Bear Hands, Burning Bush Supper Club (2010): Album Review

Bear Hands are the very epitome of the word “hipster.” When asked about how they survive the chaos of music festivals, they simply state “Marijuana, sleep bag, granola bars.” These are definitely guys with their priorities straight. They began in Brooklyn in 2006—all messing around writing music and such, and soon enough playing small venues in New York City. Now, they’re headed out on a nationwide tour—coming to our very own Tucson, Arizona, on November 14^th in celebration of their first, full-fledged album, Burning Bush Supper Club.

The thumping chords and screeching falsetto of “Crime Pays” give the record a satisfying start, with vocalist Dylan Rau crooning out the simple yet catchy chorus. And with opening lyrics like “At the gentle age of nine/I bought my first ‘45” and “I drink, I drink/I smoke a little weed,” the tune “Belongings” blatantly has “hipster anthem” written all over it. The instrumentals begin a bit lackluster, but prove to be quite gratifying mid-way through with some luminous guitar work by Ted Feldman. Straight from their EP earlier this year, “What A Drag” sounds quite electrifying but never truly takes off. The vocals in particular seem quite constrained, and I found myself just waiting for Rau to let loose complete with some crazy guitar solo. “High Society” defies my grievances though, and features a bumping 80’s vibe that is simply bubbling with energy. The next tune, “Tablasaurus,” is quite mellow throughout with a vast array of string and keyboard instrumentals, but does not leave a very firm impression despite its playful spirit. And despite it’s peculiar title, “Julien Donkey Boy” has quite dull lyrics even with all the epic drums and cymbals aside. Yes, whining “Julien, where are you? /Donkey, donkey boys are sold for 50 at the market,” does get a little repetitive after the 18^th time. The beginning of “Wicksey Boxing” is eerily reminiscent “Violet Hill” by Coldplay’s opening chords. That is about where the similarities end, and that is by no means a condemnation. I really couldn’t articulate most of the lyrics of the song, but the melody is so haunting with its ominous guitar scales and brooding drum beats that I couldn’t help thinking, “Damn. This is a beautiful song.” It’s a different side of the band, and a real treat to experience. “Blood and Treasure” is a complete departure from its predecessor, and is almost like Ritalin in music-form. Loud, quality rock in its truest form, Bear Hands brings to mind the likes of The Fratellis and Kings of Leon here. My favorite song of the record would definitely be “Can’t Stick Em” which begins really slow, but quickly adds the drum kits and crescendos into an angst-ridden anthem about the importance of home. Sure, that sounds cheesy, but when delivered by the charismatic Rau, one can’t help but be both moved and overjoyed. Too bad his barely-audible vocals of the tedious “Camel Convention” are drowned out by earsplitting amps and guitar chords suffering from Tourette’s. “Tall Trees” is a short and pleasant tune to neatly wrap up the album and leave the listener on a happy note. Not much else to really say about it.

Burning Bush Supper Club was a mixed batch—while featuring some spirited and distinctive gems, there was its share of conventional and banal indie rock. I think their sound fits the style of the Blaze and other alternative-oriented enthusiasts perfectly, but certainly lagged some in the creativity department. Without a doubt, Bear Hands has tremendous potential, and will surely find their way into the hearts of iPods of hipsters everywhere.

N.E.R.D.'s "Nothing" is Far From Nothing

It's his cadence. It has nothing to do with his lyrics; it is all about delivery to him. Pharrell has limited talent when it comes to being a lyricist with meaning, but what he lacks in talent he picks up in delivery and producing. It's been like that for a very long time, sometimes his words are great, for instance "Frontin'" one of my favorites, is great on the lyrics but that was in 2003. This is 2010, a new decade, a new N.E.R.D., and let me be the first to tell you, it's sick.

It all started in 1994 for Pharrell and Chad Hugo's Neptune's Productions, but the "geeks" behind N.E.R.D. met in high school, and started making music in Hugo's garage. They released their first album in 2001 and have been Gold ever since. The much anticipated, for people like me, album entitled "Nothing" is now here.

Nothing starts with a fast paced song "Party People" which goes hard on the beat but as I listened to it all I heard was "what i need, what i need is that girl there." Remember the lyrics problem? It's still here, but I do not care! Hypnotize U, teh second track on the album is one of my favorites, I saw them do this on David Letterman a few weeks back, and I stoked when i heard Daft Punk produced it, finding the time for N.E.R.D. while making the Tron Legacy soundtrack. "Help Me" has yet again brought into light the topic of bad lyrics; he talks about a snake in tall grass at one point, talk about random. Maybe the Nothing title means that the lyrics mean nothing! I decrypted the meaning! My least favorite goes to the 4th track on the list, "Victory." Not so much of a victory for my ears but who cares? I'm now going to skip a few tracks, since this is a large album and you will listen to it because I am loving it, and I will now talk about the best song on the setlist for Chad, Pharrell and Shay Haley. You have probably heard it before, and said one of two things, "Mom/Dad, can I please, please, please have a bass guitar?" or "I slappa da bass mon'!" This song is insane, of course it is "Hot n' Fun." The beat moves my entire body oh yeah and bumps my headphones as well, it just makes me want to replay it over and over. The best part though, the lyrics are good too! Pharrell you did it! First sick rap since he did a quick one with Snoop on "Drop it Like it's Hot." Wait, I'm leaving someone out, oh! Shay Haley, you rock too my man. Then after that song ends you get a great little shin dig of a guy filibustering on the track but it ends in 42 seconds so stay tuned because you get a great track to listen to "It's in the Air" this one has meaning to it and I like the entire beat and release of lyrics in it. "Sacred Temple" is sick, but....cadence again folks! "I Wanna Jam" the second to last track is a plethora of beats to be able to run to, very fast, and that is why I like N.E.R.D. they can make the simplest beat but make it seem like so much is happening. It all ends with "The Man" and the tympani drum in it is wonderful to bump to in your headphones and car, it's a great end to a great album.

All in all, I love N.E.R.D. to me it isn't the lyrics, it is the beats and the way they talk, this album is different from the older ones and that is fine with me, sometimes change is good, just ask the President.

Casiokids, Topp stemning på lokal bar (2010): Album Review

Sweden has really taken the Europop genre by storm. ABBA, Roxette, Ace of Base—all Swedish pop groups that have achieved immense success throughout the globe. Norway is looking to change that, though, with their electro-pop quintet Casiokids. Formed in 2005, Casiokids were the first band to release a Norwegian pop single in the UK—both of which can be found on their new album, Topp stemning på lokal bar (loosely translated to “Great vibe at local bar.”)

The record blasts off with their first single, “Grønt lys i alle led.” It is a very cheery song with light and airy keyboards, and an especially impressive guitar hook. The language barrier is surely detrimental to my enjoyment of the song, but the joyful falsetto is enjoyable to listen to regardless. “Fot I hose” has a much more club-ready vibe than the first song with a heavy emphasis on the bass, and prominent use of the cymbals for a steady beat. There are no vocals whatsoever which allows for the instrumentals to show off front and center. “Verdens største land” is simply a plethora of sound and I love it. They skillfully use their keyboard here to reproduce sounds of bongo drums, a metronome, xylophone, among others—all mixed together with harmonic vocals to create a pleasant yet exotic tune. The next song “Finn bikkjen!” is a bit falsetto-heavy for my taste, but the beat is so funky and infectious I can’t help but be in a good mood listening to it. “Min siste dag” is a bit slower than its predecessors, but all the vocals complement each other quite nicely during the chorus no matter how much they appear to be straining their voices at times. “En Vill Hest” brings an African flair to the record with native chants and beats serving as the basis for the song, with lots of bells and whistles mixed throughout for a very unconventional sound. The next song “Gomurmamma” is another purely instrumental piece that is kaleidoscopic in proportions: thumping bass, cymbal repetition, and electronic noises that are reminiscent of R2D2 in my beloved Star Wars. Pretty crazy stuff. The record ends with “Togens hule,” which is the 2^nd half of Casiokids’ UK single. All I can really say that it sounds so incredibly like anything else I’ve ever heard, it’s like an acid trip in music form. Couldn’t have ended the album in any better fashion.

On a whole, this was a pretty awesome album. Yes, I couldn’t understand what they were saying, but their music is so diverse and so distinctive that you kind of look past that. Casiokids and their album Topp stemning på lokal bar was truly a breath of fresh air to listen to, and I wish them all the best both overseas and (fingers crossed) in the United States sometime very soon.

Home Video, The Automatic Process (2010): Album Review

On Home Video’s Wikipedia page, there is a prominent picture of the duo—one staring at the ceiling submerged in a bathtub; the other, lying against the wall staring emotionless at the ceiling. After listening to their new album, The Automatic Process, I would not be surprised in the slightest if that is how this Brooklyn-based duo looked the entire time they were recording: withdrawn, blasé, and all-together bored as hell. Or were those just my feelings?

“Accomplished But Dead” starts off the album on a very mellow note that sounds pretty interesting at first, but grows a bit tedious after the first minute or so when the vocals and instrumentals all become muddled together. They don’t fare much better with the next track entitled “The Smoke” which actually has a pretty exotic beat to it, but the vocals sound so monotone that it’s impossible to stay interested for the upward of 5 minutes. “Business Transaction” is the first song I actually liked—they’re able to create a haunting melody here that actually features some powerful lyrics. I think “An Accident” could potentially be nice, but they way over-due it with a variety of synthesizers that make the tune more fit for elevator music than actual iPod tunes. “I Can Make You Feel It” makes me feel pretty frustrated, quite frankly—this band just can’t seem to get it right. The song has a fairly upbeat vibe compared to the rest of the record, but never fully takes off. I would just love for an instant for Collin Ruffino to actually show some excitement in his voice and act like he cares about what he’s singing. The tune “Beatrice” is actually a bit of a step-up for them—same hazy vocals, but infused with balanced instrumentals that actually compliment and don’t overshadow Ruffino‘s voice. “The Automatic Process” sounds like some trashy European club beat with some barely audible words added in. And not some cool words either—the same one-note whispers I’ve come to expect from Home Video. So what else is new? “Every Love That Ever Was” has a mystical beat featuring progressive drums and airy synths that remind me of something you might hear in a bad 80’s workout video. And that is meant in the fondest way possible. But the vocals are sleep inducing, and don’t exude any joy that comes from the feelings of love. And what is “Description of a Struggle” supposed to be? It was like a crossbreed between Enya that Celtic singer and music you’d hear getting some cheap massage on a cruise ship. Like geez, I don’t know what would ever inspire someone to play that by choice. “No Relief” lives up to its title as no relief from the poor quality of this album. Yes, enough witty commentary about that one. Finally (yes, finally) the record concludes with “You Will Know What to Do” which isn’t actually half-bad. As a friend sitting next to me commented, it sounds very much in the style of Radiohead. The same stirring, drum-heavy instrumentals with far-off vocals that create the perfect tune to completely simmer down with.

Overall, there’s a few songs that were halfway decent—yes, I might even say I liked them. But honestly, I will probably never listen to this record again (by choice, that is). It was uninspired, humdrum and dreary. There was a complete lack of energy all around—no one song showed an ounce of passion or musical finesse. Home Video will most likely go the way of their namesake, the VHS—out of style, stacked on a shelf, forgotten in a cardboard box somewhere. And yes, I know that’s awfully harsh, but The Automatic Process was an all-around painful record to listen to, and I do not recommend subjecting oneself to this level of lethargy.

Of Montreal, False Priest (2010): Album Review

I think Of Montreal is a really cool band, plain and simple. Formed in 1996, singer/songwriter Kevin Barnes named the group after a former flame that was from Montreal, Canada. Talk about boss band name back-stories, huh? They’re also from Athens, Georgia, which earns them some major points with me—considering I have a ton of friends that go to UGA, and I’m from South Carolina myself. Their first album in 1999 was entitled Cherry Peel, and the band has since recorded 9 more—the latest being False Priest.

“I Feel Ya’ Strutter” kicks off the album with a catchy doo-wop feel that is reminiscent of “Grace Kelly” crooner Mika—yes, there’s even some falsetto involved. Janelle Monae makes an appearance on the next tune, “Our Riotous Defects,” which is an amusing speak-singing narrative following a hipster romance with a crazy chick. Monae’s presence, sorry to say, certainly brings down the momentum of the song, and seems hastily tacked on with no real value. And while there are some witty lyrics, “Coque Coquette” drags on a bit unnecessarily, and has a rock vibe that doesn’t suit the group so well. “Godly Intersex” had me a bit worried at the beginning with its sluggish pace, but picked up with some pleasant excitement in the last minute or so. The next Janelle Monae duet fares much better than the first—“Enemy Gate” has some dark energy flowing throughout, but is still quite catchy with some fine work by the drummer here. “Hydra Fancies” simply screams of MGMT with its funky electronic beats, guaranteeing a captivating, psychedelic listen. Vote for some of the strangest lyrics I’ve ever heard goes to “Like A Tourist”—“Unicorns eating baby meat/There’s a dragon rape if you want one/ One’s the loneliest number.” Don’t know what was in their pipe, but I’d sure like to try some. Although rather odd, reading the lyrics to this song definitely increased my respect for the group. The next tune “Sex Karma” features Solange Knowles (yes, the other half of that random chick you hear on the radio, Beyonce). I would say it’s my favorite of the 3 major duets on the record if not for the sole reason that Knowles’ voice blends perfectly with that of Barnes. It has a tarty-sweet beat to it, which segues right into “Girl Named Hello” flawlessly. While less intriguing than its predecessor, the tune still drips with energy that is impossible to enjoy. The band slows the pace down some for “Famine Affair” which isn’t a bad song by any means, but is simply not all that interesting. Uninspired beats, cliché lyrics, and vocals that are slightly grating to the ears. It at least has some more stamina than “Casualty of You,” which feels like the group was losing steam and decided on a melancholy tune ending in chaotic noise that was supposed to sound “desperate” or “woeful.” Woeful for the 3 wasted minutes of my life, yes. They luckily redeem themselves with the futuristic “Around the Way,” and finish off in style on the musical roller coaster of “You Do Mutilate?” Exploring multitudes of beats and genres within the near 7 minutes of music, Of Montreal reminded me of why I liked them in the first place.

Why is that, you might ask? Well…besides the fact they’re from Georgia and have a legit name. It’s because they have unique music that transcends the usual hipster mold of music and creates an all-around satisfying listening experience. Yes, there are a few weak links, but False Priest shows that even after 10 years, Of Montreal still has the contagious originality of a newcomer. And for that, I applaud them with my skinny jeans and Vans in tow.

Arron Dean, Mpls (2010): Album Review

Here’s something I haven’t gotten a chance to review before: folk music. This may be mistaken with the country genre, but as I’ve learned about singer/songwriter Arron Dean’s past, the more I realize how foolish an error this is. Born on a farm outside of Johannesburg, South Africa, Dean soon moved to the United States—where he’s lived in cities like Boston, New York City, and now the inspiration for this particular album, Minneapolis. Arron has spent the last 2 years recording songs and working with various musicians to record these songs about the wonders of travel and home, and compiled them together on his album Mpls.

He begins with a quiet ode about finding a long, lost love in the small city of “Buffalo, SD.” Dean’s voice is filled with pain yet is joyful in getting the chance “to see you one more time.” He moves south a bit for “St. Paul On Mississippi”—also moving away from the banjo-like dobro with accentuation on the piano melody. Both the distant chords of the piano and his hazy voice give the song a very haunting feel that is slightly ruined towards the end with a multitude of screeching backup vocals. The title track “Minneapolis” is quite pleasant and upbeat despite its woeful lyrics of a lover leaving and the good times they shared together in the city. He picks up the tempo even more for the drinking song “Unannounced” which contains some remarkable lyrical choices—“There’s nothing wrong in picking scabs to open wounds/it’s the only way we know what we lose.” This tune in particular tells a story which is quite entertaining to listen to. “I Think I’ll Be Alright” is very slow (and frankly, quite boring) until midway through when the rest of the band is introduced and injects a little flavor. The next ballad “Happy Hour” is a plea for a woman to be his wife, and has an almost epic feel with the assortment of cymbals, organ, and violin playing throughout. While not the best lyrically on the album, Dean croons it out to the best of his abilities—making it one of the record’s better tunes. After the brief ditty “Nothing Owed,” Dean brings on the grassroots vibe in “Sleep Without Me.” Although a little too long for its own good, its entertaining to try and determine the lyrics’ meaning—is he talking about some common tramp, a lover of his, or both? Arron strains his voice a bit on the next song, “Empire,” but the lyrics are so sorrowful it almost works. “I won’t be this last disaster/ I could be the only one.” They don’t make complete sense written down, but when being sung they are truly disheartening. He picks it right back up in “First Aid For The Choking,” which isn’t the most emotionally intriguing, but features a vivacious melody that reminds me of the quintessential traveling song. He uses 1950’s model “Betty Page” as the basis for his next tune that begs the question, “Are you my pretty Betty Page?” While a splendid metaphor, the yawn-inducing tempo does the lyrics no favors. Dean ends the album on a chipper note with “Thorn In Your Side”—a lively song about everlasting love that merrily plucks away on the banjo and skids across the fiddle, leaving the listener in high spirits.

All in all, Mpls could be described as a pleasant listen. While not my preferred genre of music, it still has that mellow vibe I so enjoy from the likes of Mumford & Sons and Darius Rucker. There are no true standout songs, but Arron Dean produces a solid effort that would serve as an ideal soundtrack for those lazy, kickback days when one can just chill and let the fiddles whisk you away.

My My My, Leather Silk (2010): Album Review

You can find a lot of things on Craigslist—unwanted furniture, broken-down cars, and even one-night stands. What songwriter Russel Baylin found, though, was his band. Through the aid of both the Internet and friends of friends of friends, Baylin was able to form the band My My My during the winter of 2007 in Chicago, Illinois. This indie group has been playing throughout the Midwest ever since—blissfully expressing the throes of love, sex, and death. They’ve finally released their new album, Leather Silk, and I honestly have no words for what a brilliant record it is.

They begin with “A Shiny Brick,” which starts out quite lively although it becomes a bit repetitive midway through with the constant “oh-oh-oh’s.” The voices of Russel and fellow singer Sarah Snow mesh together wonderfully though, and are complimented by some gospel-esque backup that could come across sounding cliché, but actually aids the song tremendously. “White Lions” begins with the same kick that the first tune does, and is reminiscent of the style so associated with Florence and the Machine—wailing female vocals by Ms. Snow, with rousing but difficult-to-distinguish lyrics. “Be My Bianca” has an easy-going vibe on a whole but features foot-stomping shouts of teenage angst mixed throughout. It gets especially joyful towards the end when the entire group begins chanting together—and damn, Sarah has a voice that can raise rafters. It’d truly be awesome to hear her perform live. The title song “Leather Silk” has a really funky sound to it—beginning with choppy, upbeat piano chords, and merging into more classic rock terrain. I don’t even know what to say, except that I was completely entranced the entire 4 minutes and 26 seconds of the tune—certainly the best song of the album, which is saying a whole lot. This exhilaration is carried into “Swoon,” which sounds like ABBA got stuck in some haunted house with a drum kit and guitars. The song evokes some really eerie beats, but is also quite cheerful at the same time. “Jackie’s Rebellion In Furs” is fine but wasn’t my favorite song for no particular reason…it just doesn’t have the whimsical qualities of the many tunes preceding it. The group more than redeems themselves with “C’mon Let’s Make X’s With Our Feet.” With all the cool electronics and stirring chorus vocals aside, it really made me happy to hear Baylin get to show off his extraordinary vocal finesse. He is frankly better than all those other “wailers” out there, and I rather hear him howl out a tune any day over the likes of Daughtry or Nickelback. And how fitting it is to get to hear Russel and Sarah belting their hearts out on the duet, “The Loudest Summer.” I know I keep saying this over and over, but their voices together are perfect—I can’t think of a more ideal duo. They bring in the entire group for “Thespian,” which is another pulsating melody dripping with defiance and unruliness that can’t stop from bringing a smile to my face. Sadly, the album has to come to an end with “1987, ”which is both exciting and bittersweet. It’s not really a sad song by any means, but something about all the tune’s elements flawlessly crescendoing together tugged at my emotions—there is no better possible way they could’ve ended the record.

All I can really say is “wow.” I was completely not expecting to love My My My this much. I highly recommend this album to anyone and everyone. I definitely can see myself listening to this on a regular basis—and not just a few of the songs, the entire album on a whole is magnificent. I would be thrilled to see them in concert someday, and cannot emphasize enough the thrill I attained by listening to Leather Silk. Do your ears a favor and follow suit.

Platform One Entertainment: Compilation Review

Platform One Entertainment out of Chicago, Illinois, has put together a compilation of 23 songs. With the exception of Kid Cudi, I’d never heard of any of the artists before. Cudder begins the set with his new single “Erase Me” featuring Kanye West. Being a diehard Man on the Moon fan, I love this song and the departure from his usual rap here. He goes for a more old-school rock feel here, with a really catchy chorus to boot. The song is the 5^th most played song on my iTunes, so if that doesn’t sum up how much I enjoy it, then I’m not sure what does. Paradise Fears’ “Hear Me Out” is a really energetic tune that is a step above most alternative music these days, but lead singer Sam Miller’s voice leaves much to be desired. The word is “out” not “oot,” please go to speech therapy when you get a chance. On the other hand, he sounds great in the next song “Now or Never,” which reminds me of the soft-spoken, pleasant tunes of fellow alternative rockers The Academy Is… But the problem here is primarily the lyrics. “And you were like the ocean/perfect is your motion.” Really? Oh well, the crazed preteen fan girls must eat it up, so I guess mission accomplished. Next up we have Sapient with “Glorious Days” and “Universal Diorama.” I think he’s a really cool artist—kind of like a young Asher Roth, but with the funky beats so often associated with the likes of K’Naan or Mike Posner. I think the better of the two is “Universal Diorama,” for the simple reason that it’s unlike anything I’ve heard, but both have peaked my interest in Sapient as an artist. “Roll Up” by T-Razor is a fine song—the raps and rhymes aren’t half-bad, but the chorus is a bit on the boring, R&B-esque side. The compilation branches off here into more rock territory with “Burn It Down” by Awolnation. Although it’s slightly catchy, it gets pretty repetitive a minute in, and his rough, screamo-wannabe vocals become grating on the ears. And “Miracles” was a mere blip on my radar—nothing special about this acoustic, angsty tune. You’re an alternative artist—chill out on all the screaming, dude. “Be My Guest” is fairly decent in its rap verses, but is a little too Abercrombie & Fitch bad club music otherwise. FameCity Boiz’ next song, though, is quite awesome—has a bit of a gospel, jukebox flair with a modern, R&B twist. The song is upbeat, and I’m sure could become stuck in my head quite easily. “On My Way” by Izabo has a psychedelic Western sound, but the unique vocals don’t really pique my interest. And I couldn’t even get past the stupid “whoa-oh-oh’s” of the first 30 seconds of Kadawatha’s “Agape” before I switched the song. So obnoxious, and alternative music at its most mundane. “Airstrike” by Nick Dragisic is my favorite song of the compilation thusfar. Slow and simple, but with powerful lyrics about growing up and perfect vocals to boot. Train Company’s “Change,” is pretty cool—very bluesy and verging on reggae. The kind of music that’s relaxing to listen to while eating in a restaurant or local pub. Their next song, “Otherside,” is pretty dull. The vocals are very distant and difficult to decipher—maybe it was recorded live or something? Regardless, the instrumentals drown out lead vocalist John Zozarro‘s voice, although to their credit, the band itself really shines here. “Guilty Filthy Soul” by Awolnation is also another favorite of mine—too bad he did so terribly on “Burn It Down,” I never would’ve even known they were the same artist if I hadn’t checked my computer. “Soul” has the classic 70’s rock vibe with an infectious and foot-stomping chorus, and I can’t help feeling happy listening to it. The Primary slows the compilation down some with their song “Until Then,” and I love every minute of it. Blaring guitar, woeful lyrics, and soaring vocals—the perfect mellow, rainy day song. Put Coldplay in a time machine to the days of classic rock and this would be them. And while “Smile” is a catchy song, the whiny and unbalanced vocals make the tune rather obnoxious. What’s with alternative songs and saying “whoa-oh-oh?” Geez. Same could be said with Kadawatha’s “Gonna Stay”—perfectly catchy song ruined by unnecessary shouting and ghastly falsetto. Just calm down and sing the song for what it is. ‘Tearing Me Down” is a really cool tune—it sounds like it’d be a chill, mellow song, but with the twang of a guitar becomes a trippy journey into the throes of love. FeelAbouT concludes the compilation with 2 songs. The first, “Stop,” has a really unique, electronic beat that is quite a toe-tapper. And although the vocals leave a little to be desired, it’s a fun song regardless so the screeching voices can pass by. “Break Even,” on the other hand, is a loud, rash rock tune that where the vocals frankly bug me quite a bit. She seems completely out of her range here, and is struggling with way over-kill on the vibrato in her voice. It’s quite the headache to listen to. She slurs all of her words, and the instrumentals don’t mesh—making the song just a big mess. Overall, the compilation is pretty hit and miss, and is at its strongest when not relying on the alternative set. I found some great discoveries through listening to it, and appreciate Platform One’s efforts in putting it together.

No Age, Everything In Between (2010): Album Review

No Age is a two-person rock band that hails from Los Angeles. Consisting of guitarist Randy Randall and drummer Dean Allen Spunt, the duo was originally part of a hardcore punk band called Wives but soon branched off to form their own band. They’ve recorded three studio albums since, the most recent being Everything In Between. I picked it out of the music bin because I thought it looked really cool—sadly, the music doesn’t live up to the hip style of the cover, and is a huge disappointment.

The album gets off to a fairly exciting start. “Life Prowler” begins with the repetition of a single drumbeat, and then builds as the song commences—introducing the guitar, and finally the vocals. The lyrics are quite interesting, actually—discussing the wonders of self-discovery—but judging by the excitement of their voices, you would never think this was some great event. “Glitter” is also a very energized tune with the heavy blaring of the guitar, but towards the end becomes a mess—making it very difficult to distinguish between the different elements of the song. They turn things around though with “Fever Dreaming” which is reminiscent of an OK GO-style song…but what is with the random earth-shattering screams throughout? When the next song “Depletion” began, I was pretty excited for a slower, hopefully more audible tune. But then they kicked in the instrumentals and I couldn’t understand a word of what they were saying. “Common Heat” depressed me even moreso. This is a slow song, and finally I could hear their voices perfectly clearly. But honestly…they can’t sing. Like, I understand speak-singing, but they are honestly tone-deaf, I almost feel bad for them. The introduction to “Skinned” sounds pretty trippy—as if the listener is in some psychedelic rainforest—and then, as every song thus far, it goes downhill from there. It actually wouldn’t be too bad, but the drums sound beyond terrible. Are they supposed to sound like gun shrapnel or raining pouring down on a gutter pipe? Because that’s all I could make of it. And I was about to write how I think “Valley Hump Crash” is the best song on the album—the guitars and drums are especially infectious—but the tone-deaf vocals particularly in the beginning are really difficult to ignore. They do serviceable vocal work in the next tune “Sorts,” but the instrumentals are all over the place. Some bits sound like a chain-gang marching song, while others sound like the electrical-light parade at Disneyland. Not to sound like an old geezer, but this song was a headache to listen to. “Positive Amputation” finally highlights some much-needed piano into their repertoire—too bad it’s way overshadowed with blaring guitars and heavy over-production. I don’t know how the guy that produced this CD wasn’t seeing major red on his soundboard. “Shed and Transcend” sounds like something you’d hear on Rock Band—not the actual songs, but what your wasted friend is desperately trying to play with their little plastic guitar. This tune is pure empty noise with some inaudible vocals heard in the last minute or so that just make the song messier than it already was. Finally, the last song “Chem Trails” introduces some new vocalist—is it a girl or a guy? —but it keeps up with the band’s usual awfulness. Sounds like some kind of love song—not like I would know though since they haven’t gone to their speech therapy sessions yet this week. I will give them some lively action on the drums, though.

Overall, I came in with decent expectations for the album—it looked like a nice, hip album from the cover and design aspects. Most of the music I’ve reviewed thusfar has been at least quality, even if the genre isn’t to my taste. I’m not sure how this band ever garnered an audience—let alone produce three studio albums. I don’t even have any suggestions on how they could improve. Their voices are awful, and their instrumental work is mediocre at best. There is not one song on this album I’d ever choose to listen to again, and is a mere waste of space in my iTunes library.

Sundried Truth, Underdog (2010): Album Review

I don’t know much about the band Sundried Truth except for 2 things: they hail from Madison, Wisconsin, and I am not their biggest fan. Their debut album, Underdog, feels so full of promise during the first title track. It’s both energetic and catchy, wails with raspy rock vocals, and the guitar work is especially impressive. But then…the second song begins. Entitled “My America,” it sounds like your loud, quintessential rock song. But then Pete Gargano starts singing, and the lyrics are truly forgettable and quite frankly, lousy. “Topless bars with those f***ing fast cars/that’s my America”—believe me, nothing wrong with either of those things, but how long did it take to write those lyrics? All of 5 minutes? Doesn’t fare much better with the next tune, “Walk Away,” either, where I started counting how many times they said “oh yeah” but simply lost count out of boredom. The worst offender? “House arrest just might be the best” on their tune entitled “House Arrest.” Shocking, right? The sad thing is, their music is really upbeat and enjoyable to listen to on a whole. It’s quite a thunderous, solid effort on the guitar and drums, with that underground rock vibe you could just chill and listen to while enjoying a beer with some friends. I might even be inspired to buy their music, if they either A) hired a new lyricist or B) had no vocals whatsoever. I don’t mean to be a complete DJ Downer, though, and the album isn’t entirely bad. “She’s Not Right” is a very catchy song, reminiscent of “You Make My Dreams” by Hall & Oates infused with some heavy guitars and drums. And although it falters midway through when it becomes a little too loud for its own good, “Tonight” is a slower tune where --- seems to channel Jon Rhys Meyers in the film August Rush. I know this is only their first album, so Sundried Truth certainly has a long and promising career ahead of them. Their rock n roll formula is pitch-perfect, but they would be very wise to direct some focus at the lyrics if they wish to grow as artists.