Musically speaking, this year just keeps getting better and better. Paris-based Phoenix, three years removed from their gem of an album It’s Never Been Like That, is back with their new single titled “1901.” If that’s not enough, you can download this single for free from the band’s webpage. At first blush, “1901″ is a polished, more danceable take on some of the more upbeat, radio friendly songs from their last release– which certainly isn’t a bad thing– and the band definitely appears to have the confidence that comes with being on top of their game.
I’m still not sure what’s up with the album title (Wolfgang Amadeus Phoenix), but it will hit stores May 26.
Auerbach does an admirable job, but it still feels like a subpar Black Keys album
Release Date: February 10, 2009
Record Label: Nonesuch
Rating: 80
It’s always intriguing when frontmen release solo albums, as more often than not fans find themselves asking “how is this any different from a band album?” While it’s true that Auerbach’s Keep It Hid feels different from any album The Black Keys ever released, there are definite thematic similarities. Unsurprisingly, Keep It Hid is full of gritty blues-influenced rock numbers, but the real surprise lie in ballads such as “Whispered Words (Pretty Lies),” which lie naked with such vulnerability that it’s nothing short of spellbinding, as Auerbach’s affected voice manages a kind of presence that rarely ever exists without his electric guitar blasting about in the background. “When the Night Comes” is similarly introspective, with its tender lyrics and simplified guitar riff. On the opposite end of the spectrum, “Heartbroken, In Disrepair” is built around a fuzzed out bass and primitive drums that has the feel of a stripped-down Danger Mouse production. The radio-friendly “My Last Mistake” is another stunner, not to mention the catchiest tune Auerbach has ever conjured up.
Despite these risks, there are a handful of songs that simply feel like they would’ve been better served being fully fleshed out Black Keys tunes, and that’s ultimately what brings down the album as a whole. It’s a fine album to be sure, but outside of a few true standouts, it’s also a bit forgettable.
M. Ward expands his sonic horizons a bit with Hold Time
Release Date: February 17, 2009
Record Label: Merge
Rating: 88
There’s a difference on Hold Time that’s immediately apparent for those familiar with M. Ward’s work. Placing a finger on what that difference is, however, is another issue in itself and something that doesn’t strike as strongly as a “light bulb” epiphany, but rather a subtle understanding. Over time, you realize the musical nuances—which were once primarily Ward’s own guitar musings—are not only more developed, but heavily layered with other instruments, creating a transcendent musical soundstage that Ward had yet to accomplish until this point.
It’s certainly going to rub some folks the wrong way, especially those who appreciated Ward for his quieter, simpler work. With that in mind, however, Ward does have quite a bit more fun, as “Never Had Nobody Like You” (which features none other than Zooey Deschanel) and “To Save Me” show. The slower moments are also more drawn out, with the title track boasting an array of strings that create an incredibly lush song that thankfully blends into the cover of Sonny West’s “Rave On” before verging too far on cheesy. Speaking of the cover, it’s surprisingly sharp with Ward putting his own spin on things and turning it into a sweet little Americana-stuffed ode by the mid-way point of the song. The aforementioned “To Save Me” and the following “One Hundred Million Years” while both quite good, feel too similar to other work to really make an impact.
As a whole, Hold Time is a borderline great album—the kind that certainly only gets better as time progresses. The only true misfire is the achingly melodramatic duet “Oh Lonesome Me” with Lucinda Williams, and even with that the album still somehow maintains its steady pace. Hold Time doesn’t astound you the way that Post-War did, but, perhaps in its imperfections, Hold Time has a bit more charm.
Coming this May, Actor is the anticipated sophomore release from St. Vincent (aka Annie Clark). The album was co-produced by both Clark and John Congleton (Modest Mouse, Polyphonic Spree). While she’s slated for a few festival shows this summer, look for her to possibly play a number of smaller venues in support of her album as well.
While not nearly as much fun as Alright, Still, Allen’s sophomore release shows a great deal of maturation.
Release Date: February 10, 2009 Record Label: Capitol Rating: 85
Lily Allen went into It’s Not Me, It’s You with a different sound in mind, something drastically different from the retro feel that Mark Ronson provided for her debut. This time around Allen called on producer/multi-instrumentalist Greg Kurstin (Kylie Minogue, Flaming Lips) to be at the helm of this latest release. The results are startling for those expecting nothing more than a redux, as Kurstin merely emphasizes the dark nature of Allen’s lyrics with his somewhat cold, synthesized production. Conversely, Ronson’s summery production merely gussied up any dark corner in Allen’s lyrics, making for a bittersweet yet fun album.
That’s not to say It’s Not Me, It’s You is all dullsville, as her single “The Fear” proves, Lily Allen’s lyrics are as sharp and clever as ever, and Kurstin’s production only heightens the deeply personal nature of her music. This is particularly obvious on such songs as “22” and “I Could Say,” both of which are incredibly well-written. There are still deceivingly cute moments as well, such as the ironically bubblegum pop tune “F*** You” which is targeted towards the one and only George W. Bush.
While some may argue that this album is too slick for it’s own good, you have to tip your hat to Lily Allen, as she continues to prove her merit as an artist. It’s Not Me, It’s You is a seriously good pop album.
Supporting his solid 2008 release The Way I See It (which ranked 49th on the Fuzzy Thoughts Top 50 Albums of 2008 list), Raphael Saadiq will be on the road for much of the spring. Tickets for the majority of these shows are currently available via Ticketmaster.
Gomez is back with their follow up to 2006’s How We Operate. The album, titled A New Tide was recorded primarily in Charlotessville, VA, and Chicago, IL, and from the sounds of this new single, looks to be yet another very solid album. In fact, if you particularly enjoy “Airstream Driver” you can get a free MP3 of the song from the band’s website. A New Tide will be released on March 28 on the ATO imprint.
This one is a good one, folks. Not only were the Phish rumors true (they’re performing for two nights even), but it looks as though the Boss himself (others call him Bruce Springsteen) and his E Street band will also be lighting up the Manchester, TN festival. From top to bottom, Bonnaroo is staggeringly good this year—much better than Coachella—and there are still more artists to be announced. Other highlights include Beastie Boys, Nine Inch Nails, David Byrne, Wilco, Al Green, Erykah Badu, TV on the Radio, Animal Collective, and many, many more.
Bonnaroo runs from June 11-14 with ticket prices starting at $224.50 ($247.60 with fees). Not too shabby for four days of what should be musical bliss.
Coachella’s lineup has finally been revealed, and it looks pretty decent this year—not great. While the list of “second-tier” bands is impressive, things start to fizzle out on top. Outside of Leonard Cohen and My Bloody Valentine, there aren’t any “can’t miss” performers, which is somewhat disheartening when you consider that the ticket prices are $269 (before the $34 worth of additional charges you encounter). Coachella runs from April 17-19 this year.
