Dirty Projectors - Bitte Orca

Mix the vocal range of Mariah Carey, with the pop-genius of Timbaland, then throw in Dave Longstreth’s classical training and off-beat, rock-conscious originality, and you have my new summer anthem; the track Stillness Is The Move, my favorite on Longstreth’s most recent release, “Bitte Orca.” I wish I could sing along with Amber Coffman, but seriously I can’t hit those notes.

What I love about Bitte Orca is that it’s so damn listenable, even if I’m mostly speaking in comparison to Dirty Projectors’ previous releases. While releases like “The Glad Fact” (2005 - Western Vinyl) and “Rise Above” (2007 – Dead Oceans) leaned towards the overly experimental and technical, “Bitte Orca” is the perfect blend of the two characteristics that overpower his previous work, with roots in mainstream pop and R&B. About a month ago, I listened to a leak of this album all the way through, and got very excited about it. What first struck me and stayed with me for that month was the guitar work. Longstreth doesn’t just play the guitar well; he creates landscapes with it, as most evident on the tracks No Intention and Temecula Sunrise (my second favorite on the album). I think about what Vampire Weekend did last year with Africa-influenced pop rock. Then, I listen to Remade Horizon, the 8th track on “Bitte Orca,” and I think, “Wow, Dirty Projectors just did with one song what Vampire Weekend took an entire album to try to accomplish (and still didn’t quite get there).” Then there’s Two Doves, a ballad highlighted by classical arrangements and carried by Angel Deradoorian’s haunting vocals. Longstreth, in comparison, has a strange, but refreshing and sometimes even irritating voice that continues to surprise and impress me.

I’m giving this album a high rating because I feel like it’s more deserving than anything else I’ve heard this year…or last year, for that matter. As a whole, the album is only about 40 minutes long. It’s interesting, beat-driven pop, making it extremely easy to listen to. I haven’t taken it off repeat since I bought it, and I don’t think that will change within the next few days. I would have given it a 20 for originality if it weren’t for the nagging feeling in the back of my head that nothing should ever get full points for originality. So, I gave it 19, because honestly, it’s not quite like anything I’ve ever heard before. The only reason it gets 18 points for advancement instead of 20, is that although this album firmly secures Longstreth’s position among the most exciting and innovative musicians of the decade, I think that we still haven’t seen the best of him.


1. Listen start to finish - 20
2. Listen again within a week - 20
3. Originality - 19
4. Advancement - 18
5. Remorse - 20


Total - 97

Mos Def - The Ecstatic

Something I always seem to enjoy in music is a surprise. I love coming across a good album that I wasn’t anticipating. Mos Def has accomplished such a feat in his latest release, The Ecstatic. The Ecstatic is leaps and bounds better than Def’s 2006 release, True Magic (his worst album to date), and may be his best album since leaving Black Star.

On The Ecstatic, Mos Def takes his first giant leap forward by collaborating with Madlib on a number of songs. Madlib’s bongo drum/pipe organ beats give Def the ability to seem effortlessly talented, yet progressively accessible (a very hard combination to pull off). Def almost accomplishes this blend, but can’t seem to flee the mix-tape/unfinished feeling on several jams (i.e. "Pistola"," Pretty Dancer" and "Revelations").

Albeit flawed, The Ecstatic still brandishes several gems. Keep your ears open on “Auditorium”, for it’s 70’s kung-fu music intro and smooth fade in and out of a beautiful Madlib beat that gives you the impression it could have appeared on MF Doom’s Born Like This. “Wahid” has a thick bass line that emphasizes Def’s smooth flow and intense rhyming pattern. The most accessible track, “Life in Mysterious Times”, has a dirty south crunk style beat that stands out as the obvious choice for a first single. However, my favorite song is “Quite Dog Bite Hard”. This fast paced track is framed with a deep mallet drumbeat and a quick rhyming scheme that hardly leaves Def room to breathe (did I just spit hot fire? Seriously, rap that last sentence, I think I just became an MC).

Flaws aside, Mos Def’s The Ecstatic, is a great album for the current state of mainstream hip-hop. This album has just enough experimentation peppered with an adequate amount of hooks to allow accessibility. The Ecstatic might just be the transitional album many mainstream fans need to discover those lesser-known hip-hop gems that have been over looked for years. The Ecstatic is far from perfect, but if you take it for what it’s worth; a fun step into an offbeat MC’s sundry world, you are sure to have a good time.

1. Listen start to finish - 10
   
2. Listen again within a week - 13
   
3. Originality - 17
   
4. Advancement - 17
   
5. Remorse - 15

Total - 72

The Felice Brothers - Yonder is the Clock

The age of artificial product (from flavor all the way to intelligence) has deeply impacted the music industry. Almost every genre of music has seen the infiltration of drum machines, synthesizers, auto voice tuners and sound mixers. It seems to be more and more infrequent that a band produces flawed and even spontaneous music anymore. The Felice Brothers, on the other hand, have embraced and even come close to perfecting, imperfection.

Yonder is the Clock, the second studio release from the 4 brothers and close friend (Christmas) hailing from Palenville, NY, may seem to be quite amateur at first glance because of its less than polished qualities. For example, Ian Felice’s smokey voice often seems scratchy and occasionally off key. At times, the quintet even seems to miss notes and the arrangements can come off as under organized. I’m not sure how accidental these flaws really are, but they are brilliant.

The raw nature of Yonder is the Clock is worth the price of admission alone, but you get much more than miss-ques and spontaneity in this ambitious sophomore release. The Felice Brothers may have put their washboards and jugs aside since their self-titled debut, but the variety of instrumentation on Yonder is the Clock does not lack. Accordions and stand up pianos lace “Buried in Ice” and “Ambulance Man” with an eerie Cajun sound. “Memphis Flu” and “Penn Station” epitomize the spontaneous jam band feeling. “Katie Dear” and “Cooperstown” ground Yonder is the Clock with a slow earthy vibe reminiscent of Tom Waits.

Yonder is the Clock is a very unique listening experience. The album, as a whole, is a very raw and real endeavor. If you are part of the new indie/folk fan base you may be feeling like me, tired of the same old used sounds that have become the new mainstream. The Felice Brothers have taken this stereotype and shoved it in the garbage. Yonder is the Clock takes you on a ride that few will be willing to experience, but those who do will not be disappointed.

1. Listen start to finish - 17
   
2. Listen again within a week - 18
   
3. Originality - 17
   
4. Advancement - 13
   
5. Remorse - 18

Total - 83

Taking Back Sunday - New Again

New Again, I take this to mean, "Hey, we're Taking Back Sunday. No not that band that you have been listening to for six or seven years. We're a totally different group of dudes that have kept the same name despite numerous lineup changes." The fourth studio album and second on Warner Brothers has yet again a different lineup. The constants, somewhat, are singer Adam Lazzara, guitarist Eddie Reyes and drummer Mark O'Connell. Who cares about those other guys anyway?

Fred Mascherino left the band in 2007 stating, "The band was more about cooking food than making music." Harsh words from somebody who played with the core trio for two albums and nearly four years. New Again certainly misses Fred who seemed to almost bring competition with Adam as the dueling vocals that were present in the previous albums are non-existent on this one. Instead we get the rest of the guys echoing what we've just heard Adam sing, not what I would call original, or for that matter appealing.

Musically the album is typical Taking Back Sunday full of standard drum beats, picked guitar chords and mostly up-tempo-tap-your-foot-to-the-beat tracks. There does seem to be something missing, perhaps any advancement from previous work may be what I am looking for. The lead single "Sink Into Me" would be radio friendly, in 2003. Fall Out Boy seems to play the "catchy sing-along pop, but still kind of punk rock" much better, quite the reverse from where Taking Back Sunday was after album number two.

The vocals are less "emo" and more "blah" than the previous albums. For instance on "Summer, Man" a tribute to teenage angst or perhaps geared towards those summer salesman, "The summer is over and I doubt, I doubt/ I'll be seeing you around, I'll be seeing you around." Perhaps Lazarra knows he's not at the top of his game as "Where My Mouth Is" states, "Now I'm staring at the floor/ where my second life just ended/ I lost not one but two friends/ yeah I had it all/ sitting on top of the world/ but I threw it away/ just to prove I could/ I put my money where my mouth is/ see I recall quite perfectly/ who I was both before and after the drugs." Maybe Fred was telling the truth about music not being the focus of this band. Let's hope they turn it around after touring on this album and put out something worth listening to.

1. Listen start to finish - 8
   
2. Listen again within a week - 6
   
3. Originality - 3
   
4. Advancement - 1
   
5. Remorse - 5
   

Total rating - 23

Super Furry Animals - Dark Days/Light Years

The ninth album from the eccentric Super Furry Animals, Dark Days/Light Years is an up beat synth movement that will surely get you taping your toes and shaking your wagon. This album is heavy on riffs and repetitive lyrics, how ever it never gets monotonous and it leaves you wanting to play the album over to see if you caught everything the first time. Most of the album was created through improvisation which only points out how talented the Super Furry Animals are.

The first track Crazy Naked Girls hits hard on the rythimic beats and then never lets up throughout. The next couple of tracks keeps on moving and lets you wiggle and dance. The single Inaugural Trams is completely at the for front of all music now a days by psychedelic rock bands. It even features rap in German. Flaming Lips eat your heart out, I'm listing to the SFA. While Inagural Trams is my favorite track on this egdy album the next track Inconvenience holds its own and needs to be listened to. Cardiff in the Sun slows it down a little bit but never leaves you uninterested. While the song Very Best of Neil Diamond leaves you feeling like you just came out of a rock concert from india.

Rarely does an album come along where you are dancing in your chair, car, apartment or where ever you maybe until the last track has ended. Where afterwords you want to hit the repeat button again cause you know you found something special. It seems to me that last years album Neon Neon had an overlasting effect on Gruff Rhys, which is outstanding and great news for anyone who enjoys music.

1. Listen start to finish - 17
   
2. Listen again within a week - 17
   
3. Originality - 15
   
4. Advancement - 17
   
5. Remorse - 17

Total Rating: 83

Bike For Three! - More Heart Than Brains

If you were to first hear of Bike For Three! as a MySpace collaboration between a Canadian rapper and a Belgian electronica artist who have never met, chances are most people wouldn't give this album the time of day, let alone the two listens I have given to write this review. The only reason I can think that anybody would give this a reason is that Canadian rapper happens to be Buck 65. Never heard of him? Good, now is the time to acquaint yourself!

This album is full of excellent storytelling and unpredictable rhymes. Take for example "MC Space" a moniker Buck undertakes to slay all Earth MCs "Sometimes my rhymes do inflict pain/ sends electric impulses through your brain...to take Earth MCs out is what I wish to achieve/ once this is accomplished I'll be destined to leave/when I leave they'll call me an Ace/ the cool MC from outer space...although my color just might be green/ I'm the flyest space MC that you ever seen...on my planet you must take a test/ I'm at the top of my class because I'm the best/ I use my rhymin' skills for what it is worth/ that's why I'm here to battle all MCs of Earth...If you ever wanna battle then get in touch/ so I can come back and dis your face/ pick up the telephone and dial MC Space." His delivery is hauntingly perfect and each inflection and hit of his voice is coupled with pristine production.

One aspect that has yet to be discussed is the production of Greetings from Tuskan. I was a little leary of this collaboration, not because of Buck, but a female producer that I was not familiar with. This could absolutely be released as an instrumental album and be an amazing listen! It is reminiscent of Blue Sky Black Death, Jel and Boom Bip all while forming a style of her own. What I anticipated to be the downfall of the album, actually provides an unexpected layer that moves this album into the great category. While the album title is clever, I would not think there is a lack of brains between these two. Luckily what I thought would be a one-off project is apparently going to be an on going process between the two musicians. Let's hope the next album can touch this one!

Here is a video of Buck performing this track in April of this year.

1. Listen start to finish - 18
   
2. Listen again within a week - 18
   
3. Originality - 19
   
4. Advancement - 17
   
5. Remorse - 18
   

Total rating - 90

Middle Cyclone - Neko Case

“I love your long shadows and your gunpowder eyes” may be Rorschachian proof that Neko Case has a dark side (maybe that’s why I like her so much). With a touch of Patsy Cline and a dash of Nancy Sinatra, Case has branded herself as an Alt. Country-Nior, Indie Superstar. Case has been involved with various musical projects (New Pornographers, The Corn Sisters, Moaw) since the 90’s, but it isn’t until her 2nd solo project, Middle Cyclone, that Miss Case hits her stride.

With a voice as beautiful as I may have ever heard, it would be hard to make a bad album (although it is possible, i.e. The Cranberries). The melodic peaks are high and echoing valleys are low on Middle Cyclone. However, don’t be fooled, Case is not a pushover. Neko definitely has a message and she will yell, “I’m a man eater!!” to get her point across (and she does).

Several songs on Middle Cyclone are note worthy. This Tornado Loves You, leads you in with an unusually cheery vibe that almost sinks itself, but is thankfully saved by Neko’s beautiful crescendos. Magpie to the Morning is a tender example of Case’s maturing penmanship. Neko’s powerful voice belting, “Come on sorrow, take your own advice, hide under the bed, turn out the lights” seems to produce courage and strength (as do many of her songs). Neko is her darkest and most haunting on Prison Girls, the album's gem (worth every penny of a 99 cent download).

Middle Cyclone is a great listen with potential to grow. With some collaboration from M. Ward, Case gets a push in the right direction. Although Middle cyclone is not perfect (People Got a Lotta Nerve) and has poorly executed ideas (Marias La Nuit, a 32 minute recording of insects at night), you will find yourself singing and dancing along the way.

1. Ability to listen to album as a whole - 14
2. Probability you will listen to it again within 7 days - 14
3. Originality - 13
4. Advancement - 17
5. Buyer's remorse – 15

total - 73

Iron & Wine - Around the Well

Sam Beam’s Iron & Wine is chuck full of original songs penned by his own hand. The irony here is that Iron & Wine’s (arguably) most recognized achievement is a cover of Postal Service’s Such Great Heights. The problem here is that new comers may step into Around the Well expecting an album built around their favorite tune. Around the Well is no such let down. Rest assured, Beam has a few tricks up his sleeve.

Around the Well is a collection of B-sides, covers, and forgotten projects. As is true with most “collection” albums, Around the Well lacks the tight unity characterized by Iron & Wine’s previous efforts. However, the bulk of Around the Well does have some glue with Beam’s haunting vocal and campfire arrangements. These pretty arrangements include Joy Division’s Love Vigilantes, the apex of Around the Well. The aforementioned Such Great Heights makes it’s way back to daylight after previously only being released on Zach Braff’s Garden State soundtrack and a Postal Service EP. Beam also shows his talent off by covering The Flaming Lips (Waitin’ for a Superman) and Stereolab (Peng! 33).

The first album and a half of this 2-disc collection are mostly Beam with his guitars. The result is Beautiful, but at times mundane (I found myself drifting away from the message a few times). However, the last 5 songs of Disc 2 show a little more experimentation. The unexpected synth of Carried Home starts breathing life into this album. The 2nd disc ends with a smattering of interesting arrangements and new sounds leaving enough of a grin on your face to make the 90-minute listen worthwhile.

Around the Well could have been a really good 12-song collection. Instead, we get a bit too much information and a few too many redundancies. Around the Well is worth a few listens as a whole, but I’m sure I will be selecting my favorites for playlists in a few days. If you like Beam’s previous work you are sure to like Around the Well. If you are a new comer, don’t be discouraged, for the entrée pick out your favorite songs, and then for the main course go buy any other Iron & Wine album.

1. Ability to listen to album as a whole - 13
2. Probability you will listen to it again within 7 days - 15
3. Originality - 16
4. Advancement - 13
5. Buyer's remorse – 15

Total- 72