Favorite Albums of 2012 (Alphabetical)

I'm WAY behind on my 2012 albums but here's a list of my 15 favorites that I couldn't be bothered to put into numerical order. Also, I managed to get two blog posts in this year so that's cool.

Alabama Shakes -- Boys & Girls

I'd like to see Frank Ocean take home a bunch of Grammys next year for Channel Orange, but I'm also hoping Alabama Shakes sneaks "Best New Artist" out from under him. Singer/guitarist Brittany Howard is a phenomenal new talent and the band's debut, Boys and Girls, is the kind of rock album we need more of. 

Anais Mitchell -- Young Man in America

This album received a good deal of praise when it was released and then people seem to have forgotten about it come year-end list time. BUT NOT ME. Anais Mitchell may have toned down the ambition a bit for Young Man in America (her last album was a folk opera variation on Greek mythology) but her songwriting is better than it's ever been.

Andrew Bird -- Break It Yourself

I love pretty much everything Andrew Bird does, but I was especially excited about Break It Yourself because it's easily his finest effort since The Mysterious Production of Eggs. It's also perhaps the album where he best balances his experimental side with more melodic pop.

Dirty Projectors -- Swing Lo Magellan

Swing Lo Magellan is the album where Dirty Projectors frontman Dave Longstreth seems to have settled into his groove. His creativity and energy remain, but he spends more time refining an established style here rather than leaping into something completely unexplored. For him that ends up being a very good thing as this collection of consistently great songs shows.

Django Django -- Django Django

I was introduced to Django Django by a friend of mine who got me hooked on the song "Default" by playing it about nonstop for three months. It may be the best tune on the band's self-titled album but there are plenty of psychedelic grooves and killer riffs to be found throughout this impressive debut.

Dr. John -- Locked Down

I recently saw Dr. John's Locked Down listed on a forum as the "dad rock album of the year," which I suppose may be true, but I think that title may discount the energy and intensity of the music on display. The septuagenarian singer/keyboardist, with the help of producer Dan Auerbach, has released a great rock 'n' roll album by any standard.

Father John Misty -- Fear Fun

Joshua Tillman switched from recording under his own name to Father John Misty for his latest record, and with the new moniker comes a remarkably different album that expands his drowsy folk style into a busier, stranger, and far more interesting set of tunes. With music like this it's unlikely Tillman will continue to be known only as "that guy who used to play drums for Fleet Foxes."

First Aid Kit -- The Lion's Roar

Swedish sisters Johanna and Klara Söderberg are just 22 and 19 years old respectively, but the fine songwriting and beautiful harmonies on their second album, The Lion's Roar, make it feel like the work of much more mature artists. One of the best Americana albums of the year—from Swedes? Go figure.

Frank Ocean -- Channel Orange

This is the best album I’ve heard this year, no question, and it deserves every ounce of praise it has received.

Jack White – Blunderbuss

Was anyone surprised that Jack White could make a great album sans Meg? Probably not. Still, Blunderbuss is by far the best thing he’s done without her after a number of good-but-not-great side projects, so it’s reassuring just the same.

Kendrick Lamar -- good kid, m.A.A.d city

It took me a while to get to Kendrick Lamar’s latest because I figured, given that it had been labeled as gangsta rap, I wouldn’t have much interest. Maybe I’ve just spent enough time in LA to get over that (not likely), but either way it’s easy for me to understand that good kid, m.A.A.d city is a fantastically strange, intelligent, and exciting rap album.

Perfume Genius – Put Your Back N 2 It

There is a lot of sadness packed into the 32 minutes of Put Your Back N 2 It, but Perfume Genius (aka Mike Hadreas) displays it beautifully. And though it’s a dark album, there are moments of hope and affirmation that help make his second effort a powerfully emotional statement.

Punch Brothers – Who’s Feeling Young Now

Chris Thile’s Wikipedia page features an overwhelming list of projects, bands, and collaborations. His third album with Punch Brothers reflects this sort of variety with a restless creativity deserving of the inarguable brilliance of these four musicians.

Sharon Van Etten – Tramp

I didn’t really understand what all the fuss over Sharon Van Etten was about until I heard her third album, Tramp. Producer Aaron Dessner and an impressive group of collaborators help to underscore Van Etten’s inward-looking songwriting with simple yet striking arrangements.

Tame Impala – Lonerism

I found Tame Impala’s debut, Innerspeaker, so boring I had no interest in hearing their second album, Lonerism. But the praise being heaped upon it was hard to ignore, and after one listen I was hooked on this outrageous and otherworldly psych-rock album. This thing is light-years ahead of its predecessor.

Review: The Black Keys - El Camino (4 Stars)

Alright, so playing catchup here because I ACTUALLY WROTE A FULL REVIEW and then didn't put it up here.

Dan Auerbach and Patrick Carney are the hard-working rockers that could. With a modest beginning ten years ago and a steady rise to both critical acclaim and, eventually, mainstream popularity (not to mention Grammy awards), you could almost consider the Black Keys the musical manifestation of the American dream. Their determination and consistency make them easy to root for, but more importantly, they're making rock-'n'-roll that people actually listen to. Perhaps that doesn't mean much to everyone, but consider, for a moment, the bands currently occupying space on the Billboard Top 200 Chart that even remotely resemble rock music: Nickleback, Coldplay, and…Florence + the Machine, maybe? While you could argue that Jack White helps the cause by continuing to release records through his various projects, the point that popular rock-'n'-roll is scarce these days is all too easy to make. I give that context not as an excuse to continue my tradition of heaping praise upon the Black Keys, but to offer an estimation that the band's latest record, El Camino, is the perfect rock-'n'-roll album for 2011. (Continue reading @ In Review Online)

Introducing...Stepdad

Formed by roommates ultramark (yes, ultramark) and Ryan McCarthy in Chicago in 2009 and later expanding to a four-person roster for touring purposes, Stepdad is an enormously fun electro-pop band that has released one of the best and most infectious EPs I've heard this year. The band's debut, Ordinaire, was first released in 2010, but this remastered and expanded version (stretched to the LP-appropriate length of 40 minutes) seems to be making the rounds more quickly - and I'm certainly glad it found its way to me.

The EP begins with the thunderous, brooding "Jungles," but from there on out you'll find brighter, more Nintendo-flavored pop tunes full of both gleeful electronic riffs and ultramark's soaring vocals. The album ranges from driving 8-bit anthems ("Wolf Slaying as a Hobby") to disarmingly sweet ballads ("Parrot") and is strong throughout, but the standout here is the oddball pop tune "My Leather, My Fur, My Nails," which best exemplifies the band's way of squeezing constant hooks from their unique electronic palette.

The real appeal of Ordinaire lies the band's ability to make sonic sugariness and geeky sentimentality not just a gimmick but a genuinely effective and enjoyable part of their pop sound. For those with a musical sweet tooth, Stepdad should hit the spot.

Listen to "My Leather, My Fur, My Nails" below and make sure to check out the band's Bandcamp page to stream/purchase the full thing.

Bandcamp

Local Flavor: The No-Nation Orchestra

Thus far, local music hasn't been much of a focus on Chewing Gum for the Ears, but when I find something special so close to home, I'm not exactly one to keep it to myself. The No-Nation Orchestra, led by multi-instrumentalist and songwriter Stephen Chai, is one group in the SLC area reminding me of the talent and creativity abundant here if you're simply willing to look around a bit.

Chai has been involved in a handful of bands over the past few years, but none more exciting than this latest project, which finds him leading a skillful quartet that blends elements of Afrobeat and Latin jazz with a melodic pop approach. The band's upcoming debut EP, entitled More More More, is set to drop later this month and serves as a convincing introduction to the excellence of the No-Nation Orchestra.

On the opener/title track (which you can hear below) Chai floats his soulful falsetto over groovy, complex rhythms and killer horn riffs, while "Holy Holy" throws in a flashy piano line and an almost sinister vocal melody you'll find difficult to get out of your head. If I had to pick, I'd say the incendiary "Find Me The Savory Sound" is my current favorite -- but that's like to change tomorrow as each of the EP's five tracks have only gotten better with every spin.

Whether you're looking for the best of what Salt Lake City has to offer or perusing the web for a genuinely inspired new band, Stephen Chai & The No-Nation Orchestra is a must-listen. Hear the single below and check out the band's homepage for pre-orders. Also, if you're a local, make sure to catch them at Urban Lounge on September 23rd for the album release show.


http://nonationorchestra.com/

Will Stratton: When You Let Your Hair Down to Your Shoulders (MP3)

Great news today! One of my favorite songwriters, Will Stratton, has a new song available for download.

Check out this Brooklyn Based post featuring the lovely new tune, "When You Let Your Hair Down to Your Shoulders," along with a brief interview with the man himself.

If you'd like to read some of my ravings on Stratton's latest full-length, you can find that here.

Concert Review: Akron/Family with Delicate Steve

March 28, 2011
Urban Lounge, Salt Lake City

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Delicate Steve

There wasn't a huge crowd at Urban Lounge to see Akron/Family perform, and before the headliners an even smaller crowd was treated to the intricate arrangements of (mostly) instrumental band Delicate Steve, an experimentally-minded but fun-loving rock group. The band bears the name of lead guitarist Steve Marion, but the set was much more than just a showcase for his excellent guitar playing. Each of the five members contributed to successfully recreate the group’s cheerfully varied rock style, with songs ranging from triumphant pop anthems to breezy, melodic jams.

The group opened modestly with a mix of tribal percussion and subtle guitar interplay, but soon broke out into some more anthemic material that encouraged a small yet enthusiastic dance session near the stage. At times Steve would show off with some flashy guitar work and at others he would fade into the mix to help the band create more restrained sonic textures. Each piece was interesting, but the audience was most appreciative of the more up-tempo numbers, especially the penultimate tune, a fiery alt-blues stomp that features some seriously impressive shredding.

For the last song, Steve took his guitar down to the small dance party on the floor while the band pounded away on stage, never missing a beat and offering a solid finale to a strong opening performance. Delicate Steve may be a young band, but the quintet played with the precision and intelligence of seasoned pros. Definitely a band worth experiencing live if you have the chance.

Akron/Family

Right from the beginning of their set, it was clear that Akron/Family was going to take their time that evening. They spent some time chatting with the crowd, extolling the virtues of an all-week weekend (this was a Monday show) before launching into a quiet, nature-sounds-infused introduction that must have lasted for five minutes as the band waited patiently for the crowd to quiet. As the noise of the audience died down, the band launched into a delicate blending of voices that demanded everyone’s attention, but the crowd really got going with beginning of the next song, “River,” which involved a great deal of audience participation in the form of clapping and chanting along.

In fact, the band members nearly demanded such participation throughout the evening. At one point guitarist Seth Olinsky lead the crowd in a group meditation session, for another song everyone was encouraged to sing along for what seemed like a ten-minute chorus. And when they weren’t interacting with the audience, the trio were feverishly playing on stage with energetic riffs, spectacular harmonies and deafening blasts of noise. Bassist Miles Seaton even managed to play the bass with his mouth for while.

But it wasn’t all just gimmicks and insanity, Akron/Family is a talented bunch that provided some great moments that night. “Everyone is Guilty” and “Another Sky” were especially electrifying, showing the band’s ability to write and perform deliriously fun pop hooks. The problem was, by 1 a.m. the band had pretty well worn out the audience, trying our patience with a few too many extended jam sessions and head-exploding bursts of noise. Even the encore was a bit of a chore in its length, but the final moments of the show were beautiful, an a capella sing-a-long that faded softly and smoothly, ending a sometimes thrilling, sometimes trying performance on the perfect note. I think it’s safe to say Akron/Family puts on a truly unique show, but be warned, it certainly requires some stamina.

Three for Tuesday: U.S. Royalty, Snowblink, Young Circles

U.S. Royalty -

Up-and-coming quartet U.S. Royalty (hailing, appropriately, from Washington D.C.) have been making some waves this year with their debut album, Mirrors. Combining classic rock 'n' roll elements with bits of folk and indie rock, frontman John Thornley and company have released a solid first effort with songs ranging from Local Natives-esque anthems ("Equestrian") to fiery blues stomps ("Hollywood Hollows") to beautifully melodic ballads ("Old Flames"). Personally, I think the band is at their best when they hold to the more classic elements of their sound, but Mirrors proves U.S. Royalty has plenty of ability when it comes to crafting a variety of tunes. Definitely a group to keep your eye on.

Download:

The Equestrian (MP3)

Monte Carlo (MP3)



Snowblink -

Knowing several variations over its fairly brief existence, Snowblink currently consists only of Toronto-based Daniela Gesundheit and Dan Goldman, though the duo feature a variety of collaborators on their new record, Long Live, including members of Deerhoof and Dirty Projectors. The album's somewhat experimental folk sound is both refreshingly odd and undeniably beautiful, with some fantastic moments scattered among its brief 34 minutes. Whether patiently unfolding a winding, beguiling ballad or breezing through a triumphantly melodic interlude, Gesundheit demands your rapt attention with her lovely, warm voice and unusual songwriting. There are plenty of musicians reaching for the kind of seemingly effortless brilliance found on Long Love, but few achieve it so completely as Snowblink.

Download:

Ambergris (MP3)

Tired Bees (MP3)


Young Circles -

It's difficult to put any sort of descriptive label on Florida trio Young Circles; the band's debut EP, entitled Bones, blends more disparate elements than it has tracks. But then that's precisely what makes the album such a thrilling 23 minute journey and why this band is one you should know. Utilizing everything from moments of acoustic clarity to washes of disorienting noise to undercurrents of smooth jazz, Young Circles never let you get entirely comfortable, and if you're willing to stick with them through all the sharp twists and turns, you'll likely find this first effort to be a gripping one. Get familiar with these guys, you can bet everyone else will be soon.

Download:

Sharp Teeth (MP3)

Listen to or download the EP (free, I believe)

You Should Know: James Vincent McMorrow

With a softly soulful voice and penchant for heartbroken lyrics, James Vincent McMorrow makes the Bon Iver/Justin Vernon comparisons all too easy. Even the way in which the two artists recorded their debuts is similar, in isolated houses with almost no outside assistance. But McMorrow's first effort, Early in the Morning, carves out a distinct niche for the Irish songwriter, one a little more pop friendly than Vernon's but just as emotionally powerful and beautifully eerie. McMorrow's disarming vocals will certainly draw the most attention, but his songwriting and musicianship are remarkable as well, making Early in the Morning one of 2011's best early debut's.

Recommended Tracks: "If I Had a Boat," "We Don't Eat," "Follow You Down to the Red Oak Tree"

Head over to Spinner to grab one of the album's best tracks, opener "If I Had a Boat"

RCRD LBL has another song to download, "This Old Dark Machine," though it's mislabeled as "Early in the Morning"

Check out his Facebook page for more info.

Review: Cake - Showroom of Compassion (* * * 1/2)

I had pretty much lost track of Cake after their 2001 album, Comfort Eagle. I didn't even hear 2004's Pressure Chief until at least a year (maybe two) afterward, and by that time I guess I just wasn't especially interested in the band anymore. So I can't quite explain my excitement at hearing news about Showroom of Compassion, Cake's sixth album and first in seven years. Maybe I just figured Cake had good reason to return to music after such a lengthy hiatus, or perhaps I was feeling nostalgic. Mostly I was just curious to know if this record would be any good, and as it turns out, Showroom of Compassion is a fine addition to Cake's catalog, despite being a bit uneven.

If your only exposure to this record is the first single "Sick of You," you might be disappointed with how strikingly similar it is to some of the band's other popular songs. But while it's true that Cake often sticks to their established style on Showroom of Compassion, they have much more to offer than a bland rehash of their past material. "Long Time," for instance, uses the group's key ingredients--John McRae's half-sung vocals, lively bass and guitar lines, and trumpet solos--to create a funky rock tune that feels refreshingly relevant, while the admittedly familiar-sounding "Mustache Man" has a sharp combination of menace and melody that make it one of Cake's best songs to date. The eerie, synth-infused rocker "Easy to Crash" and the melancholy ballad "The Winter" are a bit more adventurous, providing some welcome variety and helping to further distance Showroom of Compassion from past albums in the group's catalog. If nothing else, fans should enjoy hearing these alt-rock veterans successfully explore some new avenues without straying uncomfortably far into unfamiliar territory.

Showroom of Compassion has more than enough solid tunes to make it easy to overlook missteps like the aforementioned "Sick of You" and the psychedelia-tinged opener "Federal Funding," though there are certainly some songs that work more convincingly than others. For example, "Got to Move" is decent, but pales in comparison to the record's best tracks and "Teenage Pregnancy" is only a mildly entertaining instrumental piece. As a whole, however, Showroom of Compassion is a fun and surprisingly strong record, a welcome return for a band that will hopefully be more active over the next seven years.

You Should Know: Way Yes

I first heard Way Yes a couple months ago when I stumbled upon their excellent debut EP, Herringbone. Now, five months after that intriguing introduction, they've unveiled perhaps an even better EP entitled Walkability that has made me realize it's high time I get the word out about these guys.

Way Yes is comprised of Ohioans Glenn Davis and Travis Hall, a talented duo who combine nimble afropop guitars, subtle electronica, and smooth vocals into a sound that could be described as a blend of indie favorites Animal Collective and Vampire Weekend. But that's a rough approximation of their style, you really just have to give these guys a listen to understand how compelling their lighthearted, yet thoughtful, approach to experimental pop music can be.

Favorites from the EPs include "Johanna," "Walkability," "Gino," and "Ties"

Hear both of their EPs at their bandcamp/homepage:

http://wayyes.com

And if you need a listen right this second, go ahead and check out this free MP3 from Walkability:

Gino (MP3)

Best of 2010: Albums

It's definitely time to unveil my picks for the best albums of the year. I'm just doing 25 this year (though really I think I could have done 100 if I had all the time in the world) and I'm not going to bother writing a blurb about each or finding all the artwork, mostly because I'm lazy.

If you want to read more about my top 10 picks, you can find a beautifully arranged article I wrote over at In Review Online. Also, you would do well to visit InRO for top 10 features from Sam Mac and Jordon Cronk, who are both superb writers with very unique tastes in music:

My Top 10 albums feature
Jordan Cronk's top 10 albums
Sam C. Mac's top 10 albums

And now, the moment you've all been waiting for (I'm sure):


1. Joanna Newsom - Have One On Me

2. The Tallest Man On Earth - The Wild Hunt / Sometimes the Blues Is Just a Passing Bird

3. Janelle Monáe - The ArchAndroid

4. Arcade Fire - The Suburbs

5. Will Stratton - New Vanguard Blues

6. Owen Pallett - Heartland

7. The Black Keys - Brothers

8. Mavis Staples - You Are Not Alone

9. White Denim - Last Day of Summer

10. Josh Ritter - So Runs the World Away

11. Menomena - Mines
12. Robyn - Body Talk
13. Wolf Parade - Expo 86
14. Baths - Cerulean
15. Kanye West - My Beautiful Dark Twisted Fantasy
16. Maps & Atlases - Perch Patchwork
17. Spoon - Transference
18. Big Boi - Sir Lucious Left Foot...The Son of Chico Dusty
19. Patty Griffin - Downtown Church
20. Anais Mitchell - Hadestown
21. Villagers - Becoming a Jackal
22. Woods - At Echo Lake
23. David Karsten Daniels & Fight the Big Bull - I Mean to Live Here Still
24. Sufjan Stevens - The Age of Adz
25. Cloud Cult - Light Chasers


Feel free to tell me how inspired my choices are or argue if you feel the need. Keep in mind that there are some albums I've omitted from this list because I can't stand them (Best Coast's Crazy for You, for example) and a few that I probably should have heard that I haven't yet. I guess what I'm admitting here is that these technically aren't the best albums of 2010 by any standard, just mine.

Best of 2010: Live Performances

Alright! I'm back finally back with some new stuff! And I promise I'm going to try and be better about updating this blog next year. But let's get to some best of the year stuff first.

I attended between 20 and 25 concerts this past year, so I obviously can't claim this to be a comprehensive list of the best live acts of 2010, but the following bands really blew me away. Think of this as recommendations for bands to catch in concert next year, or something like that.

So, in no particular order, my five favorite live artists/bands of 2010:

Sufjan Stevens: Say what you will about Sufjan Stevens' divisive new album, Age of Adz, the guy knows how to put on a show. And by show, I mean a laser-light rock opera kind of performance including the entirety of the 25-minute epic "Impossible Soul," which resulted in a sort of awkward dance party throughout Kingsbury Hall. But through all the fuss, Sufjan kept the audience mesmerized with that beautiful voice. I've never experienced anything quite like this outrageous performance, and I doubt I will again.


The Gaslight Anthem: Talk about getting your money's worth. Everyone at this show payed only five bucks to be in attendance, but Brian Fallon and company played for over two hours and seemed thrilled to do so. Fallon sang his heart out and carried a grin the entire evening, and the band was razor sharp as they made their way through what must have been every song in their catalog. I love to see a band that so clearly understands what makes a great rock 'n' roll show.


Sharon Jones & The Dap Kings: I have never--and I mean never--seen an artist work so hard during a live performance. Sharon Jones sang, danced, gave monologues that stretched songs into 10-minute jams, ran all over the stage and invited audience members up to join in the party. She must have been up there for nearly two hours, and while I probably would have died from exhaustion, the 54-year-old soul singer just. kept. going. I'll never forget this one, I get goosebumps just thinking about it.


Thao/Mirah: Thao and Mirah sharing the stage for this one-of-a-kind tour proved to be an inspired decision and a treat for fans of either artist (so, bonus for me because I love both of them). The combination of their unique musical personalities along with the intimacy of the evening resulted in one of the more engaging shows I saw this year. They traded songs, sang beautiful harmonies and made it fun each member of the small but appreciative audience. Also, Mirah's dance-music version of "Gone Are the Days" was worth the price of admission.


Rubik: Not too many people know Rubik, the awesomely weird indie rock band from Finland, but these guys are fantastic live. They opened a show to an audience that had absolutely no idea who they were, but by the end of their relatively short set each and every person in that crowd was a convert. They blasted horns, pounded keyboards, and played with such fervor that they simply won us all over and received a standing ovation usually reserved for a headlining act. I can't wait to see them again.

Review: Black Mountain - Wilderness Heart (* * * *)

Stephen McBean has never seemed particularly interested in keeping his two bands as entirely separate entities. Black Mountain and Pink Mountaintops have more in common than just their similar titles; McBean enlists many of the same musicians to play for both projects and it can be difficult to tell at times where he draws the dividing line between the two band’s. But while McBean doesn’t often vary from the basic ingredients, any direct comparison of the previous efforts by each project reveals fundamental differences in trajectory, with Black Mountain’s In the Future working through various forms of guitar-heavy psychedelia and Pink Mountaintops’ Outside Love incorporating a mellower blend of pop and experimental elements. With Wilderness Heart, however, McBean tempers Black Mountain’s more epic tendencies. (Continue reading @ In Review Online)

Concert Review: Neon Trees (SLC, Utah)

My first review for The Deseret News. Read the full story here.

Provo alt-rock quartet Neon Trees has steadily built a reputation as an exhilarating live act, and the band delivered Tuesday at Salt Lake Community College.

Supporting the Rock the Vote campaign, which encourages political activity among young adults, Neon Trees gave a flashy, energetic performance showcasing the high-octane style that has the group in steady rotation on radio stations across the country.

Continue Reading

Concert Review: Jukebox the Ghost w/ Hooray for Earth, A B & The Sea

Kilby Court
Salt Lake City, UT
October 7, 2010

Headliners Jukebox the Ghost were--appropriately--the highlight of the night, but both Hooray for Earth and AB & The Sea added to a thoroughly enjoyable fall evening in Salt Lake City.

San Fransisco's A B & The Sea opened to a tiny crowd, but made the most of it with a high-energy performance that ended up being a great introduction for most of the audience. The band's jangly retro-rock sound (think Dr. Dog with an extra helping of sun and sand) was easy to love, with plenty of bright melodies, smooth harmonies, hand-claps, and insanely catchy riffs putting smiles on the faces of all those in attendance. One song that stood out in particular (I looked up the title afterward) was "Yellow-Haired Girl," which is as catchy a pop-rock tune as I've heard in some time. It was an incredibly fun half-hour set that makes me feel confident in saying you'll be hearing much more about these guys in the coming months. MySpace


I had heard a little from Hooray for Earth, but I was not prepared for their awesomely strange, almost chaotic live act. Utilizing squealing guitars, spacey synth and thunderous drums, the band's songs ranged from dense, noisy rockers to otherworldly dance numbers all of which were both punishingly loud and unusually captivating. This bombastic take by the group on their comparably tamer studio material seemed to catch the crowd by surprise, but despite being the odd band out stylistically, Hooray for Earth was electrifying. The soaring finale was especially awesome, but their entire set was an impressive showcase of talent and creativity that was certainly enjoyed by those who didn't mind traveling well off the beaten path. MySpace

Download: Comfortable, Comparable (via Stereogum)


Though a fairly young band, Jukebox the Ghost were easily the veterans of the evening and it was evident immediately. Right from opener "Good Day," the trio had the crowd's undivided attention, executing each song to perfection while seeming to have a great time in the process. Dual singer/songwriters Ben Thornewill and Tommy Siegel both proved to be excellent showmen, as did drummer Jesse Kristin, whose intricate beats stole the spotlight at times. The crowd was still unfortunately thin, but that didn't stop Jukebox the Ghost from giving a performance fit for a sold-out show in this very modest setting.

Every tune was well received, inspiring awkward dance circles and plenty of clapping and singing along that seemed appropriate for the band's buoyant brand of pop. Highlights from the night included "Popular Thing," "The Stars" and the encore, "Empire," though I guess those are probably my favorites from the band anyway, so I should simply say each song was excellent and added to a hugely entertaining set. If there's any justice in this world, Jukebox the Ghost will play to a packed house next time around, these guys deserve it.

Review: Will Stratton - New Vanguard Blues (* * * * 1/2)

Patience is a virtue, sure, but one that tends to slow things down and occasionally even seems completely unnecessary. Will Stratton’s third album, New Vanguard Blues, serves as a reminder that impatience can be just as valuable a trait. After offering one of my favorite records of 2009—the consistently stunning No Wonder— Stratton apparently didn’t want to bother taking the traditional route in releasing his third full-length. Recorded and mixed by the songwriter himself over the weekend of July 9th, the album was made available online only a couple weeks later, an unusual but certainly welcome decision as New Vanguard Blues is in many ways Stratton's best effort to date. Shedding the varied sonic decorations that enhanced the tunes on No Wonder, his latest is simple and stripped-down, resulting in a tighter, more focused set of songs that relies almost exclusively on his impressive guitar work for accompaniment. But the album mostly succeeds for the same reason the last one did: Stratton’s singular songwriting, which has only gotten better with time. (Continue reading at In Review Online. . .)

Review: The Thermals - Personal Life (* * * 1/2)

The Thermals have always been more interesting than the majority of their pop-punk peers, mostly because they have so much to say about so many topics. Where their previous effort, 2009'sNow We Can See, focused on the purpose of life through the lens of death, and the two before that—2006's The Body, The Blood, The Machine and 2004's F****n A—were scathing rebukes of conservative American politics, the band’s latest turns inward, as its title might suggest, and takes a look at the complexity of relationships. “I’m gonna change your life/I’m gonna steal your soul” insists Hutch Harris on the first line of opener “I’m Gonna Change Your Life,” and somehow that kinda sums up the nature of the 32 minutes that comprise the remainder of the band’s fifth album. Looking introspectively through his cracked yet ultimately hopeful perspective, Harris proves that though his typically fiery indignation seems somewhat abated (or set aside, at least), his passion and lyricism remain a compelling combination. Less focused and less consistent perhaps than the band’s previous two albums,Personal Life may disappoint fans of Harris’s bigger statements, but the record has too many great moments to be ignored. (Continue at In Review Online. . .)