Album Review: Dosh - Milk Money

It seems like ages have passed since the release of Martin Dosh’s last solo record, 2010’s Tommy, but that’s only because the successive years have been a productive time for the Minneapolis multi-instrumentalist. In 2011 he released a tour-exclusive record called Silver Face (now available online) that illuminated his creative process, collecting a variety of discarded beats and musical sketches in various states of completion. In 2012, Dosh returned to the studio with longtime collaborator Andrew Bird, providing drums on Break it Yourself as well as the companion record Hands of Glory. He also demonstrated his straight-ahead rock chops, jumping behind the kit with the Minneapolis band the Cloak Ox for a pair of records. Dosh’s Facebook page was periodically updated with videos of improvised tracks he performed in his basement. Last February, he collaborated with Wilco percussionist Glenn Kotche, composing a 25-minute piece for a performance at the Walker Arts Center. In short, he’s kept busy.

Amid all of his other projects, Dosh found the time to record his new album, Milk Money. According to the liner notes, he’s been working on it in fits and starts since January of 2011. It’s his first release for Graveface Records, marking Dosh’s departure from LA label Anticon, which has issued all of his previous solo releases. The album is also devoid of instrumental contributions from the likes of Mike Lewis and Jeremy Ylvisaker, who have fleshed out Dosh’s past three records both in the studio and on the road.

Album Review: Errors "Have Some Faith In Magic"

If the veritable fanfare of grandiose guitars and synth which open "Tusk" make one thing very clear, it's that the Glasgow post-electro purveyors known as Errors have arrived. Or perhaps they've been here all along? The quartet's third and latest record, entitled Have Some Faith In Magic, is hardly their first foray into melding synth-pop inclinations with more progressive tendencies. Unheard here are the stylistic disparities which made their sophomore effort Come Down With Me an exciting, though often haphazard listen. Still stuck somewhere between the dance floor and the rock hall, Errors have crafted a strikingly singular sound that is equally at home in either venue.

Early single "Magna Encarta" grinds to life as varying electronic tones merge to form a moody, neon symphony, pierced by comparatively organic percussion and guitars. Distant vocals enter the piece as it descends into an 8-bit dungeon, with a stuttering chiptune lament punctuating the track's final crescendos. Elsewhere, the mechanized shoegaze of "Blank Media" wallows in woozy keyboards against a persistently shifting bass line. By the time the glittering intro to "Pleasure Palaces" kicks in, the record's dense, atmospheric course has been all but set. Fuzzed-out guitars wail as spectral voices rise amidst the sea of digital swells, all set against a relentless, pulsing beat.

While the album's first half is far from conventional, its latter portion seems even more intent on maintaining an off-kilter sentiment. From the faltering detuned chords of "The Knock" to the alternately eerie and anthemic strains of "Cloud Chamber," the Scottish ensemble continually showcase an ear for strange yet tuneful compositions. These ethos are beautifully summed up in "Earthscore," a track which unfolds itself gradually as bubbling synths rubbing up against deftly manipulated vocals and thunderous stabs of bass. There's a palpable sense of experimentation present, certified by some truly strange musical moments which find inspiration in retro video game soundtracks and prog-rock indulgence.

Have Some Faith In Magic is a record that feels unified by a group that has comfortably grown into a unique and innovative sound. Shepherded by post-rock forefathers Mogwai, the fellow Scots have managed to transcend preconceived genre classification and forge their own path. These electro sorcerers have delivered their finest effort to date—a record brimming over with hooks, intelligence and more than a little indescribable magic.

Album Review: LAKE "Giving & Receiving"

A few years back, I opened an envelope containing a record entitled Let's Build a Roof by a band called LAKE. I didn't know it at the time, but it would end up being one of my favorite albums of 2009—a record pregnant with a palpable sense of yearning and perseverance, set against impeccable instrumentation and all expertly put to tape by K Records stalwart Karl Blau. While LAKE's latest effort does not quite match the heights reached by its predecessor, it does present a group that sounds exceedingly comfortable with their current trajectory, demonstrating a willingness to push their boundaries ever so slightly.

In terms of its musical formula, Giving and Receiving does not deviate drastically from the band's past output. Almost every song is arranged in an exceedingly efficient manner, anchored by the bouncing pulse of the band's rhythm section and tastefully embellished with synthesizers and an unassuming horn section. The interplay between vocalists Eli and Ashley is another constant—songs like "One Small Step" and "Within Without" find their voices meshing in a pleasant fashion. While the entire record flirts with a variety of twee-pop tendencies, nowhere is it more evident (and somewhat grating) than on "The Stars," a minute long track with a cringe-worthy lyric about denying friend requests. Elsewhere, these same proclivities work to the band's favor, specifically on "Roger Miller," named after the novelty singer/songwriter who would likely approve of much of the wordplay that LAKE employs on this whimsical ode to self-interpretation.

The only song that truly breaks the mold is the woozy krautrock of "Mother Nature's Promise," a characteristically plodding number complete with repetitious lyrics and droning accompaniment. At times it sounds like Stereolab by way of Portland, and oddly enough it's a combination that makes for one of the record's most interesting moments. Also of note is the incessant "Skeleton Costume," a track with lush backing that masks some strangely macabre lyrical content. Moments such as these hint at a more experimental side of the group that has yet to be fully realized in the studio.

LAKE is a band characterized by their earnest intonations and breezy compositions, traits that Giving and Receiving repeatedly exemplifies. It's not music that relishes in its own technical brilliance, but rather a collection of songs with persevering sentiment. Perhaps the largest detriment is the deceptively effortless sound that LAKE employs, lulling the listener with simplistic melodies and nonchalant refrains. But if you're willing to spend some time with these songs, what you take away from this record echoes the lyrical suggestion of, "The more that you are giving / The more that you receive."

Album Review: Grandkids "Sister Walls EP"

Like the slender fox that graces its cover, Grandkids' Sister Walls EP is a poised and calculating beast, its taut muscles rippling with waves of melodious capacity. It's enough to make your fur stand on end. But that's to be expected from Vivian McConnell, the proprietor of a beautiful voice most often found belting out harmonies for Chicago folk-rockers Santah. With her compatriots in Grandkids, those dulcet tones are brought to the foreground, resting gingerly on the shoulders of the group's gently flowing arrangements.

It starts simply enough with the Fahey-esque fingerpicking of opening track "Where's My Tribe," quickly joined by the forceful yet restrained bowing of Adam Gorcowski on cello. It's uncommon to find a group so ably anchored by this ample, stringed instrument, but Gorcowski proves its merit as he capably lays a foundation for his bandmates to embellish upon. That exact sort of subtle aggrandizement takes place over the course of "Clocktower," as McConnell's tranquil cadence floats above a bed of slowly building instrumentation. With its glistening guitars and faint rhythms, its arrangement echoes the lyrical conceit of being "stuck in golden honeytime." After a short interlude, "As the Gull Flies" finds the titular bird squealing above the bay as McConnell's voice laps against the shore. The song crests and settles into a swaying, oceanic groove—marooning the listener on an island with nothing more than this idyllic tune. It's arguably the most stripped-down track on the record, but the palpable sense of intimacy that results is unmatched. For the finale, the group lets loose on "Geese," a somewhat silly, upbeat number that serves as a kind of cathartic release in light of the more subdued tracks that precede it.

Grandkids forged an identity for themselves on their self-titled, debut EP and on Sister Walls that sound is finessed even further. The quartet turns in a collection of songs that are more restrained in nature, but display an unprecedented level of sophistication. Call it humblecore, call it chamber-pop, call it whatever you like—Sister Walls is a record full of handcrafted, homegrown music with a youthful face and an old soul.

The Sister Walls EP is available as a free download on Grandkids' Bandcamp

Album Review: Mogwai "Hardcore Will Never Die, But You Will"

Grapple with your own mortality all you want—you're simply not hardcore enough to live forever. Coming off of the focused intensity of Mr. Beast which in turn bled into the heavy, over-indulgent slog of The Hawk is Howling, Mogwai's latest finds the Scottish post-rock outfit reaching for immortality and settling for clever epitaphs. Though the group is reunited with Paul Savage, producer of the group's seminal debut Young Team, it's unfair to expect another release of that magnitude. Bands of this persuasion so often start their careers with the ferocity of hurtling comets, only to slowly cool and settle into comfortable orbits. What makes Hardcore Will Never Die, But You Will so interesting is the erratic path it has decided upon.

The gently bouncing delay of "White Noise" opens the record, slowly forming a path towards the inevitable crescendo. Admittedly, it's no huge departure for the group, but with 16 years of experience under their belts, the execution is nothing if not masterful. The fuzzed-out guitars of lead single "Rano Pano" just miss overstaying their welcome, before promptly being absorbed into a spacey, shoegaze romp. "San Pedro" flirts with same concise, riff-based structure of "Glasgow Mega-Snake," featuring crisp guitar lines and some of the poppiest melodies ever to grace a Mogwai record. In lesser hands, the krautrock-tinged "George Square Thatcher Death Party" might ring of amateurism, but here it's a textbook example in the tasteful use of vocoders. "How To Be A Werewolf" is at first blush an almost quintessential Mogwai arrangement, rife with ambiance and propelled by an ever-building push towards a majestic and joyous conclusion.

In spite of its numerous successes, an album with as much scope as this is not without its missteps, and unfortunately most of Mogwai's find the band repeating past indiscretions. Closing track "You're Lionel Richie" is an overlong decent into the same sort of heavy, sludgy sound that plagued much of The Hawk is Howling. "Letters to the Metro" attempts to exist in the same piano-driven vein as "Auto Rock" but devolves into a repetitious ballad with no climax to speak of. Although its disappointing to see the group falling into familiar traps, some comfort can be taken in the fact that even Mogwai's more egregious tracks stand head and shoulders above those of the hordes of post-rock imitators that have sprung to life throughout the years.

On their latest release, Mogwai eschew the conceits of its previous two releases in favor of a more all-encompassing look at the gracefully aging band's palette. While not without its flaws, it's a record that simultaneously celebrates the group's multifaceted past while admirably breaking new ground. Thematically, Hardcore Will Never Die, But You Will feels like an acknowledgment of age slowly catching up, death growing ever closer, and the temporary but transcendental ability of music to preserve a moment in time, if only for a split second. Mogwai is not ready to die, and this record is proof positive that they still have something left to offer.

Album Review: Santah "White Noise Bed"

I'm of the firm belief that all great records have an equally interesting story behind them—some extraordinary set of circumstances or chain of events that provided the impetus for the specific groupings of lyrics, chords and songs present in the final product. White Noise Bed, the debut album from the Champaign-Urbana-based Santah handily falls into this category, betraying an underlying turmoil deftly disguised by lush arrangements and soaring harmonies. For all his lyrical ambiguity, frontman Stanton McConnell's sordid tales some across with an emotional sophistication that elevate them above the level of angst-ridden dribble. Recorded at Pieholden Suite Studios just after the death of founder Jay Bennett, White Noise Bed oozes with the sound of histories both circumstantial and misconstrued.

Appropriately enough, opening track "Irish Wristwatch" opens in a wash of distorted noise before settling into a steady cadence, fleshed out with picked strings and bolstered by droning strums. It's a disciplined approach which carries over throughout the majority of the record—Santah is not one to showboat. Their particular brand of folk-rock is arranged in a manner which gives an effortless air to what can only be described as a meticulously constructed set of sounds. Nowhere is this more evident than on "No Other Women," with its swelling organ and cascading piano keys, all set over a relentless bass line. A tenor of lamentation is evident from the opening strains, quickly affirmed by McConnell's lyrical acknowledgment of the woman who dug straight to his core.

A bit further on we come to "Chips of Paint," far and away one of my favorite tracks on the record, both as a whole and because of some of the moments it contains—from the twisting guitar part that accents the chorus to the unison guitar solo which builds up to the song's final breakdown. Another choice cut is the comparatively subdued "Merry Ann," which features McConnell's sister Vivian providing some spectacular vocal harmonies. The jangling closing number "Neighbors and Cousins," finds the group in a more playful mood—indulging in a somewhat cheesy spoken word interlude before extolling life's uncertainties with the rousing chorus of "Yeah, I don't know."

If there's one thing that separates this record from the never-ending pack of well-intentioned debuts, it's a sense of cohesion. The entirety of White Noise Bed sounds like a product of intense collaboration and studio craftsmanship—a collection of songs firmly grounded in a common narrative, however nebulous. I still don't know the story behind White Noise Bed and, frankly, it doesn't even matter. Whether it was a break-up, a bad day or just pure happenstance, the results certainly make for beautiful listening.

Download: Santah - "No Other Women"

Santah will be appearing at J-Alan in Dayton, Ohio on December 16 and the MOTR Pub in Cincinnati, Ohio on December 17.

Album Review: Dosh "Tommy"

Tommy is Dosh's fifth studio album, a tribute to Martin Dosh's former soundman, the late Tom Cesario. As such, one might expect the record to be a rather somber affair, rife with the kind of melancholy that so often accompanies the passing of a loved one. Instead, Dosh chooses to celebrate Cesario's life with his usual arsenal of upbeat, loop-driven arrangements. The result is an album that combines the many disparate elements of Dosh's more recent work into a fitting tribute for a fallen friend.

Opening track "Subtractions" sounds like it could have come straight off of 2006's The Lost Take, characterized by its bouncing synth and saxophone embellishments care of Happy Apple's Mike Lewis. It's a highly enjoyable showpiece of a song, taking just about every trick up Dosh's sleeve and combining them into a track that sounds both familiar and fresh. "Number 41" marks the first appearance of Andrew Bird on the record, providing his usual brand of carefully measured vocals over Dosh's dense instrumentation. Bird's last record was missing the sort of full-on collaboration with Dosh that Armchair Apocrypha's "Simple X" hinted at, so his appearance on this record is definitely a welcome occurrence. Rounding out the A-side of the record is a track called "Airlift"; one of the more grandiose and cinematic compositions ever to grace a Dosh album. With its swelling strings and organs, it's a sound we haven't heard from Dosh in the past, but one that provides another of Tommy's many highlights.

Tommy's 'Be-side' commences with a retread of sorts, finding Dosh reworking "Call The Kettle" which previously appeared on the Powder Horn EP. Here the track is expanded upon, building slowly until climaxing in the familiar riff that has made this particular song a staple of Dosh's live performances. Andrew Bird make another appearance on "Nevermet", a dusty acoustic ballad that provides the perfect backdrop for Bird's nuanced vocals. Closing track "Gare de Lyon" starts out innocently enough, with a snippet of dialogue setting off a simple drum beat which slowly builds into a laid-back groove. As the song progresses, it begins to sound more frantic before dissolving into a wave of feedback that is joined by another vocal recording. The final two minutes are best described as raw sonic emotion; an outpouring of the kind of joy and sorrow best communicated through music. It's a fitting finale to an album that takes so much pleasure in the subtleties of sound.

On Tommy, Dosh continues to solidify himself as one of the most unique forces in modern music. While his songs have always been deeply personal, this record manages to plunge into even greater emotional depths. Dosh found his voice through his music long ago; with Tommy he's shown that he has something to say.

Album Review: The Nels Cline Singers "Initiate"

If you don't have a handle on how prolific guitarist Nels Cline is, take a quick look at his discography. The guy has played on a staggering number of releases, appearing along side a bevy of recognizable names in both the jazz and avant-garde scenes. Cline's latest record reunites him with bassist Devin Hoff and drummer Scott Amendola under the Nels Cline Singers moniker. Initiate is a two disc release, one featuring newly recorded studio material and the other documenting a live performance by the group at San Francisco's Cafe Du Nord. Both demonstrate Cline's more experimental and improvisational side, clearly showing why Nels is one of the more versatile players of his generation.

The studio component of Initiate is a more subdued affair than past Singers records, however this more subtle approach has a way of making the group's talents very apparent. It's no secret that most of the record centers around the abilities of the band's titular guitarist, and nowhere is this more apparent than on "Floored", a straightforward tune which is propelled almost exclusively by Cline's improvisational might. On "Red Line to Greenland" a stream of delicate noise collides with a rush of epic riffs and fills that bring to mind the guitar-driven post rock tendencies of Mogwai. "King Queen" finds the trio joined by a distorted organ which weaves itself in-between the rhythms and melodies supplied by the group. In between these larger 'set-pieces' are smaller numbers, almost musical sketches set to tape. These highlight some of the unique sounds that Cline can achieve with a guitar, an example being his penchant for singing into his guitar pickups, beautifully demonstrated on opening track "Into It". It's all a little overwhelming at times, but the Singers have a way of catching your attention just when you start drifting away, making this easily one of their most engaging and enjoyable studio albums to date.

In contrast, the live component of Initiate finds the band channeling some of their noisier tendencies while dipping into some of the best tracks from Cline's discography. Highlights include the percussive "Raze" which goes from all out rocker to Nels on solo guitar and then back again. A track called "Thurston County" gives a glimpse of what Sonic Youth might sound like if they were fronted by Nels Cline. The almost 15-minute closer entitled "Boogie Woogie Waltz" gives every member of the group their time in the spotlight with its tight rhythms and shifting melodies. As a whole, Initiate's second disc completes the portrait of this progressive trio as a group equally as raucous as they are understated.

Album Review: Dr. Dog "Shame, Shame"

Dr. Dog's newest release, entitled Shame, Shame opens up with a song called "Stranger" which contains the line "I do believe / that there's no more tricks up my sleeve". If this is to be interpreted as a comment on the group's musical prowess, then it's abundantly clear to me that they spend the rest of the record proving this statement wrong. Shame Shame is the band's first release since leaving Park the Van records, a label they arguably helped to establish. Now signed to the larger label Anti-, Shame, Shame can be seen not only as a jumping on point for new listeners, but a continuation of the same brand of sonic exploration that Dr. Dog has been engaging in for years.

As with past records, the band is at their best when they're laying down their own brand of upbeat, catchy rock and roll. "Where Did All The Time Go?" exemplifies this to the greatest effect, buoyed by its soaring vocal harmonies and layered guitars. This is equally true with bouncy 70s throwbacks like "Shadow People" and "Mirror, Mirror". However, the group is just as effective when the tempo slows down. Nowhere is this more poignant than on "Station", a song that references the band's long stretches on the road with the lyric "I'll be back again this time next year". The fatigue is palpable, conveyed through the alt-country arrangement and strained vocals.

On Shame, Shame, Dr. Dog strip away some of the studio sheen, revealing a band that has paid its dues and is all the better for it. The record walks a fine line, both reveling in the sounds of the past, but also introducing a new, more mature side of the group. It's an exercise in transition and, contrary to the name, there's certainly no shame in that.

Album Review: Broken Bells "Broken Bells"

If there's one thing I consistently enjoy these days, it's a Danger Mouse-produced record. Brian Burton has had a pretty flawless track record ever since taking his first turn behind the boards on the Gorillaz album Demon Days. His production roster ever since reads like a who's who of innovative artists and groups; from MF Doom, to the Black Keys, to Beck.

A collaboration between Burton and James Mercer of Shins fame is a no-brainer. Mercer is a great lyricist with an ear for infectious melody, while Burton is known for his ability to create unique sonic atmospheres that perfectly compliment the artists he works with. The two previously worked together on a pair of songs for 2009's Dark Night of the Soul, but neither of the tracks on that album really reflect the direction that Broken Bells' debut takes.

Opening song "The High Road" is a near perfect introductory track, easing in with a stuttering keyboard riff before giving way to Mercer's acoustic guitar, backed by Burton on drums. It's immediately obvious that this isn't just a Shins record with Danger Mouse; it has a feel all its own, driven by straightforward guitar, liberal synth programming, and frequent vocal tweaks. "The Ghost Inside" finds Mercer launching into a falsetto over a disco-tinged backing track, an odd moment that works surprisingly well. There's something of a formula to most of the song, but its one that plays to the duo's strengths, with Mercer supplying the basic structure and Burton fleshing it out.

Thematically, Broken Bells seems to be a kiss off to someone with lines like "You never know how low an angry heart can go" and "A detour in your new life" denoting some sort of cataclysmic change in Mercer's recent history. Thankfully, Burton's upbeat production assures that the mood never gets too morose for its own good. Broken Bells doesn't rank among the higher echelons of either contributors' work, and it's entirely likely that this is just a one-off collaboration. Regardless, it's still one of the most solid and enjoyable records I've listened to this year.

Review: Wilco (the album)

Today marks the official release of Wilco's newest disc, but as with their past two releases, I've been listening to it for 4 or 5 weeks now. However, unlike their previous two albums, I didn't really require that much time to come to my final judgment of this record. Wilco (the album) isn't a grower, it's the band's most accessible album to date, a sonic portrait of a band that seems very comfortable with the kind music they choose to make.

It's easy to look at this collection of mostly sub-four minute tracks and see Wilco (the album) as a throwback to the days of Summerteeth, when Tweedy's somewhat dark lyrics were balanced out by poppy arrangements. Supporting this assessment are a good amount of interesting lyrical choices, from the homicidal tale of "Bull Black Nova" to the apocalyptic lament of "Country Disappeared". However, one can also find throwbacks to the Yankee Hotel Foxtrot era in the densely layered and oftentimes noisy "Deeper Down". Pieces of the more artsy sound of A ghost is born crop up in the krautrock swagger of "Bull Black Nova". I'm reminded of the classic rock sounds of Sky Blue Sky by the jaunty upbeat "Sonny Feeling" and the all-out rocker "You Never Know". You can even hear hints of the more straight-ahead alt-country sound of Being There hidden somewhere between the pedal steel and acoustic guitar of "I'll Fight". Wilco (the album) draws from the group's entire history, combining these diseparate threads into something that is at once unified and divided, strange yet familiar.

Take the album's opening track "Wilco (the song)", a tongue-in-cheek, self-referential tune that shows a fun side of the band that hasn't been prominent in quite some time. Just take a look of that picture of Tweedy winking to the camera in the liner notes and you'll see what I mean. And what better way to flesh out a goofy ode to oneself than with some great droning guitar work care of Nels Cline? Also of note is "One Wing", which is one of the best straight-ahead pop songs Tweedy has penned in years. With its soaring choruses and interesting rhythms, it's the kind of song I've been wanting to hear from the group for a while. To me, these to songs sum up where Wilco is now, and perhaps where they're going. This is one of the most reassuring records I've listened to in a while. After many years of turnover there is finally a cohesive group at the center of this band; you can hear it. Wilco (the album) is the culmination of 15 years of music from a group that hasn't been afraid to change its tune, and one that will hopfully grace us with a few more records as great as this.

Review: Kingdom of Rust- Doves

It's been four long years since Doves graced us with Some Cities, but Kingdom of Rust is the kind of album that almost makes that interminable wait seem worthwhile. Where as previous efforts found Doves rooting themselves predominantly in their own unique brand of British arena rock, the majority of Kingdom of Rust plays out as a slightly disjointed mix of songs that take the band to several new musical territories. However, where Kingdom lacks the cohesion of past Doves records, it makes up for this slight downfall with the masterful execution of some of the more disparate tracks. One such success is "Jetstream", the group's self-professed homage to the soundtrack of Blade Runner. The resulting song is a pretty spot-on representation of what I imagine a Vangelis-penned rock song would sound like. Another triumph is the western-tinged title track which finds Jimi Goodwin in fine vocal form, atop one of the catchier riffs the band has produced in recent memory. Finally, Goodwin tosses the mic to drummer Andy Williams for "Compulsion", a track with a dance beat and disco-esque bass line that echos the trio's work under the name Sub Sub. As far as more traditional Doves fare goes, there's plenty here that stands shoulder to shoulder with their previous work. "House of Mirrors" reminds me of one the band's other highly percussive track, "Pounding" from Last Broadcast, but ultimately stands on its own thanks some great keyboard embellishments care of the 'fourth Dove'; Martin Rebelski. "Greatest Denier" is one of the better ballads the group has ever done, and definitely one of my favorite tracks on the record. Closing track "Lifelines" finds Goodwin crooning about a "...place I've never been" as the band slowly swells behind him, with the help of a choir. It's a triumphant yet melancholy song that seems to echo the tribulations behind the making of this album. It's been a long time coming, and I don't think it's entirely what anyone expected it was going to be; perhaps even to the band themselves. However, with Kingdom of Rust Doves once again turn in a record that is something more than the sum of its parts; a record that exudes scope, emotion, and majesty.

Review: Keep It Hid - Dan Auerbach

The first few tracks I heard from this album made it sound like a vanity project of sorts; songs Auerbach could have done with the Black Keys but decided to release as a solo effort. However, the more I listen to it, the less and less it sounds like that. These are songs that, while heavily influenced by distinct a blues and roots style, would not sound quite the same in the context of the Black Keys. Auerbach produced this record himself in his newly built home studio, and everything about it is tailored to his unique style. I hope Danger Mouse gives this a listen through, because he'll be flattered to hear how much Auerbach picked up from him after his production stint on Attack & Release. The title track uses a tinny electronic backing beat and heavily distorts Auerbach's vocals, while showcasing some great, bluesy guitar solos. There's even a fair amount of synths and full-sounding organs thrown into the mix on many of the tracks, and it all sounds just as great as it did on Attack & Release. One of my favorite moments on the record is "The Prowl" which is a growling blues number that finds Auerbach channeling a stalker-like persona through his lyrics. It's an edgier sound for him, but he pulls it off like it's second nature. Another high point is the soul-tinged "Whispered Words" which sounds like a cover of some obscure Motown tune, and even manages to match the sound of those recordings. Some of the most beautiful moments on the album find Auerbach trading his electric guitar for an acoustic, slowing things down a bit and doing some great ballads like "When the Night Comes" and "Goin' Home". This is a side of Auerbach that he really haven't heard up until now, and it ends up suiting him surprisingly well. Keep It Hid reveals alot of new things about Auerbach and his music and does exactly what a solo album like this should do. It gives us a great mix of both the familiar and the new; showing us just how musically versatile this man can be. Black Keys fans, you'll get your fix, but this is a record that has an appeal beyond that audience which, in my mind, makes it a total success and one of my favorite records of the year so far.

Building a Strange Album

After an amazing record like 2006's The Lost Take, I had pretty lofty expectations for Dosh's newest release. Now, having listened though Wolves and Wishes several times, I can safely say that this is a very different album than I expected. In retrospect, The Lost Take is practically pop in comparison to most of his earlier work and some of the material off the latest record. Wolves and Wishes brings back some of the noise and more experimental arrangements found on earlier albums such as Pure Trash, however the implementation is much more mature and calculated. The almost 9 minute long track "First Impossible" is the best example of this, building textures and rhythms around a steady drone. It's a bold statement from an artist who rarely breaks the 4 minute mark in the studio. Later on the album "Food Cycles" exhibits a similar, albeit more succinct, sentiment, building a diverse rhythmic palette before destroying it in long-winded bout of wailing guitar feedback. This is not to say that Dosh shies away from the more accessible numbers that make him such an exciting talent. The album's centerpiece is a piece entitled "Wolves" which plays like a distillation of the musical vocabulary Dosh has built for himself, showcasing some great saxophone work care of collaborator Mike Lewis. It should be noted that Lewis is now a permanent part of the Dosh lineup, contributing to every song on the album. Lewis even co-wrote a few songs with Dosh, the aforementioned "Food Cycles" and one of the record's most interesting tracks; "Bury the Ghost". Bonnie 'Prince' Billy provides vocals of sorts for this track, which also showcases some great clarinet work from Lewis; not your typical Dosh piece. All in all, this record is markedly different experience from Dosh's previous release. It's certainly not as upbeat, and exudes quite a bit more atmosphere. I couldn't be happier with it though, it's a great listen, and the differences are what make it all the more enjoyable. I'm very excited to start hearing some live renditions of these pieces because, as Dosh fans will attest, this is where he truly shines. His recent appearance with Mike Lewis on Minnesota Public Radio bodes very well, especially the awesome rendition of "Wolves". Wolves and Wishes was released last Tuesday on Anticon Records and should be available in the Rock section of your local record store.

"Wolves" - Dosh (from the Wolves and Wishes LP)

A Worthy Pursuit

I don't think I've heard an overtly alt-country album I've liked as much as I'll Follow You since Uncle Tupelo's Anodyne, and that's pretty high praise. Oakley Hall's newest Merge release finds the band channeling the same electric folk roots that Tweedy and Farrar drew their best material from. This record tones down some of the noisier elements of their previous release, Gypsum Strings, in favor of a much more produced sound, characteristic of Merge bands these days. Slow burning opener "Marine Life" lulls the listener into a false sense of serenity, before launching into one of the album's strongest tracks; "No Dreams" a twisting country rocker with some killer vocal harmonies. When lead vocal duties switch from Pat Sullivan to Rachel Cox, some very great moments ensue including the Skynyrd-esque "Angela" replete with one of the better guitar solos on the record. I'm also partial to "All The Way Down" a bluesy tune powered by a winding guitar riff which brings My Morning Jacket to mind. The album as a whole carefully toes the line between the noisy roots rock of Oakley Hall's past (their very own No Depression era) and their newfound glossily produced alt-country leanings. There are few bands doing this genre better; these city-kids have definitely gotten in touch with their country side. I'm seeing the group tonight at The Union in Athens, OH; show review to follow...

Ill Wills, Good Intentions

It wasn't so long ago that the official 'indie-jam' of the summer was "The Comeback", a delectable nugget of 8-bit fueled pop rock from the land of Sweden. A little more than two years later, Swedish rock has undergone a resurgence of sorts (although I'm not sure it's ever been that prevalent, ABBA doesn't really count). With bands like Peter, Bjorn and John and The Hives achieving new heights here in the US (various TV ad soundtracks and a tour with Maroon 5 respectively), it seems the country as a whole has become a little more accepting of our friends from Europe. The Shout Out Loud's newest disc should satisfy those with a continuing thirst for Stockholm-centric rock. Produced by none other than Bjorn Yittling (of the aforementioned Peter, Bjorn and John fame), Our Ill Wills is a logical step forward for the band. Bjorn's production work is immediately evident on the record's first track "Tonight I Have to Leave It", as swelling strings and cowbells come to the forefront of the mix. The arrangements in general make this record superior to their last, with ample use of percussion and keyboards to provide more varied textures than the guitar-driven norm. That's not to say there aren't a few rockers thrown in for good measure, "Time For Love" and "You Are Dreaming" both provide ample up-tempo thrills. But it's the more subdued tracks that prove to be the most interesting. "Normandie" finds the group channeling an acoustic groove, accompanied by tambourine, maracas and woodblock as Olenius laments a mis-advised trip to the beach. Strangely enough, title track "Ill Wills" is an instrumental piece, a slowly building xylophone driven stomp that sounds something like a Swedish Sigur Ros. In true Shout Out Louds fashion, the record ends with an extremely long tune called "Hard Rain" that boarders on mindless jamming, before descending into noise and then fading into silence. All in all, it's a solid, enjoyable listen that so far has stayed in regular rotation on my playlist this week. It's not groundbreaking, but I really don't ask that from pop-rock. The Shout Out Louds handily avoid the sophomore slump by both gradual innovation, but more importantly, by not being afraid to stick to what works.

A Slew of Reviews

After a few months devoid of new content, it's time to play a little catch up. In an effort to present myself as an opinionated contributor to the blogging community, I present you with a grab bag of concise reviews of recent releases within the realms of music, film and comics.

Ga Ga Ga Ga Ga- Spoon
After the incredibly solid, yet unsurprising Gimme Fiction, many expected Spoon's next effort to be something very different. While not the groundbreaking record eternally expected from them, Spoon's newest does push the envelope a little and is my new favorite studio recording of the band. This is Spoon record, it sounds like Spoon (with a dash of the avant-garde tendencies of Britt Daniel and Jim Eno), and there really aren't many suprises, but it's prehaps their most solid release to date. "The Ghost of You Lingers" and "Finer Feelings" show that the Spoon formula can be shaken up to great success, while "Underdog" punches up a standard Britt Daniel tune with the help of a killer brass section and the production expertise of Jon Brion. Everything else sounds vaguely familiar, but that's not a bad thing. Spoon has found their niche, and they're not trying to sound like the next big thing, just Spoon.

Stephen Colbert's Tek Jansen Issue #1
A comic based on a satirical cartoon, derived from a satirical news program!? Could such a formula ever work? My biggest fear was that the writing wouldn't sufficiently translate the campy, irreverent humor and over the top imagery of the cartoon onto the written page. Surprisingly enough, the first issue is an unabashed success. Containing two separate narratives, one part of a continuing storyline and the other a side-story set within the Tek Jansen universe, issue one keeps the introductions short and cuts straight to the Alpha Squad 7 humor that viewers of the cartoon shorts will feel very familiar with. The art style strays slightly from that of the show, but finds a happy medium between the televised look and a more conventional comic art feel. Overall the results are better than I would have expected, definitely worth a look if your a fan of the show.

The Simpsons Movie
The long-promised Simpsons movie finally arrives, and to no one's surprise, it's exactly what we expected. A 90-minute version of the TV, replete with some fancy special effects (computer generated backgrounds à la Futurama) and celebrity voice talent. The story is predictable, Homer and company must set out on a quest to save Springfield from certain doom. The only problem with this is that it takes our heroes away from the town for so long, that much of the cast of the TV show are relegated to cameo appearances. The movie also makes blatantly obvious Homer's glaring character flaws. On television 22-minutes of stubborn stupidity is tolerable, but 90-minutes of these antics come very close to being annoying. All in all, it's the film most fans were hoping for with series in-joke abound, and plenty of stabs at pop-culture to entertain casual viewers of the show. Not a classic by any means, but still a great way to waste a summer afternoon.

Spooky Action- The Celebrity Pilots
I was lucky enough to receive an advance copy of this album a few weeks back, and I'm glad to report that Spooky Action is a worthy successor to Beneath the Pavement, a Beach!. Chris Sheehan and company deliver yet another solid collection of psych-pop tunes that improve upon the formulas set forth on their debut release. The songs still fall into one of two catagories; synth-driven rock anthems and quasi-pensive acoustic numbers with wavering vocals. The former still fairs the best, with songs like "Happy Bloom Day" and "Festival of Flies" standing shoulder to shoulder with rockers from their previous effort. The acoustic numbers are much improved (perhaps my least favorite moments of their debut record) but still feel somewhat out of place. The best of the bunch is "Our Dumb Century", which finds Sheehan lamenting about the stupidity of humanity over a cascade of cheerful piano chords. Worth a look for fans of bands such as the Apples in Stereo and Ted Leo/Pharmacists, it should hit record shops sometime this month.

Birds & Ships

Is it just me, or did the labels perform a veritable dump of notable new releases this week? While I appreciate the gesture, an unemployed student such as myself can only buy so many new records. After weighing my options (and considering the fact that I recently blew far too much money pre-ordering Sky Blue Sky), I settled on obtaining genuine compact discs of Andrew Bird's Armchair Apocrypha and Modest Mouse's We Were Dead Before the Ship Even Sank. I now present you with my reviews, to assist with your own purchasing dilemmas:

Armchair Apocrypha - Andrew Bird
Not content to merely stick to the formula that seemed to work on his acclaimed 2005 release, The Mysterious Production of Eggs, Andrew Bird forges forward on his newest record, covering new ground while revisiting notable songs of his past. Perhaps the biggest departure for Bird is his use of guitar, an instrument he has shied away from in the past. However, it all works brilliantly, which can only be expected from such a talented arranger. Guitar riffs are featured prominently next to the usual violin strains and whistling on upbeat tracks such as "Heretics" and "Plasticites", backed by the minimalistic beats of Martin Dosh. Bird's lyrics are as interesting and far fetched as ever; "Dark Matter" is about his dream of being a surgeon, while "Scythian Empires" compares current US foreign policy to the conquests of an ancient Iranian tribe (yes, I had to look that one up on the Wikipedia). What impresses me the most is the album's excellent flow, effortlessly drifting from song to song, and making use of an instrumental interlude as well as a two-song closer. Bottom line; if you're a fan of Bird's work you'll enjoy this record, but even if you're not, this is the one that will change your mind.

We Were Dead Before the Ship Even Sank - Modest Mouse
After the "Float On" driven debacle that was Good News People for People Who Love Bad News, Issac Brock inches his way closer to radio-friendly rock with his band's newest lengthily-titled release. However, now more accustomed to their new-found pop sensibilities, Modest Mouse is finding their niche in a genre crowded with blandness. The addition of ex-Smiths guitarist Johnny Marr is more appropriate than I thought it would be, he hangs with the usual herky-jerky riffs but also brings the wailing solos on a few tracks. Songs range from the incredibly pop-y ("Dashboard", "Florida") to more tradition Mouse fare ("March into the Sea", "Steam Engenius"). My favorite of the bunch, "Missed the Boat", finds Brock and company channeling an almost Wilco-esque vibe (mainly because the intro reminds me of "Muzzle of Bees"). I'm also quite partial to "People as Places as People", which almost sounds like an outtake from the Moon and Antarctica sessions. The production is slick throughout the entire album, sometimes a little too much so. Those expecting the semi-lo-fi vibe of Long Drive have probably already given up on the Mouse by now anyways. But if you're willing to look past the slightly different sound, there's an album here that's worth listening to. It's certainly better than Good News was, and I doubt you'll be bombarded with any of these tunes a la "Float On" anytime soon.