Rio Toro

Album Review: Vampire Weekend – Modern Vampires Of The City

Vampire Weekend: Modern Vampires of the City

Genre: Indie

Similar Artists: Paul Simon, Dirty Projectors

Label: XL

We don’t have much control in guiding these ephemeral lives that we hold. While it may seem that we are moving about with free limbs and actively making decisions in real time, in reality we are merely watching through a lens as our bodies rely on previously learned antecedents and consequences. The only choice we do have is whether we want to continue the ride or cut it short. Everything else can be lumped into pre-existing factors of genetics and environment. Although not stated quite so matter of factly, these are themes that revolve around Vampire Weekend’s 3rd and finest LP to date, Modern Vampires Of The City. The subject matter sounds a bit oblique for what is essentially a pop record, but when paired with the minimal arrangements and unhurried song structure, the album comes off as mature rather than morose.

Vampire Weekend’s albums have all been released at such opportune times to where they come off as a breath of fresh air in the cluttered land of indie music – the previous three albums i have reviewed have been heavy on the noise, so needless to say, this album was a welcome gift. After all, there are few bands which combine such intellect with an innate ability to write catchy, immediately accessible songs. Although this album is representative of a more subtler Vampire Weekend than we have heard before, you won’t be mistaking this music for anyone other than the remarkable Columbia graduates.

While they haven’t gone through a total reinvention of sound, they have marked on an incredibly natural progression that feels more human and soulful than what came before it. At first, the only song here which sounds like a hit is “Diane Young” – which is a modern take on Buddy Holly blues rock that incorporates vocal manipulation and other stylized production tricks. The majority of the other songs forgo heavy guitars and percussion for spacey piano figures layered amidst Koenig’s most delicate vocals. Even the band’s trademark harpsichord and string arrangements are seldom heard. Still, even without the influence of afro-beat, it’s reminiscent of Paul Simon over anything else. It’s an enlightening experience for sure, but these are a far cry from what you’d be likely to hear at a Williamsburg dive bar.

It turns out that Modern Vampires does have hits – they are just better appreciated within the scope of the album than on their own. The album pacing is stupendous, and even after several listens in, the highlights are surprising. “Ya Hey” in particular is a song that always sneaks up on me and leaves me delirious. While that song’s lyrical slyness and catchy-as-hell chorus often leave me thinking it’s the best Vampire Weekend song yet, something tells me “Hanna Hunt” is even better. It’s clearly their most emotional, as you’d have to be heartless to not feel something when Koenig wails /If I can’t trust you then damn it Hanna, there’s no future, there’s no answer/ among the album’s most sprawling piano chords. However, the award for best lyric of the album might have to go to the line directly after that /though we live on the U.S. dollar, you and me we’ve got our own sense of time/ which has got to be the most brilliant way anyone could think of to say time = money.

It all comes out as an extremely well thought out and polished record that took a lot of dedication and heart. I said at the beginning of this review that the album was about a lack of free will, but it is really about much more than that. Depending on your perspective it can be read as a critique on the state of America, an analysis of the principles of Religion, or any number of personal things. What can be said is that it is far from traditional – or is at least explored in nontraditional ways. While Ezra Koenig has always been a sly lyricist, here he is working at a higher level. From the opening lyrics /spare yourself a razor, cause no one’s gonna spare the time for you/, to the final ones /Take your time, young lion/, everything reads like poetry, moving along to what is easily the most beautiful and haunting music of their career.

Track Listing:

1.) Obvious Bicycle*

2.) Unbelievers

3.) Step*

4.) Diane Young*

5.) Don’t Lie

6.) Hanna Hunt*

7.) Everlasting Arms*

8.) Finger Back

9.) Worship You

10.) Ya Hey*

11.) Hudson

12.) Young Lion

* – Album Highlight

Album Review: Savages – Silence Yourself

by Rio Toro

Savages: Silence Yourself

Similar Artists: Siouxsie Sioux, The Fall, Bauhaus

Genre: Post-Punk

Label: Matador

It seems like every year the term “fully-formed” is appropriated to a new band, and this year it seems the title is being given to London’s “Savages”. It’s a term that’s previously been applied to groups such as Brooklyn’s “Grizzly Bear” and co-Londoners “The xx”, but what exactly does this title mean? With “Grizzly Bear” it was a reference to how each member was an equal and essential component to the band’s overall sound, and with “The xx” the term was a relation to the band’s sleek distinctiveness and style. However, with Savages, the term is more representative of the band’s revolving ethos rather than the music itself. It’s the kind of warning that makes you wary that the hype is just hype…

The much talked about manifesto that accompanies Silence Yourself is the band’s way of advocating for a better, purer world – which calls to mind The Knife’s concept heavy “Shaking the Habitual”. This isn’t quite a concept album, but the Buddhist leaning principles of the band’s declaration pop up constantly throughout the album. Many of the lyrical themes are based around freeing yourself from distractions and deepening your focus on more personal matters. No better is this described than on “No Face”, where Jenny Beth condemns those who lack intrapersonal skills.

While Savages do have a face, it certainly isn’t one they could call their own. For a band that isn’t doing anything new in terms of music, they are making some incredibly bold statements – statements that could have easily backfired if they didn’t prove to have the proper credentials. When it comes down to it, Savages are mere Post-Punk revivalists, but what makes them thrive within the flooded genre is their unshakeable authenticity.

So yes, Savages are the people they say they are – this is not a hoax. While it is tempting to relate this female four piece to Riot Grrrl greats like “Sleater-Kinney”, or more recent female lead groups like “Screaming Females”, Savages have much more in common with “Siouxsie and the Banshees” or even “The Fall”. Lead vocalist Jenny Beth has a French tinged delivery that is commanding in its force; often building in intensity every few measures until the song cuts out with her screaming at the top of her lungs. Some of the best moments arise when she is singing/yelling the same words ad-infitum as the guitars pummel out fastidious riffs and splatter us with noisy violence.

The album as a whole is pretty full throttle in the energy department, but the sequencing is flat out excellent so as not to overwhelm. For instance, there are slower, more gothic songs such as “Waiting for a Sign” that show off the artists’ songwriting strengths, and there is even an ambient interlude to break up side A/B. Each song provides a slightly different angle than the last to create an experience that feels well rounded to the talents of the musicians. The reason the band released so little in the way of ep’s/singles is likely because of their dedication to the album format, and their ambition shows off in strides here.

Manifesto or none, this is a great rock record. It may not be revolutionary enough to cause us to change our lifestyles the way the band wants it to, but it’s an affecting experience nonetheless. At its best, such as the rollicking opener “Shut Up”, the guitar, bass, vocals, and drums mesh to create a sound that is at once enraged, distraught, and beautiful – quite a rare feat for a simple punk band.

Track Listing:

1.) Shut up*

2.) I Am Here

3.) City’s Full*

4.) Strife

5.) Waiting For A Sign*

6.) Dead Nature

7.) She Will

8.) No Face*

9.) Hit Me

10.) Husbands*

11.) Marshal Dear

* – Album Highlight

Album Review: Colin Stetson – New History Warfare Volume III

by Rio Toro

Colin Stetson: New History Warfare Volume III – To See More Light

Genre: System Error

Similar Artists: Does Not Compute

Label: Constellation Records

If the goal of an artist is to be distinctive and inimitable, then few artists have succeeded to the degree that Colin Stetson has. Within the last decade, he has become renowned for taking the saxophone to previously unknown timbres – and with little use of effects at that! With his instrument, he has founded a style that draws equally from classical minimalism, black metal, noise and jazz; each style combining to make a mood that is completely of its own. Still, with all the squealing, moaning and clicking, he meets the music with a sense of adventurousness that makes for a much more accessible listening experience than it should be.

Before Colin’s 2011 breakthrough, his sax work had been featured on albums by high profile artists such as Tom Waits, Arcade Fire, and TV on the Radio – but his Constellation Records debut, Judges, turned out to be the best yet statement of his talents. All the music on the album was recorded live in one take sessions with no overdubs…which seems entirely impossible until you realize that everything from the inside of the sax to his throat are mic’d. The success of that record led him on a tour alongside post rock titans Godspeed You! Black Emperor where he was allowed to display his individual talents in tremendous live settings. These shows established Colin as a musical force to be reckoned with. Even if you weren’t a fan of avant-garde – this was a sound that could not be ignored.

Ever since 2011, Colin Stetson has been popping up everywhere in music. Most notably, he has been a touring member with Bon Iver, who in return is featured prominently on this release. Justin Vernon’s vocals take the place of Laurie Anderson’s so-so voice overs on Judges. This turns out to be the main difference on this third volume of the New History Warfare series. Overall, the decision turns out to be a great pairing, as Justin Vernon’s voice is an instrument as powerful and distinctive as Colin’s sax. While the two occasionally come off as disconnected, all doubts are cast aside on “Who the Waves Are Roaring For”, which sees both expressing their talents in unison without blocking each other out.

While the bulk of To See More Light stays true to Colin’s previous aesthetics, there are a handful of tracks that stand out as bold new directions. For instance, “Brute”, contains grunting male vocals alongside Colin’s most bursting at the seams sax. It should be seen as an ode to death metal bands such as Liturgy (a band which Colin has previously stated his admiration for). On the other hand, “Among the Sef” is one of the most ingeniously melodic pieces he has yet constructed, even bordering on techno with its inconspicuous backdrop 2/3rds in. While “In Mirrors” is a quick glimpse into a horror film he will likely be sound tracking in the near future, the final Bon Iver Track, “What Are You Doing In Heaven Today” is so soulful it could probably get away with being played in a church. Still, everything seems to pale in comparison to the stirring title track, “To See More Light”, which combines the artist’s definitive traits over its impressive 15 minute runtime. On an album with some not so representative material, this is the track you will want to play when showing this artist to an interested companion.

Honestly, if there’s one complaint, it’s that the rest of these songs should be a lot longer. Of course, seeing how this music is recorded, it would be impossible to have the lung capacity to carry these songs on for too much longer. However, The Those Who Didn’t Run EP contained two 10 minute long tracks that worked perfectly alongside each other, so I’m not sure why so many of these tracks had to be cut off at the 2-3 minute mark; especially when the thematic elements here are stronger than they ever have been. B+

Track Listing

1.) And in Truth

2.) Hunted

3.) High Above a Grey Green Sea

4.) In Mirrors

5.) Brute*

6.) Among the Sef (Righteous II)*

7.) Who the Waves are Roaring For (Hunted II)*

8.) To See More Light*

9.) What are they doing in Heaven Today?

10.) This Bed of Shattered Bone

11.) Part of me apart from You

* – Album Highlight

Album Review: Deerhunter – Monomania

by Rio Toro

Deerhunter: Monomania

Similar Artists: The Men, Radiohead, David Bowie, R.E.M.

Genre: Indie Rock

Label: 4AD

Deerhunter, or better yet, Bradford Cox – and let’s be honest, when people refer to Deerhunter, chances are they are in fact speaking of the ultimately prolific and eccentric front man – has built a career out of being completely out in the open. He’s open with his influences, experiences, and recently even his sexuality. There is no separation between this man’s art and personal life, and it has put him on a sort of pedestal above other indie idols. Add his outlandish personality with his odd appearance and you get one of the most interesting figures in modern rock. When he says things like “I need punk rock to live”, we believe him because it’s easy to see this guy has suffered. Even if you don’t agree with his opinions (or don’t like his music), it’s hard not to read one of his infamous interviews without cracking a smile. He’s trying to be the generation’s eccentric indie figure, and due to his skills as a spokesperson he is on his way to succeeding. On Monomania highlight “Blue Agent”, he even speaks out against anonymity with the lines /if you wear a mask, if you wear a badge, if you’re lost in the curtains of time, you will be erased/.

Deerhunter definitely don’t want to be erased – in fact, they are quite obsessed with the idea of crafting their eternal spot in the history of rock music. Obsessiveness is a characteristic that has permeated Deerhunter’s aesthetic for years, so naming this album Monomania is almost too fitting. Where they have previously been obsessed with genres such as shoegaze, krautrock, and psych pop, now they take their turn with lo-fi punk, working class blues rock, and something they like to call nocturnal garage. As you’d expect from a group this dedicated, it all fits together quite nicely. They also do a good job of adding their own spin to these genres so as not to be derivative.

The bulk of this music was recorded on low quality recording equipment to give it an authentic punk feel. While the guitars are certainly grainy, the vocals are what really stand out as ugly and dissonant. However, this is coupled by what is possibly Cox’s most beautiful and assured vocal performance to date, so a verdict on whether this is the band’s most or least accessible album is a hard one to draw. What can be said is that very few people are going to love this album on first listen; it’s a grower to say the least.

Cox has explained that he enjoys messing with the album format to create an experience that doesn’t offer immediate satisfaction, but instead caters to repeated listens. Monomania starts with “Neon Junkyard”, and “Leather Jacket II”, which are some of the noisiest songs on the record. The lo-fi quality accentuates Cox’s creaking vocals and sharp enunciation, but after the melody sinks in, it turns into somewhat of an anthem. The lyrics are also most representative of the album as a whole /finding fluorescence in the junk…If you’ve got a lot of pain, you’re at the how to speak/.

Tracks four and five might be the most surprising as they see Deerhunter embrace country and blues rock. While “Pensacola”, is a fun enough jam with some great guitar lines, it contains little in the way of intrigue to hold attention through multiple listens. However, “Dream Captain” is the one true low point of the album, as it proves to be too familiar musically and lyrically to hold its ground. While these songs prove the band to be more versatile, they do little to complement the energy and scope of the album and would have worked better as bonus tracks. Cox apparently wrote upwards of 300 songs to be considered for this release, so why he chose these in particular can be a bit of a head scratcher.

On the other hand, “Sleepwalking” and “Back to the Middle” are the most immediately accessible songs on the album. Both are so catchy and noise free that they almost seem too simple for Deerhunter. This moment of pop is essential though, for the last three tracks are the most raw of the bunch. “Nitebike” in particular seems impressively off the cuff and honest. During the final minutes he wails /found out my problems, they came right up to me/ in what is surely the album’s most cathartic moment.

Despite its differences, Monomania isn’t so much a turn in a different direction for the band than it is a reimagining of their previous themes. Here they adapt to fit within the strict confines of American rock music while still progressing on in their artistic direction. While it is a throwback album, Deerhunter have trailblazed their own path to where this sound can’t really be compared to much else. Despite a few gripes, Monomania ends up being a substantial effort from a band that are certainly on their way to being in the history books.

Track Listing:

1.) Neon Junkyard*

2.) Leather Jacket II*

3.) The Missing

4.) Pensacola

5.) Dream Captain

6.) Blue Agent*

7.) T.H.M.

8.) Sleepwalking*

9.) Back to the Middle

10.) Monomania

11.) Nitebike*

* – Album highlight

Album Review: Phoenix – Bankrupt!

by Rio Toro

Phoenix: Bankrupt!

Similar Artists: Hot Chip, Spoon, Air, The Strokes

Genre: Synth Pop, Indie, Glam

Label: Glass Note

Has there been a song to come out since 2009 that was anywhere near as catchy as “Lisztomania”? That tremendously buoyant single, along with the band’s other lead single “1901”, were tracks that literally renewed my faith in pop music. Even more astonishing was that despite Lisztomania being played on nearly every commercial break during a car advertisement, it didn’t even begin to annoy. Hell, it almost made commercial breaks tolerable. And what was it, exactly, that made those singles so damn amusing in the first place? Did Phoenix even have the right to make music which catered so appropriately to the generation of hyper active indie kids? While the band had certainly written catchy tunes before, the veteran musicians had reached a subtle evolution which made their music sound effortless while still retaining their off kilter personality that remained essential to their uniqueness.

And let’s not forget, the remainder of “Wolfgang Amadeus Phoenix” was a blast as well. As a whole, it represented music’s glorious return to the near forgotten genre of power pop. The record launched the French stalwarts into a late in career success status. This newfound popularity led the four piece on an exhausting two year world tour to places they had only dreamt of playing. Writing and recording for their next album began almost immediately after that last tour ended, so they have had plenty of time to make this follow up. Until earlier this year the group has been remarkably silent, only peeking their heads out for an occasional statement. The band’s Grammy award winning full length has yet to be matched in the four years since its release; so needless to say, we have all been waiting for something big.

However, with “Bankrupt!”, Phoenix have traded in their power pop aesthetics and memorable choruses for expanded non-sequitor instrumentation and extravagant genre hopping. They have also traded in their guitars for some seriously demanding keyboard work. It seems predictable that after being showered with success, the band would be inclined to follow up with a more experimentally infused effort – so in a way, this album’s unpredictability is hindered by the fact that we could see this coming. Don’t call it their “Kid A” though, because although Bankrupt is certainly the most challenging record of Phoenix’s career thus far, it’s also among their least focused.

At first, it really is difficult to discern what makes this album so much less likeable than Wolfgang Amadeus. Both albums have the same amount of tracks and have almost identical running times. Despite the virtuosic instrumentation, the lineup is also the same. The difference comes with the feeling. The sense of freedom and rebelliousness that gave their previous efforts so much momentum is largely absent. Even Mars’ fluttering voice sounds strangely constrained, as he attempts to change its presentation to better fit the instrumentation.

Although the 4 years it took the group to record Bankrupt would lead you to believe they found a natural progression into this new state of mind, the end result still feels less than fluid. Thomas Mars talked about combining the highbrow and the lowbrow to create a new sound with this record, but in actuality, he was making music that is “midbrow”. While each song has solid sections, as a whole they just don’t gel. A handful of moments still carry the band’s trademark energy and wit, but others should have been left out entirely. While the album couldn’t and shouldn’t be called bad, it doesn’t have staying power. Hopefully that other highly anticipated French album that comes out later this month will be more memorable than this one.

Track Listing:

1.) Entertainment!*

2.) The Real Thing

3.) S-O-S In Bel Air*

4.) Trying to be Cool

5.) Bankrupt!

6.) Drakkar Noir*

7.) Chloroform

8.) Don’t*

9.) Bourgeois*

10.) Oblique City

* – Album Highlight

Album Review: The Haxan Cloak – Excavation

by Rio Toro

The Haxan Cloak: Excavation

Similar Artists: Demdike Stare, Andy Stott, Vessel, Raime

Genre: Experimental

Label: Tri-Angle

If you currently listen to music by way of earbuds/low quality headphones, I am going to ask that you make an upgrade before listening to Excavation. The album bears a startling physicality that stems from low bass frequencies which morph into dense pulses of sound waves. Each note burrows closer and closer into your skull until it has a hold of your very being. However, without the proper equipment, you would essentially be listening to a dark ambient record. Although it’s certainly a different genre, the deep, never ending chords are reminiscent of Sunn O))) at their heaviest. This is downright massive music, as there are single notes which seem to go forever inward. It’s easy to imagine these pulses expanding onward into an unknown oblivion whilst absorbing everything in their path.

Like many artists on Tri-Angle, Bobby Krlic is one of those next level producers whose music requires complete immersion of the senses. If you’re brave enough, surround yourself in darkness for this album’s duration; I dare you to come out of that experience unaffected. Even for those of you who are used to Demdike Stare or Andy Stott, this stands as something else entirely. While there has been a noticeable influx of producers making dark electronic music as of late, The Haxan Cloak has created an album that seems to have a personal tie with the netherworld.

With each track, Krlic guides us into the depths of the afterlife. It’s a place where serpentine bass slithers across our backs and razor wires slice inches away from our necks. Based on the cover alone (which casts a noose suspended in mid air against a black void) you could tell that the album is representative of a hostile environment, but thankfully, the album is much more than a simple horror film soundtrack.

Although Excavation chronicles a voyage that takes place after death, the scenery couldn’t be described as either heaven or hell. The place Krlic has imagined is much closer to a purgatory – or the intermediary portal that eventually leads to a higher state of being. Through the 50 minute running time, we get the feeling of being taken deeper and deeper into the unknown. Each plummeting bass drop sends us spiraling into the abyss. There’s no doubt that it’s an unsettling experience for those of us who are afraid of death – and after all, who isn’t?

It might seem overly esoteric and inaccessible, but despite its harrowing theme, Excavation proves to be strangely inviting. It’s a deeply personal record as well. After you look past the horror aspect, it’s easy to realize how emotional it all is. If you look hard enough, you can even find a lingering optimism regarding the afterlife. As the album progresses, brighter patterns seem to rise from the darkness such as synths and ominous bell segments. It hints at the protagonist’s progression towards a new state of being within a higher realm of existence.

The finale in particular is riveting. Simply titled “The Drop”, it explores a sound palette that is broader and more accessible than the previous tracks, yet it still contains the same sense of mystique and intrigue as what came before. Although it still calls to mind the feeling of being surrounded by darkness, now the very essence of the void has shifted into something that is elegant and beautiful. In a way, it feels as though Krlic has come upon an emotion that is removed from human experience.

Of course, no one knows what the afterlife really is like (if there is one at all). It would be silly to say that this album represents a realistic depiction of death. However, the album is so affecting on a gut level that it is safe to say that the music is representative of something. It may seem overly vague, but that’s the point. That “something” may be a place that exists in the back of your mind or in the depths of your soul. We all have a chasm locked away within ourselves that contains the secrets we long for; this album might be the perfect way to excavate them.

Track Listing:

1.) Consumed

2.) Excavation (Part 1)*

3.) Excavation (Part 2)

4.) Mara

5.) Miste*

6.) The Mirror Reflecting (Part 1)

7.) The Mirror Reflecting (Part 2)*

8.) Dieu

9.) The Drop*

* – Album Highlight

Album Review: The Flaming Lips – The Terror

by Rio Toro

Flaming Lips: The Terror

Genre: Krautrock, Neo-Psychedelia

Similar Artists: Mercury Rev, Super Furry Animals, Radiohead

Label: Lovely Sorts of Death

Wayne Coyne has made it clear that nothing can stop him from being the manic, hijink involved front-man that he is. So unless he dies, it is pretty safe to say that “The Terror” will not be the final album by The Flaming Lips. However, their 13^th album represents a sort of ultimate destination that would act as the perfect conclusion to the group’s astounding legacy. Of course, let’s hope that isn’t the case.

While lately, the band has become increasingly known for their stage antics and headline worthy mischief, starting with their 1999 masterwork “The Soft Bulletin”, their subsequent full lengths have continued down the road of unbridled seriousness. They might not have had a perfect run, (“At War With the Mystics” being a noticeable low point) but their work has always possessed a beating heart that shows how dedicated these artists are to their work. And yes, they have also put out some incredibly silly non-album work, such as last year’s “Heady Fwends” collab and the 24 hour long “7 Skies H3”. Luckily, (so far) none of The Lips’ studio albums have came encased with anyone’s blood in it. So while they might be pranksters in the spotlight, there are few bands as hard working as this one when they sit down in the studio. Don’t expect this music to make you laugh; it’s more likely to make you cry.

This album proves to be yet another artistic shift for the band. With their busy past few years they have honed their craft and advanced their sonic capabilities to arrive at an entirely new direction. With 2009’s Embryonic, the band’s sound turned a few shades darker as they ventured into the depths of the experimental void. Now, with The Terror, they have climbed out of the rabbit hole to find that the world has fallen apart. The album is composed of dreadfully dark psychedelia, and speaks of a near hopeless post apocalyptic world bathed in red, radiated sunlight. The Lips have brushed upon post-apocalyptic premises in the past, but none have been as thematic or believable as this. In fact, this possibly ranks as The Lips most concise record; from the first note to the last, every theme flows perfectly into the next. It is even difficult to discern when one song ends and another begins – which means this is an album meant to be listened to in a complete session.

The music itself is a combination of hypnotic pulsating keyboards, ambient flourishes, steady Krautrock percussion, and the occasional scraping guitar fuzz. All the songs follow a similar formula, which means there are no guitar freakouts or mid album surprises. The Lips have traded in hit songs and singles for an album that breathes continuity. Because of this conciseness, there are moments during the album where the mind tends to wander – which begs the question if these songs could have been just as worthy with a few minutes shaved off. Still, there is nearly always something interesting to be heard in the mix if one is focused enough.

The heavy handed concept would have fallen flat if its creators weren’t able to realistically convey feelings of loss, so it is a good thing that The Lips continue to be masters of translating emotions to music. Although they won’t admit it quite yet, with Wayne Coyne recently breaking up with his partner of over 20 years and Stephen Drozd’s continued substance abuse, the album was clearly birthed out of painful experiences.

Amidst the darkness, Wayne is the component that holds all the others in place. After being lulled into a daze of abstract existential thought, his voice is what brings us back to reality. Under the impressive palette of sounds he sings in a mournful cry unlike anything he has done before. At certain moments he sings like he is on his death bed, barely being able to muster the words from his mouth. Again, it is impressive because it is believable; never through the impressive running time do we doubt that Wayne has felt the pain of a broken heart.

His lyrics are also among his darkest – like when he says “You’ve got some nerve you fuck with me” at the start of the 13 minute centerpiece “You Lust”. Through many songs he references the big ball in the sky, but instead of being the usual metaphor for good days and happiness, in The Terror, the sun is a sign of impending doom. While it may keep us alive, it is also what causes us pain and eventually kills us.

In the end, the album’s message is clear. Love and pain are connected in the same way as life and death. These things exist without us even wanting them to, and once we have fallen in we have no choice in how they end up. The Terror stands as a singular piece in the group’s discography. It may not be their most defining, and it certainly isn’t their catchiest, but in the end, it’s no less essential to their portrait.

Track Listing:

1.) Look…The Sun is Rising*

2.) Be Free, A Way

3.) Try To Explain*

4.) You Lust*

5.) The Terror

6.) You Are Alone

7.) Butterfly, How Long it Takes to Die*

8.) Turning Violent

9.) Always There in Our Hearts*

* – Album Highlight

Album Review: James Blake – Overgrown

by Rio Toro

James Blake: Overgrown

Similar Artists: Joni Mitchell

Genre: Singer-Songwriter, R&B

Label: Polydor

Over the past two years, there is no album in my library that I have played as many times as James Blake’s eponymous debut album. For the record, I have listened to it upwards of 200 times, yet I have still been unable to release myself from its grasp. The sounds seem to always be in the back of my mind, haunting me to take one more listen. And how could I refuse such an offer? After all, each listen was sure to reveal yet another layer of Blake’s virtuosic keyboard playing and brilliantly designed chord patterns. Although upon its release, many referred to it as a singer-songwriter/dubstep hybrid, it actually exists outside both of those genres. After my long term examination, it is quite clear to me that James Blake was the best album of 2011. *Hands over award*

Unfortunately, many others do not share my opinion. As critically acclaimed as the album was, it also received a resounding amount of backlash. As a means of therapy I will release my anger at the tyrants who hated on James Blake now: Shame on you fools! How dare you say that the album is overly spacious and full of half-finished songs? Seriously…who do you people think you are? I should come over there and beat your whiny asses right now! And don’t even say that his EPs were better, because they don’t hold a candle to the beauty and originality of this full length! And so what if I’m an addict who needs psychological help? At least I can tell a good album when I hear it. Grrrrr……………..

Ahem, so anyway, you could understand my intense anticipation for his 2^nd full length. In hindsight, based on how rapidly this producer changes his artistic direction, I should have known that Overgrown wouldn’t consist of the same pleasures of his debut. Although this will be seen as a more subtle departure for him compared to his genre shifting string of 2010 EPs, this is without a doubt an entirely different beast than its predecessor.

Although we haven’t heard James Blake go full on dubstep since the very early days of his career, his music has always made it easy to identify him as one of the most talented bass producers in the world. This is not the case with Overgrown, as Mr. Blake is much more concerned with embracing his inner Joni Mitchell than repeating his previous successes. This relates to his newfound vocal prowess and song-writing ability. On the “Enough Thunder” EP, he released a wondrous cover of Joni’s “A Case of You”, and on this album it seems she has made her mark as one of his primary influences. In the relatively short time since James Blake, he has learned an astounding amount of vocal tricks; each one perfectly complementing his electronic palette. As nice as his voice was on James Blake, the real surprise there was that he knew how to sing at all. Here, he delivers a much more commanding and difficult performance that even overshadows his production.

Don’t get me wrong, the production is still stellar, but more often than not, the keyboards are used as leverage for the vocals rather than taking the lead. A large portion of the album represents shimmering minimalism evocative of cold desolate landscapes. As atmospheric as it is, Blake never truly shows off with his keyboard skills, instead, he has crafted a record that is much more moving and intimate than his previous work. Since many songs seem to relate to aspects of his own life, it will also most likely go down as his most personal.

Aside from the vocals, the album’s defining feature is the lyricism. Well over half the tracks have analysis worthy lyrics. I certainly don’t remember using the word provocative to describe a James Blake track before. Through “I am Sold”, Blake repeats the line /and we lay nocturnal, speculate what we feel/, later in the song, he brings up that we need a /constellation that shows us where we are/. The album’s main theme seems to be the inability to convey emotions. The album references this in regards to how we talk to other people as well as how we see ourselves. On the piano led “DLM”, Blake pleads /Don’t let me hurt you more, it’s at your stare and at your core/. On the album’s astronomical centerpiece “Retrograde”, Blake sings about finding ourselves by separating from the physical world /Suddenly I’m hit! It’s the Starkness of the Dawn, you’re friends are gone, and your friends won’t come, show me where you fit in/. It’s the album’s defining and most contemplative moment – it’s also the most profound thing Blake has written to date.

Oh yeah, and there’s also a RZA track that kinda, sorta ruins the mood, (although not as badly as you might expect) – but in the end, it’s not really worth dwelling over. James Blake has pulled off the impossible. Once again, he has made an album that exceeds our expectations – but not because we didn’t think he could do it, it’s because we didn’t know he could in the first place. Now we are left to ponder what other skills this mutant must have hidden up his sleeves. Here’s to finding out in 2015! *cheers*

Track Listing:

1.) Overgrown*

2.) I Am Sold*

3.) Life Round Here

4.) Take a Fall for Me (Feat. RZA.)

5.) Retrograde*

6.) DLM

7.) Digital Lion*

8.) Voyeur*

9.) To the Last

10.) Our Love Comes Back

* – Album Highlight

Album Review: The Knife – Shaking The Habitual

by Rio Toro

The Knife: Shaking The Habitual

Similar Artists: None

Genre: Experimental

Label: Brille

Leave it to The Knife to create the most divisive and puzzling album of the year. Last week, when the Swedish siblings’ long awaited 4^th album became available for streaming, message boards instantaneously became flooded with polarizing viewpoints regarding its quality. While many seemed unable to form an opinion at all, others attacked the group by stating the album was overloaded and pretentious. Indeed, at nearly 100 minutes, Karen and Olaf certainly are testing our patience. At times, such as the 20 minute drone piece “Old Dreams Waiting to be Realized”, it is even tempting to feel as though the two are playing a trick on us. Believe me though, “Shaking the Habitual” is no April fool’s joke – The Knife have never been more serious.

The Knife have been devoted to their own brand of weirdness for some time now, so it’s not entirely a surprise that this album is as frightening as it is. The surprise with Shaking the Habitual comes with the absence of anything that could be considered within the realm of pop. “Silent Shout” was already otherworldly, so in order for the group to continue to defy expectations they have stretched their trademark sound to incomprehensible means.

About 2/3 of the album is jarringly inaccessible experimentalism. It is easy to see why the group considered releasing the album under a pseudonym, because this acts as the antithesis of their previous work. The 13 tracks range from being confrontational (Full of Fire) to barely rising above a whisper (Cherry on Top). While I love experimental music as much as the next music critic, not all of these tracks truly work.

Regardless, I can without a doubt claim that this album has groundbreaking moments on it. That may be more than I can say about any album that has come out this year. With that said, there are other sections (specifically the droning ambient pieces) which have been done to a far more interesting degree by other artists. This can make for a frustrating listen, but I was never tempted to skip tracks like many other people seem to be doing. The album is meant to be listened to in its entirety. For instance, “Raging Lung” acts as a monumental payoff after the aforementioned 20 minute drone track. The album wouldn’t contain the same specific appeal if the quieter pieces were cut out. There is a sense of scope here only possessed by a handful of albums; most recently, Swans’, “The Seer”.

Perhaps the album’s most interesting aspect is its message. Shaking the Habitual is about realizing how you are an evil, selfish being. “Ready to Lose” is a song about how we must learn to rid ourselves of our dirty habits for the bettering of humanity. For instance, if you are white, you must realize that you are given certain advantages not afforded to others, and you are merely lucky for having this inherent advantage within society. Refusing to believe this fact means that you are racist and a supporter of our evil capitalist society.

The topics brought up throughout the album include gender issues, patriarchy, male hegemony and so forth. This is an incredible, AOTY worthy basis for an album, however, the abstractness of the music makes it very hard to grasp in its entirety. In fact, if it wasn’t for interviews where Karen and Olaf explained the origins of the album, it would be hard to decode at all. The Knife have a message that is meant to be heard by everyone, but it’s going to be heard by very few when they refuse to work within a digestible framework.

It is easy to see why Shaking the Habitual is made up of such cold, unsettling music. If the album landed The Knife another hit such as “Heartbeats”, their message towards the destruction of the wealthy would have proved hypocritical. Nearly every political album has fallen flat for this reason, so it is a testament towards The Knife’s vision that nothing on this album could top any chart. It is also startlingly brave to potentially isolate your fan base by putting out a record as daunting as this. It turns out The Knife are even more fearless than we thought, and they managed to make some spectacle worthy music while proving it. When looked at by these means, “Shaking the Habitual” is a complete success; unfortunately, it won’t change the world.

Track Listing:

1.) A Tooth for an Eye*

2.) Full of Fire*

3.) A Cherry on Top

4.) Without you my life would be Boring

5.) Wrap your arms Around me*

6.) Crake

7.) Old Dreams Waiting to be Realized

8.) Raging Lung*

9.) Networking

10.) Oryx

11.) Stay Out Here*

12.) Fracking Fluid Injection

13.) Ready To Lose*

* – Album highlight

Album Review: Justin Timberlake – The 20/20 Experience

by Rio Toro

Justin Timberlake: 20/20 Experience

Similar Artists: Beyonce, The-Dream, Michael Jackson

Genre: Pop, R&B

Label: RCA

The past six years have been kind to Justin Timberlake. While he was always known as a talented performer with a silky smooth voice, his ambition has grown tenfold to where he is now recognized as a talented actor, producer, and a suit & tie wearing entrepreneur. He is a man who has gradually shifted his image to the point where the clan of haters that spawned against him during his intrepid N’Sync days no longer have means to continue hating him. However, to be an artist who can no longer be reviled is both a blessing and a curse.

Even for those of us who weren’t teenage girls in 2002, ever since the Timberland produced stunner “Cry Me a River”, JT’s appeal has become hard to resist. In 2006 with FutureSex/LoveSounds, JT broke free of being a guilty pleasure act and put out an honest-to-god brilliant record. Music fanatics left and right were coming out and renouncing their love for the singer. His hiatus brought upon further analysis that has led many to feel that FutureSex is one of the quintessential pop albums of the 2000’s. Although his presence in social media never escaped us for more than a moment, (and as funny as some of those SNL skits were) we soon missed hearing him in his pure non-comedic vocal mode. Regardless of whether this album is good or bad, no one should still be questioning whether it is worthy of your attention, like any highly talked about pop album, the question is if this release is worthy when compared to the anticipation and hype surrounding it.

So now that we are listening to the new album, is it really all that big of a deal? Actually, it really isn’t, and that is disappointing for those expecting something profound. Aptly titled the 20/20 experience, the album represents a glimpse into a perfect life — the problem is, perfect can be pretty boring when taken in art form. This dullness is especially apparent from a lyrical standpoint, because while hearing about perfect marriages and soul mates is lovely, it doesn’t quite get under your skin. This would be forgivable if the album was emotive or even catchy enough, but nothing here proves to be grasping on a deeper level. It’s not from a lack of ambition though, as only “That Girl” could be considered a concise radio-friendly pop song. The tracks mostly hover around the 7 minute mark, but unfortunately most are not worthy of their extended time. A few songs do prove to be sprawling spectacles of sound, but it is solely because of the production rather than song writing or vocal performance – both of which are surprisingly lazy.

And yes, this album has ridiculously good production, but would you expect anything less? I mean, just look at the amount of top-notch producers who worked on every track — it almost feels too obvious that this album is incomparably smooth and gorgeous. It doesn’t take away from the experience while listening, but I wish I had something real to hook me in that wouldn’t disintegrate with time like the beats surely will. I’m being a bit too harsh actually; the album’s saving grace comes near the end with the penultimate track “Mirrors”. It is a truly heartfelt and drenching love song that you will wait patiently to hear every time you play the album. While the rest of the songs are a mixture of fun, inventiveness, and sexiness, their most defining characteristic may be that they are hollow.

Track Listing:

1.) Pusher Love Girl

2.) Suit & Tie

3.) Don’t Hold the Wall

4.) Strawberry Bubblegum*

5.) Tunnel Vision*

6.) Spaceship Coupe

7.) That Girl*

8.) Let the Groove Get In

9.) Mirrors*

10.) Blue Ocean Floor

* – Album Highlight

Rio Toro

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