Mid-Year Report

Well, we've made it halfway though 2012. It's been, all things considered, a pretty awesome year for music so far. While I'm really excited about releases and events to come, I think it is worth stopping to reflect on the first half of this year. The good, the bad, the weird, but firstly the good.

Here are my top ten releases from the first half of 2012:

1) Fiona Apple - The Idler Wheel (June 19): 9/10
2) The Smashing Pumpkins - Oceania (June 19): 8.5/10
3) Joe Bonamassa - Driving Toward the Daylight (May 22): 8.5/10
4) Alabama Shakes - Boys and Girls (April 10): 8/10
5) Esperanza Spalding - Radio Music Society (March 20): 8/10
6) Lamb of God - Resolution (January 24): 8/10
7) The Shins - Port of Morrow (March 20): 7.5/10
8) Andrew Bird - Break It Yourself (March 5): 7.5/10
9) Metric - Synthetica (June 12): 7/10
10) Scars on 45 - Scars on 45 (April 10): 7/10


Two things to note: 1) I have not listened to all the releases I intended to, including a few partial/insufficient listenings to albums like Rush's Clockwork Angels, which (according to reviews and musical precedent) is likely to displace albums above. 2) I am allowed to change the order of this list any time I feel like it, so be warned that it probably will not be the same by the end of the year.

Okay then, here's some miscellany:

Stuff I like:

"Call Me Maybe" by Carly Rae Jepsen

BEFORE YOU CAME INTO MY LIFE I MISSED YOU SO BAD I MISSED YOU S—

I love this song and I don't care what you say. h8rs gon' h8.

(Also I know this song was released last year, but the EP was this year and the explosion was this year and dammit I really fucking love this song.)

Rize of the Fenix - Tenacious D


Again, I don't care what you say. This album is hilarious. Sure, it's not quite up to the precedent they set, because that precent was legendary and unattainable. This album is a damn good follow-up to The Pick of Destiny. It does exactly what it is supposed to do: rock hard, be gross, and make people laugh. People who complain about how The D have sold out or lost touch or made a gimmick album are 100% missing the point.


Driftless Pony Club


New favorite band. They put out a new album like ten days ago and it's great. It's fun and lighthearted, but also serious and loud. It rocks. I love it. Craig Benzine has a really beautiful beard. Also one of the songs begins "screw you, North Dakota, you're the neighbor of my least-favorite state right now." So that's the best.

Vintage Trouble


Absolutely the sexiest frontman to ever have existed. Like, you aren't ready for this. But go anyways because they are SO GOOD.

Stuff I don't care for:

JEFF the Brotherhood


Saw them open for Best Coast (hey I talk about them below!) and was not impressed. But that was largely due to very inadequate sound engineering, and I didn't want to write them off until I heard some studio material and had a chance to really get a feel for their music. Well, now I've had that chance and I'm still not sold. Even with the mighty and fabulous Dan Auerbach (The Black Keys) producing, I just don't like this album. The music is decent, not great, I find the lyrics are unimaginative and underwhelming, and I just don't care for it. There was a lot of hype for their major label debut, and I'm just not seeing what for.

Radiohead at Coachella


Okay, I'm going to come right out and say it; enough of this fuckery. I don't like Radiohead. THERE. IT'S DONE. IT CAN'T BE UNDONE. I'M SORRY I JUST HAD TO DO IT.

I don't hate them and I don't disrespect them as artists (very much), but I just don't find them compelling. I saw them at Coachella and they sounded, on balance, very good. But they were 500% too showy. Giant (and I mean GIANT) moving, hanging LED screens and enough stage lighting to rival Las Vegas on New Year's eve. Way too much interest in visuals and not nearly enough on an interesting set list. I was bored after the first half hour because it seemed like they just kept playing the same song over and over again (To be fair, I was not, and am not, familiar with their canon, which probably added to my disinterest. But I really did not enjoy that set, and I have yet to hear a really artistically or musically compelling Radiohead album. But please, someone: prove me wrong here.). They played for a solid 2.5 hours. At least. We left after the SECOND encore (we heard them come on for a third as we walked out, so god knows how long they were really there). A 2 hour concert isn't really that bad, and that isn't the problem in and of itself, but when all the other bands (including the other headliners LIKE THE BLACK KEYS AND FLORENCE + THE MACHINE) got a mere 50 minute allotment and no encore, this seemed unnecessary and unprofessional.


Stuff I don't know what to think of:

Reignwolf


Reignwolf is the on-stage moniker for Jordan Cook, a solo act out of Canada. He plays big, loud, dirty, noisy, brutal blues rock. It's all just him: one guitar, one mic, and one kick drum. The dude rocks. However, after the initial intensity wears off, I'm not sure where I'm left. He catches my attention with the massive noise coming out of his amp and his I-Don't-Give-Any-Fucks aesthetic. But once he has my attention, he doesn't seem to have anywhere to put it. He hasn't released any real studio material, and all my knowledge of him comes from YouTube videos and Soundcloud clips of live shows, so I'm not comfortable dismissing him as a one-trick pony. I think he can really play, and I think he can make something awesome happen. But he's going to have to go a bit further to have me 100% convinced. Time will tell.

Best Coast


So many feels... Let me begin by saying I stand firmly by my defense of Best Coast's album The Only Place; I think it is a good album that hits its mark precisely. But I'm wavering in my defense of Best Coast as a professional and respectable act. I saw them live a few weeks after their album was released, and was very disappointed. They sounded flat, and were visibly unhappy to be playing a Monday night in Portland (taking the California-centric lyrics to "The Only Place" to heart a little too much?). Frontwoman Bethany Cosentino addressed the crowd like an emotional teenager would address his/her parents. She left the stage with a scowl at the end of the set, and after a minor slip-up during the encore (no one would have known if she hadn't reacted), she threw her guitar down on the stage and stormed off with her warm beer. Bobb Bruno had to cover for her to save face. A band that disrespects an auditorium full of eager fans like that is not a band that I feel comfortable putting my full weight behind. Nonetheless, I look forward to finding an opportunity for redemption.

Gotye


Gotye's album Making Mirrors is excellent. Gotye's song "Somebody That I Used To Know" is good (decidedly NOT the highlight of the album, but still a worthwhile tune). But here we have another classic case of video killed the radio star, and then radio revenge killed the video star's brother with a rusty fork and a loudspeaker. Overplayed is an understatement. I can't listen to that song with any joy at all because of how horrible the remixes are, and how stupid and boring the popular commentary that surrounds it can be. Gotye sounded great at Coachella and is a really good artist, and I really like the album. But damn if that song hasn't gotten to me a little bit.

The new John Mayer


John Mayer's new album is good. But it's getting clear that the days of guitar pop Johnny are long gone. Which is good and bad. Good that we're not dealing with his old, pop star self. Bad that we're not getting interesting, singable, radio-friendly tunes. Good that he has an opportunity to showcase his actual musical talents (they are many). Bad that he seems to only want to play borderline whiny country folk pop. He has some winners, and the album holds up. But I don't think he can go too much farther down this road without losing everyone's interest. I'll take the guitar-savvy blues buster, with a side of pop, hold the douchebaggery.

Jack White


Jack White's debut solo album Blunderbuss is... kinda weird? I like it, but I'm not sure it's quite up to all the hype (as per usual, hype ruins the day). Jack is a bizarre fellow, and this album seems to show it. Don't get me wrong, he's a fantastic musician, producer, artist, and performer, and he deserves his place in the spotlight, but I don't totally feel like I'm on board. Especially because he was a total ass to The Black Keys, who are the best. That's not 100% relevant. End of story, I'm just not connecting with this album. Maybe I will after a few more tries. I have been known to change my mind.

...

Okay. That's done. Now let's recap a few notable musical news items in one sentence each:

Randy Blythe


Randy Blythe, the vocalist for legendary metal band Lamb of God, was arrested and charged with manslaughter in the Czech Republic for a two-year-old incident that, as clearly shown in videos, he had nothing to do with.

Frank Ocean


Frank Ocean came out as gay, but he did it right after Anderson Cooper also did it, and his music is only so-so, so it wasn't that interesting.

Adam Yauch


Adam Yauch (MCA) of the Beastie Boys died of cancer in May, which sucks because he was awesome and he isn't alive anymore to fight for his right to party.

Holograms


During the Snoop Dogg/Dr. Dre portion of Coachella, a hologram of Tupac was unleashed, prompting the beginning of similar absurdities for Jimi Hendrix, Kurt Cobain, Freddy Mercury, and other rockstars who would vomit if they ever knew a thing about it.

Axl Rose


Guns N' Roses was inducted into the Rock & Roll Hall of Fame, but lead vocalist and noted douchebag Axl Rose declined his induction because he is a pretentious ass; meanwhile, legendary (and incredibly talented) bands like Rush, Deep Purple, KISS, and The Cars still wait patiently for an overdue invite to the party.

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Well that was longer than I thought it would be. Sorry about that. But hey, well done if you're still reading down here! Really good work. That's impressive. Uh... yeah... see you next time!

Catching Up

Oh my. It has been—

Oh my.

Disregarding how long it has been since I've successfully made a post on this page, the first half of 2012 has been a raging success for music. At the end of June, I think I will do a recap of my favorites from the first half of the year. For now, it's time for…

QUICKIE REVIEWS!!!!!!

WOOOOOO YEEEAHHHAAAHHHH ALRIIIIGHT YES!

My abridged thoughts on a few recent releases. For the purposes of this post, "recent" means "within the month of May." Okay let's get to it.

Rize of the Fenix - Tenacious D (May 15)

Just listen to the title track and you'll know all you need to know about this album. It's Tenacious D. It's hilarious, grotesque, loud, obnoxious, and wonderful. I have read too many negative reviews of this album that complain about how it sounds gimmicky and how the songwriting is not serious.

I... That...

That is literally the whole point. It's goofy music. If you're caught up in how weak the songwriting is, or how they aren't really better than Arcade Fire (as they purport to be in one line), then you're doing it wrong. Seriously.

7/10

The Only Place - Best Coast (May 15)

Once again, the title track sets the tone for the album. Best Coast's first album came with a trademark beach-fuzz-rock tonality, and many fans fell in love immediately with frontwoman Bethany Cosentino's simplistic lyrics and  singing. Of course, half of them were distraught when, after gaining momentum and popularity, the band released a shiny, clean-cut sophomore album with good production and thoughtful songwriting. Negative reviews of this album criticize it for its lack of sonic and lyrical diversity, and the failure to live up to the standards set on album #1. Once again, I find this to be a bunch of baloney. The Only Place is a good album with clean recordings and intelligent production. It does not cover a broad spectrum of sound because that would contradict the essence of Best Coast. The lyrics and song structures remain incredibly simple (I don't even think one song has a bridge section), as on the first album. And that's how it should be. There is nothing reasonable to complain about. If you don't like it, don't listen, but don't criticize the album for doing exactly what it is supposed to.

6.5/10

Born and Raised - John Mayer (May 22)

Over the course of his career, John Mayer has been on a long slow march from celebrity pop singer to reserved country guitarist and songwriter. I daresay, he has nearly arrived. Born and Raised is his most folk/country-influenced album yet. The guitars are soft and laid-back, the harmonica is raspy and expectant, the drums are soothing and settled, the vocals are thick with emotion. It's good stuff. Of course, John Mayer is still John Mayer, and he performs about like he always does, but the album has a sincerity and earnestness to it that we have not heard before. Mayer is reflective and thoughtful, but positive and progressive. He isn't done with his journey yet, but this album tells me he's closer than ever. Can't wait for him to get there and sing us some more songs.

7/10

Driving Towards the Daylight - Joe Bonamassa (May 22)

Remember when I wrote this review of Joe's last album? That was just one year ago. Everything I say there about the budding virtuoso carries forward to today. He hasn't missed a beat. Driving Towards The Daylight is a huge blues/rock record. Bonamassa sounds like a total rockstar, both vocally and instrumentally. Somehow, after listening to him for half a decade, I still find myself awed by his guitar work. Dude can shred like none other. I remain unwavering in my opinion that Joe Bonamassa is one of the greatest guitarists living today. The remarkable thing is that he would almost be offended by my saying so. He's a seriously humble man, and I am never disappointed by his albums. If you like deliciously think rock music, you will like this album. If you like scorching guitar solos, you will like this album. If you like anything that is good in the world, you will like this album.

8.5/10

_______

Okay, that's what I have for now. I've been really behind on these reviews, partly because I've been busy, but also because I just haven't been able to sit and listen to a bunch of new albums. In the next few weeks I'm going to try to listen to the new releases from Regina Spektor, Jack White, Melody Gardot, Norah Jones, and Kimbra. If you have anything to add to that list, leave a comment. I hope to be on the ball this summer! 

Not off to a promising start...

New Noises

Two new releases for your consideration:

The first is Andrew Bird’s new album Break It Yourself. If you know about Andrew Bird, you will like this album. If you don’t know about Andrew Bird, you will go listen to his music and you will like this album. Bird continues to hone his looping, layered sound on the album, and it’s really working. He plays like, all of the instruments, and when they all happen at once, there are some pretty amazing outcomes. Check out his work. Also watch this TED presentation he gave, just to understand how talented he really is.

The second is the upcoming release from Alabama Shakes. The upcoming debut release. I emphasize that because this album does not sound like a debut in any way. It sounds like the well-refined work of a bunch of rock veterans. Nope. This is square one. This album (Boys & Girls) is really remarkable. Alabama Shakes generated a huge buzz at SXSW in March, and this album is looking like one of the most anticipated albums yet this year. It’s big bluesy rock from people that are serious about musical innovation. It’s really tough to describe these songs. Just go listen. NPR is streaming the album here this week. The album is set to be released April 10th.

Andrew Bird's album was released 5 March, and is available via iTunes and Spotify. Alabama Shakes are currently accepting pre-orders for their album, which will be released physically 10 April. The album is available now via iTunes in the United States.

New Albums: Esperanza Spalding and The Shins

Two great new albums were released March 20. Let's talk about them.

First: Grammy winner Esperanza Spalding released Radio Music Society, a new album of jazzy/funky/bluesy/pop-y tunes to follow up her 2011 release Chamber Music Society. The new album was available for streaming via NPR's "First Listen" program, and although the audio has been taken down, the review is still up (here), and if you have time, read it.

This album is wonderful. It's accessible jazz, which is a surprisingly rare occurrence. As someone who has only really scratched the surface of jazz music, I wasn't sure that I'd be able to fully appreciate this album for its jazz musicality. But it pulled me in immediately; this album does not make for any outsiders. About two minutes into the album, I picked up my guitar and started jamming along, and I do not know the first thing about jazz guitar. That should tell you something about the quality of this music.

One of my first observations was the emphasis on Esperanza's vocal ability. This album is really built around her vocals, a foundation which she is more than able to provide. She sings with an energy and musical intellect that is simply not seen in most modern music. Her previous releases did a fine job of highlighting her pipes, but there was also major emphasis on her bass playing. This one does not focus on the bass nearly as much. That is largely due to the fact that the songs are not like her previous works; they are bigger and more composed. To be honest, this is less a jazz album than a pop album with serious jazz influences. But I'm not complaining. Esperanza can belt it.

My second big observation was that, given the accessible and pop-based nature of the release, the album does a remarkable job of navigating through many musical methods and styles, and delivering refreshing content for both casual and musical listeners. Seriously, this album has a little bit of everything. Soulful saxophones, bluesy guitars, big-band horns, pianos, organs, etc. I can't think of another album that balances musical diversity with popular appeal so well. I do not dispute the fact that at times the music can border on cheesiness, but when you're as talented and energetic as Esperanza is, I don't think that's really a problem.

I haven't even mentioned the lyrical strength of her original compositions. To save space, I won't elaborate, but suffice it to say that she tackles big-time ideas with big-time composition. Radio Music Society is a success in all regards. Sit down, tune in, and chill out with this one.

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Second: The Shins released a new album for the first time in five years. It's called Port of Morrow. I know very little about The Shins, and will have much less to say about this album. Note: that does not translate to "I didn't like this album as much." Because I did.

This is a good album. It's not a knock-your-socks-off, didn't-see-that-coming, what-a-genius-work-of-art album. It's just good. The songs are well written and fun to listen to, the recording is well-done, James Mercer sounds excited and happy to be singing/playing. There's nothing to complain about on this one. It's easy-going and laid-back, and it gives off a pleasant vibe. On several songs you can hear Mr. Mercer's Hawaiian roots shine through, which of course adds an element of general happiness and excellence to the music on the album.

There's not a lot to say about it without doing a full explication of the music and its inspiration (which would probably be interesting, but I don't think I'm entirely qualified to do that). The album doesn't stray too far from what is comfortable and expected (which is, well, expected), but don't let that take away from what this album does well. Here is a collection of good, relaxed songs. Turn them on and go about your business with a little more peace of mind.

Both albums are available for streaming via Spotify and for download via the iTunes store.

Concert Review: Scars on 45

And now for another installment of "Bands Allan Loves That You've Never Heard Of." This episode, Scars on 45. Scars on 45 is a really great alternative acoustic/electric band from the UK. They released their first EP in early 2011, and a follow up EP in October of the same year. They've been touring heavily throughout this year, both as support and recently as headliners. I caught them last night at the legendary Troubadour in West Hollywood.

They were great. They're pretty much always great. They have a really wonderful dynamic, and watching them onstage, I can tell that they are all really happy to be playing music with each other. They don't make a big fuss about their performance. They just walk out, smile, and start singing. Between every song they chat with the audience and with each other, giving the whole room a very relaxed and comfortable vibe. I got to meet them last summer after a show in Portland, and I got the sense that they were all there because they really wanted to be.

Last night they played for a little over an hour, which was a reasonable set length. Their set comprised a really good mix of old and new material. They played all four songs from their "Give Me Something" EP, which tend to be the songs people know best. They spaced them out with some tunes from the more recent "Heart On Fire" EP, and a few songs from their upcoming album (April 10). The set had the right balance of loud and soft, big and small, and even though their music is generally all of a single style, there was nothing boring or tiring about the show.

I think what impresses me the most about these guys is how good they sound live. In the age of pitch correction and auto tune, it's really easy to make a perfect recording without much effort. But to follow it up with a live performance that sounds nearly as good as the studio recording is a rare feat. Scars on 45 accomplishes it, and with little ado. Vocal harmonies, song rhythms, and all instrument parts are well-rehearsed and professional, and would easily outdo many practicing performers on any given night.

Scars on 45 is a gem of a band. I've really enjoyed watching them climb the ladder of success over the past 12 months. And their ascent is far from over. Last week they played on Jay Leno, and recently their song "Beauty Runs Wild" was featured in an episode of CSI. Their fan base grows daily. This band is going places yet, don't get left behind.

Scars on 45 will release their self-titled debut album on April 10th, 2012. Pre-order here at the band's website.

Listen to Scars on 45 and "Like" their Facebook page here:
https://www.facebook.com/ScarsOn45?sk=app_178091127385

See more of my photos from the show (including a few of the support acts, Moneybrother and Y Luv) here:
http://www.flickr.com/photos/avanvliet/sets/72157629529863729/

So Many Good New Songs!

AHHHHH there are a bunch of awesome new songs being released yesterday/today. First (as my last two posts have illustrated) is the lead single from John Mayer's new album ("Born and Raised"). The song is called "Shadow Days." I think it's very good. It's sincere in both composition and theme, and it shows a maturity in Mayer's songwriting from a lyrical standpoint. Listen to it here.

Secondly, a new track from Bruce Springsteen. Also really good here. It really just sounds like The Boss sat down for some low-key jamming, and this came out. I'm not in love with the pedal steel guitar solo/lead, but it certainly isn't bad. Have a listen to it over here.

Lastly, new(ish) Regina Spektor. I say "ish" because the song isn't super new, but the recording and release are. It's different than other Regina I've listened to in the past (which is, admittedly, not much), but really good. Listen to that one here on SoundCloud.

Go listen to these tunes! They're really fun! Yay new music!

Update: New Sounds From John Mayer

The song I discuss in this post is hitting radio waves tomorrow according to this Facebook post from John Mayer. Have a listen to the sample (linked at the original post), and tune in to hear the new tune! Then come back and tell me what you think of it.