It's been a long time. I shouldn't have left you. Without a dope blog to read through.

Black Mountain - In The Future

By Andrew C.

Black Mountain’s piss and vinegar 2nd effort, In The Future, is a promising reminder that metal still has some interesting tricks up its’ sleeve. Like most of the critically received straight-up-rock bands today, the Canadian quintet definitely works a lot of prog into their noise—although it seems they’re looking backward for their inspiration. Retro-Deep Purple organs match Amber Webber’s voice on “Night Walks”, “Stormy High” and “Angels Will Play”. The combination creates a creepy ambiance that reminds of Sinead O’Connor and Lizzie Borden.

The real winners of the album, though, still come from lead vocalist and facial hair aficionado Stephen McBean’s black throated scowls. “Tyrants” and “Evil Ways” both build tremendously with gumption to make the best out of a solemn moment in the eye of a hurricane. Oh yeah, and the swift guitar work is nothing short of inducing lower neck pain. “Bright Lights’” 16 minute workout isn’t a minute too long, considering the band takes the time to construct a steel cascade monument out of brilliantly conceived tension-and-release rifts.

But let’s be realists—Black Mountain isn’t going to convert anyone who didn’t like metal before. It’s partially the artists’ fault, with lyrics dripping sincere macabre lunacy that you’d expect to hear and giggle at (Wicca people, forgive me!). The line between Spinal Tap, Tenacious D, and any serious metal band is terribly blurry these days, and lines like this aren’t helping Black Mountain’s case:

The witch is on your trail, my lord
Stormy stormy high
You've been dying to be set free
Oh curse those honeyed hands

On the other hand: screw that! If you’ve been looking to let loose a little inner metal child anarchy in your life, In the Future is your best bet so far this year. There’s something terribly invigorating about hearing a band successfully tinker a genre so worn and torn.

Starter Tracks: “Tyrants”, “Bright Lights”, “Evil Ways”, “Night Walks”

Best Played With: Black lights, Otto Mann, Pineapple Express, Fairuza Balk

Cansei der Ser Sexy - Donkey

By Andrew C.

Who knows what magic goes into ass-shakin' music, but Cansei de Ser Sexy, a Brazilian/Brit built pop-punk-party machine, carved a niche in a growing genre of throwback sounds. One of CSS' assets was a low-budget/trashy feel mixed with solid beats and spooky Moog effects, taboot. Who knows if it was the busy cross-continental touring of 2007 or my own high expectations, but Donkey doesn’t deliver the goods that their Sub-Pop debut possessed. While there was always a dangerous and heavy side to their music, Donkey misses some opportunities with its darker efforts. “Left Behind”, “Air Painter”, and “I Fly” shove guitars and angry scenarios down your throat without any of the sugar-coated funk you’d expect from this outfit.

Having said that, though, CSS’ unabashed leader and singer Lovefoxxx - and she deserves the extra consonants - is still a transfixing presence at the center of the music. Her smoky Brazilian drawl and fearlessness can be terrific fun, especially on nonsensical retro tunes like “Reggae All Night.” “Jager Yoga”, the opening track, is what CSS is all about: ironic self-awareness, cheap liquor, hairspray, and a rowdiness that’s hard to replicate.

Too bad a majority of the remaining tracks aren’t up to snuff. There’s an amazing EP in Donkey—my suggestion is to go spend 4 bucks on I Tunes, and leave the rest of the album on the cutting room floor. While the translation of the band’s name means “tired of being sexy”, here’s hoping they find a little more focus and energy on their next effort.

Tracks worth your dough: “Jager Yoga”, “Reggae All Night”, “Move”, “Believe Achieve”

Best played with: 99 Bananas or Mad Dog 20/20, headbands, makeshift dance floor in your living room.

Jason Collett - Here's to Being Here
By Sean B.

Jason Collett is a part of the Broken Social Scene collective, but from the sounds of this album you wouldn't have guessed that. None of their signature's are present; no quick tempo or style changes and you won't find any thick mixtures of baroque, experimental, ambient and/or rock. Instead you'll find a folky, roots rock sound reminiscent of Bobby D. (whom J.C. flatteringly mimics in singing style) or perhaps fellow Canadian's The Band. The album is never in a rush, instead meandering at it's own pace, which is usually upbeat without being fast. None of the arrangements get to quirky, as Collett opts to stick with the traditional guitar, bass, drums format with a little bit of keys thrown in to spice things up at times. In fact, Collett has referred to this as his "guitar record."

On 'Out of Time,' a sweet little guitar riff carries the song until a couple of "Ooh Ooh Ooh's" kick in during the chorus. 'Not Over You' starts with vocals and piano until a driving snare-powered rhythm kicks in. At about half way through the song, Collett stops mourning how he's not "over you" and lets the band carry the song out to a satisfying conclusion. There's a few other songs that will get yer toe a tappin', but there but few songs that really grab your attention. Overall, Collet delivers a solid, yet unspectacular album here, that you could easily throw on in the background of relaxedly hanging out with friends.

Out of Steam

So I've been pretty busy and thus haven't had much time to take in and process any new stuff in a while. Hopefully, I can get something done soon. But in the mean time, I love this song.

Dueling Reviews

She and Him - Vol. 1

by Andrew

I'm really concerned. Is this the first step into "easy listening"? Surely, my ear was instantly drawn to my future wife's effort with Matt Ward, but I have a few reservations after running over this album a few dozen times (don't accuse me of obsession - its less than 40 minutes, ok?!). The production swings for the fences a bit much at times; I'm sure there's a lot of respect for the master, but here's hoping M. Ward doesn't go too much more "Phil Spector" on us or his girlfriend. I guess the more important point about the production is that Ms. D's voice is so lovely, so front and center (and I can't wait until she sings me to sleep every night, don't get me wrong) that the "Him" gets lost in the crowd. If you haven't heard Ward's 2006 effort, "Post War," chances are he's on a recording that you already love. Between his arrangements, production, and session guitar work with slouches like Jim James, Neko Case, Jenny Lewis, Connor Oberst, etc., Ward is quickly becoming our generation's JJ Cale. I guess the last beef is "Swing Low, Sweet Chariot." Here's to them leaving "Amazing Grace" off of Volume 2 (already in the works).

But such reservations are fodder. It's got everything a big retro album should have. Go listen-- just try to pay attention to Him, if you could? Trust me, I know it's tough.

Starter Tracks: "Why Do You Let Me Stay Here", "Change Is Hard", "Take It Back", "Really Got A Hold Of Me"

Best Played With: warm evening breeze, rolled down windows, country road, restraining order from Zooey Deschanel

She and Him - Vol. 1
by Sean

She and Him is a twosome comprised of some guy and an almost famous actress whom I've never heard of. They write decidedly old-timey songs, with sounds ranging from Patsy Cline-ish twang, Billie Holiday sultryness, and female Motown do-wop, all with an updated sound, of course. Zoey Deschanel's crystal clear voice cuts through the music and takes its rightful place at the forefront. Due in part to the simple yet pleasant arrangements, but also because of her strong and full-timbered voice.

The album opener, “Sentimental Heart,” is clearly the standout (for me), with it's steady piano and dancing strings, before the rest of the instruments and backup vocals kick in. The simplistic imagery of her sentimental heart is forlorn but in a teenager-crush kind of way so you don’t feel bad for her because you, in your infinite adult wisdom, recognize that it will simply pass.

Another highlight, “I Was Made For You,” with all of it’s “ooh dum-dee-dum’s” in the background, conjures pink bubble gum and beehives. “Take It Back” is a mellow number that you could imagine your grandparents slow dancing to. The album begins to meander into mediocrity on the back half with a cover of “You Really Got A Hold On Me,” which doesn’t really hold a candle to Thao’s cover of the same song earlier this year. And their Don Ho-esque cover of the Beatles “I Should Have Known Better” lacks the upbeat tempo and signature harmonica riff that makes the original what it is. Fortunately, there are plenty of bright spots on this album and I look forward to Vol. 2.

Blog, be cool!

Beck - Modern Guilt

Disclaimer: the author has not been the most diligent Beck fan, having passed over much of Beck's output between Odelay and The Information.

After deep rumination, I've finally come around to Modern Guilt, the latest offering from Beck. There were a few factors at play here that affected what I wanted to say about this album.

First, this is undeniably a Danger Mouse project. And after the egg DM laid with the Black Keys last disc and the uneven affair of Gnarls Barkley's The Odd Couple, this writer was not one to warm to another Mouse album so soon. Don't get me wrong, I love much DM's body of work, specifically the first GB, his work with Gemini, and Damon Albarn. But the risk of being so in-demand and acquiescing to the demanders is spreading yourself too thin which this reviewer thinks has been happening as of late. Also, I felt as if much of the music from Modern Guilt and the latest Gnarls album could have been interchangeable.

But, I'm not forgetting that this is a Beck album. And Beck is as Beck does, meaning he complicates things. First, there's no stand out pop jem which he's been known for. It's one thing to make pastiche, kitchen sink music, but to do it for 10+ years while maintaining the level of popular consciousness that Beck has is impressive and requires a knack for, either intentionally or unintentionally, making songs that everyday peeps can enjoy.

My next issue is with Beck's vocal delivery. He sing-speaks on the entirety of the album rather than rap-speaks like he did on much of The Information (which, btw is extremely strong on the first half but then really falls off). Also, here's a little experiment to gauge Beck's mood on this album. I randomly move to a middle point of a song on iTunes and see what the next lyric is: "so alone," "from a house that's burning," "I feel so cold when I'm at home," "when those walls are falling down on you," "I've been drifting on this wave so long I'm not sure if it's already crashed," and "I'm tired of evil." Not exactly a happy-go-lucky outlook.

But, after much struggling I've come around to this record. Nothing here is mind-blowing but Beck and D.M. just make damn good songs. The adequate, but somewhat snoozer-of-an-opener Orphans leads into the surf influenced 'Gamma Ray' which really picks up the pace. 'Chemtrails' features a slow meditative melody before the drums kick in then die out only to come back and ascend to a furious ranker. 'Youthless' and 'Modern Guilt' both feature beats that would be at home on The Information, with the former being more straight forward and the latter more freak-funked. 'Soul Of A Man' has the kind of grizzly guitar edge that should have been on the last Black Keys album.

So, in lengthy conclusion I give Beck's Modern Guilt two snaps with a twist. It took some getting used to, but Beck always comes different and sometimes it takes a little longer to come around. Click here for a sweet bonus remix of 'Gamma Ray' by Jay Reatard.