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. . .)

Daily Dose - 10/1: Twin Shadow

Artist: Twin Shadow
Latest Release: Forget
Genre: Electronic/Pop/Dance

George Lewis Jr. is the lone man behind Twin Shadow, a retro pop project that's been turning some heads this year, and for good reason. Blending 80s synths with a generous dose of electro funk, Lewis' debut LP, Forget, is a stunning set of smoldering, low-key dance songs that are, well, unforgettable. Featuring production by Grizzly Bear's Chris Taylor, Forget definitely favors mind-altering arrangements and unusual electronic soundscapes to straightforward club beats, yet most of these songs are insistently danceable as well. The music of Twin Shadow has a sort of otherworldly sexiness to it that I just can't get enough of, and I highly recommended it to any adventurous electronica/dance fan.

Key Tracks: "Shooting Holes at the Moon," "Yellow Balloon," "Castles in the Snow"

Download: Castles in the Snow (via Pitchfork)

Watch: Video for Castles in the Snow

Twin Shadow - Castles In The Snow Directed by Jamie Harley from Twin Shadow on Vimeo.

MySpace