Alan Wilkis Pink and Purple

Barring a surprise release from the likes of Jamie Lidell, you can rest assure that you won’t find a funkier album than Pink and Purple.

Release Date: June 16, 2009 
Record Label:Wilcassettes
Rating: 87

For better or worse, EPs don’t often get the full review treatment around here. However, there’s a definite reason why Wilkis’ Pink and Purple is a notable exception– it is, through and through, a funky throwback that ultimately leaves a lasting impression despite being a mere 26 minutes.

The opening “Snuggle Up to Nail Down” is such a wonderfully executed pastiche of funk and soul artists of the 70’s and 80’s, that you’ll find yourself in an immediate groove that never lets up.

The centerpiece of the album is “Gotta Get You Back,” which is pure saccharine but never broaches the level of being trite. Instead it highlights Wilkis’ strength as a songwriter to not only compose a highly likable pop song, but to also underscore it with enough light-funk sensibility that it doesn’t diffuse the overall feel of the album. The title track, which immediately follows, serves as a nice contrast with its darker production but is just as enjoyable and danceable as anything else on the album.

Wilkis accomplishes so much on Pink and Purple that it’s hard to believe it is an EP. While his strengths lie in the more concise songs on the album, there’s no filler whatsoever. It’ll be interesting to see how Wilkis builds on this release, but if the next full length release is anything like this, expect there to be a lot of surrounding fanfare.

Alan Wilkis - “Gotta Get You Back”

Wilco Wilco (The Album)

While the album title may be decidedly tongue-in-cheek, Wilco’s latest release establishes the identity of the band post-Yankee Hotel Foxtrot/A Ghost is Born.

Release Date: June 30, 2009 
Record Label: Nonesuch 
Rating: 85

Did the admittedly straightforward Sky Blue Sky strike you as a little too dull? Were you one of the many who coined the album as being nothing more than “dad rock”? Well, Chicago’s finest rock band presents you with an album that may not make you forget Yankee Hotel Foxtrot or even A Ghost is Born, but it’ll take you back to the Summerteeth days, and that’s not too shabby at all.

The opening eponymous song is something like a mint, resetting the senses and erasing any possible comparison between this album and the last. It’s quirky, fun and despite its relative brevity contains enough musical nuances to be more than just a radio-friendly song. Enter “Deeper Down,” which initially feels familiar until the first pause in what is a purposely fragmented song, the first of many interesting touches as both “One Wing” and “Bull Black Nova” are two of the most dynamic songs that Wilco has released in a long, long time.

The former features some beautiful guitar work by Nels Cline and equally poignant lyrics from Jeff Tweedy– who is incredibly strong across the board on this album. The chugging “Bull Black Nova” almost comes off like a long-winded jam that Spoon would have performed, with its emphasis on percussion to dictate the other instruments as it swells into a superbly hypnotic piece.

Perhaps one of the more anticipated tracks from the album is the duet between Tweedy and Leslie Feist on “You and I.” It’s a nice enough song to be sure, but sandwiched between “Bull Black Nova” and lead single “You Never Know,” it feels a little tame.

What prevents Wilco (The Album) from being something truly great is that it is, for the most part, a top-heavy album. With the lone exception of “Everlasting Everything,” much of the latter part of the album is simply good– never quite exceeding expectations or providing any surprises, something that used to be practically unheard of from a Wilco album. 

Even so, it’s obvious that Wilco (The Album) is the band’s attempt to perhaps more solidly announce the arrival of a different Wilco. These aren’t the guys that made Yankee Hotel Foxtrot, or even A Ghost is Born. Whether you like it or not, that band is dead, and what’s here now is a more mature, even-keeled band. What hasn’t changed is that Tweedy can still write a tune, and his bandmates still play the hell out of their respective instruments.

Wilco - “Wilco (The Song)”

Lollapalooza Aftershows Announced

Beastie Boys headline a slew of what look to be solid aftershow sets during Lolla weekend (August 5-9). If there’s a band that you don’t think you’ll have a chance of seeing during the day, definitely check to see if they’ll be playing later on at night. Beastie Boys tickets go on sale June 26 at 10 am, while the rest of the shows go on sale June 27 at 10 am. The full schedule is below:

Wednesday, August 5
Last Band Standing Remix Competition	Double Door- 21+
Thursday, August 6
Beastie Boys	Congress Theater- 17+ Doors- 6:30pm Show- 8:00pm
The Decemberists & Heartless Bastards	Metro- 18+ Doors- 8:00pm
Thievery Corporation & Federico Aubele	House of Blues- 17+ Doors- 8:00pm
Friday, August 7
Arctic Monkeys & Modey Lemon	Metro- 18+ Doors- 10:00pm
Band of Horses & Cass McCombss	House of Blues- 17+ Doors- 10:00pm
TV on the Radio & Chairlift    “A healthcare benefit for Colleen Malone”	Double Door- 21+ Doors- 10:00pm
Crookers, Major Lazer, Simian Mobile Disco DJ Set, Bloody Beetroots DJ Set, KiD CuDi, Rye Rye, and Willy Joy	Congress Theater- 17+ Doors- 8:00pm
Delta Spirit & Other Lives	Schubas- 21+ Doors- 10:00pm
Lykke Li & Mike Snow, Esser	Bottom Lounge – 21+ Doors- 9:00pm
Saturday, August 8
Fleet Foxes & Dungen	Metro- 18+ Doors- 10:00pm
STS9 (Sound Tribe Sector 9) & Special Guest	House of Blues- 17+ Doors- 10:30pm
Joe Pug & The Low Anthem	The Hideout- 21+ Doors- 10:00pm
Dan Auerbach & Cage the Elephant	Schubas- 21+ Doors- 10:00pm
Kaskade w/ James Amato and DJ Nigel O’Reilly	Smart Bar- 21+ Doors- 10:00pm
The Raveonettes w/ Living Things and Pretty Good Dance Moves (DJ Set)	Empty Bottle – 21+ Doors- 10:00pm
Blind Pilot and Ezra Furman & The Harpoons	House of Blues Back Porch – 21+ Doors- 10:30pm
Sunday, August 9
Deerhunter w/ No Age and Dan Deacon	Logan Square Auditorium- All Ages Doors- 10:00pm
MSTRKRFT w/ LA Riots and Dark Wave Disco	Bottom Lounge- 18+ Doors- 9:00pm

Wale & 9th Wonder Back to the Feature

Wale returns with a number of friends hoping to tide over the increasingly restless fans until his debut.

Release Date: June 20, 2009 
Download Now
Rating: 90

While Wale has been touring relentlessly, his studio material has been coming out at a glacial pace to say the least– a fact that Wale even discusses on the first track of the new mixtape. Although it will still be a while before we get to hear Wale’s full debut album, Back to the Feature is more than enough to keep fans entertained for the interim.

Whereas The Mixtape About Nothing used its Seinfeld theme for added levity, and 100 Miles and Running boasted a number of breezy tracks, Back to the Feature is decidedly darker, with 9th Wonder providing somewhat harsh, dense productions and Wale and company hitting just as hard as the beats. If there’s a downside to the album, it’s that there are almost too many guests– there’s at least one guest spot on every track. Sometimes it does work however, as it does on the feature heavy “Hot Shyt” which features Peedi Peedi, Black Thought, Tu Phace and Young Chris. The decidedly old school feel provided by producer Ritz is perfect for each of the rappers and is sure to be a relatively popular track.

Other highlights include “Sweatin Out Weaves,” “Warwick Avenue,” “Goodbye,” and “Nothing To Worry About.” The latter is indeed a rap performed over the Peter, Bjorn and John song, and despite its short length it works very well. Also noteworthy is the  slowed down version of Yael Naïm’s “New Soul,” which supports the closing track of the same name.

Wale’s always been a spellbinding lyricist, and he continues to impress here and while there’s something of an overkill on features, they all bring their “A” game as well. Once again, Wale has come to bat with a winning mixtape, now it’s just a waiting game until his debut is released.

To Download Back to the Feature please click here:

Wale - “New Soul” (feat. Yael Naim)

Pete Yorn Back and Fourth

For better or worse, Yorn keeps things simple on Back and Fourth.

Release Date: June 23, 2009 
Record Label: Columbia
Rating: 79

Admittedly, nearly all of Yorn’s releases could be considered “growers.” There’s a deceivingly simplistic structure to his songs, yet somewhere between his lyrics and his sweeping hooks, he reels in the listener. Even so, it’s hard to say that his career has been consistent in any way. After a blazing debut in Musicforthemorningafter, Yorn has struggled to match expectations, although Nightcrawler occasionally came very close. Instead of continuing where he left off last time around, Yorn starts from scratch on Back and Fourth. Not only does he have his own backing band this time around, but he also largely stays away from playing electric guitar– occasionally teasing that he’ll break out into an all out rocker before toning it down again. While there’s certainly nothing wrong with that, the general landscape of the album is so flat that it’s a bit like attempting to admire the long stretches of cornfields in Iowa– sure it’s pretty, but after a while, there’s hardly anything unexpected.

That’s not to say it’s all AOR material here, and to its credit, Back and Fourth improves substantially in the latter half of the album, particularly with songs like “Shotgun,” “Long Time Nothing New,” and the closing “Thinking of You.” The second half of the album improves upon the first by not feeling nearly as forced or clichéd as say the lead single “Don’t Wanna Cry.” Instead, there’s almost a sense of Yorn settling into the same type of groove that he found on Musicforthemorningafter– nothing flashy, but the heart-on-my-sleeve type of honesty with a splash of artistry for good measure.

Perhaps I’m expecting too much, but it appeared that Yorn was priming himself for a major leap forward on the heels of Nightcrawler, instead, he returns with material that, while good in its own right, doesn’t wholly stand out unless you’re an avid fan.

Pete Yorn - “Shotgun”

Grizzly Bear Veckatimest

A momentously wonderful album, Veckatimest is the kind of album that defines a career.

Release Date: May 26, 2009 
Record Label: Warp
Rating: 100

In the shadows of what will certainly garner the most Album of the Year nods– Animal Collective’s Merriweather Post Pavilion– lies a sleepy, heartfelt masterpiece from Brooklyn-based Grizzly Bear. It’s not openly flashy, but between the intimate production and the haunting vocals, the impact is immediately felt from the moment Veckatimest begins with the lush and complex “Southern Point.” What makes the album even better, is that the ornate backdrop for these folk-based musings isn’t riddled with pretension, instead serves a larger purpose of creating a sonic world that the listener is constantly engaged in throughout the entirety of the album.

More accessible tunes such as “Two Weeks” and “Cheerleader” take no short cuts, which is commendable in that it prevents any one song for feeling like a made-for-the-radio single, but rather stripped down sessions that subtly point to the grander soundscape that is featured on the rest of the album.

Appropriately, named after the uninhibited island off the coast of Massachusetts, Grizzly Bear takes the listener to a hazily exotic land. Here, there isn’t  a single artist today that has even come close to occupying the same musical space as Grizzly Bear has with this album– Veckatimest is that special.

Grizzly Bear - “Cheerleader”

Mos Def The Ecstatic

Mercifully, Mos Def released the album that fans have been clamoring for– an eclectic effort that despite its overwrought moments, reaffirms his talent.

Release Date: June 9, 2009 
Record Label: Downtown
Rating: 86

In retrospect, Black on Both Sides could be considered one of the biggest teases in recent music history. After blowing minds with Talib Kweli via Black Star, Mos Def continued his hot hand with the wonderful instant classic, only to frustrate fans and critics alike ever since that 1999 release. A decade later, Mos Def has made a name for himself as an actor more so than as an artist.

The Ecstatic appears to change all that, with its worldly productions and eclectic musings all chopped up into musical vignettes, it’s appropriate that the album cover is taken from Charles Burnett’s film Killer of Sheep. A masterful film that evoked Italian neo-realism among other genres, Killer of Sheep stood as a brutally honest account of the black inner-city experience, as expressed through a series of interweaved storylines. The Ecstatic operates in a similar manner, choosing a loose thematic message expressed through two minute songs, rather than a linear message.

Mos Def attacks each track with such ferocity that the shortened tracks never feel overtly abbreviated, as exemplified on the opening “Supermagic” as well as the superb “Priority” and “Quiet Dog.”

Further expanding the musical spectrum of the album, Mos Def even does some rapping in Spanish on the smooth “No Hay Nada Mas,” interpretive Jazz-based hip hop on “Roses,” and even brings some Herbie Hancock influenced Jazz-Funk on the closing “Casa Bey,” showing the multi-pronged approach that he took with this album.

Always ambitious to a fault, Mos Def manages to reign himself in before he goes too far off the deep end, which is what buoys this album above every other release outside of Black on Both Sides. However, by nature of the scattered approach that Mos Def takes, no one track stands out from another, creating a somewhat unified experience that’s very good, but not quite earth-shattering. Considering where Mos has been musically, that in itself is a major improvement, as he easily could’ve just phoned in yet another sloppy effort. Instead, The Ecstatic gives fans hope that perhaps the inspired, creative Mos Def of old has once again returned. 

Mos Def - “Quiet Dog”

Fuzzy Thoughts is Now on Twitter

In case you can’t get enough Fuzzy Thoughts, you can now find us on Twitter. There will be live updates from concerts, as will as brief reviews and also letting you know what’s on the horizon. Below is the link so that you can follow along!

http://twitter.com/myfuzzythoughts

Lollapalooza Schedule Revealed

If you haven’t received the news directly from Lollapalooza yet, this year’s schedule has been revealed and it certainly doesn’t do any favors for those that were weary of this year’s lineup. Anyone with remotely eclectic musical tastes will have a difficult time figuring out what band to see. One such example is the Sunday, 6:30pm slot where Deerhunter, Lou Reed, Snoop Dogg are all lined up against each other.

As if there was any question before, it does look as though Pitchfork will be the ultimate destination this year. Click the link below for the full schedule:

http://2009.lollapalooza.com/events/day/2009/08/07/1/hbha

Dave Matthews Band Big Whiskey and the GrooGrux King

What may just be the first relevant album the band has released since Before These Crowded Streets, Big Whiskey… at the very least, attempts to push many of the sonic boundaries that DMB has been skirting for much of the last decade.

Release Date: June 2, 2009 
Record Label: RCA
Rating: 88

After nearly a decade of what appeared to be an image crisis for the band, not to mention the inner turmoil which has recently been brought to light, it’s rather disheartening that it took the death of a fellow band member for the band to get back on track. That being said, Big Whiskey and the GrooGrux King is a touching tribute that easily would have pleased LeRoi Moore and is sure to gain attention with fans who were starting to lose faith in the band.

The straightforward adult pop-rocker “Funny the Way It Is” is a deceiving single, as Big Whiskey– as the album art implies– is essentially a menagerie of life. While Matthews has never been the strongest lyricist, the observational writing works very well here, with each track serving as a vignette or slice of life– and it allows the musicianship to take center stage for much of the album.

There are two songs where both aspects, the songwriting and the lyrics, shine however, and that is on “Lying in the Hands of God” and “Squirm.” The former is a somber, intimate piece that between Tim Reynolds wonderful guitar-work and the lush production, could easily be considered one of the best songs the band has produced. The equally staggering “Squirm” is a brooding rocker that has some Middle Eastern musical queues and eventually warps into what is far and away the most interesting musical piece on the album.

Though the album has its rough spots (the clumsy “Alligator Pie” could’ve almost been substituted for the studio version of “Corn Bread”), there are more than enough positives to put a smile on the face of anyone who was ever once a fan. Experiencing Big Whiskey and the GrooGrux King is a bit like running into an old friend– there’s some familiarity to be sure, but over the years you realize how much has changed in that time. Luckily for them, Dave Matthews Band, in their attempt to find themselves without their venerable founding member, has made their finest album in years.

Dave Matthews Band - “Funny the Way It Is”