Artist:

Boise, Idaho’s Trevor Powers, better known as Youth Lagoon, released his sophomore effort, Wondrous Bughouse, in early March. The album has drawn critical acclaim from indie heavy hitters like Pitchfork and A.V. Club.

Power’s current release shows its roots back to his 2011 release, The Year of Hibernation, with a heavy dose of dream-pop and chillwave influences. While Hibernation showed a minimalistic approach with sleepy beats and muffled vocals, Wondrous Bughouse shows a positive growth in a very psychedelic way.

The lead single “Mute” is where the album begins to pick up. The melodic synthesizer at the beginning paints a warm and bright picture while Powers’ signature hazy vocals layer over it. Despite it’s welcoming feel to it, the lyrics behind it appear to tell a story of self-doubt, questioning what is real and what we perceive as real.

“Bath” is the track that follows and is very reminiscent of “Cannons” from Hibernation. This time around though the track is much darker and less clear compared to “Cannons”.

Most of the album has a very dreamy feel to it, similar in ways to a more psychedelic Beach House, and is comparable to Washed Out’s 2011 release, Within and Without, where it is easy to get lost in the hazy, distorted vocals and bright melodies.

The sophomore slump that many artists encounter was avoided on Wondrous Bughouse, and appears to be a strong album early on for 2013. At 23 years old, we are hopefully seeing only the surface of Powers’ young career.

Reviewed by Blake Mehigan

In the digital age, the world changes exponentially. Remember how four years ago the words “Instagram” and “Spotify” didn’t exist, and the phrase “taking a selfie” meant something really gross? In a world where websites and restaurants have to change designs every six months to stay relevant, artists must continually evolve or risk being crushed under the weight of our “What have you done for me lately” indie music culture.

Three years after “chillwave” label thrust upon him by an eager blogosphere, Chaz Bundick has done just that. With Anything in Return, Bundick’s third album as Toro y Moi, the multi-instrumentalist producer has moved on to crafting straight-up electronic R&B jams that evoke closer comparisons to Frank Ocean’s Channel Orange than anything by Washed Out or other “chillwave” contemporaries.

Anything in Return doesn’t aspire to the retro fuzz of Toro y Moi 2011’s LP Underneath the Pine, but it stands on its own as a collection of sultry, earnest ballds and funky electropop. The album’s two singles exemplify this duality—“So Many Details” flatters the ears with seductive layers of distorted bass and keyboard arpeggios, while “Say That” languishes in lyrical ambiguity beneath glitchy polyrhythms.

Chillwave purists have expressed dismay with the direction of Toro y Moi’s sound, but as long as Bundick can continue to deliver bangers like “Grown up Calls,” he’s got my ear.

Reviewed by Earl Parsons

Artist:

To say that the follow up to Loveless, My Bloody Valentine’s 1991 release, had been eagerly anticipated would be a massive understatement.  It’s hard to know how exactly this record came to be in the twenty two years spent awaiting its release- that fact alone should qualify it is something of a miracle that we get to hear a proper new release from such a mythical band. Never mind the fact that it was announced it would be coming out in two or three days in an offhand response to a heckler, but sure enough, the record appeared in the bands own web-store, as if it were a dream, seeming entirely too good to be true.  No label, no ads, no press release, nothing. The groundswell of excitement overloaded the servers and presumably took years off of my, and other fans, lives in the hours (ok, maybe minutes) that it took to fix, while we anxiously awaited salvation in the form of m b v.

“She Found Now” opens the record with the kind of nervous elation that one might feel as they find themselves reacquainting with a former lover after some time has passed; it leaves you to wonder why you ever split in the first place. It’s illuminating that while the band was largely absent for much of the 90s/00s, they still found a way to surpass much of what had been released in the interim, even at their “worst.”  Not to say that this is in any way, shape or form, bad, but it will never live up to the reputation of their previous record, at least according to some reviewers, but then again what ever could? One only has to listen to the sixth track of m b v entitled “New You” to realize how effortlessly the group works at implanting its melodies into your head.  Kevin Shields buoyant tremolo’d guitars inviting you in for a closer listen while the gentle coos of Bilinda Butcher disarm, leaving you no choice but to surrender yourself to this blissed out pop confection.

What follows in the final three tracks may come as a bit of a shock with its more antagonistic squalls of noise and military like drumming, which happens to be this reviewers favorite third of the record.  The thrilling final track aptly titled “Wonder 2” is a drum and bass take on m b v’s signature sound, and what I’d imagine Willy Wonka’s infamous boat “trip” to sound like- that’s if Kevin Shields were to take over for Gene Wilder.  It’s a hell of way to end it, and if it’s any indication as to where the band is headed, I cannot wait to hear the next record, though I have a feeling it might just be a while.

Reviewed by Noah Ben-Eisha

Artist:

On their debut LP Brian Harding (formerly of Hymns) and Amalie Bruun (formerly of Minks) come together to form a blissfully whimsical record that will appease the reminiscing of even the most diehard pop geek.

Sharing some lo-fi similarities to artists like Girls with the pop sensibilities of a time long past, True Hallucinations is an album that many will completely look over this year, but for those who didn’t miss the genius, they will be rewarded with gorgeous atmospheric hooks.

Songs like “Separator” highlight the relaxed mentality of Ex Cops at their best as they deliver the listener with the difficult path of finding oneself again after a separation.

This album provides listeners with a fantastic pop album that commits to both the simplicities of early indie pop while still providing more complex lyrical song writing then most of other artists.

True Hallucinations not only offers an escape from a musical world that is being overly layered and overly produced, it offers a chance to sit down and relax with a pair of headphones plugged into a record player and be taken away to a carefree place.

Ex Cops’ debut LP is bound to be one of the most overlooked albums this year, so don’t make that mistake and give your ears the pleasure of True Hallucinations.

-Trevor Platt

Artist: Local Natives
Album: Hummingbird
Label: Frenchkiss / Infectious
Release Date: January 29, 2013

Indie-rock has never sounded so beautiful as when the L.A. based, 4-piece band, Local Natives debuted their sophomore album Hummingbird. After the bands first piece of audible gold, Gorilla Manor, which debuted back in 2010, listeners were left to wonder how it would be possible to top such an eclectically, well-rounded album.

Throughout Hummingbird, the band proves their musical innovations could not/would not plateau. Being compared to bands like Fleet Foxes, Grizzly Bear, and Animal collective, Local Natives definitely can hold their own as proved throughout the duration of this record.

The rustic and yearning vocals, gorgeous harmonies, jamming guitar leads, detailed lyrics, illuminating synths, and clattering percussion that were featured in Gorilla Manor captured the ears of many who will not be disappointed with Local Natives’ new masterpiece. It would appear that the band took a step toward maturation with Hummingbird, producing a cohesive, novel sound; hauntingly beautiful vocals, sumptuous harmonies, delicate strings, nostalgic lyrics, and mellowing drum fills. After lead singer Kelcey Ayer’s mother passed away last summer, this album displays a vast array of emotion that is apparent and felt by the listener especially on tracks like “Colombia”(listen to this song if you want to cry your eyes out).

To begin the album, “You & I” provides the listener with effortless vocal harmonies, swelling guitars and a subtle, yet gut-wrenching beat. Following, “Heavy Feet” explores a rich, beautifully bittersweet melody that exudes the strength of Local Natives’ harmonic power. Next, delving in the sweetly sung, short, but to point song “Ceilings” that keeps the listener on their toes, and deeply anticipating the what is to come. “Breakers,” which was one of the pre-released singles, demonstrates the bands ability to effortlessly create so much feeling while remaining completely authentic offering perfectly composed verses which evolves into a grand, sweeping chorus. Before the albums commencement, “Colombia”– which is Ayer’s tribute to his mother–features one of the most heartfelt songs on the album. With exquisite swells followed by angelic bass, elegant piano, and transforms into something warm and emotionally engaging further topped with ever-poignant lyrics, “If you never knew how much/if you never felt all of my love/I pray now you do.”

As with many sophomore albums, bands are often confused and unsure of where to go next. Fortunately for Local Natives, and their adoring fans, Hummingbird testifies as a triumphantly ambitious album that is sure to please. This record debuts the strength and innovation of an extremely talented group that aims straight into the listeners emotions and hits the target; this album is as cathartic as it gets. Overall, Local Natives prove to be a brilliant contender for one of the best indie-rock bands of our time, and Hummingbird to be one of the best albums of the year.

Reviewed by Genevieve Jones

Artist: 

Autre Ne Veut, aka Arthur Ashin, translated to “I think of none other” is destined to find himself being the next big thing as a member of the avant garde pop scene.

Following up a strong debut EP, Anxiety follows a direction of combining high energy 80s R&B into a synth driven thing of beauty. If one was to take the sounds of Chad Valley, Twin Shadow & How to Dress Well and throw them into a blender, the sensual sounds of Autre Ne Veut would guide its way into your ear.

The album opens with the second single “Play by Play”, sounds of synth wind chimes and a growing beat guide you into the beautiful tenor that is Arthur Ashin. As the album progresses through key tracks “Counting” and “A lie” it becomes increasing easy to lose oneself in the music and forget that these songs weren’t made 30 years ago. The album continues to build in sounds as the new R&B movement develops a new face found in Anxiety.

Appropriately, the album closes with “World War” which allows Ashin to demonstrate the true power of his vocals as he belts and seduces over a single ambient note for the first minute of the song.  Ashin continues to impress with just his voice until the song hits the 2:40 mark and the beat carries Anxiety to a glorious finale. Following last year’s success within artists like Alunageorge, Jai Paul, How To Dress Well and even the Weeknd, Autre Ne Veut continues to delve into bigger sounds in order to redefine this new genre in a flamboyant and boisterous way.

Ashin effortlessly combines a smooth vocal delivery behind 80s oriented synth to craft and progress the recent revivalist movement.

Reviewed by Trevor Platt

Artist: 

STRFKR never ceases to amaze the ear of any indie music fanatic. Whether the listener is a gateway electro-indie pop artist or an avid STRFKR follower, this Portland-based band is nothing less than golden. With its chill-wave beats and less-than-frantic tempo, STRFKR, specifically Miracle Mile, fulfills the baron electro-pop piece of my heart that had remained empty for too long. STRFKR’s main multi-musician Josh Hodges keeps a steady pace to maintain his grooves to keep the listener waiting and wanting more. Their songs intermingle so seamlessly it is as if you were listening to a single podcast; there is something new to find each time you listen to this album.

Miracle Mile immediately catches your attention with their first song off of the album, “While I’m Alive,” with its catchy bassline and ability to connect the melody and the craving to just dance! Followed up with “Sazed,” with  bit harder beat, Hodges keeps his listeners interested in each individual song as well as when one ends and the next starts. You never really know with STRFKR… As the album continues, so do the constant heavy beats and dancing desires with “Malmö” and later “Atlantis.” Hodges and his supporting band slow it down, though, in songs such as “Say to You” and “Isea,” taking a break from the fast, pumping beats to incorporate some “oh-oh-ohs” and acoustics into the mixing pot that we call STRFKR.

Golden is the only way you can describe this album, with its effortless transitions between songs and perfectly placed fast-to-slow tempo ratio. It’s worth a good solid listen or two, or five.

Reviewed by Kacie Gin

Artist:

The new ten-track album from Ben Harper and Charlie Musselwhite, Get up!, features an array of sounds that come together to create a much anticipated soulful powerhouse of blues and rock and roll. Ben Harper lays down his familiar multitalented style and melody on the mic and guitar, experimenting with other instruments along his way through the album. Accompanied by Harper is Mississippi native Charlie Musselwhite who has an over fifty-year history of jamming as a master of the harmonica. Musselwhite has a place in the Blues Hall of Fame and has played with famous artists of the Blues world such as Muddy Waters, Howlin’ Wolf, and Tom Waits. He owns his commended skills over the tracks and delivers his famous and varied approach to the harmonica while exploring different genres along the way. The rest of the band: guitarist Jason Mozersky, bassit Jesse Ingalls, and drummer Jordan Richardson aid greatly in giving this album a high success with a raw and unique feel.

The alum incorporates heavy blues, rock, folk, and soul and provides influence from past decades that create variation of tempo and mood throughout. The album was born through experimentation of tones and subgenres and an idea of bringing a dope jam session to life. Get Up! provides a lot of attitude and carries an old school vibe that features an organic partnering of instruments such as the slide guitar and of course the harmonica. At lot has come about to create this collaboration and the album stands as “ a record Harper has always aspired to make, but knew required the essential life experience”.

Recommended tracks to listen for include “I don’t believe a word you say”, “You Found Another Love (I lost another friend)”, and the slow paced, yet powerful and soul-driven, “Ride At Dawn”. The track “Blood Sight Out” is reminiscent of both classic Jimi Hendrix and rhythm of The Black Keys. Expressive lyricism is delivered that sets the mood of each track such as the single off the album, “Get Up!” that has Harper voicing “don’t tell me I can’t break the law, cause the law has broken me” as Musselwhite chimes in with his celebrated harmonica. “We Can’t End This Way” offers the blues integrated with the soulful feel of and even clapping and background vocals of a church choir. “She Got kicks” gives a fun flavor and 50s influence to the blues and then goes into the closing track, “All That Matters Now” putting a heart-heavy and jazzy finish to the LP that will make you want more. “I can’t get well/ there’s no cure for life/ let me down easy, at least tonight/ now we’re together and that’s all that matters now”. Among the album’s tracks, everyone

Review by Becky Schultz

Artist:

Vast Aire just releas

ed his new EP entitled A Space Iliad, on January 29th, 2013 on Man Bites Dog Records.  The project is a collection of remixes and tracks that were left on the cutting room floor from his previous album, OX 2010: A Street Odyssey, which includes features from Sadat X, C-Rayz Walz, Sub Con, Double A.B., and many more.  The EP kicks off great with “Royal Purple Bag” a spacey, moody head-nodder track with real ambiance.  Vast Aire puts his signature illustrative style on display with this song which reminds fans that hip hop originated as a New York art form.  After a great start come some questionable tracks though.  “Infinity War” is rather forgettable and Vast Aire is about the only good thing on “Monster (Adrenaline Mix)” offering listeners a different, more aggressive side of Vast Aire.  Both Sadat X and C-Rayz Walz were really disappointing completely butchering the track.

The disappointment continues as “Dangerous” suffers immensely because of a boring and repetitious beat.  Production isn’t exactly strong here anyway because most of all the remixes are worse than the originals. Unfortunately they just don’t bring anything fresh or interesting to the project. To be honest I found the EP to be pretty bland.  With that being said, A Space Iliad did show glimpses of hope with tracks like “Dirty Rose” and “Sour Diesel”.  Double A.B. was a compelling fit to “Sour Diesel” and is one of the few guests who doesn’t ruin the song.  Vast Aire himself puts on a good show but, the stale beats and the disappointing features altered the EP from reaching its full potential.

Reviewed by Weston Sarver

Artist: The Fourth Estate
Album: The Costs of Living
Label: Spring Street Records
Release Date: January 23, 2013

To those who would wonder if good, honest, political punk rock has finally vanished from the world, you need only look to The Fourth Estate, a five piece band from Birmingham, Alabama. Formed in 2011, the band has been busy since its origin, releasing two EPs and preforming three U.S. tours. The Fourth Estate’s new record, The Costs of Living, released earlier this year on Death to False Hope Records, is the band’s first full length album. Its clear they did not intend to disappoint.

Right away the album starts off with “The Road to New Damscus, Pt. I” an explosive track that brings to mind the golden age of punk rock, with the same crowd driving energy and mentally stimulating type of message that makes one stop and take a second look at the governing forces of the world. The album then moves on to perhaps its best track, “ The Ballad of Eugene Debs” a quick paced song celebrating the working classes of the world and encouraging them to speak out and fight for the basic rights they have in some cases been denied. The song also speaks to governments, proclaiming loudly that it is seen what they are doing to their people. Simply abating public need to keep them in line and subservient.

With all the energy, drive and passion one would expect from bands like Rise Against, NOFX and Strike Anywhere, The Fourth Estate masterfully crafts each track. Combining thought provoking messages with the dirty punk rock sound that the punk rock community has come to know and love. With songs like “Rosewater” and “Suicide Watch” proclaiming the need for personal responsibility rather than relying on an unseen deity, as well as tracks like “Waster” and “ Union Pacific” which remind us about those of us experiencing life changing disorders such as depression and post-traumatic stress disorder. The overall message of “The Costs of Living” even seems to coincide with the message of old punk. Something to the effect of …“Yeah life sucks and it’s going to be hard, and no, the world isn’t going to help you through it all. You have to depend on your friends, your family and most importantly yourself to get through it all.” A message that is laid out in summary by the last track of the album “ The Road to New Damscus, Pt. II”

This album is a little piece of hope for those of us who thought political punk rock was dead. My only problem with the album as a whole was the fact that the best song seemed to come much too soon and the rest of the album didn’t seem to be able to keep up. This however, is only a personal bias and is certainly not a big enough problem to take away the album.

Reviewed by Kaleb Sievers