Yes, yes! I took a long time writing these. Just so you know, I have been planning the next weeks, so more reviews will be up sooner than later. Besides the main reviews, i’ll be introducing “50 words or less”, which will focus exclusively on capsule reviews of albums I may have missed along the way.
Along with these, i’ve got quite a few coming out next week, including a battle of the classic guitar bands between Dinosaur Jr. and Sonic Youth, the weirdness that abounds Sunset Rubdown’s new one, and an exclusive review of Idlewild’s pre release for fans “Post Electric Blues”, plus many more.
Phoenix “Wolfgang Amadeus Phoenix”
Release Date: May 26, 2009
As each album has progressed, Phoenix has been keen on departing from their electronic sound for a more traditionally rooted garage pop sound. It happened with Its Never Been Like That, a bright, colorful summer pop album that boasted their strongest and most accessible work yet. It doesn’t come as a surprise that Wolfgang Amadeus Phoenix is a blend of both old and new. In a way, it sounds retro without looking old fashioned, opting for a brief, yet addictive set of ten tracks that work as being both playful and meticulous. Phoenix lay claim to their contemporaries, proving that pop music can adventurous, even if it maintains very traditional pop structures. Mostly a singles album, Wolfgang also holds the privilege of incorporating probably some of the best disco tinged garage tunes; I can’t recall anyone blending these genres with such vivacity and precision. These songs are so infectious that they dare the listener not to revisit it immediately after listening to it from beginning to end. Even if Wolfgang Amadeus Phoenix has quite an impressive first halve, the last few songs start to sound a bit uniform and far less quaint for such a fiery beginning that could be classified as “almost perfect”. What works with Phoenix is that they’ve earned their accolades with time and a clear focus, demolishing early expectations tenfold. Even if other bands try to sound cool with their excess in electronic set ups (here’s to you, MGMT and Passion Pit), these four Frenchmen execute it quite easily, not even realizing that their music sounds wholly unpretentious and interesting with such a basic approach. A-
Grizzly Bear “Veckatimest”
Release Date: May 26, 2009
With folk artists, it’s just a matter of how much beautiful your follow up is going to actually be, especially when such a high caliber is expected from them. That said, Grizzly Bear knew that Yellow House was a triumph; an elegiac mourning of folk balladry that was very keen on delivering introspection to folk music. But is Veckatimest a quintessential folk record, especially for a band that is more known for their intricate melodicism than their songwriting? That said, their third effort works a little more on the safe side. Which isn’t a detriment, mind you, but a calculated and smart move. Instead of taking the “headphone listening” route, Veckatimest is a pompous, monster of a pop album full of haunting acoustic numbers that will appeal to those who like intricate melodies and orchestrated sounds. Still, it’s harmonizing is accessible and likable enough that it rightfully fits with any indie pop record right now. Precisely because of this is why Grizzly Bear are a step above their flock. Surprisingly so, for it to be a folk record, it even rocks at times. In terms of composition, it’s quite accomplished, especially when so much in this record works as being distinctive and sophisticated in its approach. So yes, Veckatimest is a beautiful and unpredictable record, but it’s surprise that that they knew that is was going to be that way from the start. B+
Jason Lytle “Your Truly, the Commuter”
Release Date: May 19, 2009
There are many reasons why the return of Jason Lytle, even as a solo artist, is very welcoming. Lytle, being the creative backbone of psych rock balladeers Grandaddy, pretty much takes into account the same formula that made that band so approachable and delightful with a similar approach but not quite of the same stature. In terms of instrumentation, Your Truly, the Commuter can’t be accused of being anything but ambitious, since every song shows some sort of experimentation that is satisfying and curious to the ears. Even if the use of melody is quite vast, the spine of the album is mainly composed of lazy, acoustic anthems and touches of classical piano, very reminiscent to Grandaddy’s work. Which suits his solo debut perfectly; Lytle seems to dominate a method that took him ten years to mark as his own: it’s dreamy and personal, with an array of breathtaking moments. Nonetheless, it’s all too familiar. It seems as if Lytle is still shadowed by “So You’ll Aim Toward the Sky”, a highlight of his career that has had him trying to progress and keeps emulating repeatedly. Even if Yours Truly, the Commuter isn’t a revolution of sorts, Lytle proves that his haunting, mood pieces are too good to ignore. B
Manic Street Preachers “Journal for Plague Lovers”
Release Date: May 19, 2009 (UK Release)
US Release Pending
When a rock band has been in the music business for almost 25 years, there’s the commonplace perspective that such act can’t follow through and must settle to tread water in an overcoming trend of changes. With the Manic Street Preachers, there’s no such way to mark their place in rock history; they weren’t even hip in the early 90’s when their brit rock contemporaries were shoegazing their hearts out or revving it up with psychedelic funk. That said, Journal for Plague Lovers is a tightly sequenced collection of 13 tracks that recall their best material from their mid 90’s heyday. The songs, recorded by analog recording mastermind Steve Albini, are unsurprisingly stripped down, almost revitalizing the now trio with elegant punk-ish swoons and hard rock touches. Even if the standouts aren’t as noticeable, it compensates with impeccable sequencing and emotionally driven brit rock that sounds just about right; this sort of music never seems to age. Nonetheless, James Dean Bradfield’s vocals remain hit and miss, blending incredible vocal abilities, yet still sounding characteristically similar to their aging 1980’s hard rock counterparts. Even if Richard James Edwards remains the disappearing act of this group since 1995 (many of his lyrics are used on this album), it suffices to say that they are more than pleasing their fans and impressing many nonbelievers along the way. B+
Eat Skull “Wild and Inside”
Release Date: May 12, 2009
As the current wave of lo hi acts might suggest, Eat Skull were already hitting the streets promoting Sick to Death, a noise pop album that was relatively inventive because it was pretty peculiar. Wild and Inside shares many of the oddities that marked it’s debut, but chooses on being more directional. Well, at least on their terms. Eat Skull are apparently aware on the fact that they’ll appeal to more with a more pop oriented approach to make it more accessible. That said, their second full-length sounds a bit watered down, which makes it a bit murkier and commonplace. With Wild and Inside, Eat Skull should understand that some artistic proposals work best to their abilities instead of altering it up to appeal to a specific audience. The new territory they’re paving is pleasant and adequate, which should pinpoint that they’ll probably spring up with an incredible third album, hence they decide to start looking past their current scene. As it stands, Wild and Inside will settle as being a confused, sophomore effort that is very much a product of themselves, polishing the surface but not quite getting rid of the debris they cultivated. B-
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