Black Star - Mos Def & Talib Kweli Are Black Star

"I love rockin' tracks like John Coltrane love Naima," and the tracks on Mos Def and Talib Kweli's 1998 Black Star album are about as good as they get. I don't want to talk about this album so much as I just want to force you to listen to it over and over again. I can't do that, but I can give you some strong words about this album. Okay, here goes: It's really good. The end.




No, just kidding. I have a little bit more to say, but I will keep it short. That's mostly because if I went through and listed off every great thing about this album, I'd be writing all day. "From the first to the last of it deliver is passionate, the whole and not the half of it, vocab and not the math of it" spits Mos Def in his first verse in "Definition." That about sums it up. This album is all rhythm and all killer wordplay from beginning to end.

When I say "killer wordplay," I don't think I'm exaggerating; on average, upwards of 10 people are killed or injured each year by the power behind these rhymes. Mos and Kweli bring modern poets to shame with their lyrics. Every song is packed with the kind of powerful metaphors and intense cultural references that are amplified in front of a hip-hop beat. Talib Kweli's lines are smooth and calculated, and when he gets a verse he gives the kind of lines that you suspect he's been thinking about his entire life. When Mos gets his word in, he makes the song his playground. His flow transforms from measure to measure and every line he drops is clever and creative because of it. Mos Def & Talib Kweli Are Black Star is filled with braggadocio, but the duo never comes across as cocky. It's the kind of confidence that is earned with achievement, and Mos and Talib achieved something great with this album.

Mos and Kweli take their Brooklyn surroundings and make them seem like the battleground of some grand war. Not a war of drugs or gangs, the kind of wars that appear in a lot of other rap/hip-hop albums, but a war on the conscious mind. A war on the way we think about hip-hop. A war on the way we think about women and a war and the way we think about ourselves. Black Star is a movement and Mos and Kweli are the revolutionaries. But don't let that intimidate you. Black Star is still a fun album, and you'll come out of your first listen with a plethora of great one liners ingrained in your memory. Or maybe that's just me, because I'm having a hard time not adding in Black Star quotes after every other sentence.


Check out "Definition," and if you like what you hear, I urge you to get your hands on the rest of the album.

Until next time, remember: "Stop actin' like a bitch already, be a visionary and maybe you can see your name in the column of obituaries."

-Kane

Grizzly Bear - Will Call (Marfas Demo)

A couple weeks ago, Grizzly Bear's Edward Droste brought attention to a song being released to preview the reissue of 2012's Shields. Grizzly Bear's "new" song, "Will Calls," didn't make the cut for Shields and will be a part of the B-Sides in the re-release. The song is simply amazing. Anyone that has conversed with me within the last two weeks probably knows that I listen to this song over and over again at various points throughout the day. I would go so far as to call this Grizzly Bear's best standalone song, and that's after painstaking mental debate between listens to "Will Calls" and Veckatimest's "While You Wait for the Others."

The track begins with a loose drum beat over some low keyboard chords (featuring cricket noises). The song ebbs and flows for a few moments before Droste breathes life into "Will Calls" with vocals dripping with warm, tasty soul. Eventually, the song explodes into an uptempo refrain, somehow managing to maintain the same sense of tenderness. "Will Calls" is an inspiring back and forth voyage through the apologetic and triumphant, reaching volumes generally unheard of in Grizzly Bear's music. The only downside to this is that the production value suffers in comparison to the originals in Shields. But, perhaps with the reissue, a refined version of "Will Calls" will emerge. And hopefully, this version will be able to withstand the emotional onslaught that is "Will Calls."

Check out "Will Calls" below and tell me what you think. Seriously, I want to know.

-Kane

Katzenjammer -- Le Pop (2008)

I want to begin this post by telling you how vexed I am by the fact that Katzenjammer (a German loanword meaning, literally, "the lament of the cat," or, in slang, "hangover") is a group that I cannot put squarely into any one genre.  But that's trite.  The number of reviews that open with "So-and-so is a group that defies categorization" or some variant thereof makes me a little bit sick.  I'll spare you that.  What I will say is that Katzenjammer, an English-language Norwegian band, composed of Anne Marit Bergheim, Marianne Sveen, Solveig Heilo and Turid Jørgensen  is at least unorthodox, if not downright diverse.  Listed variously as pop, folk pop, or indie folk, this group at times blurs the lines between folk and ska with their extensive use of trumpet in "A Bar in Amsterdam" of "Le Pop," always makes liberal use of chimes and accordion and take turns switching off on the vocals.  If anything, Katzenjammer could be described as the love-child of Gogol Bordello and Earl Scruggs.  After an "Overture," of all things, and "A Bar in Amsterdam," "Le Pop" goes from  a lighter, tinkly, higher-voices-heavy "Tea with Cinnamon", through a set of darker, strong-beated tunes, to the titular track, "Le Pop," which feels exactly like watching preteens with an attention deficit disorder run around a carnival must.  It wraps up with some vaguely French, vaguely gospel, energetic songs, a set of sea shanties, and finally ends with a banjo-led classic "Ain't No Thang."  And it does all this while maintaining extraordinarily good flow from track to track (On typing this, I had to correct three of the song titles, as I had thought that they were simply part of the previous tracks).  Jazzy?  No.  The sort of thing you would ever want to admit to listening to in any social context that merits a tie? Decidedly not.  Even so, Katzenjammer, though drawing inspiration from a broadly traditional folk genre, manages to play something that feels urban, possibly even cosmopolitan, in stark contrast to folk's foot-stomping boot-wearing barn-dancing proud-to-be-an-American connotation.  This album feels like the sort of thing a city-dwelling hipster would listen to in place of proper folk.  The motifs they take from both Western European and American folk lends an air of catchy danceability, but the revision of the tunes into cohesive sounds gives it polish, and turns it into something almost original. And something about that is extraordinarily compelling.

http://www.youtube.com/watch?v=-kbdCDeKSoI

Herbie Hancock - Maiden Voyage

Maiden Voyage is no hidden gem, in that it's a common, go-to tune for jazz bands and small ensembles. Most people versed in jazz are aware of the song, or at least its composer. Many have likely heard or played renditions themselves. But maybe you haven't heard the original song. Or, it's possible you don't listen to jazz and have no idea what I'm talking about. Regardless, you would be well served to give this masterpiece a(nother) listen.

I first became aware of this song when a group of jazzy musicians and I simmered our souls in its simple chord changes for hours on end. Its simplicity is highly conducive to free-spirited improvisation, yet the changes and skipping rhythms have a weirdness to them that catches the ear and keeps interest.

Hancock's writing is open-ended, and the recording's drummer, Tony Williams, takes advantage of his freedom. Tom-rolls and off-beat symbol hits abound in the background of Freddie Hubbard's melancholy trumpet lines, which soar and dive in volume and bite.

Nothing in Maiden Voyage will blow you away quite like Coltrane's sax or Davis' trumpet. Likewise, you won't find guitar lines worthy of Metheny or Montgomery. No, this song isn't packed with technical prowess. A listener seeking this has many other avenues to satiate their desires.

What the song does offer is an inviting groove, glued together by Hancock's prancing piano. Put it on in the background. Or, turn down the lights, shut the blinds, lock the door, and revel in its mastery. Either way, I think you'll find the nuances of this song captivating.

Delta Spirit - Delta Spirit

Delta Spirit’s newest self titled album is catchy and creative, but a third step in the wrong direction. Released last Spring, “Delta Spirit” has taken yet another leap away from the masterpiece of their first recording venture, “Ode to Sunshine.” That album’s down-to-earth simpleness, a “What do we have to lose?” compilation of folk-rock guitar riffs sliding under lyrics revealing the band’s story of comedy, love, and despair seems to have been forgotten in a plea for mainstream appeal. 

Following the direction of their second album, “History from Below,” “Delta Spirit” is edgy and louder; more mathematical and heavily produced. Where “Ode to Sunshine” could have been recorded live in a day, “Delta Spirit” sounds pieced together meticulously over weeks. 

And that definitely comes with its up-sides. The first track, “Empty House” is a powerful entrance to the album. Climbing in volume, the guitar’s repeated melody comes into focus, then switches to a new key with absolute precision. The timing is perfect; easy on the ears. 

But for every gratifying harmony, there’s a loss of timelessness. A loss of their unique, genre-altering sound. 

“California” is another embrace of technology, its synthesized chords reverberating over what sounds like computerized drumming. It screams for a wider audience, pulling in listeners with pop melodies and simple, danceable rhythms. 

In an attempt to retain subtleties in their music, “Time Bomb” is a slowed down ballad, with space for creative additions. And yet it sounds forced: the quiet guitar riffs lack inspiration, the song’s drop off and reentrance too easily anticipated. 

Even with fallbacks, the album’s still a gem for alternative rock fans. That’s thanks in large part to “Money Saves,” easily the best song in the set. It’s up-beat, but not overly so. Melodic, but still complicated. And lead singer Matt Vasquez’s vocal pairing with an unusually bright and captivating guitar line makes for an excellent chorus and bridge. 

Thankfully, Delta Spirit again relayed their mastery of nuance.

Speaking of interesting guitar lines, “Otherside” provides a memorable and fantastic bridge, one sure to be replayed in your head later. And it’s a welcome return to the gritty live-performance feel that the album needs more of. 

Other songs worth listening to include “Idaho,” “Tear It Up,” and “Tellin’ the Mind.” 

Delta Spirit has once again cranked out an album worth listening to. Unfortunately, they may have peaked long ago, but even as they recede towards mainstream pop-rock, “Delta Spirit” remains high-quality. 

And that’s due to this little-known band being great at what they do. They can afford to slip a little and produce excellence. 

Overall I’d give this album a 7/10. Though their past gives me conflicting opinions, their newest product is instantly captivating.

Grizzly Bear - Shields

It’s been a while since Grizzly Bear opened for Radiohead’s 2008 tour, and the release of the album that followed, “Veckatimest,” in 2009. But the time away seems to have paid off. “Shields,” released March 2012, is expansive and alluring; a continuation of novelty that once caught the attention of Wilco’s Jeff Tweedy who described Grizzly Bear’s sound as “really beautiful, evocative music.” 

If “Veckatimest” was Grizzly Bear’s coming of age, “Shields” is their proclamation of relevancy. Its ten songs somehow retains the mystery and downright weirdness of “Veckatimest” while refining the organization and flow of the music for increased appeal. The dissonant harmonies are still present, but so are ear-pleasing melodies. 

The opening track, “Sleeping Ute” opens with a bang, then quickly subsides to soft acoustic guitar finger- picking. Edward Droste’s vocals are strikingly “Veckatimest”-esque: clear and strong, with a high-pitched tone that manages to connect the diverse and ever-changing instrumentation below. The song’s up-beat and energizing rhythm is an assured “we’re here to stay” opening.

On first listen, Grizzly Bear can sound like a group of confused and sporadic songwriters, forcing jumbled pieces together that don’t fit. However, it’s their occasional craziness that’s fascinating. Like one of jazz legend John Coltrane’s improvisational solos, not everything’s supposed to be caught on first listen. Required is an additional, closer listening to reveal subtleties that could have been missed.

The album’s second single, “Yet Again,” is another example of deceptively melodic lines overlaying complicated, intricate guitar work. “Lately it’s about all I can take,” sings Droste in a tone of despair. He might be referring to his publicized discomfort with stage performance, which is not ideal for a band traversing the nation to get their music out.

The song careens toward a classic Grizzly bear chorus: wordless humming, harmonized through multiple singers. What could be an indie cliché is instead new and interesting, utilizing each member’s singing capability. 

While the album is definitely one of their best, the last half seems to be lacking. “Gun-shy” is overly pop-influenced and predictable. A constant, never changing ‘80s drum beat distracts from an otherwise engaging melody. 

“Half Gate” begins with a mesmerizing guitar and vocal pairing. What could have been the band’s strongest song to date comes up short, failing to expand beyond its initial creation. 

Songs like “Speak in Rounds,” or “A Simple Answer” are additional songs worth listening to. Even “Adelma,” which spans a mere minute and is purely instrumental is riveting in its own way. 

Differing from Delta Spirit, Grizzly Bear has followed an inspiring album with an equally strong sequel. “Shields” begs to be listened to again and again, and offers no disappointment to fans of “Veckatimest.” 

I’d have to give “Shields” an 8/10. It’s infused with interesting music, and makes me excited for their next release.

Hiatus Kaiyote - Tawk Tomahawk

If you're looking for an album that'll tickle your groovebuds, I have a treat for you. If you want your groovebuds very much left alone (there's no shame in that), quickly avert your eyes before you're taken to a place where your groovebuds just aren't safe. Don't say I didn't warn you, because once Hiatus Kaiyote's Tawk Tomahawk takes off, you'll be riding on a rainbow to Pleasure Town.

Hiatus Kaiyote's Tawk Tomahawk is a jazz infused album that feels good from beginning to end. Lead singer Nai Palm rides on top of every chord change like some kind of Soul Warrior riding her Beat Steed into a hallucinogenic desert battle. You can hear the pain of that majestic brawl in her voice when she sings, but you get the feeling that she's winning. "If the splendor ruptures I'm gone take it as it comes," she boasts in "Malika", a soul powered version of the operatic "Flower Duet." Elements of hip-hop are all over the place in her style of soul vocals and Ms. Palm slays with the lyricism and flow that you'd expect from a top notch rapper.

Born in Melbourne, Australia, Hiatus Kaiyote sounds like they've been hanging out in the desert all their lives. It's easy to get lost in the jazz influenced beats and harmonies, even during a casual listen, but for as many places as it takes you, Tawk Tomahawk is actually a pretty short album. Coming in at a little over a half hour, it is a crazy good album, managing to fit tons of great ideas into a brief span of time. The brevity of the album might actually be my only complaint. It's Hiatus Kaiyote's debut, and one of my favorites of the last couple of years. For real. Check it out.

-Kane

CHVRCHES

I'm not going to pretend that I know who CHVRCHES are. I would be lying if I told you that I was a fan of Twilight Sad and Aerogramme, the previous bands of Martin Doherty and Iain Cook respectively, before CHVRCHES became a thing. Before the hype machine brought CHVRCHES to the front page of so many music publications, I didn't know a thing about Lauren Mayberry, lead singer of CHVRCHES. But, what I will say is this: their new album, The Bones of What You Believe, is a damn good listen. It almost doesn't make sense to me. An album so decadent and blatantly poppy shouldn't be so good. It just... THE NUMBERS DON'T ADD UP! But somehow still, I really enjoy this album.

The Bones of What You Believe brings to mind electronic pop acts like Passion Pit and M83 without feeling like an imitator. The album delivers ridiculously catchy hooks, armed with synth sounds and dance party drum beats topped off with Lauren Mayberry's undeniably pretty voice. Really, CHVRCHES doesn't bring anything new to the table (think brighter side of the Knife), but they take these elements and make it sound like they invented their own genre. Mayberry sounds confident always and every sound effect they employ is executed with so much conviction that sometimes you could mistake them for a modern 80's hair band. That's a joke, of course, because in songs like Science/Visions and By the Throat there's no doubt that they're taking themselves seriously. And it pays off. The album is all fun licks when it needs to be and laid back before you get tired from all the fun you're having.

If I had to throw down some numbers to act as a sort of evaluative system for expressing my level of enjoyment for this album I'd say something like 8/10. It feels like it should be a guilty pleasure album, but when I'm alone in my room jamming out to "We Sink," I don't feel the slightest bit of shame. There's always room in this world for great songwriters that produce satisfying music, and I'm sure we'll be seeing CHVRCHES around for as long as they're baking rich chocolate cakes like The Bones of What You Believe. Yummy! And when you are alone in your room worried about what people around you might think when you're blaring Recovery, don't worry: I was like you once. Listen to what you love.

-Kane

And for all you Game of Thrones fans, CHVRCHES didn't forget you. Thank the Old Gods and the New!

(This Is) The Dream of Evan and Chan

Believe it or not, there was a time before the Postal Service (see "the Dark Ages"). If you were me during that time, and I think you were, you probably had a hard time listening to anything that wasn't the Beatles or U2 and you had yet to discover the joys of music pirating. When Jimmy Tamborello of Dntel and Ben Gibbard of Death Cab for Cutie finally released their group project Give Up, it was a huge success. "Such Great Heights" was crazy popular, the hooks were great, and every song was so tender or ridiculous that it just made you want to give Ben Gibbard a big hug. At least that's how I felt about the album while I was growing up. It was instantly accessible, and anyone that didn't like it probably took his/her life too seriously. It was pretty amazing to me that an album as cool as this could just pop up out of nowhere.

Well, that's not necessarily how it happened. A couple years before Give Up hit the shelves, Jimmy Tamborello's Dntel released Life is Full of Possibilities, an electronic indie album with so much fuzzy warmth you could wear it as a sweater. In an album so full of abstract drum beats and modulated vocals, one song comes forward from the mist and delivers. That song happens to be "(This Is) The Dream of Evan and Chan," Ben Gibbard's guest appearance on Possibilities.

This song is so indie it's almost painful, but it's well produced and well executed. I love this song. I really love this song. I only heard "Evan and Chan" for the first time about a year ago, and I can still listen to it on repeat for a good long while. This song is a dream. The opening drum beat, buried in static, explodes into sudden clarity and the listener is taken to that familiar place that inhabits the deepest parts of our sleep. Ben Gibbard's lyrics are always so appropriately ambiguous and emotionally cliche that you just want to live in his world, that magical place in which we hold each other tightly and never let go. Like a real dream, you cherish every sparse detail that Gibbard feeds us and when the telephone rings, all you want to do is close your eyes and go back there.

-Kane