Author Archives for Andrew McNally

Deafheaven – “Sunbather”

www.neogaf.com

Photo credit: http://www.neogaf.com

Grade: A-

Key Tracks: “Vertigo,” “Dream House”

“Sunbather,” a seven track, full-length record, is largely unclassifiable. Deafheaven have been both widely acclaimed in the critic world, and occasionally scorned in the metal world for their blending of genres. The band is currently being labeled as “black metal,” but there is a distinct shoegaze element to their music as well. To put it simply, Deafheaven sounds like a couple guys who wanted to start a metal band but listened almost exclusively to My Bloody Valentine. And there is nothing wrong with that.

This is a brutally heavy record. A majority of the tracks stretch close to or well over ten minutes, allowing the band ample time to stretch their wings and experiment. The songs build up upon themselves, twisting and growing, not unlike God Speed! You Black Emperor. In fact, if it wasn’t for the traditionally growly black metal vocals, Deafheaven would probably be pegged as a very heavy alternative/shoegaze band. But the vocals, as often inaudible as they are, add to the intensity, leaving Deafheaven declaring themselves as a metal band.

“Sunbather” is truly one of the most original and interesting albums I have heard in a long time. I do not have much of an affinity for most subgenres of metal, yet I could do nothing but gasp and let myself be wholly entranced by the band’s originality. Bands are finding it tougher and tougher to make volume equate intensity, but Deafheaven does it ceaselessly. Fans of heavier alternative bands might be able to transition over genres and appreciate what this band is doing. Nearly every track on this album, from the lengthy, abrasively loud songs, to the shorter and quieter interlude pieces, borders on perfection. Only the album’s closer, “The Pecan Tree,” is disappointing, solely because it ends anti-climatically, and this album needs a more proper climax. Give this album a few listens; it might just be one of the most original of the year.

If you like this, try: “Allejuah! Don’t Bend! Ascend!” – Godspeed You! Black Emperor.

-By Andrew McNally

Portugal. The Man: “Evil Friends”

Photo Credit: Under the Gun Review

Photo Credit: Under the Gun Review

Grade: B+

Key Tracks: “Modern Jesus,” “Holy Roller”

Portugal. The Man have somehow found their way to prevalence in the indie world. They’re not the most interesting band, but they are constantly on tour and they try (and usually succeed) to record an album every year. Their consistency might be what has helped to make them a name over the past few years. Whatever it may be, they picked the right time to make a record like “Evil Friends.” Famous producer Danger Mouse was brought in to diversify the band’s sound, and although his mark might be left a little too hard, the band was left with their best album yet.

Portugal. The Man have always been an enjoyable band, but it took many albums for them to start to hit outside their comfort zone. True, their comfort zone has switched from garage rock to more of a sweeter, indie-pop sound. The transition has been slow, though, and this album expands their sound while maintaining their musical innocence. Every track is a fun and bouncy dose of indie-pop, all radio-ready but different from the previous song. Danger Mouse helped the band expand their sound to every limitation of alt-pop, with the best possible results.

Interestingly, the lyrics consistently haunt at things deeper. They don’t always get there, but with song titles like “Creep in a T-Shirt,” “Evil Friends,” and “Modern Jesus,” some darker themes are clearly being presented. Religion and nasty break-ups are emotionally worked through, sometimes cleanly, sometimes not. The lyrics do not necessarily fit the music, but the quality of the package as a whole makes it possible to overlook this. Overall, it is not the most unforgettable album, or the most original. If some great indie-pop from a respected band is what you’re looking for, though, “Evil Friends” is the right direction to turn in.

If you like this, try: “Dear Miss Lonelyhearts” by Cold War Kids, 2013.

-By Andrew McNally

Camera Obscura – “Desire Lines”

Photo credit: Spin Magazine

Photo credit: Spin Magazine

Grade: C

Key Tracks: “I Missed Your Party,” “Troublemaker”

Indie-folk bands like Camera Obscura are generally not known for being adventurous and playing around with genres and ideas. Any fan or casual listener of the genre pretty much knows what he or she is getting into when a new album by a band like Camera Obscura comes out. But “Desire Lines,” the band’s fifth album and first in four years, is seriously lacking something. The album is almost minimalistic, relying on only key instruments in a majority of the songs. It adds a certain consistency to the record, that helps it to flow without any rough transitions between ideas. It also, however, starts to feel like one long, run-on song that was not very interesting to start with.

The album, as a whole, feels like an unfinished idea. Indeed, the final track, “Desire Lines,” ends like a normal song. On both listens I found myself checking to see if my Internet had crashed, not realizing I had hit the album’s end. Lyrically, there is little original going on. Some of the more stand out tracks, like “I Missed Your Party” and “William’s Heart” have boring and uninspired lyrics. They are presented, too, by pretty and rhythmic vocals, but singer Tracyanne Campbell does not sound like she believes in her own lyrics.

Musically, the album is largely devoid of any detail. Every song is dominated by conventional rock instruments. Most of the songs seem to take the same relative tempo, with only “Cri Du Coeur”‘s wickedly-slow (and ultimately exceedingly dull) tempo providing a switch. “I Missed Your Party” has a nice addition of horns, which does bring a listener back in towards the album’s close.

“Desire Lines” is a moderately enjoyable listen, to someone who likes indie-folk acts like Rilo Kiley. Once it ends, though, it is immediately forgettable. It is innocent and fun pop, but never tries to be remarkable or original. “Desire Lines” is a low point for the usually great Camera Obscura.

-By Andrew McNally

Queens of the Stone Age – “…Like Clockwork”

Photo Credit: Rolling Stone

Photo Credit: Rolling Stone

Grade: B

Key Tracks: “I Sat By the Ocean,” “Fairweather Friends”

“…Like Clockwork,” the long-teased and longer awaited new album from hard rock heroes Queens of the Stone Age, should be listened to with “Songs For the Dead” in mind, their behemoth, Grammy-winning album from 2002. “…Like Clockwork” is similar to “Songs” in three ways. The first is the re-introduction of former contributors Dave Grohl and Mark Lanegan, as well as ousted bassist and founding member Nick Oliveri (who only shows up in background vocals on two songs, but it is still a re-introduction). The other two similarities are thematic. “Songs” was a concept album, imagining a radio playing on a drive in southwestern America, and featured many Christian references. “Clockwork,” too, seems to feature a number of Christian references, if nothing more than metaphors. (Compare 2002′s “God Is in the Radio” to 2013′s “My God is the Sun”) Casual listeners might equate Josh Homme’s lyrics to those of the religiously-tortured soul of Dave Gahan, but Homme frankly chooses to sing about whatever he wants to.

The third similarity is the idea of conventional radio rock. “Songs” had a running theme of QOTSA’s songs playing on every station, in an attempt to solidify themselves as the kings of conventional rock radio. It worked, oddly enough, and they reflect that on “Clockwork.” Every one of the ten tracks feels significantly more conventional and regular than anything they’ve done before, with musical build-ups in slow songs and catchy guitar rhythms in the faster ones. Homme’s vocal melodies are incredibly catchy, even radio-friendly (particularly on the track “If I Had a Tail”). The album is still heavy, of course, but this is a side of QOTSA that has always stayed subtle. It is the band’s shortest album, and has only three songs over five minutes, a departure from the five on “Songs.” Homme likes to throw the audience loops and keep things fresh, which is tough to do for a rock band. “Clockwork” is almost a bit of a joke, in a way, that the original thing about it is its unoriginality. One almost has to wonder if the almost-optimistic sound is a response to Homme’s brush with death, or whether it is more of QOTSA’s relentlessly great tongue-in-cheek humor.

This does lead to some problems, however. “Keep Your Eyes Peeled,” the opener, never hits the intensity it thinks it does, and although the hauntingly-rhythmic “I Sat By the Ocean” follows it up, the tepid and unnecessary “The Vampyre of Time and Money” sits right after. And having this feeling of ‘Is this a joke or not?’ is a little iffy given that people have been waiting six years for a new album. The album grows stronger as it proceeds though, bolstered by barely audible but still appealing guest spots from Trent Reznor, Alex Turner and Sir Elton John (which was a surprise to come across). Homme is still heroically egotistical at times, which is when QOTSA is at their best. The album lacks at some points, falling too far into the unoriginality, but it is yet another great entry from the band overall.

-By Andrew McNally

Baths – “Obsidian”

Photo Credit: CMJ

Photo Credit: CMJ

Grade: A-

Key Tracks: “Incompatible,” “No Eyes”

Baths, the moniker for solo musician Will Wiesenfeld, received mass critical acclaim for his 2010 debut, “Cerulean.” The album was lo-fi alternative, recorded entirely in Wiesenfeld’s bedroom. Musically, the album was a bouncy dose of electronica, often fun and reminiscent of Passion Pit. His follow-up, however, is not any kind of status quo. Wiesenfeld was already setting out to make an album completely independently, which suggests the idea of a darker tone. Soon after, he became rundown with an awful case of E Coli (!) that left him bedridden and unable to perform even basic functions. Meaning, as a musician, he was left unable to express his inner emotions. “Obsidian” is a dark record, and even when it sounds danceable, it still feels dreadful and foreboding.

Musically, Wiesenfeld is on the same level as his debut. Most of the tracks feature just him on vocals and various keyboards and piano. It still sounds as if it were recorded in a bedroom, and may have been. The music, at times, takes a darker tone than his first album. There is little fun here. Tracks like “Worsening” and “Earth Death” suggest darker, personally destructive times. Some songs, like “No Eyes,” have more of a bouncy rhythm, only to get interrupted by noise for a few beats, before returning. The dark tone is not necessarily consistent, as occasionally Wiesenfeld will let more of a fun sound slip in. “No Past Lives” is built around a very original, fun rhythm, but one that really does not fit on the album.

Lyrically, Wiesenfeld is expressing his inner anguish at his post-debut troubles. “Earth Death” centers around the line “Kill me / I see so clearer.” The album opener, “Worsening,” features the darkly comic line “Where is God when you hate him the most?” Religion, death, and meaningless sex are topics on the album, marking a vast departure from his debut. There is some brilliant, dark lyricism here. Disgruntled 90’s alternative bands are re-imagined as a pained solo musician, recording alone. Artists in any genre often have trouble with their sophomore albums, but Baths has found a way to make something wholly different from his debut. “Obsidian” is an intensely pounding and completely satisfying listen.

-Andrew McNally

Laura Marling – “Once I Was An Eagle”

(Photo credit: Rolling Stone)

(Photo credit: Rolling Stone)

Grade: B+

Key Tracks: “Breathe,” “Saved These Words”

British singer-songwriter Laura Marling has been receiving constant praise for her work, including immediate approval of her fourth album, “Once I Was An Eagle.” The album does it’s job – it is an honest and effective folk album. But it does not start off that way. The first three tracks, “Take the Night Off,” “I Was An Eagle,” and “You Know,” are fairly tepid folk songs, with uninspiring lyrics and Marling’s vocals sounding phoned in. It is not until the fourth song, “Breathe,” that the album’s diverse originality starts to seep in. The song is a beautiful and building work of emotion. After “Breathe,” the album opens up into a mix of tracks with very diverse origins. Some have fast-paced with booming percussion, some are softer and more traditional of a singer-songwriter. Most songs feature just Marling and a slight instrument or two in the background. The album, as a whole, flows well in its transitions between different styles.

Once the album expands, there is a sense that Marling puts all the elements of herself into the record, exampled in the different styles. The songs have consistently great rhythms, no matter the volume or tempo. Marling deals with some tough thematic material in her lyrics, typical of a successful folk record. The album is long, stretching just over an hour, and it starts to feel tedious during the decrescendo towards the end. But the album’s final song, “Saved These Words,” is very reminiscent of “Breathe” in that it is a building song, a tough and perfect finale to the album.

Musically, the transitions between different styles keep it interesting, tough to accomplish for a folk singer. Marling’s guitar rhythms are often catchy and interesting, some less stale than others. Although the album starts slow, it turns into another near-perfect album for the acclaimed singer.

-Andrew McNally

Alice In Chains – “The Devil Put Dinosaurs Here”

(Photo credit: www.imwan.com

(Photo credit: http://www.imwan.com)

Grade: B-

Key Tracks: “Voices,” “Pretty Done”

A cut-and-paste rock album with a different singer might not be what all the 90′s revivalists are looking for, but Alice In Chains prove they still have some energy and spunk left. It’s been eleven years since the death of the original Alice In Chains singer, Layne Staley. He was a reclusive and tormented man, which brought life to the dark lyrics of Alice In Chains’ early music. The band’s reunion in 2005 with a new singer, William DuVall, was seen as misguided by many. But the band trekked on and released “Black Gives Way to Blue” in 2009 to surprising critical acclaim. Original guitarist and composer Jerry Cantrell picked up lyrical duties as well, becoming the band’s chief songwriter.

Their new album, “The Devil Put Dinosaurs Here” is more of the same for the band. The lyrics are typically gloomy and cover a wide spectrum of dark topics, including songs with titles like “Scalpel,” “Choke” and “Hung on a Hook.” The lyrics, penned by Cantrell, are effective, although the title track’s tackling of the blending of politics and religion just flat out does not work. The music is still loud and shrieking, with the monstrous and sludgy guitar tone from their previous album returning. Even in their advanced years, Alice In Chains are still being praised for bringing originality into heaviness.

“Devil” flows surprisingly well. The transition between the album’s first two tracks, “Hollow” and “Pretty Done,” is nothing more than a moment of silence before a similar rhythm comes in. Likewise, the fourth track, “Voices,” one of the slower songs, ends by building up volume before transitioning into the more haunting sound of the title track.

There is a problem with volume, however. The band focuses on the volume of it’s doom-and-gloom guitars, but it is consistently overpowering the vocals. DuVall and Cantrell share vocal duties, both with strong voices. On many tracks, though, the lyrics are only audible enough to hear, not audible enough to discern.

Alice In Chains’ original run had a number of emotionally powerful albums bolstered by Staley’s lyrics coming from real pain. Cantrell, chief lyricist, successfully follows in Staley’s footsteps in the manner of dark and haunting poetry. Post-Staley Alice In Chains, however, sounds like a band having fun in the studio, a band that probably is not feeling the lyrics they are singing. There is not necessarily anything wrong with this, it just further separates them from the 1989-1996 Alice In Chains that was popular on rock radio. “The Devil Put Dinosaurs Here” is an inventive rock album that plays around with traditional rock music while maintaining the sound. It does not resemble the original Alice In Chains, but it is still an enjoyable listen overall.

-Andrew McNally

John Fogerty – “Wrote a Song For Everyone”

(Photo credit: Consequence of Sound)

(Photo credit: Consequence of Sound)

Grade: A-

Key tracks: “Lodi,” “Who’ll Stop the Rain”

When a respected classic rock musician starts to get up there in years, they’re allowed to start having some fun in the studio. That’s exactly what Fogerty – famous most for Creedence Clearwater Revival, and some for his solo work – does on his ninth solo album. “Wrote” isn’t a duet album, it isn’t an original album, and it isn’t an album of covers, which many older singers resort to. Instead, it’s a healthy mix. A majority of the songs are reworkings of older songs of his, with guest stars. Fans of classic rock will instantly recognize CCR favorites like “Proud Mary,” “Who’ll Stop the Rain?” and “Fortunate Son” getting reworked, along many others. And to mix it up, Fogerty throws in a few original songs, just to prove that he hasn’t lost anything.

The guest stars on the album read like a planned tribute album, only the man being tributed showed up. Bob Seger and Alan Jackson, contemporaries of Fogerty, make two of the best appearances. Country singers like Keith Urban, Miranda Lambert and Brad Paisley contribute, as do current rock bands My Morning Jacket and Foo Fighters. The album’s most entertaining song, “Lodi,” features Shane and Tyler Fogerty, presumably his sons. The title track, though not one of the more memorable ones, features a unique pairing of Lambert’s vocals, and guitar work provided by Tom Morello of Rage Against the Machine. Jennifer Hudson, known for her powerful voice, dominates “Proud Mary” at the album’s finale. “Proud Mary,” one of classic rock’s most famous songs, has been covered by Tina Turner in the past, and this likely serves as an homage to her equally powerful version.

This album gets a high rating simply because there is nothing wrong with it. Fogerty, now 68 (happy birthday!), recorded this just to have some fun. There is no purpose to this album other than to show that Fogerty still loves his material and loves to perform. Fogerty successfully brings the fun to the audience, making for a completely enjoyable listen that erases that wonder of why the album exists in the first place. I even looked past some guest stars I do not like (namely, Kid Rock and Bob Seger) and recognized the great reworkings of the songs. Fogerty’s voice, too, is still kicking. Tom Petty and David Bowie might be the last holdouts of classic rock still recording successful new material, but Fogerty sounds as good as he ever has, kicking back and having fun.

The National – “Trouble Will Find Me”

(Photo Credit: Rolling Stone Magazine)

(Photo Credit: Rolling Stone Magazine)

Grade: A

Key Tracks: “Sea of Love,” “Demons”

With a title like “Trouble Will Find Me” and two opening tracks called “I Should Live in Salt” and “Demons,” the National give the immediate impression that their sixth album will be more of the same introspective and self-demonizing alt-rock that has brought them this far. And in many ways, the album is a continuation. Singer Matt Berninger is 42 now, so this is no time to drop the cynicism and open up. The National have always relied on sad, relateable lyrics to drive their songs close to home. “Trouble Will Find Me” continues the gloom, but after all these years, Berninger has begun to expand his horizon a bit.

Songs like “Sea of Love,” which might be my favorite song of the year so far, rallies about a situation filled with bad choices, a typical National song. What is not typical of the National, however, is some moments of dark humor and some namedrops across the record (Nirvana’s “Nevermind” album being one, to bring home the sadness). The National’s best albums, the two that preceded “Trouble,” relied on slight changes from the previous album, to make a separate but familiar listen. While the previous changes have been largely musical, “Trouble”s change relies more in lyric. Berninger seems to be making an attempt to bring himself closer to the listener, although the National have always been an engrossing band already. Still, Berninger sings about his own troubles, just ones that he relates to the listeners. The album’s cover, an interesting one on it’s one, serves as a symbol for these troubles as Berninger is swallowed by his inner demons and can only look to himself for help. Somehow, he makes us all understand.

The National have never been stupendous musically, and “Trouble” is no different, as the band focuses on the emotional impact of the lyrics. “Sea of Love”s pounding rhythm is one of their loudest songs, and is kind of a surprise on the album. But a majority of the songs are moderate-volume, guitar- or piano-driven tracks with repetitive music and lyrics, the band’s style. Sufjan Stevens, Richard Reed Parry and St. Vincent are among the album’s guest stars, with St. Vincent providing brief but powerful vocals on “Sea of Love.” The album may run a little long, and it feels a little anticlimactic after “Sea of Love”s boom, but the National have a way to always stay in the listener’s head. “Trouble Will Find Me” does this even more than their previous albums, and it might just be their best one yet.

-Andrew McNally

The Front Bottoms – “Talon of the Hawk”

(Photo credit: Property of Zack)

(Photo credit: Property of Zack)

Grade: C-

Key Track: “Twin-Size Mattress”

If you’ve never heard the Front Bottoms’ 2011 self-titled debut, then you might see this, their sophomore album, as a pretty unique blend of borderline-spoken word poetry, acoustic guitar, and beating drums. When this album was leaked by the band, however, the reaction was tepid. “The Front Bottoms” is one of my favorite albums, probably in my top five of all-time. A lot of my friends and I love this band dearly (I’ve even made friends because of mutual love for this band). On the opening chords of “Au Revoir,” a letdown was already starting. Bands often have their sophomore albums suffer from a bland rehashing of their debuts, and the Front Bottoms are no different.

The band – a duo in the studio – created a wholly original type of music on their first album, which is continued here. I can only call it “alt-emo folk-pop.” Their songs rarely feature anything more than acoustic guitar, drums and vocals that are barely sung, yet the band has a taste for making their music seem like it is always about to fly off the rails; like the musicians are about to lose control of their own song (For the best example, look up “The Beers,” their fastest and best song). The lyrics jump from sad poetry to non-described personal experiences frequently, even mid-line. And the poetic lines are often poignant, even ‘cutesy,’ still hitting the listener in the gut harder than they should.

But “Talon of the Hawk” is distinctly lacking. The lyrics are significantly cornier. They feels less poetic and more lame and forced, and the vocal delivery is not as random, with the verses formed into actual rhythmic lines. Musically, the band has never been proficient, as it is not their focus, but they are even less so here. The tracks on their first album are all instinctively catchy. On the second, they are almost all forgettable. Even the production quality, pristine, admittedly, feels better than it should. To their fans, the Front Bottoms are two goofy guys unaware of their own growing popularity, which does not come through on “Talon”s very professional recording style. The album’s only redeeming song is “Twin-Size Mattress,” both lyrically and musically strong. (The song is the album’s leadoff single. A video was recorded which, had I been standing ten feet to the right at a recent NYC show, I would’ve been in)

The album is dividing Front Bottoms fans. Some love it, some are left with a bad taste in their mouths. It is a serious decline from their first album in every way. Those previously unassociated with the band might find it much more intriguing and entertaining than those who ate up their debut. Reactions to pieces of work are, of course, subjective, but they are even more so with “Talon of the Hawk”

-Andrew McNally