| |
|
|
| |
 |
| |
|
|
Jake One
White Van Music
(Rhymesayers)
***
Relatively unknown Seattle-based beatmaker Jake One contributes another album to the rap producer showcase series with White Van Music, a sonic excursion into the occasional G-Unit producer’s vaults. A once underground mainstay who has made a fluid transition into the majors, White Van Music sports rappers in both sects, from MF Doom to Young Buck. Overly long, its length is alleviated by consistency—peeling off track after track of slow-tempo 4/4 beats, jazzy pianos and the occasional horn stab—even though that denotes middling steadiness.
|
| |
|
|
 |
|
The Secret Machines
Secret Machines
(TSM Recordings)
***
Losing guitarist Benjamin Curtis, and leaving their label to form their own imprint, The Secret Machines start anew, sort of, with their third, self-titled album. Self-proclaimed “space rockers,” the Brooklyn trio drift away from Pink Floyd’s version of space and further towards Echo & the Bunnymen’s. In fact, “Underneath the Concrete” could have fit perfectly on a Bunnymen record, as could penultimate track “I Never Thought to Ask.” But embracing dream pop sacrifices the band’s strengths: They don’t get heavy until the very end, and the lumbering rhythm section doesn’t do the track any favors.
|
| |
|
|
 |
|
Heartbreak
Lies
(Lex)
****
Despite the overproduction of groups dedicated to resuscitating 80’s electro and synth-pop, London-based, Anglo-Argentinian duo Heartbreak provide a valid argument for why the genre may be as prolific as some would argue. Producer Ali Renault supplies enough THX synth work and 808-style drum programming to sell a million DeLoreans on eBay. Singer Sebastian Muravchix, while not as savvy an imitator as Renault, still manages to evoke ‘80s electronic pop vocalists such as Neil Tennant or Russell Mael. Though the album occasionally lags, they are sharp enough craftsmen to make it worthwhile.
|
| |
|
|
 |
|
Hinder
Take It to the Limit
(Universal Republic)
****
Heart-hitting lyrics, powerful vocals and a consistently booming rock sound give Hinder all the leverage they'll need to keep their fans coming back for more with their new LP, Take It to the Limit. The album comes from a very personal place, giving Hinder plenty of room to expose themselves to their audience but not at the cost of losing their kickass rock status. They love, they lust and then party like rock stars throughout the album, as best heard in tracks like, "Up All Night" and "The Best Is Yet To Come." If you want to rock out with your cock out, throw on some Hinder, you won’t be disappointed. - Jamel Robinson
|
| |
|
|
 |
|
The Dears
Missiles
(Dangerbird)
***
In 2006, Canadian indie stars The Dears finally received recognition by abandoning their gauche orch-pop for the trimmer, cleaner approach found on that year’s <Gang of Losers>. This direction is continued on <Missiles>, an album that’s sort of like a grilled cheese sandwich sold as a panini. The reason for the statement being that, while The Dears try and dress their music up like it’s a deluxe political rock record, the reality is that it follows a very familiar template: reverberated guitar chiming, straightforward 4/4 rhythms and loads of brooding.
|
| |
|
|
 |
|
88-Keys
The Death of Adam
(Decon Records)
****
After a decade supplying tracks for some of the industry’s top MCs, 88-Keys steps into the spotlight for his first solo album, The Death of Adam. 88-Keys debuts his vocal skills, singing and rapping confidently alongside heavyweight guests like Kanye West (“Stay Up!”) and Redman (“The Burning Bush”). The music changes styles frequently, going from rock to hip-hop to R&B (“M.I.L.F.”), but the production is cohesive enough that it all still feels like the same great album instead of a disjointed mixtape. Hopefully, it won’t be another 10 years before we get a follow-up.
-Alex Thornton
|
| |
|
|
 |
|
Kaiser Chiefs
Off With Their Heads
(Universal Motown)
***
Enlisting A-list producer Mark Ronson for their third album was the logical next step for Kaiser Chiefs, constantly lambasted by the press and indie rock fans for stylistic monotony and overt commercial capitulation. Ronson is indeed a good fit for the UK stars, as his nudging the band into genres like disco, grime and sweet-toothed pop cause Kaiser Chiefs to sound more comfortable than ever before. This would mark the group’s artistic breakthrough, were it not for the banal lyrics and stilted musicianship. |
| |
|
|
 |
|
Various Artists
Johnny Cash Remixed
(Compadre)
**
Part of Johnny Cash’s appeal was that his menace was never presented overtly. His snaky guitar twang, seesawing bass and percussive clicks and brushes was brisk enough to possess the danger of a bank robbery getaway on a gorgeous day. <Johnny Cash Remixed> replicates that aura of threat about as well as a cat can swim. The big beats and overbearing guitar chugging of Kennedy’s remix of “Sugartime” or Philip Steir’s remix of “Get Rhythm” are nothing but chintzy debasements of their source material. The remainder of the album continues in much the same vein. |
| |
|
|
 |
|
pH10
Well Connected
(Helmutplex)
***
Noisy New Yorkers make the type of jungle that you would’ve heard everywhere in the late ‘90s: beat-heavy, reliant on loud, buzzing keyboard bass and awfully monotonous. Props to pH10 for casting attention upon a style that’s not currently in vogue, but there’s also a reason it’s not fashionable. While <Well Connected> is a fine replica of its genre, the album goes by in an indiscriminate blur and rarely are there moments when it grabs you in any sort of dynamic way.
|
| |
|
|
 |
|
Jah Cure
The Universal Cure
(SoBe Entertainment)
***
In 1998, Jamaican recording artist Jah Cure was on cloud nine, touring with local celebrity Beres Hammond and hanging with the likes of Capleton and Sizzla. All that came to an abrupt and unfortunate end when Cure was arrested for a crime he repeatedly stated (and still professes) he didn’t commit. Sentenced to 15 years in prison, Cure served eight, exiting prison with a newfound optimism. The Universal Cure is just that, a consistently effusive and buoyant pop-reggae album infused with positive messages and major key melodies. |
| |
|
|
 |
|
TAT
SoHo Lights
(Sony/Red)
****
Too much of what is labeled “pop-punk” is derided for being excessively juvenile and annoying and, at times, the accusation is appropriate. Therefore, it’s a relief to listen to TAT, grouped into this genre yet bearing none of the childish antics and grating vocals of many of their peers. Lead singer Tatiana DeMaria, with her girlish voice possessing a glint of huskiness, is Pink by way of Courtney Love’s soaring drawl. And her band doesn’t resort to hyper speeds in order to mask weak songwriting. Per the latter: it’s never an issue. |
| |
|
|
 |
|
White Denim
Exposion
(Transmission Entertainment)
****
White Denim exhibit a number of identifiable indie rock touchstones: the frenetic guitar plucking of Dirty Projectors, the loose, chunky bass playing of Mike Watt and the blubbery warble of Antony. These days, copping other people’s trademarks is a sure sign of stunted creativity, but not so for this band. Thanks to their shifting arrangements and hooky intuition, this Austin trio finds ways to incorporate their influences as elements in their own multi-threaded sound. And from the shouted chorus of “Shake Shake Shake” to the peaceful strums of “ieieie,” that sound is craftier, and catchier, than you may think.
|
| |
|
|
|
|
|
