Sauw Space

Concert Review: David Byrne @ Radio City Music Hall, 2/27/09

2009-03-03T08:14:00.011-05:00

At 8:20 pm on Friday night, David Byrne, and seven back-up musicians took the stage at Radio City Music Hall in front of a wildly eager and anticipatory audience. Byrne once again returned to his New York City musical roots, this time to promote the release of his 2008 collaborative album with Brian Eno titled Everything That Happens Will Happen Today. The album marks the first collaboration between the two since 1980 for their wildly ambitious, world-encompassing LP My Life in the Bush of Ghosts. Their newest effort is a huge departure from their last, this time taking a much poppier approach that still manages to intrigue and succeed.

Byrne and his back-up band (consisting of two percussionists, bass, keyboard, guitar, and back-up singers) took the stage in completely white uniforms as if they had just arrived from the future where all humans wear the same, regimented clothing. The set kicked off unsurprisingly with the single “Strange Overtones” from the new album, a track that singly embodies the approach that he and Eno have taken this time around. Byrne uses fresh, polyrhythmic beats and a solid groove in many of the new songs as a foundation for his hybrid, Pavaratti-meets-Urkel vocals. While at times sounding like a frail man being buried by the weight of the world, he intermittently soars above the music with commanding, operatic vocals that stunningly sound just as good today as they did 30 years ago.

One can think of Byrne’s new tour appearances as less of a concert than a fully-fledged theatrical performance. Throughout much of the show, I was often reminded of the nutty, yet hypnotizing stage tactics that he exhibited throughout his masterful performance in Jonathan Demme’s 1984 concert film Stop Making Sense. At Radio City, Byrne continued to mix art and rock on stage, most notably through consistently amazing choreographed dance. For each song, we see Byrne’s three back-up dancers leap, roll, slide, and spin around him as he performs. At times, Byrne would even fall into step with the three other dancers, as if naturally succumbing to the beat that surrounded him.

One of the biggest perks of the show was the surprisingly large number of old Talking Heads songs that were included in the setlist. Since the night was dedicated to Byrne’s collaboration with Eno, many albums in the T-Head’s discography were fair game to be pulled from, including 1978’s More Songs About Buildings and Food, 1979’s Fear of Music, and of course 1980’s Remain In Light. Despite the strength of the newer material, the material performed from these albums was where the concert really felt like something special. Several managed to get members of the audience of all shapes, sizes, and ages up and shaking their groove thing, most notably “Crosseyed and Painless”, “Take Me To The River”, and “Burning Down the House” (which concluded the second of three encores with the entire band wearing tutuseventually being inundated by a flurry of 30-40 younger, female ballerinas).

Byrne is certainly one of the most important influences on the history of rock and roll. As one of the key pioneers of the New Wave movement in the late 70s, his innovation within the genre resonates in much of the music being put out by today’s artists. Now, 35 years after the formation of Talking Heads, his career comes full circle in the city where his roots lie. What began as playing small gigs in the filthy, beer-soaked CBGB’s has slowly (and deservedly) evolved into selling out shows at one of the most regal and elegant performance halls in the world. We can only hope that he continues to press on with his legacy, and that his absurdly influential music never stops making sense to his millions of inspired fans.

David Byrne - Houses In Motion

Conert Review: Andrew Bird @ Carnegie Hall, 1/28/09

2009-02-05T07:27:00.012-05:00

Going to Carnegie Hall for the first time, I realized how sensually amazing of a performance setting it really is. Visually, its interior is beautiful, with intricately designed walls that escalate up to five levels of velvet seating, eventually reaching an intricately designed ceiling. Aurally the auditorium is equally spectacular. It's evident that the its spacial architecture was meticulously planned to generate clear and permeating acoustics throughout the room, which sound better than any other concert venue I’ve ever attended. Given this high caliber of performance space, it's no surprise that that Andrew Bird was chosen to play here, a performer fully capable of taking advantage of these acoustics with his musical prowess and huge instrumental capabilities.

Andrew Bird is an virtuostic multi-instrumentalist hailing from Chicago, Illinois. He began playing violin at the age of 4 and was classically trained throughout his youth. Part of what makes him so appealing is his wild creativity in finding different ways to play his violin. Whether plucking, strumming, using his bow, or actually whistling into it, his originality with the instrument is unquestioned. But the violin isn't the only instrument he carries confidently. Bird's vocals share much in common with the late, great Jeff Buckley, effectively deviating from powerful to delicate with continued control. He uses his resonant voice to sing intellectual and often cryptic lyrics that seem to be chosen more for their sound than their content. And of course, I can't go without mentioning Bird's insanely good whistling abilities which carry through and often guide many of his more complex songs into more friendly territory.

Fortunately, all of these characterics were present on Wednesday night. Around 9pm, Bird slowly entered the stage with his frail, stick-thin presence. The first thing that he did was take off his shoes on the small oriental rug that he was standing on, a way of becoming more comfortable with the unquestionably intimidating performance venue surrounding him. He opened the show by himself, playing an invigorating instrumental piece on his violin as a way of showcasing his unbelievable musical talent while simultaneously casting aside any remaining skeptics in the crowd.

Unfortunately, about 95% of the material that Bird performed with his back-up band Dosh came from his new, underwhelming 2009 album Noble Beast. While still implementing his great vocals and instrumental mastery, the songs simply don’t compare to his passionate and constantly exciting older material. The biggest and simplest problem with his new material is its absence of hooks. While his older songs would fearlessly jump from one mesmerizing musical feat to the next, his new tunes indecisively hover around ideas and melodies. At one point in the night, Bird even apologized to the crowd for playing so much of his new material.

While some songs that he played from Noble Beast were enjoyable ("Oh No", "Tenousness", "Effigy"), the excitement over these was constantly hazed over by the need in the back of my mind to hear material from the two albums that I so desperately wanted him to play. The three songs that he actually did perform from his past catalogue were mostly satisfying. While "Imitosis" and "Table & Chairs" (two of my favorites) were enjoyable, they felt a bit deflated compared to the versions heard on record with Bird often exchanging towering vocal climaxes with spoken words. It was only the final song “Palindromes” that really blew me away. Coming back for a second encore for the song, there was some serious energy running through the concert hall as Bird unleashed his searing violin slashes that open and carry through the song, bringing everyone to their feet and clapping for the first and only time of the night.

In no way do I want this concert review to sway people away from Andrew Bird. He is probably one of the most gifted musicians around today and has already put out two albums that I consider to be modern classics in the past four years (The Mysterious Production of Egss in 2005 and Armchair Apocrypha in 2007). However, the moral of the story here is that song selection is absolutely key to a concert’s success. Just like the saying goes, you’ve always got to ”keep the customer satisfied". While I left Carnegie Hall that night thoroughly impressed by Bird’s musianship and still a huge fan, his heavily-weighted newer song selection left me feeling a little gypped.

Andrew Bird - Oh No

Album Review: Fleet Foxes - Fleet Foxes

2009-01-12T00:38:00.010-05:00

The debut album from Seattle’s Fleet Foxes seemingly came out of nowhere to quickly become one of the more critically acclaimed albums of 2008. While many compare the album to The Beach Boys’ classic Pet Sounds (with its earthy feel, rich harmonies, and consistently great songwriting) simply confining their sound to this is both an injustice and simply inaccurate. Fleet Foxes confidently combine indie folk, Baroque pop, and even elements of Medieval music to create a wholly organic sound that will grow and flourish from your speakers. The band is led by Robin Pecknold who resembles Tom Hanks’ character in Castaway in his unkempt appearance, but more significantly by being completely immersed and in touch with the environment around him (which I’ll explain more later on). Although Fleet Foxes is a five-member band, the other members essentially orbit around Pecknold by backing him instrumentally (guitar, bass guitar, piano, drums, and the occasional mandolin) or vocally (with staggering harmonies).

With this self-titled release, Fleet Foxes have created a stunningly fresh sound for modern music. When we think about past artists that are credited for having pioneered a new sound for rock/pop, the majority did so by skillfully implementing new songwriting techniques, mixing up instrumentation roles, or by using the newest technological advances. Whatever path they took, most of them were intending to capture the sound of that particular era. We have seen this over the past 50 years of rock and continue to see it today. Take for example the Arcade Fire, who over their first two albums have written very anthemic, thunderous songs that can be said to embody the general dissatisfaction with the Bush-era United States. Or take LCD Soundsystem, a musical vehicle that implements electronic instruments alongside guitars and drums to mirror the technologically inundated lives we live. What’s most astonishing about Fleet Foxes is that they are pioneering a new sound for rock not by drawing from today’s world, but rather from a past world. As we listen to these solid, reverb-drenched songs, it’s almost as if we’re listening to an echo that was first generated centuries ago rather than the sound of music being created today.

One of the most remarkable aspects of listening to music in general is its ability to act as an escapist medium. Music has the ability to take us out of our hectic daily lives and into a different, more desirable environment whenever we want to go. As we listen to music, we constantly choose different spaces to inhabit. This space can be familiar or unfamiliar, cheerful or mournful, densely layered or incredibly desolate. More than almost any other album in recent years, Fleet Foxes’ self-titled debut makes you feel as if you are being swept away to a new, entirely different environment than the one most of us live in. As we listen to the album, we feel as though we’re following the band through a rural, unpopulated landscape. Throughout the album we find ourselves marveling at a beautiful sunrise (“Sun It Rises”), strolling over a mountain pass (“Tiger Mountain Peasant Song”), and eventually walking by a river valley and rescuing an abandoned baby who floats beside us in a cradle (“Oliver James”).

Moreover, the Fleet Foxes have created a piece of work that invites us in to explore for 40 minutes, in the end leaving us ultimately empowered by its splendor. It’s difficult to predict how successful the Fleet Foxes' next album will be (which is slated for a late 2009 release). However, what is certain is they have already created a career-defining classic, one that will be cherished and revisited by avid music listeners like myself for as long we still want music to help take us away from the mundane and into the marvelous.

Key Tracks:
White Winter Hymnal
Ragged Wood
Oliver James

Final Verdict: 9.6

Fleet Foxes - Ragged Wood

Album Review: Destroyer - Trouble In Dreams

2009-01-06T23:23:00.010-05:00

Destroyer is a solo project created and embodied by the wildly talented, Vancouver native Dan Bejar. Since 1995, Bejar has used Destroyer as an outlet to carefully craft and refine his mighty and enigmatic songwriting tendencies. Although falling primarily under the genre of independent rock, Destroyer definitely should not be confined to a single sound. His influence stems from an assortment of past, well-grounded musical roots. Listening to Destroyer, one can hear the musical theatricality of Bowie, the cryptic and poignant sonic touches of Pink Floyd, and the stream-of-consciousness lyrical approach of Dylan. While partially borrowing from these musicians, Bejar adds his own signature to the mix. Some may initially be put off by Destroyer’s sound, especially those who find his vocals a bit too whiny or unsettling. However the deft listener will give Bejar time to settle into their bloodstream before casting him aside, and will most likely be rewarded for doing so.

Trouble In Dreams marks the 8th LP release from Destroyer, an album that fans of the band will quickly understand is more of an extension of the form of his last release than a movement towards new territory. In 2006, Bejar moved away from his past psychedelic and wildly over-ambitious sound to create an album that brought him back down to Earth with a more traditional rock band sound. Akin to Dylan’s classic Highway 61 Revisited, Destroyer’s Rubies (my favorite album of 2006) was the sound of a fully-fleshed out band producing rootsy rock that backed the delivery of incredibly literate and thought-provoking lyrics. With Trouble In Dreams, Bejar uses the same formula and often achieves equally successful songs.

This album is essentially a sequel to the aforementioned 2006 release, picking up right where the last left off. Take for example the opening moments of the first track “Blue Flower/Blue Flame”. Bejar begins the album by exhaling the opening line “Okay fine, even the sky looks like wine,” as if he is continuing a thought from earlier on rather than starting a clean slate. Throughout the album, the lyrics continue to puzzle and intrigue us as they always have. In the same vein as some of rock’s past great poets, Bejar has the ability to write incredibly visual and potent lyrics and support them with music that more often than not matches in quality and effectiveness.

One of the biggest draws for me with Destroyer’s sound is the unique role that his guitar serves throughout the tracks. Many of Bejar’s songs use a distorted, super-charged guitar sound that both completes and complements his vocals in a very lyrical fashion. The guitar tears through the mysterious environment that his voice paints and gives us incredible hooks to latch onto, essentially serving as a second voice to steer us through the unfamiliarity of the rest of his sound. Songs like “Dark Leaves Form A Thread” and “My Favourite Year” prove to be good examples of this formula.

While many songs on his newest album could definitely have warranted a spot on his 2006 masterpiece, there is no denying that Trouble in Dreams stumbles in spots. “Shooting Rockets” simply becomes a repetitive bore, while “Plaza Trinidad” is a bit too over the top for its own good. “Libby’s First Sunrise” is a decent but ultimately lackluster closer, ending the album with an ellipses rather than an exclamation point (or even a definitive period). However, more often than not Dan Bejar succeeds in creating a solid follow-up by using the recipe that he concocted with his masterpiece Destroyer’s Rubies. After all, what did we really expect? Sequels are rarely ever as good as their predecessors.

Key Tracks:
Dark Leaves Form A Thread
My Favourite Year
Introducing Angels

Final Verdict: 7.4

Destroyer - Dark Leaves Form A Thread

Sauw's Top 10 Albums of 2008

2008-12-31T07:37:00.009-05:00

1.) For Emma, Forever Ago, Bon Iver
Link to my album review

2.) Dear Science, TV on the Radio
Link to my album review
Link to my concert review of TV on the Radio @ Brooklyn Masonic Temple 10/14/08

3.) Fleet Foxes, Fleet Foxes
Link to my album review
Link to my concert review of Fleet Foxes @ The Grand Ballroom 10/4/08

4.) Stay Positive, The Hold Steady
Link to my album review
Link to my concert review of The Hold Steady @ McCarren Park 6/29/08

5.) The Seldom Seen Kid, Elbow
Link to my album review

6.) Vampire Weekend, Vampire Weekend
Link to my album review

7.) Visiter, The Dodos
Link to my album review

8.) Med Sud I Eyrum Vid Spilum Endalaust, Sigur Rós
Album review coming soon...

9.) Harps and Angels, Randy Newman
Link to my album review

10.) You & Me, The Walkmen
Album review coming soon...

Honorable Mention:

Evil Urges, My Morning Jacket
Link to my album review

Consolers of the Lonely, The Raconteurs
Link to my album review

Only By The Night, Kings of Leon
Album review coming soon...

Sauw's Top 25 Tracks of 2008

2008-12-22T20:46:00.015-05:00

2008 was as good a year as any for music's current best acts to deliver a bountiful basket full of great foot-tappin', knee-slappin' music to our doorsteps. Here are the 25 songs that I personally enjoyed the most...maybe you'll enjoy something here as well.

1.) "Skinny Love" - Bon Iver

2.) "Lord, I'm Discouraged" - The Hold Steady

3.) "Golden Age" - TV on the Radio

4.) "Look At You" - My Morning Jacket

5.) "Ragged Wood" - Fleet Foxes

6.) "Time To Pretend" - MGMT

7.) "Walking" - The Dodos

8.) "A-Punk" - Vampire Weekend

9.) "The Loneliness of a Tower Crane Driver" - Elbow

10.) "Vid Spilum Endalaust" - Sigur Ros

11.) "So Everyone" - Bonnie "Prince" Billy

12.) "Souled Out!!!" - Conor Oberst

13.) "Carolina Drama" - The Raconteurs

14.) "My Favourite Year" - Destroyer

15.) "Manhattan" - Kings of Leon

16.) "For Emma" - Bon Iver
17.) "Violet Hill" - Coldplay
18.) "Same Old Thing" - The Black Keys
19.) "Pity and Fear" - Death Cab for Cutie
20.) "On The Water" - The Walkmen
21.) "The Time Has Come Again" - The Last Shadow Puppets
22.) "On The Edge Of A Cliff" - The Streets
23.) "Leviathan Bound" - Shearwater
24.) "Laugh and Be Happy" - Randy Newman
25.) "Profanity Prayers" - Beck

Album Review: The Hold Steady - Stay Positive

2008-12-15T22:32:00.008-05:00

The Hold Steady are one of those bands that it seems absurd that more people don’t appreciate now, yet if you know their music you’ll know that 20 years from now twice as many people will be listening to them. The Hold Steady is the creation of singer/songwriter Craig Finn, who at first glance you might expect to see in the cubicle next to you rather than leading one of the most inspired and cathartic bands in existence. While the band owes a lot to past rock powerhouses (in this album explicitly paying tribute to The Clash’s Joe Strummer and Led Zeppelin), the band only uses the teachings of these past greats as a launch pad to take off from. In doing so, they have began an entirely unique juggernaut force of a band, not once stumbling in any of the four albums they’ve released over the last five years.

Their newest album is certainly their most ambitious, and debatably their most successful. Months before the album was released, Finn was reportedly taking voice lessons to help tidy up his often sloppy and slurred vocal approach, a first sign that Finn and Co. were shooting a bit higher this time around. There’s also a noticeable inclusion of new instrumentation in a few of Stay Positive’s songs, including harpsichord on “One For The Cutters”, moog on “Navy Sheets”, and even some Frampton-esque talk box guitar on “Joke About Jamaica”. While furthering their sonic reach, the band is still most effective when sticking to their classic rock band sound, featuring electric guitar, bass, keyboard, percussion, and occasional horns, and capturing the spirit of bands as like The Rolling Stones or The E Street Band.

One thing that all Hold Steady fans know is that Craig Finn is a storyteller through and through. He has used his songs over the last three albums to essentially create a universe of youthful characters (better known as Charlemagne, Hallelujah, and Gideon) that interact with each other and all live for one single thing, rock and roll. Of course, there’s plenty of baggage that comes with being a die hard rock fan, ranging from sex, drugs, and alcohol, to love, lust, and often enlightenment. Stay Positive adheres to this lyrical subject material, yet throws a fascinating curve ball into the mix. Throughout the 11 tracks, there is a recurring narrative motif that alludes to the ambiguous murder of two teenage boys which binds the songs together and grounds the euphoria that these characters live for by the weight of life, death, and reality. While more and more details are revealed of the murders through the songs, we are never truly sure as to what has exactly occurred.

And so, while the stories Finn tells of these rock-propelled individuals are often ambiguous, the band reinforces clarity with incredibly powerful and inherently inspiring music. Stay Positive easily has some of the most melodic songs Finn has ever composed. While “Sequestered In Memphis” dictates the hazy details coming from someone in an interrogation regarding the murders, the song's hookiness overpowers the uncertainty with an empowering chorus that's nearly impossible not to embrace and sing along to. “Lord, I’m Discouraged” is the most effective track, standing as the true centerpiece of the album and one of the crowning achievements of the band’s career. The song is told from the point of view of a man torn apart by the disheveled state that he now finds the girl he loves in. As he looks to religion for some sort of guidance, he explains how after spending time with new friends she is continually distancing herself and only coming back with sunken eyes and noticeable sutures and bruises. Around the 3-minute mark, (underrated) guitarist Tad Kubler tears the entire song in half with an unspeakably amazing guitar solo, creating a trememdous example of music's ability to be used as catharsis. It is the single most empowering 45 seconds of music that you’ll hear this year.

And so with their fourth album, The Hold Steady once again legitimize themselves as an incredibly consistent and commanding rock outfit. When I think of how to put their greatness into words, I am reminded of a Jack Kerouac quote from his classic novel On The Road (from which the band derives the title for its third LP Boys and Girls In America). In a passage at the beginning of the novel, the narrator talks about the type of people that interest him, describing them as “the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes ‘Awww!’”. And so, with Stay Positive, The Hold Steady continues to dazzle and amaze, continuing to hold their status as one of the most invigorating and visceral bands around today.

Key Tracks:
Sequestered In Memphis
Lord, I’m Discouraged
Yeah Sapphire

Final Verdict: 9.4

The Hold Steady - Lord, I'm Discouraged

Album Review: The Streets - Everything Is Borrowed

2008-12-07T20:46:00.010-05:00

In 2002, Mike Skinner under the name “The Streets” emerged with a confident strut from the depths of a London garage and released one of the most brilliant debut albums of the last ten years, titled Original Pirate Material. His sound was loosely derived from the emerging British 2-step style and garage rap genre, complemented by his signature white boy rap vocals filled with hilarious banter, biting social commentary, and occasional heartache. It was an invigorating and exciting release, one that took England by storm, but unfortunately hardly made an impact in the states. His second release A Grand Don’t Come For Free was equally impressive, which essentially plays out as a continuous narrative from start to finish of a hedonistic (yet sentimental) girl-chasing, 20-something Londoner in search of a missing 1,000 quid. The album solidified his status as one of the most important and innovative artists of the young century.

In the accordance with this newfound rise into celebrity, Skinner released a third LP titled The Hardest Way to Make a Living, which unfortunately brought his hot streak to an abrupt halt. With songs about the misfortunes of fame backed by uninspired beats and melodies, the album was more of a chore to listen through than anything. This brings us to his fourth and most release LP release Everything Is Borrowed, which is as much of a departure from his past efforts that we could ever have expected.

After the first pass through Everything is Borrowed it seems as if Skinner has set down his pint of beer and exchanged it for a book on philosophy. Rather than explain the trials and tribulations that take place on the cruel streets he inhabits, he has lifted himself hundreds of thousands of miles away from the earth, enabling him to broaden his scope and evaluate his existence on a universal stage. Take for example the opening track "Everything Is Borrowed", from which the album gets its title. The song boasts along on a triumphant horn loop and firm, steady beat while Skinner and backing vocalists sweetly sing:

“I came to this world with nothing,
And I leave with nothing but love,
Everything else is just borrowed.”

Many songs are equally bursting with life and energy, leading us to believe that Skinner’s overall outlook on life is positive. “On The Edge Of A Cliff” further validates this assumption, which is a fantastic track that truly shows off Skinner’s gift for vocal and lyrical phrasing. Within three quick minutes, he packs in a tale about a man who is pulled away from suicide by a mysterious, philosophical bystander. The man validates the protagonist’s existence by explaining to him that we were all brought to this world as a result of a marvelous chain reaction of serendipitous ancestry and heritage. Other songs examine big issues that were nowhere to be seen in the matters that Skinner formerly rapped about. Who would have guessed that the beer-toting, club-hopping Londoner from a few years ago would now be rapping about life and death, human sustainability on earth, and the misleading nature of the Bible?

Although Everything Is Borrowed is more successful than not, there are a handful of tracks that are unquestionable filler material. “I Love You More (Than You Like Me)”, “Never Give In”, and “The Way of the Dodo” are all flops, weakly carried by poor melodies or simply annoying and boring lyrics. One of the most cherished parts about The Streets’ first two albums was how incredibly consistent they were, without a single lacking song from beginning to end (at least in my opinion). However, Everything is Borrowed is certainly an improvement over his last release. Skinner’s decision to take his lyrical content and sound into a new direction is an admirable move. While the album is nowhere near the caliber of his initial output, there’s a wealth of contagious inspiration and optimism here, which is more than enough reason to give it a listen. After all, isn’t that what life's all about?

Key Tracks:
Everything Is Borrowed
On The Edge Of A Cliff
The Escapist

Final Verdict: 7.5

The Streets - Everything Is Borrowed

Album Review: The Dodos - Visiter

2008-11-25T23:12:00.015-05:00

The Dodos' debut LP begins with one of the most instantly hooky and likable opening tracks of the year. "Walking" struts along to a steady beat, guided by light banjo-plucking and effectively harmless vocals, perfectly easing the listener into an album that will soon lead them into very unfamiliar and often salient territory. Avoiding a fade of any sort, "Walking" rolls right into "Red and Purple", the first track to actually begin to reveal the band's full M.O.

Dodos is an experimental pop duo that hails from San Francisco, sparked in 2006 by the uniting of musical forces between two innovative, out-of-the-box talents. While singer/guitarist/multi-instrumentalist Meric Long lends his boyish vocals and country-blues fingerpicking and rhythmic acoustic strumming, drummer Logan Kroeber equally contributes to the sound with an endless library of experimental, syncopated rhythms. Culminating these two very unique musicians' play styles generates a formula that is wildly creative. Although it may be foreign to some, it's ultimately grounded on great pop hooks that lend to its accessibility.

Visiter catapults the listener into the unknown, delivering a sound that shifts between familiar and unfamiliar, native and exotic, creating a constantly invigorating bipolar approach. As we delve further into the heart of a given song, we soon realize that things aren't quite as we anticipated them to play out. The basic song structure (verse, chorus, verse, chorus, etc.) is often discarded. The timbre of the instruments and vocals jump back and forth from clean to canny, gentle to harsh. The overall tone of a song can unexpectedly switch from subdued to threatening (e.g. "Joe's Waltz"). This idea of "expect the unexpected" is what makes The Dodos such a thrilling listen. One of the triumphs of the album is how, despite its wild and chaotic nature, it is still very approachable for the average listener. At face value the album is immediately welcoming, with its innocent child-drawn cover artwork and cutely misspelled album title.

The Dodos are an incredibly promising new band who, despite a few missteps, successfully pull off the much sought after feat nowadays of creating something completely original, exciting, and stunning. The band manifests a fully fleshed out sound despite only having two members. Visiter is an album that certainly takes time to adjust to and accept. It took me about five or six complete listens to fully become accustomed to the sound. However, I've actually found that my favorite albums of all time are those that I hated at first just because they were so foreign. In my opinion, this is what being a good music listener is all about, forcing yourself to give new material a chance despite how different it might sound from everything else you've ever heard. This is certainly the case for The Dodos, a band that doesn't look like it's going to be extinct anytime soon.

Key Tracks:
Walking
Fools
Ashley

Final Verdict: 8.7

The Dodos - Walking

Album Review: Sun Kil Moon - April

2008-11-23T09:14:00.010-05:00

Mark Kozelek is the sole heart and mind behind Sun Kil Moon, which is essentially a continuation of the formula from his last band, the critically acclaimed Red House Painters of the 90s. Throughout Kozelek's career, he has been known to use his songs to paint lush portraits of sorrow and yearning onto a canvas with intimate acoustic ballads that feature his tender, sheltered vocals. While his songs are often mournful, Kozelek usually sheds just enough light onto the darkness to keep us mesmerized rather than distanced. His guitar playing can be simply stunning, as is the case when he delicately plucks and strums with a level of beauty that often stops us in our tracks. The most intriguing aspect of his music is its ability to unravel and reveal itself more and more with each successive listen. While at first many listeners may just hear his songs as being settled and repetitive affairs, more listens reveal how the songs will shift to and fro to expose the innate complexity of the human heart as expressed through music.

I was first exposed to Sun Kil Moon after a spontaneous purchase of Ghosts of the Great Highway at my college’s radio station CD sale. This 50 cent purchase turned out to be one of the best steals I’ve ever been able to pull off. Ghost of the Great Highway is Kozelek's first release under the moniker Sun Kil Moon and marked an undeniable (and sadly overlooked) achievement in 21st century songwriting. While his songwriting was often somber, it never seemed to push the listener away. Rather it drew the curious listener in even further by integrating occasional glimpses of hope and enlightenment. At times on the album, Kozelek also effectively plugged in his guitar to achieve a heightened sense of inner revelation and invigoration through thunderous solos (as heard in the brilliant, Yo La Tengo-esque “Salvador Sanchez”). The album presented Kozelek as a cryptic figure, but one that we could learn more about with repeated listens, as well as one that we actually wanted to make an effort to learn more about.

This marks the main difference between Ghosts and his follow-up April, which arrives five years after his last. While songs on Ghosts often drifted lazily along to a fairly repetitive song structure, they were much more efficient and had just enough subtle deviation to keep us intrigued. April never achieves the lofty heights of his first release, and simply settles into a dreary space that rarely escapes its own dark tone. While the songwriting can be similarly beautiful to Ghosts, the songs themselves are far too repetitive to maintain interest. When listening to a song on the album, there are many instances when we think that Kozelek has gotten as much as he can out of a melody, only to find that he will continue playing it for another three, four, or five minutes. Listening to April reminds me of looking at something beautiful and cyclic in nature. While at first you can’t pull yourself away from studying it and taking in its splendor, after several minutes have passed and you’re still just watching the same thing it can actually take away from the beauty and becomes incredibly boring.

However, there are definitely some tracks that deserve recognition. The opening track “Lost Verses” ranks among one of the more amazing pieces that Kozelek has ever composed. Despite exceeding the 9 minute mark, it maintains its intrigue through a deviating song structure and a stunningly beautiful chorus, featuring backing vocals from Death Cab’s Ben Gibbard. “Unlit Hallway” is also a highlight, which also recruits the help of backing vocals, this time from Bonnie Price Billy's Will Oldman. However, on the whole April is a long-winded affair that favors floating, repetitious songs over the more concise and directional approach that Kozelek took on his previous release. To listen to it from beginning to end requires a huge amount of patience, which makes it much better in small doses or as relaxing background music. I feel like this is the type of album that I will pick up and listen to 10 years from now and completely fall in love with. But for the time being it just doesn’t strike a chord with me like his masterful 2003 release was able to. Take my advice and hold off on this one until you’ve gotten your hands on Ghosts of the Great Highway. If you’re still itching for more Sun Kil Moon, maybe this one will satisfy your thirst more than it did for me.

Key Tracks:
Lost Verses
Unlit Hallway
Harper Road

Final Verdict: 6.5

Sun Kil Moon - Lost Verses

Album Review: Randy Newman - Harps and Angels

2008-11-17T00:00:00.012-05:00

Most people my age probably know Randy Newman best for his unforgettable songs from the film Toy Story (or maybe during the brutal representation of him in the Y2K episode of Family Guy). I was once in the same boat as well, that is until I gave a listen to his albums Sail Away and 12 Songs from the beginning of his career in the early '70s, now both commonly considered to be classics in modern singer songwriting history. At surface level, these albums are simply collections of New Orleans-based rhythm and blues delivered through Newman’s trademark, sloppy vocals and lighthearted piano playing. The songs on these albums were often light-hearted affairs, including a range of fantastic characters including the Yellow Man and Simon Smith, who was accompanied by his amazing dancing bear.

However, what Newman is most admired for is his ability to subtly mix in bitingly satirical commentary into much of his seemingly innocent material. For example, while the happy-go-lucky “Political Science” at first glance seems like a bouncy, jovial tune, we soon realize that he uses the song to essentially petition the dropping of atomic bombs on various areas of the world (but don’t worry, he doesn't want to hurt the kangaroos in Australia). It is this undercurrent of cynicism and comical attacks on society that set Newman apart from many of his contemporaries.

Now, over 35 years have passed since Sail Away and Newman has released an album just as bewildering and fantastic as anything he’s ever put out. Harps and Angels brings back all of the elements that made his past classics so cherished and more. First of all I have to mention how stunningly similar voice sounds at 64 compared to when he was 28. While he has always had a distinctive, more elderly sounding voice than appropriate for his age, it has never seemed more appropriate than now. The sincerity of his voice and the frailty that older age brings gives even more weight to ballads like “Losing You” and “Feels Like Home”.

There's also a whole grab-bag of wild, lively songs that are just, plain fun to sit back and enjoy. While “Laugh and Be Happy” sounds like it came straight out of a classic Disney movie (think bluebirds chirping, singing sunflowers, and rolling green hills), there are also fascinating stream-of-consciousness tracks that sound like a rambling Abe Simpson that we actually want to keep listening to. “A Few Words In Defense Of Our Country” is a hilarious rebuttal towards people all over the world that constantly accuse America’s horrific leadership under Bush by citing even worse terrors invoked by other political leaders of the past (Hitler, Stalin, etc.).

While Newman is adhering closely to his past success formula, Harps and Angels is even richer than past efforts in terms of instrumentation and backing vocals. Songs like “A Piece of the Pie” and “Korean Parents” exemplify this best, with a whole range of fascinating sonic flourishes popping up and decorating the space around Randy's piano. Instrumentation varying from blaring horns to light woodwinds to accompanying strings, creating a lush and often intriguing atmosphere of sound.

With Harps and Angels, Newman has not just added a cherry to the top of a legendary and influential career, but rather added substantially to the base of his portfolio, creating an even more firmly standing body of work. There truly is not a single bad song on this album, however this isn’t necessarily saying that it’s a perfect album either (as some songs could have been a bit less long-winded). Nonetheless it's an album that, once you've adapted to his style, can become a wonder to listen to from beginning to end. Now at age 64 (with his 65th birthday arriving at the end of the month), we cannot help but predict that this may be one of the final efforts of Newman's lengthy career, and what better way to end a long, wonderful musical journey than with a group of compositions that is both touching and hilarious, both cynical and hopeful, and alternates from wildly eclectic and beautifully bare with startling results.

Key Tracks:
Harps and Angels
Laugh And Be Happy
Feels Like Home

Final Verdict: 9.1

Randy Newman - Laugh and Be Happy

Album Review: The Black Keys - Attack & Release

2008-11-06T08:13:00.009-05:00

In a time when there are only really a couple of well-known blues-rock duos around, it’s hard not to draw comparisons between The Black Keys to The White Stripes. Both bands emerged at the beginning of the decade with minimalist mentalities, understanding that the blues was based on the bare essentials of a guitar and the weeping of a man’s heart conveyed through his vocals. In recent efforts, both bands have begun to evolve their sound as their careers have progressed, although in slightly different ways. While Jack White has steered his ship towards edgier, more frenetic rock innovation, the two boys from Akron, Ohio have tried to elevate their down-to-earth, back-to-basics blues approach to loftier, more atmospheric heights.

With Attack & Release, the Black Keys have enlisted Danger Mouse to produce, picking what would seem to be the perfect man to bring their sound to a daring, new place. Danger Mouse has been popping up all over 2008, including his second LP collaboration with Cee-Lo on their band Gnarls Barkley’s The Odd Couple, as well as producing Beck’s stripped down, crunchy and sometimes brilliant Modern Guilt. Listening through the album, we certainly hear his crafty presence as he struts his stuff with sonic manipulation and instrumentation flourishes. The haunting backing “oohs” on songs like “Psychotic Girl” and “Strange Times” remind us of the desolate soundscapes that he helped create on Gorillaz’ 2005 hit Demon Days. However, his presence is only really noticeable on a handful of tracks, as he seems to be keeping his hands away from the mixing board more often than not.

The album unfolds with the lazy, rolling blues of “All You Ever Wanted” which immediately showcases Dan Auerbach’s strong and soulful voice. The song carries along in a dreary fashion until the last 45 seconds when a tidal wave of organs, electric guitar, and drums come crashing in. The band chugs away throughout the album, alternating between hard-hitting songs led by heavy, fairly straight-forward riffs to slower, soul-soaked blues (see album title for a more concise articulation of this pattern). Auerbach and Patrick Carney (on drums) both sound very tight. However, at times the production seems almost too polished, which actually becomes one of the major faults of the album for me. One of the most treasured parts of The Black Keys’ sound (as also credited to The White Stripes) was their low-fi, raw sound that fittingly matched the stripped down blues they were so respectfully honoring. However, Danger Mouse seems to have cut out the fuzz, revealing the band in stark clarity.

One of the more interesting choices on the album is the pair of tracks in the middle respectively called “Remember When (Side A)” and “Remember When (Side B)”. The first is an atypically trippy blues song that almost floats through a mystic, desolate, percussion-less setting. “Remember When (Side B) is actually just another take on the same song, this time decorated by Auerbach’s most violent wails on the guitar and Carney’s most relentless percussion to appear on the entire album. One can easily see this pairing of songs as a microcosm for the general, two-sided nature of the album, which essentially takes the form of a balancing act between their typical blues rock tendencies and the more otherworldly direction Danger Mouse has taken them in.

There are certainly times when the collaboration with Danger Mouse works wonders. The best pick of the litter is “Same Old Thing”, where Auerbach once again leads with his crooning vocals, while Carney backs with a steady beat, and Danger Mouse crafts his production around a piping flute loop and intermittent, weighty chants that drop with the beat. I also have to mention the most dazzling exhibition of Auerbach’s vocals, which appears on “Oceans & Streams”, with precisely wavering vocals that are simply stunning and which remind us of one of the strongest elements of the band’s success.

The direction that the band has taken on this album can best be summed up by the title of the closing track, “Things Ain’t Like They Used To Be”. It’s obvious that The Black Keys have deviated from their past, minimalist blues rock roots with much more refined production values. Since their 2004 release Rubber Factory, the band has noticeably tried to elevate their sound into a more atmospheric realm, which Danger Mouse seems like the most obvious producer pick for. But in doing so they’ve begun to lose some of their identity as one of the best primitive blues rock bands around today. The album is certainly not a failure, exhibiting some of the strongest songwriting of the band’s career. However it all seems a bit lackluster and misguided in the end, often pushing the listener around a bit but never really grabbing and taking hold of them.

Key Tracks:
Remember When (Side B)
Same Old Thing
Oceans & Streams

Final Verdict: 7.1

The Black Keys - Same Old Thing

Sauw's Corner: America Celebrates A Change Of Tune

2008-11-05T08:50:00.014-05:00

The results of the U.S. election are in, and simply to say that America has a "new" Commander in Chief moving into the Oval Office would be an unbelievable understatement. Last night marked a significant turning point in U.S. history, and most certainly a turning point for world history as well. With Obama's arrival to the White House, we are ushering in a new era of change and hope that our depleted country so desperately needs. So in celebration of this momentous event, and in accordance with Obama's near universal support among the music community, I've compiled what I call "Obamarama: A Soundtrack for Change" that I feel best captures the spirit, energy, and tone of this turning point in history. Feel free to comment on whether you agree/disagree with my picks, and of course let me know about other tracks that you feel deserve a spot in the compilation. So get out those dancing shoes, clap those hands, move those hips, and feel the Obamarama!

U2 - One
Arcade Fire - Wake Up
Radiohead - Everything In Its Right Place
The Beatles - Getting Better
Brian Eno & David Byrne - America Is Waiting
The Roots - The Next Movement
The Flaming Lips - Suddenly Everything Has Changed
David Bowie - Young Americans
TV on the Radio - Golden Age
Simon & Garfunkel - America
Bob Marley - One Love/People Get Ready
John Lennon - Working Class Hero
Beastie Boys - Right Right Now Now
The Go! Team - My World
Bruce Springsteen - Born In The U.S.A.
Bob Dylan - I Shall Be Released

Sauw’s Corner: Where in the world is Sufjan Stevens? (cue the Rockapella)

2008-10-30T22:58:00.010-04:00

In 2005, a singer/songwriter by the name of Sufjan Stevens exploded onto the music scene with the release of an album called Illinois, the second step in a self-proclaimed effort to make an album for every state in the United States (already having checked off Michigan). Before it’s release, Stevens had begun to quickly garner an avid following after having released a wealth of delicate and gripping, banjo-driven compositions that spanned over four albums from 2000-2004. With Illinois, Stevens shed some of his Christian-rock label by brilliantly chronicling much of the state’s history through beautifully layered and orchestrated pop-rock music. The album secured a spot at the top of the majority of critics’ year-end Top 10 lists, and many people began to realize that the album marked the arrival of a new force in the music community that didn’t seem to be stopping anytime soon.

So now I sit here and wonder (as I have wondered often throughout this year and last) why Sufjan hasn’t released an album of new material for almost 2 ½ years. The person that I once saw as being one of the most prolific artists of this decade (releasing five fantastic albums from 2000-2005) now seems to be in a bit of a standstill. I understand that he did have two releases in 2006, but both were collections of unreleased material that had been written previously. The first was released in July of that year called The Avalanche: Outtakes & Extras from the Illinois Album…whose title is pretty self-explanatory. The other was titled Songs For Christmas, which was a wonderful collection of 5 EPs released in November that spanned 42 tracks and were either covers or self-written Christmas songs he had been churning out consistently over the years.

After doing some in-depth investigating (i.e. Google searching), it’s obvious that Sufjan hasn’t just been lying around for the last 2 ½ years doing nothing. He has actually contributed to a large number of other artists’ efforts, adding various instrumentation touches on songs for artists such as The National, Rosie Thomas, Ben + Vesper, and David Garland. In addition, he’s covered a few classic tunes that have been featured on very good compilations (playing Dylan’s “Ring Them Bells” for the I’m Not There Soundtrack, Mitchell’s “A Free Man In Paris” on A Tribute to Joni Mitchell, and Tim Buckley’s “She Is” for Dream Brother: The Songs of Jeff & Tim Buckley).

I guess I should also acknowledge the remarkable work he produced with his symphonic endeavor titled “BQE”, a salute to the history of the Brooklyn-Queens Expressway which runs through his current residence of Brooklyn. The project ended up becoming a 30-minute orchestrated piece (without any vocals), and featured a 36-person orchestra who performed the piece three nights in a row in November of 2007 at the Brooklyn Academy of Music.

Okay, so maybe Sufjan has been keeping himself busy over the past couple years. But I’m sure I’m not alone in my lack of patience for the release of an entirely new, probably state-dedicated album. Despite becoming a surging singer/songwriter on the independent scene recently, he’s somehow still able to fly under the radar and retain his reclusive tendencies. Perhaps this gap in his output has been beneficial in stopping him from overexposing himself, or maybe he’s spending all of this time to create a work that's even more ambitious than his last (if that’s possible). Whatever the case is, I think it’s about time that Sufjan ends this torturous waiting game once and for all. Come on Sufjan, feel the malaise!

Album Review: My Morning Jacket - Evil Urges

2008-10-25T14:56:00.012-04:00

With each successive release, it's easy to see that Jim James and crew are working to expand the reach of the band's sound more and more. The move from 2003's It Still Moves to 2005's stellar Z marked a shift from their traditional, reverb-entrenched Southern rock psychedelia to a more tightly written yet experimental and otherworldly sonic landscape. This year, My Morning Jacket expanded the range of their musical radar even further with their incredibly eclectic and ambitious fifth album Evil Urges.

The album is essentially a template of various musical genres that have crept into rock occasionally over the last 50 years but have rarely ever been grouped together on one album like they have been here. It's certainly an admirable feat, as not many other bands around today would dare to throw themselves into as many different pools as Jim James dives into here. While the Southern rock spirit still exists in their music ("I'm Amazed"), there are also flavors of arena rock ("Aluminum Park"), country ("Sec Walkin'"), 50s pop ("Two Halves"), folk ballads ("Librarian") and even psychedelic funk ("Evil Urges") mixed in.

The good news is that the band certainly succeeds much more than it fails, at times even reaching the exceptional heights of songcraft that Z so majestically achieved. The opening, title track "Evil Urges" is a bouncy and entrancing foray into funk, featuring James' unexpected Prince-like falsetto backed by layers of swirling guitar, piano, and driving percussion. It's easy to become completely immersed in the beauty of "Look at You", led by entrancing slide guitars and James’ fantastic vocals that sway back and forth between powerful confidence and haunting fragility.

And of course, I can't forget to mention the triumphant one-two knock-out punch that the finale delivers. The second to last track "Smokin' from Shootin'" is a tremendously listenable and gripping piece. During the first two-thirds of the song, James questions the mysteries of life and expresses the difficulty of searching for something we don't even know exists. The final third of the song builds to a booming climax that has James bellowing out his angst with no strings attached. The song concludes and we slide into the album closer "Touch Me I'm Going To Scream Part 2" as we hear a sucking sound as if we're being pulled into a vacuum where nothing else exists but the staccato keyboards that begin to creep their way in. As the song continues, more layers begin appearing in this desolate, Pink Floydian space including a drum machine, James' vocals, and eventually the swelling backing vocals and synthesizers. By its end, the song is lifted to astronomical and almost spiritual heights, only to fade away layer by layer just as it came in.

While the album certainly attains levels of brilliance, there are also points where it fails miserably. With Evil Urges, James is trying to juggle too many genres at once and simply can't keep them all in the air at the same time. Probably the most mind-boggling, "what-were-you-thinking" song of MMJ's career appears on track three with the awful "Highly Suspicious". In trying to be an edgy, sexually-driven funk song, James' sinister laughing just ends up being the tipping point for the huge mess that it is. There's also the lackluster "Remnants", which pops up immediately after the album's only other rocker "Aluminum Park" and is nothing more than a shadow of it, swallowing itself up with failed hooks and unexciting songwriting. This actually brings to light another disappointment of the album, its very odd and poorly chosen track order. Whether it's James saying in an interview that the second half of the album starts after the first three tracks or the unnecssary 6-second closer "Good Intentions", the album suffers from what I like to call "iPod Shuffle Syndrome".

What made their previous effort Z so exceptional (enough to make it to the top ten of my Top 100 Albums list, see earlier posting) was that it not only took the band to a new and exciting place, but also the creation of music that was consistently well-written and effective in that new place. Between It Still Moves and Z, the band essentially looked down a new, foreign road and decided to take a direct and focused journey down it. With Evil Urges, rather than boldly traveling down a new road, they seem to be standing at an intersection of a dozen roads, spinning around in circles and spreading themselves too thin trying to cover all of the new, diverse terrain. I do have to give Jim James credit for once again pushing the limits of his band. Also, his ability shown here to adapt his vocals to the different genres that each song inhabits is beyond impressive, putting him in an elite group of modern rock vocalists. But personally I hope that with their next release they decide to take the road less traveled rather than the roads that have already been thoroughly traveled by both innovators and followers over the past 50 years.

Key Tracks:
Evil Urges
Sec Walkin'
Look At You

Final Verdict: 7.8

My Morning Jacket - Evil Urges

Album Review: R.E.M. - Accelerate

2008-10-21T00:00:00.010-04:00

R.E.M. comes out bold and blazing from the opening seconds of Accelerate, immediately wiping their slate clean that has been dirtied over years from a series of lackluster releases. For over a decade, the band considered as one of the pioneering forces for the entire alternative rock movement has struggled to come anywhere close to the past heights they achieved in the 80s and early 90s. What’s immediately obvious about their newest release is the band’s decision to essentially strip its sound down to the bare essentials, shedding overly-produced songs in favor of more direct and trajectory rock.

The band hails back to its glory days with the return of many elements that made them so universally lauded by the music community years ago. Their raw songwriting here harks back to their Do-It-Yourself persona established at the beginning of their career 25+ years ago. In addition, Michael Stipe’s vocals are just as poignant and effective as they ever were. Thankfully, Peter Buck’s guitars are back in full force as well, transitioning from driving riffs to the more wailing, distorted attacks in songs like “Man Sized Wreath” and “Mr. Richards”.

There are only a couple of missteps that hold this effort back from joining the ranks of their past classics (notably 1983’s Murmur and 1992’s Automatic for the People). “Accelerate”, the track that shares the album’s title, chugs along to an uninteresting melody, ultimately nothing more than filler in an album whose lean nature only works if all of the fat is shaved off. The closing track of the album “I’m Gonna DJ” also disappoints. What should be a chance to make a lasting, final statement for an album that says so much is instead replaced by a frivolous track that whizzes by the listener and never offers to pick them up along the way.

So in the spirit of the album, I’ll wrap things up quickly. Accelerate is certainly an accomplishment for a band that was as near extinction as any band can be. They have smartly returned to the winning formula that worked so well for them in their prime; mixing lyrics that are simultaneously cryptic and relatable, sound that is both modern and traditional, and a spirit that is equally fiery and tender. In the end, Accelerate is a bit too fleeting and underdeveloped, as if R.E.M. is serving us only a small sample of their recipe rather than the full, three-course meal that we want. But hey, a taste is better than nothing at all, right?

Key Tracks:
Living Well Is The Best Revenge
Supernatural Superserious
Until The Day Is Done

Final Verdict: 8.3

R.E.M. - Living Well Is The Best Revenge

Concert Review: TV on the Radio @ Brooklyn Masonic Temple, Brooklyn (10/14/08)

2008-10-15T02:10:00.012-04:00

I got to the Brooklyn Masonic Temple around 7pm, an hour before the band that I had been waiting years to see would soon be taking the stage. I neared the temple and noticed a silhouette of a dred-locked/afro hairline (the likes of Sideshow Bob) in the darkness that I quickly realized belonged to TVOTR drummer Jaleel Bunton, who was standing on the corner smoking a cigarette. I approached him and introduced myself, asking him if he’d ever played there before. Bunton responded, “no, but it’s a creepy place.” I laughed and told him that maybe it was fitting, being so close to Halloween. After wishing him good luck and walking away, I realized that the “creepy” setting was actually fitting in a more significant way.

About a month prior to this show, I had met the band's two singers Tunde Adembipe and Kyp Malone after they played on the fire escape of the Ed Sullivan Theater. After they performed "Dancing Choose" they both told me that playing up on the fire escape was also very weird and strange for them. And so a pattern was established and I realize now that this recurring theme of playing in strange locales is all part of a transitioning phase that the band now finds themselves in. After the release of their critically-acclaimed new LP Dear Science, accompanied by their exponentially growing fan base, the band is in a situation where they’re playing in places they’d never thought they’d play before (which are sometimes "weird" or "creepy"), while simultaneously experiencing fame they never thought they’d achieve.

TV on the Radio opened the first of three consecutive shows in a row at the Masonic Temple with the expected choice of “Halfway Home”, which came thundering out of the speakers and filled the murky, haunting space with ravishing layers of sound. The majority of the one hour and 45 minute set was appropriately filled with songs from Dear Science (in my opinion is their finest effort). The highlight of the show was the hand-clapping romp of their new single “Golden Age”, which fittingly became almost a spiritual experience in the temple. The band also had assistance from the terrific horn section from the Antibalas Afrobeat Orchestra, whose presence was embraced by the audience and who helped to quicken heart rates during songs like “The Wrong Way” and “Dancing Choose”.

The band was impressive on every level, confidently integrating a slew of creative instrumentation choices with more typical rock band play mechanics. Whether it was David Sitek hanging wind chimes from the end of his guitar, Gerard Smith creating atmospheric sound from his Apple Macbook, or Tunde Adebimpe’s skillful fiddling with his mixing board, the band was doing things that few other bands both try and succeed at. One of the highlights of the show was their performance of “A Method” off of their 2006 album Return To Cookie Mountain. Adebimpe's anthemic vocals were backed by every member of the band playing a different percussive instrument, from jingling bells to wood blocks to others I'd never even seen or heard before. I felt like I was back in elementary school music class, being shown how a range of different instruments can make all types of different sounds. The show concluded with the “Staring at the Sun” off of their first album Desperate Youth, Blood Thirsty Babes, which proved to be an invigorating finale.

After the show, I was fortunate enough to stumble into Adebimpe as he exited the temple. I shook his hand and mentioned how 2008 has been such a huge year for him, with the release of debatably the best album of the year as well as his role in the much-lauded new Jonathan Demme picture Rachel Getting Married. His gratitude towards my praise was both sincere and genuine. While it seems like it would be hard to eclipse a year like this, that’s exactly what the band has done with their newest release after album-of-the-year marks for Return to Cookie Mountain two years ago. TV on the Radio is a band with limitless potential and an endless desire to boldly explore new sonic terrain, and for that reason they will surely stand the test of time as one of the most important bands of the decade.

TV on the Radio - Wolf Like Me

Album Review: Beck - Modern Guilt

2008-10-14T08:08:00.008-04:00

Beck emerged from the 90’s alternative rock scene as the prodigy of postmodern eclecticism. After his first two releases, Beck was quickly deemed the poster-boy for creating intelligent, genre-blending music that became something ultimately original and profound. Throughout the years, he has essentially played hop scotch with a range of styles, jumping around and mixing genres like pop, psychedelia, jazz, folk, blues, funk, and experimental rock to create a kaleidoscope of incredible music. And so Modern Guilt marks the 9th LP release from one of this generation’s most prolific and versatile singer/songwriters.

This time around Beck has chosen to mash minds with producer Danger Mouse who, after the brilliant production exhibited on the first LP from his band Gnarls Barkley, seems to be the new go-to-guy for smart musicians looking for producer that could add a little kick to their sound (e.g. The Black Keys, Gorillaz). Danger Mouse’s touch to this album is definitely noticeable, from his wiry, descending strings on “Walls” to his canny drum machine mixed with light, ethereal piano flourishes on “Replica”.

Nevertheless, we know that Beck is the real mind behind the project. After his last two affairs (2005’s Guero and 2006’s The Information), it’s immediately apparent that Beck has chosen to head down the darker road this time around, harking back to the somber tone of his much-lauded and introspective Sea Change (2002). However, rather than personalize his unrest, he’s instead expanded this sense of dread onto the world spectrum. Whether it’s references to icecaps melting, people drowning, or walls falling down on us, there's constant feeling of entrapment and crisis that permeates throughout the entire album.

While we listen to Beck on this album, the image of Charlie Chaplin passing through the machine gears in the classic film Modern Times comes to mind. He seems to be caught up in a giant, brooding machine with no escape. Songs like "Youthless” and “Soul of a Man” exhibit this best, during which Beck’s somber vocals are surrounded by swelling and pulsating technological sounds that almost overtake him. Again much to the credit of Danger Mouse’s production, songs often sound very crunchy and calculated with a collage of backing sounds that constantly interject and threaten Beck’s defeated vocal sound.

Ultimately, Beck has created a sophisticated album that attempts to capture the dread and despair that many Americans feel today with so many pressures (both global and local) falling down on us. So in capturing this sense of despair Beck succeeds. However, the album lacks the hook and draw that we so often find in his previous efforts. Part of this is because, as the listener, we always feel a sense of distance from the music. It feels as if we’re always a block or two away from the dark, murky alley from which the music is being played. The inherent likeability of his past efforts stemmed from his formula of incredibly original sound that was simultaneously gripping and addictive. As a result we were drawn in to the music rather than distanced from it.

Don’t get me wrong, Modern Guilt has some very strong tracks debatably some of the best of his career (“Chemtrails”, “Profanity Prayers”). However, it also has its fair share of songs that struggle to flourish to their full potential, leaving us flat-footed and admiring rather than moved and inspired. Perhaps this is what Beck was going for, an album that wishes to encapsulate the stand-still world many of us feel we live in. But as far as music-listening goes, it’s much more of a struggle to come back to Modern Guilt for a second or third listen compared our desire to return to albums like Odelay or Midnite Vultures. Hopefully next time around Beck will feel that the times they are a’changin’ and get back to his swinging, exciting, and bombastic roots.

Key Tracks:
Gamma Ray
Chemtrails
Profanity Prayers

Final Verdict: 7.2

Beck - Gamma Ray

Concert Review: The National @ The Hammerstein Ballroom, Manhattan (10/10/08)

2008-10-11T01:55:00.022-04:00

Last night New York Magazine celebrated it’s 40th Anniversary at the appropriately lush and extravagant Hammerstein Ballroom on the first floor of the Manhattan Center. Around 6pm, dozens of people began to file into the lofty, four-tiered space after having bought tickets weeks in advance for what would surely be a solid performance line-up.

First to take the stage was the comedy trio Stella, the guys best known for their short-lived Comedy Central show by the same name and their cult-movie comedy Wet Hot American Summer. The troupe completely shattered my low expectations with their often hysterical banter. Whether it was their hilarious (phallic-centered) hand-drawn altering of past New York Magazine covers or sharing their ridiculous ideas of the perfect Autumn day, I could not stop laughing. The second act was the pretentious, Brooklyn-based band Grizzly Bear, by far the weakest and most disappointing part of the event. Their dreary songwriting and murky melodies came nowhere close to matching the excitement that the 40th anniversary celebration required. After a second appearance by Stella, The National was welcomed onto the stage around 9pm, ready to deliver to the crowd what they were all really there to see.

Because I went to the show with a friend who had already seen the band more than five times, I had a good feeling that this would be a band well-worth seeing live (as many solid bands surprisingly aren’t despite sounding fantastic on record). Vocalist/songwriter Matt Berninger is the epicenter of the band, who took center stage with just a microphone in hand his volcanic performance spirit that many fans of their shows are most drawn too. As a quick side note, I remember talking to someone in line at a Hold Steady concert a few months back who was commenting on having seen The National’s live. After asking how they were, his first response was how “Matt Berninger can get absolutely insane on stage.” This was definitely unexpected, knowing The National as a typically mellow, independent rock band whose strength stems more often from their subtle and delicately composed music than their occasional blasts of intense rock. Last night gave me complete proof of Berninger’s terrific talent. He not only has vocals that effectively alternate from Cohen's deep baratone to Cobain's primal screams, but also both bewildering and passionate lyrics to accompany it.

One of the most immediately obvious things that you realize when seeing The National play live is how incredibly in sync all six members play with one another. Maybe it’s the fact that their two guitarists are twins and hence are on the same mental wavelength, or the fact that they always have a consistently killer percussive beat to follow with drummer Bryan Devendorf. Whatever it is, the band just seems to have “it”, and by “it” I mean a complete, tightly packaged rock aura that not many other bands are able to embody. Whether playing one of their beautifully crafted ballads (“Daughters of the Soho Riots”, “Green Gloves”) or completely ravaging the performance space (“Abel”, “Mr. November”) their unstoppable sonic force is hard not to admire.

The only disapproval of the band from the crowd was when towards the end of the show Berninger claimed that this would be the last show they would play in New York City for a while. The boos were quickly reversed to optimistic cheers when he explained that it’s because they’re going back into the studio to record a new album. After hearing this, everyone understood that it was simply a matter of fact that the last few songs they would play for a while in their native city were probably going to tear the roof off of the ballroom.

And they did just that. During their encore, The National did what shocked both my friend and many others who had seem them so many times before…played a cover...and not just any cover, but the Velvet Underground classic “What Goes On” (you can watch my video of it here). Berninger explained the reasoning for playing it as a birthday present for a fan, but ultimately it was a gift to everyone in the crowd.

Their last song was the crowd favorite “Mr. November” which, although not much of a surprise choice, seemed to be just what the crowd ordered. I do not hesitate at all in saying that seeing them play “Mr. November” was one of the most incredible song performances I’ve ever witnessed. While every member unleashed their musical prowess to incredible heights, most notable was obviously Berninger, who brought out his inner Jagger to achieve God-like status on stage. While punching out amazingly cathartic vocals, he wreaked havoc on his mic stand by smashing it on the stage floor (in the spirit of The Clash's famous London Calling album cover), then hurling it over drummer Devendorf's head into the glittery stage backdrop.

As the lights went up, the New York crowd left the anniversary bash both completely satisfied and completely devastated, knowing they would now have to go back to the torturous waiting game for their album to come out. But everyone knows that when that album comes out (next year?), it'll surely be accompanied by a triumphant return to their much beloved home city.

The National - Fake Empire

Concert Review: Fleet Foxes @ The Grand Ballroom, Manhattan (10/4/08)

2008-10-05T01:43:00.011-04:00

At 9:20pm, Fleet Foxes arrived on the Grand Ballroom stage at the Manhattan Center with a slight look of apprehension in their eyes. As the lights rose on these five Seattlinians, it was immediately obvious they had been thrown into a venue larger than any they'd ever played before (which midway through the show lead singer/songwriter Robin Pecknold admitted to). However, this shouldn't be that big of a surprise for those who follow the band. Many of us knew that it would only be a matter of months before their incredible debut album caught the attention of thousands outside of Seattle and would garner a strong following that spanned across the country. And so the audience spent the next hour and 20 minutes witnessing the exhilarating process of a band adjusting to an immediate rise in stardom and getting into their element in the concert capital of the world.

Unfortunately, the first sense that I got of the band was through my sense of smell, catching a big whiff of Pecknold's B.O. as he came on early to make a few instrument adjustments. This is probably the one instance in my concert attendance history that I wouldn't have minded being about five feet further back in the crowd. However, when the glorious harmonies started echoing through every cubic inch of the ballroom's interior, I would rather have been nowhere else but right up front.

The band sounded fantastic, matching the billowing and reverb-entrenched sound of their debut album. They played through much of the album (which I know very well), as well as many tracks which I assume are off of their EP (which I don't know very well, but undoubtedly will very soon). They also played a new song that they have been working on titled "Silver City", which they admitted still needed some fine tuning. While the entire band sounded great, the moments when Pecknold took the stage alone were even more impressive. By temporarily stripping off the often overwhelming harmonies and mighty backing instrumentation, it created a very intimate and engrossing performance situation that the audience became completely enveloped in (I smell solo career, and it smells like B.O.).

Going along with the whole idea of the band adjusting to a new, big setting, Pecknold frequently tried new performance variables, primarily concerned about how the audience liked them. For example, at one point he simply asked the audience if they would like it if he moved up to the front of the stage with both mic and guitar unplugged to play some songs ("Katie Cruel", "Tiger Mountain Peasant Song"). After roars of audience praise, I think he got the idea that they liked it.

One of the best parts about seeing the Fleet Foxes live was seeing their personalities come out. Listening to the album, I've always had this image in my mind of the band being similar to a mysterious bunch of traveling Appalachian wanderers, descending from the mountain to play some beautiful, earthly songs, only to cryptically return to where they came from. However, with consistently hilarious banter going on between band members and innocent interaction with the audience, I got the sense that this is just a group of five genuinely good-hearted people with a shared passion for creating innovative and often spiritual music.

While this setting may at first have seemed a bit overwhelming for the band, they surely settled in very quickly, giving a terrific (though far too short) performance from beginning to end. In response to Pecknold's claim of this being the biggest venue they'd ever played, one audience member accurately shouted out "well you're gonna have to get used to it!" Pecknold and the rest of the band laughed and shrugged it off, though surely in the back of their minds knowing that the audience member was probably right.

Fleet Foxes - Sun It Rises

Album Review: TV on the Radio - Dear Science

2008-10-04T10:58:00.012-04:00

As the saying goes, third time’s a charm. Dear Science is a tremendous third effort by one of the most innovative and mesmerizing bands to emerge this decade. After the near universal acclaim for their second album, 2006’s Return to Cookie Mountain, it seemed hard to fathom that they would be able to outdo themselves once again. On their third album it seems like they’ve done just that. Their decision to shift into slightly more inviting sonic territory and their use of more instantly gratifying tunes has served them extremely well. They have not necessarily sacrificed their experimental nature for more accessible songcraft, but rather interlaced it more heavily with songs that for the first time in their career seem to come more from their hearts than their heads.

Brooklyn’s TV on the Radio are a product of a number of factors, some explainable and others not. Just listening to this album, there is undeniable influence stemming from such former legends as David Bowie and Prince. We are reminded of Bowie’s progressive, cutting edge sound from his classic LP Low on tracks like “Stork and Owl”, while on tracks like “Golden Age” and “Lover’s Day” there are moments of Prince’s sex-infused sound topped by towering falsettos. While these two artists certainly lent some colors to the band’s music palette, it is the band itself that has developed a sound that is both totally originally and incredibly powerful. Their post-expressionistic mentality has encouraged them to tap into a number of different of genres (post-rock, jazz, rap, classical, funk, electronic, ska) and somehow culminate them into an entirely fascinating and new sound.

On Dear Science, TVOTR is especially effective for their ability to manifest the spirit of the times in which we currently live in, accurately capturing a sense of uncertainty in one of the most uncertain times in American history. In opening track “Halfway Home”, the track begins with Adebimpe’s subdued and level-headed vocals pushing through persistent synths, attacking hand claps, and a persistent percussive beat. However, when he reaches the chorus his rise to a vulnerable falsetto feels like he’s regrettably giving in to the pressures that surround him.

The remainder of the album follows the pattern of the opening track, constantly switching back and forth between a sense of persistence to one of surrender. Whether its blaring horns (“Dancing Choose”), dark undertones of synths (“DLZ”), or abrasive rhthyms, there is always a sense of lingering danger in the world that TV on the Radio manifests. However, Tunde Adebimpe and Kyp Malone continue to boldly push through the darkness in hopes of reaching the light that we all know is at the end of the tunnel.

The combination of the last two tracks signifies this most effectively. “DLZ” is the second to last track, entrenching us in a world filled with fear and paranoia with thundering bass beats and cryptically lulling female vocals. Adebimpe’s vocals sound as if he is cautiously stepping through this terrifying atmosphere, only to crack under the pressure with his haunting and cathartic cry “This is beginning to feel like the dawn of the loser forever…”. Thus leading into the closer “Lover’s Day”, which becomes a curiously comforting signification of hope for the near future. While the subject matter is actually very sexual (another ode to Prince), the sound of the music is both enchanting and incredibly optimistic. After 10 tracks of uncertainty, “Lover’s Day” elevates us up to the top of the mountain, finally allowing us to see the joyous possibility that our future holds.

Moments like this are what make billions of people choose to turn to music as an accessible guide for understanding the incredibly complex world we live in. While thousands of news outlets may inform us on what's going on in the world (as exemplified by the character in “Dancing Choose”), music can often capture the world around us better than anything else. As the great Aldous Huxley once wrote, “after silence, that which comes closest to expressing the inexpressible is music.”

Key Tracks:
Halfway Home
Golden Age
Lover's Day

Final Verdict: 9.6

TV on the Radio - Golden Age

Album Review: Weezer - Weezer (Red Album)

2008-09-27T15:45:00.006-04:00

Weezer, Weezer, Weezer...what are you doing? Hey...stop it! Okay? Just stop it.

I really don't know where to start with this one, the sixth album from the former 90's underground rock Gods, and the third to have a title only classifiable by the background color of it's album cover. Perhaps this is the first sign of Weezer's inability to create anything both original AND exciting throughout the album's tedious ten tracks.

I'll admit that the band definitely tries to cover some new ground here, often (even within a song) jumping from one genre to the next like a little kid playing hop scotch, appropriately led by Rivers Cuomo's innocuous vocals (see "The Greatest Man Who Ever Lived"). But rather than a bold exploration of new sonic territory, it sounds more like he and the rest of the band are lost in a whirlwind of undeveloped ideas that they couldn't fully flesh out individually so instead they simply jammed them all together into one, mucky package.

As for the times when the band tries to adhere to their former success formula, they only come out stumbling. Opener "Troublemaker" is almost a carbon copy of their past hit "The Good Life" off 1997's Pinkerton, only this time accompanied by an array of laughable lyrics.

"I picked up a guitar, what does that signify?
I'm gonna play some heavy metal riffs,
And you will die."

I mean, come on! And this lyrical trend definitely continues throughout the album. It seems like Rivers' approach to his songwriting has become to adopt a 12-16 year-old POV thinking that it coincides with the innocent persona they've carried throughout their career. One of the things that gained them so much recognition in the first place was being the sweater-wearing (or destroying?) band of pseudo-nerds that could rock out and generate wildly catchy hooks (e.g. "Buddy Holly", "El Scorcho", "Don't Let Go"). Today, we are left with the Weezer that is trying to deviate from their past sound (which is often admirable for bands) but instead is faltering in almost every song they've generated over the past two LPs (the other being 2005's Make Believe, another nod to Rivers' new tendency to cling on to his youth).

There are really only a couple of listenable tracks on this album, and one of which should be cut at its midpoint. The first is the song "Dreaming", which finally by track six brings us back to the Weezer that we know and love with infectious hooks and a Rivers' lovable crooning, flooded by heavy guitar riffs and a solid percussive beat. However, while the old Weezer would have wrapped things up when necessary, the song hits it's halfway point about 2 1/2 minutes in when it starts to deviate into multiple, lulling vocals and sound effects of birds chirping. The second, actually best, pick of the litter is the closer "The Angel and the One" which, despite only having one melodic line that changes subtlely throughout, is actually a very emotionally powerful, escalating ballad (nearly reaching the heights of their classic first album closer "Only In Dreams").

All things considered, this album is a huge disappointment for me, and should be for all Weezer fans out there. It is very rare that I actually wish that one of my favorite bands of all time throw in the towel. However, with each successive album it seems that Weezer is only weakening their powerful formula more and more, as if continually diluting what was once a hard-hitting shot of rock that their first albums served to its listeners. Hopefully Cuomo either has a huge creative breakthrough in the near future or calls it quits for the band before they are simply serving us a room temperature pitcher of water.

Key Tracks:
Dreaming
The Angel and The One

Final Verdict: 2.7

Sauw's Corner: Meeting TV on the Radio

2008-09-22T22:31:00.012-04:00

It all started about half an hour before I was about to leave work and head back to my humble Brooklyn abode for another typical, Netflix-infused weeknight. It was around 5:30pm that a knowledgeable friend at work informed me about a very under-the-radar performance by TV on the Radio that would be taking place on the fire escape of the Ed Sullivan Theater as the final segment of a Late Show taping. Seeing as I'm currently obsessed with their new album Dear Science (to be reviewed in the very near future) and that the band has rapidly become one of my favorite new acts of the last few years, that it would probably be worth waiting an hour just to see them play one song...and what a great decision that turned out to be.

After a brisk run in my work clothes down 53rd Street I arrived to reserve the best spot available, which due to the guard rail configuration was on the opposite side of the street from the fire escape where the performance would be. After waiting about 45 minutes, I hesitantly followed someone wearing a "Late Show" badge away from my seemingly good spot to another waiting area that they claimed would get me to the front of the crowd, which was about to pour out of the theater. Despite being led half a block away, we were eventually escorted back to the space within the U-shaped guard rails, just below where TV on the Radio would soon be playing 15 feet above our heads.

By 8:10pm, the members of TV on the Radio began coming out of the theater. And so, as promised, the band sprawled across the two levels of the fire escape and played their punchy, lyrically packed, "It's the End of the World As We Know It"-esque song titled "Dancing Choose", the second single off their new LP. As producer/guitarist David Sitek delivered the goods from the heights of the upper tier, a trio of horn players along the stairwell led down to the rest of the band, steered chiefly by Tunde Adebimpe's rambunctious vocals.

The crowd (which I estimate from eavesdropping that more than half of which hadn't even heard of the band) was simultaneously enthralled by the performance and upset that it was over so quickly. This lack of fulfillment actually favored my chances of getting to meet the band, as many people quickly began to file out and disperse through the streets that had brought them there. And so, as I had hoped for, the band descended to street level and I quickly began to make my rounds.

My one worry about the band's possible fan negligence was quickly expelled, as all of the members that I talked to were incredibly down to Earth and willing to talk to me. After telling singer/songwriter Adebimpe how great I thought they sounded, he thanked me and with a smile said that it was actually pretty weird playing up on the fire escape. I also got to speak to the bassist Kip Malone, mostly discussing our shared love for our shared residence of Brooklyn. After telling him that I've only been living in the BK for a few months, he paused and proceeded to give me a very genuine and straightforward "well...welcome." Lastly, I was able to stop Sitek to tell him how great I think his band is, who responded with a similarly honest "thank you very much."

I once read a review of TV on the Radio's 2004 debut album Desperate Youth, Bloodthirsty Babes that said that the band was five years ahead of its time. Looking at the music scene four years later I firmly believe this. There is no other band out there today that sounds like TVoTR, creating lush soundscapes and towering compositions reminiscent of such rock gems as David Bowie, Prince, and even Radiohead. Much like the Pixies in the late 80s, TVoTR is a band that has harvested a body of innovative rock that sounds like nothing before them, but which many will sound try to immitate down the road. Mark my words, 10 years from now they will be among a handful of bands that are referred to as having defined the daring new steps that music took during the 00's.

Album Review: Death Cab for Cutie - Narrow Stairs

2008-09-09T21:32:00.004-04:00

Death Cab for Cutie is often cited as one of the greatest indie rock success stories of the last decade, and rightfully so. The seeds of buzz were planted with an eight song cassette in 1997 titled Songs You Can Play With Chords, sprouting more in the early '00s among the indie community (sadly due to their appearances from Fox's The OC), and finally blooming in 2003 with their critically acclaimed Transatlanticism. With Narrow Stairs, "the little band that could" debuted at the top of the Billboard 200 and is now playing at venues as large and populated as any other big name band venues. Luckily, with the ever-increasingly lures of becoming more mainstream, their creativity hasn't waned. 2008's Narrow Stairs serves as sufficient proof for this.

Narrow Stairs' opener "Bixby Canyon Bridge" immediately showcases one of the biggest reasons for the band's success; Ben Gibbard's pure and harmless vocals. They serve as a big fat hook those who are just trying to get a taste of the growing pot of indie rock stew but have been deterred by some of its alternative flavors. However, please don't be mistaken. Not all of the band's content is laced with flowers and sunshine, especially with this most recent release. While Gibbard's vocals seem innocuous, they often exhibit very dark and somber undertones, making the band well worth exploring.

Take for example the second track of the album "I Will Possess Your Heart". After the both atypical and entrancing four-minute jam introduction, the lyrics unfold and it quickly becomes one of the few stalker songs that you'll ever actually enjoy listening to. The dark nature continues throughout the LP. However, we continue to listen because the content it juxtaposed with often uplifting and inspiring songcraft. Not surprisingly, the album follows the band's tendency of concluding with a barebones and heartfelt ballad. "The Ice Is Getting Thinner" is a beautiful closing track, reminiscent of the touching nature of previous closers "Stable Song" and "A Lack of Color" from their two previous albums.

After a few listens, one quickly realizes that Narrow Stairs is filled with some of the most personal material that Gibbard has ever written (which he has admitted in recent interviews). Of course, just because of this we shouldn't pretend that it is HIS album. The entire band plays into the album's sound. Producer/guitarist Chris Walla also lends a good deal to the sound, jumping back and forth between solitary soundscapes to more lush and textured arrangements.

The album succeeds for the most part in creating a continually engaging listen, with Gibbard often serving as a fragile but persistent guiding light to take us through the album's darkness. Despite a few skipable duds (e.g. "Talking Bird", "Grapevine Fires") that hold the album back from attaining it's album-of-the-year candidacy, it still features some of the best songs that the band has ever assembled ("Your New Twin Sized Bed", "Pity and Fear"). Over 10 years into their lifespan and Death Cab for Cutie can still manage to deliver an impressive album to add to their catalogue. While compared a few years ago, the ice that they stand on may have gotten slightly thinner, they're certainly still not falling through any time some.

Key Tracks:
No Sunlight
Your New Twin Sized Bed
Pity and Fear

Final Verdict: 8.0

Album Review: Bon Iver - For Emma, Forever Ago

2008-09-07T00:05:00.011-04:00

Hearing Bon Iver's For Emma, Forever Ago for the first time was a both a strange and unique experience for me, and one that I've rarely ever encountered before. The sensation was similar to submerging oneself into a frozen lake, but instead of rushing back to the surface choosing rather to embrace the cold and become fully absorbed in it. It's a sound that hits you with a sharp chill and slowly unfolds into something that is pure, organic, haunting, and emotionally moving.

Before I get too carried away, let me just back up a few steps. So Bon Iver is actually the singular creation of Justin Vernon, a Wisconsin native who was (up until this album) struggling to find the true sound that he had always been looking to create. So pre-Bon Iver, there was the unfulfilled Justin Vernon, member of the North Carolianian indie folk band DeYarmond Edison. When his desire to attain the creative flexibility that he so desperately needed finally broke through, he decided to pack up his bags, dump his girlfriend, and make his way back to his Wisconsinian roots.

Once back, he moved to the solitude of his father's hunting cabin in the woods, all alone and intending simply to relax and re-establish some peace of mind. But as soon as he started to pick up his guitar, a multitude of uncontainable ideas began to flourish, ones that wouldn't be interrupted by anything but his own sleep schedule. And so, Bon Iver (a mispelling of the French "bonne hiver" meaning "good winter") came into being, emerging from the woods three months later with his arms full of tremendous material.

Bon Iver can easily be compared to other heartfelt and reclusive artists like Iron & Wine's Sam Bean or the late, great Nick Drake. However, to limit him to this would just be wrong. Vernon shares similarities with a smorgasbord of musical talents, with vocals achieving the emotionality of Marvin Gaye, the raw troubadour passion of a Glen Hansaard, and the wild creativity matching the likes of Neutral Milk Hotel or more recently Animal Collective.

The album is filled with hypnotic acoustic compositions that swagger and sway mostly due to Vernon's amazing voice. The opener "Flume" is captivating for it's simultaneous delicacy and incredible power. Vernon's falsetto flutters through the entire album, only dipping occasionally into lower registers. However, when it does drop to a lower register, his songs achieve an atypical, climactic ability. This is no more apparent than on the gripping "Skinny Love", the kind of song that Ben Harper always aspired to write but never quite achieved.

In his debut, Justin Vernon/Bon Iver has created a piece of work that will certainly stand the test of time and most likely achieve the same timeless status of other wildly influential singer/songwriter landmarks such as Astral Weeks or Pink Moon. After a quick 37 minutes it comes and goes far too quickly, bringing to mind some of the most sadly ephemeral natural occurances like the Northern Lights or a full moon. Luckily for us we can simply press "Play" again and start the whole cycle over again as many times as we like.

Key Tracks:
Skinny Love
For Emma
Re: Stacks

Final Verdict: 9.8

Bon Iver - Skinny Love

Concert Review: Yo La Tengo @ McCarren Park Pool, Brooklyn (8/24/08)

2008-08-24T22:53:00.014-04:00

The fact that Yo La Tengo has been together as a rock band for over 20 years should lead most people to naturally assume that they lack the spirit and raw energy of their more youthful days. Let's face it, we've all seen so many aging bands attempt and sadly fail to match the musical prowess that they once had. There's no question that the spirit of rock and roll will always inherently be linked to youth. However, Yo La Tengo proved today at McCarren Park Pool that the ability to rock, I mean to truly rock, really has no age limit.

Yo La Tengo hit the stage at McCarren Park Pool today in Williamsburg for what may very well be the last summer Pool Party event that the venue hosts (with the almost definite plan in the near future to renovate the pool area into...that's right, an actual pool). Moments before Yo La Tengo took the stage, I was beginning to get worried that they wouldn't be able to match the ruthless energy delivered by the previous act Titus Andronicus (which included a bizarre beard trimming incident and multiple beach ball stabbings by lead singer Patrick Stickles). However, all fear was quickly washed away by one of the most musically bombastic live experiences I've witnessed in the last few years.

The set opened fairly innocuously, with the light-hearted, smile-inducer "Mr. Tough" that bounced along into the eardrums of hundreds of attendees that had no idea what was about to ensue. It was during the third selection of "Pass The Hatchet, I Think I'm Goodkind" (also from their newest, fantastic 2006 release I Am Not Afraid Of You and I Will Beat Your Ass) when Hurricane Yo La Tengo finally rolled in. The band quickly showed why they are often claimed as one of the key players in the discretely reckless 90s indie rock movement.

It was mesmerizing to watch how well the trio is able to play off one another's talents. First there's frontman Ira Kaplan, who can easily be deemed as the true spirit of the band, often emanating his inner-Hendrix with every ferocious and incredibly authentic attack of his guitar. There's also bassist James McNew, who seems to the the gentle giant of the band until lending a killer bass line to the mix. Lastly, Georgia Hubley supports every song with incredibly confident percussion as well as heart-melting vocals on about half of the tracks.

But it wouldn't be right just to limit their roles this simply. The band essentially played musical chairs throughout the entire set, with each member showing off their incredible versatility with the common exchange of lead vocals, keyboards, lead guitar, and percussion. While Kaplan adds a healthy dose of rock ferocity to their stage presence, all three members certainly share the spotlight together.

Despite a much too short set (just under an hour and a half), Yo La Tengo certainly ended the Pool Parties of '08 with a tremendous tidal wave of sound that filled more than just the pool itself. The band is still just as bold and brilliant as they have ever been, and appropriately still cherished by rock enthusiasts and critics alike for their consistent ambition and unrelenting sonic experimentation. We can only hope that their allegiance to the true, youthful spirit of rock continues for another 20 years.

Yo La Tengo - "Pass The Hatchet, I Think I'm Goodkind"

Album Review: The Raconteurs - Consolers of the Lonely

2008-08-23T22:42:00.008-04:00

With Consolers of the Lonely, Jack White and his accomplices take another stab at making the rock-God-status-achieving album that they were hoping for with their first LP Broken Boy Soldiers two years earlier. However, as much as Jack White ("Jack White III" being his new, hopefully temporary moniker) wants people to think that the Raconteurs aren't just a "side project" for him, it's hard not to think of it as anything but this. Despite this second effort being much more musically and conceptually ambitious than their first, it still pales in comparison to anything the White Stripes have put out.

After the first few tracks, it becomes immediately obvious that White and Brendan Benson (who alternate both songwriting and vocal credits) are reaching for something much more hard-hitting than their mostly wimpy debut. The album definitely kicks with an engaging start, opening with a pair of great, raw rock diddies. While the first half of the album is fairly consistent with material far more exciting than songs from Broken Boy Soldiers, the second album begins to wane a bit with a few easily skippable tracks ("Attention", "These Stones Will Shout"). It's not that they're particularly bad songs, it's just they simply lack the kinetic, raw drive that Jack White is known to carry along with him whenever he's got a guitar clenched between his albino-white fists.

Now, please don't let this criticism scare you away. In fact let it excite you that the worst songs on the album are only "kind of boring". Which leads me to safely deem many other tracks as pretty freaking awesome. White and Benson definitely hit their stride on many tracks, and not just the ones that sound like White Stripes songs. "Old Enough" is probably the shiniest gem in the jewel box, with an incredibly hooky melodic with a country flare. There's also the triumphant "Many Shades of Black" that implements horns and a great vocal performance by Benson to achieve about four engaging climaxes throughout the song's duration (not to mention a wicked White solo thrown in as well).

And finally, I couldn't go mentioning the stunner of a closer, "Carolina Drama", which finally legitimizes the band's name choice (save yourself some time; def: raconteur = storyteller). The song manages to tell a harrowing and incredibly detailed tale of a boy that steps up to protect his family from his mother's abusive boyfriend, and in doing changes the lives of his entire family. The songcraft is brilliant, lulling us deeper after each verse and building to an incredible finale.

All in all, I'd have to say that Consolers of the Lonely is a big step forward for the band. It certainly has a good amount of tunes that completely blast away their debut LP. However, with a duration that runs almost twice as long, it's frustrating to think how much more solid of an album this would be if three or four songs were left as B-sides. Either way, the album has a lot to offer, and certainly no one can be upset when Jack White is continually putting out material while still in the height of his creative arch.

Key Tracks:
Old Enough
Rich Kid Blues
Carolina Drama

Final Verdict: 8.0

Concert Review: Radiohead @ Molson Amphitheatre, Toronto (8/15/08)

2008-08-18T22:56:00.016-04:00

I've said it once and I'll say it again, seeing Radiohead live today is the closest you're going to get to an experience like seeing The Beatles play live in the 60s. Over a decade after their genre-defining, post-modern masterpiece OK Computer, the band is just as important now as they ever were, and debatably the most important band of the last 15 years. With the most recent release of the cryptically beautiful In Rainbows, they are still prepared to both melt your mind and your heart with an onslaught of outstanding new and old material.

After situating myself onto the front of the lawn at the Molson Amphitheatre, I prepared myself for what would surely be one of the better musical experiences of my life. After having already seen Radiohead perform at Bonnaroo 2006 (and what a way to set the bar high that was), I had an idea of what I was in store for. The Brooklyn-based Grizzly Bear opened the show with an eerie, The Wall-esque sound that was really no match for the set on deck. Despite getting absolutely drenched with a torrential downpour for over an hour, as if deviously planned all along by Yorke himself, the clouds parted and a pair of rainbows appeared over the Toronto skyline just before Radiohead went on.

And so, at about 8:45pm the lights dimmed and the crowd was mercilessly thrown into the gripping and fragmented opening measures of In Rainbows opener "15 Step". Although I should have expected no less, their magnificent sound was equally matched by a stunning lighting arrangement completely encompassing the quintet. It was probably the most beautiful array of light and color I've seen since seeing the Northern Lights wisped over my head three years ago outside of Montreal after a Beastie Boys concert.

Anyways, the roughly two hour set was filled mostly with material from their latest LP, including all 10 songs from the album in varied order. This just goes to show that the band is one of the few still-touring classic acts that doesn't need to rely almost entirely on past hits to keep their performance afloat (e.g. The Police, The Who, etc.). Of course, there was a solid mix of older treats that were more than welcome. Classics like "Airbag", "Planet Telex", and "Street Spirit (Fade Out)" enabled Yorke and Greenwood to show that they really are still the blood, sweat, and tears of the band.

If you can't tell by now, Radiohead clearly met all of my monumental expectations and more on this beautiful Friday night in Toronto. While they still have the ability to achieve rock-God status (as they are universally acknowledged of having achieved in the late-90s), there does seem to be a noticeable shift in their recent affect on the listener. To me, Radiohead is becoming less a tangible rock band and more of a musical entity, especially emphasized by the material from In Rainbows. Rather than playing my typical role as the foot-stomping, head-banging rock show attendee, I found myself more often simply standing motionless, completely and utterly absorbed in the visual and audio culmination being delivered to me. They seem to have slowly departed from their past rock demeanor into one more delivering sheer music majesty. Seeing Radiohead live does not just give you more of an appreciation for the band, it gives you more of an appreciation for the beauty of life itself.

Radiohead - Planet Telex

Album Review: The Last Shadow Puppets - The Age of the Understatement

2008-08-07T23:47:00.010-04:00

When considering the typical output a modern singer/songwriter tends to put out nowadays, it's safe to say that Alex Turner is one ambitious guy when compared to his peers. Already having put out a pair of fantastic LPs with his UK-conquering, garage-rock revival act the Arctic Monkeys, he's already putting out a side project at 22. And don't let the album's title fool you, this is certainly no light affair. Turner, with the assistance of The Rascals' Miles Kane, has assembled a sweeping and rousing ode to late-60s symphonic pop. The album seems like it would be more appropriately placed during the opening credits sequence of a Sean Connery-Bond outing, rather than frequenting college radio stations.

Turner and Kane muster up much of their lush sound with the tremendous help of the London Metropolitan Orchestra (how's that for being ambitious). While the songs sometimes pale a bit in comparison to the infectiously catchy rock of the Arctic Monkeys, there's no doubt that the sound here is consistently intriguing. Some may be put off by the epic scale that Turner and Kane shoot for here, with a diverse sonic template that never really eases up until the beautiful closer "The Time Has Come Again". However, in the end The Age of the Understatement succeeds on many levels as another credit to add onto Turner's increasingly impressive musical resume.

Key Tracks:
Standing Next To Me
Meeting Place
The Time Has Come Again

Final Verdict: 7.8

Album Review: Elbow - The Seldom Seen Kid

2008-07-27T12:16:00.011-04:00

The opening track “Starlings” off of Elbow’s most recent LP perfectly foreshadows the greatness to ensue on one of 2008’s best releases so far. The first 15 seconds begin with a “Day in the Life” accumulation of noise that builds until abruptly halting, only to make way for a gentle, lulling harmony that draws you in to an unknown and unpredictable sonic territory. The song continues to cycle through a bewildering series of building, exploding with horns, and careening strings.

The sound of Manchester’s Elbow can be loosely compared to the dream rock of bands like Doves or Travis, even at times Sigur Ros. But limiting them to just these contemporaries wouldn’t do them justice. One of the main contributors to their unique sound is Guy Garvey, who leads the band with his majestic, Peter Gabriel-esque vocals. His voice leads the way throughout the wondrously diverse soundscapes as if a guiding light shining a path for us to follow. The variety of musical territory explored is breathtaking, ranging from delicately sweeping arrangements (“Mirrorball”) to more crunchy, haunting experiences (“Grounds For Divorce”).

The album is rare in its faultless execution from beginning to end, with a constant draw for the listener as if exploring a series of dreams and not wanting to wake up. Highlights include the cathartic “The Loneliness of a Tower Crane Driver” and the beautiful, almost heavenly “Weather To Fly”. Despite the bands poor name choice, Garvey and his party make no missteps on their epic fourth LP.

Key Tracks:

The Bones of You

The Loneliness of a Tower Crane Driver

One Day Like This

Final Verdict: 9.3

Album Review: Coldplay - Viva La Vida or Death And All His Friends

2008-07-20T22:31:00.012-04:00

It's apparent from the very first track of their newest offering that this ain't gonna be your typical Coldplay album. What this track also tells you is how heavily Brian Eno's signature sound will permeate through the LP. At this point, Eno has been credited for producing some of rock's greatest offerings from some of its greatest bands, including U2's legendary The Joshua Tree and Talking Heads insanely creative Remain In Light.

Now it's Coldplay's turn for a bit of the Eno touch. So of course he has pushed the band towards the idea of new instrumentation and sound. Up until this album, Chris Martin had rarely felt safe wandering too far away from his harmless piano playing and empathetic, soprano vocals. However, here the band often generates a more raw sound, with tracks such as "Lost!" and "Violet Hill" sharing a crunchy, forceful tone. Of course, there is still plenty of room for more lighthearted affairs, such as the delightfully catchy "Strawberry Swing" and the swirling epic "Lovers In Japan/Reign of Love". However, the band has taken noticeable step towards a completely new mentality towards the final product that they want to deliver.

The band aims high and as ambitious as ever to try to create something that they hope will completely make the listener spellbound in sonic glory from start to finish. There really aren't any bad tracks on this album, only a couple that fail to deliver the full aural blowout that the band is hoping to maintain ("Cemetaries of London", "Yes"). However, in the end, this is certainly Coldplay's greatest offering to date, and shows that even the most universally successful bands in the world is still willing to take risks with their music, which is always reassuring.

Key Tracks:
42
Violet Hill
Death and All His Friends

Final Verdict: 8.8

Concert Review: Spoon @ Prospect Park Bandshell, Brooklyn (7/15/08)

2008-07-16T23:08:00.018-04:00

Around 9pm on a clear, peaceful summer evening in Brooklyn, the four members of Spoon walked onto the Prospect Park Bandshell stage to kick off what would be one of the most thrilling sets I've ever seen. Wisely, they decided to ease into their performance with the swaggering "They Never Got You" off of their lauded 2003 LP Gimme Fiction, which served as a good taste of the band's winning formula for both fans and new listeners. The band then erupted into barrage of much loved new and old material, unsurprisingly playing the majority of tracks from their (future classic) 2007 release Ga Ga Ga Ga Ga.

Before the show, I had heard one of my trustworthy friends shrug off a Spoon gig they had seen as being somewhat lackluster. This was actually probably a good thing for me to hear, as it set me up to expect nothing that would compare to the raw, kinetic power of their album library. So when Spoon went on to play their second song "My Mathematical Mind", the possibility of a mediocre review of the show was vaporized, drifting away with the rest of the smoke machine generated fog lifting off the stage.

Britt Daniel, the singer/songerwriter and lead guitarist of Spoon is obviously the centerpiece of the band's sound, as well as the epicenter of its tremendous force. Part of the satisfaction that comes with the way that he plays is his incredible way of evoking a bottled-up energy through both his abrasive guitar attacks and his straining yet sometimes tempered vocals. The band is known for its very economical use of sound and instrumentation, which sets up a perfect barrier for Daniel to burst through with his angst-filled performance tendencies.

And of course, one of the real unexpected treats for me was their choice for their grand finale. After the first three encore songs, I had no idea how Daniel and his crew were going to top themselves after already leaving such a firm sonic stamp on the fan's ears. However, all was fulfilled when they dove into a cover of the Stones' classic "Rocks Off", featuring a three part horn section and, once again, Britt Daniel's explosive play style. All in all, Spoon smothered all doubts I had of their live capabilities, giving me and the rest of the crowd even more reason to believe that New York City is truly THE music mecca of the world, and that Spoon is a very solid contributor to this.

Spoon covering The Rolling Stones' "Rocks Off"

Concert Review: The Hold Steady @ McCarren Park Pool, Brooklyn (6/29/08)

2008-06-30T10:02:00.020-04:00

Before heading over to McCarren Park Pool today, I had read many internet/magazine articles featuring confident claims of The Hold Steady as being the best live act in the US right now. The fact that these are songs aimed to please the sing-along, fist-pumping fan is pretty apparent just from listening to their anthem-filled rock library (that has quickly accumulated into four albums over the past five years). So when The Hold Steady started playing their first song "Constructive Summer" off their upcoming album "Stay Positive", all of my doubts of the band fulfilling these claims were immediately extinguished.

The Hold Steady pack a punch harder than almost any other band I've seen in concert. Their lead singer and songwriter Craig Finn is largely responsible for this, with his hard-hitting, slacker vocals reminding us of so many other fearless rockers of the past. His lack of vocal talent is ultimately endearing, making us realize that it's personality and individuality rather than talent that has made some of the most technically unqualified vocalists some of rock's most beloved (Dylan, Jagger, Westerberg, etc.) There's also a tremendous band there to back him up, led primarily by the fantastically confident Tad Kubler on lead guitar. Keyboardist Franz Nicolay also lends a key melodic element to the songs. Finn comically spends more time waving his arms to and fro rather than actually playing his guitar (which is not necessarily a bad thing).

And of course, what better to complete a the rock concert experience than the energy of the fans themselves. And man oh man does this band have some insanely loyal fans. It amazes me how the majority of people surrounding me knew every single word of every Kerouac-ian verse flying out of Finn's mouth. There was an incredible level of connection between the fans and the song's content. It really shows that the spirit of rock and roll can still permeate from every pore and every breath of a fan just as it has in decades past, and The Hold Steady are a key act in lighting the way for numerous boys and girls in America today.

The Hold Steady - Same Kooks

Album Review: Vampire Weekend - Vampire Weekend

2008-06-15T00:38:00.004-04:00

Vampire Weekend's self-titled debut is one of the most immediately loveable debuts to come along since The Strokes' 2001 Is This It. Similar to this modern classic, Vampire Weekend's debut features a terse selection of fairly simplistic yet incredibly hooky tunes that make repeated listenings almost a no-brainer.

The sound that the band culminates from various sources is where the brilliance of the record lies, with VW's singer/songwriter Ezra Koenig uniquely meshing elements of Afro-pop, punk, and new wave into one, solid package. It's easy to visualize the band's melodies and compositions strutting across the musical staff in a cool, confident, and trendy way. The boys from Columbia are no strangers to knowing what makes oodles of vest-wearing, book carrying college kids drool over music. The content of tracks like "Oxford Comma" and "Campus" easily jive with this audience, while the tightly arranged "M79" sounds like it jumped straight from the soundtrack of a Wes Anderson movie.

While the band can be criticized by some for too-heavily channeling the spirit of Paul Simon's Graceland, one must realize all of the other cards that are at play here. The band truly sounds like nothing that's been put out before, and nothing that's out now. It's a gratifying listen from start to finish, and then from start to finish again, and again... and again.

Key Tracks:
A-Punk
Cape Cod Kwassa Kwassa
The Kids Don't Stand A Chance

Final Verdict: 9.0

List: Sauw's Top 100 Albums of All Time

2008-06-13T00:54:00.003-04:00

100 Coldplay - A Rush of Blood to the Head
99 Jens Lekman - Night Falls Over Kortedala
98 Television - Marquee Moon
97 The Smiths - The Queen Is Dead
96 Kanye West - The College Dropout
95 Moby - Play
94 Elvis Costello - My Aim Is True
93 Billy Bragg and Wilco - Mermaid Avenue
92 Mile Davis - Kind of Blue
91 Iron & Wine - The Shepherd's Dog
90 Paul Simon - Graceland
89 Clap Your Hands Say Yeah - Clap Your Hands Say Yeah
88 U2 - The Joshua Tree
87 Guided By Voices - Bee Thousand
86 Randy Newman - Sail Away
85 George Harrison - All Things Must Pass
84 The Go! Team - Thunder, Lightning, Strike
83 The Rolling Stones - Sticky Fingers
82 Pink Floyd - Dark Side of the Moon
81 Counting Crows - Recovering The Satellites
80 Yo La Tengo - I Can Hear The Heart Beating As One
79 Talking Heads - Remain In Light
78 Damien Rice - O
77 Van Morrison - Moondance
76 Neko Case - Fox Confessor Brings The Flood
75 Spoon - Girls Can Tell
74 The Velvet Underground - Loaded
73 Beastie Boys - Paul's Boutique
72 Pavement - Slanted & Enchanted
71 Death Cab for Cutie - Transatlanticism
70 Neil Young - After The Gold Rush
69 The Wrens - The Meadowlands
68 The Postal Service - Give Up
67 Oasis - (What's The Story) Morning Glory?
66 Gnarls Barkley - St. Elsewhere
65 The Beatles - Revolver
64 Ben Kweller - On My Way
63 Bruce Springsteen - Born To Run
62 Radiohead - In Rainbows
61 Bob Dylan - The Freewheelin' Bob Dylan
60 The White Stripes - White Blood Cells
59 The Strokes - Room On Fire
58 Yo La Tengo - I Am Not Afraid Of You and I Will Beat Your Ass
57 Sigur Ros - ( )
56 Sun Kil Moon - Ghosts of the Great Highway
55 The Flaming Lips - The Soft Bulletin
54 Weezer - Pinkerton
53 The Decemberists - The Crane Wife
52 Nick Drake - Bryter Layter
51 Ryan Adams - Heartbreaker
50 The Shins - Oh, Inverted World
49 Annuals - Be He Me
48 Andrew Bird - Armchair Apocrypha
47 John Lennon - Plastic Ono Band
46 R.E.M. - Murmur
45 Van Morrison - Astral Weeks
44 Third Eye Blind - Third Eye Blind
43 The Beatles - Let It Be
42 Stevie Wonder - Innervisions
41 The Band - The Band
40 The Replacements - Tim
39 Radiohead - Kid A
38 David Bowie - The Rise and Fall of Ziggy Stardust…
37 Doves - Some Cities
36 Joni Mitchell - Blue
35 The National- Boxer
34 Ben Folds Five - Ben Folds Five
33 The Hold Steady - Separation Sunday
32 Beck - Odelay
31 Eels - Blinking Lights and Other Revelations
30 Bob Dylan - Blood on the Tracks
29 The Clash- London Calling
28 Pixies - Doolittle
27 Spoon - Ga Ga Ga Ga Ga
26 The Velvet Underground - The Velvet Underground
25 Pavement - Crooked Rain, Crooked Rain
24 New Pornographers, The - Twin Cinema
23 Super Furry Animals - Rings Around The World
22 Radiohead - The Bends
21 Nick Drake - Pink Moon
20 Wilco - Yankee Hotel Foxtrot
19 Arctic Monkeys - Favourite Worst Nightmare
18 Weezer - Weezer (Blue Album)
17 The White Stripes - Elephant
16 Stevens, Sufjan - Illinois
15 Arcade Fire - Neon Bible
14 The Shins - Chutes Too Narrow
13 Bright Eyes - I'm Wide Awake, It's Morning
12 Rolling Stones, The - Exile on Main St.
11 Destroyer - Destroyer's Rubies
10 Buckley, Jeff - Grace
9 Neutral Milk Hotel - In The Aeroplane Over The Sea
8 The Streets - Original Pirate Material
7 LCD Soundsystem - Sound of Silver
6 My Morning Jacket - Z
5 Bob Dylan - Highway 61 Revisited
4 The Strokes - Is This It
3 Counting Crows - August and Everything After
2 Radiohead - OK Computer
1 Arcade Fire - Funeral