Album Review: WZRD: WZRD (2012)

By Scott Jeffrey

Kid Cudi and Dot Da Genius collaborated to form WZRD.  In their debut album these lonely stoners decide to throw caution to the wind and make basically a rock record. Sampling from classics and creating some sweet jams is what WZRD does best, starting off spring with a great record.

It’s so hard to classify this album, it’s not quite a rock and roll album, or a hip hop album or even an electronic album. But it is something that is powerful that much is for certain.

The single Teleport 2 me, Jamie is sampled from a track from the drive soundtrack by the band Desire called Under Your Spell. WZRD takes this theme and sort of builds off of it, telling a tale of absolute lustful desire and how hard distance can be when put between a loved one. I loved the track on the Drive soundtrack and this version and its sampling seems to be even better still.

The opening Track The Arrival is an instrumental that sounds very similar to something Trent Reznor might throw onto an album. If you were expecting to pick up a hip hop album, this is your first indication that WZRD is a very different entity indeed.

Brake is somewhat similar in the louder pounding drums which sound borderline industrial rock. There is a weird sort of alien synth that weaves its way in and out of a heavy guitar fading in and out.

Dr. Pill is probably one of the most dance friendly tracks on the album. It’s a dark song but the chorus is very catchy and has Cudi singing in almost a punk style, and being answered by harmonizing voices. A deep bass synth and a driving kick work with a maniacal synth to build almost a drugged up club punk vibe in this track. It is like just about every other song on this album, hard to get out of your head.

There is also a very unexpected Leadbelly cover on this album. WZRD takes a crack at Where Did you Sleep Last Night and does it justice close to as well as Nirvana unplugged. This is high praise, but it really is a great cover. For the most part I thought this song untouchable but somehow listening to this the first time gave me chills.

This is a great album, I was really not sure what to expect but what I ended up with really stuck with me. Where WZRD may not find a ton of radio play because its genre ambiguity, it will receive a lot of plays from me. I would fill in the blanks and simply call these gentleman WIZARDS.

10/10

Take Away Thoughts: The very first perfect score I have ever given. The reason for this, I have other tracks to review and other music I could listen to but I can’t. Even the new shins album has been placed on the backburner because I can’t stop listening to WZRD. Pick this up, it comes highly recommended. 

Music Review: The Shins: Port Of Morrow (2012)

By Scott Jeffrey

“Here take a listen to this, it will change your life.” This is the moment in Garden State whereby many were introduced to The Shins. Now it has been a good many years since that film, and The Shins are still at it, albeit  at a careful pace. Port of Morrow is the first release from The Shins in 5 years. It has got a back to basic sound that rings of Chutes Too Narrow, and the radio appeal of a few really great singles. This thing could also “Change Lives”.

September is the single that I first heard off of this album. It has got a sound that I associate completely with The Shins with James Mercer’s voice really being the main instrument. The mixing on this track is fantastic, it’s got a great hopalong chorus and a style of chord progression that reminds me quite a bit of the Broken Bells album, mercer’s side project with Danger Mouse.

Simple Song, has been getting some quality radio play even on some stations that would typically play some harder stuff. This song has a way of crossing genres, because of the harder sounding guitars. I would imagine this would absolutely rock an arena show or outdoor venue that The Shins played (Such as the one coming up this summer where they are supporting The Black Keys in Toronto).

The opening track is surprising; it sounds like a typical Shins acoustic number but is buried in a deep fuzz and has strange synth and a fairly loud bass line. This really kicks the album into an open. It is certainly something a bit different from the shins and it shows they’ve really worked hard to make this album a standout, and to have something for just about everyone on it.

40 Mark Strasse, is a great pop song, with a strange ghostly whistling syth that pops up in the bridge. The harmonies are great and I can’t help but just call this a toe tapper.

I could probably dissect each song, but I would recommend just taking a listen to this album, It is well worth your time.

Honestly it’s rare that I hear an indie rock/pop album that is this polished. The mixing is just spectacular and James Mercer sounds like an angel. Each song is well crafted both lyrically and musically. So many bands just seem to poot out material, and quite often with albums that are spaced 5 years apart you kind of expect to be disappointed. With Port Of Morrow, I simply cannot feel disappointed in the least. The Shins are back and they are ready to change lives again.

9/10

Take Away thought: Just listen to it through itunes here, it may be another 5 years before they make more.  The album is available for purchase March 20^th!

Album Review: Plants and Animals: The End of That (2012)

By Scott Jeffrey

The Montréal-based band Plants and Animals, have come out with another sexy rock LP, this one entitled The End of That. These guys fall somewhere between a dirty rock jam band and indie rock champions. The new disc stacked up as follows:

2010, the opening track is not without its share of epic rock sound. It’s a really tight classic rock sound, heavy guitars that sound like they should be in a zeppelin song, and powerful vocals. It is a great track.

Were some of Plants and Animals, earlier releases featured a more pop sound was trying to come out this one seems to be all rock. It seems like they’ve finally captured their sound on this, their third record.

Song For Love, this has a really deep rock ballad feel to it and sounds partially like David Bowie and the wallflowers in one song. I think a lot of bowie sound comes from the harmony parts. Where is Jacob Dylan qualities shine through during the cleverly constructed verses.

The title track is sort of a roots rock. It’s a happy tune and it just bleeds of summer love and wrangler jeans. A country sounding guitar and female backing vocals give it a folky swoon.

A track that  is getting a lot of talk is Crisis! Most of this I would say comes from the really cool blues riff that keeps on throughout the song. It’s rare to hear a song done in this style. It’s sort of an old spoken word blues. It’s dirty and it’s gritty a truly unique track on this album, and stacked up against some other stuff out there today.

I really enjoyed Lightshow. It reminded me quite a bit of Ben Harper and the relentless seven. Really bluesy guitar bridges, and great vocals on this track. I really like how they mixed it in so many layers as the track builds, you can tell that there is a lot of thought put into each part.

7.5/10

Take away thought: I was unsure of what to expect out of this. I was certainly not expecting such a rock/blues sound. These guys are actually really talented and definitely worth a look.

Album Review: The Mars Volta: Noctourniquet (2012)

By Scott Jeffrey

When I think of The Mars Volta, I think of them as a band which seems to stick with some but be completely lost and hated by others. A good interpretation of their sound is to watch the segment of Get Him to The Greek where Jonah Hill dances along with one of their tracks briefly. The EL Peso Texas,  band draws on many different influences across multiple genres to create psychedelic, experimental, progressive rock operas. Now it’s been three years since Octahedron, and I for one am anxious to see just how weird the band’s new release Noctourniquet, can be.

The Whip Hand, the opening track, starts off on sort of a down note. Where you would expect blasting guitars and really punchy number to start the album, there are barely any to be found. Track uses some really unusual drum patterns and some industrial electronic sounds. Where squealing guitars would normally lie, a synthesizer drones.

Dyslexicon carries more of the older Mars Volta sound. It doesn’t really seem to rock too hard until near the end of the song but it does sound closer to the older stuff and some of the opening tracks throwing away a lot of the electronic sounds for actual guitars.

Empty Vessels Make The Loudest Sound is a ballad of sorts. Starting with a very traditional style and then trading back and forth with the maniacal electronic mess during the choruses.

Molochwalker is probably the closest thing to the old Mars Volta sound that is on this album. With the wicked fast drum line, heavily distorted guitars, and squealing vocals. I would expect this to be guaranteed radio single. It’s catchy and the breakdown is pure and classic, bad ass psychedelic rock.

Vedamalady uses a classical guitar and a synth that sounds like it belongs in a haunted house And it’s not particularly where did all. It’s got a fairly regular chord progression, and the drum line doesn’t go all crazy. It’s basically just a slow rock tune and a catchy one at that. All in all a song like this is quite unexpected on a Mars Volta album.

5.5/10

Take away thought: Although a few songs impressed me, I really like the sound of the crazy drums and crazy guitars and crazy vocals that the Mars Volta usually has. Bringing in a bunch of electronics leaves an interesting new sound but I found it kind of hard to get into. It’s good that they are trying to branch out, but I think it might leave a lot of fans disappointed.

Column: So Maybe I am a Hipster

By Scott Jeffrey

Myself and I’m sure others like myself have probably experienced the issue of what happens when one of your favorite bands of whom you followed since their inception finally “makes it”.

This is not something to be bitter about it simply stands to reason that people have finally followed your advice and taken a shine to that indie band that once was. The unfortunate side effect of this popularity is it becomes exponentially more expensive to share live moment with these performers as it has been in the past.

Now I’m all for a band getting some radio play. I’m all for a band getting enough radio play to kill the single for me before the album has come out. Hell, I’m all for seeing an indie band from my hometown, or even some gents that I grew up with, gracing the cover of Rolling Stone. 

What really sours my apple is when the cost to go and see a show, which I’m sure has improved dramatically from the garage or dive bar in which I saw the band in originally, rises nearly tenfold.

I’ll admit it, I am a thrifty concertgoer it’s rare that I’ll spend over $60 on a ticket unless I know that the band will guarantee results. Even in some cases if I do know I will hum and haw my way out of buying that ticket just to save my pocketbook.

Recently I’ve been placed in this humming and hawing position for a Black Keys and Shins concert. Now I love both bands and I can attest The Black Keys are quite a live spectacle. The problem I’m having is the first time I went to see The Black Keys, I spent a grand total of $20 with a beer included. Now, The Black Keys are touring in large stadiums, they were up for a Grammy this year and they’re actually taking the press a bit seriously for once. Because of these factors and more, the ticket price for the cheap seats has risen to over 4 times what I originally paid.

I will say this, I am guaranteed an excellent concert. An excellent view, maybe not.

Part of me is truly kicking myself for not going to see The Black Keys, at least one more time before the album “Brothers” dropped. This is when ticket prices remained in my “no thinking” zone. I would also like to support both artists. I’ve been a fan of The Shins for quite some time and never had the pleasure of seeing them live.

Something inside of me still takes some gradual convincing to actually go out and purchase the ticket. Not in a been there done that sense, but in a way where I feel that the mysticism I’ve associated with the act, and the special connection that I forged in a small club environment, will be somehow tarnished by seeing them in the 500 section and paying top dollar to do so.

Maybe I’m cheap. Maybe I’m bitter. Or maybe, just maybe, there is a bit of dirty, flannel wearing, Pabst blue ribbon swishing, hipster inside of me, that I just can’t seem to silence. 

Only in the days to follow, as the date of the ticket sale grows closer, we shall see if I can at least quiet it long enough to hit a purchase button. 

Album Review: Say Anything: Anarchy, My Dear (2012)

By Scott Jeffrey

Get your boom box ready John Cusack, Say Anything has a new album out. For those of you who had not heard of this indie-punk band from Los Angeles, one listen of 2006’s Alive With The Glory of Love should bring you back.

Does the new album Anarchy, My Dear, sound as the name would suggest?

Burn A Miracle begins with simple claps, which give way to a classic Say Anything sound. Lead singer Max Bemis comes in bitter as ever. Just the way the guitars sound and the way the "Burn America" message rings throughout the song, it seems to really remind me of Rise Against.

Nights Song shows the band is done some real maturing. It actually has lyrics! Not to say that they didn’t have lyrics before these just seem more well thought out then an average pop song. With the very puzzling open line of: “Stumble onto the pavement; they’re strapped tight to bed, they’ve got a fetish for sheep, but I’ve got Randy Newman in my head. With a blistering guitar solo Say Anything shows are not just a one trick pony.

Admit it was a very good song before so it was fairly excited to see Admit It Again which is sort of a sequel to the track. Both are nearly spoken word and express a general fuck you to everyone. It’s an ongoing critique against hipsters and pop-culture. It’s a pretty amusing listen.

Peace Out is like something completely different than the first half of the album. It starts off with just a mandolin so it sounds like the history lesson mixed with maybe a Dashboard Confessional album. I’m pretty impressed that they used sound like this, it sounds really strange to hear classical acoustic instruments with the voice you’re used to hearing screaming. It shows real growth from the band.

I find it really strange that the album seems to have two different sounds. The first half seems to have very heavy electric guitars and just in angrier sound in general. The second half is sort of the poppy side of Say Anything. You could get this to appeal to a wide audience or play it on many different radio stations, but for me the contrast between going from the track Say Anything to the track Overbiter, is sort of a joke. I enjoy the louder side of Say Anything so I was disappointed by that second half with the exception of, The Steven Hawking.



6/10



Take Away Thought: It has a few good tracks, and shows the band is really growing and evolving. I really like the sound on Peace Out, and the first half of the album I do know that Say Anything has always had some pop songs, they just seemed to hit me the wrong way after such an energetic start to the album.

Album Review: Perfume Genius: Put Your Back N 2 It (2012)

By: Scott Jeffrey

Perfume Genius is a Seattle chamber pop solo act from the mind of Mike Hadreas his second release Put Your Back N 2 It, came out in just this past week and has been generating a fair amount of blogger buzz.

When I gave it a listen I didn’t quite know what to expect. This is the first time I had really listened to Perfume Genius. Hadreas seems to have patented a very unique and emotional sound. The vocals on this album are downplayed a bit, almost with a filtered sound. Where some heavily produced studio albums really have vocals that push to the front of every song, Perfume Genius allows the vocals to echo and become just like another instrument. It’s an older sounding record and I like that.

Awol Marine fades in from nothing. I had to make sure that my speakers were on when I started the album. Twinkling keys seem to hesitate as if they are holding back emotion as well. The instrumentals sound like a cleverly thought out Casiotone For The Painfully Alone arrangement only with Sufjan Stevens singing the lyrics. Synth and a classical piano work with the spacey vocals to make this track sound like the next great sad sack anthem.

Take Me Home reminds me a bit of Dead Man’s Bones. It has older swing style vocals and the lyrics that seem to be plucked right out of a graveyard love story. The guitars added in have a very cool ghostly reverb effect and make this song very spooky sounding.

Dark Parts is an ongoing piano roll and stands as one of the more uplifting songs on the album. While other tracks have a down in the dumps feel this one is a bit more happy. With Celtic sounding drums and a very faint sound of a heavily distorted guitar in the background this track builds and suddenly stops into a beautiful freeze-frame moment where Hadreas comes in clear as day. “I will take the dark part of your heart into my heart.”

The title track Put Your Back N 2 It couldn’t be much more of a confusing "getting it on" song. The main chorus is “Let me be the one to turn you on.” But the delivery of this line is done in a way like someone just died. I don’t know whether to lay someone down by the fire or burst into tears. This is probably one of the least interesting tracks on the album.

Sister Song sounds like it could be in a movie soundtrack. The lyrics are delivered so softly over one of the quietest piano tracks on the album. The whole thing sounds as traditional and familiar as an old folk song. It is the perfect track to finish off this album.



8.5/10

Take Away Thought: I really enjoyed this album. Though I recommend you are prepared for one of the saddest sounding albums to come out in some time. I found a bit of a similar sound among a few of the tracks and the album is fairly short at only 32 minutes. The sound quality and emotion put into this album make it worth a listen. If you are a fan of getting a bit emo with your indie pop, give this one a go.

Album Review: Grouplove: Never Trust a Happy Song (2011)

By Scott Jeffrey

I know I am a little bit late on this one but I just found out that this album came out.

In the past summer Grouplove put out a short EP that was so enchanting it seemed to make every car playlist that I created for road tripping.

I’ve finally got my hands on the full length from these American indie rockers and I like the other stuff they have to offer.

Itchin On A Photograph starts off really slow and deliberate and by the end has the same intensity as the groups, hit Colors. Christian Zucconi sounds like hes having a tantrum by the end, it’s amazing to hear how this track goes from slow jam to angst ridden rock.

Lovely Cup sounds like the ultimate feel good song. With a light bass and a sound that you can’t help but bob your head to. Even a few “sha la las” thrown in for good measure. I really like the arena rock distortion that seems to mesh in a very interesting way with Hannah Hooper’s backing vocals.

Colors appears on this album as well, and I’m sure that everyone has probably heard it by now. It had some decent radio play and made it on the soundtrack for a few EA games (NFL, Fifa). This is a great example of the band’s sound and should be the first track to check out.

Get your lighters ready for Cruel and Beautiful World this is the slower song on the album. This nearly country sounding track, features slide guitars, accordion and classical acoustic. This reminds me of a good old fashioned drinking song.




6.5/10

Take away thought: The album is very different from the EP, I was kind of surprised at just how much depth that grouplove has. Although Colors is still the standout track there are a few other notable songs on this album. I would say if you’re a big fan of the EP give this a go. If you haven’t heard of Grouplove maybe get the EP over the album, the extra songs may leave you a bit disappointed.

Album Review: Bowerbirds: The Clearing (2012)

By Scott Jeffrey

Bowerbirds are back with a new album The Clearing. You may remember Bowerbirds from their outstanding performance on Vincent Moon’s Lablogotheque. The new album is a bit different from the older percussion driven sound of their past hit, In Our Talons.

There are bits and pieces of this sound still existing in songs like This Year, but it’s almost muted back and taken over by a sad guitar. The build in this song is amazing, starting off a romantic classic it nearly reaches the same arena rock sound of an Arcade Fire Jam.

Every song seems to unravel like a riddle, usually starting off small and turning in a different direction than you thought it would. A song that starts particularly sad, somehow leaves you with a smile.

Tuck the Darkness in has got some great instrumental bridges, with a rolling piano and ghostly strings. This is another song that builds into an amazing reprise.

Hush seems to break free of a musical forms, taking almost a Caribbean beat in the end. This is a real experimental folk song. Beth Powers takes the lead on vocals and takes the verses to a sultry jazzy level. It’s an interesting piece worth a listen.

Overcome With Light is the classic Bowerbirds sound. Give Phillip Moore a guitar and a microphone and watch him amaze you. This is a slow nearly gospel track, no drums light strings and heavy on the emotion. I’d take it as my lullaby any time.

In Sweet Moment, the harmonization does get to be a little much, but if any indie film makers are planning on making a romantic montage, this understated love song would be the perfect soundtrack.

7.5/10

Take Away thought: This is a good album, there are certain hits and misses, a few tracks I couldn’t get into. This Year and Tuck the Darkness In are good places to start if you want to check it out. 

Album Review: Ben Kweller: Go Fly A Kite (2012)

By Scott Jeffrey

I haven’t really listened to Ben Kweller since Sha Sha way back in 2000. The San Fran native has had a number of different singles and albums in between now and then. His latest, Go Fly A Kite is like listening to a completely different artist.

Ben Kweller has certainly evolved since the simple homemade recordings we heard on Sha Sha. Starting with the single Mean To Me, I can hear ben trying to channel a Heatmiser kind of sound only he comes up a bit short. The song is simple but I honestly don’t want to listen to it a second or even a third time, it is talent show material at best not a radio chart topper.

Free has a bit of a southern rock vibe. The lyrics and strange hooting noises seem to ruin this one for me though. Didn’t The Sheepdogs already make this song? Why did you have to sing over it?

The Rainbow is very interesting; the urgency that Kweller delivers the lyrics and the fast and slow dynamic is intriguing. Maybe I just like it because it’s the shortest song on the album.

Time Will Save The Day is also worth a listen, it starts off with an acoustic attitude, until the reprise which is literally just repetition of the title for over 60 seconds. By this point Kweller has succeeded in giving me a headache.

3/10

Take Away Thought: I expected to enjoy this one, but in general the repetition just killed it. He’s emulating, at best, and butchering it. If anything my advice to Kweller, get back to your DIY roots, write another song like Lizzy and record it in your basement. Or just do covers. 

Album Review: The Cranberries : Roses (2012)

By Scott Jeffrey

Now it has been a while since the cranberries have produced some material, over ten years to be exact. But hooray they are back!

A lot has changed since 2001’s release Wake up and Smell the Coffee. But it seems like the Irish foursome have not fallen off the wagon one bit.

This latest release is a 90’s pop time warp. Songs like Tomorrow sound like they should nearly be on tape or at least spinning around in your cd player, not coming out of an Ipod. Dolores O’Riordan really is singing the same old song but with new lyrics. The chord progression is simple and predictable over some soft played drums this is a 90’s pop anthem that you thought you have heard before, but you haven’t.

Fire and Soul uses kind of a loud soft dynamic which leaves it as a good standout on the album. Its sort of modern like an indie song of the present. It’s good to see a contrast on the album.

Schizophrenic Playboy is a bit of the rockier side of the Cranberries sound that we are used to. This song is their new Zombie. Granted it can’t touch the iconic nature of that song, but it is done in a similar style. It’s rare to hear an acoustic guitar played so angrily.

Roses, the title track, is a romantic heartbreaker song. It kind of reminds me a bit of Bjork. But only because it’s such an existentially beautiful song filled with emotion much like the style Bjork would do.  An acoustic is plucked softly over strings and muted drums. With some electronic sampling adding a modern spin. O’Riordan delivers chills on this track.

5/10

Take Away Thoughts: This is a pretty high quality album, though it does not sort of fit into the scheme of our modern music scene. It is great to hear new tracks from the cranberries, they aren’t necessarily doing the same old stuff, but they also aren’t producing the same kind of hits they once were. A lot of this album is sort of 90’s filler pop. But a few of the tracks I think are something fans of the Cranberries could get into. 

Album Review: Sleigh Bells: Reign Of Terror (2012)

By Scott Jeffrey

The follow up to the smash 2010 hit Treats. Alexis Krauss and Derek E. Millar of Sleigh Bells are back with their new album, Reign Of Terror.

With a title like this one we expect maybe an even heavier sound than Treats. Which is not always true on this record. End Of The Line is a slower song in fact that reminds me of a track in a teen movie. The loud guitar sound that blasts you out of your seat is turned down really low, mostly replaced by synth. Though it remains pretty fast and upbeat something about the song is melancholic and not fitting the fun time vibe this band is usually all about.

You Lost Me takes me right back to the time at a wedding ceremony where the band breaks into 80s revival and everyone is left thinking of the last time they slow danced to Lady In Red By Chris de Burgh. This is another downer song for sure.

Fear not, there are heavy, fun songs on this album however. Demons might as well be in Blade movie. It’s the perfect sort of riff to kick some bad guy ass to. The really heavy machinegun drums sound through the whole song with a really calculated riff that just sounds so badass. It is simple and iconic of the Sleigh Bells sound.

Born To Lose is the definite standout. I love the opening guitar riff, the whole thing is just the same style as Treats, but with a bit of sad spin that this album seems to have on it. The song sounds extremely happy until you listen to the lyrics. It has a really infectious quality and sticks in your head like a tumor.

The final track DOA is a great send off as well. It just bops along in an almost classical way ending abruptly leaving you wanting more.

6.5/10

Take away thoughts: I didn’t like this album quite as much treats. It shows some real progression from the band and isn’t just the same old, same old. I would recommend checking it out if you are a fan, but I also wouldn’t go in with high hopes, Treats will remain on heavy rotation but I can see a few of the tracks on Reign of Terror finding their way off my playlist.

Feature: Grammy Recap

By Scott Jeffrey

So another year of the Grammys has gone and past. Where last year we were singing the praises of Lady Antebellum, this year’s awards were swept by Adele.

Where some of our office predictions favoured what we thought would be the popular choice via radio popularity, perhaps we should have gone with our first gut feeling. I was pleasantly surprised by some of this year’s picks. It is hard to be angry when the Foo Fighters and Adele walked home with as many awards as they did.  

I have to tip my hat to Bon Iver for winning best new artist, and best alternative album. We thought this was a hopeless category choosing Skrillex and Nicki Minaj as the shoe in’s.

I have to say as well, what in the sweet holy hell was Nicki Minaj’s performance about? The greatest entertainment lie in watching the altar boys look uncomfortable as the scantily clad dancers writhed about on their altars and the booty genies slithered across the floor. It was an exorcism indeed, of all entertainment value.

In a second strange performance we also got to witness Chris Brown fans waving a sea of angry glow in the dark dildos at the Stargate. That’s entertainment!

Kanye West cleaned up for his masterpiece My Beautiful Dark Twisted Fantasy. Taking home best rap colab, album and song. Jay Z got in on the action as well winning best rap performance for their song Otis from Watch the Throne.

I can say the only real award that really surprised me was when the Tron:Legacy Soundtrack didn’t win anything. Bested by The Kings Speech OST, Daft Punk should have walked away with this one in my opinion. Just for how pumped up the song Derezzed made an audience feel watching the trailer for Tron:Legacy, before the subtle disappointment that was the feature film. 

With 2012 still young we have just got to hope for the same caliber of music and performance as we had in 2011, to make the Grammy awards as entertaining as they were this evening.

Album Review:Dr Dog: Be The Void (2012)

By Scott Jeffrey

Dr. Dog might just be one of the longest running bands you have never heard of. Until now. These Pennsylvania,  psychedelic, indie, rockers have been at it since 1999 and have just now released their sixth album.

Their latest release Be The Void has more of their 60’s lo-fi jams packaged up in a modern studio with an indie rock twist.

The opening track Lonesome  has a very cool riff that sounds like its missing off of Beck’s album Odelay. A blues driven slide guitar and some good stomping drums make this a fine drinking song. Those that really enjoy the recent Beck material will really dig this track.

How Long Must I Wait has great single quality. The vocals weirdly remind me of Bob Marley. The style of harmony used in the chorus has a strange almost reggae style to it. This is an older sounding jam as well, I love the use of the harmonic notes that jump in and out of a funky bass line almost resembling steel drums.

The track Vampire sounds like something the band might play at the old sock hop. You could slow dance to it, but only if you were sucking face. This is an angry spiteful track, it sounds like it was a good release of some pent up frustration. Although it’s in two step form there are plenty of harder sounding guitar breaks and raw vocals to take the romance away.

Warrior Man  Reminds me of Blur a bit, with the harmonies during verses and just the bass style, it is very reminiscent of their album 13.

The rest of the tracks do have their own intricacies that set them apart from one another. There isn’t necessarily filler on this album but there are standout singles and other songs that are alright for the occasional listen.

5/10

Take Away Thought: Have a listen if you are into Beck. The psychedelic new age 60’s sounds of doctor dog might not quite be for everyone. If you are curious at all start with How Long Must I Wait and Lonesome before going further with the album. 

Predictions: 2012 Grammy Awards

@speedrocketENT

Record of the Year:

Scott: Rolling in the Deep - Adele (wants: Holoscene - Bon Iver)

Aaron: Rolling in the Deep - Adele (wants: Rolling in the Deep - Adele)

Album of the Year:

Scott: 21 – Adele (wants: Wasting Light – Foo Fighters)

Aaron: 21 – Adele (wants: 21 – Adele)

Song of the Year:

Scott: Grenade – Bruno Mars (wants: Holoscene – Bon Iver)

Aaron: Rolling in the Deep - Adele (wants: The Cave – Mumford & Sons)

Best New Artist:

Scott: Skrillex (wants: Bon Iver)

Aaron: Nicki Minaj (wants: Bon Iver)

Best Pop Solo:

Scott/Aaron: Someone Like You - Adele

Best Pop Duo/Group:

Scott: Moves Like Jagger – Maroon 5

Aaron: Pumped Up Kicks – Foster the People

Best Rock Song:

Scott: Every Teardrop is a Waterfall - Coldplay

Aaron: The Cave – Mumford and Sons

Best Rock Album:

Scott: Wasting Light – Foo Fighters

Aaron: The Whole Love – Wilco

Best Alternative Album:

Scott/Aaron: Bon Iver – Bon Iver

Best Rap Album:

Scott: My Beautiful Dark Twisted Fantasy – Kanye West

Aaron: Watch the Throne – Kayne West / Jay-Z

Best Score Soundtrack:

Scott/Aaron: Tron: Legacy

Take Away Thought: Make sure you watch the 54th Grammys on Sunday, Feb. 12.

Album Review: Mark Lanegan Band: Blues Funeral (2012)

By Scott Jeffrey

If you are a  fan of Queens of the Stone Age you have probably also heard of Mark Lanegan.

Lanegan was in fact, a member of QOTSA (Queens of the Stone Age) from 2000-2005. The Washington based punk/blues rocker has been collaborating and focusing on his own solo work while playing in Queens and after Lullabies To Paralyze, his last album with the band.

Blues Funeral, his latest full solo LP recorded with QOTSA member Alain Johannes, dropped just this past Tuesday. Here is a breakdown of what you can expect.

The Gravediggers Song is pretty much straight off of the QOTSA album Songs For The Deaf  the machinegun drums and desert rock sound are like a time warp back to 2002. This is a single for a reason and a good track to ease you into Lanegan’s solo sound.

Quiver Syndrome  is another track that feels a bit like QOTSA but with Lanegan’s twist on it. By making use of a 90’s style synth sound and some backup singers to add a bit of levity to pounding desert rock.

Bleeding Muddy Water is an older style, bluesey track. It sounds like it could be a bond theme. If I had to describe the sound I would almost tip a hat to Chris Rea. These are slow, dark, methodical blues.

Ode To Sad Disco Is sort of a curve ball on the album. It is strangely up beat, with a disco synth the title basically describes this perfectly. It is an ode to sad disco, which seems a bit of a throw in on an album called blues funeral. This is a track I have yet to get through; it seems a bit like filler.

Phantasmagoria Blues is haunting, using a very unusual minor progression for the verses this is something that feels strangely right but shouldn’t. It’s a blues song at heart, but may not sound like the same old same old.

6.5/10

Take Away Thought: The album as a whole isn’t the strongest showing, only because the tracks are sort of unsorted changing sound and genre at will. It’s kind of a collection of songs and there are definite hits and misses. That being said there are songs for everyone as well, classic blues, desert rock, pop and other genres all pop up. I would recommend listening to the single’s but it might not be an album worth picking up unless you really like what you hear.  

Album Review: Cloud Nothings: Attack On Memory (2012)

By Scott Jeffrey

Cloud Nothings is an indie rock band from Cleveland Ohio. For the most part were relitvely unknown until their third release just this past week Attack On Memory. These guys have come a long way from their first release which was recorded on a band member’s personal computer.

This is a doozy of an album and has flown up the charts on billboard and pitchfork already. The album begins with No Future/No Past a song that had been floating around the internet for some time. This song starts with a depressing drone and builds into a huge rageamaholic release. The songs on this album are very simple nearly on the verge of a punk. It’s just one verse chorus and maybe a bridge “wham bam thank you mam”.

Songs like Our Plans and Stay Useless have a Strokes feel. The bass and vocals have a similar New York Indie Rock style.

The album has some great instrumentals, there are a few bits where vocals just stop and these guys go a bit post-rock, the song Wasted Days is a great example of how a long instrumental midway through can make for an absolutely epic track.

Cut You Is a radio friendly track that has one of the catchiest choruses I’ve heard in 2012. This has to be the next single.

9/10

Final thought: My only gripe with this album is that there really isn’t enough of it. The 8 tracks are great but they have left me wanting more. If you’re a fan of the Strokes or Violent Soho, give these guys a listen. 

Music News: Jack White Goes Solo

By Scott Jeffrey

The internet is buzzing today, Jack White, front man for The White Stripes, head of Third Man Records and associated with such acts as The Dead Weather and The Raconteurs, has finally decided to bless us with a solo album.

Considering just about everything this man touches is gold, this is very exciting news. Exciting enough that people have begun to even do uke covers of it already.

So I woke up this morning and got very excited when I saw Jack’s name trending on twitter. I had my first listen of Love Interruption off of the preview 7” that third man is releasing today for the album entitled Blunderbuss which is slated to release on April 23. This leaves us with a long time to wait.

The song is short and sweet. It has his sound captured in a personal way, like your sitting in in the same room. An acoustic guitar playing simple chords, a bluesy organ and female backing vocals build this charming track. The lyrics are very well crafted and soulful, if this is any indication of what is to come or what White has been holding onto, we are all in for quite a treat.

Album Review: The Big Pink : Future This (2011)

By: Scott Jeffrey


The Big Pink, A London England duo consisting of Robbie Furze and Milo Cordel, has been at it since 2009. On their debut album A Brief History of Love, the band gained notoriety with the single Dominos.


Their sophomore effort Future This seems to have a very similar sound to the first record. The first track Stay Gold sounds like it might as well belong on the first album with a very similar progression to Dominoes.


The Big Pink does an electro-bass pop sound very well. It is electronic music that you can hear evolved out of bands like Soft Cell and Depeche Mode, only with a much more positive and modern spin.


Lose Your Mind starts off like an early Nine Inch Nails song, but turns into a very different entity. With a really heavy bass and slow rumbling chorus, this is the harder song on the album that dances on a line between electro pop and rock.   


77 the final track on the album slows things down for a nice close. This will probably make its way into greys anatomy for one of those voiceovers. It’s got sweeping strings, piano and thick electronic drum line to perfectly compliment one of those depressing monologues. 


Rubbernecking is probably one of my favourite songs on the album. It does what this band does best, gives you a good party tune that you could blast at a small club and get a massive response from the crowd. It’s so catchy you can’t help but like it. Through a good set of speakers the bass will shock you out of a stupor and make you want  to carpe diem. 


The band is not known for having the most formidable lyrics, labelled as Britpop for the simplicity and pure catchiness of the choruses. With their introspective, serious songs like Hit The Ground (Superman) really only having a few simple and direct verses. It is not poetry but it strives to be yet another catchy track on the album. It seems as though they aren’t going for Dylan like storytelling, but for an Oasis chorus that even the drunkest bar patron could launch into. 


Now I know you are saying, it’s pop what of it? Sometimes an effort to tell a story or show a different side to a band on a sophomore album gives them a little more staying power, and I fear The Big Pink have just given us more of the same old stuff. 






6/10


Final thought: Not a terrible album, but also not anything spectacular. I don’t think its going to be flying up any charts quite the way as intended. A few songs are very good as singles, but don’t really show the band growing in any way. Not that it is a bad idea to produce catchy radio/club friendly songs, but eventually things start to get old and this year’s single sounds the same as last year’s single. I just expected a bit more out of this.