April '07 Releases

Keeping up my commitment to write something at least once a month, regardless of whether or not anybody ever reads it.

Arctic Monkeys - Favourite Worst Nightmare

The Monkeys kick off their highly anticipated sophomore effort with the driving "Brainstorm" (or "Brianstorm" depending where you look) which shows the Arctic Monkeys with a sharper edge and tongue than they displayed on their debut. "Teddy Picker" follows with several shots at today's fickle rock critics who "take an oath that says 'we are defenders of any poseur or professional pretender' ". Alex Turner best performance is on the narrative "Florescent Adolescent", describing the recollection of a bored married woman who traded "all her naughty nights for niceness" and is left with only the memory of "the best she ever had". Unfortunately, the stretch run of the album gets a little stale with several indescript songs that seem to ignore Turner's knack for storytelling. Despite some catchy tunes and a harder sound, "Favourite Worst Nightmare" fails to match the sincerity or intensity of its predecessor.

Bright Eyes - Cassadaga

Conor Oberst is a polarizing figure. While an excellent storyteller and decent socal commentator, his previous works tended toward a lack of depth and were easily dismissed as music from an angry young man. No matter how thoughful his lyrics, they were often presented off key and over a single acoustic guitar, kinda boring. From the opening comments of a female fortune teller, we learn that "Cassadaga" represents a journey of the soul for Conor, one that has not only changed him, but richly enhanced his sound (and maybe hanging out with M. Ward hasn't hurt either). Opening tracks, "Four Winds" and "If The Brakeman Turns My Way" show a more relaxed, more confident Oberst sharing the stage with much fuller arrangements. As the album continues, it is evident that Oberst has made a conscious effort to improve his vocals, not only sonically, but also in the way they interact with his expanded sound. On the album's most complete song "Middleman", Oberst allows his string section to drive the song, while using his lyrics to complement, a far cry from his previous works. "Coat Check Dream Song" may be Oberst's best vocal performance and works very well with a hazy, wandering arrangment. The album concludes with the more typical Bright Eyes songs "Somewhere I Belong" and "Lime Tree", which, after some of the denser, more produced songs, prove to be a welcome return what Oberst has always done best. "Cassadaga" proves to be the best type of journey, some unexpected twists and turns, some personal growth and some enjoyable tunes.


Peter, Bjorn and John - Writer's Block

I know what you are thinking, " 'Writer's Block' came out in February (and last August in the uppity UK), so what is it doing in the April reviews?" Well, your point is well taken, but I only bought two albums that were released in April, so I needed some filler. Enter three Swedes name Peter, Bjorn and John.
"Writer's Block" comes roaring out of the gate with "Object of My Affection", a passionate, focused effort about the author's personal growth set over aggressive guitar and steady march drums. Concretes' singer Victoria Bergsman adds a nice change of pace (and more than a little sexual tension) on the addictive "Young Folks" (which also includes the best use of whistling since Guns 'n Roses "Civil War"). The minimal "Amsterdam" has Peter, Bjorn and John doing their best Hot Chip impression and coming off pretty well. The album continues to flow along continually exposing the listener to new ideas and sounds, peaking at the 7:00 minute epic "Up Against the Wall" which comes across as neither pretentious or stale. "Let's Call It Off" lightens the mood, mostly through hand claps, despite its buyer's remorse attitude toward a failing relationship. "Writer's Block" concludes with the anti-consumerism "Poor Cow", an appropriate ending since it is the last the string of continually changing topics from Peter, Bjorn and John. From start to finish, "Writer's Block" feels like a long night of drinking and discussing life. It may not always have continuity and focus, but in a way it does.

Upcoming May album reviews: Black Rebel Motorcycle Club, Feist, Wilco

Live: Black Rebel Motorcycle Club

March Releases '07

How the hell did we get to May without addressing the great albums that came out in March? Oh yeah, I'm lazy. Here's the rundown:

Low - Drums and Guns

Minnesota slo-core band Low returns with their follow up to 2004's "The Great Destroyer" and deliver another unique effort. Opening track "Pretty People" reminds us over hazy guitar and strict beats that we are "all going to die". While "Pretty People" may set the mood of the album, second track "Belarus" lays out the blueprint with it's sterile, industrial feel. Gone are the big, easily accessible sounds of favorites like "California", replaced with calculated drums and heavily distorted, yet understated guitar. This formula, combined with minor keys, provides excellent tension throughout the album, coming to a natural conclusion on "Murderer" and "Violent Past". A well thoughtout and crafted album that will reward listeners that can overcome its rough exterior.


Air - Pocket Symphony

The eclectic Frenchmen kick off "Pocket Symphony" with the instrumental "Space Maker" a dreamy guitar/piano combination, which once again proves that Air knows how to make music equally suited for waking up and "going to bed". Unfortunately, album-wise Air has the problem of having to live in their own shadow, which includes one of the best electronica albums of all time (1999's "Moon Safari") and the best film score of all time (2000's soundtrack to Sofia Coppola's "The Virgin Suicides"). "Pocket Symphony" is the group's most understated work to date, using tracks like "Mayfair Song" and "Lost Message" to create atmosphere, but it hardly seems like new ground. Air does provide a new wrinkle, relying on Pulp's Jarvis Cocker to carry the slow moving (i.e. hungover) "One Hell of a Party" and allowing Divine Comedy's Neil Hannon to shape the excellent "Somewhere Between Waking and Sleeping". Again, nothing new here, but a pleasant listen.


Arcade Fire - Neon Bible

The Arcade Fire follow up 2004's unexpected classic (and possibly Album of the Decade!!) "Funeral" with the most anticipated album of 2007. "Black Mirror" leads the album off in typical Arcade Fire style, heavy and ominous with Win's vocals teetering on the edge. After "Black Mirror", "Neon Bible" storms out of the gate with "Keep the Car Running" and "Intervention" proving the Arcade Fire are able to perfectly deliver their emotions through song. Unfortunately this is where things turn a little sour. "Black Wave/Bad Vibrations" is clumsy and heavy-handed, while "Ocean of Noise" suffers from a lack of drive, leaving the middle of the album feeling empty and underdeveloped. "The Well and the Lighthouse" gets things back on track in a completely adequate way, before "(Antichrist Television Blues)" delivers the passion, songwriting and tension only the Arcade Fire can provide. Fittingly the album ends with "My Body is a Cage", the song that best distinguishes "Neon Bible" from its predecesor. Where "Funeral" ended "In the Backseat" with the listener sharing Regine's devastation and helplessness, "Neon Bible" concludes with the awkward and vague "My Body is a Cage". This emotional disconnect that permeates the album is ultimately why "Neon Bible" fell short of (admittedly) unfair expectations.

Arctic Monkeys Live on Conan O'Brien 4-30-07

After an uninspired performance of "Brainstorm" last Thursday on Jimmy Kimmel Live, the Arctic Monkeys joined up with the king of late night TV for the first show in his week long stint in San Francisco. I fully realize that the Monkeys just released a new album, but I will be more than a little bit disappointed if they pass on this golden opportunity to play "Fake Tales of San Francisco".

Skipping over what was probably a very interesting and relevant interview with Dana Carvey, I stopped to watch some dude named Jasper Redd attempt social comedy, ouch. After fast forwarding past some more commercials, I finally got to Alex Turner and his mates. Conan introduces the Monkeys and says they are playing a song off their new album, so much for "Fake Tales". Instead it's "Brainstorm" again, but this time Turner looks slight more interested to be performing than he did on Kimmel. The song starts out in typical Monkeys style, fast and tight driven by heavy percussion. Turner adds in his biting lyrics as the song transitions naturally before a brief stop and crescendo. Everything we've come to expect from the Monkeys, but little else. Maybe "Fake Tales" wouldn't have been such a bad idea.