Junior Boys - It's All True (2011)

Canada strikes back! Jeremy Greenspan and Matt Didemus together form the highly underrated electronic duo Junior Boys and for 2011 they follow up the amazing “Begun Dull Care” with the also amazing “It’s All True”. But before I get into the review (and since is the first review I make of Junior Boys) I’ll take some time to talk about their previous work.

In the beginning, Junior Boys were constantly rejected for their experimental and lo-fi room-made songs from 1999 to 2004 when they released their first LP “Last Exit” (some EP’s before that), a poorly produced album that demonstrated the awesome creativity of the band and the ability to create quirky synths to go along with the sweet vocals; this first album was like the little train that could and became a moderate hit of that year in some indie circles. Time Passed and for the 2006 release “So This Is Goodbye” everything changed, the production was sounding brilliant, the synths were tight and from beginning to end the album was 80’s revival and swag, relaxing airy songs but with seriously dance vibes that never made it to the party scene but could be really enjoyable. However nothing really matters when it came to the 2009 release “Begone Dull Care”, this was the million dollar baby, amazing production, amazing musical progressions and patience, they take their time to reach perfection on each and every song. Despite the awesomeness of the band “Last Exit” still sounded more quirky than the others and that’s always a beautiful thing.

The amazing thing about “It’s All True” is that Junior Boys are not trying to move forward with each and every album, the natural progression between the first three albums was not necessarily incoherent between one and another, but with the good production quality the quirkiness got lost on the way until this year. The opener “Itchy Fingers” opens with an upbeat move and amazing 80’s revival synths to then jump to the airy “Playtime” that has airy keyboards and in the middle Asian instrumentation. I also love how the quirkiness is back in every song.

On other note, if there’s one thing Junior Boys have mastered through the years is that they have the capacity to take a really long and soft song and keep you interested until the end, is something that this year can be compared to Cass McCombs or Destroyer as well, and Junior Boys always take time to work each song.

Another win for Junior Boys is the ability to give cohesiveness to all their discography with this album, I won’t say that this album is better than “Begun Dull Care” but I see myself being seriously addicted to this album in a similar way that I did with the 2009 release, in part because I’m patient with my music and I love the way that Junior Boys take their time to deliver every song.

This album is a High-Class-Pop-Dance glory and a world cultural reference tribute to the 80's dance pop, so I'm sure you'll enjoy it.

Tracklist:

1. Itchy Fingers

2. Playtime

3. You'll Improve Me

4. A Truly Happy Ending

5. The Reservoir

6. Second Chance

7. Kick the Can

8. ep

9. Banana Ripple

Rate: 8.7/10

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Cults - Cults (2011)

Since the beginning of 2010 Cults has been consistently making a big buzz, from free giveaways to songs featured in HBO’s Weeds. But this indie fame doesn’t matter when it comes to the quality of the songs. Music tends to be in a way a revival of something else and Cults is no exception, they take all that was good from the 60’s and Phil Spector and take it again in the same level. Of course, this will always be a good thing, and if you like this kind of recordings you’ll like this record.

But now the downside, the few EP’s created such a buzz that made the wait for the album unbearable; if 4 songs together were amazing 11 were going to be pure bliss and in reality the album never gets to a point where any song is better than the EP’s, and the over exposure of the songs I already knew damaged the wow factor of the album, the best songs were already known and some of them since last year (already in my best of the year list).

This is not necessarily a bad thing; people will already know what to expect from this album, the moral of the story for the music lovers would be “don’t have any expectations”, because high hopes only work to be crushed down. The new songs “Walk in the Night”, “Never Heal Myself”, “Never Saw The Point”, “Bad Things”, “Bumper” and “Rave On” sound like Phil Spector covers and never really reach the level of the EP’s which is a shame because with the singles and the only song missing was “The Curse” of the 7” that was probably the worst song so that was a good judgment call. Overall the album is good to listen, short and sweet but contrary to what Pitchfork and probably the indie world thinks I don’t think this is one of the best albums of the year. For sure is a must listen and definitely popular, but the worth of the album is overshadowed for the fame of the songs everybody knew.

The 2011 singles are very good “Abducted” and “You Know What I Mean”; I really thought that the aggressiveness and heartache that these two songs had were going to set the tone for the new record but sadly no, the best songs were released separately from the album and some have a long time running around, is like the album is new and I’m already tired of it. Again, I like it and some of the songs I love, but as a whole, the album is just not making it for me as one of the “best of the year” is pretty standard good.

But you be the judge and listen to it, drop a comment, tell me that I’m crazy.

Tracklist:

1. Abducted

2. Go Outside

3. You Know What I Mean

4. Most Wanted

5. Walk At Night

6. Never Heal Myself

7. Oh My God

8. Never Saw The Point

9. Bad Things

10. Bumper

11. Rave On

Rate: 7.3/10

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Beastie Boys - Hot Sauce Committee Part 2

This one is not as old for it to not be reviewed, in fact, even if it was; the Beastie Boys are the kind of bands that need to be talked about.

The beastie boys are the kind of band that has such a distinctive sound that if you like one song you’ll like every song, and this is not because they’re repetitive (or not just for that) but because they can make anything sound like them and no one else. Since the beginning they’ve been in the rock, the pop and the rap all over the place and never compromising the personality of the band.

Lately they’ve been exploring a bit more into more mature territories, just remember the instrumental 2007 album “The Mix Up” that had more of a funk and experimental old school sounds that were a little bit more adult. And later this year the remake of the “Fight for your right to party” video that was very fun.

But in the case of “Hot Sauce Committee Part 2” they stepped up the game with the sound, this album is very cranky, not in the same way of “Ill Communication” that had the really loud songs like “Sabotage” but in a really new sound and produced sound that can saturate a bit more the drums and the vocals, for me this was a good thing, what was the down side of the record? The collaborative songs featuring songs with NAS and Santigold weren’t really good because the invited artist tends to be overshadowed by the Beasties and their distinctive sound. I can agree with people that say that the Beastie Boys are so loud that they need really special people to work with; it doesn’t go right with anyone thrown into the mix.

If one thing I can say of this record is that the beastie boys can still bring new stuff no matter how many years pass, they are catchy and fun and that’s the greatness of them, is really hard to get bored by them if you like them already.

This time around, the beastie boys are no committing with one idea at a time like they did on many on their previous albums, this album seems more of a combination of everything in one; a travel through the history of the influences that have taken part in the band, punk, rock, hip hop, reggae, and new and old tricks of production. I’ve been enjoying this album a lot and if you decide to give it a shot you’ll probably won’t be disappointed. Everyone has had some sort of contact with the Beastie Boys in life, but if you’re one of those rare cases of people that never been around them, this record is a good way to start because you can have a glimpse of everything they’ve been about through out the years.

Tracklist:

1. Make Some Noise
2. Nonstop Disco Powerpack
3. OK
4. Too Many Rappers [new reactionaries version] (featuring NAS)
5. Say It
6. The Bill Harper Collection
7. Don't Play No Game That I Can't Win (featuring Santigold)
8. Long Burn The Fire
9. Funky Donkey
10. The Larry Routine
11. Tadlock's Glasses
12. Lee Majors Come Again
13. Multilateral Nuclear Disarmament
14. Here's A Little Something For Ya
15. Crazy Ass Shit
16. The Lisa LisaFull Force Routine

Rate: 8.5/10

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What was I about?

I’m not going to take the time to review the albums I’ve been listening to this past months therefore I’m going to post a brief list of the top albums I’ve been over and keep moving forward with the blog and the music. The list is in no particular order.

The Antlers - Burst Apart
Big K.R.I.T. - Return Of 4Eva
Bill Callahan – Apocalypse
British Sea Power - Valhalla Dancehall
Cass McCombs - Wit's End
The Cave Singers - No Witch
Colin Stetson - New History Warfare Vol. 2: Judges
Craft Spells - Idle Labor
Deerhoof - Deerhoof vs. Evil
DOM - Sun Bronzed Greek Gods (EP)
EMA - Past Life Martyed Saints
Fleet Foxes - Helplessness Blues
Friendly Fires – Pala
Gang Gang Dance - Eye Contact
Gil Scott-Heron And Jamie XX - We're New Here
Holy Ghost! - Holy Ghost!
Kurt Vile - Smoke Ring For My Halo
Metronomy - The English Riviera
The Mountain Goats - All Eternals Deck
Natural Child – 1971
The Pains of Being Pure At Heart - Belong
Panda Bear – Tomboy
Timber Timbre - Creep On Creepin On
tUnE-yArDs - W H O K I L L
TV On The Radio - Nine Types Of Light
Tyler, the Creator – Goblin
Woodkid – Iron (EP)
Wye Oak – Civilian

These were just the ones I liked a lot, but there was a lot of music that if I’d had the chance to review It would have been very well rated as well, but these were my above 8 ranked albums this past time, now I’m going to move on and start reviewing, hopefully you’ll listen what I was up to on this hiatus when the best of 101 comes on December ;-)

Hiatus

I'm on thesis...I need the time that subwaywalk is taking from me...I'll miss you...I love you and I will be back in the summer...

A Hawk and A Hacksaw - Cervantine (2011)

Heather Trost and Jeremy Barns are no strangers, Heather formerly of the band FOMA and Barnes the former drummer of critically acclaimed band Neutral Milk Hotel, no need to say how big Barnes is in the music world, they’re also responsible on discovering, collaborating and putting on the music map a kid named Zach Condon, also known as non other than Beirut.

With only these references, there’s no need to say how much I expected this LP and how badly I love this band, while a lot of bands of the same scene tend to change the sound, they stick to the Balkan, Turkish and Eastern European sounds and the not compromising sound to a certain ethnicity in particular, each song is rich in influences, experimental and not over the top.

The relevance of this LP is that is the first one they do out of Leaf Records, that was their record label since the beginning, and the reason is that they decided to embark in the adventure of starting their new label called L.M. Dupli-Cations.

In this LP most songs are instrumental, but the focus turns to Stephanie Hladowski voice in the song “Mana Thelo Enan Andra” beautifully executed with Greek musical inspiration remembering the richness of the mix of cultures of the area, and also the more intentional reference to Turkish music in the song “Üskudar”, that mixes earthy sounds with a busy percussion and the perfect mix of nimble strings that go along side with the vocals and a tuba setting the sentiment in the foundations of the song.

The production is impeccable, and some songs mix a cinematic playing with the distance of the instrumentation, in “Cervantine” the strings back out to allow a protagonist lead to the wind instruments and the Arabic Percussion. But nothing sets a romantic landscape like “Lazslo Lassú”, an instrumental piece with accordion and violin that steal the attention of the listener with a crying melody.

This LP is a class act of what A Hawk and A Hacksaw are all about; it has both, sorrow and a playful nature, and ad interesting changes on the production, managing and mixing the sound in familiar ways but with what seems a more oriented purpose, previous releases were a mix of experiences and collaborations that reflect the idea of travels and ethnicity growing together in a jam session, but this time around the spirit is still there but the demonstration is that there is now a path followed and the sound has rested in what becomes a distinctive sound of A Hawk and A Hacksaw.

Being a fan of Beirut for some years now, I loved how they contributed to the sound of “Gulag Orkestar”, and their own records shared a lot of these sounds, but this time around it seems like they’re really reaching for a produced identity that doesn’t show the parade of experience they’re having in their travels, but shows the path that has been already followed, this is by far the most mature album they’ve made, no longer showing their past influences and experimentations of playful and messy nature, but really accomplishing a sound of their own in a very beautiful way.

Miguel de Cervantes would've been proud.

Tracklist:

1. No Rest For the Wicked
2. Mana Thelo Enan Andra
3. Espanola Kolo
4. Cervantine
5. Üskudar
6. Lazslo Lassú
7. At the Vulturul Negru
8. The Loser (Xeftilis)

Rate: 8.3/10

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Noah And The Whale - Last Night on Earth (2011)

It seems like a good idea to think that is time for Noah & The Whale to start pursuing different sounds, the reason is because there are a lot of bands that are getting not only dangerously close, but also are doing it just as good; the case of Mumford & Sons and their critically acclaimed debut album to set an example, and the personal sounds of indie folk that Noah & The Whale are going after were going to be awfully predictable and painfully failure if they would be hitting the same way.

This change was very much taken seriously with the third record of the band called “Last Night On Earth”, and for them the change started with the free download of “Wild Think” that was a good change for the band with the distinctive voice of Charlie Fink over ethereal synths and a very atmosphere quality of airy guitar and a little bit of electronic drumming, a really beautiful song that was pretty far from what the band was used to because this was not trying to approach some folk sound.

Everything became more evident when the lead single hit the scene “L.I.F.E.G.O.E.S.O.N”, that is a happy pop tune with pretty lyrics and a very upbeat spirit, a little bit of banjo but a distorted base. This song is a good one, the thing is that for the ones that are use to the previous work of the band it may come as a Californian sell out of the sound they had previously.

I think that the more relaxed and self aware epic sound that they were pointing previously is good, because at least they were trying to do something different, and not hang to the success of the sound and put themselves maybe like competitors against newcomers that are also doing good and probably would have done better than them in their old sound. It’s always good to have a band resign to their successful sound to conquer some new arena.

Now, the downside of the experiment is that there is never a really up point, is a very linear LP with not a single bad song and not a single good one, and not only is a good album but also the most fun that they’ve ever delivered, and I don’t know if I’m resisting to change, but I like to get my heart broken by a Noah & The Whale song every once in a while, they’re not the kind of bands you go looking for when you want to go dance on a beach in a pop scene, making songs like “Give It All Back” a real low point in the LP, the fun songs used to be really epic and now they’re just missing something, maybe is what happens when great folk musicians start exploring with electronic sounds, they get minimal and lose their epic qualities, it kind of happened with Beirut as well, but he managed to keep the same soul, which in case of Noah & The Whale they just get lost in this sort of happy and then suddenly getting dangerously close to some U2 kind of bull shit.

The old works of the band were good music, but this time around the album is catchy, and I don’t see anything wrong with being catchy, but seems like they’re approaching new markets and I fear that this catchiness could convert into making a bad record in the future, this one is not bad, at all, but is not better.

Tracklist:

1. Life Is Life
2. Tonight's the Kind of Night
3. L.I.F.E.G.O.E.S.O.N.
4. Wild Thing
5. Give it All Back
6. Just Me Before We Met
7. Paradise Stars
8. Waiting for My Chance to Come
9. The Line
10. Old Joy

Rate: 6.5/10

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