Review: Jamie Lidell - Compass (* * *)

Ordinarily, an artist doesn't release their breakout album after 30, but then, Jamie Lidell’s story is anything but ordinary. Formerly in experimental electronica (both solo and as half of Super_Collider), Lidell’s seemingly swift transition into soul was both surprising and totally successful—as his 2005 record, Multiply, emphatically proves. He distanced himself even further from his digital roots with 2008’s Jim, which doesn't match the explosive creative energy that defined his debut, but is a fine pop album in its own right, allowing him to flirt a little with mainstream success in the process. But if there were any who figured Lidell would attempt to complete his late-blooming transformation into a radio-ready pop icon on his third go-round, they would most certainly be wrong. Instead, we find the artist in a highly experimental mode on Compass, still churning out danceable, soulful tunes but with decidedly more exploratory edge that sometimes enhances and sometimes distracts from the quality of the songs themselves. Enlisting the help of Beck and Chris Taylor (of Grizzly Bear) as producers, along with a slew of other collaborators, Lidell’s latest is a fascinating though unfortunately not very successful effort. (Read my full review @ In Review Online)

Rufus Wainwright: All Days Are Nights: Songs for Lulu (* * *)

Much has been made of the simplicity and intimacy with which Rufus Wainwright approaches his latest album, All Days Are Nights: Songs for Lulu. A spare piano/voice style is the approach chosen here, and it’s sustained throughout the record’s 48 minutes, a welcome change in a career heretofore defined by artistic excess and drama. But whRufuile the minimalism of Wainwright’s sixth effort serves as an effective reminder of his considerable talent, most everything about the record is grandiose (down to that clumsy, lengthy title), revealing the man at his most stripped-down to be every bit the ambitious, flamboyant personality we’ve come to expect over the last 12 years. This isn't necessarily a bad thing—and it isn’t entirely unexpected, as Wainwright has long shown his love of opera and theater to be a core ingredient in his work—but All Days Are Nights feels overstuffed with ideas and ultimately overindulgent, even despite its spare aesthetic. This crowds the best material and hampers both the album’s accessibility and artistic value.(Continue Reading @ In Review Online)

Review: Hot Chip - One Life Stand (* * *)

Three albums into their career and lovable electronica nerds Hot Chip had, for the most part, stubbornly resisted maturity, but it seems they’re finally growing up; at least, if their latest record, One Life Stand, is any indication. This is clear both lyrically—with an introspective attitude toward love and its accompanying commitments—and musically, as the record presents a more focused stylistic approach. Hot Chip obviously hope to use their fourth effort to convince us of their legitimacy as indie mainstays and not simply another compelling novelty act. This isn’t meant as a critique, of course, it’s simply an observation; and it’s likely that this will greatly factor in to your reception of their new album. The band sound like themselves, only with a wider array of electronic techniques, vocal filters, and organic instrumentation combining in the service of danceable white-boy funk. Unfortunately, the more purposeful air somehow lessens the impact and personality we’ve become accustomed to with Hot Chip. In some ways this seems necessary or even preferable, but unfortunately the costs outweigh the benefits of such advancement and One Life Stand falls shy of its mark. (Read the rest @ In Review Online)

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.

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Review: Julian Casablancas - Phrazes for the Young (* * *)

Whatever it was that caused The Strokes to go on indefinite hiatus in 2006, it looks to have not effected the individual members' capacity to create new music. Frontman Julian Casablancas is the fourth artist of The Strokes' quintet to release a post-Strokes record, joining guitarist Albert Hammond Jr., who's released two full-lengths during the band’s three-year-and-counting break. And while Hammond found success in retaining some of his band’s signature rock ‘n’ roll tendencies (albeit often with less bombast and more variety), drummer Fabrizio Moretti and bassist Nikolai Fraiture went in decidedly different directions. The former combined forces with Los Hermanos’ Rodrigo Amarante to create a charming, relaxed pop album under the name Little Joy, while Fraiture’s Nickel Eye side-project (decidedly the least interesting of the these off-shoots) is more folk-rock in nature. Each release has arrived with an inherent measure of hype, given its association with one of the decade’s most explosive young rock bands, but none has suffered the weight of expectation quite like Phrazes for the Young. (Continue Reading at In Review Online)

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Review: The Clientele - Bonfires on the Heath (* * *)

Few bands have managed to create as many accomplished and acclaimed albums with as little reinvention as The Clientele. Since 2000’s compilation Suburban Light (an exquisite collection of the band’s early singles), the London-based quartet have remained remarkably true to their sound, never straying from the hazy, reverb-drenched 60s-esque pop style that has enamored so many, myself included. There have been minor changes to the group’s approach throughout the past ten years, and an in-depth analysis of each album reveals a subtle, methodical evolution (more instruments, higher production values, etc.), but these changes are understated enough as to be easily dismissed or unnoticed on a casual listen. And so the trend continues for The Clientele’s latest and quite possibly last effort, Bonfires on the Heath, another generous serving of smooth, low-key pop that often sounds remarkably like what preceded it, though here (and more than any other time perhaps) the band occasionally attempt a livelier, more energetic sound for their rumored finale. That’s not to say Bonfires on the Heath is likely to surprise anyone, and there’s still plenty (too much, really) of the band’s characteristically down-tempo balladry to be found scattered throughout the 12 tracks, but the album does at times feel more progressively full-bodied and upbeat even than 2007’s God Save The Clientele. (Continue Reading...)

Review: Muse - The Resistance (* * *)

Almost by its very nature, Muse's music inspires drastically different reactions. Even the critical opinion seems to be quite divided , and though most everyone acknowledges the same strengths and weaknesses, how much you enjoy it seems to depend on which attributes of their music you choose to focus your attention. Or maybe, at least recently, it really just boils down to whether or not you love stadium-sized rock 'n' roll that pays homage to classic 80s rock. Because that's what The Resistance is at heart - no more, no less really - a collection of overblown and over-dramatic rock songs that reference everyone from Blondie to Queen, stuffed with anthematic vocals, epic guitars and thunderous drums. The transformation that began with 2006's Black Holes and Revelations continues with their new record, taking Muse into territory quite distant from their Radiohead-emulating origins in 1999.

Personally, I thought Black Holes and Revelations was easily the band's most accomplished work. That it was grandiose to the point of being silly and more than a little pretentious is true, but it's also beside the point. The music was just too good to ignore, with Matthew Bellamy's soaring voice and angst-ridden lyrics delivered over some superb guitar, bass, and drum work. And really, the formula for The Resistance is about the same, though it's got a decidedly more 'rock opera' feel to it this time around. Bellamy is still paranoid, singing about the people's fight and eventual triumph over 'they' (the man, the government, the greedy, the selfish, etc.), who seem intent on keeping him and everyone else hopeless, loveless and downtrodden. His lyrics feel trite at times, more so here than before, but usually he's convincing (or maybe just convinced) enough to get away with it.

The remaining band members stay sharp on bass and drums, but they also compete much of the time with other digital and organic instrumental flourishes that remained mostly absent even from the band's last record. "Undisclosed Desires" floats over a hip-hop beat and emotive string arrangements while "United States of Eurasia" rips off Queen so completely (one of several incidents) you might actually think Brian May was there to provide guitar and backing vocals. It's here that the music begins to feel a little disingenuous - Muse is certainly talented enough to pull it off, and it's mostly fun and occasionally thrilling - but the whole experience feels somewhat tired and borrowed when you'd think Muse should be able to come up with their own ideas by now. When they stick to the basics ("Unnatural Selection," for example) the results are stronger in their simplicity.

The three-song closing suite "Exogenesis," with a string-heavy, symphonic style, takes things in another direction entirely. It doesn't work completely - but it's at least interesting and genuinely beautiful at times. It's yet another disparate element in an obviously ambitious but somewhat confused album that I'll admit I enjoy but only when I'm in certain moods. At it's best, though, The Resistance provides the same high-adrenaline hooks and over-the-top choruses that are difficult to resist. Next time around Muse will likely have to come up with something a bit more convincing to keep our attention, but The Resistance works well enough to satisfy.

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Review: Basement Jaxx - Scars (* * *)

Felix Buxton and Simon Ratcliffe have, over the course of their ten year career, been consistently adored by fans and critics alike. And they deserve it. The duo, known as Basement Jaxx, made three stellar dance/house albums in a row, and though their 2006 effort, Crazy Itch Radio, didn’t quite earn them the number of accolades they had probably become accustomed to receiving, it seemed nobody gave them too hard a time about it either – but was it a sign of decline or simply a one-time slip? Listening to Scars, the fifth album from the dynamic duo, it would seem unfortunately more like the former, though when measured by its ability to provide a danceable good time, it succeeds well enough to avoid the feeling that Basement Jaxx is really losing their edge. In fact, perhaps the greatest strength and weakness of the album is how closely it follows the star-studded formula the band have been working within since their 2003 breakthrough, Kish Kash. And it’s still entertaining, it just seems that the returns on their approach are diminishing slightly with time.(Continue Reading...)

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Review: The Dodos - Time to Die (* * *)

I don’t believe there’s any expressed standard in the music industry regarding the proper amount of time between albums, but in practice, somewhere between two and three years seems the average. Certainly there are many exceptions as bands often put four or more years between releases, sometimes taking an entire decade between LPs (which is obviously more than frustrating for fans and rarely intended by the artists). Examples of groups that pull the average the other direction are less frequent though not entirely uncommon, but in my experience that can be a risky proposition as it seems to be difficult for most bands to produce their best material with less time. The point is, whenever I hear news like I did several months ago about The Dodos quick release of their new album (just over a year after their last, 2008’s excellent Visiter), I get both excited and a little apprehensive. (Continue Reading...)

Review: Patrick Wolf - The Bachelor (* * *)

Everyone familiar with Patrick Wolf knows drama is part of the Wolf experience. He's talented, certainly, and ambitious as well, but complimenting his mad pop genius is a love for the theatrical and grandiose that is endearing at the least and captivating at best. His emotionally unstable nature makes for some weighty and depressing songwriting, but for the most part it enhances his complex arrangements and remarkable vocal delivery, heard in a relatively joyful pop presentation on his previous album, 2007’s excellent The Magic Position. For The Bachelor, Wolf kicks things up a notch by further broadening his musical horizons, tackling social and political issues (in addition to more personal emotional traumas) while also embellishing his already eccentric style and taking it in several directions; traditional folk ballads and glam-rock epics are a big part of this set. Driven by both his ego and raging emotions, Wolf frequently gives in to his increasingly dramatic tendencies and has created a wildly uneven album. The Bachelor is both impressive and somewhat frustrating. (Continue Reading...)

Review: Dead Weather - Horehound (* * *)

In advance of The Dead Weather's debut, Jack White, apparently tiring of the limelight, claimed to have more of a supporting role in the project. As the frontman of The White Stripes and one of the leading members of supergroup The Raconteurs, it makes sense that the increasingly recognized rock icon would take a backseat role for a change, perhaps in an effort to explore new artistic avenues or simply to have another group of musicians to jam with. Horehound marks White's third release in as many years (following a decent if less than masterful record with The Raconteurs in '08), and this time he's joined by The Kills' vocalist Alison Mosshart, multi-instrumentalist Dean Fertita (Queens of the Stone Age) and Raconteurs bassist Jack Lawrence, while White himself sticks primarily to the drums. (Continue Reading...)

Review: Conor Oberst and the Mystic Valley Band - Outer South (* * *)

Preface - This review, like some to follow, will be posted in full at In Review Online, so click on the link at the end of the paragraph to read the entire article. Thanks!

Conor Oberst, known to many by his moniker Bright Eyes, seems to have ditched his solo gig, as well as the majority of his emo-leaning songwriting, and now performs with a full-on rock group, Conor Oberst & the Mystic Valley Band. Whether it was therapy, an early mid-life crisis, or simply the need to have some fun that brought about this change in his career doesn't really matter; the new direction Oberst has taken suits him far better than many of us would have expected. Shedding the Bright Eyes brand for last year’s album (simply titled Conor Oberst), the artist took a step away from his established, moody sound and toward something much more free-spirited and fun, a sort of breezy alt-country style full of jangly guitars and clamoring piano. (Continue Reading...)

Review: Peter Bjorn & John - Living Thing (* * *)

It’s unlikely that most people will remember Peter Bjorn & John for anything other than their breakthrough single, “Young Folks,” and while that’s a shame, the song bought them a bigger slice of fame than they ever would have had otherwise, which means indie music geeks like me can continue to enjoy their music long after the masses lose interest. Living Thing is the Swedish trio’s fifth disc, following last year’s instrumental album, Seaside Rock, which failed to make much of an impact and went largely unnoticed. The band have increased the intensity of their pop rock sound for Living Things, creating a darker collection of tunes that trades in their breezy touch for a heavier, denser style.

Before I had the opportunity to listen through Living Thing, I’d been hearing the record’s first single, “Nothing to Worry About,” around the blogosphere for a few weeks. With stomping percussion, thumping bass, and a choir of children, the quirky tune certainly had me intrigued. Even behind the oddball presentation, the song has a serious, less playful edge that pervades the album, generally leaving the charm and innocence of Writer’s Block behind. There are still some fun moments on the record, like the sweet verses of the ballad “Just the Past,” a quaint tune dealing with love and insecurities, and the goofy African-chant chorus of the title track, but for much of the album, the mood is less pleasant.

Some of the fussier, noisier numbers work better than others. “It Don’t Move Me” begins with a Spoon-esque pop verse before transitioning into a bleak, post-apocalyptic chorus with clanging piano and drum machine that’s quite excellent, while “I’m Losing My Mind” has a blues stomp behind vocals that sound much more tired than truly crazy, and the result is less than impressive. Unfortunately, too many of the songs on the album are similarly uneven, making Living Thing a frustrating listen. “I Want You!” goes for romantic but comes across as forced and wooden, and closer “Last Night” floats along in forgettable fashion. The biggest surprise (and disappointment) here is “Lay It down,” a downright bitter piece of work in which a ladies man who messed with the wrong girl brings upon himself an explicit tirade wrapped in a light-hearted pop presentation that ends up feeling more awkward than anything else.

The problem with Living Thing doesn’t really lie in the different musical approach that Peter Bjorn & John have taken; in fact, though the mix of digital and live percussion, noisy piano, and squeaking guitars seems to fight occasionally against the trio’s previously established strengths, they produce some genuinely interesting musical moments. It’s the lack of well-written songs and genuine hooks that Writer’s Block was packed so full of that ends up keeping this record from achieving what the band has shown they are capable of creating. I hope and I expect that Peter Bjorn & John have plenty left to offer, but Living Thing just feels like what we may end up referring to as an unnecessary detour when we look back years later.

Last Word: Living Thing is a fascinating, yet frustrating, album that – despite a few strong singles - lacks the quality of material contained in Peter Bjorn & John’s past records.

Review: U2 - No Line on the Horizon (* * *)

I think it’s safe to say that my generation is getting a little tired of U2. Those of us that discovered the group when they were past their prime still danced to “With or Without You” and “One” at the prom and sang along with “Beautiful Day” when it ruled the airwaves, but I imagine by now U2’s fan base is probably aging right along with them rather than growing from the 20-something crowd. Modern rock music certainly owes a great deal to Bono and company, but while their greatness is easy to appreciate and their classic albums easy to love the band’s music has seemed increasingly less relevant in recent years.

It was apparent that U2 was hoping to shake off some of the dust with No Line on the Horizon after they released the first album’s first single, “Get on Your Boots.” Love it or hate it, the song’s electronically-tinged rock sound was just different enough to get everyone’s attention and to cause people to wonder about the tricks the band might unveil with their upcoming record. I’ll admit I didn’t care for the song, but it piqued my interest enough to give the album a good listen. It turns out U2’s first record in over four years is indeed their most adventurous and exploratory work in a long time (though it’s unlikely to shock anyone), but only a few songs hold up well against their earlier material.

The issue with the wealth of ideas found on ‘Horizon’ is that they frequently comes across as more scattered than purposeful or exciting, as if the band is searching for the best direction but can’t decide what that would be. They manage to hit some sweet spots, as on the more signature-sounding “Moment of Surrender,” which soars gracefully along on some subtle guitar work and muted percussion, and the grand closer, “Cedars of Lebanon,” with a refreshingly relaxed delivery from Bono and some gripping vocal harmony. Elsewhere, there are flashes of brilliance on the epic chorus of “Magnificent” and the acoustic starkness of “White as Snow,” but these highlights are too few and far between to make any real impact.

The album’s self-titled opener offers no true hook and a bit too much of Bono’s seemingly obligatory wailing, while “Unknown Caller” simply sounds like a tired attempt to update the band’s classic sound, and “Fez: Being Born” intrigues at the start, but never ends up going anywhere very interesting. Bono’s lyrics also fail to impress much of the time. Too often he drops grand nonsense phrases (“it’s not if I believe in love, if love believes in me”), awkward cultural references (“force quit and move to trash”), or vague philosophies (“God is love, and love is evolution’s very best day”) that distract rather than inspire. He doesn’t sound lazy, just out of enough ideas to properly fill an album’s worth of lyrical content.

U2 create some interesting moments and explore enough territory on No Line on the Horizon to avoid treading water, but the songs aren’t consistently strong and the album feels much less like a step forward than it might have. I imagine many fans will be pleased with a reinvigorated and determined effort from their beloved Irish rockers, but most everyone else is unlikely to be affected.

Last Word: U2 return after a long absence with an album that is more adventurous than anything they’ve released in a decade, but it suffers from a lack of consistency and direction and ultimately feels uninspired.

Review: Sleep Station - Blood Of Our Fathers (* * *)

Sleep Station front-man David Debiak has always been driven by politics, wars, and social change, and never more so than on his new album Blood Of Our Fathers. The record is being offered for free on Air and Sea Battle with the original intention of compelling people to vote in the recent election. Though Sleep Station has previously recorded as a more complete band, Blood Of Our Fathers has the feel of a solo album for Debiak, with his acoustic guitar and slightly rusty voice as his primary weapons.

It's readily apparent on his new album (right from the cover art, actually) that Debiak has a fascination with war's effect on society. Blood Of Our Fathers doesn't so much decry all conflict as it explains and explores the struggles of those who fight and give more than anyone else can appreciate or understand. "America" contains some of the record's most pointed lyrics, like "you won't realize you were blind, and gave away everything you owned" and "you'll send your boy to die, for your freedom way of life, to become a man so he can do his part, but America will leave him in the dark." Elsewhere, soldiers fight, pray, and struggle to make sense of their life after returning home. At times, he gets too heavy-handed, but the lyrics of Blood Of Our Fathers are often stirring and occasionally memorable .

Musically, Debiak covers no new territory here, shifting from Rocky Votolato-esque folk tunes (Blood Of Our Fathers) to country-rock (America, Leads Back Home). He's sounds comfortable and proficient throughout the album and creates a few shining moments, like the melancholy, broken-hearted prayer "Oh Mary" or the simple, affecting leaving song "Can't Shake This Town." Sometimes, however, the music lacks any real melodic or emotional hook and the album starts to feel a bit mundane.

As a whole, Blood Of Our Fathers is straightforward folk-rock that is consistently enjoyable throughout. I honestly can't think of any reason why you wouldn't go and download this to check it out for yourself.

Reviews: Los Campesinos!, Kaiser Chiefs, Snow Patrol

This week is a big one for bands hailing from the U.K. Here are a few reviews of albums making their way across the Atlantic.


Los Campesinos! - We Are Beautiful, We Are Doomed (* * *)
Los Campesinos! went into the studio to record an EP and emerged with a full-length album. We Are Beautiful, We Are Doomed, is the group's second release in well under a year and provides another (mercifully) short blast of hyper-literate indie pop sure to have the music scene in a frenzy.

Those who liked Los Campesinos! before will love this record, but it probably won't win over legions of new fans. The opener "Ways To Make It Through The Wall" and the title track showcase the band at their best, full of energetic storytelling and boy/girl harmonies. The act is getting a little worn, though, and by the end of the album I found myself bored. The stories are cleverly and earnestly told, and the music is brimming with ideas, but I became less and less interested in each passing tale of complex relationships and lost love. Even at 32 minutes, the album felt stretched. We Are Beautiful includes some solid songs but not enough to keep me from wishing Los Campesinos! had just stuck with producing what could have been a fantastic EP.

Like I said before, if you liked it then (Hold On Now Youngster), you'll like it now, but don't expect much you haven't heard from them already.


Kaiser Chiefs - Off With Their Heads (* * 1/2)
Kaiser Chiefs bring more of their retro-flavored pop rock with their new release, Off With Their Heads. The five-piece from Leeds shake things up a bit this time around, featuring rapper Sway, Brit-pop queen Lilly Allen, and composer David Arnold during 11 tracks of synth and guitar-driven tunes.

Off With Their Heads is, at least, a fun album, but unfortunately it's also derivative, repetitive and frequently uninteresting. The band certainly seem to be enjoying themselves, especially on upbeat numbers like "Never Miss A Beat" and "Half The Truth," but the hooks wear off fast, and singer Ricky Wilson never seems to have much to say. Granted, simple lyrics don't always sink an album, but the music here isn't so distracting as to draw attention away from some fairly boring writing.

In the end, most of the songs end up sounding like good ideas poorly executed. Nothing on Off With Their Heads is especially bad (with the exception of the rapping on "Half The Truth"), but there is little that's very good either.

Favorite Tracks: "Never Miss A Beat," "You Want History," "Addicted To Drugs"


Snow Patrol - A Hundred Million Suns (* * * 1/2)
Snow Patrol found a smash hit in "Chasing Cars," their 2006 single that vaulted the Scottish lads into superstardom and beyond. Bearing the weight of sky-high commercial expectations, the band release their latest effort A Hundred Million Suns on Tuesday behind the lead single "Take Back The City."

A Hundred Million Suns follows a pattern similar to Snow Patrol's last album, Eyes Open, though it's clear the band intended to take some chances as well. While "Take Back The City" and "Please Just Take These Photos From My Hands" sound like carbon copies of previous hits, the simple, beautiful "Set Down Your Glass," and the 16-minute, 3-part epic that is "The Lightning Strike" are examples of a band trying to stretch themselves while retaining their radio friendliness. Even with improved talent and execution, however, A Hundred Million Suns feels overblown and overlong (almost 60 minutes!) and sounds as if the band can't quite reach the heights to which they aspire.

While Snow Patrol have crafted perhaps their best album (and one that I admit I enjoy), it still feels like a guilty pleasure instead of a truly compelling collection of songs.

Favorite Tracks: "If There's A Rocket Tie Me To It," "Lifeboats," "Set Down Your Glass"

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: Ben Folds - Way To Normal (* * *)

Some people never grow up; Ben Folds is one of them. Now over the hill, Folds shows no signs of maturing musically or otherwise, preferring to stick with his unique brand of high-energy, sometimes expletive-filled, piano pop. That in itself is not a bad thing; in fact, it's one of his greatest strengths. The ability to explain the world in simple, creative, and unapologetic terms has gained him a legion of very loyal fans across a wide range of ages. Combine that with overflowing musical talent, and Ben Folds' appeal becomes apparent.

You have to wonder, though, whether Folds is pushing his luck this time around with Way To Normal. With Rockin' The Suburbs and Songs For Silverman, he managed to balance sincerity with sarcasm, sweetness with bitterness. On his latest album, Folds rarely lets us see his sensitive side, instead presenting a series of angry social and emotional rants. "The Frown Song" takes a jab a fashion-conscious yuppies spreading their misery, "Bitch Went Nuts" tells the story of a crazy girlfriend, and "Brainwascht" apparently was written in response to a song slamming Ben (no details yet; I'm looking into it). It's all done with his usual dramatic piano style and sense of melody, but it's also a little juvenile and unflattering.

Elsewhere, Folds deals with empty relationships, small-town struggles, and loneliness. It's a wild, fun ride throughout, despite the subject matter, and he certainly seems to be having a good time, especially during rave-ups like "Dr. Yang," where Folds delivers a fantastic pounding piano solo. While there are a few disposable tracks ("Errant Dog," "Free Coffee"), most of the songs are at least decent, and he even gets sentimental in his own way with the album's two ballads, "Cologne" and "Kylie From Connecticut." In many ways it's classic Ben Folds, and fans will certainly find plenty to love.

Maybe it's my problem then, that I can't see the charm and appeal in Way To Normal that I did in Rockin' The Suburbs and earlier projects. But I can't help feeling that Ben Folds now sounds almost like a parody of himself; having a good time at the expense of creating something a little more meaningful, relevant, and...mature. I really do hate to say it, but sometimes I wish he'd just grow up.

Favorite Tracks: "Dr. Yang," "The Frown Song," "You Don't Know Me"



As mentioned earlier, the album is available to stream this week at Spinner.com

Review: Kings of Leon - Only By The Night (* * *)

Just last year, Kings of Leon released their fantastic third album Because Of The Times, one of my favorite rock records of 2007. Though they alienated a portion of their fan base (just read the iTunes reviews) with their smoother, arena-rock sound, it seems they had no trouble in gaining new followers. With their upcoming release Only By The Night, Kings of Leon continue to separate themselves from the gritty, dirty sound of their older material, opting for U2-esque guitars, polished production, and more ballads than you can shake a stick at. This time around I think I might be among the disillusioned.

That's not to say that Only By The Night is a terrible album, because it's not. Nor am I referring only to the stylistic changes, though that's part of my frustration. The real problem here is the uneven nature of the songwriting. Singer Caleb Followill, one of three brothers in the band along with their paternal cousin, turns in some of his finest vocal performances, but they seem wasted on the weaker material. In earlier albums, the lyrics were passable because they were simple and second to the music. Here, the lyrics get a chance to shine front-and-center and occasionally it's a problem. For instance, it’s possible to get away with lines like "So we dance all night, and dance all day, I say!” or “yeah, your sex is on fire!” but when sung with such fervor they become impossible to ignore.


Musically, when the band turns up the volume and brings the heat, the smoother new sound works. "Crawl," "Be Somebody," and "Sex On Fire" are solid rock songs which might not have the edge of the band's best, but the soaring vocals and big guitars are hard to resist. Unfortunately, the amplifiers don't get turned to '11' all that often, and when the pace slows, some of the songs seem tedious. The bland "Use Somebody," and the creepy, cowbell-heavy (thanks Bruce!) "I Want You" are the worst offenders. Though not all of the ballads are unsuccessful ("Notion" is fantastic), most of the remaining songs fall into the good-but-not-great category. Only By The Night just doesn’t reach frequently enough the standard set by its predecessors.


Kings of Leon are a talented band with great ambition, and Only By The Night is a decent album, especially if heard without referencing their previous work. It’s hard not to feel disappointed, though, when you know the band is capable of much more.


Favorite Tracks: “Crawl,” “Sex On Fire,” “Notion”

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