Daily Dose - 9/13: Dax Riggs

I've decided to try something different for my blog posts. Hopefully this will results in me being more consistent. Less words, more music, sound good?

Artist: Dax Riggs
Latest Release: Say Goodnight to the World
Genre: Rock/Blues/Psychedelia

Dax Riggs may be familiar to those who followed his underground rock and metal projects (Acid Bath being perhaps the most famous) but most of us I imagine haven't been introduced. If that's the case, take the time to check out his latest offering, Say Goodnight to the World, a dark pop-rock record that includes blues, metal, and psychedelic influences combined in a surprisingly catchy and accessible whole. It's an enjoyably sinister and consistently fun ride proves Riggs is quite capable of handling a diverse set of tracks ranging from blazing rockers to eerie ballads.

Key Tracks: "Say Goodnight to the World," "You Were Born to Be My Gallows," "No One Will Be a Stranger"

Download: No One Will Be a Stranger

MySpace

Review: Yeasayer - Odd Blood (* * *)

The sophomore slump; well documented and probably over-discussed, but a genuine phenomenon experienced by many of the most impressive new bands. Of course, there are many reasons why a band may disappoint with their second effort, but the most frustrating reason for all involved is ambition, which plays a great deal into the mixed results of Yeasayer's latest, Odd Blood. When the group arrived on the scene a couple years ago with the surprisingly fantastic All Hour Cymbals, they immediately proved themselves a talented and confident (also, strange) bunch, one unlikely to try the same thing twice. And so the new record is exactly what we'd expect in that regard - an album that reaches for something much greater than what preceded it no matter the consequences. And while the results of this grandiose approach occasionally impress, the results are a scattered, uneven affair.

Anyone (like me) expecting something like the band's more pop-oriented track, "Tightrope," from last year's Dark Was the Night compilation will immediately be confused at Odd Blood's opener, "The Children," a creepy, drippy introduction that throws away melodic sensibility for outright weirdness in its garbled vocals and eerie instrumentation. Fortunately, the boys rebound with the album's two strongest cuts, the single "Ambling Alp" and the equally accessible "Madder Red," which show a sharper, more direct side to the group than we heard on All Hour Cymbals. Their expansive, polished new sound works well here while maintaining a familiarly distinctive edge, but things get mixed quickly thereafter. Most of the remaining tracks aren't complete misfires, but still feel like missed opportunities. This is especially true of the soaring ballad "I Remember" and the driving "Mondegreen," which squander interesting stylistic concepts with similarly lame lovemaking-themed lyrics and ultimately bland execution. A few genuinely enjoyable moments crop up along the way, but Odd Blood's ten tracks never attain a real momentum or consistency.

So it's hard to fault a band for their need to explore and expand, but it's impossible to ignore the fact that Odd Blood doesn't pack nearly the same punch that Yeasayer's debut surely did. Ambition is admirable, and I imagine it will ultimately serve this young band very well as it does occasionally here, but they're going to need to harness their talent and ideas to make them truly effective the next time around.

MySpace

Review: Portugal. The Man - The Satanic Satanist (* * * 1/2)

From their unwieldy name (complete with obnoxious punctuation) to their less than conventional songwriting methods (music and lyrics are often written on the spot when recording), Portugal. The Man seem quite intent on doing things their own way. Fortunately, despite - or perhaps because of – the band’s numerous quirks, the psychedelic rock ‘n’ roll they create somehow coalesces into songs and albums that are remarkably solid. Even their previous effort, 2008’s Censored Colors, though less successful, revealed a band full of great ideas and hungry for progress. On their third album in as many years, the redundantly titled The Satanic Satanist, the band sound as if they’ve taken a step back and returned to form somewhat. They’ve also shaken things up a bit by opening their music to collaboration and, more importantly, by bringing some actual songs to the studio so that the focus can rest more on the individual tracks. The resulting set of songs is tighter and more cohesive than anything the band has previously produced, though by that same token it’s also a little less interesting. (Continue Reading...)

Review: Ganglians - Monster Head Room (* * * *)

From the latest and greatest uber-indie label, Woodsist, spring Ganglians, otherworldly psych-rockers who sound very much at home with labelmates Woods and Kurt Vile (not to mention alumni such as Wavves and Crystal Stilts), though their intriguingly bizarre sound truly puts them in a category all their own. The band recently unloaded a lengthy EP and debut album on us almost simultaneously, apparently unable to wait to unveil all their new material, though considering the records share several tracks, the timing still seems a bit like overkill. It’s obvious from listening to Monster Head Room, however, that restraint isn’t part of the equation musically or otherwise for Ganglians; the band revel in their over-the-top brand of psychedelia with mostly excellent results, combining melodic pop hooks with strange twists and unexpected turns, and ultimately emerging with something utterly beguiling and quite fun. (Continue Reading...)

Introducing...Holiday Shores

The mysteries behind many band names often stay unsolved for years, if they are ever found out at all, but Holiday Shores frontman Nathan Pemberton isn't shy about revealing the inspiration behind the title. The five-piece band's namesake is Holiday Shores Ct., the beachfront street in Florida where Pemberton spent his childhood. The sun and surf must have permeated deep into Nathan's psyche as his band's debut, Columbus'd The Whim, is a charming and summery set of noisy pop tunes that fit well into the current noise explosion taking over the indie scene. The boys combine a youthful energy with a remarkably mature ability to create subtle pop hooks and I, for one, find the group's new album to be refreshing and especially accomplished even among those records by some of their more spotlighted peers.

The magic of Columbus'd The Whim doesn't reveal itself all at once, but rather in layers and after a listen or two. That's not to say the music is unappealing at first glance or difficult to enjoy, but the mix of hazy guitars, sharp percussion and washed out vocals takes a more concrete shape once you've familiarized yourself with the songs bit. When it starts to sink in, the music becomes somewhat addicting as there seems to be more in the group's noisy compositions to love each time around. First single "Phone's Don't Feud" (download via The Fader below) is a great place to start, a brief, psychedelically-tinged tune that borrows some bits and pieces from several indie greats (Grizzly Bear's harmonies, Animal Collective's watery production, etc.) but doesn't really sound like anything else out there. Also available below (through Pitchfork) is the album's second single, "Edge Of Our Lives," a more upbeat track with messy guitars and a driving, almost Afro-pop rhythm. If you like those two, you'll likely enjoy the rest of the album as it follows a fairly similar pattern, though there's enough variety to keep the momentum going and the listener's interest level high throughout.

I've made it known before that I'm still not in love with noise pop, but Holiday Shores is another of those bands wearing down my resistance with music too good to ignore. Give them a listen on MySpace or track down the songs I mentioned earlier with the links provided. One way or another, make sure you get familiar with Columbus'd The Whim.

Phone's Don't Feud (MP3 via The Fader)

Edge Of Our Lives (MP3 via Pitchfork)

Review: Black Moth Super Rainbow - Eating Us (* * * 1/2)

Psych-pop group Black Moth Super Rainbow bring their hazy, vocoder-heavy rock style back again with Eating Us, the follow-up to 2007's bizarre folk album, Dandelion Gum. The band is known not only for their musical uniqueness but also for their eccentric performances and stage names (Power Pill Fist, Father Hummingbird, etc) which add another level to the group's strange mystique. It's not all just fancy tricks and gimmicks, however, BMSR create some truly interesting and compelling music and while Eating Us may not impress as thoroughly as their earlier work, it contains some very strong material within its twelve tracks.

Eating Us seems to have been made, quite intentionally, to defy most pop music conventions. Verses and choruses blend together if they occur at all, songs stick to simple structures that occasionally go nowhere, and rarely is there a strong hook, instrumental or otherwise, to be found among the record's 35 minutes. Still, the whole project is strangely compelling and fascinating as much because of the BMSR's odd musical identity as the album is in spite of it. The first half of the record is clearly the more consistent and engaging, starting with the relatively more substantial "Born On A Day The Sun Didn't Rise" and "Dark Bubbles," the former of which is among the tracks that follow a slightly more familiar song structure. My personal favorite is the pleasantly psychedelic "Twin of Myself," in which sparkles with layers of synths and keys and is perhaps the album's most immediate moment.

By the end of Eating Us, some of the songs may start to feel a little redundant, though the excellent, banjo-led "American Face Dust" gives the back end a much-needed kick. After a few spins, it's easier to differentiate the tracks and to enjoy the subtle, hazy style that Black Moth Super Rainbow has made all their own, so take the time to get familiar with the album if you really want to get the most out of it. Check out the material below for an album preview:

Download: "Born On A Day The Sun Didn't Rise"

Watch the interactive video: "Dark Bubbles"

Nurses offer "Caterpillar Playground" from debut LP

I realize that I'm constantly making recommendations about great new bands but I sincerely endorse each one that gets featured on this site. Some, however, get me especially excited to share; Nurses is one of those bands. The experimental folk trio are getting ready to release their debut album, Apple's Acre, on Dead Oceans in August, but I've got some preview material here that has captured my attention quite completely and I highly recommend listening up right now.

Nurses make music that's hard to classify, especially from just hearing a few tracks, but they combine elements of folk, pop, and psychedelia into delightfully strange and especially intriguing packages. Below you can find a download of the single "Caterpillar Playground," which should give you a good idea of what you can expect from these three. It's a quirky tune with whistling, keys, and light percussion all arranged in a way that's got me hooked. You can also hear a couple other similarly great tracks on the group's MySpace page or check out an acoustic live performance of "Lita," which has a Yeasayer sort of vibe to it. Whatever you do, get this stuff into your system quickly.

Caterpillar Playground (MP3)

Lita (Live Video)

Nurses on MySpace

Apple's Acre will be released on August 4th, to be exact, and if you happen to be over on the West Coast this summer, there's a chance you could catch these guys live - tour dates follow:

06/06/09 Portland, OR @ Holocene w/ Talkdemonic, Explode Into Colors, Gulls
06/14/09 Olympia, WA @ The Northern w/ Prussia
06/16/09 Oakland, CA @ TBA w/ Prussia
06/17/09 Fresno, CA @ Audies Olympic/Club Fred w/ Prussia, Capillary Action
06/19/09 Los Angeles, CA @ Knitting Factory w/ Prussia
06/20/09 San Diego, CA @ Che Cafe w/ Prussia

Josh Reichmann returns with the Oracle Band

Former Tangiers member Josh Reichmann has continued to be quite prolific after the band's dissolution, initially through his solo project, Jewish Legend, and now with the Josh Reichmann Oracle Band which released its debut LP, Crazy Power, last week. The record follows the group's first EP, Life Is Legal, which introduced the world to Reichmann's new sound - a blend of psychedelia, soul, and funk wrapped in a layer of eccentricity that's fresh and fun. The ten tracks of the new record reveal a band that feels comfortable and confident despite being a recently formed collective, and Crazy Power certainly has its share of great moments.

Opener "Spirits Don't Leave" should give listeners a good idea of what they're getting themselves into, with jazzy keyboards, stomping percussion, and Reichmann's dramatic tenor voice blending together into a messy, exciting pop tune. Continuing the compelling zaniness are songs like the frantic "Trade Names," the psychedelically inclined "Aztec Hive," and the sleek "Fractal Web." Not everything succeeds as completely as the best material, but the Oracle Band hold the project together with serious musical chops to compliment their fearlessly weird leader's eclectic songwriting and Crazy Power is worth your time if you're at all interested in the pop music's more bizarre and theatrical side.

Hear a good chunk of the album over at the band's MySpace, and continue below to download Reichmann's cover of Bat for Lashes' "Daniel," which he's offering for free in support of the new record.

Daniel (Bat for Lashes Cover)

Review: Pink Mountaintops - Outside Love (* * * *)

Also posted (and better presented) at In Review Online

Canadian songwriter Stephen McBean has been a busy guy over the last few years. Between his work as Pink Mountaintops and with his psych-rock band, Black Mountain, McBean has released four albums in less than five years, which is prolific by anyone's standards, except maybe the members of Wolf Parade (perhaps it's a Canadian thing). Last year's Black Mountain record, In the Future, was quite good, and McBean no doubt hopes to continue his successes with the new Pink Mountaintops' album, Outside Love. Fortunately, for him and for us, he indeed provides another excellent collection of tunes which combine fuzzy, psychedelic rock 'n' roll with hints of folk and pop music in a generally low-key, yet riveting 42 minutes.

It's difficult to describe exactly what makes McBean's music so compelling, but something about his bluesy, stoner-rock songwriting style allows the songs to work their way under your skin while the subtle layers of guitars bring additional emotional intensity. Take the first single, "Vampire," in which he muses darkly about love as a blood-sucker over slowly strummed acoustic guitar and beautiful string arrangements. It’s a bit campy, but it also feels remarkably sincere and you get the sense that McBean means every ridiculous line. As he sings the refrain "creatures in flight, let's be creatures of the night" you're likely to get goose-bumps on your arms and a grin on your face at the same time. Throughout the first half of the record, the songs are uniformly great, especially the eerily sexy "While We Were Dreaming," featuring Ashley Webber on vocals, and my personal favorite, the gritty, triumphant rock ballad "Holiday."

Though few songs on the album get very loud, the second half of the record is especially mellow, centering around 12 minutes of slow-burning rock ‘n’ roll made up by the hazy, melancholy title track and the slightly countrified “And I Thank You.” You may feel a bit drowsy by the end of “Closer to Heaven,” but McBean and company create some of their most striking moments among the gentler, more thoughtful material, and they do break things up with the penultimate tune, “The Gayest of Sunbeams,” a fiery, fuzzed-out slice of psychedelia that is a most welcome diversion. In fact, despite a somewhat lumbering beginning with “Axis: Throne of Love,” Outside Love is a consistently great effort, featuring strong songwriting, excellent musicianship, and some well-placed guest spots that add depth and variety to the record.

Fittingly, however, it’s McBean that shines brightest on each track, conjuring the spirit of classic rock but never sounding derivative or uninspired. Though his love of the dramatic is evident in some of his more over-the-top lyrics, McBean shows a remarkable amount of restraint on Outside Love, giving the grander, more epic moments the ability to make the desired impact and creating space enough for his emotionally-charged narratives to hit home. While it isn’t a musical revelation by any stretch of the imagination, Outside Love is a solid rock ‘n’ roll record with heart and soul to spare.

Last Word: Pink Mountaintops have crafted a genuine and compelling album that easily ranks among McBean’s best material with either of his mountain-themed bands.

Review: Yeasayer - All Hour Cymbals (* * * * 1/2)

If you've noticed the date on this review, you may be thinking that discussing an album released in 2007 in 2009 is unnecessary, and generally I'd agree with you. Unfortunately, I missed out on Yeasayer the year they released their stunning debut, All Hour Cymbals, only catching up with them recently after hearing their fantastic new song on the Dark Was the Night compilation (go check it out, it's called "Tightrope"). Now that I've finally had the opportunity to hear the record that started it all, I felt that this review needed writing, simply to inform any who might not yet be familiar with this exciting band why this deserves your attention. Quite simply, All Hour Cymbals is one of the best, if not THE best psychedelic rock album in recent memory, a record that pushes boundaries while remaining approachable and immensely enjoyable.

In my experience, at least recently, most albums seem to be front-loaded with many of the better tunes, and All Hour Cymbals certainly follows that trend with an amazing three-song introduction. "Sunrise" opens with solid drum stomp with subtle keys and guitars behind singer Anand Wilder's semi-nonsensical phrases, then cruises along, building layers of instruments and vocal harmony before fading into "Wait for the Summer," a spacey, sitar-laced, psych-rock tune. "2080," the record's first single and the third track, sounds a bit more traditional at first, with Beach Boys-esque harmonies climaxing in a group-shout chorus that even manages to includes a choir of children without seeming gimmicky (well, as much as that's possibly, anyway). The band find an excellent balance between psychedelic experimentation and the familiar musical elements that keep the songs from becoming too abstract while still allowing them to remain fresh and interesting. The lyrics are kept simple and frequently repetitive, but while Yeasayer may not be great storytellers, they know their way around a great vocal hook or sing-a-long chorus.

The rest of the album doesn't quite reach the incredibly high standard set by the first three tracks, but the results are consistently great throughout. "Forgiveness" starts with a trippy, head-spinning introduction before settling into a rhythmic groove which shifts subtly a few times before fading out. "Wait for the Wintertime" is a noisier, angry, tune that uses horns and raw guitar to make an intense explosion of sound, and the superb closer, "Red Cave," is the most folk tune of the bunch, a more straightforward acoustic song featuring four-part harmony provided by all band members. The variation on All Hour Cymbals might be distracting if not for the group's ability to explore so many directions while maintaining enough of a signature sound that keeps the record focused and comprehensible.

At every turn, the band show remarkable musicianship and a love for the unusual that makes their debut such an exciting and surprising album. The music contains elements of the psychedelic rock of the sixties and seventies, but the band approach the songs with a fresh perspective and create something entirely their own. Yeasayer are currently in the works on a new record, but make sure you pick this one up, All Hour Cymbals is an album not to be missed.

Oh, and you should seriously check out these mostly acapella performances on La Blogotheque; fantastic.

Reviews: Whitley, Fredrik, Arizona

Here are a trio of reviews of albums from impressive bands that you might not have heard. Even if you don't bother with the reviews, check out a free download from each artist. Trust me, it's worth your time.


Whitley - The Submarine (* * * *)

Whitley is the solo project of Melbourne native Lawrence Greenwood who has been making some waves in his home country. His debut album, The Submarine has only recently been released in the U.S., but already one of his songs has been picked up for a CW episode. His smooth folk sound, reminiscent at times of Elliot Smith or Conor Oberst, and his clever arrangements should garner him some serious attention in the States.

The Submarine opens strong, with the banjo and violin combination of "Cheap Clothes," a strikingly beautiful track that frames Whitley's forlorn lyrics and delivery. It's the first of many captivating moments on the album, which blends organic and digital elements to great effect. "The Submarine" and "White Feathers, Strange Sights" feature programmed drums and a variety of other synthesized sounds, while tracks like "More Than Life" and "I Remember" rely almost solely on Greenwood's guitar and voice. Nothing on the record feels forced or overdone, but manages instead to seem both natural and adventurous.

At just over 30 minutes long, The Submarine is barely long enough to be satisfying, and leaves me eager for more. No moment is wasted, however, and its ten tracks contain enough melodic and emotional hooks to keep me coming back time and again.

Download: "Lost In Time"
Whitley's MySpace page


Fredrik - Na Na Ni (* * * *)

It seems like everything coming out of Sweden these days is remarkably good, and Fredrik is no exception. Started as a side project for pop musicians Fredrik and Lindefelt, the group grew to six, "featuring members of some of the very finest of the Swedish pop and experimental underground" according to their bio. Na Na Ni is their first album and one of the more inventive and fascinating folk records I've heard this year.

The opening two tracks from Na Na Ni, "Black Fur" and "Alina's Place" are a couple of the album's high points, melodic tunes featuring a variety of instruments and gorgeous vocal harmonies. Then comes the first of five instrumental tracks which make up half the album. "Hei Hei" has a an East-Asian vibe to it, "Angora Sleepwalking" slowly builds to a crescendo with acoustic guitars and both organic and programmed percussion, but the centerpiece here is the title track. "Na Na Ni" is a dramatic and intense tune that explores variations of a simple, repetitive melody and chanted chorus (using only the words in the title).

Fredrik definitely prefers style over substance, and Na Na Ni does feel a little light. "Ninkon Loops" and "Morr" sound fine in the context of the album, but don't offer much by themselves, and the "vocal" half of the album is so good you wonder why there isn't more of it. Still, music so full of ideas and executed so perfectly deserves a listen. Fredrik are a band I'll be looking forward to hearing more from.

Head on over to RCRD LBL to download "Black Fur" and "1986"
Fredrik's MySpace page


Arizona - Glowing Bird (* * * *)

Recently, it seems, there has been an explosion of psychedelic rock and pop music in the indie world. Maybe I just wasn't paying attention before, but 2008 has seen more than it's fair share of the genre. NYC band Arizona are a welcome addition to the scene, creating their own unique psych-rock sound on their sophomore effort, Glowing Bird, by introducing other classic rock and folk influences.

The tendency for psychedelic bands seems to be to over-explore and push their boundaries to the point of frustration, resulting in a somewhat uneven album. Some would say that's the point, but I enjoy a little more consistency. Arizona manage to temper themselves just enough that they play to their strengths throughout most of the album while still providing quite a bit of variation to keep things interesting. "Balloon" is a whimsical number about a balloon salesmen complete with french horn and cello, "Ghost" is a creepy, haunting (no pun intended, really) song sung from the specter's perspective, and "Otto The Eel" starts with heavy, fuzzed-out guitars before subsiding into a gentle folk song. Other tracks, like "Swimming Hole" and "Whiskey Or Wine" are slightly more straightforward folk-rock tunes.

With its broad range of topics and diverse instrumentation, Glowing Bird is always interesting and often spectacular; a truly unique record. Its oddities and quirkiness might be distracting to some, but for those who prefer their music a little "out there," Arizona should hit the spot.

Download: "Colors"
Arizona's MySpace page

Review: The Boxing Lesson - Wild Streaks & Windy Days (* * * 1/2)

You might not have heard of The Boxing Lesson, a relatively new psych-rock band from Austin, Texas, but they've been playing with some big acts (Secret Machines, Interpol, The Bravery etc.) and making a name for themselves in their hometown. A group of three led by singer/songwriter/guitarist Paul Waclawsky, the band apparently formed sometime in 2003, though the bio is so full of references to various planets, stars, and space missions it's a little difficult to divine much else.

What's easier to tell are the band's influences. On top of the list would be Pink Floyd, though I suppose that's obvious when the album starts with a song called "Dark Side of the Moog," a fantastic tune slightly reminiscent of its namesake. From then on it's a trippy and gloriously weird ride through variations on psychedelia. Wild Streaks offers some truly breathtaking and beautiful moments when The Boxing Lesson are at their best, combining their traditional psych-rock sound with shoegaze textures on songs like "Muerta," "Timing," and "The Art of Pushing Me Away," all swirling mixtures of synth, guitar, and epic vocal choruses. When they take a break for pop songs, however, the album feels disjointed and confused. While "Brighter" is a decent, almost danceable 80s pop tune, "Hopscotch & Sodapop" and "Freedom" come across as unnecessary experiments in comparison to their more interesting and better executed counterparts.

While The Boxing Lesson seem more focused than some of their peers (Apollo Sunshine, Darker My Love), they feel just a step away from creating a truly exceptional album. The talent is certainly not lacking, with magnificent guitar work and a dynamite rhythm section it's apparent the band are more than capable. Once they find the best way to present their ideas, The Boxing Lesson should really take off.

Favorite Tracks: "Dark Side of the Moog," "Timing," "Scoundrel"


Check out some tunes on their MySpace page!

Review: Of Montreal - Skeletal Lamping (* * * )

This album is one wild ride. I thought I had been prepared; I read some early reviews, heard the lead single "Id Engager," and familiarized myself with Of Montreal's back catalog (some of it, anyway). But I knew I was in over my head with openers "Nonpareil of Favor" and "Wicked Wisdom," eleven minutes of song clips strung together seemingly at random and without any consideration of format or transition. It left my head spinning and my eyes crossed, and I still had 45 minutes to go. Skeletal Lamping is fascinating, frustrating, and completely unlike anything I've ever experienced.

Skeletal Lamping is brimming with enough ideas to fill almost a career's worth of albums. It's especially impressive given the short time between records, as Hissing Fauna, Are You The Destroyer was released just last year. At 15 tracks and just under an hour running time, Of Montreal explore every imaginable facet of funk/disco pop music with plenty of flair and bravado. Front man Kevin Barnes' performs vocal acrobatics (often in falsetto) over the complex musical arrangements featuring generous helpings of bright synths and slinky guitars. It's catchy and melodic at every turn, but getting used to the frequently jarring transitions between and within each track takes some time. While it's fun to be treated to so many exciting musical experiments, the trip does get wearying after 30 minutes.

If the musical eccentricities weren't enough, the lyrics blast the album even further from anything resembling normalcy. Apparently Barnes has an alternate persona that stars in much of Skeletal Lamping, a black she-male named Georgie Fruit (seriously). While the idea is creepy, the lyrics that Barnes comes up with to describe his alter ego are even creepier. The album is full of sexually explicit and sometimes disturbing fantasies and (probably) realities. I'll spare you the details, but believe me when I tell you it's more than a little disconcerting. Supposedly Barnes wrote much of the album as a way to exorcise and explain his demons. Next time I recommend a journal...or maybe a psychiatrist. I just don't think I need to be involved.

This is music for people who like to take a bite out of everything at the buffet table, but those who like to savor an entire steak might want to find something a bit more conventional. Skeletal Lamping is certainly unique and in some ways brilliant, but the album proves to be too much to digest all in one sitting and too scattered to be effective in smaller doses.

Favorite Tracks: "An Eluardian Instance," "Gallery Piece," "Id Engager"

Review: Portugal. The Man - Censored Colors (* * *)

I should confess before I start this review that I became a fan of Portugal. The Man after their strangely awesome 2007 release Church Mouth. It was an unexpectedly great album produced by some very unusual songwriting methods. Apparently, the band showed up to the studio with a collection of jams and riffs and then pieced together songs while writing lyrics on the spot. Not exactly songwriting 101, but it worked; the Alaskan trio managed to craft some impressive tunes. Back after only a year (seems like this has happened quite a bit recently), the band return with another generous helping of psychedelic rock.

Portugal. The Man have toned the noise level down this time around, but the progressive nature of the music is even more extreme. Using a wider variety of instruments and vocal effects, the band float from one hazy tune to the next, exploring 70s psychedelia through a modern lens. Starting strong with the piano rock of "Lay Me Down," and the orchestra-heavy "Colors" makes for a good first impression, but halfway through the album the frustration sets in.

While Church Mouth was comprised generally of songs with recognizable structures, Censored Colors seems more like an explosion of ideas that never made their way to completion. I'm sure that was intentional, but it sometimes sounds like an unfinished art project. Some of my favorite moments are just that, moments. Like "Our Way," and "Sit Back And Dream," two brief tracks that sound great but go nowhere. "Intermission" is an unnecessary diversion amid diversions, and "Our Times" is just the second half of "Hard Times." Even some of the full length songs sound half-baked. Censored Colors seems to suffer not from content, but from execution, resulting in an uneven experience.

Fortunately, Portugal. The Man have enough talent to make the album at least interesting. The quality of the sound and the wealth of fascinating ideas might just distract you from the senselessness of it all. The a capella harmony on "All Mine" and the quaint folk of "Created" are a couple of reasons to give the album another shot, and I imagine everyone will find gems here if they stick around long enough to dig them up. It's ambitious and pretentious, exciting and frustrating, and unlike anything you'll hear all year.

Favorite Tracks: "Lay Me Down," "Colors," "Created"

Listen to the album at Spinner.com