Blanck Mass - s/t

The sonic landscape ruled by Fuck Buttons is a realm of harsh frequencies and lavish bodies of sound. Their venture into the electronic genre has proven to be one of the more innovative statements made for avant-garde enthusiasts. Sophomore LP Tarot Sport strayed from the obscure improvisation found on Street Horrrsing to an organized, almost post-rockish sound that built upon it's frequent loops until they eventually celebrated into furious crescendos. What Tarot Sport became wasn't so much experimental sound, but rather a look at orchestraic movements of the 24th century.

With Blanck Mass, John Power (exactly 1/2 of Fuck Buttons) detonates a nuke on Tarot Sport's expansive, developmental epics. The result is a sprawling work that incorporates Fuck Buttons' well documented use of looping samples along with their improvisational roots. At moments, it's raucously pleasant. Album standout "Land Disasters" buzzes like it's in the midst of a cartoonish hornet invasion while concurrently evolving in the background. It's marquee synth, oh so prevalent in Fuck Buttons lore, flutters throughout the mix, somehow giving the song an even greater apocalyptic feel.

It's a lot to digest -- and yes, I understand that most drone albums tend to fall under the categories of "growers" -- however Blanck Mass wastes no opportunity in wrapping itself around your head with it's raptured swirls and spontaneous revelry. Over time the rolling hills that make up it's emotional stature peak with walls of noise and even out during brief periods of rest. "Chernobyl" softly churns over in comparison to the cacophonous track in "Sundowner" that precedes it, but the contrast between the two songs displays the obvious evolution in sound that makes this album great. By the time you recover, you'll realize that you've already traveled this dimensionless world inhabited by Blanck Mass, and you're only option will be putting the CD back in and traveling once more.

4/5

Recommended Tracks: "Land Disasters", "Chernobyl", "Fuckers", "Sub Serious"

Washed Out - Within and Without

In a genre that's been beaten to death by hundreds of uninspired Fruiy Loops projects, it's downright unbelievable that there are artists out there who are still trying to revolutionize the painfully simple fad most bloggers have come to identify as "chillwave". Look no further than Toro Y Moi, an artist who's shift in musical direction has landed him a proponent of some bizarre french-disco-meets-Neon-Indian freaky deaky shit. He's not the only one this year evidently: with the latest LP by Washed Out, we meet a musician recreating the genre on steroids, and the result is a satisfying album with occasional strokes of brilliance.

It's not that Within and Without is made up of completely different musical themes, rather, Ernest Greene cranks up the dial on all the qualities that make the genre original. The synths sharply twinkle in the foreground and sustain in the back, the bass shows off streaks of funk as it trudges along in the mix, and Greene himself comes up big delivering a modest yet commendable vocal performance. All of these details can be found in any chillwave act, but Greene succeeds in producing an album that amplifies these strengths while additionally downplaying the seldom blemishes.

The album's highlight is the mid-album track "Soft". Following the brief ambient swirls, the song is soon accompanied by a delicious bassline that turns an otherwise straightforward effort into a vibrant shindig further improved by a relentless dance beat and reverbed-to-hell vocals. In the distance, synths rise and fall, adding to the mysterious nostalgic atmosphere that Within and Without practically breathes. When put together, "Soft" is everything chillwave should be; not a transparent single built by sampled drums from 1980's workout mixtapes, but genuinely laid-back music that combines our childish sentimentality with pop-hooks that'll last for the ages. There are several songs that essentially reek with this 21st century jubilation (See: any of the latter mentioned Recommended Tracks) and others that pass off as decent songs that you could probably squeeze into any indie-electronic release ("Before", "You and I" ), but looking past the few cases of filler, you have an album that's alive and impressively so.

3.5/5

Recommended Tracks: "Soft", "Amor Fati", "Eyes Be Closes", "Far Away"

BEST NEW MUSIC: Bon Iver - Bon Iver, Bon Iver

"I am my mother's only one / It's enough"

Bon Iver's self-released debut, For Emma, Forever Ago, was a cogitative look at a man's deteriorating life. That man, Justin Vernon, "hibernated" in a log cabin for three months, pouring his personal heartaches of the past decade into song form. His widespread success critically and with a mainstream audience is a testament to his relatable desperation. We've all been there: depressed and fed up with life; but whereas most people bite their lower lip and move on, Bon Iver purged his negativity into one of the greatest introspective folk-albums of our generation.

The beauty here is that Vernon's zero-to-hero story hasn't changed the man's image at all. This is a guy who, around this time last year, had flown down to Hawaii to work with Kanye West on the sensational 2010 LP My Beautiful Dark Twisted Fantasy. There was a lot of head-scratching when news broke of Kanye's friendly relationship with Vernon. On one hand you had hip-hop's most well known egomaniac, and on the other, an introverted indie-rock legend; but it made sense really: Kanye, like all of us, connected with Bon Iver's passionate harmonies. By using Vernon's voice, he was simply conquering another step of his own healing process.

"I'm up in the woods / I'm down on my mind / I'm building a still / to slow down the time"

Vernon's affair into the hip-hop world was initially inspired by Kanye's request to sample "Woods", the closing song on Bon Iver's 2009 Blood Bank EP. Weirdly enough, "Woods" makes use of the ever-controversial autotune feature - a first for Vernon, and, for that matter, any folk rock musician ever - and as such, it remains to this day the most divisive in Vernon's catalog. The way I see it, "Woods" was an outreach of experimentation that was more of a statement than anything else. Yes, Vernon at his roots is a simple folk rock musician, but give him some time and the right equipment, and he'll be sure to raise some eyebrows.

"I'm tearing up / across your face / move dust through the light / to find your face"

At its heart, Bon Iver is as emotionally intimate as Vernon's previous releases. The key difference here is that dice of experimentation seen on Blood Bank. Look no further than album opener "Perth"; Vernon softly strums a clean riff that's seemingly innocent, but he's soon joined by a building choir in the background and a marching snare in the foreground. When the chorus hits, the guitar harshly wails and horns pander through in the mix. The build up reminds of the likes of Sufjan Stevens; it's an all around different man already, and we're only four minutes into the album.

"Minnesota, WI" follows shortly after, further promoting Vernon's new-found taste of using his band rather than remaining solo. There's slide guitar, distorted effects, and a rambling, plucked banjo that swiftly moves throughout the song. Bon Iver is jam packed with cute flairs and experimental whispers. "Lisbon, OH" is nothing more than a brief ambient interlude with beeping samples, but it somehow transcends into a heartfelt, Steve Winwood-1980s-slow-dance that has absolutely no direct comparison to the rest of the album. It's romantically cheesy and almost downright ridiculous, but Vernon's mature approach to the complete absurdity of this situation makes it work in the most bizarre way possible.

"Danger has been stolen away / This is us"

Despite all of these added nooks and crannies, Bon Iver sounds just as welcoming as he did on past releases. For Emma branched off as an intimate one-on-one conversation, but on Bon Iver, the same, tireless passion is shown wandering in an entirely different direction. The path is dense with surprises and a repertoire of bells and whistles played by his talented and equally modest band. Is this an improved Justin Vernon? Time will be a factor here, but the consistent melodies and overwhelming creativity are a good indicator that it just might be.

Confession: I typed the first half of this review almost two months ago. My brief hiatus from my blog was disappointing (mostly to myself) but my love for this album has stayed and arguably grown. One thing that hasn't changed, however, is my view on Vernon himself. Bon Iver shows an evolved Vernon, an experienced Vernon, a man that hasn't forgotten his humble beginnings. All of our past loves and our repressed doubts for the guy are somehow packaged into a 39 minute product that flies by in the best way possible. It's apparent briefness and it's lack of imperfection constructs a piece of work that is career defining. Maybe this is an evolution in Vernon's still-infant discography. Maybe this is a one-off experiment that will yet again be challenged by a future release. Maybe, just maybe, Vernon will move back into his log cabin and never record another album. I wouldn't be surprised; honestly, Vernon is just a simple-minded man with a gifted talent. But what separates Vernon from most other musicians is the connection made between him and the listener. He's genuine and upfront, and I like that. Such clarity on an album so left-field for a folk musician is rare, but instead of questioning this I'll just hit play, over and over again.

4.5/5

Reccomended Tracks: "Perth", "Minnesota, WI", "Wash.", "Holocene", "Calgary"

Ducktails - Ducktails III: Arcade Dynamics

In preparation for this review, I promised myself that I would refrain from using the words "beach", "chill", and "summer"; but let's be honest here folks, such a task is near impossible with an album like this. From the righteous calls of "Don't go killin / killin the vibe" to the lethargically pleasant guitar licks, Ducktails III: Arcade Dynamics sinks your toes in sand while simultaneously giving off an aural sunburn. It's laid back and casual, never once trying to impress anybody with anything; because come on now, that wouldn't be cool.

Unfortunately for the listener, though, the apathetic concept that this album is built by is both its turn off and its strong point. Throughout the 34 minute LP, Matthew Mondanile lazily strums gorgeous sounding riffs carried by reverb and good wholesome vibes. Everything sounds great, but it's oddly off-putting that the artist is unimpressed by his own product. In contrast, Mondanile's role as guitarist in the indie-rock band Real Estate is central and organized. With more effort put in by other members of the band, the songs just work that much better.

The atmosphere created by Mondanile's rich guitar tone is noticeably relaxing, but because there's nothing else really offered from this LP, most of the songs blend together without doing much more than making your head sway subtly from side to side. It's almost as if Ducktails III: Arcade Dynamics doesn't want to be noticed, which is a shame really, because the album has its fair share of catchy melodies.

In an abrupt change of events, Mondanile ends the album with a 10 minute ambient piece comprised of soloing guitar and fireworks. No more melodies, no more singing, no more sense of a party on warm July night; instead, we sit back and reminisce with the now heightened atmospheric beauty. It's a perfect way to end an album built from the ground up in lavish guitar tones, but a part of me leaves disappointed, frustrated by the lack of consistency and stand-out tracks.

3/5

Recommended Tracks: "Killin the Vibe", "Art Vandaley", "Porch Protector"

Beyoncé - 4

4 is an impressive step forward in almost every direction for Beyoncé, a pop musician who's already conquered the world twice over at the ripe old age of 29. But what's most endearing about 4 isn't necessarily it's quality, but how mature it comes across to the listener. This isn't just a cheap jab at a pop single (the lead single, in fact, is the album's last song) but rather an emotional left-hook lenient on flashiness and upfront with passion. Most notable is the albums production, which takes a backseat to Beyoncé's powerful vocals. Her belting cries of "Let's start over" transform a bland pop tune in "Start Over" to a fearsome track that bleeds tenacity; likewise, the majority of this album follows suit, differing the expected 21st century pop status and rather appearing as a late-night karaoke session that's both keen on it's r&b roots while simultaneously expanding to show 80's funk and neo-soul flairs.

When the album does get showy it never strays far enough to become self-indulgent. The one anomaly is the Major Lazer-sampled "Run the World (Girls)", the album's sole party-banger that seems remarkably out-of-place in the span of things. This is not to say that a pounding bass-drum or overall showiness is a bad thing -- Because let's be honest here, "Crazy In Love" might be one of the best songs of the past generation, and that song wasn't shy about itself -- but instead a noticeable deviation from the experimental formula that works so well with this release. 4 does have misses, including the lazy "I Miss You" and the over-cliched power-ballad "I Was Here"; but mishaps aside, 4 shows a different side to Beyoncé, one that will hopefully continue highlighting her own strengths rather than overshadowing them with studio production.

3.5/5

Recommended Songs: "I Care", "1+1", "Party", "End of Time"

BEST NEW MUSIC: Iceage - New Brigade

My knowledge of the country of Denmark prior to this view consisted of; A: the country of Denmark is located in Europe and; B: It's small and near Germany. I was close enough with my initial predictions, however, as I sit here writing this review, I honestly haven't discovered much more about the Danes. If anything, the only musically relevant things about the tiny peninsula is the Roskilde festival - the second biggest festival in all of Europe surprisingly enough - and a small but thriving underground punk scene that's slowly gaining exposure. Among these artists include various noise-rock/post-punk outfits such as The City Kill, ADS, and Melting Walkmen, but whereas these bands step back to create some atmosphere, Iceage decides to shove a handful down your throat.

That's the beauty of Iceage. The group consists of four 18-20 year olds with a thirst for blood and a knowledge of the essential post-punk scene. It's a weird mix really, one that both calls for the UK invasion of the late 70s as well as the likes of Joy Division and Wire. But any sort of heaviness received from this album is mostly the bands in-your-face intimacy that they embrace so well. I mentioned something like this in my Cloud Nothings review, but production on a lo-fi record is just as important than on any general studio album. Iceage's New Brigade genuinely sounds like it's being played in-front of you. The yelled refrains seemingly fill the room while the guitars and percussion take what's left and boost the volume louder.

At times, this forceful approach may contradict the post-punk roots too much, but on a whole it works well enough to not even be close to a problem. Hell, this originality is key for New Brigade - without it's hefty set of balls you probably couldn't tell it apart from it's respective counterparts in the somewhat dead punk scene. "Count Me In" runs straight at you with a thundering guitar riff and a hesitating chorus-thing. It's fast, and surely eye-opening, but its then immediately answered by a chaotic yet relatively controlled Wire-esque track submerged under a wall of rolling floor-toms and bizarre-sounding chords. The difference between these two songs is obvious even to the most inexperienced listener, but the uncanny transitionss flow so mysteriously well that I guess you just have to take it for granted.

New Brigade is short and sweet, never displaying any weaknesses despite going all out. Tempo changes are omnipresent and almost expected, but even with all the flurries and subsequesent eye-of-the-storm moments, New Brigade works as well as it needs to. On "Broken Bone" the harsh chords and bombarding percussion somehow segues into an unexpectedly catchy dance beat. It's puzzling to say the least, one of the more random parts of an already unpredictable affair, but Iceage seem to consistently answer with an equally predictable response - Why not?

4/5

Recommended Tracks: "Broken Bone", "White Rune", "Never Return", "New Brigade"

Cloud Nothings - s/t

Melodies, melodies, melodies. Here's a tip for the young musicians looking for a sense of direction: stop painfully carving away at your shitty riffs and just go for the feeling. The reason music is so successful for the human race is our recognition of catchy hooks. It's those 3 or 4 seconds that you replay over and over again to yourself, the dreaded earworm that both inspires and annoys us. So naturally, an album that basically builds itself upon catchy melodies is bound to be good, right? Pretty much.

Enter Cloud Nothings: the lo-fi brainchild of Dylan Baldi that essentially reeks of simplistic pop melodies. On his debut album Turning On, Baldi sets aside any sort of complexities and comes straight from the heart. It's a nostalgic effort, one that was most likely recorded on a late 90's over-the-shoulder video camera in your basement 10 summers ago. The mix is so buried and modest that it actually brightens with several listens, revealing cute guitar licks and fiery drums. However, with Cloud Nothings, the band is no longer in your shoddy basement, but rather playing on a crowded stage in a relatively popular downtown bar.

Now, I don't want to make too big of a deal about this - because, in the long run, the songwriting is easily the most important part of any music project - but the shift in production style sort of ruins the overall image I loved from Cloud Nothings. The hard-hitting percussion and the now overly prevalent guitar nearly flash punk rock at times. Take "Should Have" for example: the in-your-face guitar plays a pop guitar riff that completely drives the song. It almost comes across as a montage song segueing two scenes from Malcolm In the Middle together. Yet again, I want to stress that this isn't necessarily a terrible thing, but it does detract from the overall quality of the album.

But honestly the biggest problem with Cloud Nothings is that it doesn't hold as many notable melodies as Turning On. That's really it - which, if anything, only confirms that the lo-fi genre is a bit of a crapshoot. Baldi is a seriously talented writer, but the riffs on Cloud Nothings don't stick as well and somehow lose their intimacy through the recordings. The legitimately great tracks ("Understand at All", "Not Important", "On The Radio") are catchy, fun, and fit nicely with Cloud Nothings' young catalog; but the otherwise mediocre songs ("Should Have", "Rock", "You're Not That Good at Anything") are nothing more than failed riffs that never really get off the ground.

There is a silver lining though: Cloud Nothings is still in the early stages and the low points on this album are merely setbacks regarding filler riffs and questionable production. It's adolescence and it's forgettable; but the melodies, the defining factor for a band like Cloud Nothings, come up somewhat short.

3/5

Recommended Tracks: "Understand at All", "Not Important", "On The Radio"

Blue Hawaii - Blooming Summer EP (2010)

It's that time of year again. As summer approaches, I find myself increasingly mesmerized by how unbelievably gorgeous the weather has been. The temperature peaks out an earnest 74°, the wind provides a nearly sensual breeze, and the irritating bugs remain hibernating. It's almost too perfect, but look away long enough, and the scorching hot, lazy summer days are just around the corner. Blue Hawaii's Blooming Summer perfectly captures my "weather-pessimism" while still assuring everything will be alright. It's both comforting and ambitious, wielding enough swagger but hesitating by shoving it under walls of reverb.

It's lead by Raph's vocals, better known for her work with the 2011 buzz band Braids. On a whole, Raph shines, delivering a consistently refreshing performance to the various beats thrown at you. On "Lilac", her charming falsetto channels Sigur Rós, while on "Dream Electrixa" the influence from Best Coast literally shouts at you. As I had just previously mentioned, Raph's vocals harmonize greatly with her percussive counterpart. The booming bass drum on "Katie" is met halfway by a twisted, casio keyboard head-fucked by nostalgia. The end result is notably dreamy, possibly an unintentional venture into the chillwave genre. Make no mistake though, this isn't fruity loops-core material; rather, Blue Hawaii is about as well-produced as you would want it to be, leaving enough room for expansion in the future.

My favorite song on the EP is the deceiving "Castle of Clouds". It begins a harmless drone, but a pumping synth bass at the song's midpoint reveals an understated dance track that never entirely breaks out. The production is key here; Raph's vocals are perfectly embedded in the mix, wavering in and out of the respective channels on a whim. There's no claps, snare hits, or even a bass drum for that matter; it's simply a transcendental walk on the beach that's inviting and full of surprises. Maybe that's what Blue Hawaii really wants to be known as: a one day trip to the beach that you will always try to recreate. We all have those memories, long lost but remembered for those few seconds of absolute peace. Moments like these make life frustrating, not because these memories are so unheard of, but because they're so hard to achieve.

4/5

Recommended Tracks: "Castle of Clouds", "Belize", "Lilac", "Dream Electrixa"

Tyler the Creator - Goblin

Bastard was great because it was honest. In the album's title track, Tyler carelessly admits he's vulnerable and pissed off about it. Sincerity like that is hard to find in a rap scene built by egos, but in any case, Tyler managed to accomplish this on his self produced debut. His lack of subtlety is hardly a reason to get excited though; instead, it's the shear amount of quality material being released by the Odd Future collective. Tyler remains the de facto leader, but his accomplices are just as noteworthy, proving that seniority hardly means anything to this up-and-coming group.

Let's be honest though, if Tyler hadn't taken the role of leader early on, these mixtapes wouldn't even exist. I mentioned Bastard earlier, but Earl Sweatshirt's Earl, Domo Genesis' Rolling Papers, and Mellowhype's BlackenedWhite are just as commendable and easy to get excited about. But whether or not they stack up against Bastard, Tyler's lyrical and straightforward approach is an influence that's all too noticeable. Simply put: Odd Future doesn't give a fuck, and Tyler will love to be the first person to point that out.

When "Yonkers" hit the internet back in February, Odd Future blew up and they blew up fast. I wasn't surprised; "Yonkers" is arguably the best song released by the collective as of yet. The immense beat matched by Tyler's superb word play was frightening and unbelievable. Tyler wasn't so much a kid but rather a demonic teenager hell-bent on conquering the widespread minds of the civilized world.

As the lead single, one would expect "Yonkers" to lead a variety of equally hard-hitting tracks, but if anything, Goblin shows a noticeable shift in Tyler's persona altogether. Take "Radicals", the way-longer-than-it-should-be teenage anthem. It begins with a 20 second advisory warning the listener to not attempt any of the crimes mentioned in the song. I can understand this being a tongue-in-cheek jab at his generally white fanbase, but why is this really needed in a song that's already exceedingly lengthy? Moments contradicting Tyler's well known "I don't give a fuck" attitude are all over Goblin, almost to the point where it becomes a joke. "Goblin", essentially the sequel intro-track to last year's "Bastard", is a 6+ minute rant on frustrations of being well known and having to answer to hype. Compare this to "Bastard", which had enough emotional weight to crush even the biggest Odd Future skeptic, and you'll be mostly confused and bothered. We get it, Odd Future actually has to answer to a mainstream audience now, but is going on multiple rants defending your own work really worth the time? If anything, it shows a blaring insecurity that pales in comparison to Tyler's anger in "Bastard".

Contradictions aside, Goblin's most unfortunate issue is it's production value. Maybe it's because of my admittingly high expectations, but Goblin marks the first time in Odd Future's discography where I've actually noticed the poorly mixed beats and laughably ridiculous synthesizers. A professional engineer can go a long way, and Goblin is an ill-fated example of this. Among other things, overuse of reverb and uninspired loops pollute songs that just don't know when to end. Here's an idea, cut out most of the intros, get rid of all the effect-riddled phase-out endings, and delete all the verses from Tyler's clearly less-talented friends. Done right, and you got yourself a 40 minute album with a fair share of highlights.

Mind you, Goblin isn't a terrible album. When Tyler goes hard, he goes hard; "Yonkers", "Nightmare", and the Eminem-esque "Golden" are career highlights from the 19 year old Los Angeles native. These are the moments where Tyler goes back to his roots (ie: fucking sluts, slaughtering enemies, his separated family) and are hands-down the best and most satisfying. Lines like "Rape a pregnant bitch and tell my friends I had a threesome" are expected (but certainly welcome) but other lines like "Niggas saying 'Free Earl' without even known' him / See, they're missing the new album, I'm missing my only friend" show Tyler's raw emotion that seperates him from every other rapper trying to make it at his age.

Remarkably, however, Goblin is about the least confident Tyler has sounded as a whole. Instead of giving an unforgiving middle finger, cautionary warnings and excuses make a mess out of this lengthy sophomore release. It's a shame really, Tyler could have potentially floored his critics. Rather, he chose to reason with them. The limelight is brighter than ever Tyler - please stop caring.

2.5/5

Reccommended Tracks: "Yonkers", "Golden", "Nightmare"

Julianna Barwick - The Magic Place

A few months ago somebody on the internet, with apparently nothing better to do, decided to slow down Justin Bieber's “U Smile” by over 800%. The once 4 minute pop song was now a 35 minute ambient “epic”. So incredible was this creation that Canadian news outlets even reported it. Seriously.

If there's anything that can be discovered from this creation, it's that people generally love slowed down music with feminine vocals. Julianna Barwick's The Magic Place reminds me of Bieber's hidden ambient talent. The album on a whole is a hybrid of dream pop and drone. Barwick's “oooohs”, “aaaaahs”, “waaaays” and occasionally “heeeeeyyyys” are all complimented by large amounts of reverb caked into the mix. Her voice isn't strong, but the multiple, well-timed layers work wonders over almost quiet instrumentation.

Herein lies the problem with The Magic Place: outside of it's choral beauty remains a relatively empty album. Yeah, Barwick's voice is gorgeous, and these songs are pretty, but The Magic Place lethargically unwraps itself to be both beautiful and unsurprising. It's a weird mix, one that isn't completely satisfactory or ultimately terrible. It softly dances, bounding from song to song almost like a dream. You want to live there, possibly for the rest of your life, but by the dream's end you forget everything. Ironically, Bieber's slowed down “U Smile” is almost more impressive than this entire album. The result is mostly the same, something that's temporarily memorizing but ultimately forgettable.

2.5/5
Recommended Tracks: "Prizewinning", "Flown"

Radiohead - The King of Limbs

The release of a new Radiohead album is essentially the Superbowl for hipsters and music aficionados. It doesn't happen often, but when it does, the internet will surely fall into an unfathomable black hole of fanboys and elitism. Eventually, we are shrouded by endless debates comparing all eight LPs. Some choose to argue of Radiohead's ever-changing music direction while others whine of the album's length. By the end of the week, you'll be wondering if this isn't just an album but a cultural event taking place worldwide on the Internet.

The irony about all of this is that The King of Limbs, Radiohead's eight studio LP, is probably their most relaxed and subtle album yet. The guitar takes a backseat, instead replaced by repeating samples and buried synths. The band has never been so restrained before with their respective instruments. By sacrificing individual selfishness, the songs easily piece together forming a cohesive album rather than specific singles. It's a bold move from a band that looks at boldness as a virtue, and it's easily the most notable part of TKoL.

That being said, TKoL's subtlety is almost weakness. “Bloom”, “Little By Little”, and “Feral” are grandiose statements to Radiohead's rabid fans, but the impressive creation of these songs are masked by the lack of noteworthy riffs and moments. By just mentioning Kid A, fans will instantly think of the transcendental piano in “Everything In Its Right Place”, the feverish bassline from “The National Anthem”, the pulsing electronic punches from “Idioteque”; but what's Kid A without these movements? I'm not saying TKoL lacks catchy riffs, but compared to previous releases, TKoL relies much more on the atmosphere and the emotion. It's almost inoffensive, to the point where Radiohead is taking a chance by not taking any chances whatsoever.

But this is a fan base that has relentlessly followed a group who has consistently redefined their image. The fans are hungry, and the hype behind this album can only tell you the amount of pressure Radiohead faces. In the spirit of keeping their dedicated fans on their toes, Radiohead surprised everybody with the abrupt announcement of their 8^th LP. There was no information, not even a tracklist, but a quick google search would already find you dozens of theories and predictions on what the influential band would do next. And if the hype – which had only been building for four days – was potentially too much already, Radiohead again surprised everybody by releasing TKoL a day early.

Album opener “Bloom” sets the stage for Radiohead's most inaccessible album yet. Think Amnesiac, but less guitar and more emphasis on looping. Yorke has never sounded better, and his falsetto voice matched by the trippy sample cuts and dissonant bass are reminiscent of Flying Lotus and other experimental electronic musicians. The lyrics, short and to the point, carry the song like the band's key instrument. There's obvious jazz influence littered on the guitars and percussion and the effect-ridden horn samples only add to the song's mystery.

The abrupt segue into “Morning Mr. Magpie” feels slightly more natural. It's possibly a rejected In Rainbows single, but the emphasis on production rather than the individual instrumentation remains as prevalent as ever. The guitar stays at the rear, adding quiet but efficient details while Yorke defiantly sings: “You got some nerve / coming here”. It feels like he's singing right to the fans, acknowledging their stubborn dedication towards the band's experimentation.

“Little By Little” reaches out with level headed guitar, performed with such brevity that it's one of the album's most powerful moments. The album is full of these slight eccentricities, such as the horns in “Codex” or the lively guitar in the outro of “Seperator”. These small additions might seem like nothing to the average listener, but repeated listens increase there value.

It's to the point where TKoL might be Radiohead's biggest grower of an album yet. The album is so densely put together that you'll get lost in it's vastness, and with only a single non-attentive listen, one could easily disregard this as a poor attempt at creativity. But after spending a weekend with TKoL, my cautious optimism proved worthwhile. It's an album that's full of surprises, one that reveals itself with time and some dedicated listening. It lacks important moments in the foreground, but makes up for it with production and attention to detail. TKoL might not be the most approachable release, but it certifies itself as a unique release in Radiohead's unpredictable universe; only time will tell if this growing versatality will continue down the road of experimentation.

4/5

Recommended Tracks: "Morning Mr. Magpie", "Little By Little", "Lotus Flower", "Seperator"

La Sera - La Sera

If there's one thing Vivian Girls will be remembered for, it's their abrasive riffs and polarizing lo-fi sound. Many listeners scratched their head at their unintelligible lyrics and loud, overwhelming recording style; however, others remember it as an enjoyable indie rock album with catchy hooks and an in-your-face attitude. La Sera, the self titled album from Vivian Girls bassist Katy Goodman, might be from an entirely different world altogether. For starters, it's a cute little collection of songs that's pleasant and easy going. Rather than pounding your eardrums, La Sera may as well have been the brainchild of a 1960's hippie circle. At times it's sweet and others peaceful. It's undeniably a genre shift, and Goodman does a great job at attempting to redefine her career.

That being said, La Sera isn't going to win any awards or blow people away. Although it isn't necessarily a bad album, the lack of notable tracks detract any reason to go out of your way to listen to this album. “Never Come Around” and “Left This World” are the standouts, but their appearances in the album are shrouded by a crowd of arguably generic and forgettable tracks. Goodman's voice sounds great and the guitar softly twinkles along, but this album doesn't do much more than briefly give you a ride.

2.5/5
Recommended Tracks: "Never Come Around", "Left This World", "Beating Heart"

Toro y Moi - Underneath the Pine (2011)

In mid 2010, Chazwick Bundick (the musician responsible for the popular chillwave act Toro y Moi) released the single “Leave Everywhere”. On it's own, it seemed like a perfect summer tune; but what was most notable about this release was the departure from Toro y Moi's signature electronic style. Vouching for traditional instruments instead, “Leave Everywhere” was a lo-fi song with a catchy, surf-rock inspired hook. Underneath the Pine expands on this path, further solidifying Bundick as a multi-talented musician with a thirst for production-heavy material.

That being said, Underneath the Pine is a fun collection of psychedelic songs with a considerable funk influence. The bass plays a heavy role on this album, and the synths – although still as prevalent as ever – are reinforced by guitar, piano, and acoustic drums. Compared to Toro y Moi's debut album, Underneath the Pine sounds much more natural and organic.

I have a hard time believing if this is a good thing though. While I do appreciate Bundick's versatility, his experimental side is easily the most interesting. Take for example “Good Hold”. With an incredible touch to detail, the latter half of the song feels like we're submerged underwater. It's essentially an acid trip that anyone can experience with headphones, a feat only accomplished by superior work in the studio. Here's where I give Bundick the most credit; this album couldn't have sounded much better, and the songs with the most production value flow remarkably smooth. “Intro Chi Chi”, the Eden-like album opener, features harmonic vocals, tropical drums, and a flawless bassline to wrap it all in place. It's short, sweet, and shows off the technical ability that Bundick is easily capable of.

This is not to say that his straightforward verse/chorus songs are the worst, but they're simply hit or miss in Bundick's case. Some of these songs groove hard (“New Beat”, “Go With You”) and others fall apart in their choruses (“How I Know”, “Got Blinded”). At moments, Bundick goes into two minute jams wielding his effect pedals. The outro to “Before I'm Done” ultimately saves the song from mediocrity with a well planned detour into reverb madness. When it all comes together, Underneath the Pine is uncertain at being consistently great, and despite having a collection of enjoyable tracks, it's just not good enough to get worked up about.“Elise”, the six minute album closer, has a funky bassline and satisfying vocal melodies. It has little to offer in the long run, but it's enjoyable while it lasts. In essence, "Elise" is a perfect example of what this album has to offer, and how far Toro y Moi has traveled.

3/5

Recommended Tracks: "Good Hold", "New Beat", "Intro Chi Chi"

Deaf Center - Owl Splinters (2011)

The opening track to Owl Splinters, "Divided", is a sprawling epic featuring a wide variety of orchestraic instruments and apocalyptic samples. It's haunting and brief; a perfect way to begin an ambient album. I had a hard time believing that this album would be able to match the tenacity of “Divided”, and while it may be occasionally inconsistent, Owl Splinters mostly triumphs.

Where Owl Splinters succeeds is it's atmosphere. Ambient albums come and go, but something we're always left with is the feeling of temporarily traveling to a different dimension altogether. Deaf Center confronts this challenge by drone-fucking the hell out of you with a tumbling force of cello and piano. Most notably, the album's centerpiece ,“The Day I Would Never Have”, is a 10 minute wall of sound that eventually filters to a soft, almost laughably contrasted piano. It's brilliant, a perfect segue into the squeaking attack of “Animal Sacrifice”.

Unfortunately, there are moments where Owl Splinters doesn't entirely stay up to par. "Time Spent", the album's second song, is two minutes of a boring, almost looped piano riff. With repeated listens, “Time Spent” begins to certify itself as another piece in the album's mysterious and possessed ambience; however, the sci-fi original movie-esque progression leaves little to offer.

But what we mostly have in Owl Splinters is an album that crescendos with no consequences. It's a collection of songs that, quite honestly, get exhausting to listen to. The overall power of these tracks breathes new life into the term drone. For example, the sudden drop in “Close Forever Watching” and the lethargic but emotionally draining build up in “The Day I Would Never Have” are memorizing and achievements in a genre that more people need to listen to. Although lacking for brief moments, Owl Splinters is both daunting and impressive, truly a feat for a band that's been out of the scene for six years.

4/5

Recommended Tracks: "The Day I Would Never Have", "Divided", "Close Forever Watching".
Listen for free here

James Blake -s/t (2011)

In 2010, the blogosphere was in an uproar over the sensational The Bells Sketch, CMYK, and Klavierwerke EPs. These albums were the creation of 22 year old James Blake, a UK dubstep producer attempting to revitalize the largely split electronic scene. Praised for it's r&b influence and futuristic sound, James Blake approached the genre with an open mind and dexterity. What's mostly impressive is just how overwhelming the production is on these albums. For starters, there's the sharp, precisely timed 23^rd century synths cutting in and out of the mix. It's matched by glitched out vocals, muffled bass drum hits, and swift hand claps, all layered upon new-age sounding bleeps and held down piano chords. And then there's the bass, an instrument that has become a staple for the dubstep genre, used so subtly that it's arguably the most powerful part of these albums. There's no “wobwobwobwob” breakdowns or cliched samples from popular movies; the sound itself is so new and matured that people are defining it in a genre completely separate from dubstep altogether.

James Blake, the 2011 self titled debut, shows a different side to Blake's character: his voice. The EPs approached the vocals by distorting, cutting, and sampling them; but on his self titled debut, Blake sings in a notably beautiful and soulful tone. If you thought there was an R&B influence earlier, it's now entirely noticeable. “Lindesfarne”, a two part song that splits the LP in half, begins with a two and a half minute Bon Iver-esque vocal solo. No sub-bass, no rising synths, no 2-step madness; it's simply Blake singing a song to the listener. It all sounds unusually calm, possibly even out of place; But the more I think about it, the more I realize how restrained this album actually is. This could be either a good or bad thing regarding how you look at it, but for an “electronic album”, it's definitely experimental. Going from intimate vocal verses to quiet dubstep territories is a tricky subject, but Blake deals with this with such sophistication that it almost seems natural. If anything, James Blake is an album that truly explores Blake's true intentions; instead of hiding behind a shroud of effects, he's singing directly to the audience.

Herein lies the problem with James Blake; while I do appreciate the creative expression that Blake is exhibiting, I can't help but admit that it's a bit of a buzzkill. Don't get me wrong, I really do love his voice and I have nothing wrong with this album's soulful approach, but going from the intense ending of “I Never Learnt to Share” to two minutes of uninterrupted singing in “Lindesfarne” doesn't totally work out. I mean this in the most trivial way, but it's worth mentioning to a fan base that has grown to love his eccentric style. If anything, the only thing to really blame here is that some songs are just better than others. Whereas “Unluck”, “The Wilhelm Scream”, the aforementioned “I Never Learnt to Share”, and “I Mind” are sensational and inspiring tracks that improve with each listen, “Lendesfarne I”, “Give Me My Month”, and “Why Don't You Call Me” are just decent, the latter two being sprawling piano tracks with no real direction. These songs aren't bad per se, but they're just not entirely necessary.

With this new release, Blake has yet again certified himself as the leader of an entirely new electronic movement. Call it what you want, but Blake has delivered a debut LP which shows his outstanding production skills as well as his sincere talent. It is lacking towards the middle, but his utmost intelligence and unpredictability asserts himself as an artist who's career has really just begun.

4/5

Recommended Tracks: "I Mind", "I Never Learnt To Share", "Unluck".
Listen to a sampling of the tracks here