Album Review: Weezer - Weezer (Red Album)

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

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

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

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)

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

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)

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

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

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

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