Tag: album
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Flake Music: ‘When You Land Here, It’s Time To Return’ Remaster
Not only did Garden State establish first-time director Zach Braff as more than his Scrubs character, it also introduced the mainstream world to a staple of the modern indie-rock world: The Shins.
The film helped skyrocket the band to fame almost over night, after Natalie Portman’s character hands Braff’s a pair of headphones and proclaims, “You gotta hear this one song, it’ll change your life I swear” (referring to their mega-hit “New Slang”).
The official Garden State soundtrack later won a Grammy for Best Compilation Soundtrack Album and the film quickly gained a cult following, along with its most featured artist.
Long before The Shins found fame, they were merely a side project of four guys that belonged to another band, named Flake Music. Drummer Jesse Sandoval, keyboardist Martin Crandall, bassist Neal Langford and well-known singer-songwriter/guitarist James Mercer comprised the group, based in Albuquerque.
In their seven-year span of existence between 1992 and 1999, Flake Music only managed to release one full-length album, “When You Land Here, It’s Time To Return”. That album, released by what seems to be a now-extinct Omnibus Records, floated around the Internet with little information behind it and three tracks listed as “untitled”.
The album was first reissued in 2002, and this week, SubPop has released a second, updated reissue that has been remixed and remastered. The reissue also includes new artwork from Seattle artist, Keith Negley.
The fresh rendition of this classic 1997 album is remixed by Kennie Takahashi (notably, a sound engineer that often works with Danger Mouse) and remastered by J.J. Golden.
It’s not hard to tell “When You Land Here, It’s Time To Return” is ancestor of The Shins; from their upbeat rhythms down to James Mercer’s distinct voice, Flake Music is the angsty teen preview of The Shins.
While the modern, classic sound of The Shins is weaved throughout each song on the album, it’s definitely reminiscent of the garage punk feel of the time. Think the heavier drums and guitar riffs of Brand New’s “Mixtape” but with Weezer’s carefree, bright sound.
Naturally, the album is most closely comparable to The Shins 2001 release, “Oh, Inverted World”. Mercer’s lyrical roots are exposed and they are just as lovely as his current work in The Shins and Broken Bells.
“When You Land Here, It’s Time To Return” has some very nice surprises though, including three songs that are strictly instrumental on the album, including the outro, “Vantage”. If you want to feel the true 90’s vibes, go for the distorted “On the Playground, in the Wind” or psychedelic “Faded Polaroids”.
Even though the album has a track named “The Shins”, Flake Music is definitely a separate entity. The album is now available on CD and for the first time in over 15 years, you can hear this one spinning on vinyl. Recommended for fans of The Shins and lovers of quality music.
4.5/5
The Veronicas: ‘The Veronicas’
Popular twin duo The Veronicas released their first album since 2007 today.
After forming in 2004, their first two albums peaked at No. 2 on the Australian charts and both were certified platinum in their home country. They are the first Australian artists to have a single certified platinum in the U.S., which they did with “Untouched” three years later. So what halted their progress and prevented a new release for seven years? They began writing for the third album in 2009, but progress was slow as the two had outside projects to work on. The album was due to be released in 2012, but due to conflicts with their label, the release date was postponed even longer. The Veronicas then decided to completely change the theme of their already completed album, which resulted in an even later release date. After leaving Warner Bros. Records, they signed with Sony and announced the release date would be late 2014. With the new album, the duo will also launch their first tour since 2009 next year.
In order to continue gaining popularity after their hiatus, their self-titled third album must be a homerun. Because they’ve been irrelevant as a duo in the music scene for so long, there is no guarantee of reclaiming their previous success. Their first single off the album “You Ruin Me” already debuted at No. 1 on the Australian charts. It goes without saying they will remain popular in their home country, despite the hiatus. But achieving international success for the second time will prove more difficult for the duo.
To say the least, this album is interesting. They definitely attempt to stay relevant with “Did You Miss Me,” an anthem proclaiming their return. The song contains EDM-style music and even rapping on occasion, which we’ve heard much of over the past few months with Iggy Azaelea and Nicki Minaj. There are definite hits and misses, present on most any album heard today. Much of The Veronicas’ tired style, which made them famous in earlier years, shows through on a fair portion of the album. This is either positive or negative, depending on the listener. If you’re nostalgic for a return to 2007, then you’ll be satisfied with these songs and disregard the rest. If you’re looking for more experimentation, you’ll be happy with about half of the album. Regardless of your musical preference, chances are you’ll only listen to select songs off the album. With such differing styles throughout the album, it’s unclear what the duo was attempting with their return. Some of the most notable songs are “You and Me,” their current single and power ballad “You Ruin Me” and “Line of Fire,” which fans are already raving over.
Dedicated fans will more than likely fawn over this album simply because the duo has been out of the industry for several years. The album doesn’t scream comeback, but it is interesting, nonetheless. There are songs for more traditional fans and for fans who are looking for something new. Overall, the album is an odd collection of songs that lack a definite theme. Listeners are most likely to pick and choose specific songs for purchase, rather than the entire album. I can’t help but wonder what the original version of their third album sounded like prior to their revamp and how it compares to the version in our possession today.
3.5/5
Rick Ross: ‘Hood Billionaire’
Hood Billionaire is Rick Ross’ seventh studio album set for a November 24th release date in light of the marginal success of his March release, Mastermind.
Ross doesn’t deviate from a set formula. I’ve never been a major fan of his work, but I’ve given him a considerable amount of attention not because of my enjoyment of his music, but because Ross is certainly an enigma. The content of his lyrics ranges from cocaine to crack-cocaine. Ross seemingly can’t get enough of the white. But despite his lack of originality and prowess in his music, Ross stands out among the other rappers to whom he is often compared. For the Teflon Don, there is no façade to uphold.
Unlike rappers such as Lil’ Wayne, Gucci Mane, and Waka Flocka Flame, Ross’ background as a correctional officer at a prison in Miami renders him incapable of presenting himself as “hood” in a genuine sense. His music comes off as serious and cutthroat, but Ross acknowledges his less-than-gangster past and o his peers often criticize his view from the other side of the bars as a discredit to his status in the rap community.
But Ross is exactly who he wants to be. The tattooed, overweight (although he recently adopted a healthier diet to lose that weight) presence on stage dispels any hint of a life anything other than what he claims in his music. He sincerely looks like a drug kingpin from Miami and nothing less. If you came across Ross’ at a show and had never heard of his past as a correctional officer, you wouldn’t think twice when he says “fishscale made me major profit margins/I’m a prophet stuffing my pockets, you n****s starving.” Rick Ross is a combination of his image and his lyrics. They are bound together inextricably and he knows that. If Ross looked like anything other than what he looks like now, his music would fly considerably under the radar.
Hood Billionaire is just like every other Rick Ross album. It’s a mixtape recorded on a major label. All the qualities are there: the horns, the echoing mantra of “Maybach Music” that permeates Ross’ very musical essence, the various skits and sound samples referencing drug trade, both real and fictitious. Ross is nothing more than an image and his music serves its purpose by reinforcing that image. The song titles speak for themselves, such as “Coke Like The 80s,” “Neighborhood Drug Dealer,” and “Phone Trap.” They are repetitive and unoriginal concepts that Ross rehashes every six months or so to stay on top. But that isn’t the point of his music. Ross isn’t a rapper or a musician. He’s an image that’s upheld by a genre and he releases track after track in order to stay on top.
His music hasn’t changed since 2006 and his lyrical content has remained consistently juvenile and heavily reliant on the n-word (see “Coke Like The 80s) and drug-dealing, but no one expects Ross to be a wise, versatile rapper laying intricate rhymes over esoteric beats. Everyone that knows Rick Ross as he is expects him to stay the same. His success lies in his refusal to change or expand beyond his image. Tastes change, but Ross stays the same and that provides him with a verisimilitude, a realness that gains him followers by the thousands. To be real is to be respected and as far as Ross is concerned, he is the realist.
2/5
TV On The Radio: ‘Seeds’
Indie band TV On The Radio released their fifth album Seeds on Nov. 17.
After undergoing a year-long hiatus in 2009 and even dealing with the death of a band member, TV On The Radio has had their fair share of hard times. Given that they’re a good ways into their musical career that began in 2001, now is the make-or-break phase. It’s difficult for an indie band to break onto the top charts, but their past three albums have charted in the top 50, with the last two peaking at 12. While they are included in the indie genre, the band has noted their influences include everything from classic artists like Earth, Wind & Fire to the Pixies. These influences are apparent through the creation of their own unique style, complete with an array of different instruments used as they see fit. The use of strings, horns, and an organ at times filter through much of their two most recent albums that also charted the highest.
Seeds is a surprise that wasn’t even expected by its creators. The lead vocalist has said the band wasn’t even sure about making an album after the death of their bassist in 2011. Although it was unexpected, the album proves to be a period of awakening for the band as it differs from anything that’s been released before. Long-time fans will appreciate TV On The Radio’s loyalty to the genre and opting for a more clean, tightened album.
While their previous albums have incorporated maybe too much into each song, Seeds is slightly more simplified version while still keeping with the style the band has built up over the years. It’s reluctant to venture far from the much-acclaimed spot they’ve achieved in indie rock. The songs are intentional and full of purpose to get the concept across.
The album begins with a whimsical song called “Quartz,” complete with an array of different sounds ranging from synthesizer to handclaps. While it may not be exactly what the band’s fans are used to, the song definitely incorporates their style. The band’s first single from the album, “Happy Idiot,” is a catchy song that hasn’t quite peaked on the top charts yet. The band placed heavy emphasis on this song to announce their album with Paul Reubens and Karen Gillan taking part in the music video.
While the radio hasn’t yet picked up on the potential of the single, it has received many positive reviews. Other notable songs are the heartbreaking “Careful You” and “Ride.” Each song segues into a new one about love and loss, complete with an effective array of guitar rhythms. They’ve done a rare thing to incorporate so many influences throughout each song while still keeping with their unique style.
TV On The Radio has come a long way since their debut. This first album since the death of a member is a new start. While many bands would be reluctant to continue after such a tragedy, this one refuses to quit. Seeds is a turning point for the band and holds much potential for future albums to come. This album is a proclamation of acceptance and propels the band forward.
3.5/5
Damien Rice: ‘My Favourite Faded Fantasy’
After an eight-year hiatus from the studio, Damien Rice has released his third album, My Favourite Faded Fantasy.
Since his last studio release, 9, in 2006, Rice has been touring and working on collaborations with a multitude of artists, including Ray LaMontagne and David Gray. Rice’s last individual release was a live album in 2007, Live at Fingerprints: Warts and All.
Although it’s been almost a decade, fans of Rice don’t have to worry about this album being a complete re-vamp of his soft style.
My Favourite Faded Fantasy is a collection of rainy day music, complete with piano, guitar, violin, and Rice’s signature raspy, soothing vocals.
The album begins with the title track, a mysteriously dark and high-pitched melody. As the song builds, layers of different instruments and distorted sounds metabolize into a grander picture that defines the album, then ends abruptly.
The second song, “It Take A Lot To Know A Man”, introduces Rice’s familiar use of violin and catchy yet profound lyrics. However, from there, the album seems to ride a steady stream of a lot of the same.
Golden tracks include “I Don’t Want to Change You” and the beautiful eight-minute long “Trusty And True”, which oddly, holds a slight reminiscent feel you could compare to that of The Decemberists.
The album rounds out with a token Rice tune, “Long Long Way”, featuring slow, repetitive lyrics that are supported by ghostly female backing vocals and a plethora of soft instruments, including a clarinet that helps the album fade out.
Whereas many of Rice’s most popular slow ballads provide an array of technical instrumental solos or surprise monk-like vocals, the majority of My Favourite Faded Fantasy has a simpler feel.
For die-hard fans, the album would be considered a great and long-awaited response to 9; for long-time listeners and more surface level fans, the album has a couple of solid, interesting tracks that uniquely fit with Rice’s previous work. However, for virgins of Rice’s music, this album is not suggested for your first listen.
Compared to 9 and the album that shot him to success, O, My Favourite Faded Fantasy is, for the most part, a mundane compilation. The album is far from “bad” and still holds a couple of great songs, but the album as a whole doesn’t rise to the same of level of Rice’s previous masterpieces.
Although the Ireland native’s newest album has skyrocketed to number one in his home country, I’m not sure it will do the same outside of the U.K.
While My Favourite Faded Fantasy is a good album to flip through on a drizzly day, refer back to O to soak up the true brilliance of Damien Rice.
3/5
Cory Branan: ‘The No-Hit Wonder’
I’ve never really been a big fan of contemporary country. However, Memphis native Cory Branan may have converted me. Here’s my beef with country music – it either transforms a mud-caked truck or a morning fishing trip into an emotional upwelling, or there’s too much boom-boom for my speakers. There is nothing wrong with country music and nothing wrong with a barn party with a little Kenny Chesney on the side; it’s just not my cup o’ Joe. Maybe, I’m just listening to the wrong country music (I’m totally open to some recommendations). But Branan seems to transform the genre with his fourth album, The No-Hit Wonder, and I can’t help but admire when someone brings something new to the table.
First, Branan’s voice is so simple and smooth; you can’t help but turn each song into a duet. Second, the album is so versatile! It opens with some classic honky-tonk inspired rhythms. “You Make Me” and “The No-Hit Wonder” follow a simple melody with simple lyrics that make the songs easy to enjoy, and the exuberance embodies the country spirit: good times and good people. “The Only You” has a singer-songwriter vibe that features soft acoustics and a piano that brings to mind Mumford & Sons.
Branan continues to keep his style unique and fresh with “C’mon Shadow,” which opens with what sounds like a ukulele, and “All I Got And Gone.” Both show a slower, sweeter side of the album. “All The Rivers In Colorado” is a personal favorite with its flowing melody and harmonization, as Branan sings, “All the rivers in Colorado couldn’t wash you off my mind…”
The album ends differently than the way it started. The No-Hit Wonder ends with “The Meantime Blues,” a song that displays a rare style and is beautifully accomplished. “The Meantime Blues“ is perfectly sublime and appropriate for a lazy summer day when you’re sitting in your hammock, sitting on a dock, or sitting on your couch.
Cory Branan will be an essential name in the singer-songwriter genre and will surely be a more than one-hit wonder. The No-Hit Wonder comes out tomorrow on Bloodshot Records.
Love it – 5/5
Athfest 2014 Compilation Album
June is upon us, which means, Athens readers, that AthFest is right around the corner. AthFest Music and Arts Festival is like Christmas in June for the plethora of music lovers in the Classic City, a weekend of more music than you thought possible, with 14 venues and two outdoor stages hosting bands spanning every genre, most of them calling Athens home.
Every year for the festival, AthFest releases a compilation album produced by Ghostmeat Records (David Dondero, Drive-By Truckers), the proceeds of which go to benefit AthFest Educates, supporting art and music education in the Athens area. This year, however, the album will be released exclusively on vinyl—a first for the AthFest compilation.
I had a chance to grab a first listen, and saying I enjoyed it would be a vast understatement. Every year, AthFest reminds me how lucky I am to live in a city filled with such amazing art and music, and this compilation album is a testament to that.
The album kicks off with “Forest Gum” off New Madrid’s newest album, Sunswimmer. New Madrid is band that has been making more than waves, not only in the Athens music scene, but nationally as well, mixing southern rock roots with the psychedelic and indie influences of the modern Athens music scene. “Forest Gum” is awesome.
Ruby the Rabbitfoot takes over next, with “Ways.” Unsurprisingly, this song is instantly catchy, as Ruby croons over the acoustic guitar, universally appealing, but maintaining the down-to-earth indie vibe that has made her an Athens favorite.
“Rust and Bone” by Family and Friends starts slow by way of acoustic guitars, a violin and some heavy drums, and then builds with incredibly intensity, exploding with such pensive lyrics as “wondering if there’s a better way to live or at least a better way to die.” The song picks you up, whirls you around and sets you back on your feet, reeling from the trip.
Faster Circuits is groovy and psychedelic and evokes a good amount head bobbing with their psych-pop jam, “Relative Obscurity.” Indie rockers Elf Power do the same with their tune “Life the Shell,” singing, “and no one’s ever home when you ring the bell, and nothing’s ever there when you lift the shell.”
Of course, the Drive-By Truckers make an appearance on the album, with their raw and mellow “Rock Solid” tune from their Record Store Day EP release, Dragon Pants. The boys do what they do best.
Somewhere between Amy Winehouse and Billie Holiday lie the enchanting and unique vocals of Andrea DeMarco, complemented by the clear voice of David Krislis on the folksy “Meredith” by Cicada Rhythm that redefines the folk sound.
Nicholas Mallis and his deep, booming voice ask, “why do you light the candles when the storm hasn’t happened yet?” on his moody track, “Why Do You Light the Candles?” while Shade remains as capricious as ever on “Know Your Sine” with a mix of rock, punk, noise-pop, and indie music that is uniquely their own.
Ghost Owl closes out the album with “Eleven.” Ghost Owl is three quarters of the disbanded Athens legend and AthFest veteran band, Perpetual Groove, and although I have heard the name many times, I hadn’t had the chance to sit down and listen to them. They are a complete departure from the organic jams of P Groove and sway towards the indie rock genre, heavier, with a greater tendency towards electronic sounds and effects and a much more epic sound that builds throughout the song.
The AthFest 2014 compilation album makes me proud, as always, to be an Athens resident, a member of a community so rich with new and unique sounds, constantly pushing the boundaries to create music that the rest of the world can only imitate. And as someone who has seen about half of these bands live, I can assure you the festival itself will be just as exhilarating as the album. One thing is for certain, you DO NOT want to miss out on buying this record, and especially attending the festival.
Pre-order the album here!
Axxa/Abraxas: ‘Axxa/Abraxas’
Sometimes, you have to learn to be happy exactly where you are. And, thankfully, once in a blue moon, musical acts like Axxa/Abraxas emerge and remind me again why I’m so proud to be living in Athens, Georgia. The project of University of Georgia alum Ben Asbury is a unique blend of music and art that never ceases to inspire with its melting pot of 60s pop, 70s psych and post-punk. On March 4, all of this wonderment culminates in the release of Axxa / Abraxas’ self-titled debut album.
I suggest starting with the album’s first two singles (below), “I Almost Fell” and “On The Run”, especially if you’re a little weary of heavy psychedelia. Their sound is quite different from the rest of the album, yet still fits ideally between the other eight tracks. “I Almost Fell” is what would happen if A Flock of Seagulls was transported to the 70s, while “On The Run” dips deeper into straight rock n’ roll. This track is simultaneously reminiscent of the Doors and today’s surf punk bands – an odd but strangely satisfying combination.
The rest of the record proves to be much more expectedly 70s, a lot more lyrically inclined. “Ryan Michalak (Is Coming To Town)” opens the album in an instrumental haze of violin before jumping into a fuzzy-voiced tale about – what else – an old friend returning. Harder tracks like “So Far Away” make me feel like I’ve turned on an old Cream record, while more thoughtful tunes like “Painted Blue” tell me, “Close your eyes so your mind can see.” Groovy, no?
If at all possible, try to pick up a physical copy of the album – Asbury was in part picked up by the Captured Tracks label because of his demos’ stunning D.I.Y. silkscreen art. But don’t take too long eyeing this inevitably gorgeous cover art. You’ll want to get to listening to this psych masterpiece, stat.
of Montreal: Lousy with Sylvianbriar
If you have ever listened to of Montreal, you are aware of the psychedelic journey their tunes can take you on. A fitting album cover photo, perhaps, for Lousy with Sylvianbriar, since you may find yourself ready to hop on that bike and ride off into lands of trippy new colors and skies.
With the more upbeat songs, such as the single “Fugitive Air”, your hips may start developing minds of their own in response to the pleasurable beats. Tapping your feet or swaying to the beat, you’ll find that Kevin Barnes’ vocals create something different in each song. Barnes’ voice becomes intoxicatingly sweet, complimented by the female vocals alongside his in “Obsidian Currents”. Little surprises like those are found throughout the album.
Further into the album, “She Ain’t Speaking Now” offers more drum action, which pairs well with Barnes’ vocals. The low roar of the electric guitar also finds its way into the mix of funky sounds here. The rise and fall of sweet melodies next to more upbeat tunes make this album a nice listen.
The same funk you’d expect from of Montreal is present in LwS, but this album presents more euphoric moods than the previous albums. If you dig what you hear, the band will be going on tour right around the corner! Kicking off in their hometown, of Montreal will be playing in Athens, GA October 18th at the 40 Watt Club so don’t miss out.
of Montreal’s Upcoming Tour
Oct 18 – Athens, GA @ 40 Watt Club
Oct 22 – Carrboro, NC @ Cat’s Cradle
Oct 23 – Washington, DC @ U Street Music Hall
Oct 24 – Washington, DC @ U Street Music Hall
Oct 25 – Philadelphia, PA @ Union Transfer
Oct 26 – Cambridge, MA @ Middle East
Oct 27 – Brooklyn, NY @ Music Hall of Williamsburg
Oct 28 – Brooklyn, NY @ Music Hall of Williamsburg
Oct 29 – Cleveland, OH @ Beachland
Oct 30 – Chicago, IL @ Lincoln Hall
Oct 31 – Madison, WI @ Majestic Theater
Nov 01 – Minneapolis, MN @ Cedar Cultural Center
Nov 02 – Omaha, NE @ Waiting Room
Nov 03 – Denver, CO @ Marquis Theater
Nov 04 – Salt Lake City, UT @ Urban Lounge
Nov 05 – Boise, ID @ Korah Shrine
Nov 06 – Portland, OR @ Wonder Ballroom
Nov 07 – Seattle, WA @ Neumos
Nov 08 – San Francisco, CA @ Great American Music Hall
Nov 09 – San Francisco, CA @ Great American Music Hall
Nov 10 – Los Angeles, CA @ Echoplex
Nov 11 – Los Angeles, CA @ Largo at the Coronet
Nov 12 – Tucson, AZ @ Club Congress
Nov 14 – Dallas, TX @ Trees
Nov 15 – Austin, TX @ Mohawk
Nov 16 – New Orleans, LA @ Howlin’ Wolf
Nov 17 – Atlanta, GA @ Terminal West
Barrence Whitfield and the Savages: Thy Savage Soul
Discovered by the famous guitarist Peter Lynch at the Nugget record store in 1980’s Boston, Barrence Whitfield and the Savages have combined the essence of rock n’ roll with the soul of blues into their own unique albums that everyone can enjoy. Having had the privilege to listen to their newest album, Thy Savage Soul – debuting this summer on August 13th – let me just say…get ready to be transported back into rock n’ roll prime.
The fusion on rock n’ roll and blues elements are woven through out the entire album, creating a fun, energetic summer album. Each song in the album is unique and speaks volumes to anyone willing to go on a journey to the 1950’s. With both fast and slow tempo songs, there is a tune to fit everyone’s fancy.
The album opens with “ The Corner Man”, an upbeat song reminiscing of Ray Charles and Little Richard. However, it would not be a Barrence Whitfield song with out a twist. This song has the beat to make you want to get up and dance and let’s not forget the infamous vocals of Mr. Whitfield.
Although the album transports you to a different time, there is no way today’s listeners would not enjoy this album. In fact, with the combination of rock and blues elements, these songs can comfortably fit into anyone’s summer playlist. It goes with out saying but Barrence Whitfield and the Savages are back with force and get ready for the inner savage of the soul to be reawakened. Thy Savage Soul will be released August 13 through Bloodshot Records. Get it.