YEASAYER - ODD BLOOD

I saw Yeasayer three times as they supported All Hour Cymbals - at SXSW, Pitchfork and Lollapalooza and each time they were one of the top highlights of the festival. Their music just lends itself to those big, hot, outdoor festivals with everyone jumping around and dancing. They have described themselves as "Middle Eastern-psych-snap-gospel" but I always kind of felt an allusion to traditional Native American music in their songs. However, I just never got too much farther into their album than singles 2080 and Sunrise.

That has changed with Odd Blood, an album that I enjoy listening to from end to end.

Once again, the singles from this album has been exceptionally well picked. O.N.E. will almost assuredly be THE song of 2010's Lollapalooza.

Ambling Alp is in close competition for best song on the album, with the super uplifting chorus "you must stick up for yourself son...nevermind what anybody else done." You can't help but feel empowered listening to it. One question - why are the cloaked mirror faces from Yeasayer's video visiting Janelle Monae's 2010 music video for the exquisite song Tightrope?

If you like a lot of weird sound effects and hot summer sounds this is the album for you! It is way out in the lead as best "sexy times" album of the year!

OWEN PALLETT - HEARTLAND

I've always wanted to get into Owen Pallett. For one thing, his recently relinquished-for-legal-reasons band name was Final Fantasy. Considering I spent hundreds of nerdy hours playing that game series, I really should have dedicated some time to listening to his music. But while I had heard and enjoyed a track or two, it wasn't until this year's Heartland that I really invested myself in listening to a complete album.

Wow. Just wow. It is kind of like Andrew Bird and Rufus Wainwright made love and gave birth to a weird hot musical prodigy. Like both Andrew and Rufus, Owen's music tends to all sound alike on first listen, but slowly reveals its intricacies on re-listen. Unlike Rufus' new album this year, Songs For Lulu, I could actually make it through enough listens to begin to pick up on all of these nuances.

The first song from the album which really grabbed me was the upbeat single Lewis Takes Off His Shirt. With the anthemic chorus "I know what you want and I'm never gonna give it to you" it is the perfect song to sing along with and direct toward people who just don't deserve it. The official music video, despite showing someone blowing cigarette smoke into a bare ass, was a little too DIY in a "lets just film this boring stuff" way for my tastes. However, I can't watch this video of Owen performing the song at the rainy Hillside Festival enough:

Keep The Dog Quiet was the next song I needed to play on repeat for a week. It's a bit darker than the rest of the album, and reminded me a bit of last year's Not A Robot, But A Ghost off of Andrew Bird's Noble Beast.

But if I had to choose only one song off the album to take to a deserted island it would be Tryst With Mephistopheles. The lyrical poetry and melancholic melodies of this song have made it a facebook status update favorite. It starts with the great "I stumbled on the summits path. Clumsy, clumsy, no paragon am I... I can't even keep my shoes tied." and progresses to one of my absolutely favorite song lyrics of the year "the sun split across the plains like that sentimental moment where humanity and nature collide. Everything, everything is going to be alright...just before the hero gets a bullet in his side."

The whole CD is fantastic, and even the songs that I am less interested in fit the feeling of the album and add to the cohesiveness of the whole project.

So, check out Heartland by Owen Pallett, and while you're at it check out this amazing song from one of his earlier albums, performed on one of my favorite blogs of all time. Try not to cry:

So, over half of 2010 has already zipped by and I've hardly posted anything on here at all - I even missed my annual SXSW review.

So tune in in the next couple of weeks for some semi-regular coverage of 8 of my favorite albums so far which have big potential to make my top 10 of 2010 list at the end of the year:

Owen Pallett - Heartland
Yeasayer - Odd Blood
OKGo - Of The Blue Colour of the Sky
Laura Marling - I Speak Because I Can
Jonsi - Go
Stars - The Five Ghosts
Kashmir - Trespassers
Vampire Weekend - Contra

I'll also have some things to say about the new albums from some of my favorite bands: Phosphorescent, Scissor Sisters, Frightened Rabbits, Nada Surf, Wolf Parade and Josh Ritter, as well as some of my other favorite tracks of 2010!

I have to admit that I am a little disappointed that the “Courtesy Wave (CW)” is dying off. There is really no better small act of “karma” than the CW. You can get a slight little nod from the karma gods by letting someone cross the street in front of you or maybe you got a CW because you held the door open for a lady. I am a firm believer in it. My theory is that the world would be a much better place to live if we all strived to achieve a few CW’s on a daily basis. I don’t think that is asking for too much, is it?

The new Avett Brothers disc I AND LOVE AND YOU feels like a CW to me. It is one of those musical varieties that lights up your day and puts a little bit of spring in your step. The two brothers (along with their upright bassist compadre) make up a band that has talent in abundance. They sound like a hodge-podge of so many different genres (bluegrass, rock, folk, country, pop). I would even use the faux-paus that they defy definition.

The defining instruments on the disc are guitar and banjo (along with the bass and a drum set) but the production is so dense that you get something out of each listen. Like a CW, it gives you hope that there are still bands that know how to make and structure songs that make you smile and just nod in acknowledgement.

A courtesy wave can turn a bad day into a good one. It can provide you with hope for society when you feel like there is none left. It is the small gesture that supplies a needed spark to light a fire. The Avett Brothers will be your CW for today.

Try: January Wedding; I and Love and You

http://www.theavettbrothers.com/

A lot has been said about the Arctic Monkeys hard driving sound. Their first two studio releases have seen a constant rotation on my IPOD for when I work out or when I am generally angry at the world. Alex Turner’s accent and lyrics are perfect for that mood when you just are PO’d at everything around you and you need a release. I believe that is the reason that many people were completely shocked when they released their 3rd studio disc and it was much darker, slower and complex than their previous works.

It is obvious that the band wanted to go into a completely different direction with this effort. Per the band, they listened to a lot of Hendrix and Cream prior to laying down the tracks. The 3rd effort is anywhere near as immediately accessible as their first two discs. I had to listen to it 5 or 6 times before I really started to understand the different sound that the band was looking to create.

As the band completely recorded HUMBUG in the USA, it is only fitting that out of the 10 tracks, 7 of them were produced by Queens of the Stone Age member, Josh Homme. A lot of fans have been upset about the influence he had on their sound and that they now sound like another US alternative band. I disagree. The music on HUMBUG still blatantly has their touch. Alex Turner has made HUGE strides as a songwriter and lyricist and it shows on this effort.

Even though the Arctic Monkeys are no where near as big in the USA as they are in the UK, they deserve a listen. I would recommend starting with some of their previous work (notably their debut WHATEVER PEOPLE SAY I AM, THAT’S WHAT I’M NOT). If you like what you hear, give HUMBUG a try and don’t discard it if you don’t enjoy it after 1 or 2 listens. As I stated, the disc is definitely a “grower” and you have to give it a few spins before it really hits home.

Try tracks: My Propeller; Fire and the Thud; Dance Little Liar

http://www.arcticmonkeys.com/

I always find some type of humor when you “discover” a band that you already knew about but just hadn’t realized it. Phoenix is one of those bands. A few years ago, Erlend Oye (from KINGS OF CONVENIENCE fame) did a DJ KICKS mix of tunes. He chose a Phoenix tune for this mix but I just didn’t know it was a Phoenix tune until I had heard their new effort WOLFGANG AMADEUS PHOENIX. It is amazing to me when a singer has that distinctive of a voice that you can pick it out right away from somewhere else. Sometimes that is a good thing and sometimes that isn’t (I’m looking at you Alec Ounsworth).

I have listened to Phoenix’s older efforts and they took some big steps forward on their 4th studio album. The production is nice and crisp and the songs are much more concise without any fluff to district you from their pop goodness. The first part of the album are dominated by some of the strongest tracks (Lisztomania, 1901 and my personal favorite, Fences). These set the mood flawlessly for what is to come on the latter parts of the disc.

I applaud Phoenix’s attempt to be more adventurous with their two part, mostly instrumental middle interlude of “Love like a Sunset.” It reminded me a lot of THE SOFT BULLETIN era Flaming Lips the first few times I heard it. However, it has morphed into something a bit more lighter now. Bands walk a fine line of pretentiousness and sentimentality when they place big, instrumental pieces in the middle of lyrically driven pop-rock. Luckily, Phoenix toe that line impeccably and I feel the tunes add to the overall mood.

The latter half of the disc has more deliciously accessible pop-rock. The band really is in line with a lot of the other French rock groups that have put France on the map for quality alternative/indie/electronica music (Air and Daft Punk being the others). Thomas Mars’ voice is not overpowering but it definitely is not blown away by the support of dual guitars and bass. Phoenix is a band just makes me smile when I hear them and I think they will do the same thing for you.

Try: Fences, Countdown, Lasso, Girlfriend

http://www.myspace.com/wearephoenix

Camera Obscura are one of the more unsung bands that have come from across the pond in recent years. Their first efforts were treated with indifference by most of the musical community as a rehash of Belle and Sebastian. This probably factored into the fact that their first disc was produced by a member OF Belle and Sebastian but that is besides the point.

In their latest effort, the band takes another step forward with songwriting that is easily the best that they have produced thus far. On the last two discs, songwriting and lead vocals have been performed primarily by Tracyanne Campbell. This is a good thing as I felt her songs were always the strongest on all of the bands releases. Her vocal talent is terrific and it transcends a certain time period. That is one of the best pieces of the Camera Obscura puzzle. Their music can sound like it came out in 2009 or 1969.

The 4th effort, MY MAUDLIN CAREER, has Campbell in her typical song writing mood. Her lyrics are laced with lots of sarcasm but the music is very poppy and quite upbeat (this is probably where the Belle and Sebastian comparisons come into play; the ability to layer unusual or downer lyrics with happy, pop music definitely takes a particular talent). The songs on CAREER go through the usual topics of heartache, love, love lost and the like. Campbell and the group’s tight musical aptitude is what makes it better than another band’s contribution.

The production on the recording is coated with tons of strings and elaborates percussion. It definitely makes the songs more memorable. With that being said, I could easily picture this disc as the perfect background music for a dinner party. It is consistently up-tempo and it doesn’t drag except for maybe a couple of latter tracks.

Overall, this is undoubtedly my favorite Camera Obscura disc to date and they deserve a much wider audience. Try out the tracks SWANS, YOU TOLD A LIE, FRENCH NAVY, or HONEY IN THE SUN for a taste of how good these Scots really are today.

Royksopp's JUNIOR is one of the best electronica albums I have heard in quite some time. They are the masters of chill out and they do not disappoint with their latest contribution to the genre.

It is a fine line between "lounge" and other types of electronica music. I had putting labels on it because most of the stuff released today might be initially released as one genre but then remixed into the next big club anthem. The bottom-line though is to have some stellar melodies to overdub in the first place.

Royksopp's first disc MELODY AM was the perfect blend of catchy tunes with some upbeat tracks that ensured you didn't fall asleep unless you really wanted. I felt like their 2nd disc wasn't anywhere near as good as their first as the overall sound and theme of it just didn't mesh with what Royksopp typically bring to the table. They fall into the rankings of Kruder & Dorfmeister and Dzihan and Kamien. I would rank them as some of the best original artists releasing material today.

JUNIOR has plenty of vocal tunes to go hand in hand with the instrumental as well. The Royksopp boys enlisted some of the better female vocalists available (Robyn and Lykke Li) to assist on some of the stand out tracks (The Girl and the Robot and Miss it so Much respectively). They manage to balance the album perfectly by mixing up instrumental and vocal tracks on a pretty consistent alternating basis. A proper flow for an electronica disc is key and that is what makes JUNIOR work so nicely.

If you aren't a huge electronica fan, JUNIOR would probably be a great disc to introduce you to the genre. It is not too experimental but it brings plenty of excitement to the party.

Try tracks Royksopp Forever, the two tracks by Robyn and Lykke Li and Happy up Here for a nice sampler.

http://royksopp.com/

This another one of those posts where I admit to the fact that I have encountered something big after the rest of blogosphere. That something big is Ra Ra Riot.

I'm a sucker for chamber pop as any person can attest to my love to old Matt Pond PA. Ra Ra Riot have something a little bit different though. Wes Miles' vocals have a different warmth to them and it complements the Alexandra Lawn's cello and Rebecca Zeller's violin vs. competing with them. I think that the production has something to do with that but the disc is impeccably mixed on every track. I wasn't sure how I would feel about some of the songs, as they were redone from their EP (which I enjoyed immensely) but they work.

THE RHUMB LINE is a great mix of poppy dance tunes and some lovely ballads that showcase the talent of the band (WINTER '05). One of the best things about the disc is that there is enough variety to keep your interest from the start to finish. Their isn't really a lull, which is common.

The group has gotten some headlines due to the unfortunate and tragic death of its drummer (who the album is dedicated to) right before they started really making it big. But they should be getting much more due to the talent.

They are opening for Death Cab for Cutie currently so they should be getting some exposure with them. If I could afford a Death Cab ticket now, I would go just to see Ra Ra Riot.

Stand out tracks: Winter '05, Can You Tell, Each Year

http://www.myspace.com/rarariot

From here on out, it will be my personal goal to make a Musicbath weekly for the rest of the year. I have found that it has become increasing more difficult to write musical reviews. What can I say that hasn't already been said? What gives my opinion any more weight than any other listener to music today? Can I provide some type of insight that would allow someone to gain more joy or more feeling when they finally listen to a particular song or artist? I don't know. What I do know is that there is still an enormous amount of music out today that still gets very limited attention and it deserves more. There are musicians that are making some beautiful music but it will never grace many people's eardrums because they can't afford to purchase airtime on corporate radio stations. I hope to still bring at least some of these artists to you so you can have a bit more variety in your musical diet.

This week I'm going back to an old stand-by. Andrew Bird has been covered by me in the past due to his awesome live shows (and that one was twice as awesome as it was free). There has been a ton of hype on his new album but I was a bit skeptical of it as I had heard a few new songs on the Internet. NOBLE BEAST, the new disc, is a fine disc. I can not take anything away from it. It is a fusion of multiple genres, which Bird is a maestro at doing. He can take jazz, calypso and rock, throw them together and make something that is pleasing to the ear.

With all of that being said, I feel like this disc is a step backwards musically for him. This is definitely his folk entry for the Andrew Bird library. One of the highlights of any Bird album is the tremendous whistling melodies he can create mixed with his interesting violin interpretations. His last cd had all of these features plus so many different sounds and feelings added to it with the assortment of loops and programming courtesy of Martin Dosh. That is what this disc is missing. The two of them combined create collaborations that are phenomenal. Bird by himself is no slouch but he definitely brings different talents and attributes to the songwriting process.

You can do far, far worse than adding NOBLE BEAST to your musical collection. I have zero regrets and I love Bird just as much now as I did before. The problem with such talented artists is that you always have much higher expectations from them on each subsequent release. This happens quite frequently with critical darlings (see Radiohead) and it is impossible to make the best disc for every single person. What I enjoy the most from Bird's music can be completely different than what someone else may love. The joy of him is that he offers so many different sounds that he can appeal and please all.

Check out tracks: Fitz & Dizzyspells; The Privateers; Oh No

It is always interesting to hear a new band that rises from the ashes of an old band. Or at least a new band that rises out of the ashes of old bands, plural. I had a friend turn me onto Troubled Hubble during their final months. What I witnessed was awesome. I saw a band that was tight after playing years together, a dynamic that is hard to duplicate no matter how you add it up. Unfortunately, they were not meant to last and they went their separate ways. However, one perk of having siblings in a band is that you have a better ability to form something else as you can bring more to the party (see Oasis, Beach Boys, Jump Little Children).

Kid, You'll Move Mountains is the band that has risen from the ashes. Formed from parts of El Oso, Inspector Owl and Troubled Hubble, they bring a whole a new sound than what any of the previous bands offered. Their first disc, LOOMINGS, offers a number of stand out tracks that hopefully predict what they can do if they keep this up.

What I like about KYMM is the music. The music is the key here. This is not to take away from the lyrics and singing but I love to hear the different genres mixed into their sound. You can hear jazz, classical, dance and hard rock elements in the tunes. From the piano driven melodies of "West" to stupidly catchy guitar riff of "Volts," the band has definitely brought out their "A" game for the release. It is evident that they spent an ample time recording and mixing the disc as they have oodles of effects to layer the sound into something different. The attention to detail is especially prevalent on songs like "Volts" with the "thunderclaps" and in measured feedback and distortion used in "Wives' Tale."

I was very pleasantly surprised by this debut from one of Chicago's very own. It is well worth your hard earned $7 if not just for the 3 stand out tunes on the album, "Wives' Tale, West and Volts."

http://www.myspace.com/kidyoullmovemountains

5) Coldplay "Viva La Vida"

I reviewed this disc earlier this year and I had a hard time getting past all of the sounds and structures that were common amongst earlier U2 releases. Due to the production, this is hard to avoid. However, this is still a progression for Coldplay in regards to song writing and just plain musicianship. Martin and company have definitely improved, album to album (with the exception of X&Y which was more of a "B" side release of AROBTTH). I love Chris Martin's voice, even if it is mainstream and a faux paus nowadays.

4) Vampire Weekend "Vampire Weekend"

I can't believe this album came out in 2008. It seems like it has been out forever (or at least in 2007). I remember seeing the SPIN cover declaring these guys "the next big thing" before I had even heard their disc. I bought into the hype though. Some people call them a passing fad and just this year's "freshman dorm cd." I KNOW they have more talent than that. The hooks that they write are raw and it is obvious there is tons of talent amongst the Ivy Leaguers. You can't help but bounce around the room and groove to their sound and that is exactly what indie pop/rock is supposed to do....get you out of your seat.

3) Fleet Foxes "Fleet Foxes"

The harmonies on this album are so lush and vast it is hard to even describe in words. I still can't believe that the lead singer is only 21. No one today is layering harmonies like these guys are doing today. It is a kick back to the 60's scene with male harmony and melody. Each song paints a picture for you like you are there in the mountains or in the winter season with them. You experience the music, not just hear it. This is the type of material that rock and roll hall of fame careers are based upon....at least that is my opinion.

2) Mates of State "Re-Arrange Us"

I didn't get into this album until post Lollapalooza and sad it took me that long. This married couple really gives Spoon a run for their money in regards to who can write the most consistently good pop songs. From start to finish, the album is one pop gem after another. The funny thing is that I don't really even like pop music that much. But I do know great music when I hear it (I listened to THRILLER non-stop even though I would get nightmares from the Vincent Price rap) and this is GREAT MUSIC. I believe that all of the top 5 cd's will remain in the rotation for a while but I know this one will for sure.

1) Sigur Ros "Med Sud I Eyrum Vid Spilum Endalaust"

I was talking to friend yesterday about how I was torn between this disc and Mates of State for my top slot this year. I always have a hard time picking a "best" disc when one of my favorite bands produces an album on any given year. The thing with Sigur Ros is that they are not for every one. They are "art rock" or "experimental" or "minimalist." Whatever you want to label them you can't take one thing away from them. Talent. Even though my wife has burned out on them a long time ago, she still admits and readily acknowledges the talent. The band doesn't take steps from disc to disc, they makes leaps and bounds. I love this disc. I love every song on the disc. My favorite song of the year is on this disc (Track 7 Ara Batur). Listen to this song, in its entirety, and try to not have chills going down your spine or have goosebumps. Sigur Ros capture my emotions and place them in song form. They make me appreciate this life and make me more aware of the reasons why I'm living it.

These, and so many more reasons why, are the traits of a timeless disc.

There were a ton of cd's this year that were far and above expectations. There were also a few that definitely left the rotation of listening quicker than I had anticipated (Counting Crows, unfortunately). Additionally, there are a some discs that I haven't had the opportunity to hear just yet (Lykke Li, Nada Surf, Mgmt, Liam Finn, Anathallo, Islands). I believe that many of these will probably be some of my favorites once I get the chance to hear them but my list is based upon those discs that have in heavy rotation ALL YEAR and for that reason, they are my top 10.

10) Ray Lamontagne "Gossip in the Grain"

Ray's 2nd disc was somewhat of a disappointment for me as he seemed to go away from his heavy blues influence. I LOVED his debut cd and I was hoping that the 3rd one would be more like it. It definitely went more in that direction, with added instrumentation to add it some more kick. It had a little bit of a Harry Connick Jr. feel to it but with Lamontagne's wistful voice to chisel his influence into the sound. He is not breaking out of the mold too much but it is a progression none the less.

9) Juno Soundtrack

The Moldy Peaches are the centerpiece of this soundtrack with the quirky lyrics and stripped down acoustic guitar. They are a big part of what made Juno such a nice change of pace and made the characters in the movie so much more real. You add into the fact that you have some great songs from some of the best artists of today (Belle and Sebastian and Cat Power) and artists of yesterday (Buddy Holly) and you have one of the most well-rounded efforts of the year.

8) Crystal Castles "Crystal Castles"

This disc is good. It is not one of those discs that I can listen to all the way through on any occasion but it has so many catchy tunes that stand out on their own that is impossible not to appreciate it. Electronica music is an acquired taste and I know many people don't feel it is "real" music. The Crystal Castles have also come under scrutiny due to some of the samples they have used in their music. However, it is VERY difficult to do and is one of the most creative genres of music today.

7) Keane "Perfect Symmetry"

Kyle and I have a few discussions about the lead singer of Keane. We have differing opinions on his look but we both agree that he has one of the best voices in music today. It has any outstanding range and he has an uncanny ability to stay on pitch for extended notes. The 3rd Keane album is such a great time because they have fused things that they loved from the 80's New Wave sound, classic rock and their previous album into their best yet. The first half of the album is straight pop and it probably the most accessible of any Keane music so far. The second half is classic Keane ballads that showcase the piano prowess and the pipes of Tom the lead singer. This is easily one of the best of the year that I have heard.

6) Adele "19"

Adele is part of the British invasion that has given us Amy Winehouse and Duffy. She has not received anywhere near as much fanfare. I believe it is that she isn't crazy like Winehouse and she isn't "trendy" like Duffy. I personally prefer her release to Duffy's for a number of reasons. Adele's voice has a warmth to it that is something that can be produced in a studio. You either have it or you don't. In the age of the overly produced and overly hyped starlets, it is a breath of fresh air to have someone that completely makes it on talent alone. From start to finish, this album really has no weak songs. There is a terrific cover of a Bob Dylan song and some definite attention to detail when it comes to song order and album cohesion. Adele is a winner and is worth a look.

I will cover the top 5 albums later on this week. Stay TUNED!!

I'm busting out some foreign languages for this one as I wanted to give a shout out to my 2nd favorite band I saw at Lollapalooza this year, Booka Shade. As I have stated on numerous occasions before, I used to be a club going man. However, with age and balding my clubbing days are behind me and I am confined to my home for my personal dance parties.

Booka Shade present one of those electronica groups that cross over between two genres. They can be both electronica dance with some of their more upbeat and crazy remixes (that they do live and that you can hear on their myspace page live at Glastonbury festival) or chill. The best thing about their disc MOVEMENTS is that it can be both. If you want to crank it up and get the old fist pumping in the air, you can blast some tracks like IN WHITE ROOMS to get your groove on, Napoleon Dynamite-style. On the other hand, you can just throw the disc in your player and use it as background music while you Autocad all day.

My interest in dance/electronic/club music has waned over the past few years as I don't really keep up with the big "up and coming" names like I used to back in my younger years. Just like any music, there is an "underground" scene that has many great dj's that are putting out stellar remixes and original tracks.

If you are looking for some quality creative music that can keep you going on a slow day, you can do a lot worse than Booka Shade's MOVEMENTS. And if you get the chance, throw in some earplugs and catch them live some time. You will not be disappointed by their energy or the tunes.

Stand out tracks: In White Rooms, The Birds and the Beats/At the Window, Mandarine Girl, Around You (Quiet)

http://www.myspace.com/getbookashade

Even though Tom Chaplin might be a little crazy looking, I feel that he has some of the strongest male vocals in any band making music today. His voice is pure and his pitch, consistent. Plus, he is British (which scores big points in my book as the majority of my favorite bands are from across the pond).

I had VERY high expectations for Keane's new album, PERFECT SYMMETRY, because I think I was one of about 5 people who really enjoyed their 2nd album. I love bands that grow and progress and decide to try new things as they develop (see Radiohead; Sigur Ros). That is exactly what Keane has done over the course of their first two discs and they continue it with their 3rd.

I was laughing when I heard the cd the first time because it is very "throwback" sounding in how they use a lot of synthesizer and programming that reminds you of the whole 80's sound. The thing that makes it progressive is that they blend it smoothly into their established piano rock sound. It is toe tapping good and just infectious from the get-go (A perfect example is the track "Better than This." Just try and not shake your moneymaker).

Additionally, the boys in Keane don't let down their diehard "traditional" fans with some great quality ballads towards the back end of the album. The first half is a dance party and the 2nd half is for you to make out after you got your groove on.

I think that a lot of old fans will come back to Keane with this album and they might just add a few new fans while they are at it. I also have complete confidence that this album won't be a short rotation on my IPOD. It is a keeper.

Stand out tracks are: "Perfect Symmetry" "Black Burning Heart" "You Don't See Me"

http://www.myspace.com/keane

Yeah, that is how Mates of State were introduced this year at Lollapalooza. I thought that was a pretty bold statement at the time but now I might just be buying into the hype. As you may remember, one of the top bands of my first Lollapalooza experience were Mates of State (along with Sharon Jones and the Dap Kings, Booka Shade and the Ting Tings...more on them in just a little bit). I finally got off my behind and downloaded their 2008 album THE RE-ARRANGER and I have to say, it is one of the shortest pieces of rock bliss that I have found in quite some time.

Mates of State are definitely not doing anything new. They are a male/female duo with piano and drums that just happen to be together, in a band and in a relationship. The catch of why they are so good is what they are doing that no one is doing today. The male/female harmonies on RE-ARRANGE US are so...well perfect that you can't help but tap your foot or in my case, jump around the room and attempt to dance like the white boy that I am.

The entire album is solid and just like most recordings today, the weaker songs are towards the end. That doesn't take away much from the album as the songs all blend together into one short lived dance revolution (yep, I went there). Since it clocks in just under 40 minutes, some people were a bit disappointed with the release. However, since this was my first experience with them, it was a great introduction. Long enough to get me hooked but not too long where I get bored or it becomes overkill.

If you like catchy melodies, crisp harmonies and just solid rock/pop, you could do far worse than the Mates of State. My personal standouts on the disc would be: The Re-Arranger, My Only Offer, Blue and Gold Print and You Are Free.

http://www.myspace.com/matesofstate

And also, since I have finally bought some new music recently, look for some more reviews this week of Booka Shade, Sharon Jones and possibly Keane.

I have been severely neglecting the new music scene as of late. I think I might have OD'd on music after my first Lollapalooza but I have been listening to some new things here and there. One of those things is Crystal Castles.

I was first interested in this duo when Kyle had invited me to a free show of theirs at the Double Door on a weeknight and I completely wussed out and didn't go (because I'm an old man). However, from the videos I have seen on You Tube, I'm not sure if I would survive one of their shows as they seem like they get kind of crazy (my body can't take abuse of mosh pits anymore).

The group's sound is all electronica but it isn't typical "Moby-like" electronica full of samples and snippets of old songs. It is more of the "casio-programmed" sound which gives it this heightened video game soundtrack feel. I love it. It makes me feel like I am listening to a soundtrack an old Nintendo role playing game but with harder tempos and crazier vocals.

Don't get me wrong, Crystal Castles brings a lot to the table. Their songs have VERY catchy hooks and make you want to get up and dance every time you hear them. As a whole, the entire album is not one hit after the other. However, if you are faced with the decision of downloading 3 or 4 of their songs for .99 cents vs. buying the entire album for $7 or $8, the album is a much better investment. There are some definite hidden gems on the full length that grow on you after a few listens (COURTSHIP DATING and MAGIC SPELLS are two that come immediately to mind). Be sure to listen to their "bigger" hits of UNTRUST US and CRIMEWAVE as well.

If you want some new dance tunes, check out Crystal Castles. They are a nice below the radar pick in my mind.

http://www.myspace.com/crystalcastles

There has been a recent uptick in the motown sound since the broad appeal of Amy Winehouse has brought it back to the forefront in music. Due to this fact, there have been more and more artists being signed that have a distinctive sound that can trace its root back to the "heyday" of motown. The most recent artist that I can think of that is getting a lot of buzz is Duffy. Another British import that I think has an edge on Duffy is Adele.

Adele's LP debut 19 was available to me for free on a streaming site a few weeks ago and I listened to it daily for about a week. I had initially written her off as I had read a few reviews stating that she is basically just a rehash of the "Winehouse sound" and she really didn't have the stand out pipes or production to warrant checking out. However, after a few listens, I found a lot more soul in her voice than I had expected. She doesn't have the raspiness to her voice that Winehouse has but she presents a warmer sound that wraps itself around you on her slow songs (DAYDREAMER, FIRST LOVE) and is not drowned out on her more uptempo songs (BEST FOR LAST).

You get a pretty good bang for your buck with Adele as 19, as a whole, is not a bad album. There are some weaker songs on it but for the most part, 9 of the 12 songs are worthy of IPOD space. I would recommend checking her out and you may be pleasantly surprised as well.

Stand outs: Tired, Cold Shoulder, Hometown Glory, Bob Dylan cover of Make You Feel My Love

http://www.myspace.com/adelelondon

So I joined the millions this past week that purchased Chris Martin and Co's new album VIVA LA VIDA and after a few listens, I am pleasantly surprised with Coldplay's step forward.

Something that I picked up right away on the disc was the absence of Martin's famous falsetto voice. In its place, is a much lower range and an edgier feel to the majority of the tunes (especially songs like YES! and VIOLET HILL). It is reminiscent of TIL KINGDOM COME off of X&Y, which I felt was one of the strongest tunes on the album (and also not written for Coldplay or so MTV told me at the time).

Another prominent sound throughout the album was the influence of their new producer, Brian Eno. Eno is known for "sonic landscapes" on U2 albums (he was a big mastermind of their signature sound on JOSHUA TREE). Because of Eno's touch, I felt like this album was kind of a Coldplay/U2 hybrid as it had a lot of the positives that both bands bring to the table. It also makes sense as one of Coldplay's biggest influences is U2.

VIVA LA VIDA isn't really as listener friendly as previous Coldplay releases, which is a good thing. It is a sign that they are doing something different and aren't adhering to the "one plus one = overkill on the radio" formula. They are trying new things regarding tempos, strings (definitely evident in the disc's title track) and it is nice to see Will Champion not go crazy on the crash symbal on every song.

It is difficult to objectly rate this disc as I have been a fan of Coldplay since I saw the YELLOW video early one morning after class in college but it is palpable that they are the "heirs apparent" to U2. They produce solid rock/pop tunes and VIVA LA VIDA doesn't disappoint. For fans and newbies alike, Coldplay still are a quality place to invest your $9.99.

Every once in a while I come across an artist that I enjoy but most of my friends despise. Jill Barber would most likely fall into this category. She surprised me as I typically don't like a typical "folk" sound and her sound really has a lot of country influences in it. There really isn't a single song on her debut FOR ALL TIME that could not be used as a slow dance a high school prom either. Despite all of this, I still like her and I can see why she has been such a huge hit in Canada.

I would compare her voice to a younger version of Stevie Nicks. Now that is why my wife says I like her because I have an unhealthy obsession with Stevie Nicks' Fleetwood Mac songs. However, Jill's voice has something else to it that makes it a bit warmer. It is almost like she wraps her voice around you like a blanket and you are enveloped in her musical goodness.

Most of Jill's songs on her debut would not be labeled "uplifting" by any means. But in her defense, I couldn't picture myself slitting my wrists to her music like I would with maybe an album of Lucinda Williams songs (Lucinda is a GREAT songwriter but she doesn't write HAPPY songs by any means). Miss Barber has some quality harmonies provided by her back-up singers on most of the songs ("Don't Go Easy and "Just for now") and she offers a variety of folk styles ("When I'm Making Love to you").

The standouts that you should check out to get a good feel of what Jill Barber has to offer are 'Hard Line" and "Legacy." I believe that she will be writing some quality albums in the future as well.

http://www.jillbarber.com

Kyle touched on a number of new releases a couple of days ago but he didn’t touch on the new releases of some of my favorite artists. Moby, R.E.M. and Counting Crows all recently put out new albums and I have to say that all three of them are a nice reminder of how great these artists are when they put out the music they are famous for making.

I was able to hear Moby’s new album via streaming audio a few weeks ago and it was a nice return to his EVERYTHING IS WRONG and PLAY sound of solid, danceable tunes. I haven’t heard R.E.M’s ACCELERATE yet but all of the reviews and feedback has been very positive. I hope to be reviewing both of those in upcoming entries…but not this one.

This entry is focused on my long list friend. That friend that you thought you would never re-connect with but somehow, your paths crossed again. This is that artist that you fell in love way back when your musical tastes were being developed and they opened your eyes to what a great live act and what a great songwriter might look like. This band, for me, was Counting Crows, and they have released SATURDAY NIGHTS AND SUNDAY MORNINGS (SNASM). I can say without any hesitation that it is their best album since RECOVERING THE SATELLITES.

It is difficult to be objective when you review or listen to an album by one of your oldest and favorite artists. You already have so many expectations and they are typically quite lofty. The Counting Crows always have had a distinctive sound that bordered between a fusion of folk rock ( Bob Dylan plugged in) and pop rock (see SHREK soundtrack). My dad always felt that Adam Duritz, the lead singer and songwriter, sounded like Travis Tritt (one of his favorite country singers). I never could figure out this comparison but it allowed me to listen to Counting Crows at obscenely loud levels when I was growing up. You have to take what you can get sometimes.

Now let me get into the actual new album’s songs. SNASM is a concept album that is to have two parts. The first part is hard-driving, gritty rock to insinuate a Saturday Night out amongst the parties and craziness. There are some definite songs of merit in the first 6 songs on this portion of the album. They have a very similar rough sound to them that the Crows had on their hard rock songs on the first two albums. The highlights of the first part would be “Hanging Tree,” “Los Angeles” and “Cowboys.” Most of Adam Duritz’s songs are about how he has a difficult time connecting with the general public. “Tree” is definitely about this concept and “Cowboys” is about his fascination with the two different types of people in the world (Cowboys and Clowns). "Los Angeles" is just a fun, hard rock song about going out and living life. These are some of the best hard rock songs that Duritz has written in a LONG time.

The other side of the disc, Sunday Mornings, is the type of Counting Crows that I fell in love with and still hold close to my heart. These are much slower, piano driven ballads about self-discovery, love, love lost and everything in between. They are the songs that are meant to have you reflect on what you did the night before (Sunday Mornings). As the disc has 14 songs, the majority of the focus is on Duritz’s forte. The songs that I fell in love right away were “Washington Square” (a song about how you need to keep psyching yourself up to keep on living your life no matter how bad things get), “On Almost Sunday Morning” (the best song on the disc about finding the right woman/person to spend your life with) and “Le Ballet D’Or (A song about getting over yourself and to just go out and live your life). The final song on the album, “Come Around,” reminded me of the final song on Counting Crows’ debut “Murder of One” as it is a very hopeful song that finishes everything on a positive note.

All in all, Counting Crows really made a fine album that is a vast improvement on their past two efforts. They are worth a reconnection or if you have never given them a try, a listen.

Aural Cleansings fashionably late to the 2007 party

With the coming of age comes a bit of a delayed reaction to many things. I know that I am a little bit slower now when I run, I have sluggish reflexes when it comes to sports and I buy into the “next big thing” a little bit more hesitantly. The decision needs to be made by me to find out how good something actually is and if it is really all that it is hyped up to be. I can say that for two female releases of 2007, they do live up to the hype (although one was EXTREMELY more hyped than the other). These albums were Feists’ “The Reminder” and Jesca Hoops’ “Kismet.”

Feist was on every top 10 listing of 2007 that I came across but I could not figure out why. I did enjoy her IPOD commercial featuring the “1234” video but it wasn’t the best song I have ever heard. I can say that this album is one of the best start to finish albums that I have heard in my recent memory. There is a wide plethora of musical variation displayed on the album ranging from acoustic songs (So Sorry), heartfelt lyrics (Honey Honey) and lots of diverse instruments and guests (A little known fact is that the “1234” video features many of the artists that Feist has collaborated with in the past).

Feists’ voice is very unique in that it is not overpowering nor is it quiet. It holds a lot of emotion but not to the point where you want to slap her being too pouty or too excited about something. She has found that equilibrium that many female artists can not seem to find and has a wonderful sound. Her voice is just another instrument in a spectrum of sound. A nice example of her voice’s ability to work in cohesion with instruments is the final song on the disc “How My Heart Behaves.” It is an exquisite duet and an exquisite ending to an superb sophomore release.

A bit on the opposite end of the hype spectrum is Jesca Hoop. I saw her open for one of my favorite bands this past year at the Double Door. She had a very eccentric performance but it left me wanting more so I finally bit the bullet and picked up “Kismet.” I can say that the release had the exact opposite effect that Feist’s did. It was not very accessible initially but I kept listening because I was intrigued by her arrangements, key changes (most of her songs seem to be written in a minor key) and interesting time signatures that sometimes would alter mid-way through her songs.

As I said, this disc is not very listener friendly for the first 10 to 15 listens but there were a few songs that stood out after just one or two listens (Summertime, Dreams in the Hollow, Intelligentactile 101). Hoops’ voice is bit more whispery and softer than Feist but it also has a sarcastic overtone to it. In other words, it is right up alley.

“Kismet” has many stand out songs on it but as an album, I wouldn’t say it was as strong as “The Reminder.” I do think that as a song writer, Hoop should be listed along with the top song writers today just after this release. I believe that Sufjan Stevens could learn a thing or two from her arrangements even.

Please don’t hold it against me for not acknowledging these fine efforts until now. They deserve a second look, if you can spare one.

Arctic Monkeys “Favourite Worst Nightmare”
An Aural Cleansing with Kramer

The 2nd Arctic Monkeys disc provides more of the same hard-driving, clever indie from some of the best rockers currently producing music. I have to admit I was a late arrival to the Arctic Monkey’s band wagon. I had read multiple reviews of their initial effort before I finally gave it a listen. Even after I listened to their first album a couple of times, I still did not understand what all of the fuss was about.

However, the A. Monkeys are a “grower” band. One of those bands that require 10-15 listens to their discs before you start to appreciate what the kids are doing. Then you realize that the majority of groups are NOT able to do what they are doing.

Alex Turner’s lead vocals fit their sound so perfectly and his Yorkshire accent adds an entirely individual sound. His voice and slang add a whole new element to the music.

There are a number of standout tunes on the album namely the fifth track, FLOURESCENT ADOLESCENT. This song has very catchy melody and guitar riff that even after one listen; you find yourself repeating the song a 2nd and 3rd time to enjoy it some more.

Other stand-outs on the album consist of: THIS HOUSE IS A CIRCUS (note the clever tempo changes), BALACLAVA (any song that adds clavinets, I’m a sucker for), D IS FOR DANGEROUS (just hard rock in its finest, most raw form) and 505 (Arctic Monkeys, like the Shins, always end their albums with a very high quality track).

Overall, “Favourite Worst Nightmare” is a definite progression of the Arctic Monkey sound. The group has made some major steps in terms of song structure, arrangements, tempo changes and you can hear it. I enjoy their first effort a little more still but that is most likely just because I have listened to it more. I believe that in time that “Nightmare” will take its place since it has grown on me already.

I leave for SXSW today. While I am gone, enjoy this CD review by guest reviewer Aaron Kramer.

Music Bath Review #1---The Shins WINCING THE NIGHT AWAY

Brief Overview of me, “Kramer the Guest CD Reviewer”: I am self-confessed “music snob” but only because mass media has forced it upon me. I still listen to some music that receives radio play (Coldplay, Red Hot Chili Peppers, U2) but the majority of the music that is being promoted (either via radio, MTV and the like) today is that which isn’t being recognized by 95% of the listening public. I pride myself on trying to give every artist their fair shot at gaining my respect (because we all know that EVERY ARTIST wants to receive the Kramer seal of approval).

I was really psyched for the Shins’ new album primarily because I had a friend turn me onto them prior to the big GARDEN STATE blow-up. They are one of the best Indie-rock bands writing songs today and their newest effort was a wonderfully surprising step WAY forward. A band that came to mind with their progression was The Strokes. Their first two albums were parallel efforts with really no musical and lyrical maturity between the two. However, the third album shows huge improvements in regards to song structure, lyrics (some of the most witty around) and overall accessibility to their sound.

1. Sleeping Lessons
1. A great opener for the album; Perfect mood setting especially with the development towards the end
2. Australia
1. This is the Shins with the sound that they created in their first two albums; Very catchy pop with clever lyrics that make me smile
3. Pam Berry
1. I’m not a big fan of filler songs that last less than a minute so this my least favorite song on the album
4. Phantom Limb
1. The first single is a perfect initial taste of the maturity of the Shins; A more complex song structure with some layered effects
5. Sea Legs
1. Sea Legs is a prime example of a Shins step forward. It uses some great sampling and an interesting tempo to play on the ears.
6. Red Rabbits
1. At the moment this is my favorite song on the album; I love string sections in songs, especially when they are used correctly; Finally, the crowd cheer at the end is the icing on the cake; I think I have repeated this song about 25 times on my IPOD already
7. Turn On Me
1. Turn on Me and Australia remind me the most of the “old” Shins sound; They are probably the two least impressive songs but they are still solid
8. Black Wave
1. This is my least favorite song on the album; It just seems like the lyrics are contrived and I don’t really like the melody
9. Spilt Needles
1. Another interesting tempo with LOTS of sampling and effects within the song; Tracks 8 and 9 are the two weakest on the album
10. Girl Sailor
1. Girl Sailor is a nice change of pace for a love song; You can hear a lot of the influences for the album on this song (especially the influence of Brian Wilson)
11. A Comet Appears
1. Every Shins album so far closes with a lovely acoustic piece at the end that is one of the highlights of the album; A Comet Appears does not disappoint;