Reviews: Keane, Benoit Pioulard

Keane - Perfect Symmetry (* * * 1/2)
Ten seconds into the first track and lead single, "Spiralling," you might be wondering when Maroon 5 became such a big influence on Tim Rice-Oxley and Co. Having previously suffered (unfavorable even) comparisons to Coldplay and other sensitive piano-rockers, Keane seem to be seeking to set themselves apart from the pack.

Admittedly, I've never been a big Keane fan, but "Spiralling" was so funky, groovy, and just...un-Keane like that I decided to give Perfect Symmetry a try. While they haven't completely abandoned their piano pop sound from previous albums (You Don't See Me, Perfect Symmetry, etc. sound familiar), the band does make a serious effort to jazz things up. The bouncy, hand-clap filled "Better Than This" and the soul-meets-80's pop anthem "Pretend That You're Alone" show a side of Keane I hope they continue to show more often.

Perfect Symmetry still relies on too many of Keane's old tricks, but it also contains some of their strongest and most interesting material. At the very least, it's a promising step in the right direction.

Favorite Tracks: "Spiralling," "Better Than This," "Pretend That You're Alone"


Benoit Pioulard - Temper (* * * *)
Benoit Pioulard is the stage name of singer-songwriter and multi-instrumentalist Thomas Meluch. Temper is Meluch's sophomore effort, though he's been self-releasing music since 2001. Other than that, I haven't been able to find out much about him except that he was a drummer for several other bands before starting Benoit Pioulard. What is apparent, though, is that Meluch is a young, ambitious, and talented artist who has crafted a unique and fascinating ambient folk album.

Temper is an album much better appreciated and enjoyed when listened to in one sitting and in order. At 16 tracks and only 38 minutes, the tracks blend together almost seamlessly, with plenty of spacey, ambient interludes and few tracks approaching the three minute mark. That's not to say that Temper doesn't have it's share of worthwhile singles; "Ahn," "Golden Grin," and "Idyll," among others, sound fine in isolation, but even better in context. The album has a dark, ethereal sound that stems from Meluch's soft, haunting vocals and love for textures and details; primarily using the guitar and a variety of ambient effects and sounds.

Temper is probably too abstract for some and too light on substance for others, but the patient listener will be richly rewarded by the Benoit Pioulard's beautiful arrangements and careful presentation. The album provides an experience both strange and wonderful.

Favorite Tracks: "Idyll," "Ahn," "Hesperus"

New Artist: Ed Laurie

I briefly mentioned Ed Laurie a few weeks ago, but he's recently popped up on my radar again. This guy has some serious potential and for folk fanatics (like myself) he's an artist worth looking into. Check out this cool widget that gives you the opportunity to listen to a song, purchase the album, etc.



Also, here are a couple videos you should take the time to see.

"I See No End" (Video) on Imeem

"Meanwhile In The Park" (Video) on Death + Taxes

New Single: Annuals - Confessor

I realize that the album has already dropped, but for those of you who haven't heard the Annuals first single "Confessor" from Such Fun, you should check it out here. It's a melodic, breezy tune with great harmonies and dynamics.

Confessor - Annuals (MP3)

Also, while music videos aren't generally something I get excited about, Annuals take a different approach, using their songs as the background for animated stories. Here is the video for "Confessor;" you should also check out the video for "Sore" on the same YouTube channel.

Confessor - Annuals (YouTube video)

Reviews: The Panics, Black Gold, The Little Ones

So many albums...so little time. I'm doing another trio of reviews here in the shorter format again in order to cover everything I'd like to get done this week. I still have a review of the Annuals new album Such Fun coming soon (hopefully).


The Panics - Cruel Guards (* * * *)
The Panics make their U.S. debut with Cruel Guards, released yesterday. These guys have been big in their native Australia for a while now, though I imagine you, like me, have never heard a thing about them before now. Their soulful take on adult alternative rock should have no trouble finding its place in the American music scene.

Sounding like something of a mix between Destroyer and the Wallflowers, The Panics seem at once familiar and unique, always slightly restrained but never dull. The highlight of the album is the lead single, "Don't Fight It," a delicate anthem with a sticks-in-your-head chorus and beautiful piano and horn arrangements. The production on Cruel Guards shines throughout, with eerie background vocals (Something In The Garden) and brilliant strings (Get Us Home, Ruins) among other tasteful flourishes. It's an album made by a band who understand how to play to their strengths and avoid their weaknesses.

Cruel Guards takes a couple spins to truly appreciate. While my initial impression of the album was certainly positive, subsequent listens have revealed a thoroughly interesting and enjoyable record that deserves our attention here in the States.

Favorite Tracks: "Don't Fight It," "Cruel Guards," "Something In The Garden"


Check out their MySpace page for a listen.


Black Gold - Tragedy & Legacy (* * * 1/2)
I've never actually reviewed an EP before, but I am impressed by this new band, Black Gold. I mentioned it last week as a project between Eric Ronick (touring member of Panic At The Disco) and Than Luu (tours with M. Ward and others) who wrote and recorded their upcoming debut, Rush between other commitments.

The sound is tough to categorize in the three songs (and one remix) because the duo incorporate a little bit of everything into their music. It's rock music with a sizable portion of electronica, a dash of funk, a bit of soul, all led by Ronick's smooth tenor voice. "Idols" has a much more organic sound, while "Detroit" and "Breakdown" incorporate synthesizers and dance beats.

Everything works well and feels fresh, though it's hard to say if the band will be able to reign in their wealth of ideas into a cohesive LP. Tragedy & Legacy is a promising start for this ambitious new group.


Check out RCRD LBL for a band bio.


The Little Ones - Morning Tide (* * * 1/2)
Morning Tide is the debut album for the Los Angeles-based five-piece The Little Ones. After releasing two well-received EPs, the group faced a fair amount of hype accompanying their new record which dropped yesterday.

Though it seems as though many of the early reviewers of Morning Tide have been less than impressed, I found the album to be a fun blast of 60s-style indie pop. It's consistently bright and sunny, with catchy melodies and sweet harmonies at every turn. Lead single and title track "Morning Tide" sounds like Oasis meets The Shins, while tunes like "Rise and Shine" and "Like A Spoke On A Wheel" seem imported almost directly off the oldies station.

Though Morning Tide is rarely great, it's frequently good and occasionally remarkable. "Gregory's Chant" is a beautifully composed and produced pop song, and "Boracay" is an example of The Little One's ability to make something so splendidly joyful it's almost impossible to hate. Through the 11 tracks and 40 minute running time, the album doesn't ask for much, just sit back and let it put a smile on your face.

Favorite Tracks: "Gregory's Chant," "Boracay," "Like A Spoke On A Wheel"


Listen to the album the rest of this week on Spinner.

Interview Alert: Ra Ra Riot

Captain Melody has recently posted another great interview of which I am very jealous. The band is Ra Ra Riot, a white-hot indie rock group that released their debut album this year entitled The Rhumb Line. They've been on Conan already, so you know they're kind of a big deal... Check out the in-depth interview over at Captain Melody, and read his review here.

Also, my review can be found here.

Reviews: Oasis, Department Of Eagles, Rise Against

There are so many albums being released this week, I can't possibly do a full review for all of them. I've already reviewed Of Montreal's Skeletal Lamping, but here are a few others I've been listening to:

Oasis - Dig Out Your Soul (* * * 1/2)
I've learned a few things from the new Oasis album. First, Oasis hasn't lost all of that fire that they exploded onto the scene with way back when. In fact, they sound better and more consistent than they have in years. Second, Liam can actually write a decent tune, as evidenced by the Lennonesque (of course) "I'm Outta Time." And third, Oasis will never get over wanting to be, tying to be, and failing to be the Beatles (but I suppose we all knew that already). Dig Out Your Soul is a rock record that, at the very least, reminds us why Oasis was such a big deal in the first place.

As with Don't Believe The Truth and Heathen Chemistry, the results are still a bit hit-and-miss, especially during the middle section of the album, but the band sounds stronger, fresher, and best of all...more relevant. Dig Out Your Soul won't as Oasis' definitive comeback, but it should satisfy long-time fans.

Favorite Tracks: "Bag It Up," "The Shock Of Lightning," "I'm Outta Time"


Department Of Eagles - In Ear Park (* * * 1/2)
Department Of Eagles is releasing the most recent record in an explosion of indie folk albums to garner some serious attention this year. Though sometimes thought of as Daniel Rossen's Grizzly Bear side project, Rossen and Fred Nicolaus, the core of Department of Eagles, have been making music together since college in 2001 when the band was formed. It's an offbeat, almost low-fi combination of electronica, folk, and classic orchestral pop.

The sparse, yet complex arrangements employ a variety of sounds and instruments, all tastefully organized to provide a unique backdrop for the soft, even vocals. At it's best, the album is delightfully quirky, like "No One Does It Like You," which sounds almost as if it could have been released in the 1950's, or "Around The Bay," a blend of clever percussion and atmospheric guitars that gets under your skin.

Unfortunately, In Ear Park doesn't make for an especially captivating listen when consumed as a whole. The album drags during the halfway point, and can't quite redeem itself even with a couple of strong songs toward the end. Still, Department Of Eagles have made a unique and legitimately interesting record that can at least be enjoyed for the successful integration of its influences and its beautiful composition.

Favorite Tracks: "No One Does It Like You," "Around The Bay," "Balmy Night"


Rise Against - Appeal To Reason (* * * *)
Rise Against remain one of the few truly punk bands today getting any respect. It's not hard to see why, with a combination of ferocious vocals, blazing guitars, and thoughtful lyrics, Rise Against stand above the pack. Appeal To Reason continues the smoother, yet more explosive sound of their 2006 effort The Sufferer And The Witness, though occasionally the band branches out a bit with the old-school punk sound of "The Dirt Whispered," the 3/4 waltz bridge of "Entertainment" and the acoustic soldier-ballad "Hero Of War."

It's sometimes over-dramatic and a little too long, but Appeal To Reason is one of the better mainstream rock records to be released this year. Bringing both the melody and intensity to new heights; Rise Against raise the bar for the punk-rock genre.

Favorite Tracks: "Collapse (Post-Amerika)," "Kotov Syndrome," "Entertainment"


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Also, check out some other new releases at Spinner this week that are very much worth a listen (or two).

Of Montreal - Skeletal Lamping (see review below)

Annuals - Such Fun (will post review later)

Glasvegas - Glasvagas

Little Ones - Morning Tide

Spinto Band - Moonwink

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"

New Music: O'Death - Lowtide (single)

Recently, O'Death premiered the first single, "Lowtide" from their upcoming album Broken Hymns, Limbs And Skin. It's a blast of gypsy-inspired punk rock with driving fiddles and guitars accenting singer Greg Jamie's crazed vocals and slightly demented lyrics.


Get the single here and read more about the band at RCRD LBL. The album drops 10/28 on Kemado Records.

Lowtide (MP3)


O'DEATH TOUR DATES

October 30 - Music Hall of Williamsburg - Brooklyn, NY (w/ Hoots and Hellmouth, La Strada)
October 31 - Johnny Brenda's - Philadelphia, PA
November 1 - Johnny Brenda's - Philadelphia, PA
November 2 - T.T. The Bears - Cambridge, MA
November 3 - La Sala Rosa - Montreal, QUE Canada
November 4 - El Mocambo - Toronto, ONT Canada
November 5 - Mohawk Place - Buffalo, NY
November 6 - Beachland Ballroom - Cleveland, OH
November 7 - Jakes Nightclub - Bloomington, IN
November 8 - Empty Bottle - Chicago, IL
November 9 - Hideout - Chicago, IL
November 10 - 7th Street Entry - Minneapolis, MN
November 11 - The Picador - Iowa City, IA
November 12 - The Jackpot - Lawrence, KS
November 13 - Waiting Room - Omaha, NE
November 14 - Larimer Lounge - Denver, CO
November 15 - Urban Lounge - Salt Lake City, UT
November 17 - Media Club - Vancouver, BC Canada
November 18 - High Dive - Seattle, WA
November 19 - Doug Fir Lounge - Portland, OR
November 20 - Jambalaya - Arcata, CA
November 21 - Bottom of the Hill - San Francisco, CA
November 22 - Spaceland - Los Angeles, CA
November 23 - Casbah - San Diego, CA
November 24 - Modified Arts - Phoenix, AZ
November 26 - The Mohawk - Austin, TX
November 28 - Marquee - Tulsa, OK
November 29 - Off Broadway - St. Louis, MO
November 30 - Hi-Tone Café - Memphis, TN
December 1 - Exit Inn - Nashville, TN
December 2 - The Earl - Atlanta, GA
December 3 - Local 506 - Chapel Hill, NC
December 4 - Black Cat Backstage - Washington, DC

Review: Dear And The Headlights - Drunk Like Bible Times (* * * *)

I saw Dear And The Headlights live last year opening for Muse. Of course, Muse was headlining for a reason, and even though I enjoyed Dear And The Headlights, I only checked them out once after the show and soon forgot about them entirely. Turns out that was a mistake. After seeing Drunk Like Bible Times pop up on a few sites, I took the time to listen and was instantly impressed.

It's hard for me to describe why Dear And The Headlights are so intriguing. Their indie rock sound is not especially unique nor is their approach. Those who are more pop-cultured than I could probably list a slew of influences, but the band that comes to mind at first listen is Okkervil River (though I am occasionally reminded of Arcade Fire as well). The most striking resemblance is singer Ian Metzger's voice, which can sound quite a bit like Will Sheff's, though Metzger's is a much stronger and more emotive singer than Sheff could ever hope to be. The music is also familiar, treading mostly down territory already well-covered by a variety of indie bands.

The strength of Dear And The Headlights lies in their ability to compose strong material and present it in a mature and interesting way. Drunk Like Bible Times sounds like the work of a band that has been around for a while, yet has the energy of a group that still endeavors to impress. The opener, "I'm Not Crying, You're Not Crying, Are You?" breaks into a melody so captivating you'll be forced to continue to "Bad News," a tempo-changing number just as infectious. Other highlights include "Talk About," a catchy track full of wild imagery, and the closer "I Know," complete with handclaps and a group vocal chorus. It all sounds original and fresh even while the back of your mind is reminding you that you might have heard this before.

The solid songwriting and musicianship of Drunk Like Bible Times make it an album worthy of your attention. Dear And The Headlights are a band that will hopefully grow to make something completely their own, but for now, creating a record this good will do just fine.

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