After eight years of being on an “indefinite-hiatus,” Blink-182 have returned for their sixth-album, Neighborhoods. In the years following the vitriolic split of the band, each went on to a sizeable amount of other projects that, while admirable, could never reach the success and significance of their former success. Tom Delonge discovered that delay pedals and the Edge existed and formed an arena rock super group that could never fill arenas with Angels and Airwaves, while also finding time to make a film (Love), and establishing the musically-bent social networking site ModLife. Meanwhile, Mark Hoppus became some sort of media entrepreneur, dabbling in a weekly podcast and hosting a one-hour talk show. In between that, he also found time to try his hand at producing more than five albums, while also playing in his new band Plus 44, with Blink-182 drummer, Travis Barker. Perhaps the most determined member of the band, Barker continued to put his horrifyingly brilliant drumming talent to use, working with the likes of the Black Eyed Peas, Pink and Avril Lavigne. In the mean time, he also put out his own album, Give The Drummer Some which featured RZA, Raekwon, Kid Cudi, Rick Ross, Lil Wayne and others. Put simply: they did a lot.

At the 2009 Grammys when the three announced they were getting back together, I think that a lot people perked up just a little bit, curious as to what what their teenage angst sounds like eight years later. It’s a peculiar experience; all of Blink-182’s songs only have meaning due to how they perfectly depict every awkward aspect of adolescence, but what does the band sound like when there are no memories attached to every song? With Neighborhoods’, it doesn’t feel as though Blink-182 are asking to soundtrack another part in our lives, but much rather are helping us relive what made some of those times so great.

Delonge-fronted “Wishing Well” harks back to the likes of Enema of the State with the chorus using the memorable na-na-na’s that made “All The Small Things” so popular, while “This Is Home” charges from the start with a riff that doesn’t stray to far from that of “Rock Show.” The band’s confusingly either self-titled and/or untitled last album saw Blink-182 broadening their horizons; employing the vocal talents of The Cure’s Robert Smith and moving into darker lyrical territory. While Neighborhoods relives some of the band’s former glory with songs like the Cheshire Cat-esque “Hearts All Gone,” the band has noted on several occasions that their sixth album would show the band progressing. The first single “Up All Night” acts as the most obvious development, with its heavy riff originating from the last album’s sessions, its verse preaching “everyone raises kids in a world that changes life to a bitter game.” Deluxe-edition track “Fighting the Gravity” is perhaps the weirdest experiment, finding Blink-182 doing their best Radiohead impersonation, as samples of Hoppus’ vocals scatter over an industrious Barker beat, while thin and poignant guitar remains subtle amongst a curious blend of production. Unfortunately, this impressive production work doesn’t resonate throughout the rest of Neighborhoods, with a number of songs failing to complete the jigsaw of the consistent sound that was found on their 2003 record.

If there were to be a centrepiece, it’s “Natives,” a track that revolves around a crafted Barker loop, a “Dumpweed” guitar lead, with an angst-ridden chorus that cries “maybe I’m a waste of your time, maybe I’m better off dead,” channelling a thought that every whingey teenager has encountered, “let me go and go, I’m never coming home.” If “Natives” captures the apprehension of being an adolescent, “Even If She Falls” conveys the optimistic anxiety, describing that special girl, “like a starry night, like a ferris wheel.”

What would a Blink-182 album be though if there weren’t a few crappy songs? “MH 4.18.2011” (the title was a demo of Mark Hoppus’ recorded on the date, but Delonge thought it sounded like the name of a virus), is one of those mediocre songs that is easy to dismiss as just another crappy punk rock song, as Hoppus tells someone to “stop living in the shadow of a helicopter.” “Snake Charmer” is another song that falls short and has proven to me that Tom Delonge could get cheesier, telling of a seductive female that “creeps up like a spider, and wants you deep inside her.” As nostalgic as “Ghost On The Dancefloor” is, the production is abhorrent, using the most obvious of synth pad presets to hide the hints of Angels and Airwaves that have seeped into Delonge’s voice.

For every fault that Neighborhoods has – and it has quite a few – the album is infectious and catchy. Blink-182 have never taken themselves seriously, and it makes them very easy to forgive for every misstep. If you’re willing to overlook the embarrassment of listening to a teenage pop-punk band, this album is rewarding. Every chorus is as pleasurably as memorable as the last, and will permeate every facet of your brain like every Blink-182 song before them. In some sense, I strangely wish that I could be a teenager again to hear this album in a more relative context, as it would’ve served as a worthy adversary amongst the band’s discography. It is what it is though, and whether you like them or not, Neighborhoods is definitely a Blink-182 album.

AltPress are reporting to have the track listing on Blink-182′s much-awaited sixth album Neighborhoods. While the album continues with the ever-going trend of being relatively short, with only ten songs, there are three bonus tracks including the recently-released “Hearts All Gone.”

1) Ghost on the Dance Floor
2) A La Mode
3) This is Home
4) Snake Charmer
5) MH 4.18.2011
6) Even if She Falls
7) You Too
8) Up All Night
9) After Midnight
10) Natives

Deluxe Edition:
11) Kaleidoscope
12) Fighting the Gravity
13) Hearts All Gone

Neighborhoods arrives September 27 through Geffen Records.

I guess the Arctic Monkeys must’ve really loved filmmakers Focus Creeps work on their video for “Don’t Sit Down Cause I’ve Moved Your Chair,” because they’ve enlisted them again. Arctic Monkeys’ new single, “The Hellcat Spangled Shalala” from their excellent third album Suck It And See has received the video treatment from Chappell and Brown. Unfortunately, it’s not all that exciting, splicing Super 8 film footage of tour shots, the boys twiddling blades of grass, and some girl dancing on the floor in stockings. It’s all very nice and retro looking, but from an album so great, I was expecting something great for an equally as brilliant song. Oh well. Enjoy.

“The Hellcat Spangled Shalalala,” the new single from Arctic Monkeys’ new album Suck It And See will be released on Monday the 15th of August.

Following the release of their new song, “Every Teardrop Is A Waterfall”, Coldplay performed at Nürburgring’s Rock am Ring festival this weekend. While Coldplay headlining a festival isn’t really “news” persé, the did perform new songs which one would assume are from their upcoming album. For all your Chris Martin maniacs out there, thank whichever god you pray to for the beauty of live streaming, as below we’ve found some hi-quality recordings of the boys new tracks. Check them out!

Hurts Like Heaven

Major Minus

Us Against The World

Charlie Brown

Every Teardrop Is A Waterfall

Well, it’s been a long time coming, but Coldplay are set to release new single, “Every Teardrop Is A Waterfall.” While it’s not known whether it will be from their new as yet untitled album, it is said to be an accompaniment to their series of festival performances this summer.

According to their official website, it is said to be available digitally on Friday 3rd June at 12pm (BST), except in the UK where it will be released at midnight between Saturday 4th and Sunday 5th of June.

As we’ve seen Arctic Monkeys grow, the transparency may have explicitly have deteriorated in some people’s minds, with Turner abandoning his great sense of youthful insight for something more mystic and personal. Where it was once easy to think it was possible to identify Turner through his lyrics, the focus has been centralised to his song writing ability. A simply thoughtful lyric can captivate the mind, but it seems as though the shift is now coming through emotion evoking music.

With three Monkeys albums under his belt, and an admirably adventurous dive into the Scott Walker and Leonard Cohen influenced world of the Last Shadow Puppets, it is obvious that Turner is constantly progressing as a song writer in a positive light. He has more depth, more knowledge, and most importantly, more confidence. While Submarine is the accompanying soundtrack to Richard Ayoade’s coming-of-age film, it’s almost better to merely see this as a solo Alex Turner EP. While purists might argue that a soundtrack has to match its film, in this case, I personally feel there is an exception, as Ayoade didn’t even allow Turner to see Submarine before and during the composition of the five and a bit songs.

“Stuck On The Puzzle” (including an extended introduction) and “Piledriver Waltz” are the most straightforward tracks. However, by being straightforward, they should not be dismissed in any way. These are perhaps some of the most stunningly beautiful songs that Turner has ever composed under any moniker. “Piledriver Waltz” (which is said to appear in a more finite form on the upcoming Arctic Monkeys’ upcoming Suck It and See), is a simple affair, but it’s Alex’s inherent knack for melody that conveys a great sense of sincerity and emotion. This is the same established craft that made “Cornerstone” so perfect. Almost crooning, he establishes the scene for a forlorn love making reservations at the metaphorical Heartbreak Hotel, where both waitresses and the food itself are purely miserable. “Stuck On The Puzzle” finds Turner in an unfamiliar situation, his voice humbly sinking over a lone piano, drum and bass. While it’s unfamiliar, it certainly feels comfortable; something which can be attributed to his undeniably improvement as a vocalist. Where once Alex Turner was a feasible mumbler, excused by a lyrical prowess and the charm of his northern accent, he is now an efficient singer, capable of using his voice to carry a song.

It’s this voice that makes it now possible for Turner to complete a large majority of these songs acoustically. “It’s hard to get around the wind” is another gem that can sit at the mantle of Turner’s best songs, drawing similarities between the line to Heaven to that of a nightclub. Sometimes these lyrics are a bit stifling and confusing to place in context, but once more, these songs become something more due to Turner’s impeccable vocal melodies. It’s almost difficult to describe, and admittedly, as a music reviewer, one should be ashamed to admit that, but as silly as it sounds, it’s hard to not want to live in the worlds that Turner manifests through song.

One of the most redeeming qualities that an artist and composer can possess these days is a sense of dynamic progression. Many great artists were like this, and Turner is definitely making his way there. As soon as people think they have Alex Turner figured out, he’s already leaps and bounds beyond what ever impressive precedent he has established. This may not mean a lot to some, but it’s impossible to deny that it’s not endearing.

As we patiently await May 31 for the release of Codes and Keys, Death Cab for Cutie have announced a healthy combination of news that should tie over some until then. May 18 will see the band embarking on a short tour of North America beginning in Toronto, followed by an even quicker excursion to Europe, playing nine shows. An added bonus sees some of these dates being accompanied by Bright Eyes, and the lesser known Lonely Forest as some further incentive.

May 31 also now marks the release of a live DVD, Live at the Mt. Baker Theatre, highlighting the band’s two-night performance in Washington, 2009. While there’s nothing new on the DVD, it will surely prove to be a great retrospect into the band’s live show.

Death Cab for Cutie:

05-18 Toronto, Ontario – Phoenix Concert Theatre #
05-20 Chicago, IL – Metro #
05-21 Minneapolis, MN – First Avenue #
05-24 Edmonton, Alberta – Shaw Conference Center *
05-25 Calgary, Alberta – Stampede Corral *
05-27 Bend, OR – Les Schwab Amphitheatre *
05-28 George, WA – Sasquatch Music Festival
06-01 New York, NY – Bowery Ballroom #
06-03 Washington, DC – 9:30 Club #
06-04 Philadelphia, PA – Trocadero #
06-05 Boston, MA – The Paradise #
06-07 Los Angeles, CA – El Rey Theatre #
06-09 San Francisco, CA – Fillmore #
06-26 Munich, Germany – Muffathalle
06-27 Berlin, Germany – Astra
06-29 Hamburg, Germany – The Docks
06-30 Amsterdam, Netherlands – Melkweg
07-01 Kent, England – Hop Farm Festival
07-02 Milton Keynes, England – The National Bowl
07-04 Manchester, England – Manchester Academy
07-05 Nottingham, England – Rock City
07-07 London, England – Brixton Academy

# with the Lonely Forest
* with Bright Eyes

It’s been 45 years since the release of the Beach Boys infamous masterpiece Pet Sounds, but it was during that magical year of 1966 that recording began for what would become the almost mythical follow up, Smile. While it has seen the light of day in a number of forms, including the Beach Boys subtle attempt Smiley Smile and Brian Wilson’s 2005 release Brian Wilson Presents: Smile, the renowned album has never surfaced in an official Beach Boys release…until now.

While a track listing hasn’t yet been finalized, Billboard is reporting that Capitol Records has announced the release of The Smile Sessions, an initiative between Mark Linett, Beach Boys archivist Alan Boyd, and Brian Wilson himself.

The Smile Sessions is said to be released in a number of varieties: a two-disc CD set, a limited-edition boxed set withholding four CD’s, two vinyl LP’s, two vinyl singles, a 60-page hardcover book written by Domenic Priore, and a digital release, because it just wouldn’t be the same if iTunes weren’t involved.

No official release date has been set, but EMI’s Senior VP of Catalog Marketing, Bill Gagnon, assures it will be out before 2011′s close.

(Via Billboard)

Hot off the success of Twin Shadow’s 2010 debut Forget comes this live performance as part of Billboard’s ‘tastemakers’ series. While there’s nothing resoundingly new here, George Lewis Jr and co prove that their brand of post-new-wave translates stunningly live. Performing “Castles In The Snow,” “Forget” and “Slow,” it’s almost difficult to deny the level of craftsmanship involved in their live presence.

As an added bonus, Billboard also has an interesting interview with Lewis regarding the production of Forget, and how Grizzly Bear’s Chris Taylor got involved.

“Castles in the Snow”

Watch the other videos from the session on Billboard.

Forget is out now on 4AD.

Considering R.E.M have stated that they have no intention on touring in promotion of their fifteenth album, Collapse Into Now, it was a nice surprise to hear that the veterans would release a music video for each song on the album. Here at One Thirty BPM, we’ve never been ones to shy away of nonsensical costumes, so it’s really quite pleasant to see the video for “Alligator Aviator Autopilot Antimatter,” featuring Michael Stipe and Peaches going about their lives nonchalantly wearing the most peculiar of outfits.

Qu’est-Ce Que C’est La Vie, Chaton? Is MGMT’s first recorded live outing, and does well to dispel any preconceived notions of the band as a loosely constructed live presence. Simply put, there are no extreme variations within these live renditions, but the album does solidly showcase MGMT as being a perfectly capable live band.

Instead of opting for an entire “best of”-type live album, …Chaton? is a mere five track extended play comprising of a questionable track list, taking predominantly from 2010’s Congratulations, but making some other peculiar choices. While singles “Brian Eno,” “Congratulations,” and “Flash Delirium” are intact, Oracular Spectacular’s “Weekend Wars” makes an appearance, which only seems logical, as the track could easily find itself gracing Congratulations, encompassing the psych-rock sound that awaited us on the follow-up. It’s more than obvious by now that MGMT have a blatant disregard for the status quo, as …Chaton? omits all top 40 singles from Oracular, and in their place, is “Destrokk,” a track which may be foreign to many, as its only appearance is on 2005’s Time To Pretend EP. However, its performance has been slightly revised to suit MGMT’s new guitar-based aesthetic, which only does wonders for the once baron track.

If …Chaton? does an injustice for the band, it’s that it displays MGMT’s drug-informed zany character on show. Hidden subtly within severely minute variations such as the vocal delivery of the final chorus of mind-bender “Flash Delirium” or just the post-song banter, it’s refreshing to see a band that doesn’t take themselves so seriously these days (coughArcade Firecough). The EP’s title alone translates to “What is life, Kitten?” a seemingly nonsensical piece of pseudo-philosophy, which is enough to make you giggle at the least, or even question MGMT’s sanity.

There’s nothing resoundingly new here, but it does show a band that has undoubtedly progressed, leaving one to wonder what they are capable of next.

To the dismay of many, the Ohio duo of The Black Keys have unfortunately withdrawn from their Australia and New Zealand tour dates in January, which had included a show at Australia’s Big Day Out Festival. Citing exhaustion as the cause for the cancellation, it only seems reasonable, as the band have been touring non-stop on the back of Brothers. The boys return to the States in March for a quick stint in Las Vegas before embarking on a set of European dates, which appear to have remained in tact.

PR below:

“The Black Keys are sorry to announce the cancellation of the New Zealand and Australian tour including all appearances at the Big Day Out touring festival as well as a portion of the European tour in March. An arduous year of touring and promotion has drained the band and necessitated time off.

Dan and Patrick wish to thank all of you who have shown such incredible support since the release of ‘Brothers’ and have helped make the album a success.”

[via FasterLouder]

A Lesson In Crime was a viscous debut EP, but not without it’s charm. As stuttered guitar lines and poppy basslines clashed on top of the cutest of synths, the most adolescent of voices was screaming with a colourful imagination that was rare and unique. Opening lines such as “Do your neighbour a favour, collect their morning paper,” were startling in their trivial subject matter, but it was allowed due to frontman Dave Monks’ childish demeanour. Their first LP Elephant Shell was divisive, finding Monks caught in a seemingly repeating melody, and the rawness that intoxicated so many on A Lesson In Crime, was now as buffered and polished as a brand new Prius. It wasn’t the album that many had hoped for, but by the same token, it was an admirable effort. It therefore wasn’t really hard to remain skeptical upon hearing of sophomore.

Champ finds Tokyo Police Club taking their time, and making note of what makes the finer moments in their world of quick-jab rock, and equally as importantly, when to utilise them. Melody plays a more important part than ever. While Dave Monks certainly hasn’t quite matured yet, still childishly reflecting about school yard traumas, “at the movies drunk and young, double knots that came undone,” he’s coming along. The lyrical content and stylings of Dave Monks have always been remarkably unique, being the only person to have written both a Mother’s Day present song about being buried next to their mom, and another of the bleak robot-operated future that awaited us in 2009. Monks no longer discusses robberies, neighbours newspapers and those robots like A Lesson In Crime, but rather continues from Elephant Shell‘s toddler like imagination, with lines “Under our bed, a monster lives, we filled his teeth with superglue and paperclips” practically dousing our nostalgias in kerosene.

Collectively, the 35 minute blockbuster, is simply relieving, as the young Canadians go mining for the element that made them so loveable to us in the first place. Lead single “Breakneck Speed” builds upon A Lesson In Crime‘s “Nature of the Experiment,” with the song carefully pacing itself, yet still being graceful enough to allow room for a number of ludicrously catchy melodies. A nice pleasantry of Champ is the surprise to see Tokyo Police Club exploring new space, sonically. “Hands Reversed” centres itself around a riff that sounds too complex to fit amongst anything in their discography, but it eventually finds a comfortable enough place. A wider turning circle sees opener “Favourite Food” making use of stuttered samples being excentuated by the most captivating of Monks melodic and acoustic moments yet.

It’s a genuine development for Tokyo Police Club, but it’s not without its faults. I’m not sure who told them that they were beholden to being some NME electro-pop band, but “Not Sick” is grating on various levels, while “Bambi” and “Frankenstein” show the more appropriate evolution of these synthesised tendencies.

Tokyo Police Club recognise appropriate, because Champ is kind of like the little album that could. It doesn’t captivate the hottest girl in school, but it entices the moral victory of that nerdy girl who never talks to you. At moments, it plays like a children’s story book, and if this is the intention of Monks and crew (“I always skip the words because the pictures are so bright and loud”), then they’ve gloriously succeeded.

That’s the problem; the modern day up-and-coming rapper is burning himself out before reaching his first album. Cleveland MC Kid Cudi shot into the limelight with his mixtape, A Kid Named Cudi, and it rightly so garnered a lot of critical acclaim. When word started spreading of his debut having guest appearances by Ratatat and MGMT, it was hard not to get excited. However, at the end of the day, the album was slightly disappointing and didn’t have the magic that the mixtape had threaded throughout. This is, unfortunately, where Wale fits into the puzzle.

If you were to subscribe to the notion that the mixtape is a great marketing tool, a medium with which to build hype, then Wale adheres to that criteria quite appropriately. Five mixtapes and a supporting slot for Jay-Z with N.E.R.D. before even releasing a debut album is, undeniably, a pretty big achievement. However, to put this simply: Attention Deficit just isn’t as good as some of Wale’s mixtapes.

Admittedly, that sounds like a bad thing – and perhaps even a bit dismissive – but the truth of the matter is, Attention Deficit is still an extremely resilient hip-hop album. Musically, it is nothing short of brilliance, and of course, it’s a bit hard not to be brilliant when you employ the likes of TV on the Radio’s Dave Sitek and Best Kept Secret, with guest appearances from Lady Gaga and The Neptunes. The choice of producers is almost perfect, with the immediacy of some tracks being unbelievable at times, as songs such as “Chillin” and “90210″ being almost guaranteed pop hits. The array of genre integration is also impressive, as Wale attempts to combine a series of genres and place them under the hip-hop umbrella.

What’s disturbing about the album, however, is that – well – it seems to religiously channel Kanye West. It’s almost eerie. Regardless of your opinions on West’s Graduation, Attention Deficit feels like its spiritual successor. Even his melodic mannerisms are analogous of West, which is most certainly not a negative thing. Take the second track, “Mama Told Me,” which makes use of some very ’60s-sounding brass and string samples, as Wale raps something over the top. And that is the biggest concession with Attention Deficit: the rhymes. He lyrically falters at times, with the very opening line of the album being far too common in contemporary rap, with everyone from Blakroc and Jay-Z dropping lines about not being “politically correct.” Lil Wayne summated it best in “Dr. Carter,” quoting Kanye: “Reciting something cause you like it, so you say it just like it.” However, there is nothing worth reciting in Wale’s verses at all. Sure, his vocal hooks in the numerous choruses are immaculate, but he lacks some significant flow.

At the end of the day, Wale’s album raises a lot of questions about how the rap game has changed, and not all of them can can truly be answered by Olubowale Akintimehin (his real name). He significantly holds up the bar for contemporary hip-hop production, but he doesn’t necessarily surpass the weight he can hold. It’s not to say that Attention Deficit is a bad album, as it’s truly an admirable effort. However, it’s just a shame that the rhymes are seemingly effortless – and not in the positive way. The enjoyment that one may gain from this album will also depend on a number of factors, but the most pivotal will be the familiarity with Wale’s discography. If you’ve religiously followed Wale from the days of “Dig Dug,” then this will be a mediocre experience. However, if this is your first taste of the D.C. MC, then you’ll find Attention Deficit to be quite rewarding.

First Impressions gives you some insight into some of the most highly anticipated releases.

Zebra

Distinct, full-bodied guitar work opens Teen Dream. “Zebra” is delightful, evoking Grizzly Bear’s chamber-pop sound. It’s no wonder that Grizzly Bear frontman Edward Droste has been hyping this album up.

Silver Soul

“Silver Soul” entices you within the fog, with a glistening guitar riff that sparkles brightly enough to delude and confuse you into happiness. The verse guitar work isn’t anything to write home about, merely providing as a vessel for Legrand to deliver her beautiful, melodic words across. While “Silver Soul” doesn’t latch onto one specific hook, it does create a lasting impression that will force you to return for more.

Norway

“Norway” fades in from where “Silver Soul” left off, literally transitioning, with an organ connecting the two. Legrand’s vocals act as the predominant instrument within “Norway,” being sampled above a fast-picked, twinkled guitar riff. The introduction breaks for the verse, where we find a simple bass line working in association with some very trippy pitch-shifted and vibrato-ed guitar and organ, as Legrand moans, “Don’t you know it’s true.” “Norway” truly lends itself to the album’s title of Teen Dream as it is a splendorous daze of a pop song, one that encapsulates the nostalgia of adolescence.

Walk in the Park

Personal preference will be very critical to one’s impressions of this album. “Walk In The Park” doesn’t really differentiate itself from the first three tracks within Teen Dream, but this doesn’t necessarily negate the song entirely. It’s as immediate and lovable as “Silver Soul,” relying on what is becoming the formula for the album; introductions and choruses make use of guitar, synth, organ, and percussion, while the verses restrict themselves to synth, organ, and percussion, with the guitar hiding away, allowing room for Legrand to breathe. The song connotates its title perfectly, evoking imagery of walking through a park at dusk, with the tremolo-ed guitar in the chorus – “In a matter of days, it will slip through my mind” – creating a powerful sense of optimism. Musically, “Walk In The Park” draws slight allusions to calypso, with almost Vampire Weekend undertones hiding within. While this may deter some, it’s most definitely not a negative thing.

Used To Be

“Used To Be” is one of the most refreshing moments of Teen Dream, as the guitar and synth-reverbed precedent that has been established is broken by Legrand repeating a delightfully clean piano line. It’s kind of hard to ignore the Grizzly Bear comparisons, but “Used To Be” quickly defines its own identity, adopting typical Beach House conventions. The clean piano found within the introduction is soon layered with vibrato, creating an almost honky tonk-like sound. “Are you not the same as you used to be?” is the evident hook of this song, and it truly creates a lasting impression before the song quietly fades into silence.

Lover of Mine written by Brent Koepp

“Lover of Mine” starts off with an ’80s-influenced synth loop/guitar lick. It’s very reminiscent of the sound of New York-based indie pop outfit Chairlift. Once the song kicks in, it easily has one of the catchiest sounds on the album. The vocals are haunting, which are highlighted by having the synth fade out, leaving the vocals to themselves. As soon as the chorus hits, the loop comes back in, and it gives the song an explosive energy. With lyrics like “People people, to be satisfied. Your fear of a God, and a prayer for the night,” the song has some haunting qualities but is also really accessible. One of the oddest tracks on the album for sure.

Better Times written by Evan Kaloudis

“Better Times” is quite a sporadic track. Forming its foundations with an underlying repeating, jangling synth, Scally’s vocals quickly come in and are accompanied by a reverberated synth riff that finds itself recapitulated throughout the song along with its underlying companion. The song seems too loosely structured, however the bridge can be quite invigorating, thus giving you a reason to revisit it.

10 Mile Stereo

A 4/4 single beat bass drum opens “10 Mile Stereo,” being quickly partnered with a shining guitar riff that is only matched by Legrand’s vocals. Before you can catch your breath from “Used To Be,” an angelic string synth pad rises from beneath to steal your soul away. “10 Mile Stereo” is a great majestic moment, and it can only be attributed to the underlying synth pad and Victoria’s soaring vocals. The song builds and builds upon optimistic endeavours, with acoustic tom drums fighting in a skirmish against electronic percussion, growing hand-in-hand with crash cymbals reverberating in and out, until finally all that is left is the lone synth line and a dying drum beat.

Real Love

It would be very easy to dismiss “Real Love” as a ballad because, well, that’s what it is. It is perhaps easily the album’s weakest moment, with Victoria finding herself once more at the piano alone, recollecting about a love perhaps once lost. It’s a bit difficult to distinguish what it is that Legrand is actually saying at times (may be attributed to the excess reverb or low bit-rate of our rip), but the chorus finds our protagonist sighing “I t you” before introducing typical Beach House elements of a reverberated synth line residing in the shadows beneath the piano, until it develops with bass drum and tambourine, establishing the necessary percussion for the song’s conclusion. It meanders for a while, and it’s very easy for “Real Love” to lose your attention, but by now you’ve heard all that the album needs for you to hear.

Take Care

“Take Care” continues from where “Walk In The Park” left off. A simplistic synth line wavers up and down, with electronic bass and toms quietly enforcing the song’s verse as Legrand hums overhead. The chorus enforces the percussion with a real acoustic kit before Victoria sings ’70s-like “bops” in unison with a piano. It’s while listening to “Take Care” that you start to be grateful that it’s the last track on Teen Dream, as the album begins to dwindle and twiddle its thumbs. While “Take Care” isn’t a bad song, at 5:48 – being the longest song of the album – it certainly comes close to overstaying its welcome, not entirely possessing the charm of earlier tracks such as “Zebra” or “Silver Soul.” Perhaps if “Real Love” were omitted, the impact of “Take Care” would have been a lot more prominant. However, “Take Care” is still an extremely fitting closure, being the ultimate embodiment of Teen Dream‘s overall sound.

Teen Dream is due out on January 26th via Bella Union/Sub Pop.

It’s easy to get lost in the Big Apple, and for Au Revoir Simone, it’s unfortunate that they are often lost in the crowd. Now into their third album, it would be difficult to disagree that more credit is due for the three girls. If you’re familiar with any of their work, you will know that it’s not the most theoretically complex of music, and nor is it anything ground breaking; it’s three girls with some old childhood Casios and a few drum machines. That’s it. It’s pretty simple, and for their entire lifespan, this recipe is what has made Au Revoir so attractive. They combine the most simplistic music with memorable melodies from their choir of angelic voices to create great songs.

However, three albums in, it’s impossible to not be skeptical that this recipe will start to lose its charm. Skeptics be damned, Still Night, Still Light is perhaps Au Revoir Simone’s most charming work to date. “Knights of Wands” begins like every other Au Revoir Simone song: a Casio preset of an organ and a programmed drum beat. But damn, it’s impossible not to be taken slightly a back as the track unexpectedly stops for the girls to step in with some claps. It sounds so simple, and on paper, it’s perhaps the most unimpressive to write about, but it just works. “Anywhere You Looked” is fast paced, has one of the most re-used chord sequences in music history, but the girls voices draw you in, stupefy you, and leave you elated for no good reason. It’s a peculiar thing to experience. “Shadows” – can best summate the album – in that is creates an interesting combination of haunted and dire undertones through the instrumentation (which can be solely attributed to the organ), whilst it perfectly juxtaposed as the female vocals, regardless of lyrical content, can instill the most sincere sense of hope and positivism within the listener. Once more, it’s peculiar.

By the end of Still Night, Still Light, you can’t help but feel a bit confused. It’s almost the equivalent of that attractive girl that winks at you, making you weak at the knees. You know nothings going to happen, but you’re charmed, in a daze, and left talking about her for weeks. However, you eventually realise what happened, and you can’t help but feel a fool by being tricked by her so easily, and so you forget. It’s a simple album, and it will cast a spell upon you; that is, if you’re willing to fall under its magic.

The Rough Trade EP, a bonus disc for those who ordered the album, is a compilation of fresh, unique renditions of existing songs, new tracks, and an Elizabeth Cotton cover, that only Bradford could get away with. While the EP isn’t necessarily some of the most outstanding music, it rather compliments the album in a small way, offering new insights into the creative process of Atlas Sound. Daydream “Criminals” is presented in an electronic format, with computerised drums establishing a new precedent for the already beautiful track, while fan favourite “Kid Klimax” is stripped to its bare essentials as Bradford moans alone with his guitar.

The new tracks will not be anything necessarily new to devout Cox fans, with these songs seeing the light of day in one abstract form or another on the Deerhunter blog at one moment in time. “Reminder” and “I Know I Will Escape” reiterate Cox’s creative ethos, with the songs being nothing remarkable, and probably composed in a drug-hazed weekend, but regardless, they are pretty enough to share. However, final track “Nightwork” is surprising, being a stunning twinkly environment of sound which begs the question of why it was left of Logos. For anyone familiar with the Weekend EP (which would be a select few Atlas Sound fan zealots), “Nightwork” would fit perfectly within that context.

In the end, the Rough Trade EP is nothing special, but rather the bow that wraps that brand new bicycle you got for Christmas as a kid. Sure, the bow is nice and pretty, but all you really want is that glistening bike.

The problem is, it’s a Hail Mary play. Simply put, Cudi is largely hit-or-miss. The Cleveland MC wears his heart on his sleeve, so much so that the blood practically soaks his entire shirt. Over the course of his highly anticipated debut, Man on the Moon: End of the Day, Cudi is frightened, vulnerable and rarely ever confident. Instead of selling coke to make a living, Cudi is a self-proclaimed pothead, using marijuana to subdue night terrors. Instead of spending the majority of his time boasting about the amount of pussy he can attain, he complains, “I got 99 problems and they’re all bitches” It’s an interesting dynamic for a rapper, and in its best moments it demands attention.

However, “demanding attention” isn’t necessarily synonymous with success. Cudi comes off as simply whiny at times, with his constant complaining being a large deterrent as the album progresses. The lyrical content of Man on the Moon acts as a psychologist’s chair more than most hip hop albums today. Cudi’s bipolar personality extends to the musical side of production as well. The album is extremely dynamic, employing the use of a wide variety of genres, from the traditional top 40 pop, sampling Lady Gaga’s “Pokerface,” to alt-rock, hiring out MGMT and Ratatat.

It is at these focused moments that Cudi succeeds, with “Pursuit of Happiness” possessing a melody and chord progression that other pop artists must be kicking themselves for not using earlier. Tracks such as “Make Her Say” are downright embarrassing, with Kanye and Common discussing the finer details of sexually using women. “Heart of a Lion” possesses Vangelis-like synths, which truly encapsulate the space-age aesthetic that Cudi wanted, and “Simple As” makes use of a hypnotic “Orchestra Manoeuvres in the Dark” sample, with a repeating mantra of “ABC/123″ creating a soothing track.

In the end, this album is intended to be a representation of Cudi’s life, and is successful in this. Much like life, the album hits some serious ups and downs. However, with such a vaulting ambition, the album truly shouldn’t have as many low points as Man on the Moon does. Cudi’s ambition and work ethic is admirable, but it simply doesn’t translates to a memorable debut. There is potential lying within the depths of Scott Mescudi, but apologies to Kanye in advance: Kid Cudi isn’t carrying the hip hop flame.

Three years have passed, and the Horrors have returned, bearing the fruits of their labour within Primary Colours. While their debut album Strange House seemed like a predictable scenester joke, they have returned from their darkness to destroy any preconceived notions that anyone has had about their music. The sophomore symptoms are fairly evident within Primary Colours, as it is truly a darker, detailed and more mature band presenting us with these songs. Where we once heard chaotic punk within the likes of “Death at the Chapel”, we now find a collection of meticulously constructed shoegazing tracks. Closing track “Sea Within A Sea” is perhaps the perfect summation of Primary Colours as a whole, embodying their new progressive sound. Weighing in at an epic eight minutes, “Sea Within A Sea” is built upon a simplistic bass and drum combination, whilst reverb drenched guitars and synthesisers swell, as Faris broods over his loneliness. Quickly taking an ambitious turns, arpeggiated synthesisers and distorted guitars continue to amalgamate, concluding in a positively ironic chaotically-structured finale While stating that it may be one of the best songs of the decade may seem outlandish, “Sea Within A Sea” is truly a critical and worthy testament to the shoegazing canon.

The Horrors have clearly been drawing blood from precursors such as My Bloody Valentine and Suicide, wearing the influence blatantly on their sleeve. It is by no means a bad thing, and the decision to employ Geoff Barrow of Portishead as lead producer was perhaps one of the best choices in assisting this new direction. “Do You Remember” – as rash as it sounds – could be in another dimension, a b-side to a My Blood Valentine track.

Lyrically, Faris takes a step in evolution, rather than revolution. Where “Sheena” was once a parasite, Faris now diverts his attention to fair retribution and fate. Lead single “Who Can Say” finds the frontman being on the other end of the spectrum, being the catalyst for a break up due to his own insecurities and indifference, hosting a personal diatribe, “I know these words may only serve to twist a knife, but I’ll try to make them hurt.” The title track is merely perplexing in its content, where any open interpretation could perceive the self-conscious narrator of being an almost religious leader, paranoid of being overturned by his people. Go figure.

Primary Colours is definitely a positive change for the Horrors, and while it has some amazingly endearing moments, it lingers in areas. The ambition within “I Only Think Of You” is evident, almost alluding to Joy Division’s “Atmosphere”, but it falls short in its execution. For the Horrors, Primary Colours is merely a stepping stone; a vicious missile placing them on the radar. They are no longer erratic and directionless, and their intentions to compose admirable and detailed music is commendable.

‘Aim at the Airport’ demonstrates the duo’s first real foray into the world of sampling, being a truly remarkable demonstration of sound. It has the patented No Age fuzz spray painted all over it, but beneath that, it’s a soft track that is nothing short of beautiful to listen to. However, the true beauty of Losing Feeling is “You’re A Target”, putting No Age on display, doing what they do best. It’s nothing but bliss, embodying loud and enforcing guitars, fast paced beats with a remarkable amount of chaotic fills with a glistening melody to fit. It’s drenched in the most minute detail as well at times, with intricate nuances beautifying Target’s outro.

Simply enough: more please.

Night Control

Death Control

[Kill Shaman; 2009]

Links: Night Control | Kill Shaman | Purchase on Insound

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Whether you agree with his childish politics or not, Nathan Williams can be considered somewhat of an accidental pioneer. With his now infamous band Wavves being the subject of blogger headlines for over a year now, Williams truly did open the doors for many. While Wavves may not be the most intelligent, heartfelt or pleasurable music to listen to, the hype associated with their lo-fi bedroom rock established an acceptable standard for others. Overly distorted guitars, vocals, drums…and well, nearly god-damn everything soon began filling the internet, and with the internet being what it is, it is often hard to filter the shit from the pure ear candy.

Upon listening to Night Control’s Death Control, it’s a bit hard to not feel conflicted. Death Control is essentially the workings of Christopher Curtis Smith and nameless friends, being the result of an accumulation of varying mp3’s, four track tapes and aiff’s over ten years. A lone kid recording lo fi music. Check. Self-proclaimed pop sensibilities. Check. Based in California. Check. On paper, Night Control is just another sole sailor looking to make some noisy ripples. However, Death Control truly separates it self from other solo artists who are merely howling in a sea of reverb.

So, what sets apart Smith’s workings from the countless other shit kickers out there trawling through the internet? In the simplest of terms, it is basically just a very thought out record. And you would kind of expect it to be if it was the workings of ten years. It’s not as though the album will keep you smashing your face into walls for weeks in order to remove it’s tormentingly great melodies, and it’s not as though the song writing is of the most complex caliber. Smith isn’t really pioneering the wheel, but it rather is just turning it. Weighing in at a hefty run time of just 1.2 hours scattered over two discs, Death Control is a beautiful, yet hazy dream. With six string noodling reminiscent of the seventies hitting the right note every god damn time, it’s impossible to not be seduced by Night Control’s charm. If Smith aimed at producing an album that could be the soundtrack to your summer vacation movies, then he has rightfully succeeded. And this is not a bad thing. At all.

While it can distract you with it’s well established atmospheres, it’s own strengths act as it’s weaknesses. It tends to meander at moments, feeling lost within it’s own induced antics, with six minute tracks such as ‘- * – * – * -‘ feeling almost pointless. The concluding combination of ‘Those Girls’ and ‘For The Lanes’ also fit within this, seemingly lacking any real purpose. Very few risks are taken on Smith’s behalf, but when they are, they come out as experiments. They aren’t necessarily good or bad, but they are merely interesting to observe. ‘Trouble’ may be the records greatest departure, using hip hop inspired beats below a shrouded fog of sound. However, this is easily forgivable as other highlights such as ‘Star 131’ draw you into an amazing nostalgia, as a fevered mixture of acoustic and electric guitars build layer upon layer to carry you away and distract you.

If Death Control is the result of ten years work, it’s hard what question to ask first: Is this the best that Night Control has to offer after a decade of labour or will it be another ten years until we hear from him again?

78%

So, let’s get this straight from the start: Julian Plenti…is Skyscraper is most definitely not an Interpol album. With large industrious drum beats, samples, large orchestras and textured production, it’s very easy to see that Banks Plenti is ambitious with his debut effort. The problem is, that ambition does not always necessarily translate to success. “Madrid Song” can be somewhat interpreted as the album centrepiece, attempting to make a strong impression by being simplistic in it’s approach with bare piano and a lone sweeping violin. However, it is quickly accompanied by a series of vocal samples which assist in breaking Plenti’s refrain of, “Come have at us, we are strong.” Whilst it is (in its most basic form) a lovely ballad, it’s hard to appreciate, as it comes off as Plenti simply trying too hard. And this is Skyscraper‘s major flaw; it is too difficult to ignore the Banks that we have all come to recognise from Interpol fame. 

If this were the solo efforts of a young up-and-comer from the depths of New York, perhaps the reception may be different for Plenti. However, as Pascal’s observation on admiration once noted, it is difficult to admire Skyscraper, as we understand it’s origins of a front-man of a band which seem to be dwindling in their efforts. While this may all seem as though it is Banks-Bashing (a phrase which I hope doesn’t catch on, but couldn’t help but add for alliteration purposes), Plenti’s album is admirable, and even enjoyable. Opener, “Only If You Run” highlights some of Bank’s best aspects as a song writer, turning simplistic music into something seemingly complex. Although his lyrics are not as daunting as they once were, he still seems plagued by an unrecognisable bug, which is intriguing to listen to, “I’ve had my frustrations about the pains of daily life/I’ve tasted degradation…” The simplistic formula continues to “Unwind” which perhaps carries one of Bank’s greatest hooks to date through blaring brass. His vulnerabilities seep through once more as his raspy voice is thrown side to side by a tremolo, “I see your face and I let you own me” It’s a simple song, with that melodic premise influencing the entire track. 

Perhaps Skyscraper‘s best moment is closing track, “H” (…and not because it’s nearly over). It begins as an optimistic piano ballad, cursed by a haunting flute-like synth, before being thrown into a ghastly well of deranged Middle-Eastern sounding backwards sampled vocals. As quickly as it turned evil, it regains its conscious and builds, layer upon layer, creating a grand atmosphere of optimism, hope and passion. It’s a strangely beautiful track, and is oddly thought inducing. Perhaps the most prominent of which: Where will Paul Banks go from here?

Whilst summer smash “Sleepyhead” is becoming as unavoidable as news reports of the swine flu (too soon?), Cambridge collective Passion Pit is preparing to drop their debut album Manners. To satisfy the desire of many, frontman Michael Angelakos was seen at the forefront the Passion Pit initiative in the studio earlier this year. First single, “The Reeling” was recently debuted, however another track, “Moth’s Wings” has surfaced, and if you were not impressed by the previous effort, “Moth’s Wings” is as immediate as the effects of swine flu (Ok, I’ll stop) – but in a charming kind of way.

(via P4k)
MP3: Passion Pit – “Moth’s Wings”

Manners is out 5/18 in the UK via Columbia and 5/19 in the US via Frenchkiss. Tracklisting after the the jump.

Manners :
01. Make Light
02. Little Secrets
03. Moth’s Wings
04. The Reeling
05. Eyes as Candles
06. Swimming in the Flood
07. Folds in Your Hands
08. To Kingdom Come
09. Sleepyhead
10. Let Your Love Grow Tall
11. Seaweed Song