Stream Them Crooked Vultures

Arguably the most anticipated supergroup of the year, Them Crooked Vultures (Dave Grohl, Josh Homme, and John Paul Jones), has allowed for their album to be streamed on YouTube in wake of the album recently leaking. While the official release date is just next week (November 17), this is a great chance to preview what is certainly going to be a highly discussed record.

Click Here to stream Them Crooked Vultures

Top 200 Albums of the Decade (174-151)

Here is the second installment of The Top 200:

174.	M. Ward Transfiguration of Vincent
	A deeply personal album with undertones of depression, loneliness and even death, M. Ward impresses early with the deceivingly upbeat “Vincent O’Brien” and turns the David Bowie-penned “Let’s Dance” completely on its head with a haunting cover. “Vincent O’Brien”
173.	The Futureheads The Futureheads
	This eponymous debut from the highly talented post-punk outfit is a sheer joy to listen to. With fantastic vocal harmonies, catchy hooks, and the ability to rock a bit when necessary, The Futureheads delivers big time. “Hounds of Love” (Kate Bush cover)
172.	Spank Rock YoYoYoYoYoYo
	From the moment the bass hits on the opening “Backyard Betty,” you know you’re in for something completely different. Raunchy as hell, yes, but Spank Rock has immense talent to go with it, from heavily layered beats to witty wordplay that constantly toe the line of what’s accepted (even on a rap album). Not an album for the weakhearted, Spank Rock’s debut is a terrific album if you can handle it. “Sweet Talk” (Explicit)
171.	Camera Obscura Let’s Get Out of This Country
	A great indie pop album that’s bubbly as all get out but packs an emotional punch to match, the Scottish band truly stepped up their game with this release and also emerged from the shadows of Belle and Sebastian in the process. “Lloyd, I’m Ready to be Heartbroken”
170.	Lupe Fiasco The Cool
	More consistent than Food & Liquor, and also quite a bit darker, Lupe Fiasco’s concept album may not have been entirely well executed as a concept, but the music stands proudly on its own. The Cool also benefitted from having a bona fide single in “Superstar”, which was missing from his debut, to garner well-deserved mainstream attention. “Superstar” (feat. Matthew Santos)
169.	The Coup Party Music
	The fourth release from The Coup is a politically hard-hitting album laid mostly over funky 70’s-influenced live instrumentals. There are some moments of levity with Boots Riley penning “Wear Clean Draws” as a song of advice tips for his daughter, but for the most part it is a highly critical social commentary that’s well worth hearing. “Ride the Fence” (Explicit)
168.	Spiritualized Songs in A&E
	Completed after frontman Jason Pierce’s serious illness, Songs in A&E is deeply affecting, especially when taken in context. Vivid imagery abound, as well as striking arrangements, Songs in A&E is an emotionally charged triumph. “Soul on Fire”
167.	The Black Keys Rubber Factory
	Rubber Factory was largely The Black Keys’ breakthrough album. Garnering a lot of critical acclaim after their first two albums, Rubber Factory found The Black Keys not only continuing to win the critics’ hearts but also helping them gain a substantial fanbase. All this was for good reason, as Rubber Factory not only stayed the course of immensely enjoyable blues-rock, but found their songwriting sharper and perhaps even a bit more confident in their sound. “Girl Is On My Mind”
166.	Gorillaz Demon Days
	Hardly anyone could’ve expected that an animated band could not only make the big splash Gorillaz did on their first go round, but actually sustain it long enough for a sophomore release. If that’s not enough of a shocker, the second album ended up being better than the previous– less novelty, more complete songwriting, and a hearty list of quality guest appearances to boot. A very enjoyable album. “Dirty Harry”
165.	Talib Kweli Quality
	Don’t let the Dave Chappelle intro fool you, Quality is as conscious and powerful as you would expect from Kweli. Also, per usual, Talib Kweli’s lyrics are as potent as his delivery. Surprisingly consistent given the wide array of producers on the album, Quality is just what you would expect based on the title. “Get By” (Explicit)
164.	Belle & Sebastian The Life Pursuit
	An evolutionary step from their previous release, Dear Catastrophe Waitress, Belle & Sebastian’s sound is the slightest bit more polished here, while also introducing new elements to their sound. The Motown-influenced “Funny Little Frog” to the extremely lush and playful “We are the Sleepyheads” and “For the Price of the Cup of Tea,” there’s plenty to like about this album. “The Blues are Still Blue”
163.	Modest Mouse Good News for People Who Love Bad News
	While Good News… will be most well known for boasting the single “Float On,” which propelled both Modest Mouse into the conscious mainstream, and also helped them earn their first platinum album, it’s also noteworthy for its polished sound and the inclusion of The Dirty Dozen Brass Band on two of the tracks. While there are some songs, such as “Dance Hall”, “Bukowski” and “The Devil’s Workday” that are just as weird as anything else Modest Mouse has done in the past, Good News… as a whole, is a very listenable Modest Mouse release– and likely strikes the best balance between palatability while showing serious songwriting strength. “Float On”
162.	Grouper Dragging a Dead Deer Up a Hill
	The latest of Liz Harris’ albums, Dragging a Dead Deer Up a Hill is an other-worldly ambient folk album. Curious, delicate, and indelible all at the same time, this is a true grower album that will certainly have you coming back for continued listens. “Heavy Water/I’d Rather Be Sleeping”
161.	The Strokes Room on Fire
	After supposedly changing the world of indie rock and being plastered on every single hip magazine in publication based on the success of Is This It?, there was honestly no way for this New York City band to keep the train going. Room on Fire on its own terms is a very good record, but was doomed from the start based on critical and fan expectations. That being said, if it’s enjoyed for what it is, there are a lot of very rewarding moments. “Reptilia”
160.	Mylo Destroy Rock & Roll
	With Mylo working on little more than an old PowerMac G4 and a lite version of Pro Tools (which is an upgrade from his previous kit of an iMac and the free version of the software), he was able to create an innovative dance/electronic album that truly took the world by storm. Blending elements of dance, ambience, and pop, Destroy Rock & Roll is a terrific album. “In My Arms”
159.	The New Pornographers Twin Cinema
	The New Pornographers is one of the few groups that have yet to release a bad album, and Twin Cinema stands as one of their best. Hitting hard from the get go with the rocking title track, A.C. Newman’s already exemplary songwriting skills appear to be even sharper on this release. A thoroughly enjoyable album, Twin Cinema is sure to put a smile on your face. “Sing Me Spanish Techno”
158.	Madlib Shades of Blue
	What happens when Blue Note Record Label hands the reins over to one of hip-hops most talented producers? A courageous masterpiece that never bastardizes the music that Madlib is sampling. Instead, he turns it into something both modern and nostalgic, a result the label had to be exceptionally pleased with, as it also won over its fair share of both fans and critics. “Mystic Bounce”
157.	Liars Liars
	While not quite as atmospheric as some of their earlier work, or even their album previous to that Drum’s Not Dead, Liars’ sound is as hypnotically gorgeous as always, utilizing fuzzed out guitars and incessant drums. From the driving opener of “Plaster Casts of Everything”, to the trippy pop of “Houseclouds” to the demented dance-rock of “Clear Island,” Liars is wickedly perfect. “Clear Island”
156.	Blu & Exile Below the Heavens
	An immensely talented MC paired up with an equally skilled DJ, Blu & Exile show a great deal of chemistry here, as Exile’s productions fit Blu’s dynamic rhymes like a glove all the way through the album. An incredibly smart and vibrant album, Below the Heavens is the reason why Blu has been considered one of the noteworthy up and coming hip-hop artists. “Dancing in the Rain” (Explicit)
155.	St. Germain Tourist
	St. Germain aka Ludovic Navarre may have been around the block a few times when it comes to jazz-infused projects, but nothing has come even remotely close to being as realized or accomplished as Tourist. Using live jazz orchestration in addition to samples, Tourist has a depth and soul that most other jazz-dance albums simply lacked. While St. Germain has all but disappeared as a solo artist, Tourist still lives on. “Rose Rouge”
154.	Fuck Buttons Tarot Sport
	Fuck Buttons managed to surpass the talent they showed on their debut Street Horrrsing with an absolutely superb sophomore release. From the strong opener in “Surf Solar” to the closing “Flight of the Feathered Serpent”, Fuck Buttons take the listener on a ride that makes for worthwhile repeated listening sessions– a terrific album. “The Lisbon Maru”
153.	Doves Some Cities
	Doves return to the list again, this time with the later Some Cities, a more abbreviated record than The Last Broadcast to be sure, yet still as enjoyable as the previous album. Songs like “Almost Forgot Myself”, “Walk in Fire”, and “Sky Starts Falling” show the progression and maturity of the band. “Snowden”
152.	Sigur Rós ( )
	An impressive concept to say the least, ( ) is divided by two halves, one side featuring lighter airier songs, the other being a bit darker and moodier. As with all Sigur Rós albums, the arrangements are mesmerizing, and the tunes provocative– ( ) is yet another worthy achievement from an always terrific band. “Untitled IV”
151.	The Rapture Pieces of the People We Love
	The Rapture sought out to make a killer party album and did just that with their follow up to the terrific Echoes. With songs such as “Get Myself Into It” and “Whoo! Alright Yeah… Uh Huh”, the band show their fun side, but also show their honed songwriting skills on songs such as the entrancing “Calling Me” (one of the handful of tracks produced by Danger Mouse). “Pieces of the People We Love”

Top 200 Albums of the Decade (200-175)

Despite the fact that most folks will sum up the past decade as the time when MP3s ruled supreme and the concept of the album as we used to know it died, there’s certainly a lot of good that came about as well. For every overhyped blog-created band there were a number of DIY releases that astonished critics and likely never would’ve seen the light of day in any other time period. Furthermore, with the cutthroat record labels searching for ways to fatten the bottom line, bands such as Radiohead and others looked to self-release albums own their own terms. With all that in mind, here’s the first installment of the top 200 Albums of the Decade.

200.	Josh Ritter The Historical Conquests of Josh Ritter
	There weren’t many albums from this decade that I played more than this one. Solid from beginning to end, The Historical Conquests of Josh Ritter not only represents the great deal of maturity that Josh Ritter has undergone through the course of his young career, but it also is easily representative of one of the true bright spots the 2000’s had in terms of singer-songwriters. “To the Dogs or Whoever”
199.	The Walkmen Bows + Arrows
	From the frenzied pace of “The Rat” and “Little House of Savages,” The Walkmen showed a fire and prowess that had only been hinted at previously. From here they would continue to show staying power, but Bows + Arrows deserves its own place here as the point at which The Walkmen established themselves fully as a band. “The Rat”
198.	Lily Allen Alright, Still
	Now here’s something that could only happen in this decade– Ms. Allen’s big break came through thanks to none other than Myspace. After unleashing a number of demos on her page, her quirky pop-flavors won over music fans and eventually labels alike. Combine her flair with the magic touch of Mark Ronson and you’ve one of the quintessential pop albums this decade. “Smile” (Explicit)
197.	Doves The Last Broadcast
	Despite an impressive string of very, very good albums, Doves are still under the radar when it comes to their popularity here in the US. Even so, it’s hard to ignore an album like The Last Broadcast, which in terms of individual moments, features some of Doves best work as band. “There Goes the Fear”
196.	Black Rebel Motorcycle Club B.R.M.C.
	While they didn’t have the staying power of The Strokes or The White Stripes, Black Rebel Motorcycle Club was right at the forefront of the garage revival bands of 2001 and this self-titled debut was considered among the cream of the crop. While they would only once come close of matching this album with the more Americana-influenced Howl, B.R.M.C. still stands as one of the better examples of garage rock done right. “Whatever Happened to My Rock N Roll (Punk Song)”
195.	DJ Shadow The Private Press
	Given the critically acclaimed status of DJ Shadow’s debut Endtroducing…, it seemed that his sophomore release was almost doomed from the start. Not so fast– while not quite memorable enough to achieve instant classic status, DJ Shadow provided one heck of a follow up to satisfy even the harshest critics. “Six Days”
194.	Cody ChesnuTT The Headphone Masterpiece
	Between the surprising MTV2 coverage to helping The Roots pen one of their strongest singles with a remake of “The Seed,” Cody ChesnuTT was an overnight success of sorts. While his solo talent was too raw for radio, with “Look Good In Leather” being the only song to receive any kind of commercial attention, it’s not surprising that ChesnuTT was unable to maintain that level of mainstream appeal– not that he wanted anyway as he would step away from music a short period of time after. That being said, The Headphone Masterpiece, a title that stems from the fact that the recording and production was done from the comforts of his home, is a sprawling, stream-of-consciousness approach to R&B/Soul that is truly refreshing. “The Seed” (Explicit)
193.	The Flaming Lips At War With the Mystics
	Musically invigorating, the lyrics on At War With the Mystics just weren’t quite enough to give it the staying power that their other albums benefitted from. That being said, The Flaming Lips had a handful of great singles on this album, and it was also a logical progression from Yoshimi Battles the Pink Robots. “The Yeah Yeah Yeah Song”
192.	Muse Black Holes and Revelations
	After being constantly referred to as that band that sounds a bit too much like Radiohead (except with half the talent), Muse truly broke the cycle with Black Holes and Revelations. Anchored by the glammed-up “Supermassive Black Hole,” the anthemic “Starlight” and Depeche Mode-influenced “Map of the Problematique,” it’s clear that Muse had an array of influences walking into this project. The resulting album is by far and away their most interesting, as refreshing as it is dynamic. “Supermassive Black Hole”
191.	My Chemical Romance The Black Parade
	This album just about destroyed every preconceived notion I had about the band, not to mention blew the similarly conceived rock-opera American Idiot out of the water as well. My Chemical Romance aimed incredibly high with this album, and mostly delivered– a truly exceptional experience. “Dead!”
190.	Working for a Nuclear Free City Businessmen & Ghosts
	While the Shortlist prize nominated album may owe a great deal to bands such as Joy Division, Working for a Nuclear Free City showed a great deal of promise as a new band to watch with their 2007 release– their US debut. Relying heavily on dense, industrial backdrops, there’s a sense of urgency to their sound that never gets lost. “Kingdom”
189.	Sunset Rubdown Random Spirit Lover
	The third release from Spencer Krug’s “other project” (the primary one being Wolf Parade) is nothing short of wondrous, and its apparent the moment the lead guitar launches into the beginning of the opening “The Mending of the Gown.” While those familiar with Krug’s work will find familiarity with some of the styles presented here, Random Spirit Lover excels through dramatic and poignant songwriting, and heavily-nuanced arrangements. “The Mending of the Gown”
188.	Erlend Øye Unrest
	While his relaxed, observational vocals may be more associated with The Whitest Boy Alive or Kings of Convenience, Erlend Øye’s electronic solo effort is as intriguing as the destinations he traveled just to record the album (each song was recorded in a different city, spanning eight countries in all). “Sudden Rush”
187.	Phoenix Wolfgang Amadeus Phoenix
	After finally breaking through with It’s Never Been Like That, Wolfgang Amadeus Phoenix finds the band finally comfortable within their newfound skin, after having mixed results as a more electronic-based band. While much of the staying power with this album lies within accessible tracks such as “Lisztomania” or “1901,” the epic “Love Like a Sunset” show Phoenix’s talent extends far beyond three minute pop songs. “1901″
186.	Badly Drawn Boy The Hour of Bewilderbeast
	The 2000 Mercury Prize winning album finds Badly Drawn Boy in top form, ranging from the beautifully orchestrated folk vignette of “The Shining” to the guitar pop of “Once Around the Block,” there are no real misses here. The Hour of Bewilderbeast is both a diverse as well as brilliant album. “Once Around the Block”
185.	Damien Rice O
	An achingly beautiful and intimate album, Rice found lightning in a bottle with a string of successes with the singles “The Blower’s Daughter” (released a year ahead of time to much success in Ireland), “Cannonball,” and finally “Volcano.” A must-own for any fans of the singer/songwriter genre, O is a terrific debut. “Volcano”
184.	Feist Let It Die
	Although no one could have anticipated the breakthrough sophomore release that would follow, Feist’s debut certainly wasn’t a shabby start. With her frequent collaborator Gonzales in tow, Feist’s Let It Die is a collection of songs that in a lot of ways is the antithesis of her Broken Social Scene work– quiet, intimate, and incredibly sweet, the lead single “Mushaboom” serves as a centerpiece for this very well done album. “Mushaboom”
183.	My Morning Jacket It Still Moves
	Swooping in like a creature from a far away land, the incredibly heavy reverb of My Morning Jacket gave the band an unassuming stance. Without seeing them live, one could mistake songs such as “Mahgeetah,” “Golden” or “Just One Thing” as being merely quaint. Even on their jam-oriented “One Big Holiday” on “Run Thru,” much of the sting is taken out thanks to the epic reverb. Only within the context of My Morning Jacket’s later albums did people even begin to understand that It Still Moves, was the sound of a band on the fast track to being something truly great. “One Big Holiday”
182.	Interpol Antics
	Admittedly, it was nearly impossible for Interpol to exceed expectations after wowing fans and critics alike with Turn on the Bright Lights. That being said, Antics was about as good a follow up as anyone could sincerely expect, and standing on its own, its a terrifically fun listen. Not quite as dour or grizzly as Turn on the Bright Lights or its successor Our Love to Admire, for that matter– Antics is a self-assured, and steadily entertaining listen. “Public Pervert”
181.	Belle & Sebastian Dear Catastrophe Waitress
	At the time, Dear Catastrophe Waitress stood as Belle & Sebastian’s most polished album, and that shift in production really brought their sound to life, adding a flair of sophistication to their frequently humorous wit. Dear Catastrophe Waitress still stands as the best album the band has produced. “If She Wants Me”
180.	Art Brut Bang Bang Rock & Roll
	Art Brut could be written off as nothing more than a gimmicky band if it weren’t for the fact they were so damned good. The razor sharp lyrics bring to mind Jarvis Cocker, while the band rocks along with the best of them. While Art Brut has yet to fulfill the promise they showed on this awesome debut, Bang Bang Rock & Roll is still one of the essential album of the decade. “Bad Weekend”
179.	King Geedorah Take Me To Your Leader
	Easily one of the most prolific artists of the decade, MF Doom aka Viktor Vaughn aka King Geedorah (and endless other aliases) always seems to have an album or a project handy. Even crazier is the fact that just about all of his musical output is worthwhile, with Take Me To Your Leader being one of the many prime examples. While the album is a bit feature heavy, the contributions are welcome and don’t distract from the overall feel of the album. Take Me To Your Leader is just one of the many great Doom albums from this decade. “Next Levels” (feat. Lil’ Sci) (Explicit)
178.	The Black Keys Thickfreakness
	Perhaps its the midwest origins, or perhaps its the fact that they’re a mere duo of drums and guitar, or maybe its because of the somewhat familiar name. Whatever the case may be, The Black Keys are not the White Stripes, and that is no disrespect at all to this Dayton, Ohio band– they do things their own way. Serving up a blend of blues-rock that is hard to come by these days, Dan Auerbach’s vocals punch through the fuzzy guitar effects with an effortless snarl. “Thickfreakness”
177.	Quasimoto The Unseen
	An exceptionally deranged, scatterbrained album of hip hop abstractionisms that could only be pulled off by someone like producer Madlib. Interspersing old tv clips with DJ cuts, sparse rhymes, and some occasional silliness, The Unseen is something of a cult classic these days, but still well worth hearing. “Discipline 99, Pt. 0″ (Explicit)
176.	Lupe Fiasco Food & Liquor
	Hard to believe that this is the guy that got his start from being featured on the Kanye West track “Touch the Sky,” the hype train for Lupe Fiasco quickly grew as Food & Liquor continued to be pushed back due to album leaks. The wait was worthwhile as Lupe released an undoubted breath of fresh air, interjecting a style and substance into hip-hop that hadn’t been prominently seen since the 90’s. “Daydreamin’” (feat. Jill Scott)(Explicit)
175.	Les Savy Fav Let’s Stay Friends
	The always entertaining Les Savy Fav struck gold with Let’s Stay Friends. The first album they had released in six years, it not only was worth the weight, but further solidified Les Savy Fav’s place in indie rock. Whether they’re rocking (“The Equastrian”), dancing (“Patty Lee”), or displaying their quieter side (“Comes and Goes”), Les Savy Fav always brings their “A” game. “The Equestrian”

New Yeasayer – “Ambling Alp”

Nothing like some new Yeasayer to kick off the month of November. This single will be featured on their highly-anticipated 2010 release entitled Odd Blood, and it looks as though it’s been well worth the weight. For the cost of your email address you can download the single here, or if you’re into collecting additional swag, you can pony up $3.99 to get the full Single release which also includes some remixes by Memory Tapes & DJ/Rupture. If you want the limited edition treatment, you can opt for the 12″ Vinyl package for $8 or better yet the T-shirt, Vinyl, and MP3 bundle for $28. Not a bad way to start a return, no? Stream “Ambling Alp” below to see if it’s worth your dime.

Yeasayer “Ambling Alp” Odd Blood

The Flaming Lips Embryonic

Claustrophobic, Dark, Intricate. The Flaming Lips let go of the reins and let the music do the talking– unleashing a largely inexplicable but wondrous album.

Release Date: October 13, 2009
Record Label: Warner Brothers
Rating: 100

To attempt to describe all that happens over the 73 minutes of listening to Embryonic would be futile. However, if it had to be summarized, it would have to be described as something of a clusterfuck– it’s as though the band became possessed by the devil while tripping on acid, and the devil had been spending all of its time listening to krautrock before seizing their souls. The droning opener “Convinced of the Hex” is exhibit A, with its unsettling grove that continues to grow stranger as the song progresses before bleeding into the equally hypnotic “The Sparrow Looks Up at the Machine.” Much of the first disc operates in the same matter, a constantly evolving opus of wonderment that is both dark and mysterious yet occasionally surrenders itself to an almost subconscious beauty.

Contrasting the animalistic id-like presence of the first disc, disc two emphasizes the aforementioned beauty, while still maintaining an air of mystery. Airy, and slightly more playful with songs such as “I Can Be a Frog” (which features Karen O providing vocal effects). While it’s certainly not even remotely radio friendly, the second disc is like a safehaven compared to the first– a more familiar sound for Flaming Lips fans, but still maintaining the same organic elements from the last disc.

Embryonic is a highly appropriate name for this album. After basking in the crowd-pleasing glow of The Soft Bulletin, Yoshimi Battles the Pink Robots and At War With the Mystics, The Flaming Lips have crawled deep within their inner recesses to a musical place that hasn’t been visited it seems since much earlier in their career to create something so viscerally appealing that it’s almost incomprehensible. A widescreen epic, exploring the world through seemingly infantile or simply strung out eyes, The Flaming Lips put on a sprawling display of talent. All things considered, Embryonic must be considered for album of the year.

The Flaming Lips - “Convinced of the Hex”

Pitchfork Reveals Top 200 Albums of the Decade

Love them or hate them, Pitchfork has gotten this list thing down pat. After releasing a worthwhile list of the top 500 songs of the decade back in August, Pitchfork staff have now amassed their list of top albums, and it’s really not much of a surprise (especially if you read Pitchfork) what ends up #1.

Click here to find out and post your comments.

Monsters of Folk Monsters of Folk

Despite the immense talents of all involved, Monsters of Folk never really get anywhere.

Release Date: September 22, 2009
Record Label: Shangri-La Music
Rating: 77

It’s easy to be cynical of supergroups– more often than not they’re expendable, self-indulgent and self-aware, releasing only half-baked material before they fade away and are forgotten about. Then every so often, there’s something that comes about like a spark– a sudden glow of hope that this could in fact be something special that’s being witnessed. Anyone with even a waft of knowledge about the long-discussed Monsters of Folk project likely was approaching the album with expectations that fell in line with the latter way of thinking– and out of those people, it’s likely that more than half of them are going to be disappointed.

Monsters of Folk is Jim James (or Yim Yames) of My Morning Jacket fame, M. Ward (of She & Him fame as of late), Conor Oberst (aka Bright Eyes), and producer extraordinaire Mike Mogis. They gave hope by releasing a couple of very slick tunes in “Dear God (Sincerely M.O.F.)” and “Say Please,” and then followed up with an album that is, at the very best, underwhelming.

It would be easier if this were a flat out bad album, but it’s not– instead, it’s a jangly collection of songs that would be better suited as a record label sampler than a supposed supergroup. Even better, the song titles really could’ve been- “Conor Oberst song #1,” “M. Ward song #4,” “Jim James being weird song #14″ and so forth. There isn’t any true interplay between the artists, and for such a creative core of guys, it seems that there should be enough experimentation to last for longer than just the opening track. Also, with the album clocking in at nearly an hour, these faults quickly lessen the listening experience.

They do have their moments, as both the aforementioned “Dear God” and “Slow Down Jo” display what this band is capable of, and perhaps they’ll get there next time around. For now, however, you can only dream about what would’ve been and try to enjoy Monsters of Folk for what it is, a slightly above average side project.

Monsters of Folk - “Dear God (Sincerely M.O.F.)”

The Black Keys turn to Hip-Hop with Blackroc project

So apparently working with Danger Mouse on Attack & Release was something of a gateway drug for the Akron, OH duo. Due out on November 27, the Black Keys worked with some of the best rappers around boasting a guest list that includes Q-Tip, Mos Def, RZA, Raekwon, Pharoahe Monch, and the late ODB. If the music matches the talent on paper, this should be a highly entertaining collaboration.

Blackroc (The Black Keys, Jim Jones, and Mos Def) – “Hoochie Coo”

Kid Cudi Man on the Moon: The End of Day

An ambitiously clumsy beautiful mess.

Release Date: September 15, 2009
Record Label: Motown
Rating: 85

Riding high after a hit mixtape and several impressive guest spots and performances (including Lollapalooza this year), it’s interesting to hear Cudi’s Man on the Moon concept fully fleshed out. It’s really quite a sprawling mess, complete with a hokey narrative from Common, but yet so incredibly ambitious– especially for a debut, that it’s frustrating, tiresome and impressive all at once. Yet, these seemingly contradictory statements really are the make up of Kid Cudi as an artist, he’s everything and nothing all at once– more often than not he seems caught between singing and rapping, and he never fits any particular mold of what we tend to define as a hip-hop artist. Through and through, both he and the album are an anomaly in every sense.

While Man on the Moon is a concept album of sorts, the execution is so vague that it’s more of an obstacle than a buoy in terms of appreciating the material. The accessible tracks such as “Day ‘N Nite” and “Make Her Say” are buried to the back end of the album, with it instead opening with the incredibly sleepy “In My Dreams (Cudder Anthem),” which walks on the verge of being a bad George Clinton trip before “Soundtrack 2 My Life” and “Simple As…” mercifully give the album some sort of a pulse. The latter is really one of the few songs where Cudi’s skills as a rapper are higlighted. While he occasionally falls into the habit of using clichéd rhymes, his quick-witted flow helps him from falling too far into such traps.

If you have the patience to make it through, Man on the Moon is a highly rewarding album, as the easiest listens come on the second half of the album. Besides the aforementioned singles, “Cudi Zone,” “Alive” and “Pursuit of Happiness” are all highlights and even best the material on the Kid Named Cudi mixtape.

Clearly, Kid Cudi was out to make a statement with an album, and that’s a very good sign. After getting so much attention for what he had already accomplished, he easily could have phoned in the debut and thought nothing of it. Instead he churns out a highly innovative, yet ungainly, album that will likely solidify his place into both the mainstream and critics hearts.

Kid Cudi - “Pursuit of Happiness”

Pete Yorn and Scarlett Johansson Break Up

Breezy? Yes, definitely. Memorable? Meh, not so much.

Release Date: September 15, 2009
Record Label: Rhino
Rating: 71

Despite just coming out this year, the Break Up project started way back in 2006, before Scarlett Johansson embarrassed herself by covering Tom Waits songs and around the time where there was still hope for Yorn following through on the promise he showed on Musicforthemorningafter. The first glimpse of this collaboration came in the form of a leaked mp3 of “Shampoo” which was originally attributed to Yorn alone. Now, three years later, we’re presented with the Serge Gainsbourg/Bridgette Bardot inspired revival Break Up, an effort that actually likens itself more to the Jennifer Anniston/Vince Vaughn film than anything that Gainsbourg/Bardot ever produced. It has it’s moments, and truthfully it seems like a really good platform for a Yorn album, but it never culminates into anything worthwhile. Instead, it’s like wallpaper treatment that’s been forced into place by Yorn and Johansson, lathering as much adhesive as possible to try to make the whole thing stick.

“Relator” is a great start, as are the Yorn-driven  ”Wear and Tear” and “Shampoo,” but unfortunately for them, somewhere along the way, everything falls apart. While I suppose that’s what happens in a break up, they certainly could’ve made it one worth remembering. Instead we’re left wondering what the hell kept them together to begin with. It’s too bad, really, because if you ever hear some of the demo sessions, or take a listen to the mentioned highlights, you’ll see that there was quite a bit of potential, but in the wake of She & Him (not to mention trying to liken yourself to Gainsbourg and Bardot), it was likely doomed from inception.

Pete Yorn & Scarlett Johansson - “Relator”