Perfume Genius 'Put Your Back N 2 It' album review (for kevchino.com)

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Described on his record label’s website as ‘…a gorgeous soundtrack for anyone trying to keep it together in everyday life,” Put Your Back N 2 It is the latest release from Perfume Genius, aka Seattle singer-songwriter Mike Hadreas. Hadreas himself states, “Everyone has stuff. Staying healthy can be more depressing and confusing than being fucked up. But I want to make music that’s honest and hopeful.”

It may then come as a shock to some that this album made me want to curl up into a ball and die. It is fairly obvious from this collection of slow, sad but sometimes sweet, macabre sonnets that Hadreas has fought some battles in his life, and it seems he carries the remnants of them heavy on his shoulders. Rest assured, this makes for great creative fodder, and the tracks are truly heartfelt, powerful, and emotionally charged. “Honest” is definitely a word I would use to describe them. “Hopeful” is not.

While tracks such as “Dark Parts” (about Hadreas’s mother) and “Take Me Home” (a self-professed “pop song about hookerism”) have elements of hope about them both lyrically and musically—as well as being slightly more upbeat and uplifting in their musical traits—the bulk of the tracks have a slow and morbid sound with lamenting and reflective overtones. His constant use of brooding piano, ambient background arrangements, and heavyhearted subject matter coupled with his listless, almost whispering vocals, can make the album quite draining on one’s psyche. While I’m sure this is what was intended—to make the listener come to terms with their demons and their shady past and accept them for what they are—I’m not sure that’s what I want to do when I sit down to listen to an album.

Various tracks, such as “17,” “All Waters,” and title track “Put Your Back N 2 It,” touch on the trials and tribulations of being a gay man and give beautiful and raw insight into a life that some of us will never know. “AWOL Marine” and “Floating Spit” touch on how far human beings are willing to go before they hit rock bottom, juxtaposing the subject matter with light and airy piano melodies, synthesizer, and samples. The standout track is definitely “Hood,” a melodic, soulful, fast-tempo ballad of what comes of baring your inner self to someone else.

While this is a truly emotional and honest album from Hadreas, a blatant and no-holds-barred baring of the soul, brought together it can become overbearing and just too much to take in. It’s good that people going through the same life experiences can realize they’re not alone through Perfume Genius’s music, but an album of this bemoaning ilk is not going to make them get up, shake off their demons, and move on with their life. Beautifully crafted, heart-achingly honest, but way too heavy both lyrically and musically.

Air 'Le Voyage Dans La Lune' album review (for kevchino.com)

Amour, imagination, rêve (love, imagination, dream). This is the backronym Nicolas Godin and Jean-Benoît Dunckel constructed to form Air in 1995. Since then the duo from Versailles have been delighting us with just that—albums full of love and great imagination that take us into dreamlike states and beyond. The very same can be said in regard to their latest work, Le Voyage dans la Lune (A Trip to the Moon).

A celestial work with twinkling synthesizers, heavenly harmonies and spacey computer tones, Le Voyage dans la Lune is the definitive soundtrack to any space voyage. The slow, heavy tom-toms and blasts of brass in “Astronomic Club” serve nicely as an opening track, giving a sexy yet sinister feel as rocket ship captains prepare to enter the unknown. “Moon Fever” is a soft, calming, melodic space ballad, perfect for floating weightlessly through the cosmos, taking in the Moon and all its splendor. “Parade” and “Cosmic Trip” bring a nice element of disco-rock to the album, with “Cosmic Trip”’s heady monotone male and female voice-overs welcoming you on to your space voyage and ensuring you will have a pleasant trip and “will return home safely.”

Inspired by Georges Méliès’s classic 1902 silent science-fiction film A Trip to the Moon, Air recently had the honor of composing an original score for a new version of the film, which is currently being played at film festivals worldwide, and a better duo they could not have picked. Air’s work transports you into outer space with the greatest of ease and leaves you flying high with each and every listen. Another fine effort from a musical act for whom it seems creativity knows no bounds.

The Maccabees 'Given To The Wild' album review (for kevchino.com)

The UK’s favorite lads the Maccabees are back with their highly anticipated new offering, Given to the Wild. With such fine efforts given previously in Colour It In and Wall Of Arms, the band set the bar quite high and have failed to disappoint.

There’s no question Given to the Wild differs greatly to their previous offerings and is a much more intricate album. The tracks have a lot more depth and weight to them involving an eclectic range of instruments, lots of layering, and some great production. The album has an almost esoteric sound, like the whole band went on a month-long Yoga retreat to find themselves, and what they found was utterly creative and inspiring.

The first single from the album, “Pelican” is pretty much the only solid-sounding rock song present. It’s punchy, poppy, and has the Maccabees’ usual edge to it. The remainder of the tracks play like a soundtrack that run into one another in a dreamlike state, ebbing and flowing across a rich musical landscape. The starting track, “Given to the Wild (Intro),” opens almost like a soundtrack with minimal vocals and soft instrumentals, leading into “Child,” which starts off slow, but eases into a faster finish with the band’s signature disco drums and high-paced guitars.

“Glimmer” does just that, with sparkling guitar riffs and floating melodies, followed by the eerie and macabre “Forever I’ve Known,” which features less of the higher-toned vocals you hear throughout the album and more of the old English-accented vocals we’re used to. “Went Away” is one of the more electronic-sounding tracks on the album, an upbeat piece with good solid drums and sweet dripping guitar melodies. “Go” is another electronic-based track with nice fades, interesting bass lines, and some beautiful guitar solos.

Given to the Wild is by far the most complex album produced yet by the Maccabees. It takes you places you never thought they’d go, and they do it well. But one can’t help feeling they’ve lost a little of their musical innocence on this album, which was part of their allure and charm on previous albums. The vocals and guitar effects are much more heavily produced, and the little simplicities of the previous two efforts that brought them such critical acclaim have been lost. That said, all bands must grow up at some stage, and the Maccabees are surely one you can take home to Mum. They have definitely matured beyond their years musically and created an album already fit for the top ten of 2012.

Gotye 'Making Mirrors' album review (for kevchino.com)

Gotye has been playing around the traps in Australia for many years now, so it’s nice to see him finally getting some critical acclaim, especially in the Northern Hemisphere. His latest album, Making Mirrors seems to have taken over the world, with the first single “Somebody That I Used to Know” (featuring Australian female artist Kimbra) charting in the top ten in over twenty countries, six of which were at the number one spot. It also won a whopping six out of a nominated seven ARIA awards in his country of residence, Australia.

With one listen of the album, you can see why. With his expert use of varied instruments, keen ear for sampling and loops, and heartfelt lyrics, Gotye has hit the mark with this album. “Somebody That I Used to Know” is a great track, but definitely not the standout on the album.

“Easy Way Out” is a weighty tune featuring 60s-style guitar riffs and some nice drum fills, with whispering verses leading into a heavy mod-esque chorus. “Smoke and Mirrors” features some old-school-sounding keys, tribal drum beats, and some fine sampling work, a laid-back, eerie tune. This is followed by the modern Motown tribute “I Feel Better” (reminiscent of one of his previous hits, “Learnalilgivinanlovin”—if you don’t know it, look it up), an upbeat, soulful track that makes you instantly feel better (funnily enough). “In Your Light” is about as Australian as it gets as it transports you with an acoustic guitar and some hand clapping into the sunshine on the beach. And “State of the Art” is an amazing tribute to a man and his instrument, an insanely innovative and imaginative song that basically takes you through Gotye’s creative process in his lounge room, all done in a vocal effect akin to Lurch from The Addams Family. Definitely the show stealer for me.

Gotye’s pure talent at bringing together such an eclectic use of instruments, samples, loops, and vocals shines through on this album. It is original, interesting, passionate, and inspiring. He has managed to harness an international flavor while keeping his Australian undertones, which is what makes him unique, and he fully deserves every piece of success and critical acclaim that comes his way.

Tasseomancy 'Ulalume' album review (for kevchino.com)

I sat down to review Tasseomancy’s latest effort, Ulalume, alone in my house at night. Possibly a questionable idea. A melodic and beautifully haunting epic, the album could almost double as the soundtrack to a weird, twisted psycho-thriller, perhaps set in an abandoned mental hospital or ancient graveyard, or a once enchanted forest now taken over by the Dark Lord.

Formerly known as Ghost Bees, Tasseomancy consists of Canadian twins Sari and Romy Lightman. Ulalume is their second full-length release and tends to move on from their earlier, more acoustic-based arrangements into experimental, ambient, and brooding tones laden with the sisters’ uniquely sweet and harmonic vocals (not unlike those of Karen O or perhaps fellow Canadian songstress Feist).

“Heavy Sleep” features a nice, slow, tambourine-soaked drumbeat, and eerie and intense keyboards with high-pitched ethereal vocals floating over the top. “Diana” has a choral, almost hymnlike sound to begin with, then transcends into a harmonious chorus backed by 60s-style keyboards and light acoustic guitar. “The Darkness of Things” is the only track containing male vocals, with an angelic female accompaniment—a sweet and light track conveying that there is perhaps a light through the darkness. “Night” starts off lighter and happier also, but then draws you into the dark night with heavy guitar breaks and menacing riffs.

Named after the Edgar Allen Poe poem “Ulalume,” wherein a man finds himself following the night sky and wrestling with his jaded heart, only to find the moon and stars have led him to his long-lost love Ulalume’s grave on the year anniversary of her death, it’s no wonder this album is as haunting as it sounds. Though it may not be a crowd favorite at parties, I must give credit where credit’s due. Ulalume is a creative and uniquely original work and a fine second effort from the Tasseomancy twins.

Mark Lanegan Band 'Blues Funeral' review (for kevchino.com)

Blues Funeral is the latest album to hit the airwaves from the Mark Lanegan Band. His seventh release, and first release of new material in eight years, it would make you think he couldn’t go wrong. But alas, you’d be wrong. Unlike its title suggests, it lacks any semblance of what is generally considered blues, unless the actual death of blues is what he was going for (hence the funeral).

Lanegan’s deep, sultry, smoky vocals are the only thing that holds the album together, along with the one standout track, “The Gravedigger’s Song,” which opens the album with a gritty, heavy bass line, eerie guitars, and spooky synthesizers—a walk of the damned, if you will. After this, the album falls apart like a decomposing corpse. “Riot In My House” and “Quiver Syndrome” are two good basic rock songs, but lack any standout riffs or the edginess we’ve witnessed from the band on albums past. “St. Louis Elegy” features some nice Latin-esque country guitar riffs in the chorus, which would prove handy for a Mexican standoff, and “Deep Black Vanishing Train” is a quieter, moodier piece, with some nice deep vocals and haunting cellos to match. But though the aforementioned are bearable, it seems most on the album are not.

“Gray Goes Black” does nothing of the sort and stays a banal and bland shade of gray. “Ode To Sad Disco” is exactly that—sad, contains elements of disco, and goes for 6.24 minutes too long. And “Tiny Grain of Truth” completely misleads, with any true musical talent being lost in over seven minutes of hippie, trippy, esoteric synthesizer improvisation that makes you wonder if the machine simply got stuck on a loop.

The primary track is exciting and outstanding, which makes the rest all the more disappointing. An avid fan of his past work, it pains me to say it, but I wouldn’t even play this at a funeral.

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)

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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)

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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)

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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)

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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)

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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