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.

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.

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.

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.

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.