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9 results for album review
Miniature Tigers: Mia Pharaoh
After their sophomore slump F O R T R E S S, I seriously questioned the trajectory of Miniature Tigers. Having followed them since their exploits pre-Black Magic/White Magic EP, I’ve always had a soft spot for this Brooklyn-based cohort. With early favorites likes “Dino Damage,” “Baby Abroad,” and “Logan’s Bread is Lemons,” I expected much from their debut full length Tell It to the Volcano, and I was joyously satisfied by their charisma and charm. But just as that allure seemed to be overshadowed by their overindulgent pseudo-tribal act in F O R T R E S S, Miniature Tigers seems to have taken a hint and aimed for a much more refined and mature style in their latest release Mia Pharaoh.
Listen to The Strokes’ new Album, Angles - 5/10 songs
Chinese water torture? Nahhh. Just plain old suspenseful fun. Almost every couple of days now a new preview or song drops from ‘Angles’ and a mad rush ensues.
Last Saturday Nite the Strokes were triumphant in their first TV appearance in 5 years (SNL). Articles abound on Pitchfork and the NYT about the New York band’s struggle to record Angles, having been forged from the equal input of every band member (In the past Julian Casablancas held reign). The jury is still out on whether this new collaborative spirit has created a Strokes record contender in a contest with their past 3. As far as I can tell, Angles ushers in a new Strokes, same people, different sound. But there’s nothing wrong with that. It would be strange hearing Is This It? Part 2 in 2011. Then again, an Interpol album in 2033 will still be undoubtedly an Interpol album. A Strokes album in 2011? I’m not quite sure yet. Await a full review March 22nd. Anyway here are 5 full songs off the album after the jump.
The Decemberists: The King is Dead
Our rating:
Fans of the Decemberists should be well-aware of singer Colin Meloy’s fascination with British folk-music. Their previous albums, particularly the previous release The Hazards of Love, make it no secret the source of inspiration for a large part of the Decemberists’ sound. However, with their latest album, the Decemberists move away from their European fixation and embrace a region that seems strangely unfamiliar—America. Hailing from Portland, Oregon, the Decemberists craft a refreshing new sound on the new record that is reminiscent of many other roots rock bands, such as R.E.M. and Neil Young. The title of the record alone should hint at what one can expect to hear on the record. Meloy declares that the “king is dead,” thus bringing possibly the formal end to the Decemberists’ career as the British folk-rockers from America and ushering in a wave of a new, American roots-based sound.
Norah Jones: …Featuring
Norah Jones’ new album, …Featuring, is a satisfying compilation of past songs, all tracks on which Jones collaborated with other artists. With musicians as diverse as Ray Charles, M. Ward, Belle and Sebastian, Willie Nelson, The Foo Fighters and Dolly Parton jamming with Jones it’s no surprise to find a great diversity of sounds.
Girl Talk: All Day
Our rating:
For the first 10 seconds of Girl Talk’s latest release, All Day, you may think you are listening to the opening to Black Sabbath’s Paranoid album. The distinction is made shortly after, however, and you’ll quickly realize you are in for something completely different. For those who are unfamiliar with Girl Talk, he’s a mash-up DJ from Pittsburgh who has come to be pretty popular in the past few years.
Avey Tare: Down There
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Dave Portner’s first solo album feels like an inverse of the direction he took with Animal Collective on last year’s excellent Merriweather Post Pavilion. This album, while continuing the group’s recent fascination with electronics, takes on a few of the darker elements of dubstep and features odd vocal processing akin to some segments of Radiohead’s Kid A.
Album Review: Lil Wayne’s “I Am Not a Human Being”
Lil Wayne has returned. At least his music has. Following in the footsteps of 2Pac, Slick Rick and others, Weezy released his latest album, I Am Not A Human Being, from behind bars. The ten-track digital version hit iTunes on September 27, also the rapper’s 28th birthday, and features the likes of Drake, Jay Sean, and Nicky Minaj, all from the Young Money/Cash Money crew. The physical format will not hit stores until October 12, and will include three bonus tracks—“YM Banger,” “YM Salute,” and “I Don’t Like The Look Of It.”
After first listen, I found about half the album to be forgettable. But as an experienced listener of Weezy, I knew that several listens are often vital for the songs to sink in. And it’s likely that in a few weeks I’ll think more positively of I Am Not A Human Being than I currently do.
Album Review: Mark Ronson and The Business Intl ‘s Record Collection
I first became aware of Mark Ronson through his collaboration with Amy Winehouse and Lily Allen on “Valerie” and “Oh My God.” His formula was effective, yet frighteningly facile: crank up the funk factor by inserting a great horns section. To my surprise, Ronson has expanded his musical vocabulary on his most recent album, proving himself to be slightly more than just a DJ/producer with his finger hovering over a stock brass track.
Record Collection, due out September 27th, demonstrates Ronson’s new-found penchant for hip-hip and 80s synthpop. The album is by no means a seamless synthesis of these two elements (you try putting Q-Tip, Boy George and The Drums lead singer on the back of the same CD), however a few tracks manage to shine through the general disjointedness of the album.
Album Review: Wolf Parade’s Expo 86
Wolf Parade/ Expo 86/ Released 6/29/10
Our Rating:
When asked about Expo 86, keyboardist and lead vocalist Spencer Krug stated that the main criteria for the songs was “whether or not [he] would dance to them.” I’m not sure anything but some sort of head-banging-seizure combo would be an appropriate accompaniment to this lively and enthusiastic album, but that seems to be exactly what the band had in mind for their third album. Wolf Parade’s energy certainly hasn’t lessened since the 2008 release of At Mount Zoomer. The band’s lyrics range from haunting to just plain strange, but keep up their signature electronic punk sound.
Though this latest album shows somewhat more focus than At Mount Zoomer, Wolf Parade still doesn’t appear to have returned to the cohesion of Apologies to the Queen Mary. They demonstrate much more follow-through in Expo 86, with shorter, more concise songs. It is a far cry from the (often tiresome) 50-minute jam session that was their second album. Songs like “Yulia” (their single) and “Cloud Shadow on the Mountain” (the opening song) are very reminiscent of earlier Wolf Parade. But frankly it is very easy to imagine any of these songs on a Sunset Rubdown album. Expo 86 is a bit more together, but Spencer Krug and Dan Boeckner haven’t yet managed to return to the solid structure of Apologies. Here, Krug often overpowers Boeckner, whose voice is only really evident when the two harmonize on songs like “Palm Road.”
Boeckner and Krug are certainly great on their own. But if I didn’t want to hear more of a collaboration between the two I would buy a Sunset Rubdown or Handsome Furs album. There are standouts, but after a few listens none of these new songs holds a candle to “Shine A Light” or “You Are A Runner and I Am My Father’s Son.” Expo 86 hasn’t managed to recapture the range or imagination of the band’s first album. Veteran Wolf Parade fans will enjoy this cd, but newcomers should avoid Expo 86 before listening to Apologies to the Queen Mary.
Jamie O’Connell (Passport Radio Show)
