Steffaloo 'Meet Me In Montauk' album review (for kevchino.com)

It's the simple things in life that are usually most pleasing and Steffaloo lays testament to this in her latest release 'Meet Me In Montauk'. A photographer, musician, traveler and general lover and liver of life Steffaloo has comprised a selection of mostly acoustic tracks that strive to restore beauty in the basics.

With soft and whimsical vocals reminiscent of Feist yet tinged with a hint of Karen O, laden with acoustic fingerpicking, clicks, claps and melodic harmonies 'Meet Me In Montauk' is bare, raw and often shows how simply enigmatic music and words can be when stripped back to the bare essentials. The production is minimal, the instruments perfectly paired and the lyrics sincere and heartfelt. Tracks such as 'Oh My God', 'Just Strangers' and 'On Fire' tug squarely at the heart strings, while the more upbeat 'A Song to Sing', 'The Letting Go' and title track 'Meet Me in Montauk' definitely have a more island-hopping stolling-through-the-sand feel to them. The only oddity of the album is final track 'Fly Away (version ii)' and it's horrible use of a synthesized vocal effect that does not sit well as the last brush stroke of her masterpiece.

While the vocals are melancholy and the lyrics intriguing the constant use of barely-there acoustic guitar lets the songs run into one big lovely soft lullaby for grown ups. The music is simple and effective but can lull you into forgetting which track it is you are in fact listening to. The album is a fine one overall but one waits with anticipation for a more definitive album. That said it may be Steffaloo's creative simplicity and undefinability that eventually propels her into greater success. A self-professed '…hippy heart… wanderin' soul' it's easy to see her wandering her way with her siren song into peoples hearts the world over.

Cass McCombs 'Humor Risk' album review (for kevchino.com)

A well versed and well traveled Californian, Cass McCombs has recently released his latest effort 'Humor Risk'. This is an amazing feat considering his fifth LP 'Wit's End' was released a mere 7 months ago.

We are left to wonder whether the release of 'Humor Risk' is simply an attempt to sell off leftover scraps and editing suite cuts from his last album, due to the rapidity of it's release and it's dismal quality. It features some lovely guitar melodies here and there and tracks like 'Robin Egg Blue' contain some nice instrumental layering, but the song tends to get lost in the layers and on a whole the album is dreary, drab and goes on and on and on and…

Opener 'Loves Thine Enemy' and 'The Same Thing' are definitely the only 2 tracks worth listening to with their sweet indie-pop tones. 'Mystery Mail' would get a look in also if it didn't go for 7 minutes and 50 seconds. It starts off well with a good rock sound and some nice hooks but ends up sounding like a record stuck on a needle. Basically the album peaks at the end of the first track and it's all downhill from there. I think the biggest low is when McCombs squeezes an extra line (and a bad one at that) into the last line of 'To Every Man His Chimera'.

The album is drab, dreary and uninspiring. McCombs lyrical masturbation coupled with the albums lack of definition and bad production makes for some displeasing background music at best. The songs are bland and go on for too long, the lyrics are slow and draining and I for one will never be listening to this again.

Faces On Film 'Some Weather' album review (for kevchino.com)

Avid exploration and conquering new worlds does not come easy these days. With the world being so overpopulated and intertwined the only real place for exploring new and wild frontiers is music, and that's just what Boston act Faces On Film have done. Based on a recurring dream of lead singer and guitarist Mike Fiore their latest offering 'Some Weather' is a cross country caravan ride of heartfelt lyrics and musical excellence.

With sultry bass lines and drum fills, guitar riffs laden with sweet country twang, 60's influenced keys and Fiore's eerie crooning vocals, likened to those of Jim James (My Morning Jacket), the album eases you through a musical landscape unlike any other. Loosely based on a dream Fiore had of being an explorer, crossing uncharted territories and discovering new lands, the songs seem to follow his journey in a sense, starting off heady and striking before mellowing out into a deep heavy hearted tone.

Stand out tracks are definitely openers 'Knot In The Vine' and 'Moon's Row' with their striking guitar chords and almost tribal drum beats, followed by melodic ballad 'Harlem Rose' which melts like treacle over the ear drums. 'Great Move North' also impresses, exuding such sexiness and feeling it's almost like a prom dance number sung especially for those making out in dark corners. And with the addition of tribal sounding drum beats and jingling bells on tracks such as 'Make Nice' and 'Garrison' the album truly gives the feeling of crossing quiet eerie plains by caravan convoy at night.

Beautifully written and exceptionally executed this is a sure fire favorite you will never tire of listening to.

The Strange Boys 'Live Music' album review (for kevchino.com)

If indeed you can, imagine if The Strokes grew up in Texas… The results may have sounded a lot like Austin band The Strange Boys. With an ever-present country twang, quirky crooning vocals, surly guitar riffs and a side of harmonica all rooted solidly in old blues and R'n'B the band offers up an eclectic range of tunes on their latest effort 'Live Music'.

Opening with a cute piano-based pop ditty entitled 'Me and You' the album is off to a promising start. Tracks such as 'Punk Pyjamas', 'Omnia Boa', 'Mama Shelter' and 'My Life Beats Me' follow through with an upbeat country feel and great blues guitar riffs which show that not all country/blues artists' baby's have left them, nor are they down and out - at least not all of the time. And 'Omnia Boa' has a fantastic locomotive drum beat that makes you feel you've just hopped a freight train heading straight to the Mississippi delta.

Other tracks like 'Walking Two By Two', 'Saddest' and 'Over The River & Through The Woulds' follow a true slow surly country style, and the vocals on 'Right Before' are reminiscent of a lowly hound dog howling his blues at the moon.

I've never been averse to a bit of country and The Strange Boys certainly breathe some much needed new life into the genre. It may take a few listens, but 'Live Music' is a good little album bringing the old school to the new school with it's mix of blues piano, gritty country tones and subtle indie twists.

Lana Del Ray 'Video Games' review (for kevchino.com)

The new 2 track EP 'Video Games' from New York local Lana Del Ray (aka Elizabeth Grant) is short and sweet. And thank god for that.

Her voice is amazing, husky, sexy and has great depth. Unfortunately the same cannot be said for her songwriting. While the music itself is unique and inventive and there are some great samples and beats used throughout 'Blue Jeans', the eternally overdone lyrical storyline of a woman being jilted by a man is enough to bore you to tears. No matter how beautifully heartfelt you sing it everyone gets dumped at some stage or another so let's move on.

The emotional climax that is 'Video Games' does not stray much further. The crooning chorus of 'It's you it's you it's all for you' almost mirrors the previous tracks chorus of 'I will love you till the end of time', and once again Del Ray seems to base her entire existence on whether or not a man wants her needs her can't do without her. The only thing that truly inspires on this track is the amazing string section backing her up.

There is great passion, there is great heart. But here's hoping Del Ray can come up with some more creative, less depressing tunes once she decides to look past the subject of love as a crux for her songwriting. I'm sure this will come with time and in the end what we will end up with is a great songstress. Fingers crossed…

Unknown Mortal Orchestra 'Unknown Mortal Orchestra' review (for kevchino.com)

One of my most favorite acts when living at home in Sydney was a band from across the waters called The Mint Chicks, hailing from New Zealand. They came, they repeatedly kicked ass, then sadly they seemed to disappear into the musical ether and I always wondered what became of them. Until now…

Mint Chicks front man Ruban Nielson has unleashed yet more of his amazing creative talent upon us in the form of Unknown Mortal Orchestra - a psychedelic plethora of funky, groovy, kitschy 60's sounds fused with epic 60's rock'n'roll and blues riffs, and some of the most get-up-and-dance drum beats I've ever heard. Their latest self titled album is what Austin Powers would have listened to if he'd taken all the right drugs.

Tracks such as 'Ffunny Ffriends' and 'Strangers Are Strange' are definitely the most modern sounding of the album, leaning towards an MGMT sound at times but still utilizing the old school crackle and turntable effects. 'Bicycle' and 'Thought Ballune' really kick back to the old 60's rock'n'roll guitar riffs, coupling them with trippy lyrics and oh so funky drums. 'Jello and the Juggernauts' and 'Little Blue House' go even more trippy with some warped and spaced out effects not unlike that of Donovan's 'Hurdy Gurdy Man'. But stand out track is definitely 'Nerve Damage' with it's dirty gritty old school punk feel producing a really raw sounding killer rock track.

Unknown Mortal Orchestra have brought back the 60's without rehashing old formulas, and they've done it extremely well. The album is unique, original, modern and pays homage to their old school influences without getting buried in the past. An amazing listen from an amazing band.

'Stop The Virgens' performance review (for kevchino.com)

The cool night air flowed through the dark Brooklyn warehouse, packed to it's fully exposed rafters as the blonde wigged troupe of virgens took their places - be it on stage or amongst the audience - and let loose a divine chorus of lamenting love ballads and 60's rock'n'roll dance numbers complete with formation dance moves and multi-nippled costumes.

The numerous virgens - appearing not unlike the children in 'Village of the Damned' - seemed to be under the spell of 2 nun/witch type figures reminiscent of the Princess Mombi of 'Return to Oz', donned with large black oval shaped head gear and equally as evil make up and glaring scowls. And amidst all of this rose the cobweb covered viking horn/microphone wielding Karen O, eventually being tousled and torn about by said virgens to reveal a beautiful long-robed goddess-like figure, resembling a more elaborately dressed Tripitaka from Monkey Magic.

Unfortunately that's pretty much the end of my storyline review, as after that I had basically no idea what was going on. At a guess it seemed Karen-O and the 2 nun witches seemed to be in an eternal battle for the virgens souls, and surprise surprise it was Karen O who won out in the end as the virgen slaves fell at her feet spurting blood from their mouths and all down their pretty white frocks, to then be resurrected by song and cleaned of their evil sins. Or something.

All this aside it was a production of immense quality and creativity 7 years in the making, with lavish and wonderfully eccentric costumes (courtesy of Karen O's long time costume designer Christiane Hultquist, aka Christian Joy), haunting and inspiring audio visuals and production, and an epic soundtrack that has to be heard to be believed. I must say this was the stand out for me - the music was uniquely original, emotional, fun, daring and perfectly paired with the goings on on stage. And with musical performers such as Nick Zinner, Money Mark and Brian Chase in the wings you can't really go wrong can you.

Plus, rather then heading to your usual live music haunt on Manhattan to spend a fortune on drinks and watch your latest obsession churn out their greatest hits, it was a refreshing change to journey to a warehouse beneath the Brooklyn Bridge to see a show I could never imagine and may never see the likes of again. Lest it inspire us, as it should do, to throw off the work-a-day shackles and release our creative urges as they flow…

Apteka 'Gargoyle Days' review (for porkandmead.com)

Apteka have listed some of their 'likes' as "…large kick drums, amplification and face melting…" and these are certainly prevalent on their newest release 'Gargoyle Days'.

The Chicago 4 piece have produced a solid indie rock album with some nice heavy overtones, creating a sound not unlike that of Stone Temple Pilots or Janes Addiction (the latter who they have also previously opened for). Fuzzy droney riffs and almost tribal drum beats on tracks such as 'Gargoyle Days' and 'We Know Time' certainly do melt the face as intended, and softer tracks such as ''In Clouds' and 'This Time' have a more melodic feel with some truly special instrumental breaks thrown in. Stand out tracks are 'Striking Violet' with it's swing style drum beat coupled with a nice punk sound, and 'Where Days Go' which could pass as the modern day soundtrack to a good old Mexican stand off.

Their at times old school rock sound laden with overtones of early 90's grunge and heavy riffs makes for a heady album full of good riffs, great loops and samples and stimulating vocals. Well worth a listen.

Jens Lekman 'Having An Argument With Myself' EP review (for kevchino.com)

See the original article HERE!

Popular Swede Jens Lekman's new release, a 5 track EP entitled 'An Argument With Myself', seems to be exactly that. A short and sweet work with heavy 80s reggae influences the EP is lyrically laden with witty, descriptive personal descriptions of Lekman's life.

Title track 'Having An Argument With Myself' follows his train of thought as he stumbles home after a night out on the town through drunken backpackers on the city streets, lamenting over issues with his partner. 'Waiting On Kirsten' appears to be an ode to an unrequited love as well as to the city of Göteborg, describing a city that has come into itself and changed for the better - "And the VIP lines are not for the clubs, but for healthcare, apartments and jobs" - but unfortunately the relationship with Kirsten does not follow suit. 'A Promise' is a more funky sounding yet still 80s influenced track with an almost easy listening feel, as is with following track 'New Directions'. Ending with 'So This Guy At My Office' Lekman sinks into pure and simple reggae and depicts a conversation at the end of the day between two loved one's - "The day starts when you get here, and ends when you leave". 

And there you have it - a basic, descriptive, blow by blow account of the latest Jens Lekman EP, which seems to be the basic ethos of this whole offering. While the lyrics are interesting and cleverly written it does feel as though Lekman has simply sat down with a Casio keyboard, hit the Reggae setting and blurted out whatever was on his mind at the time. The songs have a sweet storytelling quality about them, but overall come across as quite uneventful and trivial. While I'm sure there is feeling and passion there the songs are delivered in such a way they could almost be classed in the Easy Listening/Elevator Musak genre.

The Rapture 'In The Grace of Your Love' album review (for kevchino.com)

See the original article posted HERE!

With dissension in the ranks and the eventual loss of a member it's no surprise The Rapture's latest offering 'In The Grace of Your Love' was turned out a good 5 years after their previous critically acclaimed release 'Pieces of the People We Love'. Frontman Luke Jenner took time out from the band in 2009 due to personal issues - many of which themes are present on the album - and rumored creative differences with bassist Mattie Safer who eventually left the band altogether. But we all know tumultuous times often produce the most inspired works, and with the help of Phoenix producer/Cassius member Phillipe Zdar The Rapture have turned their respective frowns upside down.

The album plays host to an astounding cross section of genres - from their usual electro-pop sound to indie rock to 80's disco (no doubt stemming from Zdar) to gospel, reggae and afro-beat. This is an obvious testament to the talents of the band and is put across with a good line of continuity. There is an ever-present dark and moody underlay throughout which may stem from the loss of Jenner's Mother to suicide in 2009 as well as the loss of a band member, but coupled with the at first slightly odd but eventually obviously essential 80's-esque dance and disco overtones, the album generates an impressive bass-laden, all-encompassing sound.

Each song is an epic musical exploration within itself but there are some true stand out tracks. 'Come Back To Me' is a fantastically simple dance number that turns from a jaunty island romp reminiscent of Boney M into a deep dark house track without skipping a beat. Title track 'In the Grace of Your Love' transports us back to the 80's with it's classic synth backdrop but keeps us at the modern forefront with it's brooding bass line, indie rock riffs and cymbal smashing drum fills. 'How Deep Is Your Love' hooks with it's dramatic piano from the get go and keeps you going with it's fantastic fuzz baseline and funky, almost tribal percussion effects. Closing out with 'It Takes Time to be A Man' ends the album on a definite high note with it's sexy bluesy tone and slow smooth tempo.

A fine piece of work from a fine NYC outfit. It's very clear that, even with familial loves lost and creative ties severed, this band will never have anywhere to go but up.

SHOW REVIEW: The Shins, Bowery Ballroom, New York City (25.9.11)

'Caring Is Creepy. Love is The Shins.'
Sunday 25th September 2011
Bowery Ballroom, New York City


Anticipation was high in the Bowery Ballroom on Sunday, evident by the large numbers present for opening act Faces On Film. Hailing from Boston the 5 piece certainly proved themselves worthy of the slot by delivering a great set. A sultry blues sound coupled with Bossa Nova drum beats on opening tracks 'Moon's Row' and 'Knot in the Vine' paved the way for a substantial set. The frontman's crooning and intense vocals sound not unlike those of Jim James (My Morning Jacket) but the music is slightly less country orientated, featuring moody guitars, 60's influenced keys and stand out guitar breaks. A fine appetizer for what was to come.

Having been a long time fan of The Shins but never having seen them this show was always going to be special, and oh so special it was. With many original members no longer with the band I was slightly apprehensive to see what musical improvisations and alterations were to be made with the new line up. My worries were quashed within the first few chords.

Opening with the heartfelt 'Caring Is Creepy' and a cracking version of 'Australia' Mercer's signature vocals rang throughout the Bowery like a musical prophet addressing his loyal followers. The wall of sound created by droning guitars and fuzz bass during 'Pam Berry' lead into an astounding rendition of 'Phantom Limb' - definitely the sing-a-long favorite of the night as far as the crowd was concerned. Pure vocal harmonies were beautifully held by new guitarist Jessica Dobson on 'Saint Simon', her true talents and enthusiasm being ever present throughout the show - especially on the amazing 'Kissing the Lipless'. 'New Slang' was played with such passion and delicacy I may have shed a tear, followed by 'So Says I' played with such gusto it snapped the crowd well and truly out of it's previous New Slang love trance.

They also played 2 new tracks which were met with enthusiasm, both having a much rockier element with slight reggae beats and tones. The greatest surprise of the night was the encore which contained 2 covers - the first being David Bowie's 'Ashes to Ashes', and the second Pink Floyd's 'Breathe'. Both are extremely ambitious covers as far as any band is concerned but The Shins hit the mark and served the tracks well, making them their own while staying true to their musical mastery. In closing they left us with 'Sleeping Lessons', playing it so well one of my friends present on the night is now having an excerpt of the lyrics tattooed on her forearm.

Truth be told, I do wish I'd been quick enough in The Shins' heyday to catch the band in it's original form. Their songs are so intricate and personal it would have been a joy to witness those who created them performing them together. But the new band is nothing to sneeze at, featuring Ron Lewis (Grand Archives) on keys, Eric D Johnson (Fruit Bats) on bass and Joe Plummer (Modest Mouse) on drums. With the addition of Jessie Dobson on guitar and the powerful creative force that is James Mercer it's clear the songs are in more than capable hands, and their live shows most definitely do them justice.

Alex Turner 'Submarine' OST review (for kevchino.com)

See the original article posted HERE!

At times music can take you away to another place, providing a personal soundtrack as you float off to an atmosphere of imagination, into a world all your own. Alex Turner's latest effort, Submarine, does just that on many levels.

The six-track EP is the soundtrack penned by Turner for the feature film Submarine, the directorial debut of Englishman Richard Ayoade (most well-known for his role as computer geek Maurice Moss in the hit UK TV show The IT Crowd). The film centers around fifteen-year-old Welsh schoolboy Oliver Tate and documents the ups and downs of his various coming-of-age experiences—his first love, familial issues, and discoveries of the world's hard truths.

Turner has provided an aptly fitting melancholy soundtrack containing dreamy, mellow, delicate guitar, for the most part, coupled with brooding angst-ridden vocals well fitted to the film’s subject matter. The score is deeply emotional without being overdramatic, and his usual character-filled storytelling lyrics represent the film’s main character well.

Opening with a small vocal snippet of the upcoming track “Stuck On A Puzzle,” the album eases into “Hiding Tonight,” a suiting ballad for the self-conscious and introverted: “Tomorrow I'll be faster, catch what I've been chasing after, and have time to play, but I'm quite all right hiding today.” “Glass in the Park” and “It’s Hard to Get Around the Wind” soothe your troubles with each listen with their soft, intricate guitars and entrancing vocals, the latter track having a very final, epiphanic feel to it.

The standout tracks are definitely “Stuck on a Puzzle,” with its moody elegance and intriguing lyrics, and the final track, “Piledriver Waltz,” which is also a track from the Arctic Monkeys’ last offering, Suck It and See. This version of “Piledriver Waltz” is a million times better than the original. Being a lot more toned down and having lost its original pop elements, it's almost as if the finished version of this outstanding tune was being saved for this soundtrack.

All in all, an amazing effort by Alex Turner on what can only be called a brilliantly moving and mesmerizing soundtrack.

Stephen Malkmus & The Jicks 'Mirror Traffic' review (for kevchino.com)

See the original article posted HERE!

Stephen Malkmus and The Jicks are a great band, and definitely the only good thing to come of the 1999 dissolution of Pavement. With ever-evolving members coming from acts such as Sleater-Kinney and The Decemberists, the musical talent within this band is astonishing before even touching on the abilities of their well-known lead singer.

Mirror Traffic is the band’s fifth studio release, and by collaborating with none other than Beck, it seems they're just getting better and better. A full-bodied album with great eclectic depth and musicianship, Mirror Traffic is the perfect punchy, rocky, upbeat, dance-around-the-house-on-a-Sunday-afternoon-in-your-underwear soundtrack. It's fifteen sweet tracks of glorious vocals and melodies that will make you want to sing out loud.

The signature Malkmus melodic guitar and vocals are ever present throughout, but the album has an underlying tone of bluesy rock that definitely sets it apart. Coupled with that true indie rock sound (of course reminiscent of Pavement at times), the result is a triumphant collection of rock-out tracks, tongue-in-cheek ballads, and lyrical metaphorical twists and turns. “Senator” is a tight, cutting, punchy song, perfectly matched to its political content: “I know what the senator wants / What the senator wants is a blow job.” “Spazz” follows suit with erratic riffs and time changes, reverting to a raw punk sound, as is also done in “Tune Grief.” “All Over Gently” is a humorous look at breakups that all couples should live by: “There's been some soft grass growing between us / When they talk about bad blood, they don't mean us.”

But it must be said that the standout track of the album is “Share the Red,” a slower, cruise-ier, more blues-laden ditty that warms the heart—“Have you no tears, have you no heart / You've got no idea what sets you apart, and still you're winning”—and includes some great guitar solos to boot. Plus, the epic climaxes at the end of almost every track make the song endings just as anticipated as their beginnings.

An amazing offering from an amazing act that will never disappoint. Enjoyable, inspiring, full of character, and impossible to turn off.

Friendly Fires Summer Stage review (for FlavaInYaEar blog)

See original article posted HERE!


They say the best things in life are free, and in an expensive city like NYC that comes as a welcomed bonus. There are plenty of free events offered in New York throughout the Summer, one of the best being the cities musical Summer Stage Series which has shows set up in Brooklyn, The Bronx, Queens, Staten Island and Manhattan from June through August.

Braving the searing heat I ventured forth to the Central Park's Summer Stage last Sunday to catch Brit act Friendly Fires, along with supports The Naked & Famous (NZ) and local Manhattanites The Cults. It was possibly one of the most humid days of the Summer which made standing in the heat for 4 hours quite a test of endurance, but all 3 acts kept me on my feet and dancing which is a testament to them in itself!

The Cults are very new to the scene only having formed in 2010 when Brian Oblivion and Madeline Follin met as students at NYU. As a result they have a fresh unique sound made even more unique by their ever present use of the glocken spiel. Their songs are light and joyful with harmonious vocals and simple lyrics which make them very easy on the ear. Having just released their new album in June on a lable run by the UK's Lily Allen they are definitely an act to keep an eye on.

The Naked and Famous hail all the way from Auckland, New Zealand and have a distinct indie-electro feel with prominent 80's overtones. They also feature some amazingly dark, almost punk baselines which give them a definite creative edge. Front woman Alisa Xayalith's stage presence is almost hypnotizing, and it's this coupled with the upbeat drony electronic sounds provided by the band that makes for a great party. Their signature single ' Young Blood' from their most recent album 'Passive Me, Aggressive You' was a clear hit with the crowd. Expect big things from these young Kiwi's.

I have always been a Friendly Fires fan from the very beginning. Their first offering, a self titled album released in 2008, was a great mix of funk and dance tracks that saw them win international acclaim. It was off the back of this album that I went to see them in various venues across various continents with much the same result. The band just couldn't seem to deliver live what they had so brilliantly produced in the studio. Their next effort 'Pala' was released in 2011 and certainly showed their talent and diversity when it comes to differing sounds and genres. The album has a real 80's feel to it with heavy use of synthesizers and soft flowing vocals. Throw in some latin and disco beats, a hint of R'n'B and add an edge of funk and you have an album that's definitely hard to listen to sitting down. It gives me great pleasure to report that the band delivered a show worthy of their musical prowess in Central Park. The were lively, they were fun, they played a great selection of tracks from both old and new albums including 'Skeleton Boy', 'On Board', 'Jump In the Pool' and their latest single 'Hawaain Air', all with an electric energy despite the crippling humidity of the day. Front man Ed Macfarlane's dance moves are intoxicating and kept the Summer Stage crowd up on their feet for the whole set and even prompted and encore.

All up it was a great show on a great day in one of the most picturesque settings in New York. Summer Stage runs through August and up-coming shows can be found at www.summerstage.org

Cloud Control 'Bliss Release' review (for kevchino.com)

See the original article posted here: http://kevchino.com/review/cloud-control/bliss-release/2283


Hailing from the Blue Mountains near Sydney Cloud Control are a creative force to be reckoned with. Winning various local accolades, including most recently the Australian Music Prize, the band have jut released the follow album up to their self titled debut EP, the aptly titled 'Bliss Release'.

The band offers up a fairytale musical landscape featuring intricate, rich guitars and vocal melodies paired with constant-tempoed almost tribal drum beats to create a whimsical sound that spirits you away. The haunting choral-like backing vocals ever present throughout the album give it a depth and tone reminiscent to My Morning Jacket. 4 singles have already been taken from the album: 'Meditation Song #2' - a country-esque ballad that opens the album, 'There's Nothing in the Water We Can't Fight' - a funkier, up tempo number, 'This is What I Said' - a fun, sing-a-long track, and 'Gold Canary' - voted Single of the Week on BBC's Radio 6. Tracks like 'Ghost Story' and 'Beat of Love' give the album an eerie interlude, with 'Just For Now' and 'Hollow Drums' stripping back their folk sound to bare, basic acoustics.

All in all a fine sophomore effort from the Australian 4 piece. If this is what they're capable of on a debut album I look forward to seeing what the future holds!

Holy Ghost! 'Holy Ghost!' review (for kevchino.com)

See the original article posted here: http://kevchino.com/review/holy-ghost!/holy-ghost/2281


Holy Ghost! are a duo from NYC comprising of Nick Millhiser and Alex Frankel. The two met in Elementary school and started out as part of a hip-hop group called Automato. When things went awry with Automato Millhiser and Frankel paired off together to become Holy Ghost!, releasing their debut single 'Hold On' in 2007 and becoming label mates with the likes of LCD Sound System, Hot Chip, The Rapture and many more.

It therefore comes as a sorry surprise that, surrounded by so much talent, they can succeed at being so musically bland. All the elements are there - an 80's electro-pop feel with steady, funky beats, ear pleasing vocals and simple, relatable subject matter. But once it's all put together they come out with basically a whole lot of nothing - a dance music puzzle with many pieces missing. All the songs sound the same - a steady walking beat that merely changes tempo from time to time, the same tired old 80s synthesizer sounds that have been sampled over and over again within an inch of their lives, and plain, uninspiring vocals and lyrics that simply fade into the background. Upon listening to the album it feels as though you may have mistakenly put the soundtrack to 'The Wedding Singer' in by mistake. The only 2 stand out tracks are the single, 'Hold On', which contains an excellent deep electro bass sound and a less 80's feel, and the following track 'It's Not Over', which is a lot more up-tempo than the rest of the album and features some nice tribal drum overlays.

Other than that it's an album you'd put on at a party just to have some background noise that no one really listens to. There's hints of Cut Copy, MGMT, Mystery Jets and even Phoenix in there, but in the end nothing seems to stand out. The album lacks backbone and personality barr the 2 aforementioned songs, and I live in hope that with time and more performances this duo matures into a much more creative and inspiring act - for the sake of both their careers and our ears.S

Kate Bush 'The Directors Cut' review (for Kevchino.com)

See the original article posted here: http://kevchino.com/review/kate-bush/director-s-cut/2269

Kate Bush's latest release, Director’s Cut, is the first on her own label, Fish People. Comprising of four tracks taken from the original album Sensual World (released 1989), and seven tracks from original album The Red Shoes (1993), the songs have been rerecorded by Bush to offer a new take on various old favorites. While most of the instrumentation has remained the same, many of the tracks have been recorded in a lower key due to Bush’s now lower vocal tones.

Bush has even gone as far as to alter the lyrics to The Sensual World’s title track, giving it the new moniker “Flower of the Mountain.” The reasoning behind this being, when originally recording this song, Bush wished to set an excerpt from Ulysses by James Joyce to an instrumental piece she’d composed, but was refused the rights. Upon asking a second time around for the Director’s Cut project, permission was granted, and the initial concept came to light.

The two original albums have an endearing and unique Bush-esque quality about them that is no doubt also swayed by memories associated to them around the original release dates. Both were outstanding albums and did relatively well at the time—The Red Shoes being the last album Bush recorded before taking a twelve-year hiatus, and being accompanied by a short film Bush produced herself, titled The Line, The Cross and The Curve. The new album is available in a deluxe box set, which includes all three albums, enabling the listener to sample both the old and the new and survey the merits of having new life breathed into the tracks.

However, one cannot help but wonder the point of all this. Why rerecord these albums? Were the original recordings not a worthy caliber within themselves? And if Bush was stepping into the studio, why not simply record new pieces instead of altering older songs? While the recording of the aforementioned “Flower of the Mountain” is an interesting story in itself, most of the remaining tracks come across as overproduced, erratic, and sometimes just plain bizarre. The addition of bloodcurdling screaming at the finale of “Lily” is a fine example of this, and “A Woman’s Work” has not benefited from the rerecordings whatsoever.

In theory an interesting project to undertake, but in the end a seemingly pointless one.

Mick Harvey 'Sketches from the Book of the Dead' review (for kevchino.com)

See the original article posted here: http://kevchino.com/review/mick-harvey/sketches-from-book-of-dead/2268

Mick Harvey's musical talents stretch far and wide. From his days with The Birthday Party (featuring Nick Cave), Crime and the City Solution and Nick Cave and the Bad Seeds to his stints as a producer with PJ Harvey (3 albums in total including her latest 'Let England Shake') and The Cruel Sea, the multi-talented Australian singer-songwriter has a musical resume that would make anyone swoon. He's written soundtracks, he's won a Mercury Prize, he's even recorded and translated 2 Serge Gainsbourg albums from French to English. And now he provides us with the hauntingly beautiful 'Sketches from the Book of the Dead'.

The album takes us across a dark emotional landscape of what remains once loves and lives are lost. An epic storyteller Harvey's lyrics transport you deep into the heart and soul of the artist through heavy low-toned vocals. The guitar effects are melodic yet eerie making for an intense listen. The soft piano and minor vocal harmonies layered beneath create tumultuous moods and place macabre, Tim Burton-style images in the minds eye.

The bulk of the tracks are shady and brooding - the love story of 'Frankie T. & Frankie C.' ending fatally, as well with 'That's All Paul' who '…took it all when (he) took the drivers seat…'. But the amazing descriptiveness and personality of the lyrics makes it easy to delve into Harvey's world. As a finale he throws us a curve ball with 'Famous Last Words', a perfect summary to the album with up tempo, sultry rock'n'roll riffs and audacious content '…everybody dances with the Grim Reaper…'.

While the album sets a morbid yet consistent tone throughout it can lack continuity lyrically. There are so many lives and stories to be told they often get lost in translation. But it must be said this is a great offering from a fine Australian artist, and one that will no doubt afford him great critical acclaim. It is well deserved.

Beirut 'The Riptide' review (for kevchino.com)

See the original article posted here: http://kevchino.com/review/beirut/riptide/2258

Listening to a Beirut album is like taking a round-the-world trip. Their aptitude to swathe the musical elements of different cultures makes them shine like a star in the world of modern music. They’ve been described as world music, folk, and indie, all the way over to Balkan and Eastern European Gypsy. What they are is simply outstanding, and The Rip Tide further showcases their pure talent and ability to think outside the box.

Founding member Zach Condon’s vocals both comfort and haunt as they lead you across the landscape of this latest offering from the US-based act. Staying true to their original Eastern Gypsy feel with the use of a great range of horns and brass, accordions and waltz-tempoed drum rolls, the album does include hints of modernism within its folds, making it pure poetry in motion.

The first single released from the album, “East Harlem,” medically depicts another love lost on the deceptively small island of Manhattan—“uptown, downtown, a thousand miles between us.” Ballads such as “Goshen” and “The Peacock” present perfectly the strength and character of Condon’s vocals and tug sharply at the heartstrings. And title track “The Rip Tide” sways with rousing string and vocal compositions that leave you adrift in a sea of worldly harmonies.

An inspiring listen that leads you to thoughts of the finer things in life—dancing, kissing, singing, a fine glass of wine, a moonlit night—The Rip Tide transports you to lands far away in an instant and leaves you full of life and humbled by Beirut’s musical prowess. Sweet, beautiful music indeed.

Arctic Monkey's 'Suck It & See' review (for kevchino.com)

See the original article posted here: http://kevchino.com/review/arctic-monkeys/suck-it-see/2252

The Arctic Monkeys began their career recording their own demos and handing them out to punters lining up for shows in Sheffield. They are now one of the biggest bands in the world and there’s no doubt it’s down to their working class musical ethic and sheer originality, as well as having one of the most charismatic and lyrically gifted front men of recent times. Bring in Josh Homme from Queens Of The Stoneage fame as producer and you’re left with a unique and driving sound underlined by dark and brooding influences, which worked extremely well on the bands last effort ‘Humbug’. Unfortunately the same cannot be said for their latest offering ‘Suck It And See’, being produced by James Ford of Simian Mobile Disco fame.

All starts off well with glimpses of the old punchy, melodic, lyrically astounding arrangements we’re used to seeing from the band. ‘She’s Thunderstorms’ and ‘Black Treacle’ almost take you back to the 60’s with their basic riffs and effective simplicity. ‘Library Pictures’ gives a hint of surf-rock sound beneath its thrashy punk rock façade. However the over-production of vocals on ‘Brick By Brick’ coupled with the unusually basic lyrics make for a very uninspiring standard rock song, and the QOTSA influence on ‘Don’t Sit Down Cause I’ve Moved Your Chair’ and ‘All My Own Stunts’ is tantamount to plagiarism. Then from track 8 onwards all songs seem to melt into one big repetitive English indie track that never seems to end.

It pains me to write this review as I love The Arctic Monkeys and adore QOTSA even more, and ‘Humbug’ is one of my most favorite albums, but I’m afraid ‘Suck It And See’ leaves a bitter taste in your mouth. It begins well but fades into a QOTSA cover act that eventually gives up and morphs into an Oasis tribute band. The Arctic Monkeys need to move on production-wise and ensure they remain being influenced by QOTSA and do not simply mimic them. I look forward to the day they regain that initial fire and spark and come back alive, kicking and spitting luscious prose at us like they once did.

Friendly Fires 'Pala' review (for Mesmer Magazine)

'Pala', the second full-length offering from British act Friendly Fires certainly shows their talent and diversity when it comes to differing sounds and genres. The album has a real 80's feel to it, reminiscent of British act Tears For Fears at times, with heavy use of synthesizers and soft flowing vocals. Throw in some latin and disco beats, a hint of R'n'B and add an edge of funk and you have an album that's definitely hard to listen to sitting down.

However this does cause the album to come across as very over produced at times. There's so much going on some things tend to get lost in the mix leaving a few tracks sounding confused and overdone. Towards the end of the album the songs start to run into each other due to overuse of similar effects and beats. 'Show Me Lights' opens with a great R'n'B dance floor bass line and heavy beats but these get lost under numerous layers of synth, guitar, lighter vocal loops and steel drum sounds. 'Pull Me Back to Earth' and 'Chimes' both have a disco and funk lean but fade into one another with use of similar techniques.

That said, opening rack 'Live Those Days Tonight' jump starts the album well with it's superb dance beats, lead-in verses and climactic chorus'. 'Hawaiian Air' whisks you away with it's good tribal drum beats, fresh airy sound and Nintendo-like synth sounds. And 'Running Away', 'True Love' and bonus track 'Strangelove' take you back to Friendly Fires older, original style with funkier baselines and quirky guitar riffs matched well with echoing glittery synthesizers. Slower and more romantic interludes are provided by the album's title track 'Pala' and the slow funk piece 'Helpless'.

While overall a stand-out album it seems the band need to reel it in and centre a little with their next release lest they literally lose themselves in the music. It's all well and good to be musically apt in various genres but not when it comes at the detriment of a flowing album. Taking it back a notch would let Friendly Fires' true originality shine through while also letting them present a much less-produced, much more distinct sound.

Broken Bells 'Meyrin Fields' review (for kevchino.com)

See the original article posted here: http://kevchino.com/review/broken-bells/meyrin-fields/2237

In September 2004, through the admiration of each other’s talents, James Mercer (The Shins) and Brian Burton (aka Danger Mouse) met at the Roskilde Festival in Denmark. Six years later these talents drew them together once more to create their debut release, the self-titled Broken Bells. The follow-up to this is the beautiful Meyrin Fields, an EP that gives you the depth of a full album in just four outstanding songs.

James Mercer’s distinctive vocals and the powerful production talents of Danger Mouse make this act a force to be reckoned with. Original and intriguing, it seems there’s no limit to what these two musicians can do once put together. Meyrin Fields is a roller coaster of experimental beats and trippy riffs that, coupled with Mercer’s voice, make for an ever-interesting ride.

The title track, “Meyrin Fields,” and following track, “Windows,” both feature macabre and spooky overtones—the latter possibly acting as the soundtrack to a robber or Peeping Tom crawling through back alleys and surveying unknowing victims through their windows.

“An Easy Life” then lightens the mood with its slight reggae feel and fully showcases Danger Mouse’s amazing production skills, especially in the bridge, which is reminiscent of The Beatles’ “Sgt. Pepper’s . . .” Closing with “Heartless Empire,” they opt for a slower, less-produced sound, using distant droning guitars underneath echoing and melodic vocals.

This is unquestionably a fine effort from Mercer and Burton that will leave you wanting more, and it seems the sky’s the limit for these two musical artisans, so who can tell what the future will bring? One thing’s for sure—it’s looking mighty bright.

Battles 'Gloss Drop' Review (for kevchino.com)

See the original article posted here: http://kevchino.com/review/battles/gloss-drop/2232

Battles have a unique and driving sound you can pick out from a mile away. And though their latest offering, Gloss Drop, often differs from their previous works, their originality and creativeness still make for an outstanding listen.

The second full-length album delivered by the experimental rock act from New York is their first without original guitarist, keyboardist, and vocalist Tyondai Braxton—the band now comprised of Ian Williams (formerly of Don Caballero and Storm & Stress), Dave Konopka (formerly of Lynx), and the always outstanding John Stanier (formerly of Helmet). What follows is a more structured, less erratic album featuring deep rhythms of guitar, drums, synth, and vocals, with simpler riffs and beats being eternally layered to create an epic feast for the ears.

Some tracks have a much more up-tempo feel, with the use of Caribbean steel drum effects on tracks such as “Futura” and “Dominican Fade,” and a heavy reggae element featured in “Sndome (featuring Ymantaka Eye)” and “Sundome (Instrumental).” The band's dark side is still ever present, however, and the use of haunting, distant organ sounds on “Futura” sends chills down the spine. The void left by their former vocalist is filled by numerous outstanding and well-paired guest appearances—Matias Aguayo on “Ice Cream,” Gary Numan on “My Machine,” Kazu Makino on “Sweetie & Shag,” and Ymantaka Eye on “Sndome.”

Gloss Drop is an excellent follow-up to their previous full-length effort, Mirrored (released 2007), and shows that even with the loss of a member, Battles can come out fighting and produce a work that explores new and varied creative angles, yet stays true to their distinctive sound.