping Demon Queen into your player starts off as a bold move on its own. At the first notion of effected vocals which lead us into the galactically heavy, 80’s style synthesizers of “Lamborghini Meltdown,” the adventure is already well underway. The sound is so fresh and futuristic, and crafted with such precision, it becomes infectious. Tobacco’s backing vocals in “Vodka” sounds like robotic, a theme in his solo work as well. Deep sub-synth bass ripple along the low end and Zackey Force Funk’s high pitched croons echo’s bounce along the track. Chuck Steak’s slow rapping guest spot on this track brings a nice new flavor to the mix.

The demonic party continues with hot and ominous bangers like “El Camino 2” and “Swoll Tongue.” The latter of the two featuring an onslaught of high end electronic madness. The breakdown regresses to vocals, keys and an obviously audible click track. Tobacco’s seems to be toying with the ideas, and the winning ones stick, a boldly creative approach not nearly prevalent enough in today’s music. The composition on “Swoll” proves to be very well rounded, with the melodic chorus likened to a valley between the synthetic mountains.

N8 No Face boasts “ten thousand push up’s before my breakfast-es” on the opening the “Demon Practice.” This two minute blast is in your face with no apologies. Playing the Demon Queen hype man, N8 No Face proves to pump up the distorted demonic beats to their fullest potential. “Love Hour Zero” is an excellent break from the madness. A ballad, really, the tune shows the versatility of the group. Effected acoustic guitar twangs over the pumping “80’s exercise tape” beat. The lead is reminiscent of a classic TV show introduction, in the best way possible.

The album’s first “single” is “Rude Boy,” a dynamic story about a dude shooting his gun off in the middle of a ripping party. Interlacing creative sounds own this beat, with an echoing lead creating waves over multiple effected keyboard riffs. N8 No Face comes in to explain the details with clarity. “Bad Route” has no guest spot which means Zackey Force Funk and Tobacco take turns telling the story; Zackey with light and extremely tasteful crooning, and Tobacco with his robot voice , use of samples, and tight, infectious synth leads. “Despise the Lie” is an awesome blast to wrap up the album, rounding out the cast of characters with an excellent guest spot from Isaiah Toothtaker. The song starts with his aggressive line “get these suckers the fuck up off of me.” This tune proves there are no weak tracks in this collection.

Quite possibly the most interesting album released this year, Demon Queen should certainly raise some brows with Exorcise Tape, in addition to confusion amongst innocent bystanders and, ultimately, the energy of the dance floor at the trendiest of underground clubs in LA, New York and elsewhere. Those bold enough to throw this demonic album in their players will be exposed to something completely new and totally wild. The use of guest spots was wise and absolutely enhances the final product. Mastermind Tobacco and compadre Zackey Force Funk should be commended for seeing this project through and approaching it with such open creativity, for what came out of it is devilishly good.

Sarah Bareilles – The Blessed Unrest album review

Sarah Bareilles delivers a very strong selection of songs on her new album The Blessed Unrest. While we have grown to expect greatness from the critically acclaimed, Grammy nominated pop star, The Blessed Unrest stretches the artist’s horizons, proving her studio work can be an enhancement to her well established singing and songwriting skills.

On album opener and lead single “Brave,” Sarah Bareilles sings an uplifting melody with conviction over roaring piano chords. Songwriter Jack Antonoff of the band Fun co-wrote this song and the result is a bold anthem of a pop song. Excellent lyrics on “Chasing the Sun” display introspective lines reflecting on the difficulties of making music as an individual buried in the depths of New York City. Bareilles’ voice comes through strong and directly on pitch. On “Hercules” Sarah admits “I want to give up and start over” over staccato piano that leads us into a rolling chorus complete with backing vocals and a tempo change and she sings “I was meant to be a warrior, please make me a Hercules,” like a hero alienated at the top The quiet beauty of “Manhattan” is heart wrenching. Despair over lost love meets a traveling melody expertly crooned over deep minor key chords.

“Satellite Call” is a highlight, featuring a slow steady beat, effected vocals and a sense of importance in each measure. Bareilles nicely sings in the chorus: “Tonight you’re not alone at all, this is me sending out my satellite call.” The next track “Little Black Dress,” lightens the mood, introducing some light trumpet in the backing track. “Cassiopeia” expands on some previous effect-based material featured earlier on the album. The dynamic, heavy synthesizers in the chorus comes across as a nice step forward for Bareilles. She re-enters her deeper material for the serious “1,000 Times.” Well written lyrics of a heartbroken woman troubled by remaining love for her lost one stand out here and elsewhere. Hope returns on the lighthearted “I Choose You,” which is reportedly the second single to be released off this album.

The dynamic “Eden” goes in the “Cassiopeia” direction, showing her chops on a heavily effected jam that enters a sort of synthesizer dance beat during the chorus. This song is even more of a diversion on the album than others, but shows Sarah’s versatility. The beautiful “Islands” tells the story of growing up alone in the world and learning to cherish it. The closer “December” seems to conclude her self-reflection with a sense of hope and fulfillment, acknowledging the ups and downs of life as a necessary part of growth.

As a whole, the album reverberates with themes of perseverance through heartache and the roller coaster of emotions in love and life. The album is certainly well-written throughout, though seems to lack a concise direction as Sarah explores styles previously unseen in her other work. The production is credited to Sarah Bareilles, John O’Mahony and Kurt Uenala on all songs except for the two singles “Brave” and “I Choose You,” as well as “Chasing the Sun,” which are credited to industry heavyweight Mark Endert (Fiona Apple, The Fray, Maroon 5). Epic Records released the album on July 12th.

Goo Goo Dolls – Magnetic album review

In 2013 the Goo Goo Dolls are still putting out new music, keeping in line with their mid-ninety breakthrough hits “Name” and “Iris,” which launched them into a career as pop-rock ballad aficionados. Johnny Rzeznik, and crew, whether you have been paying attention or not, have been releasing material for over 25 years. Goo Goo Dolls more recent albums, Let Love In and Something For the Rest of Us, proved to maintain their pop-rock sound hold on top 40’s pop charts with a more slightly somber tone in the later. Magnetic, their tenth studio album, was released on June 11, 2013 by Warner Brothers. Goo Goo Dolls worked with producers John Shanks Greg Wells and Gregg Wattenberg in LA and NYC to record the album in October and November of 2012.

“Rebel Beat” opens the album, sounding well produced and beat orientated. The song sounds like evidence that Goo Goo Dolls are attempting to stay with the times. The chorus features layered, chanting harmony, similar to many of today’s indie pop hits such as “Little Talks” or “Tongue Tied.” This first single off the album features good song structure and memorable melodies. “When the World Breaks Your Heart” settles in next with compliments of strings and a rolling drum beat. Rzeznik delivers heart-felt lines such as “the stars will burn forever” and “I’ll be there, you’re not alone.” The concept is beautiful, with the execution only barely surpasses boring. We have a sweet love song lacking the impact of past hits like “Iris” and “Slide.” Next, “Slow it Down” almost follows suit, but for an explosive chorus. Expert production saves the day when the songs don’t quite deliver. “Caught in the Storm” seems to have the same format as “Slow it Down” and “Rebel Beat,” a sleeper verse with an explosive chorus, the nineties formula.

The next single on the disk is “Come to Me,” which has a soft acoustic feel. This song would not be a single for any other group, it sounds like a weak B side from the Goo Goo Dolls heyday. Rzeznik sings over a sea of well-produced backing vocal harmonies “this is where we start again,” likely commenting on band’s new material. Oddly enough, Rzeznik and crew have not pushed the limits of their music since 1995, this album may actually feature the biggest stretch considering the production and almost digital pop sound. There is a lack of distorted guitars and punkish material, which defined the group before their breakthrough and maintained with them in small doses as their career progressed. Goo Goo Dolls fans have kept them alive and the band has seemingly matured into an edgeless pop group. They are staying the course.

The next track “BulletProofAngel” seems to solidify this theory, with a beat that is practically straight out of the slow pop song toolbox. The production on this track keeps things interesting and fun. The soundscape of strings and effects entrances and entertains. Rzeznik sings “aren’t you tired of working hard while other people’s dreams are coming true” on “Last Hot Night,” a wonderfully stated representation of the zeitgeist of our ginormous U.S. middle class. In his characteristic rock voice, Johnny sounds like a viable source of truth, and nails it on this track, one of the strongest on Magnetic.

Robby Takac, the group’s bassist and original singer, lends his vocals on “Bringing in the Light” and “Happiest of Days.” This is probably a fan pleasing move, though when Rzeznik is undeniably the essence the Goo Goo Dolls sound, these vocals sound slightly out of place. Closing track “Keep the Car Running” is a stronger track and seems to perfect their new favorite type of chorus, filled with hollering, layers of harmony and epic size.

Goo Goo Dolls found their sound in 1995 and have not strayed much since. On Magnetic, the group sounds solid as ever, like a pop machine. Some solid tracks and expert production make this album honorable, though there are signs this band has creating music solely for sustainability.

Bosnian Rainbows – Bosnian Rainbows album review

Bosnian Rainbows are the interesting new alternative rock project from Omar Rodríguez-López, founder of The Mars Volta. He had announced The Mars Volta would take a hiatus so that Omar can focus on this new project. He pulled his resources, bringing in Teri Gender Bender of Le Butcherettes on vocals, and keeping drummer Deantoni Parks who played with Omar in The Mars Volta and Nicci Kasper on keyboards, who has worked with Parks on various projects, Kudo and Dark Angels. The Mars Volta hiatus turned into an official break-up four months later, with singer Cedric Bixler-Zavala making a public statement about his departure: “I tried my hardest to keep it going, but Bosnian Rainbows was what we all got instead.” A rift in the large cult fan-base of The Mars Volta and mixed reviews from fans about the new direction Omar has taken with Bosnian Rainbows can be found all over the internet. Even as a distant outsider, it’s easy to tell there is more to this story.

At face value, the Bosnian Rainbows’ sound is fresh and futuristic sounding. They are electronically focused, with Omar’s guitar pushed down in the mix, and the personality of Teri Gender Bender shining through, slightly resembling Geddy Lee of Rush. On the opening track ,“Eli,” an ominous bass line leads us through the spastic guitars as the song builds behind Teri wailing out “Why do you smile at me?” Off the bat, a truly strange quality is recognized. It takes a few listens to process, but there are slivers of genius present. “Worthless” makes use of glitch production, an effect largely present in the rap, techno and EDM movements but relatively unused in alternative rock music. Kudos. Up next, “Dig Right in Me” uses the same type of effect with Omar’s reverb-laden guitar riffs coming through strong enough to cut through the wall of noise created by Teri, Deantoni and Nicci.

Strong songwriting reigns throughout the majority of tracks on the album. “The Eye Fell in Love” offers tight, melodic vocals broken by spooky sounding chord changes. The band plays with both minimalism and noise invasions throughout each tune.  The album features a few surprising breakdowns, like the one on “The Eye..,” in which an unaccompanied, dissonant, note by note guitar riff keeps the song alive. Bosnian Rainbows are expanding the limits of the alternative rock genre in a real Omar Rodriguez-Lopez fashion, which of course is now expected of him. This time, Teri Gender Bender’s vocals encapsulate the listening experience, causing the music to drip with sexiness and angst.

“Morning Sickness” comes across as one of the strongest songs on the album. Teri’s uncharacteristically light vocals are interrupted by a traveling riff and the introduction of a sudden mood change mid-way through. The first release by the band was “Torn Maps,” posted on the band’s SoundCloud page. Shimmering synthesizers are an odd feaure in the chorus. Teri sings “can we hold hands, I promise you they are clean;” a very modern line, indeed. “Turtle Neck” is also a very strong track, and one of the albums longest, and has an amazing shimmering delay effect on the vocal track towards the end. On “Always on the Run” we find Teri with the raw punk energy we would have expected from the front woman of Le Bucherettes.

These eleven tracks from Bosnian Rainbows have enough depth to spearhead a career for the band. They have a very well-defined identity for a new group, which can be attributed to the fact that their musical bond precedes the conception of Bosnian Rainbows by a number of years. For example, Teri Gender Bender’s band’s (Le Bucherette’s) first album, Sin Sin Sin, was produced by Omar back in 2011. Omar is listed as a bassist in the band. Also, on The Mars Volta’s last tour, Le Bucherette’s opened for them. Another example is that Nicci Kasper and Deantoni Parks’ have had a standing partnership as a writing duo for years. The finished Bosnian Rainbows product is worthy of a second and third listen. It may take a few listens for the music to make any sense. Practice patience and reap the benefit. Say what you want about The Mar Volta break-up, but Omar Rodríguez-López has proven himself capable of expanding his horizons in a totally fresh and interesting way. This a creation deserves attention on a musical level and should be respected as an achievement.

KT Tunstall – Invisible Empire // Crescent Moon album review

With KT Tunstall’s fifth studio album, Invisible Empire // Crescent Moon, the Scottish singer-songwriter presents us with her root-sy piece of soulful Americana and folk gold. Her 2005 break-out hit “Black Horse and a Cherry Tree” put KT on the map, though ever since she has been producing critically acclaimed records and building a large international fan base. The making of this new album, which was recorded in the desert scenery of Tuscan, Arizona, was divided into two sessions by major changes in KT’s personal life, including the sudden death of her father and the end of her marriage. This resulted in a release worthy of two titles. The folk elements shine throughout the entire album, while the later half comes off understandably more somber and reflective in mood.

Even from the opening plucking of strings and deep chords on “Invisible Empire,” you can feel KT reaching the soul of your heart. She sounds like a woman in her prime, the music seems to flow with ease. She croons “I’m gonna burn this house, I know I wanna jump into the fire, I’m gonna tear them down, pinnacles of my invisible empire” like a queen in the middle of a dilemma looking down from her castle towers. “Made of Glass” continues the fragile theme with an entrancing chorus. Well chosen reverb creates the perfect space as KT explores Americana sounds to include whistling.

Tunstall does not shy away from slow moving jams and provides the heart and soul to make each listen worthwhile. This slightly new style is curiously explored throughout the Invisible Empire // Crescent Moon saga. “Carried” sticks out with its  up-tempo and individual sound, especially with the intro and re-occuring riff. She beautifully states: “we all need somebody to teach us how to be carried.” A truth so wise it can send a shiver down your spine.

The folk sounds very pure on “Old Man Song,” a song which sounds like she dug it out of the sand in Arizona. The strings and piano on the “Yellow Flower” ballad act like a closer to the first half of the album. This is of course reminiscent of an old record, with two sides, which is evidentially an intentional effect.

As “Crescent Moon” opens the next chapter is revealed. Instrumentally tied loosely to the end of “Yellow Flower,” though separated by ominous effects and a brooding electric guitar break. She sings “waxing and waning” like they are her moods: on the up-side of a difficult time and then regressing back down. “Waiting on the Heart” has a sweet country twang and shows a welcomed return to the stronger side of her soul. The album feels confidently personal, KT courageously singing and writing from her innermost blood cells of her heart.

“Feel it All” displays a blues lead and a steady rock beat. Her last pre-chorus reads “cause our heart is on a wire, sitting pretty like a bird, But the hunter is hunting, And the eagle is us.” This beautiful imagery in the lyrics leads to a catchy, radio-friendly chorus. This song is a highlight and yet another example of KT’s open-hearted approach. “Chimes” could have been released in Venice, Italy and would probably still pass as authentic. Here KT Tunstall is obviously expanding the horizon of musical influences. “Honey Dew” follows a similar expansion, this time in the form of a ditty.

The album closer “No Better Shoulder” is plays its role perfectly. The lyrics as well as her delivery are dripping with an enlightening, somber beauty. There is a patient build throughout the fist half of the tune, leading to some bold, spaced-out effects and an increasingly frequent snare snap. Expert production and professionally performed music with the bold display of KT Tunstall’s soul on every track are the consistent themes throughout the Invisible Empire // Crescent Moon album. KT proves way more than is necessary on this incredible release, seeming to pull it off without even breaking a sweat. This calm, moving album is sure to be a fan favorite and absolutely sounds strong enough to pull in an award or two this year.

iamamiwhoami – bounty album review

The former mystery artist iamamiwhoami that is known for uploading ambiguous videos to youtube back in December 2009 with electronic, dance-pop music and trippy vocals turned out to be Jonna Lee, a Swedish solo artist who was vastly overlooked by the industry before this project. The music is expertly produced by her long-time collaborator Claes Bjorklund and contains a visual element that is equally important to the beginning of iamamiwhoami’s art.  These videos, directed by Robin Kempe-Bergman, show Jonna with black make-up, contain themes of nature and birth, and have titles like this one: “13.1.14.4.18.1.7.15.18.1.1110.” All this built so much mystery around the project that at first there was speculation that the uploads were coming from Lady Gaga or Christina Aguilera. The question remained all the way up until August 2011 when Jonna Lee finally took credit for the material.

Since her videos gained her popularity, iamamiwhoami has continued to release numerous music videos relentlessly, in fact this entire album was released in the form of music videos back in April 2010. The videos came out in order, titled “b,” “o,” “u-1,” “u-2,” “n,” “t,” “y,” “; john,” and “clump.” The visual element was professional and as intriguing as ever, with themes of nature and mystery, and Jonna in a limitless amount of strange costumes, depicted as an esoteric goddess woman with all black or other heavy make-up on her face. At first, her face is very rarely visable and when it does pop-up, we see a tall, light-skinned, blonde-haired Swede with electric blue eyes and interesting facial features.

iamamiwhoami released her next set of videos shortly after the bounty uploads. She used the second set of uploads to release the album kin, under her own label, To Whom it May Concern. Removed from the visual element, Jonna’s project proves to remain truly enjoyable. bounty is technically her second release, though can be considered her first based on the order of the unveiling of the songs via video uploads. Now, with bounty officially released as an album, we again attempt iamamiwhoami apart from the strange visual amazingness.

On “b,” Jonna begins our journey with spacey keys and a strange ominous, robotic effect on the vocals. Her airy choruses prove to be a theme throughout the quest. By the time the bass synthesizer kicks in, you are totally enthralled. “o” eases in, not finding its grove until the 90 second mark. Practicing patience is worthwhile for the infectious beat and a chorus that can stand up to any dance pop hit. There is a mind-bending pitch shift and phasing space elements that push the limits of the dance-pop and electronic genres, which are two types of music which rarely receive worthy praise for innovation anymore. The lyrically unintelligible “u-1” is a sleeper but adds to iamamiwhoami’s pesona, something Jonna holds very tightly.

Then “u-2” comes in like ride on the roof of a train during a fully charged acid trip. The electronic ballad pumps along at sub bumping levels, subject to both subtle and sudden changes. Producer Claes Bjorklund is in his element and sounds masterful.  iamamiwhoami can be thought of as an entire strange universe orbiting around Jonna’s songwriting and Bjorklund’s expertly crafted soundscapes; the singer and the beat; a goddess in her odd world. With the rises and falls of “n,” it might prove to be the duo’s most collaborative effort on the album. Listening through each lettered song, it is curious whether the first seven songs on the album are to be considered one song.  These songs are individual, but stylistically identical, which of course should be expected, seeing they are all by the same group. The take-away here should be that iamamiwhoami wants you to question their intent, they revel in the mystery that surrounds them.

“; john” seems to confirm the theory that the first seven songs are one, offering a faster tempo-ed and fresh, poppy melody. The synthesizer rips heavily and the party is on. This song could be a hit but might end up be more popular in 2033. “clump” similarly rocks and shows us that even amongst all the mystery, the group also cares about dropping heavy beats for rocking out on the dance floor (picture a dark rave with neon lights and jet-black haired, half shaved-headed alternative trendsetters losing their minds due to the combination of drugs and bass vibrations traveling through their bodies).

All in all, bounty is a futuristic, mystical and fantastic album. The iamamiwhoami project stands up very well as a purely musical experience. Because the videos were witnessed, the themes still dance in your head while listening, which was likely an intentional effect. Jonna and Claes are currently on tour sharing the live iamamiwhoami experience with their fans. Be on the lookout for future uploads or other mysterious surprises from the group, iamamiwhoami will always keep you guessing.

The Front Bottoms – Talon of the Hawk album review

Party anthems flavored by punky, coy lyrics and danceable pop tunes fill out the best parts of Talon of the Hawk, the New Jersey duo’s second major label release. The Front Bottoms embrace vocalist Brian Seller’s witty sincerity, an upbeat poetry about partying, smoking weed and the confusing times of young adulthood. The music focuses on the lyrics, backed by a powerful acoustic guitar and a fantastic acoustic drum-kit beats by drummer Mathew Uychich.

While the stream of conscious lyrics can be interpreted as careless or lacking in creativity, there is an appealing honesty that outweighs any doubts that this is an art form to be appreciated. Say Anything’s Max Bemis laid the pathway for the open confession rant style and Brian Seller fearlessly travels onward. The band is known for lively, dance-crazed shows which are surely amplified with the stories from the party king at the edge of the stage. Seller and Uychich show us a full sound on Talon of the Hawk that represents a band that is coming into its own.

On the opener “Au Revior,” Seller attempts to give amateur language lessons over the minute-thirty second story of a mutual break-up in which he seems to realize she doesn’t understand his rock and roll ways. There are many metaphors to be drawn out of these lyrics: the couple is speaking different languages; they are not understanding each other’s goodbye’s; she understands him as well as a foreign language. On, “Skeleton” the band confirms that The Front Bottoms get stoned. The guitar hooks are infectious. The oxymoronic title of “Swear to God the Devil Made Me Do It” proves Seller’s wittiness knows no bounds. His confidence in the line “baby, I can spit this game all day” can be felt, though his self-consciousness in the line “but I am full of shit, I’m a plagiarist, as a liar, I’m a ten” makes you feel for him again; a man at battle with his ego.

Lead single, “Twin Sized Bed” is a super catchy rolling ballad that more-so travels to a conclusion but also follows the standard verse chorus cycle present in the typical pop song. The repeating, spacey guitar riff helps the build at the end until the entire audience is screaming about lost love and the mean things our exes have said: “She hopes I’m cursed forever to sleep on a twin sized mattress, in somebody’s attic or basement my whole life, never graduating up in size to add another.” “Santa Monica” shows some expansion with the inclusion of trumpets. “The Feud” is a foot stomping blast, likely to result in many a fast-dancing contest. Seller opts for drawn out choruses to break up his upfront and rambling verses. “Funny You Should Ask” follows suit with a hooky guitar riff and more interesting insights to young adulthood: “I was young and I used to think I have to care about anyone now I’m older and I know that I should.”

As the album progresses, it seems apparent The Front Bottoms prefer to deal with problems on the top of the mind, such as urgent paranoid or yearning thoughts and the need to produce an enjoyable show, thus turning out poppy, danceable songs one after another. They play acoustic guitar like a true rhythmic instrument. Their heart pumping interpretation of music falls between the pop-punk energy of Blink 182 with the stripped down acoustics of Mike Doughty. Though, the attitude is elementary, the poetry is sophisticated. Talon of the Hawk is an admirable effort which shows that longevity is a skill in The Front Bottoms toolbox, and an original dance rock anthem style can be developed in this world of music where it seems like everything has already been done.

Savages – Silence Yourself album review

Savages highly anticipated debut album Silence Yourself does not fail to impress us with raw post-punk energy, screaming guitars and vocalist Jehnny Beth’s howl. This collection of fast paced carnage feels like unchartered territory, a fresh look into the rock genre, despite the fact we’ve been here before. The effect may be due to an all girl line-up and that the drought for a worthy, fresh rock group has been severe. The release of this album aptly proves these four chicks are the real deal.

Savages have built anticipation with the release of two singles in June 2012, “Flying to Berlin” and the monster “Husbands.” After magnetic appearances at Cochella and SXSW this year, the group has gained high praise from critics and new fans alike. The band is made up by French singer Jehnny Beth (real name: Camille Berthomier) and three London natives: guitarist Gemma Thompson, bassist Alyse Hassan, and drummer Fay Milton. Jehnny, once an actress, was previous part of and indie duo called John & Jehn, and Fay has a background in garage rock. Silence Yourself was released on Jehnny’s own label, Pop Noire and Matador Records on May 6th this year.

From the opening bass line of “Shut Up,” Savages deliver their art with conviction. They have a bad-ass attitude that fits the music entirely too well, creating a nice pocket of creative space that is explored throughout the album. Jehnny’s vocal delivery ranges from a wavering vibrato snarl, to a blood curdling scream with the occasional ear-piercing yelp. “I Am Here” builds in tempo until Jehnny reaches a desperate falsetto plea. Heavy guitar is proudly displayed, expertly produced and larger than life. The sound of the drums throughout the album give an encompassing room effect nearly as impressive as the first time experiencing surround sound.

“She Will” is lyrically bold, speaking of a sexually dominant woman: “she will enter the bed, she will kiss like a man… you will get used to it.” It is the second most intense song next to “Husbands,” which is re-released for the album with a different recording of the song. Speeding guitar bass and drums amplify the songs progression until the train flys off the tracks in a sudden stop finish.  The group only slows down for a few tunes, namely “Waiting for a Sign,” “Dead Nature,” and the closer “Marshall Dear.” The last repeats the album title and actually comes off as an operatic and dynamic ballad, complete with pub-piano and saxophone, showing a rarely seen side of the group.

The bottom line is that on Silence Yourself, Savages show us they really know how to rock. In a relatively flat scene, finally the guitars have true grit. Grungy, deep rolling bass lines and viciously pounded drums fill the lows. No tempo is too fast. No note too high. Vocal prowess, expert instrumentation and an obvious tightness amongst the groups four members leaves no question as to why so many heads have turned their direction.

The Fall – Re-Mit album review

Post-punk freight trains, The Fall, bring us their 30th release titled Re-Mit. On this record, the front man Mark E. Smith delivers mostly incoherent, half-gargled, half-shouted vocals while the remainder of the English quintet offers us low-fi, up-tempo, foot-stomping rock. The energy is high but bored, excitable but exhausted, fresh but repeating. On Re-Mit, it sort-of feels like The Fall are gearing up to start a revolution but plateau with just inspired, conversational complaints. Needless to say, the end result is confounding.

It shouldn’t be too surprising, The Fall have displayed a harsh post-punk sound with ambiguous and mostly unintelligible lyrics on every previous release. On Re-Mit’s lead single, “Sir William Wray,” the band sounds like they are on shore gigging at a surf competition while Smith is at the helm of a drunken pirate ship. Captain Smith yells with a mean slur, backed by the “HEY’s” of the crew. The band looks out over the waves and beckons their displaced leader to re-join them on shore, but Captain Smith is already headed out to sea. Later on some instrumentally wild tracks, such as the noodle-y “Noise,”  and the clanging rise and fall of “Kinder of Spine,” it appears the band’s dingy caught up to the drunken ship.

“Hittite Man” drops in with a rolling bass line, a psychedelic, Pixies-“Do-Little” style guitar riff and develops into not much more as the six minutes progress, save the occasional two bars of punk-rock chorus. Smith declares through the deep caverns of his nasal cavities “you don’t hear me!” At least he’s aware. When the words start to make sense, that’s when the band starts to make sense.  The biggest kicker is that the man is a wordsmith and a cynical poet with the delivery of an injured mule, though Mark E. Smith apparently prefers it this way. Following this realization is the most incomprehensible and whimsical song, “Pre-MDMA Years,” where Smith mixes up the consonants for about a minute. Then a manic laugh concludes “No Respects Rev.” Told you this was a confusing ride.

Alternative and reeling “Jetplane” offers the most interesting presentation of dialogue in the lyrics as Smith has a conversation with himself, occasionally with womanly input from Elena Poulou, bandmate and keyboardist. Smith is confrontational in spirit throughout and seems to be speaking out about the state of Europe’s monetary system as he observes the scene from the queue of an airport: “Dave opened a Euro which will only tattoo your return number to Heathrow on your arm… and people who had cash ringing, would be persecuted to the fullest extent, Warstock and Hennings.”  Then again, there may not be any point to the song at all.

As a follow up to 2011’s Ersatz GB, Re-Mit reigns as a more complete, cohesive and coherent album. The Fall is famous for its band member changes yet they have proven to maintain the same sound with only small variations stylistically over the years, as mainstay Mark E. Smith has kept is since the band’s formation in 1976. Their newest album follows suit with The Fall’s undeniable repetitive and harsh sound. Now with the installment of Re-Mit, the band’s line-up has been the same for four consecutive albums, which is the most consistent The Fall has been in the band’s history. The Fall will support Re-Mit with a tour in Europe and they do not look to be slowing down new releases anytime soon.