Review: Bat for Lashes - Two Suns (* * * 1/2)

Also posted (and more pleasantly presented) at In Review Online

British singer/songwriter Natasha Khan’s debut album as Bat for Lashes, the acclaimed Fur and Gold, probably set the bar unfairly high for Khan’s future endeavors. The album was regarded by many to be among the best of 2006 and was nominated for the 2007 Mercury Prize, vaulting this previously unknown artist to the indie A-list almost instantly. Khan’s latest, Two Suns, takes the artist's theatrical stylings to new heights, featuring plenty of strangely poetic musings on the duality of life and love and introducing us to her hedonistic blond alter-ego, Pearl. And even though Two Suns contains most of the elements that made Bat for Lashes’ debut great, it fails to captivate as consistently or as completely, amounting to a slight case of the sophomore slump.

Certainly, no one could accuse Khan of laziness, as Two Suns represents a stylistic shift toward a smoother, more polished sound which the beginning of the album would suggest is a step in the right direction. Opener “Glass” begins with a hauntingly beautiful a cappella verse before sliding into a hypnotic mix of thundering percussion and a variety of distantly placed instruments that result in a climax showing Khan’s impressive range. The sinister, yet sexy “Sleep Alone” continues with an entrancing, synth-heavy groove, and a couple songs later, “Daniel” impresses with a funky, muted ballad-- one of the album’s clear highlights in a generally strong opening run. So far, so good, but the middle of the record slows the tempo and the excitement, especially with the repetitious “Siren Song” and the beautifully sung, but strangely unengaging “Good Love.” There are a few more highlights near the record’s end (the best of which is “Two Planets”), but it never quite recovers from a sleepy mid-section.

Like Fur and Gold, Two Suns rests its success on the listener’s ability to get sucked into the whole experience, not just a great song or two, and that’s where the new record really falters. Khan’s subject matter has always been fantastical, summoning images of wizardry, mystical creatures and similarly otherworldly subjects, but Two Suns is a real mind-bender. There’s a fascinating narrative in there somewhere, but it’s abstract enough to be awfully frustrating when Khan throws around lines like “with a sound like white magic caught in a black car’s blazing trail” unless you’re dedicated enough to figure out what the hell is going on.

It would be inappropriate to label Two Suns as a misstep for Bat for Lashes, as that usually implies a more obvious failing-- and, in fact, the album feels like something of a step forward for Khan, which may prove to be a necessary stepping stone for her next project-- but, while its wealth of ideas make it easy to appreciate, the music itself feels somewhat uninspired and can be difficult to love. I doubt Khan's best days are behind her, or that she's even revealed her full potential, and when she connects in the future as strongly as she has in the past, we should see some spectacular results.

Last Word:

Natasha Khan’s sophomore album as Bat for Lashes is a more uneven and less inspired affair than her debut, but retains enough of her initial promise that the record feels both frustrating and intriguing.

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: Ben Harper and Relentless7 - White Lies for Dark Times (* * * 1/2)

I have a somewhat conflicted love for Ben Harper, and I doubt I'm the only one. Harper has almost limitless appeal, with his soulful blues-rock style, serious musical chops, and sincere delivery, but for the last seven years or so, he's been frustratingly inconsistent. There was Diamonds on the Inside, a diverse and sprawling, but mostly great rock album followed quickly by Harper's acclaimed work with The Blind Boys of Alabama, about which I had mixed feelings. Then came Both Sides of the Gun, a two-disc set that was more filler than fun, and lastly, 2007's Lifeline with the Innocent Criminals, which was a modest success and a fresh approach, but ultimately lacking in energy. None of these albums was particularly bad, but they generally fell short of what Ben Harper had convinced us he was capable of offering.

I remain hooked, though, and right on schedule, Harper returns with his new band for another record, White Lies for Dark Times, eleven tracks of his standard, gritty rock 'n' roll that's a little too familiar, but more compelling than anything Ben has done for some time. Lead single "Shimmer and Shine" was an indication of good things to come, all burning guitar riffs and a signature knock-out chorus that transfers a heavy dose of soul straight into your system. Setting aside both the playful funk and heavy-handed politics of his previous work, Harper finds a nice spot in the middle where he creates some excellent songs. Opener "Number With No Name" is a personal favorite, as is "Why Must You Always Dress In Black," both of which show Harper in his zone, confident, emotional, and taking none of your nonsense while hot guitar licks, groovy bass lines, and fantastic percussion give the songs the necessary kick.

Of course, like any Ben Harper album, there's several seemingly mandatory ballads, which often make or break his records. Here they add to - much more than distract from - the overall feel of things, with the achingly beautiful "Skin Thin" ranking among the album's best tracks. In fact, the balance of the record is about perfect, which may be why I find the whole thing so easy to enjoy. Though White Lies for Dark Times doesn't hold up especially well down the stretch, with the aimless rocker "Keep It Together (So I Can Fall Apart)" and the surprisingly flat "Boots Like These" taking from the momentum, it closes on a high note - the gentle, uplifting "Faithfully Remain." Also, while I stand by my previous statement of Harper's somewhat lacking amount of originality here, he puts together a satisfying and well-executed package that's hard to deny.

Harper sounds focused and inspired, and most of all, relaxed in a way that keeps the music sounding natural even when the material isn't quite as spectacular or interesting as his best work. I'm still waiting for a late-career-defining album from Harper, and I believe he's got it in him, but White Lies for Dark Times is good enough to keep me happy for now.

Film and Music: Away We Go

Up and coming folk artist Alexi Murdoch has been chosen by Academy Award-winning director Sam Mendes to provide the majority of the music for Mendes' new film, Away We Go, which stars the uber-lovable John Krasinski (from The Office) and Maya Rudolph (of SNL fame). Murdoch released his debut album, Time Without Consequence, in 2006 which apparently caught Mendes' attention as Murdoch is providing a total of eight songs for the upcoming film's soundtrack, which also features Bob Dylan and George Harrison.

You can download the track "All My days" below, a Nick Drake-esque folk tune that caught my ear and made it easy to see why Rolling Stone named Alexi Murdoch one of ten artists to watch in 2006. I'm expecting both the movie and the soundtrack to be excellent, so find more information about the movie and its limited June 5 release on the Away We Go facebook page, and check out Murdoch's MySpace page to hear a few more tunes.

All My Days (MP3)

Review: Akron/Family - Set 'Em Wild, Set 'Em Free (* * * *)

Down a member to three since their latest outing, Akron/Family is back with their fourth full-length, Set 'Em Wild, Set 'Em Free, their first on the Dead Oceans label. Anybody worried that the loss of lead singer Ryan Vanderhoof would derail their beloved freak-rockers can rest easy, Akron/Family is just as weird and wonderful as ever and the new record is remarkably strong, especially considering the circumstances. Just goes to show what a little focus and tenacity can accomplish when you're faced with a potentially show-stopping change. The band have crafted an eleven-song set that is all over the stylistic map, but remains thoroughly enjoyable and somehow cohesive throughout.

Kicking things off is the gloriously bizarre "Everyone Is Guilty," with explosive, group-shouted choruses and fiery guitar riffs in a barely structured, six-minute rocker. Following is the equally great, and more subdued "River," which has been floating around the 'net for a while now. Here, the band settle down, focusing on gripping melody and harmony over muted guitar and gentle percussion, which style appears later in the even more sparse combo of "The Alps & Their Orange Evergreen" and "Set 'Em Free." The opening tracks are, honestly, about as good as Set 'Em Wild, Set 'Em Free gets, but as they are quite exceptional, and the band keeps things thoroughly entertaining throughout, there's no reason to be concerned.

Those looking for the familiar bombast and weirdness should check out the horn-heavy "Gravelly Mountains of the Moon" and the noisy, claustrophobic "MBF," but there's also a great deal of the more subtle and serene production mentioned earlier, like the closing combo of the psychedelic folk tune "Sun Will Shine" and the gospel-esque "Last Year." The sequencing of the album can take some getting used to, as the band goes from complete freak-out to tender ballad and back again within four tracks, but Akron/Family known the way to keep things interesting and surprising, just as we've come to expect and enjoy.

Inspired and inspiring, Set 'Em Wild, Set ' Em Free is truly a better record than it has any right to be, and a promising release from a band that is still moving forward. Whatever they do next, I think we can continue to expect the unexpected, and that's a comforting thought.

Review: Woods - Songs of Shame (* * * 1/2)

I’m still not completely sold on the whole noise-rock movement, but it's apparently something I’ll just have to get used to if not learn to enjoy. The list of bands playing everything from folk to metal drowned in feedback and distortion just keeps getting longer, and while it doesn’t always appeal to me, I have found some compelling acts within the genre. Of course, noise-rock isn’t new to this year or the last, but bands like Woods (and Wavves, The Pains of Being Pure At Heart, No Age, etc. – for a complete listing, see Pitchfork’s 'Best New Music' page) have certainly received ample accolades recently. Considering this, it was a nice surprise to find that the duo behind Woods (Jeremy Earl and Jarvis Taveniere) take a more rustic approach than most of their peers, combining classic folk-rock with a hazy indie style that I must admit – despite my prejudices – caught my attention on their new record, Songs of Shame.

What allows Woods’ fussy folk tunes to rise above those of the standard noise band is their ability to write great melodies that shine through the haze. Though singer Jeremy Earl’s voice is often clouded and distant, the songs generally maintain a strong sense of melody that connects the listener to the music and anchors the sometimes overtly abstract tunes to recognizable musical elements. Opener “To Clean” features messy guitar lines and somewhat muted percussion to compliment Earl’s unique falsetto, with lyrics that are often difficult to discern, but worth the effort to do so. The song is a good introduction to the band’s style; the record continues in a similar vein, offering mostly brief slices of mid-tempo, low-fi rock ‘n’ roll. There are several highlights here, most notably the inspired cover of Graham Nash's “Military Madness” and the melancholy, beautiful “Rain On,” which demonstrates this band's range.

It’s unfortunate that too much of the rest of this record fails to reach the bar set by the band's best material. Most of the songs hold up alright on their own, but in the context of the album, many simply fade into each other. Over time, and with repeated listens, tunes like the swampy “To Hold,” the sloppy “Gypsy Hand” and the psychedelic and unmemorable “Echo Lake” start to develop some discernible qualities, but there isn’t enough of a return for the effort required. The band also throws in a nearly ten-minute instrumental, “Summer with Pete,” early in the record that seems unnecessarily lengthy and distracting especially given its placement, but, by the same token, it’s refreshing to hear something a little out of the ordinary.

When all is said and done, it’s the unusual properties of Songs of Shame that both draw me in and push me away. Woods are too smart to allow themselves to be pigeonholed into one category or stay still for very long, and it’s very obvious that the two musicians have plenty of talent and myriad ideas. So, while Songs of Shame doesn’t consistently hit the mark, it succeeds in giving a solid introduction to a band that has flown too far below the radar during their career, and one that we should be looking forward to hearing much more from in the future.

Last Word:

Woods’ fourth record, Songs of Shame, is an enjoyable, if inconsistent, collection of noise-folk tunes that hints at better things to come from this boundary-pushing duo.

Recommended Artist: The Devil Makes Three

If you didn't know better, you might swear The Devil Makes Three's new album, Do Wrong Right, was a re-release of some country folk band's late 1950's hit record, but the group has only been around for the last seven years or so. Their infectious, fresh take on what they call 'vintage American blues' makes this drummer-less trio out of Santa Clara, California (of all places) worth checking out, and their new album has been a great introduction for me. Guitarist/frontman Pete Bernhard, stand-up bassist Lucia Turino and guitarist Cooper McBean effectively channel their old-school bluegrass and folk influences into an impressive collection of twelve songs, with a sort of raw punk attitude giving the music a compelling edge.

If you haven't already, you should download the opening track, "All Hail," which I posted previously. The song should give you a good idea of the band's signature style, complete with rustic production qualities and Bernhard's cleverly sharp lyrics that are often sarcastic and always witty, but contain a remarkable amount of insight as well. Other highlights from the new record include the trouble making title track, the dark, sinister "Help Yourself," and the hillbilly rocker "Aces and Twos." Also, check out the trio's MySpace page to hear some tunes both new and old or head over to their site for more info.

New and Notable: Workers

I suppose it's a bit of a stretch to call Workers a 'new' band, but I think their recent name change justifies the title of the post. That, and the trio from Kentucky have only recently made a push here in the States - though they've had success overseas in England and Japan under the name Your Black Star, which was the group's original name. At first listen, the band reminded me of Black Rebel Motorcycle Club, a group the guys have shared the stage with numerous times. Fortunately, while their rock 'n' roll sound will probably draw many comparisons and feels somewhat familiar, they bring a stylish intensity to the table and a fresh enough approach that their debut self-titled album is a welcome and compelling one. Workers is easily one of the better discoveries I've made in the last few months.

Opener "Revolutions," the darkly romantic "Invitation," and the explosive, noisy "French Figure 8" are good examples of the band's energetic, dense rock sound at which they truly excel - with drummer Andrew Osborn and bassist Brandon Duggins proving to be a spectacular rhythm section (just check out closer "Circulation") as front man Jeremy Johnson uses his even tenor voice and a variety of guitar effects to present his hazy, yet captivating melodies. The group also thrown in a couple well-placed ballads, including the especially great "Trinidad & Tobago," which soars epically in a very Jesus and Mary Chain sort of way but with even bigger drums and more grand production. With such a consistent and impressive set of ten tracks, Workers have certainly earned themselves the title of 'band to watch.'

Check out the Workers' MySpace page to hear more from the record as well as a few tunes from the band's earlier releases - or head to their site for more info.

Review: Casiotone for the Painfully Alone - Vs. Children (* * * *)

Great storytellers are a rare thing in music. Granted, you don't have to write narrative-style lyrics to make worthwhile tunes, and just simply writing poetry doesn't make you a musician, but those artists, like Owen Ashworth - known as Casiotone for the Painfully Alone - who can spin a good yarn in three to six minutes of song are few and far between. Ashworth's latest, Vs. Children, is another fine example of the musician's love of detail and ridiculously descriptive stories of people in all sorts of situations and from all walks of life. The songs continue the broader, more diverse sound of his last record, Etiquette, but they still have a very low-fi, intimate feel to them with plenty of the simple drum machine beats and piano that accompanied his earliest recordings.

Like Sufjan Stevens and others, Ashworth has a love of obscure history, as evidenced by the obviously titled "Tom Justice, The Choir Boy Robber, Apprehended at Ace Hardware in Libertyville, IL" about a thief who robbed banks in a peculiar way and escaped on bicycle (I had to Google it). Not only is it an interesting song, but it's quite good as well, as are the majority of the tunes, which seem to draw inspiration from a diverse selection of personal and historical influences. Highlights include the subtly joyous "Optimist vs. The Silent Alarm (When The Saints Go Marching In)," the lonely "Traveling Salesman's Young Wife Home Alone on Christmas in Montpelier, VT" and the drum-heavy closer "White Jetta." Each tune weaves the kind of tale that needs a few spins to fully decipher, but isn't so abstract that you can't understand what's going on in the first place. The more you listen, the deeper and more involved the songs become until the album is wholly absorbing.

The song structures on Vs. Children are quite simple and the instrumentation generally sparse, and though some well-placed backing vocals and a few flourishes keep things interesting, you won't find many dazzling musical moments here (fancy chord progressions, exciting climaxes etc.). Also, Ashworth doesn't do much with his voice - which stays fairly flat in a kind of weary, talk-sing style that can take some getting used to. So, for some, Casiotone's music might not make much of an impact, but for those who know what to expect and are looking in the right places, the album is loaded with beautiful lyrical and emotional treasures. Owen Ashworth is a gifted songwriter and a unique talent that has quietly crafted yet another solid set of indie-folk songs.

Hear a good chunk of the album on MySpace

Review: Paper Route - Absence (* * * 1/2)

Nashville's Paper Route have just recently released their debut album, Absence, the follow-up to last year's EP Are We All Forgotten, which felt like the start of good things for the band. I've been curious to hear the new record as I was intrigued by the band's unique electronica-meets-pop-punk sound - a style that feels both refreshingly progressive but with a familiar base. The group have put together eleven new tracks and borrowed one from their EP (though they didn't pick my favorite - "Empty House") for their debut, and while Absence doesn't expand much on the promise of Paper Route's beginnings, it does provide some strong material that should help to further establish the band as one to watch.

While Paper Route is, at times, in danger of sounding a bit too much like the horde of 'post-emo' rock bands - they deserve better company. Their mainstream leanings are combined with a generous dose of 80's synth rock and hints of several other genres thrown in for a much more ambitious and interesting musical presentation that you would find among many of their peers. Also, while the group definitely love bombastic drums and explosive guitar riffs, as evidenced by the epic first single, "Carousel," and the intense, driving "Are We All Forgotten," they also are willing to restrain themselves when necessary and explore a variety of ideas that keeps the record surprising and compelling. Even when the results are less than spectacular, it's nice to hear a young band willing to take a risk when they certainly could have played it safe and stuck to the basics.

Opener "Enemy Among Us" floats along with piano over synthetic beats that expands subtly, creating a tense - but still pleasant - atmosphere, while closer "Dance On Our Graves" follows suit with a sparse, open sound in an emotionally intense ballad. These softer, more delicate moments are some of the album's highlights along with the more creative and stylistically unique tunes like the dense,electro-rocker "Gutter" and the groovier, slightly MGMT-esque "Tiger Teeth." Here, the songs best showcase the band's signature sound with a mix of programmed and live percussion behind drivingsynths and the earnest tenor vocals of JT Daly.

The band doesn't consistently hit it out of the park on Absence, but they have a good thing going here and I'll be eager to hear what they come up with in the future. I imagine Paper Route will find some success among the more radio-friendly rock crowd with their approachable pop-rock sound, and if this is what the kids are listening to these days, it's certainly a step in the right direction.