Blonde Redhead - 23

Grade: 82.0%
Official Score: 83.6%

What the Others Think:
Pitchfork Score:
Tiny Mix Tapes Score: 3 out of 5
Coke Machine Glow Score:




I remember my first time hearing Blonde Redhead's music. I was sitting in the grass at a nearby amphitheater, patiently awaiting the band's whose names were printed on the ticket I had purchased: Red Hot Chili Peppers and Foo Fighters. It was the summer of 2000, and your's truly was only a month removed from high school. Not quite yet 18, not quite yet ready for college, and not quite ready to grow up. My music tastes were on the verge of shifting towards the tastes I have today, yet I was not quite ready to dismiss the past and empty my CD collection of the bands that regularly graced the small screen and the small town radio stations I listened to religiously each and every night.

So there I was, sitting on the lawn with some friends, waiting to get in contact with other friends when I couldn't help but notice the noise the opening band was making. I stood up to get a look. From the distance I could make out three people, two men and a woman, that's it. But the noise. It was this Sonic Youth fan's dream come true. I filed the name of the band, Blonde Redhead, in the back of my mind, enjoyed the remainder of the show, and the rest is history.

As shocking is it may seem on the surface, the pairing of Blonde Redhead on a bill with two of alternative rock's biggest icons is nothing out of the ordinary given the band's history for their penchant of conflict and balance. Nearly everything about the band relies on one or the other, from the bands makeup (two Italian men and a Japanese woman), to their connections as people (singer/multi instrumentalist Kazu Makino is married to singer/guitarist Amadeo Pace, drummer Simone Pace is Amadeo's twin brother), their album titles (1997's Fake Can Be Just As Good, 1998's In an Expression of the Inexpressible), song titles ("Futurism Vs. Passeism", "Hated Because Of Great Qualities", and "Loved Despite Of Great Faults"), and even the name of the band itself, which suggests either a conflict or balance in hair color.

23, the latest release from Blonde Redhead, is no exception, only this time the conflict and balance is more in the album's tone and style than anything else. The album opens with the magnificent title track, a beautiful swirl of Kazu's gorgeous singing and yelping, Amadeo's best Loveless style guitar playing, and Simone's percise drumming. The song is the perfect foreshadow for what the listener can expect from the rest of the album, which is the marriage of Misery Is a Butterfly's lush production to the balanced instrumentation found on Melody of Certain Damaged Lemons. This is how Misery, would have sounded if it were more raw, and how Melody might have sounded if it had better production. Which isn't to say that fans of yore should start picketing for an Unwound reunion (we should all be doing that regardless), even the old fans get some love with tracks like "Dr. Strangeluv" and "Spring and By Summer Fall", songs that, at their core, would not sound terribly out of place on La Mia Vita Violenta and Fake Can Be Just As Good respectively.

The album's strongest point is its second half. "Silently" is a bouncy pop song, reminiscent of the 80s new wave that Blonde Redhead's initial influences rebelled against. "Publisher" is the perfect culmination of Misery and Melody, and like most of the best Blonde Redhead songs, regardless of what album, have Amadeo and Kazu both taking lead vocals. "Top Ranking", perhaps this reviewer's favorite song on the album, is as striking for its foray into Japanese electro-pop as it is for hearing Kazu's voice with little or no effects. The album's closer, the spacey "My Impure Hair" returns brings the album full circle with its shoegaze sound, and is also noteworthy for its use of acoustic guitar.

It is hard to believe that it has been over twelve years since Blonde Redhead released their first album, and that six albums later they are still pushing the envelope and making artistic, creative, and thoughtful music. 23 might not be the best Blonde Redhead album of the bunch, but it is still an exquisite piece of work that, if nothing else, does and excellent job of representing the band both then and now.

Explosions in the Sky - The Earth is Not a Cold Dead Place

Grade: 81.0%
Official Score: 82.6%

What The Others Think

Pitchfork Score: 7.7
Tiny Mix Tapes Score: 4 1/2 Out of 5
Coke Machine Glow Score: 83%/81%




Well, what is it then? That's certainly the million dollar question, isn't it? After several unsuccessful attempts to reach the band, yours truly had no choice but to narrow it down to the following possibilities. Please put a check next to those that best apply.

The Earth Is...

1). The third closest planet to the sun.

2). A place where a rock band from Austin, Texas can make incredibly moving and powerful albums without the use of vocals. Their latest album, titled The Earth is Not a Cold Dead Place strangely enough, being a fine example of their ability to create complex imagery using only guitars, bass, and drums, though it is perhaps a little more restrained than their previous release Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever.

3). About to be eaten by Galactus. Lets just hope he chews first.

4). A place where words are not necessary to describe the most complicated of situations or emotions.

5). A giant rock floating around in a galaxy trapped inside of a marble like in the blockbuster smash Men In Black, starring Will Smith and Tommy Lee Jones.

6. The result of six of God's most productive days.

7). Best viewed from the surface of the moon.

8). Flat.

Doves - Lost Souls

Grade: 85.4%
Official Score: 90.1%

What The Others Think

Pitchfork Score: 6.8
Tiny Mix Tapes Score: N/A
Coke Machine Glow Score: N/A




House DJs tend to brag that their set will burn the house down, but in the event of such a tragedy actually happening, I suggest taking a cue from Doves. After a fire destroyed their house, which doubled as their studio and housed all of their equipment, the band took it a sign that a change was in order. The result is nothing short of a masterpiece, an album for a long drive home for someone with nothing (or plenty) to think about.

For three guys who spent more time in raves than in clubs, this album is heavily lacking in the dance department, but that is not a complaint. Instead of relying on old tricks or trying to create some dance-rock hybrid (which would have put them ahead of the game), Lost Souls is instead a Brit-pop album without the pop, a sprawling epic that's neither proggy, jammy, or post rock, yet somehow not entirely absent of certain qualities those genres rely on either. If I had to describe this album, I would have to say it is like a constant summer breeze. Or better yet, like rafting on a calm lake in the middle of the night, in the country, with a clear, widescreen, high-definition view of the universe above.

"Firesuite", a 4 1/2 minute (mostly) instrumental jam opens the album. The song relies heavy on its cymbal heavy jazz drumming and walking bass line. Hearing this song might make you think of Portishead if only they were a little more organic. This song is about as close as they come to their DJ roots. From here the band lightly pushes and tugs your raft in the direction they want to take you. "Here It Comes" is slightly upbeat and bouncy, while "Sea Song" floats on and on. The first 7 songs just drift along just perfectly, and all the while the listener is unsuspecting of what's to come at track 8, which is, of course, the rockin' "Catch the Sun", which still holds the title for Best Single Nobody Heard. Afterward, they bring it back down again for the gorgeous "The Man Who Told Everything" and the epic "Cedar Room". A couple of tracks later, the band tells the tale of the house fire that brought them to where they are today in the campfire acoustic finale "A House".

In England, that pretty much ends it. In the US though, we get three bonus tracks tacked on for no extra cost. Its awfully nice of them to do so, and after listening to the first bonus song, "Darker", you'll begin to wonder why they were left off the album in the first place. "Darker" is like "Here It Comes" in terms of pacing, but more akin to "Catch the Sun" in that it rocks much harder. The distorted bass line will have you hooked, I guarantee it. Unfortunately, "Valley" is a little too close to Brit-pop and definitely points to the direction they would eventually head towards on their next album, which isn't an awful thing, but its clear why this song was a b-side. The final track, "Zither", is an instrumental song that is nowhere near the high standard set by "Firesuite". It too could have been left off without much complaint.

Regardless of the two unnecessary tracks that conclude the album, Lost Souls is an essential purchase for anyone in need of a Spring or Summer album, or just in need of a good, no, great album.

LCD Soundsystem - Sound Of Silver

Grade: 84.4%
Official Score: 87.2%

What The Other's Think

Pitchfork Score: 9.2
Tiny Mix Tapes Score: N/A
Coke Machine Glow Score: N/A




New York may be a city with plenty of twist but a severe lack of shout, as James Murphy describes on Sound of Silver'sfinal track, "New York, I Love You But You're Bringing Me Down", but there's more than enough of both on this album to go around.

Personally, I'm just happy Murphy finally got the ball rolling on this project of his in the first place. Sure, there were re-mixes and 12 inches in the hands of DJs for years, but to be quite honest, none of those tracks really thrill me. LCD's first proper release, 2005's self-titled album, was honestly the first time I ever found myself enjoying an LCD Soundsystem song. Its not that the earlier stuff is bad, but those songs, "Losing My Edge", "Beat Connection", any version of "Yeah", all lose something once they're taken out of the club and brought into the home. That same thing cannot be said for the two full lengths (I'm not counting the Nike thing in this...sorry). Both albums, but especially Sound of Silver, don't require your neighborhood DJ's approval for you to play while, say, taking a shower, or cooking your sweetheart dinner...in the nude. This is an album, of dance songs, yeah, but it is still first and foremost an album.

Much has been said about Murphy's influences, and they're here alright: Bowie, Eno, Tears For Fears and 80's new wave/pop, post-punk (just in general), 70s rock, just about everything this man has ever heard and liked probably found a way on this record. But honestly, the biggest point of reference I notice is his own unmistakable production. The first track "Get Innocuous" is reminiscent of the Rapture's "Killing", and "Us V Them" could be the next "House of Jealous Lovers". Even the album's closer, the slow, piano driven "New York, I Love You But You're Bringing Me Down" is, at times, almost exactly like "Open Up Your Heart". But never once does it seem like he's ripping them off, and how could he? The DFA "co-produced" Echoes with the Rapture, but after the release of the latest Rapture album last fall and now Sound of Silver, it is obvious how big of a hand Murphy had in shaping the Rapture's sound on Echoes.

There are moments on this album that drag a bit if you're listening at home. Songs run too long, cadences become to repetitive, chords don't progress. Still, there are more than enough songs that absolutely kill. "Time to Get Away" is fairly restrained, but once it gets going you'll have a hard time sitting down. "North American Scum", the album's first single, may complain about the American party scene, but who knows, with the song's clunky guitars and Murphy's falsetto perhaps a revolution will be started. The album's highlight, "All My Friends", sounds like U2 when they were young and considered post-punk, and good (though Murphy has a tendency to sound like Bono throughout the whole album, not just this song). The song never once gets boring during its 7 1/2 minutes, the only long song on the album I didn't spend counting the seconds or wishing I could ditch the headphones and dance (for reviews, I listen to albums with headphones on to ensure I hear everything going on, for better or worse...). After that it's all head nodding, hip shaking goodness until the final track, where even though Murphy laments that his fair city is letting him down, you know he's never going to leave it (unless its for a lengthy tour, thanks for coming to Kansas/Missouri by the way). Which is kind of like this album, there will probably be a song or two that will let you down, but chances are if you let it grow on you, there will be no desire to let it get away.

Grizzly Bear - Yellow House

Grade: 84.5%
Official Score: 86.7%

What The Others Think

Pitchfork Score: 8.7
Tiny Mix Tapes Score: 4 Out of 5
Coke Machine Glow Score: 86%/83%




Those unfamiliar with the band yet know that Warp, the band's label, is renowned for its cutting edge electronic acts might have assumed that Warp pressed the wrong album, or that perhaps Grizzly Bear pulled a Doves on us. Both would be incorrect, though the latter does come a bit closer than the former. In actuality, Yellow House is just the natural progression from their first release, Horn of Plenty, and all the better for it.

Yellow House is probably my favorite album to fall asleep to, which I mean as a compliment. I can fall asleep to just about anything, but it takes something special to keep my brain working, twisting and turning. Yellow House does just that. The album's pacing is just right to nod off and drift along with, and its dynamics are vast enough to create vivid landscapes and colors without waking me. Also, the vocals, like on "Little Brother" or "Colorado", sound far enough away that they appear to be blowing over like a gentle spring breeze, yet close enough to envelope like a blanket.

The album's first track, "Easier", starts like a lullaby, with a simple finger picked acoustic guitar riff and Edward Droste's cooing. The music is folk music, I suppose, but folk like Animal Collective's Sung Tongs is folk. The next track, titled "Lullabye" no less, starts very similarly, only with simple strumming replacing the finger picking. The song later cascades and peaks, with its ascending guitar line seemingly lifting the song out of the bottom of the Grand Canyon. Meanwhile, "Knife" finds the band at their catchiest, with a chorus of reverb soaked and processed "ohhh-ah-ah-oooh's" that will make your head spin.

I should probably mention now that this album is a headphone masterpiece. Songs like "Central and Remote" hit a peak that's as rewarding as climbing one yourself, while "Little Brother" has enough twists and turns to keep the listener on their toes. "Plans", with it's repetitive chord progression and tape loops sounds like it would fit perfectly on Olivia Tremor Control's Black Foliage, another masterpiece in its own right.

Unfortunately, the album falls just short of being a modern masterpiece. "Reprise" and "Colorado", both as lovely as as they are (and I'm sure to receive some shit for saying this) do not even compare with the album's best, which is really more of a testament to the album's highlights than it is a criticism of a couple of good songs. Besides, there are a couple of snoozers towards the end of Sung Tongs too, yet it is still talked about after almost 3 years (including myself), so I find it doubtful that people are going to forget about this wonderful album because the last two songs don't quite live up to the other eight. Trust me, the more you listen to it, the more you'll find yourself obeying the lyrics sung in the album's highlight song, "On a Neck, On a Spit": "Each day I spend it with you now/All my time spend it with you now." Play this album around a campfire or just before bed, and play it loud enough so the melodies gently glide into your head.

The Faint - Blank Wave Arcade

Grade: 82.2%
Official Score: 84.9%

What The Others Think

Pitchfork Score: 8.1
Tiny Mix Tapes Score: N/A
Coke Machine Glow Score: N/A




SEX!!!

Now I have your attention, don't I? I know, its a crude way to get it, and, well, too easy, but it works, right. The Faint know this too, and put their knowledge of the adage "sex sells" to good use right away with the opening track "Sex Is Personal", and later again on "Worked Up So Sexual", (the best song about strippers ever put to tape) and "Casual Sex", where he uses a dolphin and a soldier to help explore whether casual sex (the act, not the song) is irrational or not. Why a dolphin and a soldier, you ask? I'm not sure, they're probably metaphors or some shit, but to be honest I was too busy dancing to even notice what the fuck he was even saying. Which, at the end of the day, is what this album tries to accomplish. The dancing, I mean. Because, you see, unlike their Saddle Creek peers, the Faint's only agenda is to make you get down, at least it was in 1999 when this album came out. Later records featured songs with actual meanings, and even a few political statements, but on this album, its all about the dancing, the sweat, the sex. Don't listen to this at home with breakables nearby, and be sure to play it loud so the neighbors can hear.

Clap Your Hands Say Yeah - Clap Your Hands Say Yeah

Grade: 84.5%
Official Score: 84.5%

What The Others Think

Pitchfork Score: 9.0
Tiny Mix Tapes Score: 4 1/2 Out of 5
Coke Machine Glow Score: 84%/80%




It occurred to me last weekend, while I was listening to this album as a primer to writing a proper review for this prestigious blog, that fans of indie music tend to play the game "spot the influence" much more than their popular music loving counterparts. I have a few possible reasons as to why.

The first is that popular music tends to be more reliant on producers than artists. This is true of all popular music, but it is especially prevalent in pop, rap, and R&B, where chances are Timbaland produced the last 5 songs you heard on top 40 radio, and therefore wrote the actual music you're hearing. Yeah, Justing Timberlake is singing, but it is unmistakably Tim's music.

My second theory is that popular music is too reliant on formulas, clichés, key signatures, chord progressions, etc. Basically, the song is all too familiar, even if it is the first time you've heard the song. If you've ever heard the Nickelback mp3 of two of their singles mashed up together and matching up perfectly beat for beat, note for note, you know what I mean. Listening to a hard rock station is essentially like listening to an album by one band. Tool sounds like Chevelle sounds like Nickelback sounds like Staind sounds a little like Godsmack. The only relief comes when they play a classic Alice In Chains, Soundgarden, or Nirvana song, but then you're horribly reminded how those bands essentially paved the way for this new shit in the first place. The same thing goes for Alternative rock. Fall Out Boy sounds like Taking Back Sunday sounds like Brand New sounds kinda like My Chemical Romance, and even when we get a classic Jimmy Eat World or Get Up Kids song, again we're reminded of how they're responsible for this shit in the first place.

In all honesty, I think the real reason lies in some compromise of the two theories, because what they both basically say is that every song on mainstream radio sounds exactly the same. As a result, fans of the indie genres tend to play spot the influence because we are often proud of the fact that our beloved bands are capable of trying new things, mixing different styles, or what have you. This is also why fans of the indie genre are quick to dismiss once beloved bands after they've jumped ship to the majors and start to blend in more with the popular, contemporary sound (see Modest Mouse - "Dashboard") and/or lose steam and release an album that is delegated to a mere footnote in a genre they helped revive (see The Strokes - First Impressions of Earth, though technically they were never really indie, were they? Okay then, how about The White Stripes - Get Behind Me Satan, is that better?) Of course, there are those few people that will play the game to disparage a certain band, for example, by saying that the new Arcade Fire sounds like Bright Eyes (an insult, to them) but that the new Wolf Eyes sounds like nothing you've ever heard (a compliment), but after a while it becomes easier to spot these people and, as a result, to take every comparison they make with a grain, or truckload, of salt.

So what does this have to do with Clap Your Hands Say Yeah? Playing spot the influence while listening to Clap Your Hands Say Yeah's self titled album is like shooting fish in a barrel, taking candy from a baby, using an old cliché, etc. It is something you have to endure if you want to be a fan of the band, so feel free to check out now if you thought you might be stumbling upon something truly original.

Actually, the first track is pretty unique. Never before have I heard a song that sounded like a circus ringleader was pleading with his audience to "clap your hands!", at least not on a record or since I was, like, 5 years old. Once this track is finished, which doesn't take long, let the games begin.

"Let the Cool Goddess Rust Away" lifts a bass line from a Snow Patrol song and singer Alec Ounsworth does his best Jeff Mangum impression (the most common point of reference on this album). "Details of the War" sounds like the Velvet Underground might if Paul Banks Jeff Mangum traded off verses. The album's highlight, "The Skin of My Yellow Country Teeth", sounds like a long lost Modest Mouse track, and the following song "Is This Love" has a repetitive keyboard sample like the one in the Grandaddy classic "Crystal Lake". The instrumental "Blue Turning Grey" could have been an Elliot Smith interlude. "In This Home on Ice" sounds like My Bloody Valentine or Yo La Tengo at best, or is a complete rip off of the Smashing Pumpkins' "Real Love" from the ill-fated Machina II at worst. The album's last two tracks are straight outta the Talking Heads, especially the finale "Upon This Tidal Wave of Young Blood". Whew, that was a blogfull.

Despite not being anything close to original, the band is strangely unique and insanely catchy, which not only saves this album from becoming a total mess but makes it one worth many repeated listens. The band's strengths are Ounsworth's impassioned vocals, which help many of the songs escape parody, and the band's tight rhythm section, which will often make you want to dance. When the two are combined, as they are so well in the album's midsection, chances are you will forget all about who they sound like and focus how great the songs actually are.

This album is a grower, there is no escaping that. It took me several listens to really get into the whole thing, but now I can understand why it was all the rage upon its release in 2005. You may at first find yourself wondering why you didn't just put in Neutral Milk Hotel or Talking Heads in the first place, but once the songs get stuck in your head, you too will understand.