Release Date:

September 7, 2010

Label:

Matador

*Score out of 10

________________________________________________________________________

After one of the biggest major label flops in recent history, Interpol returns to their mama label in an attempt to get back into the music critics’ good graces.

The biggest obstacle Interpol has to hurdle is comparisons to their own albums. 2002′s Turn on the Bright Lights has become the flag child for the Brooklyn Art Rock movement. It was a bold, brooding album, borrowing heavily from Joy Division, adding sharper teeth. I mean, no other band in the history of rock n’ roll had the nerve to title their opening track of their debut album, “Untitled”.

Antics followed in 2004, which also was hailed as a solid work by most critics. Then Interpol signed to Capitol and wrote the watered down Our Love to Admire (No album that has a song titled “No I in Threesome”, can be taken too seriously).

The return to Matador, finds Interpol returning to form. Not only do they seem to tap into their original energy, but the emotional depth and texture of the music are honed to remarkable levels.

“Barricade”, the second single from Interpol’s self-titled release.

In the spirit of Joy Division, Interpol opens with a driving baseline. “Success” finds frontman Paul Banks using the line repetition of “I’m the good guy” amidst a minor key and a thick environment to emphasize the struggle.

It’s hard to grab a highlight from the album. Given tracks 3 through 6 all are near perfection. Each song flows into the next. Beginning with “Summer Well”, which features a stripped down chorus, and a stronger emphasis on the keyboards.

“Lights”, the first single off the album strikes next. It is a haunting, spacey, elegant piece (that sports one crazy video). The narrator pleads “Police me, I need you to police me,“ only to have the melody take a drastic change, making way for the question, “What if I never break?” The track  progresses to a strong final chorus.

Then comes “Barricade”, a dark pop song aiming to sink its vicious claws into your brain. The song is Interpol’s answer to Turn on the Bright Lights’ “PDA”.

One of the most original songs in Interpol’s catalog arrives next, “Always Malaise (The Man I Am)”. The atmosphere scores the song’s title impeccably. The chorus feels as if the track is going to have a glimmer of optimism, but when the open cadence is answered by mournful chords, it truly throws a curveball.

“Safe Without” feels like a desperation trance, a strong mood piece.

“Try it On” is the features the best keyboard work and most intricate harmonies. “Please explore my love’s endurance,” Banks requests, on the most airy track. “Try it On” is a nice break from the dense production of the album, allowing the listener to breathe.

The remaining two tracks work together to build a psychological unity that ties the whole album together. “The Undoing” seems like a direct link to “Success”. Here we find our protaganist “chasing damages” and trying to understand “the place we’re in”.

Interpol is a solid listen. By far the most cohesive of any of their releases, just a tad short of the magic and mystic of Turn on the Bright Lights, but a respectable second best album.

]]> http://uco360.com/?feed=rss2&p=8335 0 http://uco360.com/?p=8013 http://uco360.com/?p=8013#comments Wed, 01 Sep 2010 02:42:32 +0000 Josh Hutton http://uco360.com/?p=8013 All Delighted People EP

by Sufjan Stevens

Release Date:

Aug. 23, 2010

Label:

Asthmatic Kitty

____________________________________________________________________

For a guy who dropped one of the most ornate, original albums back in 2005 (Illinoise), Mr. Stevens has, for the last five years, been extremely quiet. But hey, he earned it, right?

Well, Sufjan is no longer content on the sidelines. He’s back in a big way, and he brought the flutes, trumpets, strings, and sweet femme backing vocals with him. Get delighted.

The epic that is All Delighted People, is a sprawling 8 tracks, covering 60 minutes, and is but a taste of things to come, given the announcement of a proper full-length, The Age of Adz set for October 12th.

Sufjan opens with the apocalyptic title track (oh irony!). “Tomorrow you will see it through” begins his voice, suspended naked and vulnerable. Sufjan is in rare form here, he is not singing of faith or hope, but a confused acceptance. It’s as if he is all alone, struggling to understand “all the delighted people” who seem content with the end, “I’m still afraid of letting go of choices I have made.” The 11-minute ballad, evolves into a hurricane of discordance, that really fleshes out the subject matter, then tones down so Sufjan can make the best of the end times, “I still love you a lot, I love you from the top of my heart.”

“Enchanting Ghost” is a pleasant banjo-driven song, dotted with piano. “If it pleases you to leave me, just go,” Mr. Stevens continues his coming to terms with reality. For an EP entitled All Delighted People, Sufjan certainly raises enough strong questions and complex emotions to crush anyone’s delight.

On the third track, he is very empathetic and comforting as if apologizing for bringing up such a stark subject so early in the conversation, “I only meant to be a friend to everyone this time”. “Heirloom” is a warm acoustic piece. Paul Simon fans should raise their hands and rejoice for this one.

“From the Mouth of Gabriel” is a return to Sufjan’s signature holy harmonies and sense of melody. Certainly the most optimistic track on the album, yet lyrically lacking.

If you enjoy Sufjan at his happiest, do not get too cozy. The optimism is quick to betray, with the melancholic depth of “The Owl and the Tanager”, a heart-breaking, bare bones duet. The vocals trace a spacey, heavy piano to an outstanding result.

All Delighted People, will most likely divide Sufjan fans. Nearly every track is raw and direct, giving up a lot of the cascading grandeur of 2005′s brilliant disc. No you won’t find any “Chicago” here, only a downtrodden man looking for allies. If you can stomach the sheer length(the closer is 17-minutes long), I think you will find it very rewarding.

__________________________________________________________________

Josh Hutton

Web Writer

]]> http://uco360.com/?feed=rss2&p=8013 0 http://uco360.com/?p=7820 http://uco360.com/?p=7820#comments Thu, 26 Aug 2010 15:07:34 +0000 Josh Hutton http://uco360.com/?p=7820 Thank You For Your Love EP

by Antony and the Johnsons

Release Date:

August 23, 2010

Label:

Secretly Canadian

*out of 10

_______________________________________________________________

In 2005 Antony Hegarty earned the Mercury Award for his highly personal I Am A Bird Now, an album that dealt with being locked into the wrong sex, then in 2009 he tried to comfort himself and anyone else lost in that “middle space” between life and death on The Crying Light. On this EP (the precursor to his Swanlights LP due this fall), Antony would just like to “Thank You for Your Love”.

This release is a tremendous shift in song selection. The EP features three original tracks and two iconic covers.

“Thank You for Your Love” is classic Antony. A soaring love song that is cascading with earnest, angelic heart. Light percussion, a guiding piano, and a emphatic brass section, seem to dance along with Antony’s signature vibrato.

Then a minimal piano ballad, “You are the Treasure” begins. Perhaps the weakest track on the album, the piano is uninteresting, the lyrics are elementary, and Antony’s voice is not even enough to rescue the listener from what feels like an afterthought.

The remainder of the album is stripped down when it comes to instrumentation. This certainly is not a problem, given The Crying Light, followed the same school of thought. Allowing what feels like an intimate conversation between the listener and Antony. “My Lord, My Love” makes good use of space. Only piano and strings, and a deep sense of melancholy looking up for light. The track is highly accessible, as the subject is a common struggle.

“Thank You for Your Love” by Antony and the Johnsons. The first single from upcoming release “Swanlights”.

Many listeners might be turned off after scanning the tracklist. Antony covering the powerful Bob Dylan gospel staple, “Pressing On” and attempting the done-to-death “Imagine” by John Lennon.

Antony makes each cover highly personal. Instead of the rave-up that is “Pressing On”, Antony goes for a deep rearrangement. Dylan’s song no longer feels as certain(Check out the wonderful John Doe cover). Antony’s vibrato and shadowy piano, give the impression a strong wind could prevent him from pressing on.

There is nothing I hate more than a bad cover song. It’s rare that anyone can reinterpret the original in a way that feels brand new. My frustration doubles when it’s a John Lennon song, then my frustration triples when they cover “Imagine” (a la Avril Lavigne’s craptacular take).

However, I was pleasantly surprised with what Antony has done here. He changes the song to first person, a finger-picked guitar follows him into his comforting reflection. He skips the first falsetto, but to my delight he brings it back for the second refrain. Antony has such a compelling voice, and it would be a shame if he did not show-off his range.

The EP is a promising preview to his upcoming full-length. Certainly a must for any fans, but newbies to the Antony scene might want to start with I Am a Bird Now.

______________________________________________________________

Josh Hutton

Web Writer

]]> http://uco360.com/?feed=rss2&p=7820 0 http://uco360.com/?p=7458 http://uco360.com/?p=7458#comments Wed, 21 Jul 2010 02:41:54 +0000 Josh Hutton http://uco360.com/?p=7458 Sir Luscious Left Foot: The Son of Chico Dusty

by Big Boi

Release Date:

July 6, 2010

Label:

Def Jam

*out of 10

______________________________________________________________________

Always seen as a sharp rapper, yet also perceived as a mere sidekick to Andre Benjamin in the southern rap, revolutionary group OutKast, Big Boi has a tremendous amount to prove on his first proper solo outing.

Big Boi not only proves it, but creates one of the strongest hip-hop albums of the last five years. Each track glides into the next, and each song is exquisite lyrically.

Yes, Big Boi has quite the big mouth, but I’m sure you figured that from the gargantuan album title. Having a big mouth is no crime in rap, in fact it’s quite the asset.

• “Shutterbug”, the first single off Big Boi’s “Sir Luscious Left Foot…”

The opening track to the album begins with a Spaghetti Western whistle that quickly is tinged with base and heavy keyboards. Smooth is the best adjective for the prelude, and when it starts to drop down, you will probably wish for a little more, fret not. Big Boi addresses your concern at the close by saying, “That ain’t nothing but the intro.”

“Daddy Fat Sax” hits swiftly. The lyrical assault will leave your heading spinning. Toward the close, the assault is traded for a spacey melody with femme backing vocals.

Production truly shines on “Turns Me On”, as the subtle electronica transitions into surprising vaudeville around the 2:35 mark.

Big Boi‘s delivery is wonderfully novel. He never falls into a cozy rendition pattern. He will trace the backbeat one moment, then will swim up the beat, the next. He will transition into several different stylings at any given moment, keeping the listener on their toes.

“Shutterbug” the incredible single from the album is the best example of Big Boi‘s vocal delivery. He fires the chorus, “Now party people in the club it’s time to cut a rug/And throw the deuce up in the sky just for the shutterbugs,” with speedy precision. The song also features a ripping base and the sound of automobile crashes dot every 16th beat.

“General Patton” samples a choir that would even make Peter Jackson jealous.

“Tangerine” lets the guitar and conga drums takes center stage. One of the album’s sexier songs, for Tangerine “shakes it like a tambourine”.

Big Boi softens up on the beautiful “Be Still”, as a soulful voice starts, “Be still young heart/never will you fall apart.”

Many have wondered if OutKast will ever craft another record. After 2006′s inconsistent Idlewild soundtrack, this album may be proof that the two are better off on their own.

“Fo Yo Sorrows” certainly affirms that. A definite highlight, finding Big Boi at his most political,“Yeah, I’m still speakin’ about it ’cause New Orleans ain’t clean,” cries Big Boi, “When we shoutin’ ‘dirty south,’ I don’t think that is what we mean/I mean, it mean the rough, the tough, the dangerous, we reign supreme/Can slaughter entire teams with the ink that my pen bleeds.”

This album will most likely be on nearly every music publication’s top ten best albums of 2010 list. A long overdue, creative, lyrical barrage of an album that the listener will want to play on repeat.

Dark Night of the Soul

By Danger Mouse and Sparklehorse

Release Date:

July 13, 2010

Label:

Capitol

*out of 10

The first time the unlikely duo of producer Danger Mouse and southern minimalist Sparklehorse collaborated, occured on Sparklehorse‘s 2008 release, Dreamt For Lightyears in The Belly of A Mountain.

Unlikely, because Sparklehorse‘s frontman Mark Linkous has always kept a low-profile, only making the news with regards to an album release or his bout with depression.

Danger Mouse got his start with the controversial, yet popular, Grey Album. An Album taking vocal tracks off Jay-Z’s Black Album, and backing him up wirh cuts from the Beatle’s wonderfully abraisive White Album. Since then, Danger Mouse has had several legal disputes, including issues with Dark Night of the Soul.

After a year of struggling with EMI, the wonderful collaboration has been released. Sadly within that year, Mark Linkous of Sparklehorse and Vic Chesnutt, a guest on Dark Night, both took their own lives. This is the last project that Sparklehorse worked on,  and it is clear to feel the pain and disbondent state Linkous dwelled.

Not only is the project an album, but filmmaker David Lynch created an unsettling and abstract  photographical journal to accompany the music.

• “Dark Night of the Soul” by Danger Mouse and Sparklehorse featuring David Lynch with a slideshow of photos from the project.

The line-up of guests on the album is magnificently stacked. Julian Casablancas from The Strokes, Black Francis from The Pixies, Iggy Pop, The Flaming Lips, Gruff Rhys, Jason Lytle, Vic Chesnutt, James Mercer from The Shins/Broken Bells, and even David Lynch himself, all take on a track or two.

A spacey, majestic “Revenge” by The Flaming Lips starts the album, with a little synth and cascading violins. By far the most musically grand, it also stands out for its emotional complexity. “Once you have sought the path of revenge, there’s no way to stop/And the more I try to hurt you, the more it backfires,” Wayne Coyne sings with weighty regret.

The first two tracks on Dark Night are a knockout one-two punch combo.

“Just War” by Gruff Rhys, captures the disillusionment of war. Rhys sings over music written by Linkous. The music itself seems to convey a sense of naivety, as guitar is simple and faint keyboards dot the verses. “You said it wouldn’t hurt, just war/Is this just war?” Rhys emphasizes his concern by asking, “will evolution diminish right in front of us?”

Mark Linkous(back), David Lynch (left), and Danger Mouse (right)

Julian Casablancas lays claim to the grooviest song. “Little Girl” features hip 70s’ guitar and very smooth vocals. The funkiness does not go Mr. Casablancas’ head he assures, “I’m just a simple guy who talks when you put a microphone in front of him.”

“Angel’s Harp” features The Pixies’ lead man, yelping over a mountain of distortion and electro-hiss. Iggy Pop’s “Pain” feels like it could fit on any number of his solo albums.

James Mercer, who released perhaps this year’s strongest pop album with Danger Mouse in March under the name Broken Bells, has the catchiest melody on the Dark Night of the Soul. “Insane Lullaby” is an antithesis of musical styling. There is baby piano, sweet crooning, and a thick amount of electric atmosphere.

“Daddy’s Gone” by Sparklehorse has a beautiful innocence and absolute heart. The only song on the album where Sparklehorse takes full control. Linkous sings, “I woke up and all my yesterdays were gone.” Definitely one of the most memorable lines on Dark Night.

While most of the tracks have a tinge of Lynchian, David Lynch‘s tracks feel like they belong with “In Heaven” from his film masterpiece, Eraserhead. Both “Star Eyes (I Can’t Catch It)” and “Dark Night of the Soul” are haunting and gorgeous. “Dark Night of the Soul” feels like it is being played on a phonograph. It is an appropriate closer to a very complex album.

Dark Night of the Soul certainly feels dated, but not to a particular period, as though the tracks were ancient songs of the future. A dark listen, but truly thoughtful and original.

Release Date:

July 13, 2010

Label:

Interscope

_____________________________________________________________________________

When listening to /\/\ /\ Y /\ ( or Maya M.I.A.‘s first name), aspirin may be more important than your audio output device. The third album from British-Sri Lankan Maya Arulpragasam, is a schizophrenic digital mess, like the cover of the album implies.

What many fans hoped would be another evolution in M.I.A.‘s arsenal, an album to silence the negative media firestorm that has badgered Arulpragasam’s cred, has turned out to be the biggest disappointment of 2010.

M.I.A‘s impact on world music is undeniable, a wonderful rhythmic blend borrowing from various cultures reigned on her debut Arular and 2007′s superb Kala. There are no tracks like “Paper Planes”  to stick in your brain. There is only a tidal wave of annoying noise in its place. A tidal wave, that hopefully with time, will wash away.

Typing on a keyboard kicks off the opener,”The Message”. A voice drowning in poor production, starts, “The arm bone is connected to the hands, the hands connected to the internet, connected to Google, connected to the government.” Wow. I feel like these same words could easily be found on some “unique” 13-year-old’s blog. They are weightless accusations, simple paranoid drivel.

“Steppin’ Up” starts with chainsaws and automotive tools being revved up. Not only is the music irritating but during the chorus, M.I.A‘s voice is a perfect example of why AutoTune is trash. If somehow you see past those glaring flaws, her arrogance will get you in the end. “You know who I am” is repeated over and over, while background singers call out,   “M! I! A!”.

Her arrogant attitude on “Steppin’ Up” is in direct contradiction with the modesty of “Story to be Told”. Here M.I.A coos “All I ever wanted was my story to be told.”

Some of the tracks seem like they could have had potential ( “XXXO” and “Tell Me Why”), but the clatter and chaos of the production picks those chances apart.

When you think it could not possibly get any worse, the end-all-be-all of bad songs arrives, “It Iz What It Iz”. A song who’s title is derived from possibly the vaguest, most overused sentiment of our time. So naturally the song makes mention of playing Nintendo Wii. What? What happened to the ultra-political art-punk/ hip-hop hybrid that had something to say?

The best feeling I received from this album came at the 3 minute, 8 second-mark of the closing track, “Space”. The song is only 3 minutes and 7 seconds long. Yes relief was the sweet emotion I was feeling.

This album is not good. It is so bad I had to take a break from listening to it. If you can avoid it, avoid it. Keep living your happy life.

White Magic By ceo

Release Date:

June 29, 2010

Label:

Modular

_________________________________________________________________________

An often overlooked fact about Sweden is that they mix large quantities of awesome in with their drinking water.

2010 has been a shining example of Sweden’s brilliant artistry. The Knife wrote and scored an opera, The Tallest Man on Earth released one of the most ornate folk records, and now the beautiful electro-pop of ceo.

White Magic is Eric Berglund’s solo debut. Berglund took a break from Swedish duo, The Tough Alliance, to dabble with his own formula.

The result is a gorgeous journey of electronica and orchestra, and the album wastes no time illustrating how lovely the two become when combined.

Eric Berglund (left) with other group The Tough Alliance

“All Around” soars, as lush violins guide the melody.  Lyrics pour in around the 2-minute mark. Berglund tells his listeners, “Now, I’m coming home to face the demons on my own.”

There is a strong sense of spiritual enlightenment and contentedness on nearly every track. The imagery is carried on the 80′s synth-heavy, second song, “Illuminata”, with ceo casting off the weight of the world for “the wings of honesty”.

Keen emotional intelligence is matched by very precise songwriting. The majority of the album features tight production, catchy hooks, and a blanket of optimism.

Doubt is sprinkled in, to prove ceo is not naive (check out “No Mercy”). The emotional quality makes it so easily accessible for the listener.

Berglund borrows heavily from mellow disco. Making each cut club friendly. So if you are looking to shake your groove thang with some whacky cohorts, do not forget about ceo.

White Magic is 8 tracks in length, and falls just a bit short of the half-hour mark. The brevity is really the only notable criticism. It’s hard not to feel slided when the songcraft is so superb.

“Mare” by Julian Lynch

Release Date:

June 28, 2010

Label:

Olde English Spelling Bee

_________________________________________________________________________

Julian Lynch’s Mare is not an album to play with friends at night, amidst laughter, on some heavy populated interstate, nor is it really an album that includes any song that would have mass appeal to the general public, when showcased.

Mare is an album for the music fiend that is in dire need of something new to jolt their ability to appreciate. The album is a slow-build up of ornate musical layers, blanketed under cassette tape hiss. Ideal for enjoying a front porch, going for a long run outdoors, or aiding in meditation.

Lynch creates a wonderfully unique experience with his vast knowledge of world music. He  studies  ethnomusicology at the University of Wisconsin-Madison, and he previously worked for Smithsonian Folkways Recordings.

Every track on Mare is intimate and eclectic. Beginning with “Just Enough”, the listener is greeted by a slow-burning synth and a subtle shaker. The synth and percussion begin to build, only to greet an Eastern-style guitar and African drumming. Vocals are present, though they are mixed in the background and primarily used as another instrument, for every lyric is virtually incomprehensible.

In a 2009 interview with Tiny Mix Tape, Lynch explained this vocal effect by saying, “to be perfectly honest I’m never super-proud of the lyrics I write. I feel I need them because I like the sound of the human voice singing words on my recordings, but generally the songs can exist without the lyrics.”

JULIAN LYNCH “IN NEW JERSEY” from OLDE ENGLISH SPELLING BEE on Vimeo.

The first six songs on the album are woozy, organic, and psychedelic. The sixth track, “Still Racing” acts as a transition to a fuller, pop-savvy side. The guitar is reminiscent of Nick Drake, and quickly picks up to the sound of cymbals, opening up for the latter tracks.

Electric guitar and crunchy drums burn through “Ears”, but still holds enough of the atmosphere to avoid taking away from the lush nature of the album.

“Ruth, My Sister” is carried by a superb saxophone, a delicate xylophone, and an airy, hushed vocal harmony.

The album’s most accesible point is on “Travelers”. Here, Lynch creates a simple, lovely melody through the bass line and vocal hook.

The closer seems to be the summation of all his stylistic tricks. “In New Jersey” has a steady gallop, heavy Indian influence, and ambient subtleties throughout.

Lynch is really perfecting an art with this release. He is able to capture an other-worldly sound, but still makes it warm and inviting . A must for any music lover who is beginning to stagnate.

__________________________________________________

Recent Reviews

• “Expo 86″ by Wolf Parade
• “180 Degrees South” Soundtrack by Various Artists
• “How I Got Over” by The Roots

By Wolf Parade

Release Date:

June 29, 2010

Label:

Sub Pop

___________________________________________________________________

“I was a dreamcatcher hanging in the window of a minivan/parked along the water’s edge/I’d say I was all alone,” barks vocalist Spencer Krug on “Cloud Shadow on the Mountain”, and thus begins Wolf Parade’s latest, Expo 86. Spencer Krug and co-vocalist Dan Boeckner are two of the extremely busy musicians.  Each are fronting other bands (Krug’s Sunset Rubdown and Boeckner’s Handsome Furs), yet Expo 86 sees the two great songwriters creating a solid vision, instead of paralleling styles and themes as seen on 2005′s wonderful “Apologies to the Queen Mary” and 2008′s hauntingly complex “At Mount Zoomer”.

The production on Expo 86 is far from Wolf Parade’s previous works. The keyboards and synth are toned down, unnerving empty space is present on each song, allowing more focus on Krug’s feral yelps and Boeckner’s Springsteen-esque cantor.

Spencer Krug (Wolf Parade and Sunset Rubdown)

Boeckner takes center stage on “Palm Road”, a simple rambling track that is in dire need of a high point. The first single,“What Did My Lover Say (It Always Had to Go This Way)”, picks up the slack of the opening tracks, but still seems like it could use a shock in the dynamics department. Krug handles the lyrics, but Boeckner guides with a stop-n-go riff. Krug tells his love “I don’t think I should say sorry/ for things I do in dreams,” as he tries to avoid the fate of most, “Some live like they’re falling/some die in their sleep.”

Nearly every track on Expo 86 is poignant  and creates an overwhelming sense of brooding. It certainly is a mood piece, but most tracks are easily forgotten.

Stand-outs include “Little Golden Age” (Boeckner’s best narrative), “Pobody’s Nerfect”(excellent guitar work), and the hopeful closer “Cave-O-Sapien”.

Boeckner and Krug seem to have met somewhere in between their solo efforts, but the album is lacking what makes the musicians so unique.

Krug’s wonderful art-rock group, Sunset Rubdown has a delightful weirdness to the lyrics, truly thoughtful analogies, epic dynamics, and a variant of styles. All of these traits seem to be debased, for the sake of dark pop.

In a like manner, the sheer energy of Handsome Furs has vanished. The fire that reigned supreme in 2009′s ballistic Face Control seems diminished.

The album is consistently good, simply reserved, as if both fellas are saving their best material for their not-so-side-projects. Here’s to hoping their solo gigs produce some perfection!

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