Review: This Is Happening by LCD Soundsystem

LCD Soundsystem
This Is Happening
Release Date: May 18, 2010 (US)
DFA Records

James Murphy makes it look so easy. The DFA Records co-founder has released two proper LPs and a handful of singles under his LCD Soundsystem musical project, and they have all essentially been winners. As time has gone on, Murphy has refined LCD’s sound, integrating elements of dance, punk, electronic and new-wave into his songs, coupled with thought-provoking lyrics that almost seem like they are too good for this highly infectious music. On This Is Happening, LCD’s third, and allegedly last, LP in five years, Murphy knocks it out of the park, combining all of the elements he loves to use into one unavoidably engrossing album.

The indie scene is littered with a plethora of experimental bands that receive critical acclaim. While LCD Soundsystem could loosely be called “experimental” with its disregard for genre singularity, This Is Happening lacks the barrier to entry that other experimental albums do: This is one album that anyone could jump into and enjoy.

There are certainly parallels to LCD’s stellar second LP, Sound of Silver. “Get Innocuous!” was the slow-building, new-wave/electronic jam of Sound of Silver; this time around, it’s “One Touch,” another eight minute session that almost demands the listener to dance. “All My Friends” and “Someone Great” were two of the best songs on Sound of Silver, let alone of the past decade (seriously). “All I Want” and “I Can Change” both do an exemplary job of providing two more back-to-back classics. The former harkens back to David Bowie’s “Heroes”, with the repetitious guitar droning and sporadic synth squeaks in the background as Murphy genuinely sings…about love. Over clichéd topic? Sure. However, there is a very real sense of sincerity and heartfelt emotion in the song, with amazingly good lyrics to further the conviction. When Murphy belts out “Take me home!” at the end of the song, it would take a truly cold heart to not be moved. “I Can Change” is a bit more upbeat sounding initially, with the bouncy electronic beat propelling the song. Again, the words standout, as Murphy convinces that special someone to “Never change / This is why I fell in love”, and also that he can change “if it helps you fall in love.” Murphy knows he is getting older, and this maturity is paying major dividends for his fans with another set of great, timeless classics.

However, just because he is getting older, does not mean he has forgotten to have fun. In addition to “One Touch”, “Drunk Girls” showcases Murphy’s sense of humor, contrasting the difference between drunk girls and drunk boys. Stop playing “Shots” at your party, and start playing this catchy dance-punk song instead. It is a good song, but to further emphasize the strength of the album, it may also be the weakest of the nine songs. “Pow Pow” is probably the best example of Murphy’s sarcastic lyrics and delivery on display, all backed by a sprawling, borderline disco sounding electronic sound.

Every track could have a mini-dissertation written about it, but the essential conclusion is this: LCD Soundsystem have made their best, and possibly last, album of their short existence. Also, with their incredible track record, that conclusion holds even more significance. Do not let the hyperbole surprise you: This is an impressive, cohesive, all-around meticulously crafted record that will endure the years, and it would be foolish not to give it a spin for free at lcdsoundsystem.com/thisishappening.

Rating: 4.5/5

Review: Congratulations by MGMT

MGMT
Congratulations
Release Date: April 13, 2010
Sony/Columbia

Unless you’ve been living under a rock the last few years, you have undoubtedly stumbled across the electro-pop perfection of MGMT’s three monster singles from 2007’s Oracular Spectacular. Simply one of these singles would have thrust the Brooklyn duo to some level of stardom, but three consecutive smashes pushed them into an unidentifiable realm of untouchable hipster-dom. Needless to say, the pressure was on to exceed expectations on the follow-up to their major-label debut. Instead of succumbing to the temptation of making another serviceable, marketable single á la “Kids” or “Time To Pretend”, the band decided to do the complete opposite: Make an album that shuns the popular conception of their sound and an album completely devoid of an individual standout track.

The months leading up to the release of Congratulations suggested that, perhaps, MGMT had lost it. The released track list included a twelve-minute-long song and titles such as “Brian Eno” and “Lady Dada’s Nightmare”, and the bizarrely vivid artwork of an approximately two-and-a-half headed creature surfing raised eyebrows (or elicited chuckles). There was a borderline sense of “Maybe they’re messing with us.” Despite throwing its listeners an auditory changeup, Congratulations is an interesting listen from beginning to end.

In general, the album seethes undeniable psychedelic rock vibes, as if this was a newly discovered record from the ‘60s. Those familiar only with the band’s major singles may not even realize this is MGMT at all, but it is somewhat reminiscent of the second half of Oracular Spectacular. Opener “It’s Working” is a nice feeler for the rest of the album, providing a bouncy bass, harmonious harpsichord and organic fluctuation of mood with the vocals to create a slightly trippy, psychedelic classic rock gem in 2010. The duo also channel eccentric Georgia quintet Of Montreal on “Flash Delirium”, which also serves as the closest thing to a single on the album, and easily the most fun individual track. It is a sprawling, schizophrenic song that has plenty of different influences, all culminating in the rapid, raucous spiral of a finish.

The aforementioned twelve-minute epic “Siberian Breaks” is a hit-or-miss attempt to, more or less, jam in as many influences as possible. While it is admirable and fun to see where it goes next, it is a bit too sprawling for its own good and sometimes wanders a bit too far from cohesion. However, the sheer length and endurance of the song still make it undeniably epic.

Despite being firmly implanted in the depths of left field, Congratulations seems like an album devoid of facetiousness. Instead, it comes off more honest and real than anything, as if it is a band trying to set aside its previous accomplishments and start anew as the band that they truly are. The mostly cryptic lyrics make it difficult to discern much in the way of interpretation, but overall it comes off more enthusiastic and ambitious than sarcastic. Congratulations may not be what many expected from MGMT’s sophomore effort, but it definitely deserves attention as a multifaceted, psychedelic and mostly cohesive album that can reward the listener upon repeated listens once the initial shock factor subsides. Hear for yourself at whoismgmt.com.

Rating: 3.5/5

"The Wild Hunt" - The Tallest Man On Earth

"The Wild Hunt," by The Tallest Man On Earth is as impressive as their more renowned songs from the past, including 2008's "The Gardener." In essence, it's glory lies in the ironic and wonderful nature of pained singing, happy guitar, and slight syncopation. It's music like this that the masses don't understand, yet those who do understand it like it that much more.

The Tallest Man On Earth is a very folksy one-man band headed by Swedish Kristian Matsson. He is almost a male version of Joana Newsom in uniqueness. Without a doubt, Simon Cowell would tear his (and probably Newsom's) singing apart in some demeaning way if given the chance. Have no fear mainstream/nonconformists, because his CD shows that it is still possible to transcend trivial critique.

Though "The Wild Hunt" is a portrait painted with crackly emotional singing, there are plenty of happy songs. By no means would this be on the levels of Brand New, Conor Oberst, or Elliot Smith depressing music. Its characterized by smooth, melodic, and skillful guitar playing. It harmonizes enough to make you happy, but not so much as to get old. It's great for working, too, because it's not too grating to distract or discomfort you, yet its noticeable enough to distract you from monotony, or (in my case at least) excessive math.

While the whole CD is promising, make sure you at least listen to the last half unless you really hate it. It is much less cacophonous and probably a lot easier to digest. If you don't even want to listen to the last half, for the love of God, listen to "You're Going Back." Its one of--if not the most--depressing songs on the CD, but its borderline brilliant.

http://www.youtube.com/watch?v=J27U7ql_DeU&feature=related

Review: Plastic Beach by Gorillaz

Gorillaz
Plastic Beach
Release Date: March 3, 2010
Virgin Records





Despite the relative ubiquity of the animated quartet known as the Gorillaz, they had released only two LPs: Their eponymous debut, featuring highly unlikely crossover smash “Clint Eastwood”, in 2001 and their sophomore follow-up, Demon Days, in 2005. Five years since their last record, Gorillaz mastermind (and frontman for the Britpop staple Blur) Damon Albarn, along with co-creator and primary animator Jamie Hewlett, have created Plastic Beach, their third full-length and perhaps their most cohesive, innovative and interesting effort to date.

Those unacquainted with the Gorillaz methodology may find Plastic Beach a little bizarre and perhaps schizophrenic. The album features a plethora of eclectic special guests, including Snoop Dogg, Mos Def, De La Soul, Lou Reed, Mick Jones and Paul Simonon of The Clash, and 66-year-old soul legend Bobby Womack. This is not your typical hip-hop album featured artist extravaganza, however: Every guest has a place on the album, regardless of how wide-ranging they may be.

As the lengthy guest list implies, the songs on Plastic Beach are quite diverse sounding. Albarn admitted he wanted Beach to be his “most pop record” he had ever made without sacrificing depth, which is exactly what transpires on the course of the album. Lead-off single “Stylo” oozes ‘80s new wave and electro-pop, and maintains relatively steady until Bobby Womack steals the show and makes the song soar with his unmatched soulful voice. De La Soul and Gruff Rhys make “Superfast Jellyfish” a comical, slow-flow hip-hop jam. “White Flag” truly exemplifies the brilliant genre-blurring of the album: It starts out with a borderline beautiful orchestral opening, before suddenly shifting into the glitchy gangsta-rap portion of the song by Bashy and Kano. The two worlds coalesce near the end, and it works surprisingly well.

The album is somewhat melancholic, lamenting the consumerism and environmental issues of today without being overbearing. This is most evident on the Albarn-led songs, such as “Rhinestone Eyes” and “Empire Ants”, two of the album’s standouts. Albarn’s vocals are multifunctional, and in these instances, the minimalistic ennui of his delivery says it all, all the while the slowed-down synth-driven ambience behind him lulls and soars.

The elusive categorization of the album works in its favor, freeing it from creative restrictions and allowing it to truly explore and experiment at will. Borrowing heavily from hip-hop, electro-pop, alternative rock and even fringe subgenres like trip-hop and dub, and featuring a multitude of guests, Plastic Beach always truly keeps the listener guessing. Returning Gorillaz disciples will find this their most rewarding effort yet, while reluctant neophytes will likely find something to keep them returning. In other words, check it out now and immerse yourself in the World of the Plastic Beach.

YouTube - Gorillaz - "Stylo"

Rating: 4.5/5

Review: Eyelid Movies by Phantogram

Phantogram
Eyelid Movies
Barsuk Records
Release Date: February 9, 2010

Recently, it seems like New York City, particularly Brooklyn, has had a monopoly on experimental electronic-based indie bands (Animal Collective, TV on the Radio, Yeasayer, and the list goes on). Upon first listen, it may seem fair to assume that Phantogram belong in the aforementioned talented shortlist. Surprisingly, the duo of guitarist Josh Carter and keyboardist Sarah Barthel are not from far from Siena, originating in Saratoga Springs. The once-local live staple have now signed with Barsuk Records, home to bands like Death Cab for Cutie, Harvey Danger and Ra Ra Riot, and released their major-label debut, Eyelid Movies.

Take the sparse yet terribly evocative instrumental minimalism of The XX (an absolute required listen), and add the welcoming addition of electronic elements to the mix. This recipe provides a rough idea of their core sound, which they admirably vary enough throughout the album. It is mightily impressive that only a guitarist and keyboardist create the at-times magnificent melodies present in some of the songs, and the affectionate, sometimes detached vocals of both Carter and Barthel only add to the ambience.

Eyelid Movies works not only because it is refreshingly well-done for a debut, but because of its differences among songs. The distorted vocals and stuttering synths on “Running from the Cops” create an unsettling aesthetic during the entire song. The gradual build-up and touching vocals from Barthel on “All Dried Up” is reminiscent of Saturdays = Youth-era M83, accelerating at the right pace to make the eventual auditory climax that much more gratifying. “As Far as I Can See” stands out with its perpetually fractured sampling of horns and female exclamations, all the while the dreamy female pipes coalesce to create an unlikely infectious jam. It may not seem like much is happening from its morose beginning, but “You are the Ocean” suddenly encapsulates the listener with swirls of optimism and Carter’s titular decrying.

While Eyelid Movies is good enough any time of the day, its subtleties and implied melancholic sense make it seem destined to a more nocturnal role. It effortlessly conjures up images of walking down a street alone late at night under the starlit sky. Phantogram have created a cohesive collection of atmospheric electro-rock worthy of repeated listens and destined for widespread popularity (mark my words).

Rating: 4/5