The Best Albums of December 2010

A note before I start this little ditty. To give myself another opportunity to get posts out more regularly, I'm going to try out a new series. In that series, I will look back at each month and give a quick preview of the three albums I think look the most promising and enjoyable. Now, I can't possibly listen to all of these (I am a college student, after all; I don't have that kind of money), however, I browse iTunes more than is healthy, and you can bet I've listened to an unearthly amount of previews of these songs, as well as reading up on reviews and listening to what I can through Myspace.

That being said, December probably isn't the best month to start this series--after all, it is the month of the Christmas EPs... blech. Still, I'm nothing if not persistent, so here are three albums I think have the potential to be great listens for anyone looking to fulfill an immediate music fix. Here we go!

1. "Tron Score" by Daft Punk

Yes, my most promising album of the month is an orchestral, but oh my is it an orchestral score. One word sums it up: epic. Daft Punk works in great electronics (not necessarily much that could be songs on their own, but definitely things that accent the other music here) with an orchestra that belts out all the majestic chord sequences that make a movie score great. Need something to make packing up to go back to school less boring? Put this on, you'll feel like you're saving the world, one mismatched pair of socks at a time.

2. "All You Need is Now" by Duran Duran

Eighties power pop is the guilty pleasure of a massive amount of music listeners. Hey, don't stop believin' that's true, because any way you want your other music, the eighties faithfully spew out extremely catchy music (ten bonus points to those of you who caught the three Journey references in there). This album sounds like it's going to be immensely catchy, an example of amazing eighties pop alive and well in the 21st century.

3. "In Darkness & In Light" by The Maine

The Maine is an alternative band near and dear to my heart. I've been listening to their "Can't Stop, Won't Stop" for years. The songs are catchy and uplifting and, despite the appearance of a typical alternative rock band, they pulse with a definite heartbeat. This album appears to be a B-Side album, something I always love to see from a band, because a B-Side album basically says, "Fans, this is for you; we know you'll appreciate it." And, I think we definitely will. On another note, the album cover is just plain awesome. Does that make me easily amused? ... Perhaps, but for Pete's sake it's like the clasp on an old notebook!

I hope that a couple (or hey, maybe all) of these albums give you an hour or two of enjoyable new music to get you through the month. I'm not a fan of December in the music world--to be completely honest, I'm a definite non-fan of holiday EPs. Give me Bing Crosby and Nat King Cole for my Christmas classics, thank you. In any case, next month looks to be a great month for new music, so keep checking back in for new album reviews and the next installment of this series at the end of next month!

Thanks for reading and, as always, enjoy all the music out there!

Happy New Year :)

Andrew

"The Wild Hunt" by The Tallest Man on Earth

Hope everyone had a Merry Christmas (if that's your holiday). Needless to say, one of my gifts was some money for iTunes, and the first album I downloaded was this one right here. "The Wild Hunt" is The Tallest Man on Earth's most recent full length album. It's spectacular.

Kristian Matsson goes through most of this album using just a nimbly plucked and strummed acoustic guitar, combined with his raw, extraordinarily emotional vocals. However, the final two tracks on the CD are just him and a piano; it makes for a haunting combination. The comparisons of him and Bob Dylan are there for a reason. I personally think he's much better--his guitar work is on another level and his voice is more melodious.

In addition to instrumentation, Matsson's lyrical work is outstanding. Most of the songs on the album are self-reflective: some are happy, some are sad, and many are sung with a wry wit that makes each and every track an absolute joy to listen to.

If I were to describe the music of The Tallest Man on Earth in one word, it would be "captivating." Matsson is just one guy with an acoustic guitar, but he holds your attention throughout the entire album. I've also heard live performances, and his music is just as mesmerizing.

My three favorite songs on the album are "The Wild Hunt," "King of Spain," and "A Lion's Heart."

All in all, this album is the perfect driving album. This Swedish singer/songwriter makes everything on the CD so easy, blending blues and folk. For those who are looking for a great introduction to the world of folk, a la Bob Dylan, The Tallest Man on Earth is your go-to guy. His voice takes some getting used to at first, that's for sure, but once you make the adjustment, I guarantee you that his music will establish itself as one of the most satisfying albums in your library.

Here's a link to his Myspace!

http://www.myspace.com/thetallestmanonearth

As always, enjoy the music that's out there :)

"Reistu Þig Við, Sólin Er Komin Á Loft..." by For a Minor Reflection

A note before I start: I have decided to eschew the song by song review format of my blog posts in favor of a more cumulative, more traditional review format. Why? Cuz, quite frankly, I've increasingly noticed that my song by song posts are... shall we say... frickin long. So, that's that with that! Other than that, the blog will run pretty much the same! Onward!

Anyone heard of a band called Explosions in the Sky? Anyone who has heard of Explosions in the Sky want to hear about a band that basically takes that sound and increases the explosiveness by five? Then, dear people, For a Minor Reflection is the band for you. I went through an Icelandic phases a few months back; I downloaded this album and another instrumental album by Ólafur Arnalds (which I will probably review a little bit later). These guys can just flat out rock. Ironically, the album artwork is simple but epic in a way. That's this album in a nutshell. Here we go! (Just fyi, some of the song names have symbols I can't find on my computer, so I didn't type those symbols; I hope you forgive me.)

This album is best taken and listened to as a whole, because most of the songs bleed together to make one hourlong piece of musical goodness. With guitars, bass, and drums, the people of For a Minor Reflection create long songs that almost tell stories in their own right. To me, this album sounds a bit like a journey. It starts off slow and thoughtful, almost as though you are waking up on the morning of the day you are to start something big: a project, a journey, an epic quest to find a magical piece of cheese, you name it.

Each song builds slowly, starting with a simple drum rhythm or guitar riff. As time goes on, other melodic elements come into play, and instrumentation increases. Eventually, the music builds to earth shattering proportions. The music on this album is simply explosive. It could be the soundtrack to someone's life. It has ups and downs; it can be sad, happy, urgent, and triumphant within a mere five minutes (qualities that life shares, I've noticed).

These builds can happen numerous times over the course of one song; just when you think these guys are getting ready to tone it down and end the song, they hit you with one, final, amazing melody change that throws you for a loop and leaves you wanting even more.

Seeing as there are no lyrics on this album, there really isn't much of a message to interpret from song to song, no overt theme that is obvious to the listener. But, as I said, this music reminds me of a journey (could this be because I rewatched The Lord of the Rings this week?.... Maybe). But still, that makes the music no less outstanding.

Explosions in the Sky is another band in the same vein as For a Minor Reflection, and they are much better known. However, if I had to pick a favorite between the two, it would be For a Minor Reflection simply because of the raw emotion in their music. It's rougher than the music of EITS, but its lows are lower and its highs are higher. Simply put, I think it's more powerful.

If you're looking for an album to melt away in, this is perfect. You don't have to pay attention to any lyrics; you just have to let go and float away into a musical landscape that these people from Iceland have created so well. I look forward to their next album.

Here's a link to their Myspace!

http://www.myspace.com/foraminorreflection

Until next time, enjoy all the great music out there, try some Icelandic music; it never fails to disappoint, in my experience.

Finally, and most importantly, happy holidays and happy new year!

P.S. For those of you who have read this far, I'm going to be starting a new post series which will talk about my top 3 favorite albums released each month. So, check back in frequently for more album reviews and month recaps!

"The Clarence Greenwood Recordings" by Citizen Cope

This album was released in 2004 (I know, ancient history, but bear with me). Citizen Cope (aka Clarence Greenwood) puts out interesting music; I think of it as a cross between alternative, indie, and reggae. As a result, the music takes some getting used to - his voice is raw, but filled with emotion. However, with extremely catchy music and really well-written lyrics, the album is a great listen. You might not love it immediately, but it's always worth coming back to years later (like I just did!). Considering the album artwork isn't anything noteworthy, we'll get straight into the songs!

1. "Nite Becomes Day" - The album starts off with a song that, though it speaks of some dark things, is essentially hopeful. The narrator sings that "things have been getting real heavy [and later, hectic] these days." He blames the media world, as well as the violence that humans inflict on one another. However, he finds hope in "the same thing that makes the night become day": love. Upbeat piano and a funky beat make this song a great start to the album.

2. "Pablo Picasso" - Definitely one of my top three favorite songs on the album. The narrator is insane, there's not much else to say. He sings about the woman he is in love with--in fact, she's a mural or massive poster: "The woman I love is forty feet tall." In fact, "she's the only one alive who knows that I'm not crazy." Though this is a disturbing idea, Greenwood goes about the song in such a down-on-his-luck, happy-go-lucky way that it's infectious. Expertly incorporated piano and drums, along with an excellent melody change about 2/3 of the way through make this song one to sway and bob to.

3. "My Way Home" - "Pablo Picasso" bleeds right into this song, which is essentially a continuation of the previous song. There aren't much lyrics to speak of. The narrator simply states that he's going to find his way home, no matter what is in his way. Though the music in the background is great, this song could definitely classify as filler, but it's enjoyable filler to be sure with an undeniable joy and determination coursing through it.

4. "Son's Gonna Rise (featuring Santana)" - This song is one of the most urgent on the album, and Santana's guitar work is an excellent accent (I think the guitar is the speeding car). The narrator is driving--fast. After all, his wife is entering labor in the back seat. This inspires urgency. The narrator speaks reassurances--though it's not entirely sure who he's reassuring. It could be his wife, it could be his child, or it could be him. Infectious choruses make this solid song one of the most energetic on the album.

5. "Sideways" - Another of my top three favorite songs on the album, and easily the most popular and commercialized on it. The song is so catchy, so undeniably sweet and sad at the same time, that it's almost not fair. The narrator sings that his feelings for his love are impossible to get rid of, and that "There's no words to describe it, in French or in English." The simple instrumentation of the song in the verses (mainly acoustic guitar) leads into the more impactful chorus (strings and piano add on to create musical awesomeness). This song is just flat out amazing.

6. "Penitentiary" - This song is not one of my favorites, because it's pretty repetitive. However, the lyrics are well written. Greenwood sings that he looks forward to the day people are free of all expectations in terms of how they live their life: "When the penitentiary is on fire." It's not a bad song by any means, and the music is great (dance-worthy and almost sensual, much like fire itself) but it pales in comparison to "Sideways." No song can really follow "Sideways" and hope to measure up.

7. "Hurricane Waters" - This is another of the few love-ish songs that Greenwood has sprinkled into these tracks. He sings of how he would carry his love "through the hurricane waters" and how he'll "remember [her] in the blue skies." Past that, however, there is an uncertainty to this song, as though Greenwood loves his significant other, but their relationship is not free of question. As always, the music in this song just makes you wanna move around, with piano and percussion creating some outstanding beats.

8. "D'Artagnan's Theme" - Another of my top three favorite songs on the album, but it has gotten virtually ZERO attention. The song starts off beautifully with piano and acoustic guitar, and that's how the song continues--beautifully. The lyrics are the epitome of beautiful simplicity. Greenwood sings of how he is caught up in the chaos of life, and of how he is just trying to mind his own business. Past that, "Well I don't know how else to say it." The chorus is absolutely wonderful. It's not as high profile as "Sideways" or "Bullet and a Target," but I would say that this song is my favorite on the album.

9. "Bullet and a Target" - Definitely the song with the most punch, politically. The song talks about our imperialist tendencies and how they have gotten us in a lot of hot water, in terms of having international friends. In fact, Greenwood bluntly states, "People wanna bomb us." Brutal honesty, much? He restates this later, with more humor and with some great wit: "What you've done here, is put yourself between a bullet and a target." Catchy, energetic, and bold. What's not to like?

10. "Fame" - The commentary on life continues in "Fame," which is essentially about all the different types of people that hope to make a living and a name for themselves in America. There's the con man, the guilty man, the innocent man, the buffalo soldier, the man at the "Spider Man" premiere... an endless variety of types of people, all wanting the same thing. The song is about desire, and the music emphasizes this message really well through a slow, lumbering, almost tired-sounding melody. Greenwood knows how to craft a song.

11. "Deep" - A simple, relaxing instrumental song to close out the album.

There's something about Clarence Greenwood's voice that is completely and undeniably human. It's raw,   very raw-- he wouldn't be winning any vocal talent shows, or making it past the first audition for the first matter. But he sings with such emotion that his voice is, in my opinion, much more powerful than the voice of someone who has been trained. This album is the perfect chill-out album, one to listen to while you drive or while you lay back to forget about life for a while.

Here's a link to his Myspace.

http://www.myspace.com/citizencope

Until next time, enjoy the music :)

P.S. Spread the word about the blog through word of mouth, Facebook, giant banners in the sky, anything! I'd love some more readers :D

"Boxer" by The National

Fresh off my list of the Top Albums of 2010 is The National! No, the album isn't "High Violet." Actually, it's "Boxer," which I enjoyed more than HV. This was the first I had ever heard of The National, and after I heard the album for the first time, I listened to it on repeat at least five times over the next week. I had never heard anything QUITE like it. Namely, because of the lead singer's baritone, a tone that oozes melancholy and a deadpan sort of humor. In fact, he serves as the main instrument on the album; there are no big electronic guitar riffs to spek of; everything is there to support the vocals. The album artwork is one of those that doesn't really say anything about the album except that there is a vintage feel to the music, so here we go!

1. "Fake Empire" - This song sounds a bit like a dream - which I think is what the song itself is about. It is also my favorite song on the album, by far. Piano sets the stage for the song and they remain a huge part of the song throughout its entirety, which features lyrics about whimsy - "picking apples, making pies," and "tiptoe through our shiny city with our diamond slippers on." All this culminates in the final lines of each verse: "We're half awake in a fake empire." There is also an outstanding instrumental section during the song that made me all sorts of happy.

2. "Mistaken for Strangers" - This song has a sense of quiet urgency to it, of shadyness and shadow. Guitars set the scene with raw, grimy sounds at the beginning of the song, and that feel carries through the rest of the song. The subject of the song keeps himself at a distance from all those around him, only wanting to be in pictures if he seems far away. In fact, he is mistaken for strangers by his own friends (cue the "Hey, that's the title!" music). While the lyrics are interesting, this is one of my least favorite songs on the album.

3. "Brainy" - It would appear that the narrator of this song is whipped: "I've been dragging around from the end of your coat for two weeks." A moment of silence, please.... thank you. However, to our guy's credit, he has a good attitude about his girl, who seems to take him for granted. He tells her with a sort of wry sense of humor and determination, "You might need me more than you think you will." The melody of the chorus mirrors this sort of wry humor, making the song pretty enjoyable. Like many songs on the album, drums provide a solid and groove-friendly pulse, with guitars serving as accent pieces.

4. "Squalor Victoria" - Let me begin by saying the title of this song is just plain cool. That being said, there's not a whole lot to the lyrics of this song. Drums kick it off before being joined by cello (yay!) and piano. That simple feel keeps going through the whole song, and what can I say, I love me some cello and piano. The narrator repeats a few phrases setting the stage that he is trying to appear as a member of a higher quality than he is. The final line of the song confirms this: "This isn't working, you, my middlebrow fuck-up." That made me chuckle. Plus five points for sarcastic lyrics.

5. "Green Gloves" - Continuing with the unique premises of these songs, "Green Gloves," as much as I can interpret it, is about a man who loses his friends to drugs - they are no longer themselves. So, he appears to take their lives upon himself and inserts himself into what they would otherwise be doing. It's a weird, almost dystopian song, but I love it. Acoustic guitar provides a refreshing musical change of place; it is joined by electric guitar as well; they both provide an outstanding bed for the vocalist to work on.

6. "Slow Show" - This song is simple: it's about a man who has screwed up his relationship and wants it back. The narrator has "made a mistake in [his] life today," which I presume has something to do with his love in the song. He is lost, and all he wants to do is go home to hear, "put on a slow, dumb show for you, and crack you up." This song is a great example of the sort of melancholy sense of humor that I wrote about earlier. The instrumentation and music of this song is perfect for the lyrics as well; you can just see this guy running down the sidewalk back home. Another one of my favorites.

7. "Apartment Story" - I dare say the couple in this song has had a bit to drink. The narrator sings of things he and his love do. They are "tired and wired," while they wait for winter to be over. They are hiding from the outside world (I'm thinking metaphorically) and he says that they'll "do whatever the TV tells us." An odd little song, and not one of my favorites.

8. "Start a War" - I really like this song, which essentially constitutes a warning from the narrator of the song to his girlfriend not to leave him: "Walk away now and you're gonna start a war." How charming. The couple is clearly disillusioned with how the relationship is going, but the narrator holds on to the grim determination that the relationship will fix itself and that "I'll get money, I'll get funny again." Ironically, the song's instrumentation is basically just an almost dainty acoustic guitar, joined later by strings and electric guitar; one of the best songs on the album (I have a feeling I've said this type of thing several times on this review, woops!).

9. "Guest Room" - To be honest, I can't say I completely understand the lyrics of this song (most of these songs don't really click the first time through, but I've never really gotten a hold of this one). It seems that a couple has basically lost it, neither of them are completely right in the head, and they're hiding in a guest room, where they are convinced people will eventually find them and take them away. I said I loved the album, I didn't say I loved every song.

10. "Racing Like A Pro" - Another great song. This time, the lyrics are about a young, middle class woman who is stuck in the same old, middle class routine. Her body does all the same things - sometimes she bakes a cake, sometimes she stays in bed. However, he mind longs to get out of her situation - "you're mind is racing like a pro." Another dystopian song, as this one reminds me of the Stepford Wives. Again, acoustic guitars provide an amazing bed of sound, with strings and piano playing a supporting role. Just plain outstanding.

11. "Ada" - In another song about a disturbed woman, "Ada" is a lady who doesn't want to tackle any issues around her. She appears to be paranoid, maybe even insane (whoever writes the lyrics must have dated some doozies for the inspiration for these songs). She refuses to talk about things that bother her, despite the narrator's urgings: "Ada, don't talk about reasons about why you don't wanna talk about reasons why you don't wanna talk." The music, once again, perfectly mirrors the lyrics, with piano and guitar creating a troubled musical atmosphere; it's almost shifty. You can imagine Ada looking around her for something that isn't quite there.

12. "Gospel" - Another one of my favorite songs on the album, and probably the sweetest. The narrator wants to do anything he can do to spend time with his love, from bringing over magazines to hanging her holiday lights in the garden (appropriate timing much?). He sums it up by saying, "Let me come over, I can waste your time, I'm bored." This song features some of my favorite music as well, with acoustic guitar and piano creating a musical atmosphere that is both simple and absolutely beautiful.

The National is a band with a very unique sound - the frontman's voice is not for everyone. In fact, it took me a couple listens to really get used to the tone of the voice and to completely understand what he was saying. However, if you take the time to get used to his voice, it allows you to really listen to all the great melodic things going on in this album. Instrumentation that creates wonderful beds of sound, outstanding drums, and an all-around classic, antique-like sound. "High Violet" is a great album as well--a little more accessible and contemporary. For me though, "Boxer" will always be the quintessential album by The National.

Here's a link to their Myspace!

http://www.myspace.com/thenational

Until next time, enjoy some music :)

The Top 10 Albums of 2010

I'll be frank: 2010 was the year of the single. Albums taken as a whole generally took a back seat to what happened to be the catchiest song being played to death on the radio at the time. I hope 2011 is not the same! And, to be perfectly honest, there were not an abundance of stand out albums to me. However, there were definitely enough great albums for me to come up with a list of my Top 10 Albums of 2010! Now, a note: you've definitely heard of several of these albums, but I didn't want to compromise my list and include a weaker album just because it was one you hadn't heard. Keep in mind, these are purely my opinions. I haven't posted on several of these albums, but just because the year is over doesn't mean I can't post on them tomorrow (not that I will; coming up with a ten best albums list turned out to be much more time consuming than I originally thought--don't worry though, I'm sure my finals understood.) Hope you enjoy the list!

1. "Go" by Jónsi

In my opinion, easily the best album of the year. When he's not fighting crime or making solo music, Jónsi is the frontman of Sigur Rós and member of Sigur Rós spin-off, Jónsi and Alex. This album is more accessible than the music of the other two groups, while still maintaining the magic and alternating longing and joy of their best music. "Go" is a wonderful listen; there really is no weak track, and, in a year where singles appear to have dominated the scene, it fits together as a great album to listen to in its entirety. No, I haven't posted on it, but the blog is still young! Top 3 favorite songs: "Go Do," "Grow Till Tall," and "Hengilas."

2. "Sigh No More" by Mumford & Sons (released in 2010 in everywhere but UK)

Disclaimer: this album was TECHNICALLY released in the UK in 2009, but seeing as it came out everywhere else in 2010, I'm including it in this year's list. My love of this album (and the banjo in said album) is well documented in an earlier post. The album does have a couple singles that have gotten quite a few plays ("Little Lion Man" and "The Cave"), but I think what brings this album home is all of the OTHER songs. Great lyrics, literary references, and a sense of urgency and frustration (while still maintaining hope) give this album a great pace. Oh, did I mention that banjo is prominent? Top 3 favorite songs: "The Cave," "Little Lion Man," and "Winter Winds."

3. "High Violet" by The National

I only got to this album recently. I've been a fan of The National for years, since the first time the songs of "Boxer" graced my ears. Outstanding vocals (for those of you who haven't heard the frontman's rumbling baritone, it makes the band what it is) and great melodies are TN standards. The melancholy songs are still here, but there's some punch to them. Another solid set of songs from The National. Top 3 favorite songs: "Terrible Love," "Lemonworld," and "England."

4. "My Beautiful Dark Twisted Fantasy" by Kanye West

Well, I think it's safe to say Kanye's back, don't you? I don't pretend to be a big fan of rap, but I have to respect this album. Great beats, and a surprising amount of melodic complexity. Strings play a big role in this album, which features more guest stars than an awards show. The songs are all very different (some definitely better than others), and Kanye does have some honest self-reflection sprinkled in. The album plays out like it should be the main event in the music world, and--to be honest--it pretty much has been for the last couple weeks. Top 3 favorite songs: "Lost in the World," "Blame Game," and "Power."

5. "To Travels & Trunks" by Hey Marseilles

From Kanye to a band that I'd be willing to bet 90% of you have never heard of. Hey Marseilles is the dream band for a music nerd like me. The album prominently features accordion and trumpets, which I absolutely love. The lyrics are clever, with some unique ways of reassuring someone everything's going to be okay: "There's always Brazilian boys to discover." Vocals are delivered honestly, with the occasional minor pitch problems which, despite the word "problem," I like to see in an album because it assures me that autotune isn't showing too much of its ugly head. Top 3 favorite songs: "To Travels & Trunks," "Rio," and "Cities."

6. "The Wild Hunt" by The Tallest Man on Earth

The Tallest Man on Earth has probably been my most pleasant surprise of the year. I would characterize him as a Bob Dylan-type singer/songwriter who plays the guitar more nimbly and sings better. Why yes, I am saying he's better than Bob Dylan, thanks for asking! The emotion in this Swede's singing is just about tangible, and he sounds the exact same live as on recordings (= yay!). His music is simple, but this little man and his guitar are simply captivating. Top 3 favorite songs: "The Wild Hunt," "King of Spain," and "A Lion's Heart."

7. "Recovery" by Eminem

Eminem, like Kanye, returned to the hip hop scene with gusto (let's just forget the mediocrity that was "Relapse," shall we?). Eminem's furiously-delivered lyrics about life and himself are out in full force here, and the songs pump me up for homework like no others (yes, I listen to it before I do homework... problem?). Eminem also brings in some great guest performances on this album; the most popular is obviously Rihanna but I enjoyed Lil Wayne's work on "No Love" as well. Top 3 favorite songs: "Going Through Changes," "Not Afraid," and "Space Bound" (this song also happens to be the prime duet song of my roommate and I--we rock it).

8. "Young the Giant" by Young the Giant

I know many of you may think I'm biased in my love for the hometown heroes of Young the Giant, but the fact is that their debut full-length is one of the best albums of the year, and easily one of the best rock albums of the year. Their sound is refreshing thanks to their astounding variety of melodies running around throughout this album. Vocals are bluesy and are delivered with energy and outstanding range. Each song brings something different to the table, and with a couple exceptions, every single one is rock solid (no pun intended). Top 3 favorite songs: "I Got," "Strings," and "Cough Syrup."

9. "... And They Have Escaped the Weight of Darkness" by Ólafur Arnalds

Three cheers for the second of two Icelandic musician's in my top 10! Arnalds crafts the best instrumental album of the year using only a piano and stringed instruments. Why is it so good? Each song is simple, but has such deep emotion flowing under the surface that the album grabs you and doesn't let you go until the last track is over. As soon as I heard it, I declared to my empty car: "This is the most beautiful album I've ever heard." And you know what? I still believe it, several months later. Top 3 favorite songs: "o(can't type the symbol, so I put o)ú Ert Sólin," "Hægt, Kemur Ljósio", and "3055."

10. "Big Echo" by The Morning Benders

Another album that I discovered recently, "Big Echo" is pure, folksy goodness. With vocals delivered like the vocalist is as innocent as can be and with outstanding melodies and instrumentation, the album pulses with such energy that it's impossible not to be swept up for the ride. Top 3 favorite songs: "Excuses," "Cold War," and "Mason Jar."


And for the purists who think I'm committing musical heresy by including the Mumford & Sons Album even though it was released in the UK in 2009, you can mentally delete it from the list and continue on to Album #11.


11. "Take A Bow" by Greg Laswell

I've had a soft spot in my musical heart for Greg Laswell's songs since I heard "Three Flights from Alto Nido." This album maintains the same deadpan, wry wit of "Alto Nido," but ups the intensity, atmospheric instrumentation, and overall punch. Laswell can be alternately accusing, self-deprecating, and sweet (in his own way). I think he can be compared to Mat Kearney, though I enjoy his music more. Definitely a solid acoustic-ish, rock-ish, singer/songwriter-ish album. Top 3 favorite songs: "Take Everything," "Come Clean," "Goodbye." 

If you made it through all of that, congratulations and thanks for reading! I'll be posting on individual albums in a couple days, but until then explore these albums! All of them bring something different to the table, and all are amazing.  

Happy holidays and, until next time, enjoy all the music out there :)

Andrew

"My 10 Favorite Albums of the Year" Post is Coming Soon!

Hey all,

I know it's been a while since I've posted, but I want to assure you that I've been working on the blog in the last few days looking through this year's music for my 10 favorite albums of the year! Thanks again for your readership and for your patience, the post will be up by this weekend :).

Until then, enjoy the music out there!

Andrew

Wow, the year's almost over!

Hey all,

As the year (sorta almost) begins to wind down, I just wanted to thank everyone for reading the blog. It's been a blast for me to write so far and I'm looking forward to continuing with it into the future. Keep checking back for periodic album reviews, as well as a "Best Albums of the Year" entry that I'll post near mid to late December.

Thanks again for reading! If you like the blog, tell your friends!

As always, until next time, enjoy all the good music out there :)

Andrew

"Life in Cartoon Motion" by Mika

Well, here's another college final exam edition of the blog. What does that mean? Why, it's time for some happy music of course! Or, happy for the most part, that is. "Life in Cartoon Motion" is Mika's trip into silly, bouncy poppish rock. It's not my usual diet of indie, acoustic-ey stuff, but I still love listening to this album because it's impossible not to chuckle at. Just look at the album artwork, doesn't that really say it all? For the most part, this CD is a happy hour of music to listen to, with the occasional exception. Here we go!

1. "Grace Kelly" - This song features one of the catchiest choruses on the entire album. Filled to bursting with bouncy piano and clapping, the song is one man's... weird attempt at flirting with an older woman. He insists he could essentially be anything she wanted. Female voiceovers that occur at the beginning and end of the song, along with Mika making the sound of a cash register, lead us to believe that his efforts may in fact have been successful.

2. "Lollipop" - Definitely the silliest song on the album. Exhibit A: A young child opens the song by yelling, "Hey! What's the big idea??" The song sounds like a child's limited experience with love, complete with Mom's perspective on love: basically, that "love's gonna get you down." Still, the song is unquestionably happy, as Mika pounds a track that encourages immediate bobbing. Low brass, piano, and the occasional children's remark make this song a jazzy joy.

3. "My Interpretation" - In true form, this song is about Mika's defense of his own unique viewpoint of the world. In this case, the narrator is telling a former significant other what he thinks about how their relationship went wrong and that, quite frankly, what she thinks doesn't matter. "I don't need a reason not to care what you say or what happened in the end. This is my interpretation and it don't, don't make sense." Yet another extremely well-executed song with a unique twist on a common theme.

4. "Love Today" - This is the song that I had heard off this album before getting the entire. Yet another happy song declaring that everyone in the world is going to get love today. Mika's vocal range is on full display here, as his falsetto borders on the ridiculously high while still being in tune. A heartbeat pulses throughout the entire song, and the chorus is--surprise, surprise--insanely catchy. This is a song that begs to be played at full volume whenever it shows it's clown-painted face.

5. "Relax, Take It Easy" - This song is another one featuring the message that, no matter how scary life seems to be, freaking out about it isn't going to do any good. In this song, the narrator is flat out scared about where he is in life, but continually reminds himself to relax. A well-executed 80s-ish song, but one of my least favorites on the album to be sure.

6. "Ring Ring" - As well as I can interpret it, this song is about one young man's struggle with a creepy woman who keeps calling, freaking the young man out in the process. There's really not much else I can say, you kinda just have to hear the lyrics to understand it. I don't have much experience critiquing songs about creepers. It's a fairly limited genre. From a musical standpoint, however, the song is solid, with pianos and synths creating a wonderfully frantic and urgent feel. A good, weird song.

7. "Any Other World" - Mika starts the song off right, with piano and cello (once again, two of the easiest ways to get into my heart). The message of the song can, in my opinion, be applied both to life and to this album. Mika encourages the listener to "say goodbye to the world you thought you lived in." I believe he means that mankind needs to let go and just go with the flow. I also apply the message to the music of the album, as well. Just let go, don't take the music too seriously, and just enjoy. Strings and children's choirs also play extremely prominent parts, along with wonderful vocals. Mika may has well named the song, "Andrew's Ideal Song."

8. "Billy Brown" - Since we've covered large women in this album, why not move on to gay men. Billy Brown is a man leading a normal, heterosexual life when he suddenly falls in love with the guy of his dreams. His love essentially sends his life tumbling out of order, eventually bringing him to an island off the coast of Mexico to clear his mind, only to hook up with another woman. Well-executed falsetto lyrics play with trumpets and jazzy drums to set the atmosphere of what is yet another fun song.

9. "Big Girl (You Are Beautiful)" - The first of this album's several outright silly songs. The narrator has a love for... shall we say... wide women. Bouncy melodies, as well as restaurant sound effects, accompany some of the silliest lyrics I've ever heard. "Walks into the room, feels like a big balloon. Diet coke and a pizza please, diet coke and I'm on my knees screamin 'Big girl, you are beautiful'." Not your typical love song, is it? Blast it in the car! Why? .... Why not?

10. "Stuck in the Middle" - This song kicks off with a jazzy, dance-like piano beat. Like many songs on this album, the song is a unique take on the nature of a relationship. There's some tension in this pair, they seem to argue a lot, and yet they appear to still be together. This certainly applies to a lot of couples, but how often do you hear a song about it? A fine song, but I'm not a huge fan of it.

11. "Erase" - The first of a few more serious songs on the album, "Erase" tells the tale of a man who has messed up his relationship by leaving a nasty phone message. He wishes he could just erase all his mistakes; however, his former love is trying to erase memories of him at the same time. Ahh, musical irony! Piano and powerful, emotional lyrics combine to form a beautiful song with one of my favorite choruses on the album.

12. "Happy Ending" - My favorite song on the album, by far. It's the most majestic of all the songs on the CD, mostly due to the prominence of choir vocals and an absolutely explosive build and final chorus section (complete with full choir and string section). The narrator cannot get the end of his relationship off of his mind. It's hard for him to think about: "happy ending's gone forevermore." Also, from a music nerd's perspective, Mika's great use of chord structure is the cherry on top of the sundae that is this album.

13. "Over My Shoulder" - The most mournful song on the entire album, and I think it's great. Mika tones things down to almost minimalist proportions, with simply his lamenting vocals and a lilting piano carrying the load for this entire song. The lyrics are not nearly as complex as the other songs on the album; this message is simple. The narrator feels as though he's falling, and is looking over his shoulder the entire way down. A subdued way to close out the album.

For an entertaining hour of music with no need for intense self-analysis, this is the album to go to. I use it as an album to turn on after I've been studying. There's nothing studious about this album. It's the perfect listen for emptying your mind of all cares. As seemingly frivolous as the album, Mika uses outstanding instrumentals, unique melodies, and good vocals delivered with an outstanding voice to produce a diverse album the likes of which you probably aren't very likely to hear very often.

Here's a link to his Myspace.

http://www.myspace.com/mikamyspace

Until next time, enjoy!

"Metal & Wood" by Tyrone Wells

It's time for an album made for closing your eyes and singing along as you sway to the music. "Metal and Wood" does, at times, stray into the corny. However, seeing as it's finals time here at UCLA, I feel the desire to listen to music that you can just immerse yourself in, and that's exactly what this album by Tyrone Wells is. Infectious melodies and heartfelt (if at times cliched) lyrics that are easy to sing along to, make this album a fun, relaxing listen. The album artwork says it all: an artsy, cartoonish image of a city and nature sharing the same world, splitting its proverbial heart in two. Ready your island getaway and campfire, because this album is made to be danced to on the beach. Here we go!

1. "Running Around in My Dreams" - The album starts off with immediately catchy guitar melodies that sound like they were transplanted right off of an island. It's an undeniably sweet song, focusing on the narrator's experience of love at first sight. You've probably heard the chorus of this song, which is ridiculously catchy and features some lyrics that almost any guy would love to use: "I'm as sure as a boy could be, you are the girl that's been running around in my dreams." Probably my favorite song on the album, it's just plain addicting.

2. "Metal & Wood" - In this song, Tyrone has a message, several actually. He sees issues with the way the world operates, and croons about how they can be fixed. The lyrics border on corny at times: "Take all the metal and wood used in the waging of war, and teach the men that make those weapons to build shelter for the poor." Yes, it would appear to belong as a promo for an inspirational speech, but Wells delivers the lyrics honestly and with skillfully-played guitar, so I didn't dock him many points. There are certainly less constructive lyrics out there.

3. "And the Birds Sing" - This song is just plain happy. Couldn't you tell by the title? A singing bird is an almost exclusively happy image (except for maybe a nightingale, but I'm not here to debate bird emotions). Wells sings of the sun shining on people of all different creeds, from poor and rich men to preachers and atheists. The birds proceed to sing: "doo-doo-doo...." No, the lyrics aren't groundbreaking, but you can't help but smile when Wells sings the song (complete with vocal harmonies), and isn't that part of the reason we listen to music.

4. "All I'm Thinking Of" - One of the album's love songs. A simple, sweet, profession of his unconditional love for a lovely lady. Still, there's genuine emotion to this song. The chorus, which begins with, "I am on your side," cuts right to the hopes that many people harbor for their future relationships. The song is one of the most intimate-sounding on the album; it's almost as if Wells is singing from below someone's window. Also of note is that Wells includes a melody change during the song, something that I always like to hear.

5. "Happy As the Sun" - Another song made up of pure, unadulterated happiness. This is another love song, but it flows with more of a youthful joy and infatuation than mature feelings. The guitar melody feels a little similar to "Running Around in My Dreams" in it's island, campfire-esque atmosphere. He's "happy as the sun, lighter than a feather, walking on the clouds when [they] are together." Like many of the other songs on the album, the chorus is super catchy and it brings a smile to my face. Success.

6. "Give Me One Reason (featuring Jason Reeves)" - Wells switches up the emotions with this song. A relationship is in turmoil, it would seem. However, the narrator is looking for his love to give him a reason, just one reason, to either stay or leave. It would seem that he will do whatever makes her happiest; he'll be okay either way, in the end. Wells delivers the lyrics perfectly, at the same time brimming with hope and sadness; probably one of the most emotional song on the album and definitely one of my favorites. Vocal harmonies with Jason Reeves are also spot on, and take the song to a whole other level. A solid song.

7. "Let Go" - This song explores yet another theme that many of us would rather not address, but it's always there: the fragility and seemingly lightning-quick process of life. The narrator sings of how aging is the act of stepping ever more into the uncertainty of what life will bring, and when it will end. Wells sings in the chorus: "It's hard to see you go, cause you mean everything to me.... it's time, you're leaving now. Your hands are cold as I kiss your brow, and I will try, but I don't know how, to let go..." The saddest song on the album, easily the most emotional, and one of my favorites.

8. "Time of Our Lives" - Another emotional juggernaut. Wells really surprised me with this last half of the album, going from frivolous songs to ones that cut straight to the heart. The narrator is saying goodbye to someone he once loved. He knows that things will never be the same, but he sings that, "if it has to end, I'm glad you have been my friend in the time of our lives." Powerful lyrics + sung with the heart = a strong, strong song.

9. "Use Somebody" - This cover of the Kings of Leon's hit spins the song in a new direction: one filled with longing. Wells specializes that pumping emotion into his voice, and he does it to perfection with this song, also adding some new guitar elements that add to the song, while still keeping the iconic guitar solo intact for the most part. It's a much more intimate version of the KoL song. To be honest, I prefer this version hands down. Like so many other songs on this album, it makes you want to just close your eyes and float away into the music.

10. "Pull Me Through" - The "biggest" song on the album, as Wells eschews the acoustic guitar in favor of electric guitars, chimes, bass, drums: overall, a more complete band feel. The narrator sings of needing someone to see him through troubling times. Though the song is well-executed, it doesn't quite fit with the feel of the rest of the album, and I found myself missing the simple, catchy acoustic guitar.

Yes, Tyrone Wells walks the line between corny and genuine. However, in my opinion, he does it well and creates a set of songs that come off as honest and that really affect the listener. I know they always get to me, at least. When things aren't going so well, put this album on and I guarantee you you'll come out the other side with a smile on your face in spite of yourself.

Here's a link to his Myspace

http://www.myspace.com/tyronewells

Until next time, enjoy :)

P.S. I'm going to try to get another post up between now and next Wednesday (when I'm done with finals) but I can't be 100% sure. So, in the meantime, feel free to read my other posts, tell your friends, and feel free to suggest albums to me on the Facebook page for this site!

http://www.facebook.com/pages/Great-Music-You-Havent-Heard/157409857629889

"Illuminate" by Lydia

Lydia is one of my favorite all time bands. Why? They specialize in majestic-sounding songs ripe with emotional, well-written lyrics. This is their only full-length album, as both of their other releases (one before and one after) are more like EPs. "Illuminate" is, in its simplest form, a break-up album, as it tracks the events leading up to and surrounding the break up of the narrator and his love. It's not necessarily a happy album, but it definitely has cathartic value. The album artwork also emphasizes the somewhat mournful character of the whole set. However, it's a great listen, filled with some amazing melodies that anyone can enjoy. Here we go!

1. "This is Twice Now" - This song kicks off with a dainty little piano riff, before moving into a rolling drum beat and fluid, languishing vocals. Piano stays a major player in this song that has an undercurrent of frustration. The uncertainty surrounding the narrator's relationship with a Haley (I'm not sure how it's spelled in this set of songs, so I'm gonna go with this one; sorry to all who may be offended by this spelling choice. I'm only human. :D) has him feeling sick, and it's the "second time now and you've done this before," according to the narrator. Also present near the end of this song is something that makes Lydia such a great band - the overlapping of vocal harmonies, both male and female. A strong opener to the album.

2. "A Fine Evening for a Rogue" - In my opinion, this song is a perfect post-break up song (as well as a song with one of the cooler names out there: the use of "rogue" = plus 10 cool points). The song is rolling, much like the opener, but it is hesitant as well when it reaches the chorus. Mere musical footsteps accompany the narrator as he asks repeatedly, "Don't you ever get lonely?" The first instrumental feature (with requisite build) is in this song as well. The radio noise that accompanies the build makes it a simple, beautiful end to the song.

3. "I Woke Up Near the Sea" - Easily my favorite song on the album and one of my favorite songs overall. It opens with an insanely epic guitar melody (aided by drums and strings) which comes back during the chorus. Like most of my favorite songs, for some reason, this song is sad at its core (I don't have a problem, I promise). The narrator has found out that his love is not who he thought she was. He sings out in the chorus that "It turns out you were into yourself." Instrumentals make this song a powerhouse, along with the final line of the song: "And no one ever knew."

4. "Hospital" - This song almost sounds like a continuation of the previous song (several songs on the album bleeds into the next song, making it quite the cohesive set). In my opinion, the narrator has been unwound by his experience with his love. He is in a hospital, and he encourages the lady in is life to keep watching the hospital door, but that he won't ever come out. Not one of my favorites on the album because there's not a whole lot of dynamic change happening over the course of the song, but the lyrics are compelling.

5. "Fate" - More uncertainty plagues our young narrator, as the lady of this album has truly sent him spinning. He begs his love, "Place me on your scene and I'll take everything that you ever said to me." Like the previous song, "Fate" continues the album with the same general melodic idea, as well as the same uncertainty present in the lyrics. Once again, the songs in this middle section of the album are not my favorite (though there is a great extended chorus leading to the end of the song). I think they are all part of the story that is this entire album. The narrator's stuck, wallowing in his own uncertainty, and the music reflects his focus.

6. "Sleep Well" - Our narrator turns a new leaf in "Sleep Well," as a guitar riff kicks off the song with notes of persistent hope that continue throughout the entire song. Our narrator declares, "I'll be just fine." In fact, he no longer feels any responsibility for what went wrong in his relationship, as he pointedly declares, "Darling, you fucked up." This song is the first step in this album's healing process. He's not necessarily over his love, but he's going to try to move on anyway. A beautiful female vocal feature leads into a final chorus, filled with the epic guitar chords and vocal layering of Lydia's best work.

7. "Stay Awake" - Another beautiful, emotion-packed song. The narrator needs a change of scenery: "San Francisco sounds quite lovely." But, he still loves the girl (I'm assuming it's still the Haley of the opening song): "And so I'll just wait for your call, I promise...". Yet again, there's another great instrumental feature, this time guitar, bent slightly by electronica. Several sections of this song sound as though they are coming from underwater, as if our narrator is waiting for his love to save him from drowning in loneliness.

8. "All I See" - Hesitation courses through this song, as well as regret. It would appear that the narrator has realized that both he and Haley have have changed, and he sings, "All I see, scares me." As the song rolls on, the lyrics become more and more dejected as the narrator increasingly realizes that the relationship probably can't work because, as the song ends, "You're not the same, and I'm, I'm not the same, and..."

9. "One More Day" - This song brings back some of the rolling drums that were so instrumental in the first couple of songs on the album. And with them come the frustration and grim resolution of those two songs. Our narrator is leaving, that's decided for sure, and he tells Haley (after a screaming guitar leads into the chorus), "Don't you say that I've gone crazy, because I haven't gone crazy yet." Like so many of their other songs, Lydia takes this song to the final chorus (complete with awesome vocal layering, mind you) with a great instrumental section, beginning with piano and then into increasingly confident guitar.

10. "...Ha Yeah It Got Pretty Bad" - This is a short, one minute song which essentially sends the message that he's gone, leaving Haley to think about her own situation, alone. A little bit filler-esque, but the lyrics still make it a worthwhile minute.

11. "Now the One You Once Loved is Leaving" - This song ends things in style, I've gotta say. Why? It's in the form of an argument between the narrator and Haley. First things first, the title of the song establishes the bitterness that runs throughout this entire song. It begins with female vocals, written from Haley's perspective, and proceeds to switch off between the two. Alternately mournful and angry melodies support this perspective-switching. This was one ugly breakup, and the album ends with all the pent up emotion with which it began, fading softly away into silence.

"Illuminate" has become one of my most-played albums on iTunes. The band is just solid, there's nothing complicated about it. The lead vocals don't sound like you're conventional good singing voice, but, in my opinion, that just makes the emotion of the set more raw and powerful. Unfortunately, Lydia broke up earlier this year (I felt legitimate sadness). They released a final EP called "Assailants" which is definitely strong, but not as strong as "Illuminate." It's a bummer they won't be releasing any more music, but we'll always have this.

Here's a link to their Myspace.

http://www.myspace.com/lydia

Until next time, enjoy :)

"'Til We See the Shore" by Seabird

Not many bands sound like Seabird. There are two reasons for that: the vocalist, whose voice (as weird as it sounds) almost sound sarcastic, with a sort of deadpan humor about life that is just fun to listen to. The other thing that makes this band great is their musical work: the instrumentations for just about all their songs are fresh and funky. Yes, the traditional instrumentation is here, but Seabird's choice in terms of how those instruments and melodies fit together are hard to find elsewhere. These guys will get you hooked after a couple songs, trust me. And here we go!

1. "Black & Blue" - Kick it off with some funky piano and guitar, maestro! The song is mischievous to the highest degree. The narrator sings about seeing something he shouldn't have seen, and his subsequent punishment for seeing it. He sings, "We're black and blue" over the course of the chorus. However, the melody of the entire piece has a feel of resistance to it, and you just know that our guy will live to make more trouble in the future.

2. "Apparitions" - This song opens up quite differently than the first song off the album, with an almost classical piano intro. However, Seabird kicks it into gear almost immediately, getting right back into the high energy base, piano, and guitar type of melody that I've grown to love. The lyrics of the song are, once again, clever and humorous, as our guy is singing of ghosts (literal or figurative, I'm not sure) that are trying to chase him out of the house he has worked so hard to attain. He's ready for them though: "Bring it on," he sings over and over again. Even more humorous is the shout out to the listeners at the end of the song: "Well, we don't really care what they think about our stupid songs, we just hope by the end that you'll all be sining along." Oh Seabird, silly silly Seabird.

3. "Not Alone" - This song sends things into a little bit more romantic territory, though with Seabird no love song is the typical "Hey I love you, cool me too" theme. Our narrator is singing to his love, who has, in a couple simple words, screwed up. Still, he assures her that Forgiveness (who he constructs as an actual entity) is with them, and they'll be alright. As always, the lead vocalist's rough and almost punkish voice lends extra energy and emotion to the song. One of my favorite songs on the album.

4. "Rescue" - Another one of my favorite songs, and (like many of my favorite songs, it's not exactly happy). Piano plays a big role in this song, which begins with the vocalist singing, "I'm pushing up daisies, I wish they were roses." The song kicks into high gear in the chorus, which is insanely catchy. What's more, the song is believable; our guy is pleading for someone to save him, and we really want that person to listen.

5. "Let Me Go On" - One of the more bitter songs on the album. Bass rumbles along, with piano joining it later. The lyrics are essentially break-up lyrics, and it ain't exactly a happy one. Exhibit A: "And now we know why they call it the bitter end." A fun song, but one of the weaker ones on the album in my opinion.

6. "Stronger" - Guess which instrument plays a cameo in this song: THE BANJO. Darn right it does. The banjo then hands the melody off to the guitar and the piano, something I had never heard before and was quite frankly just frickin good. Our guy is talking to himself. There's a girl he is obviously crazy about, but who he's never had the guts to say anything. Tonight, though, his conscious is telling him she's way to beautiful to stay quiet. It's one of my favorites, and it has a theme which I, along with tons of other guys and gals out there, can probably relate to.

7. "Cottonmouth (Jargon)" - Organ and vocals open up this melancholy number. It's about casting a friend out who has become a cancer to the group. Once again, the song is extremely relatable because, let's face it, our friends now are not the ones we started with in elementary school. Vocals really help this song along with the vocalist's raw frustration seeping through. A funky piano rhythm also pops in and out, which is always fun.

8. "Patience" - This song is morbid, but the lyrics are brilliantly written. Mournful piano also helps to make this song the powerhouse that it is. It's one of the few true ballads on this album, and I honestly think it's the strongest and most mature song on the album. The song is about one man who has lingered too long in the winter of his life. He has waited until all those around him have passed on. At the end of the song, he urges his caretaker to let Death in through the door "this time." Just a great song.

9. "Sometimes" - This song opens up with a sweet little keyboard melody, bolstered by guitar, bass, and then piano. Finally, vocals enter in to what becomes a fun beat that carries through for the verses. This song is a perfect song to dance and sing along to. It's got two very different sides - the emotional chorus and the bouncy verses. Let the head bobbing begin.

10. "Falling For You" - Get it started piano! Another piano ballad about confessing love. Our narrator has been in love with a girl since they were just kids, and he finally admits; "I'm falling, I'm falling for you, oh darling, it's finally true." Unfortunately, the piano sounds almost sad and the vocals sound a tad mournful. We hope that the song brings his love to him, but when it comes down to it, we really don't know. Ain't that life?

11. "Maggie Mahoney" - This song is also a love song, but it's downright goofy. The beat and vocals are delivered in a funky, almost jig-like manner. The pianos actually remind me a bit of "Naked in the Rain" by The Queen Killing Kings. The girl in the song led our guy on, and he's the sarcastic type (sarcastic people of the world, unite): "I know this girl named Phone Mahoney." Not exactly the friendliest set of lyrics, but that line alone, along with the infectious chorus and melody, have me sold.

12. "'Til We See the Shore" - Though these lyrics don't exactly tell a story, I think they are the most emotionally affecting. The message of this song is simple: never stop singing, not until you finally die. It is a song about the cathartic nature of singing, which I for one have employed in many a situation. Two lines sum this song, and the album for that matter, up perfectly: "Sing til your heart hurts, then sing some more. Don't stop singin til we see the shore." The lead singer backs these lyrics up perfectly, singing his heart out til the very end of the song, which is really uplifting. On a musical note, a great instrumental break leads up to the most emphatic chorus of the song, which really brings it home in style.

My brother introduced me to this band, and man am I glad he did. They really aren't like anything I had heard or have heard since. It sounds like these guys have a blast making music, and that makes its way through your headphones and right into you. This whole album is just a testament to how fun music can be to listen to. Give it a shot!

Here's a link to their Myspace

http://www.myspace.com/seabird

Please tell your friends about the blog! I'd love some more readers and/or followers :)

And, as always, until next time, enjoy!

"Med sud i eyrum vid spilum endalaust" by Sigur Rós

This, ladies and gentlemen, is Sigur Rós's most recent studio release. One of my cousins helped me to discover this band years ago and it has become probably my favorite band overall. In Irvine, being one of the four people who knew of and enjoyed the band's music was quite the bummer, and though I have found a few more people who know of them here at UCLA, these guys from Iceland don't get near as much attention as they deserve. I chose to review their most recent release because it is their most accessible. Admittedly, Sigur Rós is an acquired taste. Their sound is unique (perhaps you gathered that they're unique from their au naturale album artwork, but don't let that dissuade you from listening!), and the lead singer, Jónsi, doesn't sing in English. I believe there may be some Icelandic in there, but he's also known for singing emotions, if that makes sense. He sings feelings, not in any language. For some this may be a turn off, but in my opinion it makes the album universally accessible for anyone who values the emotion of music. Also, I think Jónsi has one of the most powerful, emotional voices of any lead singer out there. It's one of the most beautiful and transcending sounds of any band I've ever heard. Here we go!

1. "Gobbledigook" - This song starts extremely happy happy and stays extremely happy. With clapping and "la, la, la's" throughout, it's joy in musical form. Drums and guitar keep the song rolling along, and the complex layering of vocals ensure there is always something to listen to. This is one of the more mainstream-sounding songs on the album, if you can believe that. The song ends just as merrily as it begins. It just makes you smile!

2. "Inní mér syngur vitleysingur" - One of my favorite songs on the album. It starts of with a muted trumpet fanfare before exploding into an amazing xylophone (I think) melody. Jónsi's amazing vocal range is again on display here, but it's really the melody and instrumentation choices of the group that make this song such a standout. A beautiful, little instrumental section leads up the final triumphant statement of the song. Strings and trumpets play big roles in this song, which is a quick way for any song to snare my heart. Dance around and enjoy.

3. "Gódan daginn" - A beautiful, primarily acoustic guitar-driven ballad, something that Sigur Rós didn't do much of in their previous releases. It's definitely geared for a broader audience, but it's so beautiful that I frankly don't care. Synths provide a soft bed on top of which guitar and Jónsi's vocals work. Delicate and extremely well-executed, this is a perfect example of Jónsi singing his emotions (which is often what he does in lieu of singing in any particular language).

4. "Vid spilum endalaust" - Another happy song! It starts off with woodwinds and bass (how often have you heard that about a song?). The opening verse leads into yet another epic Sigur Rós chorus featuring trumpets, strings, and outstanding vocal harmonies. Like so many other Sigur Rós songs, the song culminates in an epic build the likes of which Zeus would even be excited by. These guys just have a talent for the majestic.

5. "Festival" - This song slows things down and resembles much more the kind of songs that we heard in Sigur Rós's previous albums. Subtle beds of synthesizer and string sound provide a bed on top of which Jónsi shows off his incredible vocal range and haunting voice. The song's first half is sad, contemplative, and melancholy, but it's beautiful nonetheless. Then it shifts gears into an equally wonderful, faster rhythm and melody. It becomes, once again, extremely majestic, with soaring strings, brass, guitar, and vocals creating one of the second-most uplifting moments on the album (keep reading to hear about the most uplifting). What I'm about to say will make reveal to you how much of a music nerd I am, but it should be noted that I make no attempt to hide my intense music nerdiness. Quite frankly, I could see myself walking through Middle Earth to this.

6. "Med sud í eyrum" - Piano and vocals once again share center stage in this song. Drums create the feel of marching ever onward, and this feel continues for most of the song. In fact, the drums are my favorite part of this song, which, though it is an good song, is probably one of the least dynamic on the album.

7. "Ára bátur" - My favorite song hands down and the most epic song I have ever heard in my life. That's saying something, because the amount of music I listen to borders on ridiculous. For the first half of the song, pianos and Jónsi create a slow, beautiful ballad-feel. Around the halfway mark, the song begins to build in volume and intensity... slowly at first, then gradually adding instruments and awesomeness until finally we get to the best moment on the album, in my opinion. It is, in a world, ethereal. A full symphony, children's choir, and Jónsi explode in a musical moment unlike anything else you're likely to hear outside of a movie theater. It's a 9 minute song, but I never skip it when it comes up on my iTunes, no matter how musical ADD I'm feeling. Sit back, enjoy, and feel free to conduct along - I always do :).

8. "Íllgresi" - After the Olympic-like feel of the previous song, Sigur Rós once again mellows things out with a ballad featuring acoustic guitar and, like always, Jónsi's raw, emotional voice. The song is beautiful, but not in the majestic way that other songs by the group are. Instead, this is a more intimate and subdued listen. Strings enter in towards the end of the song, adding to its delicate atmosphere.

9. "Fljótavík" - One of the saddest-sounding songs on the album, and definitely one of the most heart-wrenching. Without sounding too morbid, this song would fit in perfectly in the soundtrack of someone's life at a funeral when someone is looking at a loved one that has passed on... heartbroken that they are gone, but remembering all they did in life. Close your eyes and just fall into this song. The mournful combination of piano and strings, along with some of Jónsi's most emotional vocal work on the album, will definitely get to you. If any song were ever to make me tear up, this is it. I can't say enough... it's just heartbreaking.

10. "Straumnes" - This is an instrumental interlude, almost like it's easing you out of the emotional whirlwind that was the previous song. There's not much to it, simply lush pads of string sound for a couple minutes, though it has the same general melodic feel as "Fljótavík."

11. "All Alright" -  Once again, this song opens with delicate piano and vocals. Brass joins in to what is another mournful song. However, there is something else in this song that enters with another subtle piano melody a few minutes in: hope. Hope for the future, hope that all will be better in the future. Heartwrenching yet uplifting, intimate yet majestic - the perfect ending to the album.

I never get tired of listening to Sigur Rós's music. It's beautiful and ethereal at many times, but at others it can be joyous and frivolous. Unfortunately, the band announced that it would be on an indefinite hiatus as of January 2010. I cannot stress how much I hope this is not all we've seen of Sigur Rós. Still, the sound is not gone. Jónsi has released a solo album entitled "Go" that is wonderful; I'm sure I'll review it at some point. Until the day that Sigur Rós once again convinces me (as they always do) that music can truly do amazing things, I'll be listening to their previous CDs, listening, conducting, and enjoying.

Here's a link to their Myspace

http://www.myspace.com/sigurros

Until next time, enjoy :)

"Please Come Home" by Dustin Kensrue

If you have a porch with a rocking chair on it, you get fifty bonus points for listening to this album on it. "Please Come Home" by Dustin Kensrue is Kensrue's solo project away from Thrice. Now, before you think, "Whoa, Thrice???" be assured that Kensrue is one versatile guy. This album is an acoustic set with a Southern feel (the album artwork contributes to the vintage feel of the whole set of songs). The lyrical excellence of Thrice is here, as is Kensrue's rock solid voice. I had the opportunity to see Kensrue perform most of this album live, and he sounds exactly the same live. In short, this guy's the real deal. Here we go!

1. "I Knew You Before" - This song begins with emphatically strummed acoustic guitar and the sweet southern twang of an electric guitar. The theme is potent and relevant as well. Kensrue singes of a young woman, who he used to know well, succumbing to society's pressures and using her body and other superficial things to get the attention of people. The lines of the chorus are especially blunt and well-written. They capture the change of the girl over time: "Oh, and all I can say is I knew you before you were beautiful back then; before you grew up, before you gave in."

2. "Pistol" - Break out the harmonica! "Pistol" is by far the most romantic song on the album, despite it's name. From what I've heard, Kensrue wrote this for his wife, and adoration for her is pouring out of the lyrics. However, it doesn't stray into the unoriginal love song formula. He compares his wife to a pistol who "shoots [him] straight and true." I picture a man serenading his love on the back porch; it's intimate, but accessible at the same time. In the ultimate profession of love, Kensrue declares "Time to lay down my life, honey I'd do it gladly for you." With guitar and harmonica trading off importance over the course of the song, this is easily one of my favorite songs on the album.

3. "I Believe" - This song is just a great, simple song that encourages both head bopping and foot-tapping. Kensrue sings that "It's safe to say, I really don't know a thing" but that he firmly believes there will always be more good things down the road. I can't say this was one of my favorite songs of the set because it was almost bare in terms of melody, but the lyrics are, as always, well-written and well-sung.

4. "Please Come Home" - This is another of my favorite songs on the album. It is a heartbreaking plea from a father for his son to come home. The son had apparently left home and gone his own way, hitting rock bottom along the way. Still, the father loves his son unconditionally, and waits for him, staring at the road with tears in his eyes. He assures his son: "Don't you know son that I love you, and I don't care where you've been." Piano and guitar emphasize Kensrue's anguish-filled lyrics in what is probably the most emotional song on the album.

5. "Blood and Wine" - Easily the most humorous song on the album (in a dark sort of way). The narrator of this song is, to put it lightly, not sitting atop the pinnacle of society. A womanizer and a drug user, this song is about his own unique view on life. Drums and guitar run along urgently with the lyrics, mirroring the same frantic nature that I'm sure pervades this young scoundrel's life. A quick, energetic, and fun song.

6. "Consider the Ravens" - Another great song about a man who has little but nature and faith (plus the title's just plain cool). The narrator is sick of the pressures that society places on him; money ain't his strong suit. He's content with what he has, though: "Between the river and the ravens I'm fed, between oblivion and blazes I'm led, Father give me faith, providence, and grace." A plunky piano solo adds exponentially to the song, in my opinion. Listening to this song, you might as well be sitting in a saloon in the Old West. Sit back and enjoy.

7. "Weary Saints" - Kensrue is a master of writing from the perspective of others. This song is no exception. Here, he rights from the perspective of who I assume are travelling saints - missionaries, maybe. In addition to the guitar, which runs persistently on with the same general rhythm (much like the steps of the traveling saints), the lyrics take the form of a continuous narrative, as opposed to a verse and chorus feel. Kensrue captures the confusion and faith that the saints would feel, and presents them not as ethereal messengers of God, but more as human men, just as liable to have doubts as anyone else.

8. "Blanket of Ghosts" - This song opens with organ-like synths, setting an almost church choir-like atmosphere for the song, though it's more of a personal reflection than a song praising God. This man is lost; it seems he tries to do what is right, but always seems to miss his chances. He wants to go to Heaven, but he's not sure he can. He asks to be buried in snow until he's worthy. He asks; "Wake me when it's Springtime in heaven." A beautiful song to close out the album.

This album is quite different from Kensrue's other band, Thrice, but most certainly not in a bad way. I've never been a particularly religious man, but I respect the raw faith and emotion that he infuses his songs with. His lyrics are always emotional and well-written, and his raw voice multiplies the power of his lyrics tenfold. At a half-hour, this album is a perfect one to listen to if you have some spare time. Alternately fun, sweet, and questioning, this is Kensrue in top form yet again.

Here's a link to his Myspace

http://www.myspace.com/dustinkensrue

Until next time, enjoy :)

"Sigh No More" by Mumford & Sons

This album may be a relatively popular indie/alternative new release, but I think it still warrants a post because the songs on it are so unique in their alternative rock/freak folk sound. A quick disclaimer: I was already predisposed to like these songs as soon as the band had the ideas for them. Why? Banjo is one of the main stars of this album, and, as I have said extensively, I love me some banjo. The album artwork gives a fairly good representation of the music on the album. Namely, that its unique and quirky (exhibit A on the cover: the members of the band are posed inside an old-style shop window like mannequins. Unique much?). And with that, here we go!

1. "Sigh No More" - The album opens off in an almost Fleet Foxes-esque manner. A cappella style vocals, accompanied by simple piano and guitar. Around the midway point of the song, however, the Londoners of Mumford & Sons kick it into high gear with energetic vocals synth, guitar, and banjo! Overall, a strong and head-bopping opener.

2. "The Cave" - Banjo and almost indignant vocals share the stage in this song. Trumpets enter into the works as well in what becomes a wonderful cross between folk and rock. The lyrics are also clever in this song, as the narrator steadfastly declares "I will hold on hold on and I won't let you choke on the noose around your neck, and I'll find strength in pain and I will change my ways." The song builds to an triumphant and uptempo chorus that takes it out with a bang.

3. "Winter Winds" - We've got some good old fashioned guitar and banjo strumming going on in this song, which makes you feel like you're sitting around a campfire in the mountains somewhere. There's just a raw sense of joy to this song. Trumpet and other instruments combine to create infectious choruses. The song's message, in my opinion, is simple: we're all going to die eventually, so let's make the most of it while we can. That's it really. This song just sounds like, well, life.

4. "Roll Away Your Stone" - This song opens up with a meandering guitar rhythm akin to what you might hear on a morning in the country. Then, the tempo kicks into high gear as the day gets going. If you don't know this about me by now, I feel I should let you know that I'm a big fan of the banjo. The lyrics of this song also echo with a sort of sarcastic irony that I found extremely refreshing. The narrator muses: "It seems that all my bridges have been burned, but you say that's exactly how this grace thing works." Great music and lyrics + made me chuckle = happy listening camper.

5. "White Blank Page" - There's a bit more urgency to this song than others on this album. The song echoes with feelings of frustration at a love scorned, held back as much as possible, but still boiling under the surface. Vocals echo the feel of the lyrics perfectly; you can almost hear the concealed rage in the narrator's voice as he sings: "You did not think when you sent me to the brink... You desired my attention but denied my affections."

6. "I Gave You All" - This song fools you. It starts quietly, but builds into one of the most furious songs on the album. The impression I got was that a relationship is over, but the narrator doesn't quite understand. He asks, "How can you say your truth is better than ours?" As his anger grows, so too does the volume of the music and vocals. A chant begins: "I gave you all"... softly at first, then repeating over and over again, growing in intensity and anger until finally it explodes into a furious and still-confuses release of emotion, finally ending with "And now you've won, but I gave you all... [repeated]". Our narrator's pissed, and this song packs quite a punch.

7. "Little Lion Man" - This has been the biggest commercial hit off the album, and I'm sure you've heard the chorus to it somewhere. It's one of my favorites. The song starts with eager strumming. The song its entirety has sort of a controlled frantic-ness to it, as though the narrator has messed something up and is trying desperately to fix it. The chorus gives us a look into the heart of the problem: "And it was not your fault but mine, and it was your heart on the line. I really fucked it up this time, didn't I my dear?" Sentiments that have been echoed by men that have probably been echoed at least a couple times over the course of history. The song ends with a vocals-only repetition of the chorus, reinforcing the fact that the fault lies with the narrator, and with him alone.

8. "Timshel" - Though I think it's one of the least dynamic songs on the album, I liked it all the same from the beginning due to the name of the song along. For us literature nerds, "timshel," which John Steinbeck translates as "thou mayest," is basically the moral of East of Eden. Incidentally, I interpreted this song as a sort of retelling of the story line of the classic novel. The song opens up in Fleet Foxes fashion and builds slowly, using emotional lyrics that revolve around the idea of brotherhood: "But you are not alone in this... as brothers we will stand and we'll hold your hand."

9. "Thistle & Weeds" - This song echoes the sentiments of "The Cave," as the narrator sings about feeling alone and abandoned. He seems to feel as though his faith in God has gotten him nothing. He laments to God, "I know you have felt much more love than you've shown." Still, the narrator refuses to give up his entire system of beliefs. As strings, piano, and guitar provide some of the most emotional music on the album, the narrator sings out and repeats, "I will hold on." The song is pure, raw emotion, and it's one of the most affecting songs of the set.

10. "Awake My Soul" - This song is a bit more uptempo, and takes on the feel of musings. The narrator feels as though he is weak, and he must admit it. Still, he knows there is more to him than meets the eye, and he sings out to someone (it could be be God, it could be a lover, I guess that's where personal interpretation comes in) that, though he "struggle[s] to find any truth in your lies," he begs for whoever he sings to to "awake [his] soul." Through bass, banjo, guitar, and what sounds like organ, the song builds up to a hopeful repetition of a chant of "awake my soul." The song is uplifting in a down-to-earth kind of way. It allows you to buy completely into what this man is singing.

11. "Dust Bowl Dance" - Probably one of the best-written songs on this entire album. It song opens as a ballad, with solitary piano and vocals singing of the desolate Oklahoma panhandle during the time of the series of events surrounding the Dust Bowl and the resulting migration west. Banjo joins piano in what turns into a beautiful song, rich with emotion. It truly gives you a sense of the hopelessness and resignation people must have felt as they turned their backs on land that they had poured their sweat and blood into, only to have it spurn them by becoming barren. The narrator of the song becomes a man who is alone and has nothing to lose, a dangerous combination. Lay back and listen closely - the lyrics make this song a humdinger.

12. "After the Storm" - The final song on the album continues with the theme of "Dust Bowl Dance," ending the CD with our narrator beaten down, but not quite ready to give up hope. He sings about a time when he will once again be happy: "And there will come a time, you'll see, with no more tears." I got the impression that the narrator was either an older brother singing to reassure his little sister that they would see home once again, or a young husband reassuring his young wife of the same thing. The song tugs at your heartstrings, and ends the album beautifully.

When I first listened to this album in the car, I was along in the car. Immediately upon finishing the CD, I began it again and sang along with it all the way through once more. The album is overflowing with raw emotion, which makes it an extraordinarily powerful listen. The vocals are rough, making the always well-written lyrics that much more impactful. If you've never considered yourself much of a folk person, this is the perfect album to serve as an introduction. If you're a music fan in general, this is a perfect album to add to your collection.

Here's a link to their Myspace.

http://www.myspace.com/mumfordandsons

Thanks for reading! Spread the word if you liked the post and as always...

Until next time, enjoy :)

"Almost Everything I Wish I'd Said The Last Time I Saw You..." by Wakey!Wakey!

About a year ago, I made an impulse buy, probably one of the top 3 most impulse-esque music purchases I've ever made. One of the main reasons was, as always, the album artwork. It just screamed, "I'm going to be a cool indie-alternative album with some attitude, buy me!" So I did, and I'm so glad I did! This album took me a couple listens to get used to, but after I got used to the Wakey!Wakey! sound, I listen to it often. The best way I can describe this set of songs is that it almost has some musical theater elements to it. Almost every song has a bit of a theatrical feel to it. The instrumental and melodic work of this album is where it excels, as well as in its vocal rhythms and hooks. This album may be an acquired taste, but trust me, if you give it a chance, it will become a staple in your musical diet.

1. "Almost Everything" - This song starts the album off in amazing fashion, with amazing instrumentals featuring strings. The song may as well have been named "Something to get Andrew to Buy this Album." Not only that, but the song is touching. It's about a guy telling his love that he understands that things are rough right now, "but it's gonna get better some day." A great melodic song to start off this album, and probably my favorite of the set of songs.

2. "The Oh Song" - This song is exactly what it sounds. It starts with an extended "Ohhhhh" chant, which lathers, rinses, and repeats are various points throughout the song. The song has other lyrics though, don't worry, and though this song won't win any lyric awards, it's such a fun song to listen to that it doesn't matter. Violin makes another strong appearance in a wonderful little interlude in the middle of the song that builds into another chorus.

3. "Twenty Two" - I thought the whole concept of this song was great and original. It seemed to me that it was about a girl who got in over her head in a new environment, and the narrator of the song is telling her to leave while she's still got some money left. I also loved the chant-heavy chorus of this song, and the instrumentation and melody makes the song really catchy. With whistling sprinkled in at several points in the song, you can imaging the song playing in the girl's head as she packed, a last reminder of the guy who gave her some good advice. Overall, the song left me with the impression of "Life's gonna move on, no matter what happens."

4. "Square Peg Round Hole" - One of my favorites on the album, for a couple reasons. First, piano, strings, and vocals are the stars in this theatrical and infinitely catchy song. The chorus is essentially "Square peg in a round ho-oh-oh-oh-oh-oh-oh......." It's just so fun to listen to that you find yourself bouncing along with the melody. Simple, enjoyable music is one of the things that Wakey!Wakey! does best, and this song is a prime example.

5. "Dance So Good" - This song slows it down a bit, and it's another touching song. The narrator is trying to cheer up the girl in the song. He doesn't understand why she's so sad, when she's so beautiful. He wants her to cheer up and forget her cares for a while on the dance floor: "So tell me why we're talking when we dance so good." It's another wonderful song about taking life as it comes and making the best of it if life hands you lemons. A sweet song that brings a smile to my face every time I hear it.

6. "1876 - The Brooklyn Theater Fire" - Though I'm not a huge fan of the lyrics of this song (there doesn't seem to be a strong theme), the instrumentation of the verses and chorus, as well as the vocal harmonies in the chorus, make this song yet another enjoyable listen. For such a good melody, though, I wish the lyrics were a bit tighter. Not that that's going to stop me from conducting along with the chorus.

7. "Feral Love" - This would have to be my least favorite song on the album. It's got a nice groove to it, and there's a great instrumental section around three-fourths of the way through it, but the song doesn't progress much other than that. It's well executed, but it has a slight "filler" feeling to it.

8. "Got It All Wrong" - This is a great song, with great piano melodies with string accompaniment and still more well-written lyrics. From what I can interpret, the narrator is thinking about how he and his ex-girlfriend broke up when there was really nothing left to do to save the relationship, though they tried. Still, he thinks they may have been able to more, and asks continuously, "What if we got it all wrong?" Definitely a thought that has run through most of our heads at some point or another. The song finishes off beautifully with strings (what can I say, I'm a sucker for strings).

9. "Light Outside" - Ahh piano and strings, you've done it again. This is another of my favorite songs on the album. The instrumentation of this entire song is just plain beautiful. Electric guitars add in every once in a while for melodic bonus points. The lyrics are also well written and beautifully delivered. Yet another strong song.

10. "Car Crash" - I really thought this was a beautiful song, though it doesn't necessarily mesh with the feel of the album, in that this song is about a specific event - in this case, a car crash. The narrator is singing about how he's stuck in a burning car, "but at least you [his love] were thrown clear. When the strings, pianos, and brass enter for an instrumental lead in to the final series of vocals, it is such a beautiful musical sequence that it gives me shivers every single time. Another of my favorite songs on the album.

11. "Take It Like a Man" - This is a very two sided song. On one side is a string intro that sounds like a Russian polka, and on the other is a beautiful string and piano-driven chorus that gets me swaying to it without fail. And then, just when you get comfortable, the Russian polka violin re-enters. Still, it's an original and fun song, if nothing else. It ends with another Russian polka section after an amazing, majestic chorus that is introduced by... wait for it... a great instrumental build.

My recommendation for after you hear this album for the first time: listen to it again. The songs go by fast, and listening to the album a couple times in a row really helps you pick up the little nuances that make this set of songs so enjoyable. This music is great for walking somewhere at a fairly quick clip. For some reason, it just motivates you to walk faster. It tugs at your heartstrings and makes you feel like you're ready to take on anything.

Here's a link to their Myspace!

http://www.myspace.com/wakeywakey

Until next time, enjoy :)