Mavis Staples – “One True Vine”

(Photo Credit: Pitchfork)

Grade: B+

Key Tracks: “Jesus Wept,” “One True Vine”

Mavis Staples, 73 years old, proves on her thirteenth studio album that she can still make any song sound gorgeous.

Mavis Staples originated as a member of the Staple Singers, the legendary gospel-soul group. But after the family stopped recording music, Mavis came into her own through her solo work. “One True Vine” finds her reconnecting with the man who produced her previous record, Wilco frontman Jeff Tweedy. The songs on the album are primarily covers, ranging from Nick Lowe, to a surprising cover of a Funkadelic song, and a cover of a song from the alt-rock band Low (that’s only a few weeks old, and was also recorded by Tweedy). Tweedy composed two of the tracks, “Jesus Wept” and “One True Vine,” two of the best songs on the album. Staples’ voice sounds as strong as ever, as she takes sometimes painful and emotional lyrics and turns them into beautiful songs.

Tweedy’s work on the album, as with Staples’ previous work, is intentionally minimalistic. A majority of the tracks are just vocals and acoustic guitar, with an occasional inclusion of drums or other instruments. Tweedy played all of the instruments on the album except drums (which were played by his son), which adds to the low-key feel. The focus of the whole album is on the vocals. “One True Vine” is a short and quiet album, stripped away of any distractions. Staples still has a beautiful and strong voice, and the album is a strong and creative blend of gospel and soul because of it.

-By Andrew McNally

Veenstra – “Six Months of Death”

Photo Credit: Bandcamp.com

Photo Credit: Bandcamp.com

Grade: B+

Key Tracks: “A Bear/A Fire/A Cave,” “Stone Burial”

Francois Veenstra, a solo musician from Brazil, is in the midst of an existentially lo-fi trilogy. His second album, “Six Months of Death,” was recorded like his debut, in an ultimate lo-fi setting: a bedroom, alone, with a handheld recorder. The album’s title sets the existential tone and states that the album is going to be no less introspective than his previous effort, “Journey to the Sea”. The first album in the series saw a protagonist following a river to the sea. “Six Months of Death” follows this protagonist as he finds the sea and begins to wander aimlessly, realizing the pointlessness of his previous adventure.

Musically, the protagonist’s existential pains are felt through winding, quiet music, all recorded by Veenstra. The songs are more like movements, building up or winding down at unexpected points. The transitions between songs feel more like thought breaks than song breaks – which is good, as it implies that the album works well as a whole. His vocals are tough to decipher, but they only show up sometimes, as the whole entity of the album seems to encompass this character and his travels. The album is experimental lo-fi alternative stuff, often quiet but getting the point across. Veenstra is a pretty decent musician, commandeering drums and bass just when the muted guitar begins to get a little slow. It is certainly quiet and toned-down, so lo-fi fans take notice. I’m curious what will happen to the protagonist next.

Veenstra’s albums can be found on Bandcamp, and he runs the blog Beings Being.

If you like this, try: “Whenever, If Ever” by The World Is a Beautiful Place & I Am No Longer Afraid to Die, the previous review before this one.

-By Andrew McNally

The World is a Beautiful Place & I Am No Longer Afraid to Die – “Whenever, If Ever”

Photo Credit: Top Shelf Records

Photo Credit: Top Shelf Records

Grade: B+

Key Tracks: “Picture of a Tree That Doesn’t Look Okay,” “You Will Never Go To Space,” “Ultimate Steve”

The band trying to claim their prize for current longest name have released their full-length debut on the glorious Top Shelf Records. The band – often abbreviated, or called “The World Is” for short – is a six-piece from Connecticut. They differ from Top Shelf’s normal bands, who fall under the umbrella term of ‘modern emo’ (here’s looking at you, Snowing). They are definitely a modern emo band, but one that is even more original than their label-mates. Their first EP’s, “Formlessness” and “Josh Is Dead,” were four and three tracks, respectively. But in those three tracks the band established themselves as one that was not afraid to play around with lo-fi influences that can also include group choruses and screaming intensity.

Those previous EP’s showed that The World Is was not afraid of recording a quiet and toned-down piece that builds to a big and loud payoff later on the album. While bands will often do this in a song (think: nearly every Sonic Youth song), The World Is does it as arcs. Two songs might be separate ideas that contribute to a booming climax a song later. It’s all very unique and often very wrenching. Their first full-length, though, suffers from too much build-up and not enough pay-off.

That is not to say the album is not good. It’s great, it’s absolutely great. Even in it’s outwardly subdued moments, the band can easily create an uneasy feeling, a sense that something is not right. They competently do this in every one of the album’s ten songs. This is what emo sounds like now, inspired equally by shoegaze, experimentation, other current emo bands, and probably suburban CT life. The World Is is one of my favorite bands out there now, they’re pioneering a wholly new sound. “Whenever, If Ever” just needs one or two more pay-offs of screaming vocals to separate the quiet moments. Still, this album is unique. It has its faults, but it is extraordinarily original. And at the end of the day, a band making some faulty quests into new territory is largely better than one sticking around in familiar territory.

If you like this, try: Their old EP’s, mentioned above. All are available on Spotify and Bandcamp. Alternately, “Fun” by Algernon Cadwallader or “I Could Do Whatever I Wanted If I Wanted” by Snowing. Check out every band on Top Shelf Records, if you’re truly interested.

-By Andrew McNally

Zomby – “With Love”

Photo Credit: Spin Magazine

Photo Credit: Spin Magazine

Grade: B

Key Tracks: Disc 1 – “Overdose,” “777”

Disc 2- “How to Ascend,” “With Love”

Zomby is a solo electronic musician, and “With Love,” his third album, finds him exploring brief ideas and a mid-90’s influence. The album, almost entirely instrumental, is largely compromised of minimalistic hip-hop beats. The album feels like hip-hop with the vocals. The album is two discs, separated by emotions. Disc One is “rough,” and features seventeen blasts of party-dreaming hip-hop beats, begging to be freestyled over. There is a certain roughness to this album, largely in the transitions between ideas. Most tracks do not end, but abruptly cut to the next in a rough transition. And although it is minimalistic, it has a certain heaviness to it. Disc One feels like it was made after a binge on dirty 90’s hip-hop, and it is successfully reminiscent of it.

Disc Two is “contemplative,” although there is not a sharp departure from Disc One. It is still minimalistic electronica, just a little more hushed-down. This album is sixteen tracks, not seventeen, showing that each idea still ends just as it becomes old. The average length of a song on either album hovers around two minutes. If I recall, there is only one track with vocals on this album, compared to two on the first disc. This album lacks the party grab, which was intentional. But when the music is quick bursts of what is largely background music, it starts to border on unnecessary. Still, it makes for something to put on in the background when you’re going about your day. Zomby’s stuff might be exactly what you’ve been hearing for years, and it feels pointless at times. But it is an enjoyable listen, for parties or guilty pleasure.

If you like this, try: Disclosure’s debut “Settle,” more minimalistic electronic that’s perfect for parties.

-By Andrew McNally

Sigur Ros – “Kveikur”

Photo Credit: Wikipedia

Photo Credit: Wikipedia

Grade: B+

Key Track: “Brennisteinn,” “Hrafntinna”

Prolific and critically-acclaimed Icelandic alternative band Sigur Ros’s seventh album is a tad darker and more abrasive than their previous works, and it retains the band’s minimalistic qualities in its engrossing songs. I cannot speak to the lyrics of the album, as I know absolutely no Icelandic, but the vocals behind the lyrics fit amongst the band’s haunting music.

The band has always approached their music with a minimalist approach, consistently churning out music that builds upon itself, like a moderately more accessible Godspeed You! Black Emperor. Although they have always taken this approach, and continue to do so many years later, “Kveikur” has a slightly darker tone. The album’s opening track (and longest), “Brennisteinn,” begins with a pounding synthesizer rumble that sets the tone for what is a darker experience than the rest of their albums.

Sigur Ros have never been ones to seem comfortable with fame, and their ever-growing popularity might be a cause for the darker tone. “Kveikur” might serve as a response to all of the critics and musicians that cite Sigur Ros as inspirations and jumping-off points. The album might also be reflective of the loss of keyboardist Kjartan Sveinsson, who left the band last year. This is only their second album without Sveinsson since their debut, “Von,” in 1997.

“Kveikur” is a dense album, with a lot of winding music. It requires some participation from the listener, which is deserved. Sigur Ros are getting a little darker and they expect their core audience to follow. Thankfully, they provide no reason why we shouldn’t. The album builds and builds, and totally engrosses the listener. At points, it is repetitive, but this is Sigur Ros. We should all be on-board with what they’re offering.

-By Andrew McNally

Kanye West – “Yeezus”

Photo Credit: E!

Photo Credit: E!

Grade: B+

Key Tracks: “I Am a God,” “New Slaves”

(Note: This and a few other of my reviews will be featured weekly on The Filtered Lens)

Kanye might be one to constantly reinvent himself, but “Yeezus” will still be a mark in his discography, the moment where his music truly hit revolutionary ground. “Yeezus” is an eclectic work, resulting in what has to be the first ever industrial rock / hip-hop pairing. This is the result of Daft Punk, Rick Rubin and Bon Iver frontman Justin Vernon all showing up with writing and producing credits.

Musically, “Yeezus” is a sonic experience. West’s rapping is mixed over blends of house and industrial music, with dramatic tonal shifts at any moment. “I Am a God” switches from rapping to ambient screaming at one point. The music lands anywhere from personal to terrifying, in a way that flows throughout the whole album. It feels minimalistic, too, despite the genre blending and the originality. Rubin was brought in to make a more stripped-down sound. West released no singles for the album, because hearing a track on the radio would diminish its feeling of placement as musically, the album can only be appreciated as a whole.

West’s lyrics lack any sort of flow, providing a surprising disappointment for the album. They are effective on every song, but there is no zeitgeist, no general theme. Songs like “I Am a God” and “New Slaves” aim to make some serious notes on culture, while “I’m In It” is nothing more than a crude song about sex. With no flow, the statement songs are less effective because they sound like rants, even if they’re well-written and well-performed. Each track, individually, has great lyrics, but not the album as a whole. Still, “Yeezus” is a powerhouse of originality, worthy of all the attention it is receiving.

-By Andrew McNally

The Lonely Island – “The Wack Album”

Photo Credit: Pitchfork

Photo Credit: Pitchfork

Grade: B

Key Tracks: “I F****d My Aunt,” “The Compliments”

“The Wack Album” is more of an amalgamate of ideas. The band throws a lot of ideas at the wall,and as soon as one starts to get stale, they move on to the next. Not everything works, but some stick very well. Only two tracks from this album were viral sensations from “SNL,” a show which none of the three members are a part of anymore. This has allowed them to expand into some new territories, with mixed results.

Comedy troupes that spoof hip-hop are certainly not a new thing. It is a very tired route for comedians to take, thanks to the Internet. The Lonely Island were by no means one of the first groups to do it, but they were among the first of the Internet era (remember “Lazy Sunday”? The song aired on “SNL” eight years ago). The Lonely Island have come under the ironic problem of having to sidestep the generic hip-hop parodies that they helped spawn. “The Wack Album,” their third full-length, has its hits and misses. The guest list on the album is as expansive as anyone could possible ask for: Lady Gaga, Justin Timberlake, the return of T-Pain, Kendrick Lamar, Adam Levine, Kristin Wiig and Hugh Jackman, among others. The guest stars, all having fun in the studio, help to add to the album’s theme of spoofing the very foundations of hip-hop.

The best bits on the album are the ones that have the simplest concepts. “The Compliments” is the three band members – Akiva Schaffer, Andy Samberg and Jorma Taccone – simply complimenting each other, making fun of insult songs. The song features the best guest spot, from rapper Too $hort, who has no idea what he is doing there. “Meet the Crew” is a parody of rappers constantly saying their own names in songs by being a band introduction with many, crazy personalities (ending with Rod Stewart, played by Samberg). “I F****d My Aunt” has the band members (and T-Pain) recounting childhood memories and following them up with “and [x] years later I f****d my aunt.” It’s an incredibly simple concept with no context, and works well because of it. The album’s best tracks all share this.

The more inventive and inspired bits actually do not work as well here. “YOLO” and “3-Way” are well thought-out, but regular “SNL” viewers are already familiar with those two tracks. “I Run NY” features Samberg rapping from the perspective of NYC mayor Michael Bloomberg. The song’s inspiration was, inventively so, to spoof all NYC rappers that claim to own the city. But the song falls flat as it quickly becomes a bit about Bloomberg saying profane things he would never say normally. “I Don’t Give a Honk” and “Hugs” cancel each out, as both songs are about replacing the F-word with a safer term, neither of which are very funny. Finally, “Diaper Money” is rapping from the perspective of a married man, but a very profane one, and it all doesn’t really make sense. The Lonely Island have never been ones to stray away from crude and bodily humor (“Dick In a Box” won them an Emmy), which is why the more inspired ideas end up missing. The characters themselves tend not to make sense. “The Wack Album” is at it’s best when the trio, guests or not, are stripped down and working solely with funny concepts.

If You like this, try: “The Sounds of Science,” the Beastie Boys box set that contains some of their lesser-known funny songs. Another white trio from NY that revolutionized comedy-rap.

-By Andrew McNally

Myq Kaplan – “Meat Robot”

Photo Credit: Vegetarian Star

Photo Credit: Vegetarian Star

Grade: A

Key Bits: N/A, because they’re all equally great.

“You seem like a good crowd, like my demographic, which is people that know the word demographic” quips Kaplan on the opening bit of his album, “Meat Robot.” The comedian, still on the rise, is known for rapid-fire jokes that often involve clever wordplay and math. Kaplan is a vegan, and has used that as the basis on many bits from his two albums, this and his equally excellent debut, “Vegan Mind Meld.” The third track on “Meat Robot” sees him coming up with names of fake meats that have yet to be invented, including fake chicken called “Fiction,” “Chicken Pretenders,” “Baby Back Fibs” and “Ven-Isn’t.” This is just a taste (pun somewhat intended) of the wordplay Kaplan delves into.

Kaplan comes off as being as nerdy as he looks, and he has always used this as an advantage in his comedy. “Apollo is Apollo in Greek, in Roman, in French, in everything except Spanish, where he is a chicken.” Yet he still makes bathroom humor and race jokes, in totally inverted and original ways that appeal to broad audiences.

The only fault in “Vegan Mind Meld” is that Kaplan’s rapid-fire delivery went too fast at points, and although it makes it funnier, it requires a few listens to pick up every joke. He is still very speedy on this album, but he slows down a bit. At points, he audibly stops himself to slow down. Every bit on this album sticks. Some require a little work and patience, others are instant one-liners. But Kaplan’s grasp at smart and original stand-up is wholly original. The only fault on this album is not one of Kaplan’s, but the constant shrill of one audience member who almost ruins jokes. “Meat Robot” is a work of comic brilliance, one that tests the audience, but pays off on every single joke.

If you like this, try: “I Have a Pony” by Steven Wright. A classic comedy album from an even more deranged mind.

-By Andrew McNally

Black Sabbath – “13”

Photo Credit: Rolling Stone

Photo Credit: Rolling Stone

Grade: B+

Key Tracks: “God is Dead?” “Methademic” (Bonus Track)

“13” is refreshing, because it proves that bands long past their prime can still make quality records. I was losing faith in this after Megadeth’s awful Collider came out just last week.

“13″ is the first Black Sabbath album to feature bassist Geezer Butler in nineteen years, and singer Ozzy Osbourne in thirty-five. Drummer Bill Ward, originally part of the recent reunion, is not on the album because of a contract dispute, and has been replaced with Brad Wilk (Rage Against the Machine). Even with positive early reviews and three-quarters of a reunion, fans are most likely skeptical about a new album. Butler, Osbourne and guitarist Tony Iommi are 63, 64 and 65, respectively. But Sabbath brought in legendary producer Rick Rubin, who has done wonders for everyone from System of a Down to Johnny Cash. What resulted from their sessions is an album much more similar to classic, early Sabbath and not the tepid albums that came later.

Black Sabbath have often been misunderstood as a band that sang/sings exclusively about doom and gloom, life and death, heaven and hell (which is the name of one of their more famous songs). But closer listens to their early albums show that they expanded far out beyond those themes, lyrically. Yes, they were embraced and continue to be (like 13′s “God Is Dead?” and “Pariah”). But the band has always sung about more than that, evident in songs like the poorly-titled “Methademic,” that deals with years of drug problems. “13″ has some of the best lyrics in Sabbath’s history.

The biggest surprise of the album might be the quality of Ozzy’s voice. If you’re reading this, then you can probably imagine what Ozzy’s talking voice sounded like on MTV in 2004, and maybe even what it has sounded like on his more recent albums. But those albums were Rubin-less, and Rick Rubin did his best to bring the band back to it’s seventies roots. Iommi’s riffs are there, Butler’s bass is booming, Ozzy’s voice fits nicely, and there is a constant impending sense of doom. It has all the key elements of early works like “Paranoid” and their self-titled debut. Something is lacking, however. It seems like it is a mix of energy and volume. It is certainly loud, but it feels like it should be more so, and with a little more urgency. Still, the album comes as a nice surprise and just goes to show that when the line-up is back, they haven’t lost a thing.

If you like this, try: If you’re exploring this album as a classic rock fan, then Bob Dylan’s “Tempest,” another great album coming out late in the game. If you’re exploring this as a metal fan, then System of a Down’s “Toxicity,” to see both religious lyrics brought in alongside silly ones, and the magic of Rick Rubin.

-By Andrew McNally

Surfer Blood – “Pythons”

Photo Credit: Rolling Stone

Photo Credit: Rolling Stone

Grade: B-

Key Tracks: “I Was Wrong,” “Slow Six”

Surfer Blood’s John Paul Pitts sure is sorry. The band’s second full-length, “Pythons” acts as one long apology. The line ‘apology, meet apology’ shows up on a track that is not “I Was Wrong.” The whole album is pretty much apologies or Pitts singing about putting himself in uncomfortable situations because he feels like he deserves it. Why? Domestic abuse charges from August 2012. So Pitts has every right to be apologizing in his music.

The music of the album presents a challenge, because Surfer Blood’s sound has not really ever been one to match up with the uncomfortable lyrics presented on “Pythons.” Many tracks just follow basic, poppy melodies with sometime group choruses. Occasionally, Pitts will fall into screams in the chorus, possibly trying to emphasize the internal pain he’s feeling. But they usually do not fit within the context of the song. The only song that really grabs is “Slow Six,” the penultimate track, one heavier than anything presented before it. The other songs all feel too easy, and although they are catchy, they do not work alongside the apologetic lyrics.

Taken for what it is without any knowledge of the album’s inspiration, “Pythons” is an enjoyable and catchy record. It isn’t great but it’s worth a listen for fans of general pop-punk and surf rock. The B- is a response to this listening. The album takes on a new reflection when the listener knows why Pitts is so apologetic. Pitts might really be feeling the internal pain he sings and screams about, but with poppy and largely uninspired music, there’s no way to believe it. Which, ultimately, gives us no reason to care. I try my hardest to separate albums from the personalities that make them, but when an album like “Pythons” is so reflective of it’s maker, and an unconvincing one, I can’t help but to discredit it.

If you like this, try: “Crazy For You,” Best Coast’s debut. Not a fan of the band, personally, but they’re a similar sound.

-By Andrew McNally