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Mansions – Dig Up the Dead

During strong emotional moments in our lives, good or bad, we have difficulty putting our thoughts together in any clear way. Words get jumbled. There is feedback from the adrenaline rush to the brain. There is frustration that distorts reaction, causing the mind to jump from subject to subject, playing back all the moments that fed into that specific situation. It casts doubt, pushing our minds to wonder if just one thing had been done differently, would it change the outcome being experienced. In retrospect, events never seem as momentous as they do as happen, but our minds still recreate many of those same feelings. It’s the beauty of catharsis, the build up and release that frees us emotionally. On Dig Up the Dead, Christopher Browder explores the mind’s experience in an audible way.

Dig Up the Dead kicks off with the title track that has Browder’s distinct vocals being slightly further back in the mix and a slight echo to go with the words. There is room for everything to breathe, much like when we’re looking at a situation in retrospect and find our words echoing and playing over and over again. “Blackest Sky” and “Not My Blood” follow with the fuzzy guitars and distorted vocals that make up the backbone of the album. It’s a change for Mansions, but one that fits well. In place of vocals backed by acoustic guitar and solid drumming, we have a consistently strong rhythm section, fuzzy guitars and distorted vocals on many songs. There is an earnestness to the slight quiver in Browder’s vocals that endears listeners and makes the songs feel susceptible. It’s a beautiful contrast to the muscle the songs exhibit.

“City Don’t Care” is more subdued, but still has a pulsing drum beat that propels the song. It deals with the feeling of being lost in a big city, something universal, but specific in its exploration. The rest of the album continues strongly with two of the album’s highlights in the latter half.

There is a hint of reverb in place of distortion in “Seven Years” that sits well within the song’s context. There is a closeness and an immediacy to the song that draws the listener into the demons Browder is struggling to exorcise. With the repeated question of, “Will it be me and me alone?” we find ourselves asking the same questions Browder asks himself. It’s a song with a lot of big questions, but full of self-assuredness. The album closes with “Yer Voice.” It’s a superbly-executed exercise in meshing the sound of all the music Browder has created to this point in his career and a powerful finish to an excellent album. The song sees him relishing the work that he has had to put in to reach this point and realizes he is better off because of the tumultuous moments he has experienced, because he has reached his position because of honesty and sincerity. The song and album close with the lyrics “And the one thing that I need is the dreams back in my sleep, where they belong/I’m where I belong, you’ll see/This means everything to me.”

Having an artist confident in their craft and their position is a tremendous experience and leads to important art. Christopher Browder hasn’t had an easy trek in the music industry, but with his talent has persevered to create one of the most engaging albums of the last couple of years and has earned all the success he will achieve with Dig Up the Dead. It’s an album that is a quick listen, but is full of earworms and important topics. It’s easy to recommend to anyone, no matter their musical preference and I recommend you listen as soon as possible.

(Click the album cover to be taken to the Mansions site to order or download directly from the band.)


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The Weeknd – “House of Balloons”


The rise of minimalist music in indie rock and now in hip-hop and R&B has been in reaction to and in contrast to the polish populating every area of music in the last decade. The minimalism leaves a lot of burden for the artists behind the music to create something engaging in the places where the music is not. The style also allows a lot of open space to toy with structure and content within the songs. The Weeknd use the lack of stylistic flourishes to create something in sharp contrast to the direction of mainstream R&B music. The xx and How to Dress Well are obvious touchstones, but The Weeknd is something different than both of those acts.


House of Balloons is an album (I guess technically a mixtape) full of desperation, destruction, loneliness, regrets and despair. The music is still seen through the lens of girls, partying and sex, but that is the bokeh portion of the image, with the aforementioned attributes being the focal points. Opener “High for This” is an vivid introduction. Rather than penning a song about getting a girl alone and setting up candles and putting on some Luther Vandross, Toronto singer Abel Tesfaye shows his vocal chops with a tale of sex that his partner is gonna wanna be high to experience. It is far from caressing her skin and being gentle and, as a listener, I’m putting together the pieces of the dark lyrics that contrast the addictive chorus. Later on the album, we have “Coming Down,” a song about how Tesfaye desires a particular girl only when he is on the come down from a night of the untold.


Therein lies the beauty of what The Weeknd has put together. We’ve all had moments of self-mutilation, when we desire that person who either brings out the worst in us or we seek only when we feel we’re at our lowest. “Wicked Games” is my favorite song on the album and its bridge encapsulates what you can expect lyrically:

“Bring your love, baby I can bring my shame

Bring the drugs, baby I can bring my pain

I got my heart right here, I got my scars right here”


There is nothing that goes untouched throughout. In “The Party & The After Party” Tesfaye speaks of a girl that goes by Rudolph who will likely OD before he can take her home to meet his mother. “What You Need” features a sample of Aaliyah’s “Rock the Boat” which undoubtedly points toward the influence of How to Dress Well on the music. The major difference is that How to Dress Well approaches lo-fi R&B from a point of turning it into something that sounds like R&B without actually being R&B, whereas The Weeknd approaches the sound from a talented singer who turns the sound into something human, in all of its glowing inadequacies. The songs meander and evolve, but never lose their power or their grasp on the ears. I find myself constantly humming the refrains of these songs or feeling the fuzzy, euphoric riffs when my mind has nowhere to go.


(Click the cover art above to be directed to The Weeknd’s site to download the album for free.)

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The King of Limbs

Over at http://www.thekingoflimbs.com, Radiohead has announced their new album, The King of Limbs, will be available this Saturday, February 19th digitally and physically on May 9th. Instead of the pay-what-you-want method pioneered by the band with their release of In Rainbows, the band has decided to charge $9 for the digital album or $48 for the album on vinyl + digital (320 kbps MP3 – it’s $53 for WAV format).

What is most interesting is that the release is the world’s first (perhaps) “newspaper” album. I have no idea what this means, but I find myself intrigued. The site has the details as follow:

“Radiohead’s new record, The King Of Limbs, is presented here as the world’s first* Newspaper Album, comprising:

  • Two clear 10″ vinyl records in a purpose-built record sleeve.
  • A compact disc.
  • Many large sheets of artwork, 625 tiny pieces of artwork and a full-colour piece of oxo-degradeable plastic to hold it all together.
  • The Newspaper Album comes with a digital download that is compatible with all good digital media players.
  • The Newspaper Album will be shipped on Monday 9th May 2011 you can, however, enjoy the download on Saturday 19th February 2011.
  • Shipping is included in the prices shown.
  • One lucky owner of the digital version of The King Of Limbs, purchased from this website, will receive a signed 2 track 12″ vinyl.”

Is this going to be something that the listener puts together? What is the packaging going to look like? Doomtree/Rhymesayers has done some interesting things with their artwork recently, notably with the release of P.O.S’s Never Better, Freeway’s Stimulus Package and Sims’ Bad Time Zoo (which will release tomorrow), but I have no idea how this will compare to what Radiohead is doing because none of these had large pieces to go along with 625 tiny pieces. I’m certain I will talk myself into ordering the vinyl edition just so I can touch it and figure out what the hell is going on.

How do you think this compares with the pay-what-you-want release of In Rainbows? Or, are you simply happy to see that you will have new Radiohead music in less than a week?

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New Releases 2/1/2011

New releases of note tomorrow, February 1, 2011:


The Civil Wars – Barton Hollow

The Civil Wars are a male-female duo crafting lovely indie rock. They have a free download of a live album recorded at Eddie’s Attic in Decatur, GA available at their MySpace. Check it out and keep an ear out for their new album.


There is not a whole lot happening on the music side of things. There is a Bob Marley live album from The Stanley Theatre in Pittsburgh, PA in 1982 as well as a new album from Christian heavy rockers Red entitled Until We Have Faces.


Let Me In

The writer-director of Cloverfield helmed this American remake of the swedish novel and eventual movie Let the Right One In.

Never Let Me Go

Keira Knightley, Carey Mulligan and Andrew Garfield star in the movie adaptation of the novel The Remains of Day by Kazuo Ishiguro.


This courtroom and family drama stars Hilary Swank and Sam Rockwell.

I have not heard or seen any of the releases for this week, though I do intend to see Never Let Me Go and potentially Let Me In.

Anything I missed?

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New Releases 1/25/2011

New releases of note tomorrow, January 25th, 2011:


Iron & Wine – Kiss Each Other Clean

Sam Beam releases his first full-length record of new material since 2007’s The Shepherd’s Dog. Kiss Each Other Clean finds beam moving further from the man (with an immaculate beard) and his guitar simplicity of his early music and more into making use of a full band and some studio effects from time-to-time, most notably autotune and distortion pedals (!!!). Beam’s knack for melody is still intact, now with a more colorful pallet to dance upon. Standout tracks include “Me and Lazarus,” “Big Burned Hand” and “Your Fake Name Is Good Enough.”


Cold War Kids – Mine Is Yours

Cold War Kids make good upon the promise of their debut with Mine Is Yours, their third full-length LP. Shifting from recording their record live as a full band, as they did with their first two albums, to recording piece by piece with many takes allows the Cold War Kids to take chances they missed on sophomore slump Loyalty To Loyalty. Though the album lakes the ever-shifting dynamics that peppered their first two releases, the foundation the band builds allows each member to find their pocket in each song and groove in a way that was absent early in their careers. If you found yourself let down with the Kings of Leon’s Come Around Sundown, you’ll find the record they hoped to make with Mine Is Yours. Standout tracks include “Royal Blue,” “Finally Begin” and “Cold Toes On the Cold Floor.”




Though I haven’t yet seen Red, I find myself quite interested to see how the movie is executed. I am most intrigued to see if each of the main castmembers are anything other than the characters they’ve played in every movie ever – Bruce Willis as Mr. Get-Shit-Done, Morgan Freeman as the all-knowing mastermind who has many instances of extended dialogue just to make sure he uses his voice as much as possible, John Malkovich as the wild card who might be a little off his rocker and Helen Mirren as the matriarch and emotional backbone.

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Anberlin, Circa Survive & Foxy Shazam – Asheville, NC 16/1/2011

During their short run in early 2011, Anberlin, Circa Survive and Foxy Shazam performed at The Orange Peel in Asheville, North Carolina on January 16th, 2011. Anberlin and Circa Survive were billed as co-headliners, but Anberlin had the longer set and closed the night at this stop before a packed house of nearly 1,000.

Foxy Shazam

Foxy Shazam hails from Cincinnati, Ohio and have been a band for a little over half a decade. I was not familiar with them heading into the night, having only listened to a couple of songs that were streaming on their MySpace (somehow still a website) page. I did not find myself particularly impressed by their brand of alternative rock, but they seemed like they would be interesting to hear in-person. They entered with an incredible amount of energy and a lot of gimmicky theatrics. Lead singer Eric Sean Nally performed an array of kicks, jumps, flips, displays of climbing ability and microphone stand tosses and kicks (and, at one point, sang while performing a headstand), which would be impressive at a talent show, but detracted from the bands ability to perform. Nally is more than capable as a lead singer, with a strong voice and the ability to command an audience, but lacks precision. The rest of the band looked like they had been taken from various cliques at a high school and placed in a group together, with the keyboardist putting out an entirely creepy vibe with his performance, consisting of placing one foot on his keyboard, leaning as far forward as he could, with his mouth agape peering at the audience members directly below him. Not the place I would want to be for their set. The most interesting moment of the night came toward the end of the set when Nally asked the audience for a cigarette and someone threw an entire pack to him on stage. He removed four cigarettes, lit them and began smoking on stage. After a couple of puffs, he then ate the four cigarettes, topping every moment that had taken place before. Overall, the band is intriguing to watch, but their songs never compelled me to listen to the music more than wonder what would happen next on the stage, much like a circus performer.

Circa Survive

Circa Survive is easily one of my favorite bands in music today. This was my second time seeing Circa Survive perform and I was not disappointed in their live set. The band took the stage in a no-nonsense manner, introduced themselves and began with Blue Sky Noise opener “Strange Terrain.” For a band with an atmospheric, non-standard sound, they approach their live shows in an almost workmanlike fashion. Each member has a role that they fulfill nearly flawlessly, going about their business and not drawing attention to themselves or away from their music. Lead singer Anthony Green has, as I have said many, many times before, a hate-it or love-it voice but is one of the most exciting frontmen in music today. He loses himself in the music and the lyrics he sings every single night and lets himself loose on the stage every night, dancing with all of his emotions coursing through his body. He is inspirational in his approach to his job and his life because it is evident that his life is directly in line with where it should be. Green was slightly more subdued than the first time I had seen them in the spring of 2008, but still full of energy. The band’s set consisted mainly of songs from their most recent release, Blue Sky Noise, with a few songs from their debut Juturna, one song from their Appendage EP and, sadly, only one song from their outstanding sophomore album On Letting Go. Blue Sky Noise translated exceedingly-well live and fit in with the rest of their catalog. They closed their set with “Get Out” from Blue Sky Noise and had every member of the audience bouncing and moving along with the frenetic pace of the tune, setting up the closing set for the night perfectly.


Anberlin has been one of my favorite bands over the last several years, but began to lose some momentum on a personal level with the release of their most recent album, Dark Is the Way, Light Is a Place (DITWLIAP). I had great expectations heading into the release and found myself not particularly impressed. I thought the subject matter of the album was too overtly relationship-tinged, whereas in the past the band tended to cover more universal themes. Nonetheless, their back catalog is tremendous and I couldn’t pass up on this tour. As with Circa Survive, this was my second time seeing Anberlin and I was looking forward to the experience of seeing them live again. Anberlin took the stage shrouded in darkness and began playing one of their trademark guitar riffs, which led to an eruption from the audience that only got louder once vocalist Stephen Christian took the stage and tore into “We Owe This to Ourselves,” which had added weight the night before the celebration of Martin Luther King, Jr. Day. The song was one of my favorites from DITWLIAP because it is a lyrically challenging song with Anberlin’s trademark song structure. Through the rest of the set, Stephen Christian kept a smile on his face and constantly expressed his gratitude for his job, his tourmates and for us showing up to the concert. The band played a mix of songs from each of their albums, with about 3/5 of the set being dedicated to songs from Dark Is the Way… Similar to my response to Circa Survive, the songs translated superbly to a live setting and fit in with the rest of their songs much better than I had anticipated.


To see a band like Anberlin still around and surviving without rehashing the same formula for an album year-in, year-out is promising as a music fan. There is still support for live music and for bands who are passionate about what they are doing. This tour stop in Asheville, NC was something for me to be excited about as a music fan. Each band differentiated themselves, with Circa Survive and Anberlin adeptly displaying why they have signed to major labels after working their asses off on indie labels for years. I would recommend catching any of these bands live, should they have a stop at a venue in your area.

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Favorite Music of 2010

Qualifiers and descriptors of that ilk are kind of pointless by now.  Just know that I don’t think that my list reflects the state of music or has ulterior motives.  These albums tended to be the ones that made me happiest throughout 2010 and will likely be the ones that will make me happy in the future.  On with the words!

Favorite Albums of 2010

The Black Keys – Brothers
There was no album I heard in 2010 that emanated more emotion and more obvious body than Brothers.  The Black Keys created a murky, bluesy album that lacks obvious studio trickery, but displays a band fully realizing who they are.  The album is full of hooks and guitar riffs that are lodged in my brain tank for weeks.  From the perfect use of a whistle and tempo-change gymnastics in lead single “Tighten Up,” to the full-on instrumental and lyrical attack of “Next Girl” and “Sinister Kid,” Brothers is an album in which I find myself lost more than any other album released this year.
Circa Survive – Blue Sky Noise
Since the 2007 release of their sophomore effort, On Letting Go, Circa Survive has grown by leaps and bounds in popularity.  With a live show that ranks among my favorites and a lead singer that creates distinct “hate him or love him” lines among followers and detractors, the band had become somewhat divisive.  When I first heard Blue Sky Noise, I found myself somewhat let down.  I had grown quite fond of the atmospherics of On Letting Go and expected the band to release (due to my lack of better judgment) On Letting Go II.  Instead what I received was a fantastic rock record with Circa Survive flavoring.  Blue Sky Noise is the band at its tightest and most focused point in their lives.  BSN saw the songwriting lose atmospherics in the sense that there is less guitar noodling and drum fills and more allowing the songs to create atmosphere on their own and use every piece of the band to create something vivid.  Lead single “Get Out” brings more overt intensity than anything Anthony Green has done since he days in Saosin, but shows the new direction of the band to perfection.  One of my favorite moments of 2010 in music is Circa Survive’s sound exploration in “Fever Dreams.”  BSN is the most straightforward lyrical and musical work of Circa’s career, but it is also their creative and musical high point.
Jonsi – Go
Jonsi is the angelic voice of Sigur Ros that has been breaking hearts for over a decade now.  His voice has always been an instrument of epic proportions that moves the music in the way that he sings more than in the what he sings, largely because he sings in Icelandic and his own language of Hopelandic.  One of the many drastic shifts we experience in Go, Jonsi’s first solo album, is that the majority of the record is sung in English.  We learn that Jonsi is not the most profound lyricist of our generation, but someone who experiences life, love, loss and the gamut of human emotion, just like the rest of us.  Another change is that the music here is palpably “fun.”  Whereas Sigur Ros tends to move in the realm of the serious and the dramatic, Jonsi goes in an eclectic, bouncy direction, producing music that brings images of frolicking through a forest or spending a day with friends at an amusement park to my mind, with it all being beautifully scored by Jonsi.  His voice is also full of warmth, a departure from the otherworldly vibe of his full band project.  His vocal range is still marvelous and awe-inspiring, but it skews to a more personal dynamic than it has in the past.  Go is the most fun I’ve had with a record this year, hands down.  I cannot offer a recommendation beyond simply encouraging anyone to listen to this record and see how your mind’s eye interprets the album.
Kanye West – My Beautiful Dark Twisted Fantasy
Was there an album released this year with more questions surrounding its release or with more to prove that Mr. West’s opus, My Beautiful Dark Twisted Fantasy?  The disdain for 808’s and Heartbreaks was seemingly universal and the disdain for Kanye West was quite literally universal following the infamous “Taylor Swift” debacle on MTV.  I remember constantly checking my Twitter timeline in the days following his outburst and seeing the backlash of “fans” who suddenly were moral and character judges for every artist in their respective worlds.  I remember the internet memes and the “Imma Let U Finish” application for the iPhone.  I remember being in the minority that I could give fuck about what Kanye West did because I have been a sheep blindly following the shepherd of Kanye West.  Regardless of that, I still found myself skeptical entering his new record cycle, after he changed the album’s name and had been missing from life for months.  Suddenly he joins Twitter, starts G.O.O.D. Fridays, effectively becomes the most talked-about musician of this musically-strong year and releases an album that poses to be one of the most effective pieces of music of his life.  Fantasy sees Kanye West at his most bombastic and eccentric (“Power,” “Hell of a Life”) but also at his most introspective and conscious (“All of the Lights,” Gorgeous”).  The album is a landmark because of its breadth and scope.  Never have we seen a hip-hop/rap album so far removed from genre definition.  It is as much of a rock album because of the guitar and the ego as it is a pop album because of its commercial appeal and listenability.  2010 should be changed to the year of the Kanye in the Chinese calendar, because we have all be affected by his talent this year.
Lissie – Catching a Tiger
There likely was not a record that was as much of a departure from my prior expectations as Lissie’s Catching a Tiger this year.  Her debut EP, Why You Runnin’, was an exercise in folk excellence.  But, considering her impeccable and riveting covers of Lady GaGa’s “Bad Romance” and Kid CuDi’s “Pursuit of Happiness,” I should have expected an expanded musical palette.  The album starts off buzzing with the trifecta of “Record Collector,” “When I’m Alone,” and “In Sleep.”  These records are all mid-tempo, pulsing tunes that display Lissie’s vocal characteristics, while providing a sturdy backbone on which to build the remainder of the album.  She will go on to show more energy with the fast-paced songs, such as the immediately catchy “Cuckoo,” and she’ll be more stripped down in songs like “Little Lovin’,” but she never moves beyond her boundaries as a musician and always seems comfortable and confident in any approach to her songs.  The more I listen to the album, the more fully-formed it seems, which is typically the opposite with many new artists and their debuts.  I look forward to what Lissie has in store and hope that she can gain the following in the States that she has in Europe and overseas, which is massive.  With talent like hers, she deserves it.
Local Natives – Gorilla Manor
I am not musically inclined.  I know nothing of chord progressions, the difference between major and minor chords, can barely tell the difference between the sound of a keyboard and a piano and I cannot keep rhythm when I clap or tap my foot along with a song.  Basically, if you asked me what instrument I would play if I could, I would have to think long and hard, because I would not feel comfortable with any answer.  These bits of information are what make me so enthralled with Local Natives’ debut, Gorilla Manor.  Each and every time I have listened to this album, I have found myself desperately wishing I could play the drums, or any type of percussive instrument.  As soon as I feel the first drum kick of “Wide Eyes,” I find myself enamored with the percussion and overall musicality of the band.  It feels very much like the album could be performed on a street corner with any number of items that can be found on the ground as it could be executed in a studio or on a stage with every possible instrument at their disposal.  There is something innately pure about this album.  The vocal harmonies are gorgeous, but they never drown out the bass line or the magnificent drumming (or whatever other percussion instruments are used). The album’s lyrics are full of questions of life and death and personal notes and tinges that I find myself ruminating upon often.  Gorilla Manor is the type of album that makes the question, “Would you rather be blind or deaf?” an easy one to answer.
The Morning Of – The Way I Fell In
There is a moment in “The Time It Takes to Grow” when, as a listener, I find myself convinced that The Morning Of have spent exactly the amount of time they needed to grow as a band.  Their debut, The World as We Know It, was not a bad album, but I found it to be relatively elementary in it’s execution, lyrically and musically, which took away from its replay value.  There are a couple of songs I still return to on occasion, but the album is nearly impossible to play through at this point.  The Way I Fell In has found the band comfortable in their own skin, in a more subdued place (especially vocally where both lead singers have lost any grating tone that their voices may have had) and a more mature place in their execution of their music.  I don’t want to infer that this is a mid-tempo snooze fest, as the band can ramp up their sound, evidenced on lead single “The Ones That Fall Apart,” but it is one that loses the overdone musicality and “he/she loves me, he/she loves me not” topics of their debut.  Relationships are still a big part of the lyrics on the album, but their scope and their personality are imbued with depth and color.  To finish this album out, the band went with closer “Heaven Or Hell” which features the former lead singer of Copeland (R.I.P.), Aaron Marsh.  The song tells the story of the band and the tribulation they have been through to get to the point at which they released this album.  Hearing this song, I could not help but find myself pulling even harder for this group to succeed.  Shortly after the release of the album, I watched a video of the two lead singers talking about the inspiration for each song and a little about the process for writing each song.  When they talked about the story behind how “Heaven Or Hell” came together, I felt my eyes well up with tears, because I could tell how excited the band was about how it came together.  Knowing the care that The Morning Of puts into their music makes it hard not to pull for them.  This may have not been my absolute favorite album this year, but it is one that tells a lot of stories that I find entirely affecting.
Mumford & Sons – Sigh No More
The thing that I found most impressive about this album is that it sparked an emotional response from me throughout my first listen and has continued to find ways to excite me with each new listening experience.  (My response is in stark contrast to the assessment given by Pitchfork, which found the album formulaic and hollow.)  The group harmonies are somewhat similar to those of Fleet Foxes, but the difference is in the music.  Instead of going for the “kitchen sink” instrumental approach of many bands in the indie rock arena, Mumford & Sons keep their foundation throughout the album, banjo, upright bass, keyboard, guitar and steel drum.  From here, they branch out from time to time, but never in a way that highlights itself.  The furious banjo-strumming is the most notable instrument on the album (heard on “Sigh No More,” the album-opener up until the end album’s final song of “After the Storm”), but it always works within each song’s structure.  I could say much more about this album, but that could make for its own list entirely.  If there is one album I would recommend to nearly anyone, without regard to their taste in music, this would be it.  Sigh No More was likely my most-played album this year and will undoubtedly continue to find rotation in my car/turntable/on my iPod.
The Narrative – Self-Titled
The Narrative is a group of terrifically talented musicians who took the do-it-yourself approach to releasing their debut EP in 2008 and followed the same structure with their debut full-length album in 2010.  The Narrative splits lead vocal duties between a male and female singer, similar to The Morning Of.  What separates The Narrative, is that instead of splitting time on each individual song, the band instead chooses to showcase one singer per song, with accenting or background vocals from the other singer.  The album starts off solidly with “Fade” and “Cherry Red,” but we see that this is a band that is very certain of who they are when “Silence and Sirens” begins to play.  “Silence…” is a song that moves and sways over a piano line without ever allowing itself to fall into a cliche of a pop song.  The album stays perfectly swell over the next few songs, but closes as well as any album I’ve heard in recent memory.  Beginning with “Starving for Attention” through finale “Turncoat” The Narrative flex everything they have, allowing us to wonder how it is that this band remains unsigned.  Catchy guitar riffs, mind-grabbing melodies, perfectly placed electronic touches and excellent lyrical work pepper the latter half of the album, moving from a perfectly acceptable and pleasing indie-pop release, to a piece of work that warrants multiple listens to further immerse oneself in the stories of the songs.  The Narrative is a band that continues to work hard, day in and day out, and push themselves further toward the front of the talented group of young bands in the indie/alternative genre.

The Rest of What I Loved This Year:
Aziz Ansari – Intimate Moments for a Sensual Evening
Antony & the Johnsons – Swanlights
Brooke Fraser – Flags
Childish Gambino – Culdesac
Freeway & Jake One – The Stimulus Package
Frightened Rabbit – The Winter of Mixed Drinks
The Gaslight Anthem – American Slang
How to Dress Well – Love Remains
Junip – Fields
Lakes – The Agreement
The Mercury Program – Chez Viking
Minus the Bear – OMNI
The National – High Violet
Ra Ra Riot – The Orchard
The Republic of Wolves – Varuna
S. Carey – All We Grow
Sufjan Stevens – The Age of Adz

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