Album Review: Sigur Rós, Kveikur

June 18, 2013 in Album Reviews

 

Grade: A

By Zachary Kaczmarek

If the common belief that music is in fact a universal language which is capable of bridging the gap between cultures, race, and status is correct, then Sigur Rós are worldwide ambassadors for an art that knows no bounds. Despite their lyrics being written and sung in Icelandic, the bands native language, there has been no disconnect or lack of understanding between listeners who cannot speak the language and compositions that are gushing with relatable emotion. Whether the music has been dingy and full of gloom, or captured a beautiful moment of pure ecstasy, the Icelandic post-rock outfit has perfected the art of transferring unfiltered emotions into well drawn out masterpieces. Their 7th studio release, Kveikur, or Candlewick in Icelandic, takes the best moments of past releases and rolls them into a record that’s rough around the edges and hits harder than anything they have attempted.

The bands previous release in 2012, Valtari, could be summed up as slightly vanilla, and even though it possessed the typical minimalist Sigur Ros sound, which is in at a class of its own at this stage in their career, it lacked excitement and spontaneity. But rather than take a break between albums to further tweak their sound, the band releases Kveikur, an album that is the antithesis of Valtari and expresses more aggressive tones at a more active pace than Sigur Rós songs typically develop at. The album opens with “Brennisteinn” (Brimstone), an industrial inspired song which forms at quite quick pace for a band that prefers slowly layering musical elements. A compact whirring synthesizer and forceful drum beats opens the song, as frontman Jónsi  takes the lead with his high reverb Jimmy Page violin guitar playing style (using a cello bow across the strings) and strong falsetto vocals. Most of the album follows a similar pattern of musical activity, as there are not many moments that lull or coast along.

But the album is not all centered around bleak expression, as songs like “Isjaki” (Iceberg) and “Stormur” (Storm) use uplifting bittersweet guitar rhythms, piano lines, and vocal harmonies that create lighthearted textures which allow darker themed tracks like “Kveikur” (Candlewick) to have a greater impact. This is when Sigur Rós is at their finest, being able to express distraught and pent up feelings, but to have the sense not to overdo it and turn the album into an emotional bludgeoning. As with their universally acclaimed Agaetus byrjun, released 14 years this month, the joy in the music can be found in the details and the contrast between the tender and soothing, and the disruptive chaos. Some of the most enjoyable audiophile moments take place when a song that was nothing more than a perfect drum fill and Jónsi’s vocals morphs into a runaway train that crashes, complete with turbulent banging of cymbals and loudly contained walls of guitar and bass. The band also has the perfect touch when ending these whirlwind moments, bringing all the hyperactivity to a calm soothing halt.

There is surely a more aggressive and less minimalist approach on Kveikur that focuses not on creating a delicate slow building or blossoming moment, but an angry and feverishly controlled mass of sound. Kveikur has it melancholic and pretty moments that leave the ear in awe, but more often than not the general mood is brooding and beautifully destructive. This unexpected change of direction shows why they are the best in their genre and perhaps one of the best in music at capturing a wide array of emotions and unleashing it simultaneously in loud dulcet sounds.

Essential Cuts: “Brennisteinn”, “Hrafntinna”, “Isjaki”, “Kveikur”, “Bláprádur”

[youtube=http://www.youtube.com/watch?v=Oc6zXSdYXm8]

 

Concert Recap: Torres, Pub Rock Live

June 15, 2013 in Concert Recap

 

By Zachary Kaczmarek

When you hear the voice of a captivating story teller, especially one who conveys such an overwhelming amount of emotion, there is an instantaneous feeling that takes hold, despite the size of the venue or the number of fans in the crowd. That feeling was in the air when Torres, the performing name for Nashville singer/songwriter Mackenzie Scott and her band, broke into her first song. Torres, embarking on her first west coast tour after releasing a critically acclaimed self-titled debut album earlier this year, made a pit stop in Scottsdale at Pub Rock.

With her powerful and moving voice Scott showcased her ability to carry louder melancholic moments like a PJ Harvey, but yet soft and gentle enough to illuminate calm and serene folk songs like “Come to Terms” and “Don’t Run Away, Emilie”. Her stage stage presence was like that of a well seasoned performer, displaying a high level of intensity while belting out vocals and playing her Gibson, and being sweet and personable to fans in between songs with a humble smile on her face. Whether she was backed by her band, playing solo with nothing but her guitar, or hitting gloomy notes on a keyboard, Scott was able to draw the crowd in while baring her soul through her raw intimate lyrics, especially during her most famous song to date, “Honey”. There’s no doubt that Torres has all the makings of a great songwriter and performer, and at the young age of 22, Mackenzie Scott looks to have a long promising career on stage ahead of her. 

 [youtube=http://www.youtube.com/watch?v=MkSLJOZX62w]

Concert Recap: Grace Potter and the Nocturnals, Celebrity Theatre

June 14, 2013 in Concert Recap

 

 

By Zachary Kaczmarek

There are only a handful of acts today that can gracefully walk the line between the music of the past and the modern influences that are considered “current”. Grace Potter and the Nocturnals have built a solid career on bringing back roots rock and psychedelic soul music to an industry that wants to progress forward rather than look back. But instead of coming off as old fashioned or out of place, the band appears as a breath of fresh air. Grace Potter herself, who is considered one of the premiere talents in music, has been compared not to the likes of today’s singers but past greats like Janis Joplin and Grace Slick (Jefferson Airplane), and after seeing their performance at the Celebrity Theatre Thursday night; it’s easy to understand why.

GPN’s set can be broken up two equal parts, one part elegant 70s ballad and the second half, wild free for all jam session. Potter came out on the stage dressed like a hippie diva wearing a sparkling robe and heels. The first few songs were softer piano and keyboard rock ballads such as “Apologies” and the sassy “Treat Me Right”, which showcased the bands ability to create an easygoing, yet funky, blues experience. Potters down to earth personality drew lots of applause and smiles as she praised Arizona for having such a unique venue, one that she would “visit all the time on psychedelic drugs” if she were to live in Phoenix.

Midway through the set the wattage was turned way up as the band tore into the song “Ah Mary”, during which Potter thrashed around and head banged while hitting the keys on her piano. The band then followed it up with a western folk cover of Hank Williams “Devil Train”, a cover that Potter said would be on the upcoming Lone Ranger soundtrack. But soon after the stripped down cover, the volume was cranked up again with the deep thud of drums on the psych rock track, “Loneliest Soul”, which sounds like a perfect fit for a Tim Burton film.

Potter then took her turn rocking out as she picked up her Gibson Flying V and unleashed her thunderous vocals for “Stop the Bus” and the epic finale “Nothing But the Water”, which the band stretched out to 10 plus minutes with improvised solos and musicianship that one might see when a group of friends get together for a jam session. After the band walked off stage the crowd was roaring for them to come back and do an encore.

When they finally came back on stage the crowd grew even louder as the band played their song “Medicine”. The final two tracks that they performed were special in their right as the emotional piano ballad “Stars” had a somber tone, and the wild rock anthem “Paris” had the crowd singing along to the chorus line “Ooh la la, la la la la”. Potter and her band proved that they possess a special talent to transport those who show up to watch them play back to the days of classic rock and blues, while bringing an unparalleled level of energy. If there’s such a thing as a last frontier for rock n roll, Grace Potter and the Nocturnals are leading the charge.

Lyrical Breakdown: Alt-J

June 13, 2013 in Lyrics

 

By Zachary Kaczmarek

Since Alt-J’s debut, An Awesome Wave, was released last year many have become addicted to the infectious melodies and the unique sounds that the band has melded together. Initially their music sounds beautiful and joyous, with all sorts of harmonious vocals and so much layered instrumentation, and at certain times it’s hard to decipher what some of the lyrics are due to Joe Newman’s strong accented and laidback vocal style. But upon further examination, there’s more to their biggest hits than catchy well written ditties, for at the core there are poetic and very emotional lyrics that give more insight to each song, and allow for a more a enjoyable listening experience.

 

“Matilda”

Although “Matilda” could be interpreted as the band’s ode to a girl that has a place near their hearts, the title is named after the main character played by a young Natalie Portman in the the 1994 Luc Beeson directed film, The Professional, also known as Leon: The Professional. The lines “This is if from, this is from, this is from Matilda”, and “Put the grenade pin in your hand, so you know whose boss” references the final scene in the film in which the main character in the movie, Leon, pulls the pin of a grenade and says “this is from Matilda”, before the grenade kills himself and the villainous character Stansfield, played by Gary Oldman.

 

[youtube=http://www.youtube.com/watch?v=Q06wFUi5OM8]

 

 

“Fitzpleasure”

This loud buzzing and infectious track chronicles the graphic tale of Tralala, a prostitute in the book Last Exit to Brooklyn by Huber Selby. The title of the song is a play on words and derives from the lyric “In your snatch fits pleasure, broom shaped pleasure”. In one scene of the story, which is the premise of the song, Tralala is sexually assaulted by a group of sailors after a night of heavy drinking. Although the theme of the song is hard to digest and is not exactly easy-listening, the band really does gamble it all on an musical depiction of a story that they felt the need to write about.

 

[youtube=http://www.youtube.com/watch?v=npvNPORFXpc]

 

 

“Breezeblocks”

The band’s biggest hit paints a picture of a man who is slowly losing the affection of his significant other, and uses lots of creative references than can be broken down. The opening lines, “She may contain the urge to run away, but hold her down with soggy clothes and breezeblocks” expresses how the main character in this song feels the need to keep her around and suggests that he must drown her with breezeblocks, or cinder blocks, to prevent her from leaving, which is depicted in the music video below. The line “Cetirizine your fevers gripped me again” tells how the main character views his woman’s change of heart as an illness, and that she needs a cure, which is where the metaphor for the allergy medication comes in. The main character goes onto to say in the chorus “the fear has gripped me but here I go, my heart sinks as I jump in”, and that he will take a leap of faith to try and save his relationship. The outro sees the main character making a desperate plea, “Please don’t go, I’ll eat you whole, I love you so”, which insinuates that he may do something drastic if she leaves, such as what he suggested in the opening verse of the song.

 

[youtube=http://www.youtube.com/watch?v=rVeMiVU77wo]

 

 

“Something Good”

The tantalizing song, Something Good, describes the death of a matador in a bout with a bull, which serves as a very clever analogy for someone who suffers from a broken heart and must find something good to distract the person from the emotional pain of lost love. The chorus “Get high, hit the floor before you go/Matador, escotada, you’re my blood sport” is good imagery that compares the man’s love for the woman as a dangerous match with a bull that results in the ravaging of his heart. The final verse of the song “Now that I am clean the matador is no more and dragged from view” is the nail in the coffin as the man feels no need to get entangled with this exhausting love anymore, as the matador persona disappears.

 

[youtube=http://www.youtube.com/watch?v=aNYjOVo5IEw]

Concert Recap: STRFKR, Crescent Ballroom

June 6, 2013 in Concert Recap

 

 

By Zachary Kaczmarek

The Portland natives known as STRFKR or Starfucker, put every ounce of sweat into making their live shows an ethereal experience, and their show at the Crescent Ballroom was no exception to that rule. Playing like a veteran band they commanded the stage and got the entire crowd to dance and bop around for their entire set. The high level of energy that they brought matched the high level of musicianship, as each member was pulling double duty on guitar and keyboard or bass, keyboard, and snare drums, and with such a raw amount of passion for their craft. The giant LED light screen that they brought along with them featured all sorts of psychedelic and spacey patterns which appropriately matched each song and gave the show a feel of a mid-size arena show.

The setlist covered classic songs like “Rawnald Gregory Erickson the Second”, “Julius”, and newer songs off their latest release like “While I’m Alive”. At one point the set took a turn for wild house party when members from the opening act Feelings, dressed up in various costumes, (astronaut, elephant, Gumby, bunny rabbits) danced around on stage, and then went into the crowd release garbage bags filled with balloons. It was a strange moment that caught fans off guard, but it was welcomed with open arms and it was essential to creating a unique experience. 

After the band wrapped up their main set they left the stage, drawing chants from the entire crowd to play an encore, which they happily obliged. The perfect moment of the entire show in which everything came together was their well-loved cover of Cyndi Lauper’s “Girls Just Want to Have Fun”. Almost everyone in the venue was dancing or employing some sort of move and singing along as people in giant rabbit suits were surfing through the crowd. It was a night to be remembered for all the right reasons and thanks to the Starfucker’s perfect execution and showmanship, a unique spectacle that went beyond the typical concert experience was created for all who attended.

Album Review: Crystal Fighters, Cave Rave

June 5, 2013 in Album Reviews

 

By Zachary Kaczmarek

Grade: B

The alternative folk dance group Crystal Fighters is one of those acts that are at an odd crossroads musically. On paper blending up-tempo dance beats on heavy drums and using Spanish guitars to create a genre that can only really be described as dance folk, seems like another attempt to reinvent the wheel and a bad idea in general. But somehow the Spanish group manages to pull off a daring mix of sounds that breaks new ground and establish themselves with a true identity. Their debut, Star of Love, although innovative and fresh, had some rough edges that needed to be smoothed out and it was a record of a band very much finding how far to push their limits and seeing what sticks. However on their sophomore effort they work out most of the kinks and the final result is a fun and engaging record.

Cave Rave wastes no time in drawing the listener with the opening track “Wave”, a synthesizer and drum driven track that draws on their ability to contrast loud high energy moments and soft melodic moments like during the bridge at the end of the song. “LA Calling” uses a Vampire Weekend styled guitar riff throughout and adds another layer with a Spanish guitar being strummed in the background. No matter what influence Crystal Fighters draw on, they always do a fantastic job of adding their own voice and unique style as well as using a variety of instruments from their Spanish culture. On “Separator” they draw a little bit from Animal Collective, using off timings on their booming drums and employing zany synthesizers. The record then catches its breath with the unplugged folk punk “No Man”. A track like this displays the bands ability to bring a captivating level of energy while stripping away all the electronics and only using the essentials. It’s a statement to their talent to be able to take away all the layers and retain the same musical essence, thus proving that they are not an act that can only thrive in a studio setting.

After a few fast paced folk influenced dance anthems, the record comes to a close with “Everywhere”, a song that incorporates a style of dream pop that an act like Beach House is known for and a style that was abundant on Crystal Fighters debut. It’s an appropriate closing track to an album that absorbs a collection of musical influences and converts them into one ingenious sound. It’s quite a feat to mix modern dance elements with an old world folk style while not sounding too pretentious or looking foolish. At times the club vibe that some of the tracks generate can be a tad overwhelming, but the simplified folk numbers really provide the change of pace that makes this album a worthwhile listen. Although this album advertises its intention within the first few minutes and never deviates or transcends, its originality and consistency go a long way, making it an exciting listen.

[youtube=http://www.youtube.com/watch?v=mxk24nL7xQY]

 

Album Review: Daft Punk, Random Access Memories

May 22, 2013 in Album Reviews

 

By Zachary Kaczmarek

Grade: A+

When the French duo of Thomas Banghalter and Guy-Manuel de Homem-Christo, better known as Daft Punk, arrived on the scene with their innovative and fresh style of dance music, it was hard for many to make heads or tails of what their intent was. Much of their initial appeal was to the club scene during the late 90s but yet they drew heavily on disco glam samples that the same fan base would not have cared for otherwise. They opted to disguise their identities with robotic helmets when their debut Discovery hit shelves in 2001, which could have easily been written off as a gimmick used to draw attention.  Every aspect of Daft Punk is unconventional and a rarity not often seen in the music world. After two solid records in the early 2000’s, their flop, Human After All released in 2005, should have permanently crippled their good name and any hype they had going for them. But thanks to LCD Soundsystem’s “Daft Punk Is Playing At My House”, their much talked about Coachella set in 2006 which included a light up pyramid, Kanye West’s sample of their hit “Harder, Better, Stronger, Faster”, and their score for the remake of Tron, Daft Punk’s stock has never been higher. It feels as though the past 7 years have been leading up to something special and out of the ordinary, which comes in the form of the disco pop/prog masterpiece Random Access Memories.

Daft Punk could have taken the easy road on this record and pumped out another release laden with disco samples placed over house beats and it would have been greeted with open arms. But rather than retrace their steps they shock everyone with an album that draws on the music of the 70s and 80s, with hardly any modern dance elements present. This time around the digitalized beats have been replaced with a real drummer and every element of instrumentation, which includes funky disco riffs, bass lines, string instruments, and synthesizers, is either executed personally by Banghalter and Homem-Christo, or by the countless other musicians that are featured, as opposed to using a collection of samples. The overall approach is one that forms a complete work that is to be absorbed in one dose, which is vastly different than on their first two albums, Discovery and Homework, which are filled with numerous singles that received attention and radio play.

“Give Life Back to Music” starts the album off on a focused and driven mission to do exactly as the title suggests. The funky soulful guitar riffs and bass lines combined with their well-known robotronic vocals and infectious synthesizers do indeed breathe new life into their sound, as well as breathe some soul into the general music scene. “Giorgio by Moroder”, a bass line, 70s synthesizer driven jam, manages to endure for 9 minutes in length and includes spoken word verses by legendary disco era producer Giorgio Moroder, who is a well-known influence on the French duo. It’s a very tasteful homage to one of their musical heroes, which contains all the makings for a great instrumental track, but possesses deeper context of the duo’s roots with Moroder’s telling of his personal venture into disco. After a few slow paced soul tracks, the heart and inner core of the album, “Lose Yourself to Dance”, “Touch”, and “Get Lucky” reveal the brilliant moments that are enveloped in this retooled Daft Punk sound. “Lose Yourself to Dance” is a disco groove track that features the smooth singing Pharrell and the funky guitar playing Nile Rodgers. The song really hits its peak after the first two minutes and continues to mesmerize from that point on with Pharell singing the line “lose yourself to dance” in his highest and slickest falsetto until it gets stuck in your head. “Get Lucky”, another track with Pharrell and Rodgers, possesses the same 70s groove that “Lose Yourself” perfects, and it also has a slight Isaac Hayes suaveness to it. “Touch”, which just might be the fullest and most emotional track, features famous singer/songwriter Paul Williams, and relies on a bevy of instruments such as serene piano, spacey synthesizers, groovy guitars, and a horn section to create a Pink Floyd style of prog pop. As Williams sings “A tourist in a dream, a visitor it seems, a half-forgotten song, where do I belong” and the light tapping on the cymbals begin the song takes on the ability of a time machine, echoing deeper introspective questions that many ask of themselves.

The biggest success of RAM however is how Daft Punk managed to incorporate guests like Strokes singer Julian Casablancas and Animal Collective’s Panda Bear into disco era anthems, which on paper appears to be an awkward mix. “Instant Crush”, a retro synth pop track in which Casablancas softly sings with a slight robot vocoder effect over his voice, captures the emotions of love and heartache with its squealing electric guitar solos and catchy synthesizer notes. On the other notable collaboration with Panda Bear, “Doin It Right”, steps forward a few years into early 80s era pop, and sounds ever so slightly like a Daft Punk/Animal Collective mash up thanks to Panda Bear’s distinct harmonized vocals. Initially when the album collaborators were announced prior to the album release there was some cause for concern, but in the end both tracks end up turning into two of the albums greatest listens. The ability to mesh vocalists like Casablancas who is accustom to singing within the confines of rock, and Panda Bear who thrives in the experimental  and free form, with compositions that seemed foreign to them is only another testament to Banghalter and Homem-Christo’s songwriting.

Random Access Memories may not be the album that many DP fans desired, but it’s what the music world needed. It may be too bold to claim that a song or album will reinvigorate music in general, but when it provides a breath of fresh air amongst a sea of copy cats and one button DJ’s, it’s hard to quell such a grandiose claim. Daft Punk left behind one style of dance music in favor for a 70s style of dance music and pop that moved them to produce music in the first place. In their early days they wowed fans and critics with their exquisite skills to craft an unheard of style of disco house, but Random Access Memories showcases their ability as songwriters that can compose original material that’s as significant and memorable as any of their lauded dance tracks.

[youtube=http://www.youtube.com/watch?v=5NV6Rdv1a3I]

 

Album Review: The National, Trouble Will Find Me

May 22, 2013 in Album Reviews

 

By Zachary Kaczmarek

Grade: A-

It’s often a strange mental task to summarize what has made the Brooklyn based act, The National a band worth caring about. Individually most of their elements do nothing extraordinary to stand out or engage the ear. On the surface they give off an average and slightly mundane feel, but underneath the tame exterior lays the true beauty in their music. Ever since their third album release, Alligator, back in 2005 their hot streak of constructing records that focus on the coalescence of all their parts and stressing personal emotion filled stories has been unstoppable. Trouble Will Find Me works as a great continuation to their last critically acclaimed release High violet, and follows the philosophy that there’s no need to fix a winning formula. Despite the fact that this album does not add any previously unexpressed musical elements or possess a monumental leap of progress, it cements the band as an act that has reached a point of being associated with a particular sound, which is a feat that many acts would sell their soul to reach.

Much like their past work, Trouble Will Find Me uses the same minimalist style in which there are layers of guitar and sound, but one instrument does not detract from another. By this point in their career they have perfected the ability to live in that moment of being on the verge of emotional unraveling, but sustaining it rather than reaching an end point. The high points of the album revolve around the heartfelt lyrics of frontman Matt Berninger and the misery that he displays in his vocals. On “Demons” Berninger employs a low baritone and sings like a man who has had his fill of dark moments and lost his way, singing “All my drowning friends can see, there’s no running from it, it’s become the crux of me, I wish that I could rise above it”. “Fireproof”, a soft folk track with a calm guitar melody, finds Berninger admiring the courage of another in his lyrics “you’re fireproof, nothing breaks your heart, you’re fireproof, how’d you get so far”. There truly is no shortage of lines that hold some amount of personal sentiment and the intimacy of Berninger’s writing allows for a great amount of investment in each track. Whether the pace is slow or moderate, the amount of soul is integral in anchoring this record, whether expressed lyrically or musically. A perfect example of this is on the track “Pink Rabbits” where the melancholic piano and guitar notes match Berninger perfectly when he sings “I’m so surprised you want to dance with me now, I was just getting used to living life without you around”.

Trouble Will Find Me takes on the role of highlighting the bands greatest attributes and giving an accurate summary of their career thus far. The sum of these perceptive tracks show Berninger and the gang further perfecting the art of venting all the pain and emotions that come with a life. Musically the album stacks up against songs on High Violet or Boxer, and lyrically it showcases some of their finest work. The National never sought to create a sound that latches on like a leech and gets stuck in the mind like pop creations tend to do, but somehow Trouble Will Find Me has its own style of infectious compositions that will linger around for years to come.

[youtube=http://www.youtube.com/watch?v=N527oBKIPMc]

 

Album Review: Vampire Weekend, Modern Vampires of the City

May 14, 2013 in Album Reviews

 

 

By Zachary Kaczmarek

Grade: A

It seems like almost a lifetime ago that Vampire Weekend burst onto the scene with their innovative and captivating style, though it was only a mere 5 years ago. At the time, fans were either frothing at the mouth with the bands blend of punk rock, classical, electronic, and African influences with their strange tribal drum patterns and guitar playing style, or repulsed because it was viewed as pretentious and snobbish. Lead man Ezra Koenig said in an interview with UK newspaper The Guardian recently that critics who were irritated with the bands image or sophisticated lyrical content, which has always been rich with cultural references to wealthy upper class society and other subjects that are not usually commonplace to the average music listener, made it seem like the band members “were rich idiots ripping off African music.” But since then they have become somewhat of a household name in their respective scene, and have shaken off any bland criticisms of being a fad that would soon fade into irrelevance. Modern Vampires of the City marks an unexpected turning point that strips away most of the influence from the previous works and attempts to start anew with a darker realist point of view that accompanies the band’s shift into a realm of their own.

When compared to the opening tracks on their self-titled album and Contra, “Obvious Bicycle” does not exactly have an instant hook factor, with a slow and balanced tempo on piano, and Koenig never employing his signature falsetto that made songs like “White Sky” so memorable. Only one track in and it feels like a record that was produced years down the road, reflecting on happier and more carefree days of the past. Much of the album takes on a similar stern tone, but succeeds in appearing mature and confident, not at all dull or lifeless. Koenig’s lyrics scream for resilience and some kind of clarification in a befuddling world, such as the one described in “Unbelievers”, singing “Got a little soul, the world is a cold, cold place to be/Want a little warmth, but who’s going to save a little warmth for me”, and in the rebellious chorus “Girl you and I will die unbelievers bound to the tracks of the train” which would have fit right in back in Bruce Springsteen’s day. The band has never been open to the idea of acknowledging any particular interpretation of their cryptic lyrics, but this time around the messages that Koenig’s brilliant songwriting convey are outlined to a certain extent leaving the listener with more clues than on the previous two efforts.

As the album progresses it eases into more infectious sounds, especially the classical piano track “Step”, which is based on classical composer Pachelbel’s, “Canon in D”, and is backed by a smooth thumping drum beat and a slight reverb over Koenig’s vocals. The song is also a key example of how some Vampire Weekend songs have buried messages, but yet the level of enjoyment is high regardless. It opens with the most memorable line on the album “Every time I see you in the world, you always step to my girl”, which without any context makes no sense, but is actually an homage to the underground rap group Souls of Mischief and their song “Step to My Girl”, of which Koenig is a huge fan. He also writes the one of his most clever phrases to date, “I just ignore all the tales of a past life/stale conversation deserves but a bread knife”, and nothing says coming of age like the chorus line “The gloves are off, the wisdom teeth are out/What you on about?”

The back end of the album provides a well-timed change of pace with “Diane Young” a rock n roll glitch punk track that is very reminiscent of their song “Cousins”, and the track “Worship You”, a song that draws very much from a band like the Violent Femmes with a fast paced folk punk style. But the real crown jewel of the album, “Ya Hey”, provides the bands heaviest work lyrically, and the smoothest musical transitions they have constructed. The songs title is a clever homophone for Yahweh, the Hebrew term for God, and the subject matter relates to Koenig’s Jewish heritage and trying to define his beliefs as he gets older. The pre-chorus transition from light synthesizers to an eerie classical piano line, which is perfectly executed by guitarist/keyboardist Rostam Batmanglij, captures the general sentiment of the song as Koenig sings “In the dark of this place, theres the glow of your face/There’s the dust on the screen, of this broken machine/And I can’t help but feel that I’ve made some mistake, but I let it go.” The chorus, a reference to Moses conversation with God in the Old Testament, hammers in the final nail with the lines, “Through the fire and through the flames you won’t even say your name, only ‘I am that I am”, and an angelic chorus singing beneath Koenig. The lyrics encapsulate Koenig’s frustration with the sheer mystery of his creator and in his view, lack of a presence which he is unsatisfied with. Crafting a track like this leaves no doubt that the band now possesses a level of confidence to tackle their own personal demons through their songwriting, as most acts would not dare write such a monumental song, especially one that involves such large existential or religious themes.

As the album comes to a close, “Hudson” touches on an image of a bleak world in the form of New York and the Hudson River with very pessimistic opening lyrics “Hudson died in Hudson Bay, the water took its victims name.” It’s a very anticlimactic ending, but a fitting one, as Koenig sings over gloomy synthesizers and even a few industrial samples that are occasional thrown in. They did not exactly take the logical next step to follow up Contra, but end result is a complete effort that summarizes the bands short but coveted career thus far. The songs on Modern Vampires are the type that may require some research in an encyclopedia or on Google to completely understand, but on the other hand, musically there is so much to take in that full comprehension is not necessarily required to consider this record an instant classic, or to consider Vampire Weekend elite songwriters.

[youtube=http://www.youtube.com/watch?v=i-BznQE6B8U]

Album Review: She & Him, Volume 3

May 6, 2013 in Album Reviews

 

By Zachary Kaczmarek

Grade: B+

On Volume One, fans and critics alike were not exactly sure how serious the duo of quirky actress Zooey Deschanel and indie rocker M. Ward were about their throwback 60s pop side project.  Initially many skeptics could have written off the idea of Deschanel and Ward collaborating as a novelty act or simply a vein for Deschanel to showcase her musical ability. But two volumes later the music has progressed into a full-fledged project that is well grounded in the folk and surf pop of the 60s. On Volume 3, Deschanel and Ward expand on the sounds of Volumes One and Two, with Deschanel’s confidence increasing in her songwriting and strong vocal presence.

Right from the start Volume 3 feels genuine and stays true to the sounds of classic AM radio pop, with the opening track, “I’ve Got Your Number Son”, which employs Beach Boy-like high pitched vocal harmonies, and slowly evolves into a guitar and piano driven surf pop groove about triumphing over a broken heart. Wards efficiency and soul really shine through on guitar, as do his musical arrangements, which complement Deschanel’s classic voice. The duo then presents a much louder and layered second track, also the lead single off the album, “I Never Wanted Your Love”, putting more of Deschanel’s octave range on display, as she is able to reach strong pitches both high and low, while backed by numerous string instruments and the strumming of Ward’s guitar. His presence on Volume 3 is lessened a great deal, as he only occasionally provides backup vocals, but considering that he has always taken an interest in helping Deschanel realize her musical vision, it’s not a complete travesty that he takes a backseat on this album.

Lyrically this may also be the strongest of the three releases for Deschanel, as she no longer sings soft spoken or modest lines, but empowering and bold statements, as she establishes herself as a songwriter with lyrics that are very much true to the pop of decades ago. She also displays a great deal of wit with lines like “I’m tired of being clever, everyone’s clever these days”, and “I sacrifice myself at the altar of someone else’s love for me”. As the album progresses, the sound shifts to the moderately paced folk track “Something’s Haunting You”, with a stripped down soundscape composed of nothing more than Ward’s unplugged guitar riffs and Deschanel’s vocals. There is even a subtle xylophone that is played midway through the song, which captures the California vibe quite nicely. Its tracks like these that show off the realized talent and confidence of She and Him, showcasing the ability to thrive in songs with complex arrangements and depth, as well as simplified tracks with hardly any.

A sound such as the one She and Him has brought back to the modern era of music relies heavily on being genuine and not appearing cheesy or bland. Being original in this style is a near impossibility, and realizing that, they do not attempt to reinvent the wheel, but pay homage to the timelessness of that style of pop music. For their first two releases they won over listeners with their mix of country, and folk pop and Deschanel’s ability to emulate singers like Patsy Cline. But Volume 3 is sure to win over the masses who appreciate this Beach Boys AM radio genre, with bold and vibrant feel good pop songs, that at times do harbor a great deal of emotion. For anyone who believes the music of the 50s and 60s is antiquated, Volume 3 is proof that some sounds can stand the test of time.

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