Pop 'stache

Jungle, the duo from England, produces some wicked funky beats. The group’s new EP The Heat is beyond groovy—the beats are a fun hybrid of R&B, funk, and disco, and no reaction other than dancing makes sense.

The entire EP is full of synths and affected vocals that give it a robo-funk sound. Each element sounds like it was produced electronically, with the exception of finger snaps on “Lucky I Got What I Want” and hand claps on “Platoon.”

Distance is created by the completely automated and electronic sounds, removing human characteristics from the music, such as a human voice the personal touch of analog instrumentation. Jungle is creating music in the Afro-futuristic tradition popularized by the sounds and philosophies of Afrika Bambaataa and Sun Ra.

“Ooh ooh ooh brotha/It’s how good ya are/I knock you down/Brotha please,” is sung over a drum beat and multiple electric guitar-like strums and chimes in the background of “Platoon.” This track is perhaps the biggest dose of neo-soul on the EP.

Each track is lyrically simple. The same handful of lines is repeated over and over while the music underneath it ebbs and flows.

The simplicity of the lyrics suits the more complicated music.

On “Drops,” the lines, “I’ve been loving you too long” and “So come down from the clouds/Come down,” are repeated throughout the track. It has interesting brass, and a much mellower funk to it. While Jungle’s style is coherent on these four tracks, the effects-ridden vocals feel played out by the end of the EP.

Organs, a drum machine, and a synth-produced beat compose most of “Lucky I Got What I Want.” This track is oddly serious compared to others on The Heat; echoes and hushed sirens give it an eerie quality. Ocean sounds creep in slowly, only to get louder then suddenly stop as the line, “Don’t you forget about me” is repeated.

“Lucky” closes the EP full circle, as the ocean ambiance provides a nice tie-in to the EP’s opening line, “Right on time/Right by the beach/Still gon’ bring the heat.”

The duo that makes up Jungle is pretty anonymous, with no bios to be found. The unknown nature of the artists makes the EP more interesting. Who are these people creating these soulful electronic grooves?

The music video for “The Heat” feature two men roller dancing in Adidas tracksuits. The video, and the EP itself, makes one wish roller rinks were still cool, because The Heat would be perfect background music. This mysterious EP is wonderfully funky, and even though it’s only 13 minutes long, it doesn’t get old with heavy rotation.

Jungle – The Heat – EP tracklist:

1. “The Heat”
2. “Platoon”
3. “Drops”
4. “Lucky I Got What I Want”

Part of the Avett Brothers’ initial appeal was its grungy charm—one could picture the group crammed onto the same dank bar stage as any number of alternative acts, though toting a banjo and an upright bass instead of distortion pedals or sticker-clad Stratocasters.

Its brand of undistilled country, folk, and bluegrass as captured in early recordings is fused with something so clearly different, yet so oddly accessible. The two bearded, 20-something brothers Seth and Scott, along with bassist and near-sibling Bob Crawford, would shriek and stomp their way through mountain jams as though the songs were their only way to cope with depression and loneliness.

The ballads were equally compelling, if not more so, regaling listeners with songs of fleeting dalliances with “pretty girls” from a dozen towns and general wistfulness on all aspects of existence.

That started over 10 years ago. The Avetts and their music have, understandably, settled down.

As adults now largely playing songs for adults, the musicians have families and kids, albums with chart positions, and music videos on VEVO.

The band is in cahoots with uber-producer Rick Rubin, as has been the case for its past two records as well (Magpie was recorded during the same sessions spent on previous album The Carpenter, when the musicians were evidently on a hot streak).

And a big-name studio touch has been omnipresent—production has certainly increased in Avett material, by way of additional instruments and increased variation in song structure and mood, which have been changing like the brothers’ beards and hairstyles.

True, The Avett Brothers’ grungiest quirks have mostly disappeared. But with a few rebellious streaks placed subtly throughout the record and a handful of rough demo recordings included with the deluxe edition, the band salutes a beloved past.

Opening track “Open Ended Life” is just that: panoramic in scale, and with an eye toward the future.

“Let’s find something new to talk about, I’m tired of talking ’bout myself,” croons Scott Avett, historically the more introspective of the brothers.

Magpie and the Dandelion reflects this turn away from soul searching, generally avoiding the textbook Avett subject material like mortality and aging (but not love; they’ll damn sure always sing about love).

In fact, the lyrics are rife with the intangible abstractions and unengaging ambiguities symptomatic of bands embracing pop. It’s no secret The Avett Brothers is doing just that.

Take “Another is Waiting,” the unambitious little number that could be considered the record’s chief single—a song about the traps and pitfalls involved in trying to “make it” in the uncaring abyss of Hollywood. The music video reflects the band’s connection to the mainstream even more—Scott Avett’s gelled hair and (ironic?) thick-rimmed glasses seem almost sacrilegious—significant in solidifying the group’s docile new direction.

To be fair, The Avett Brothers has never masqueraded as pureblooded Carolina expatriates, unadulterated by a culture of hash tags and re-blogging. There’s always been a vague, Brooklynish vibe from the group (particularly with the welcome addition of cellist Joseph Kwon several years ago), who more often than not perform in skinny jeans and other hip accoutrements.

Magpie proves choppy at times. Songs like “Never Been Alive” and “Vanity” maintain a fluid pace; they may be a little forced, but keep things interesting nonetheless.

But the most disappointing part of The Avett Brothers’ now three-album-long commitment to mainstream appeal is how its musical spectrum shifted.

What was once a protean blend of all things Americana, mixed with an array of unique flourishes, has now transcended into the realm of marketable pop-rock with “country” elements that at times seem like gimmicks. The appeal is still there, but it’s heavily diluted.

Magpie and the Dandelion is the kind of album that cynical veteran fans won’t want to like—full of well-tuned drum fills, calculated harmonies, and other Rubinesque components that’ve found a place in the band’s sound over the past few records.

But The Avett Brothers hasn’t forgotten its much-beloved sentimentality; though the trio has long since departed for the pop world, its roots are still firmly planted despite some underwhelming output. For better or for worse, the Avetts have grown up.

The Avett Brothers – Magpie and the Dandelion tracklist:

1. “Open Ended Life”
2. “Morning Song”
3. “Never Been Alive”
4. “Another is Waiting”
5. “Bring Your Love to Me”
6. “Good to You”
7. “Apart From Me”
8. “Skin and Bones”
9. “Souls Like the Wheels”
10. “Vanity”
11. “The Clearness is Gone”

Agnes Obel is an award-winning Danish musician who blends classical piano and strings with traditional folk wanderings. Her sound is simplistically theatrical, warm and inspirationally woven for curious and contemplative ears.

Born in Copenhagen to parents who collect antique instruments, Obel now resides in Berlin, a bustling necessity for the freedom in composition she seeks.

Heavily influenced by free-form Swedish jazz pianist Jan Johansson and French composer Erik Satie, her compositional reverie bears the fruit of her muses in a generously symbiotic world.

Aventine, Obel’s second album as a solo musician, features her as vocalist and pianist with a single cellist accompaniment (Timber Timbre’s Mika Posen).

Aventine has yet to reach large-scale release in America; Obel’s acclaim mostly originates from Europe and the UK. This is hardly an issue in a music streaming world, however; first listens and highly deserved shares are moments away from US indie-web permeation.

“Chord Left” opens Aventine in a delicate cinematic landscape, seedless and carved out for adventurous and introspective souls. Simplistic, minor toned keys roll up and down a high key scale, matching in equal parts Patrick Watson’s curiosity and Thomas Newman’s heartache.

Andrew Bird-like flute cries and plucked string oscillations form Aventine’s fifth track, “Run Cried The Crawling.” Obel’s gentle, hollow voice is heavily illuminated by its bare orchestral backdrop.

Much is the case on the entire album; Obel was able to amplify a few singular sounds into something that sounds thematically big, due to extremely close microphone placements during recording and a provocative union of piano and vocal melodies, guided wholly by conscious expressions of Obel’s soul.

Tones on Aventine are generally somber, but possess an undeniable feeling of enchantment.

“Tokka” is an inspirational piano piece that sounds like a scene from Meet Joe Black or A Beautiful Mind, skillfully carrying with it complex feeling and thoughtful musings. The album’s first single, “The Curse,” is an easy introduction to Obel’s enigmatic core, in which the theme of lives and seasons changing is intrinsically drawn.

“Words Are Dead” and “Smoke & Mirrors” embody the entrancing nature of the entire album, one that is paradoxically sad and uplifting, defeated by something bigger but flourishing with integrity and hope.

Soaring strings and minor melodies define a feeling on Aventine that nudges our appreciation of beautiful, autumnal, orchestral folk. Obel composes the warmth that we crave once the leaves start to change.

Aventine effortlessly offers drive and comfort, and we should aspire to holistic listening whenever these fundamentals are elsewhere insipid or neutral to the nerves.

Agnes Obel – Aventine tracklist:

1. “Chord Left”
2. “Fuel To Fire”
3. “Dorian”
4. “Aventine”
5. “Run Cried The Crawling”
6. “Tokka”
7. “The Curse”
8. “Pass Them By”
9. “Words Are Dead”
10. “Fivefold”
11. “Smoke & Mirrors”

Immediately apparent when you turn on Dead Gaze’s debut record is the newfound clarity and distinction between each instrument and songwriter Colin Furlow’s vocals, which was alien to the multiple EPs and self-titled compilation album his project released in the last few years.

This change can be attributed to the upgrade in Furlow’s recording capabilities—he made the switch from recording in his bedroom to laying down tracks for free in Oxford, Miss.’s famous Sweet Tea studio, thanks to a friend who works at the joint.

The lucky break helped Furlow channel his catchy songwriting into something much more comprehensible and preferable in Dead Gaze’s first full-length, Brain Holiday.

While Dead Gaze’s identifiable brand of fuzzy pop-rock has changed for the better, it is still much the same.

Furlow throws a lot of focus on the “texture” of a song, which enhances the overwhelming nature of his music, despite how simple it seems on the surface.

Since Dead Gaze’s start in 2009, Furlow’s writing style has been compared to the likes of The Flaming Lips and Cloud Nothings, among other artists in the genre, but his strategic use of effects and instrumental layers makes his style unique. Dead Gaze cleverly titled its debut album Brain Holiday. The ultimate goal for this record is to act as an escape from everyday worries, which is exactly what it does.

Uplifting, singable songs like “Yippies Are Flowers” and “Rowdy Jungle” start off the album with a carefree vibe that carries throughout the record, happily erasing any negative thoughts clouding one’s head, while gritty, psychedelic punk songs like “You’ll Carry On Real Nice,” which was taken from Furlow’s compilation album and rehashed for Brain Holiday, will kick your ass and leave you with a smile.

The overall style of the album, which is unruly and rough, is the same as Dead Gaze’s old material, but the change in recording quality makes itself known from start to finish. The clarity of it, combined with the deliberate abundance of distortion, is the perfect fit for Furlow’s songwriting style and voice, an aspect which is finally able to take the front seat.

His skill and maturity is evident on songs like “Possible Embrace” and “Breathing Creatures,” which is a gorgeous ballad featuring calming piano, soft vocals from both Furlow and a female singer, and even trumpets toward the end to tie it all together. All of these components add up to make an offshoot of the past Dead Gaze, which sounded muddled and confusing much of the time.

The album ends on the simple, loud title track. It’s a noisy song that explains Furlow’s definition of what exactly a “brain holiday” is: taking some time off to digest one’s thoughts, or even slipping off to bed after a long, stressful day. This is what the record attempts to accomplish, and it does a fantastic job.

Dead Gaze’s official debut is worthy of attention. If you’re looking for an easy-going record to sing along to and clear your head, this is it.

Dead Gaze – Brain Holiday tracklist:

1. “Yuppies Are Flowers”
2. “Rowdy Jungle”
3. “Stay, Don’t Say”
4. “Runnin’ On The Moon”
5. “You’ll Carry On Real Nice”
6. “A Different Way”
7. “Breathing Creatures”
8. “Possible Embrace”
9. “Brain Holiday”

Eclectic rock band Cage the Elephant shows musical growth—without losing its signature edge—on its third album, Melophobia.

Coming in at 10 songs, Melophobia is a fun, new sound that Cage pulls off wonderfully. The band is taking its music in a fairly different direction without making an uncomfortable transition for previous fans, and the result is sensational.

The first three songs are possibly the best on the album, and give a good impression of what Cage is trying to do.

Melophobia opens with one of its most fun songs, “Spiderhead,” a bouncing tune filled with Black Keys-like instrumentals and crooning, high frequency vocals in one of the best choruses on the album, immediately showing off vocalist Matthew Shultz’s range, which he plays with throughout the album.

Following “Spiderhead” is the first single, “Come a Little Closer.” It includes groovy verses similar to Radiohead and probably the catchiest chorus on the album.

“Come a Little Closer”  makes a great single that accurately shows the transition Cage is moving toward: a less eclectic, but still highly interesting sound.

The third song, “Telescope,” is the last, and possibly the best, of the opening triple threat. The melodic vocals over low strings and simple instrumentals make this track one to sing along to and get lost in. It’s one of the more personal and clean songs on Melophobia.

Schultz told Rolling Stone that “Telescope” is about coming to terms with the pointlessness of what he was doing alone in his house after taking a break from touring for the first time in five years. He sums this up in the chorus, singing, “time is like a leaf in the wind. Either it’s time worth spent or time I’ve wasted. Don’t waste it.” 

Most of the album follows a similar line musically, using subtle, yet enthralling verses and big catchy choruses, keeping your attention the whole way through.

But “It’s Just Forever” featuring Allison Mosshart of The Kills and The Dead Weather, whose swelling voice over Shultz’s stands out on this bluesy track, doesn’t meet the expectations of the rest of this album. Even with her big and bold part in this song, it isn’t one of the better tracks. The chorus is repetitive and feels forced, but the blues riffs in the verses can pull listeners through to the next song.

Melophobia picks back up with two solid songs in a row. “Take it or Leave it” includes beachy guitar licks akin to Naïve Thieves and Ski Lodge, while “Halo” uses rolling drums and shows off Shultz’s range once again.

Although Shultz’s use of his vocal range is a very pleasing aspect of this album, his falsetto on “Black Widows” isn’t quite as charming. But, the addition of brass instruments to “Black Widows,” “Hypocrite,” and the end of “Teeth” is a welcome change.

Fans of Cage’s second album, Thank You, Happy Birthday, will be pleased to hear the band return to that wild punk sound in “Teeth.”

While the writing isn’t terribly creative, it’s brimming with nostalgia and should make for a fun song to hear live. But what seems to be a straightforward, wild Cage song soon changes to a schizophrenic-sounding rant over strange, rhythmic instrumentals.

“Cigarette Daydreams” ends Cage’s third album with a polar opposite to “Teeth.” The song is a lovely ending with beautiful acoustic guitar chords, simple beats, and melodic vocals that are constantly changing pitch and sound exquisitely desperate. Cage the Elephant ends Melophobia with one of its best songs to date, leaving fans itching for more.

Melophobia is the right direction for Cage the Elephant and speaks wonders for its potential and ability to change with each release. The whole album is a fun, summer jam that makes one wish that the season and the music would never end. Unfortunately, the album is just barely over 35 minutes, so it may end before you’ve had enough.

Cage the Elephant – Melophobia tracklist:

1. “Spiderhead”
2. “Come a Little Closer”
3. “Telescope”
4. “It’s Just Forever”
5. “Take it or Leave it”
6. “Halo”
7. “Black Widow”
8. “Hypocrite”
9. “Teeth”
10. “Cigarette Daydreams”

After embarking on a recent trip to South Africa, Chicago-based rock outfit Ballroom Boxer didn’t anticipate penning songs rooted in its Midwestern background. But in the midst of international travels, creativity struck close to home—and that foundation was the basis for the group’s latest EP, Sundownr.

Centering around nostalgic Americana, the five-track EP is charged by the band’s exuberant passion fostered by its African journey.

In the opening track, “American Bonfire,” the group pays tribute to its suburban Ohio roots with bubbly, upbeat vocals and energetic guitar riffs. Lead vocalist Mike Altier paints a soundscape of the invincibility of youth with lines like, “We’re all suicide kings on a Saturday night.”

The band embodies a soulful bluegrass grit on “Where the Bottles Dance,” a rhythmic pop ballad revealing a darker lyrical edge.

In “High School Slow Dances,” Altier once again invokes a Rockwellian tenor as he croons about the careless memories of wild high school nights.

The EP is a solid second release from the Midwest rockers, and the crisp production value accompanied by resolute guitar chasms produces a satisfying sound. Listening to Ballroom Boxer’s signature lyrical content, which invokes spirited Americana, one cannot help but think of the trademark sounds of Bryan Adams.

Having built a loyal following in Chicago, Ballroom Boxer will undoubtedly propel that success to unprecedented heights with Sundownr. Fueled by the untamed spirit of its South African travels, the band has crafted a distinct American sound that will resonate across generations—and this EP has undoubtedly cemented the group as an act to watch.

Ballroom Boxer – Sundownr tracklist:

1. “American Bonfire”
2. “Where the Bottles Dance”
3. “High School Slow Dances”
4. “Bullseye”
5. “So Reckless”

Let’s Be Still  may only be the second release from The Head and the Heart, but it stands out in its musical maturity. The album has a diverse tracklist—each song has a different vibe, but it all still sounds like The Head and the Heart.

This album is marked by a distinct brand of honesty in the musicianship. The songs range from boisterous and full to a soft, intimate sound that creates an air of sentiment.

The opening track “Homecoming Heroes” has a thumping percussion complemented by piano. In contrast, on “Josh McBride,” the vocal and instrumental harmonies build a rich, yet soft sentimental sound.

The album’s honesty is heard lyrically, too. The Track “10,000 Weight in Gold” is about leaving family behind in favor of the road and the emotional weight that carries. “If you take the kids and go/I can’t blame you for the things you know/When I’m out there on the road/I think of you and those kids at home,” Russell sings. The music fluctuates between a full, percussion-heavy sound to a solo vocal riff and acoustic guitar, with a slowed break in the middle.

The Head and the Heart sounds like an indie folk band on the majority of Let’s Be Still, relying heavily on percussion contrasting with gentle violin and piano, but “Cruel” has a bit of country flavor.

The ballad has a twanging guitar and fiddle, and lead singer Jon Russell sounds raspy and forceful on the hook. Though “Cruel” has a different feel than the rest of the album, it fits into the larger picture of Let’s Be Still.

Lead single “Shake” has full instrumentation that makes it sonically satisfying. An electric guitar revs it up initially before being joined by lots of percussion, piano, bass, and keys; the members of The Head and the Heart are fully throwing themselves behind the music. “Shake” opens with the lyrics, “Well the ink in my pen ran dry/Long before your smile/And the pages have always been blank/Like the trees in the wild.”

There is something particularly unique about The Head and the Heart’s sound. The way the instruments expertly complement each other shows the band’s musicianship both collectively and individually.

Additionally, the incorporation of female vocals from Charity Rose Thielen helps to keep the group’s sound balanced. Her sweet, yet still forceful voice adds softness to Russell’s harsher, heartier vocals. In fact, Thielin’s singing ought to have been more central throughout the album. She is featured more heavily on “Summertime” and “These Days Are Numbered,” where she brings a different emotional weight that rounds out the tracks.

It is surprising that this is only the second album from The Head and the Heart; the group’s obvious comfort playing together suggests years of collaboration. This sophomore release has a never-ending list of strengths that make it irresistible from start to finish. Let’s Be Still goes beyond the indie/folk genre, putting The Head and the Heart in a small subcategory of its own.

The Head and The Heart – Let’s Be Still tracklist:

1. “Homecoming Heroes”
2. “Another Story”
3. “Springtime”
4. “Summertime”
5. “Josh McBride”
6. “Shake”
7. “Cruel”
8. “Let’s Be Still”
9. “My Friends”
10. “10,000 Weight in Gold”
11. “Fire / Fear”
12. “These Days are Numbered”
13. “Gone”

The bluesy guitar strums that open We Need Medicine instantly send a message to The Fratellis’ fanbase: Don’t expect the same old thing.

And while it’s true this release explores a different sound, one The Fratellis has dabbled in before but never committed to for an entire album, it feels the same—the band hasn’t lost its touch for big, loud, rousing music.

In terms of energy, We Need Medicine is halfway between the fervor of Costello Music (2006) and the more restrained, though still catchy, melodies of Here We Stand (2008), with a distinctive blues influence and the addition of a rock ‘n’roll piano line. The trio from Glasgow sounds positively country.

The Fratellis strays furthest from its old sound on the title track. Jon Fratelli soulfully sings the repeated line, “We need medicine, and we need it now” above a simple drum beat and shakers before the melody kicks in, landing somewhere between blues and folk. In the chorus, an ultra-satisfying sliding guitar (which also makes an appearance on “This Is Not The End Of The World”) fills in the gaps between words, giving the music a rolling texture.

Along with lead single “Seven Nights Seven Days,” “We Need Medicine” is one of the most crowd pleasing tracks on this release, showing that The Fratellis is still in the business of creating hyper-catchy sounds—and it has the repetitive lyrics to prove it.

On the title track, repetition serves to reinforce the folky feel, but on other songs—”She’s Not Gone Yet But She’s Leaving” and “Jeannie Nitro,” for example—the monotonous lyrics speak more to a lack of creativity, or courting mass appeal, than anything else.

Of course, no one listens to The Fratellis for groundbreaking lyrical content. This band is all about fun, high-energy music, which We Need Medicine certainly delivers.

And, it may be unfair to criticize the sing-along nature of the album when the instrumentation is more sophisticated than before, with well-placed guitar and piano lines to elicit that old fashioned, rock ‘n’ roll feeling.

In fact, the band deserves credit for this maturely crafted upgrade to its signature sound. The melody may not be at its usual breakneck pace, but little details show a flair for creating sounds that catch the ear in the most addictive way.

The majority of We Need Medicine is composed of rousing, soulful tracks with bluesy guitar lines and bright piano. It creates the feeling of sitting in a dingy bar where the customers are drinking whiskey, line dancing, and perhaps preparing to fight each other—in the best way possible. This new music will fit right in with The Fratellis’ famously energetic shows.

On the blues-heavy end of the spectrum are tracks like “Halloween Blues” (surprise), “Shotgun Shoes,” and “The Whisky Saga.”

“She’s Not Gone Yet But She’s Leaving” and “This Is Not The End Of The World” have a sort of hypnotically droning sound, and “This Old Ghost Town” and “Jeannie Nitro” have a faster pace that, despite the rock ‘n’ roll approach, feels like the old Fratellis.

While there’s no significant change in pace throughout the album (the songs range from catchy to extremely catchy), “Rock n Roll Will Break Your Heart” is a slow ballad that mellows out the record as the second-to-last track, right before the music kicks into full gear again on “Until She Saves My Soul.”

Fans may be initially surprised by the heavy touch of blues on We Need Medicine, but it shouldn’t take long to adjust. The feel-good, hard partying vibe is still there—it’s just in a shiny new package.

The Fratellis – We Need Medicine tracklist:

1. “Halloween Blues”
2. “This Old Ghost Town”
3. “She’s Not Gone Yet But She’s Leaving”
4. “Seven Nights Seven Days”
5. “Shotgun Shoes”
6. “The Whisky Saga”
7. “This Is Not The End Of The World”
8. “Jeannie Nitro”
9. “We Need Medicine”
10. “Rock n Roll Will Break Your Heart”
11. “Until She Saves My Soul”

Mysterious indie-pop rockers Madeline Follin and Brian Oblivion, aka Cults, are here with their second attempt through Columbia records, Static. The group is known for its bubbly hit single “Go Outside,” as well as its time spent on tour with the likes of Passion Pit and Foster the People.

Cults is characteristically echo-heavy and instrumentally driven, although Oblivion’s music has a tendency to blend together with Follin’s voice to make one uniform sound. Not surprisingly, this can be a bit confusing at times, but for the most part the duo is able to pull off a psychedelic, spacey vibe that justifies the heavy use of effects.

That being said, Cults has a very distinct sound that doesn’t change at all over the course of the album.

As a whole, Static is rarely engaging. It acts better as background music at a hipster party than music to sit down and listen through in one’s free time.

There are some good moments on the record, but none of the music is truly attention-grabbing. If you don’t pay close attention, the entire album sounds like a single, 30-minute song.

Despite all of this criticism, Static has some diamonds in the rough. Cults’ overall theme and style doesn’t evolve, but there are certain golden moments that stand out, making Static a solid album.

“High Road” has an awesome drum beat and catchy instrumentals. Oblivion’s added vocals bring an extra element that doesn’t show very frequently on the rest of the record, and it’s definitely missed when its gone.

Cults needs to head in the direction of tracks like “Were Before,” which starts off with Oblivion singing. The two voices sound beautiful together, and Static would have been a lot more interesting if it featured more harmonies. Follin’s unvaried voice with the same old echo effect gets tiring after a while, and  Oblivion’s additional vocals act as a breath of fresh air.

Cults doesn’t explore very much new ground on this release, but it does improve its old habits.

Static sounds like an enhanced version of the duo’s self-titled debut released in 2011; it’s more mature, fluid, and in control.

However, the group still falls short where it did two years ago: it lacks emotion. Static doesn’t jump out and grab you because there’s no real feeling in the music. The only true exceptions are the truncated “TV Dream,” which highlights Follin’s exceptional pipes, and the final track “No Hope.”

Cults’ greatest asset is Oblivion’s mastery of the instrumentals. He uses captivating effects and makes engaging drum beats, both of which add a lot to the overall product.

In the end, Static is a decent sophomore release. Cults didn’t just regurgitate its old style; it took that sound and ever so slightly improved it. This album doesn’t break new ground, but not everything needs to. Fans of the old stuff will enjoy this sound, but newcomers may want to test the waters before actually coughing up cash for Static.

Cults – Static tracklist:

1. “I Know”
2. “I Can Hardly Make You Mine”
3. “Always Forever”
4. “High Road”
5. “Were Before”
6. “So Far”
7. “Keep Your Head Up”
8. “TV Dream”
9. “We’ve Got It”
10. “Shine A Light”
11. “No Hope”

Toad the Wet Sprocket’s whimsical pop songs created an incongruous yet intriguing fit for radio and MTV programmers during the heyday of 90s alternative rock. Imagine the tenable pop hooks of “All I Want” and “Something’s Always Wrong” sandwiched between the sonic grunge fest of Pearl Jam and Nirvana.

Hit singles and platinum albums were the norm before “musical differences” split these high school friends from California in 1998. Now older and possibly wiser from the experience, Toad the Wet Sprocket returns with the wistful New Constellation, its first collection of new material in 16 years.

The album reflects the themes of balancing self-doubt and regret with second chances. “Is there anyone out there/’cause I don’t know how to reach across the breach/so deep between us,” Glen Phillips sings on the shimmering guitar pop of “Is There Anyone Out There?”

Sporadic touring coupled with time away from recording hasn’t dulled the band’s sense of melody and strong musicianship. Musically, the songs have a relaxed, easy feel, as if the band played barefoot, sipping peppermint tea in the studio. Free of label and industry demands, what you have is Toad the Wet Sprocket, the 2013 model.

The songs on the Kickstarter-funded album are more direct than previous efforts, and the band doesn’t stray too far from its guitar-bass-drums-vocal setup. That opens room for Phillips to expand his vocal palette and clear a path to the emotional core of these songs.

On the genial “Rare Bird,” Phillips warm tenor glides to a falsetto as he sings of setting a lover free. Phillips stretches himself even further with his trip through the cosmos on “New Constellation.” Over a bouncy guitar riff and a rush of “oh-ohs,” Phillips name checks patron saints and declares his “love to all creation.”

The album’s four up-tempo numbers, “Is There Anyone Out There?” and the rousing “I’ll Bet on You,” among them, are propelled with uplifting choruses that bring a majestic quality thanks to the backing vocal work of guitarist Todd Nichols (who also sings lead on “Life is Beautiful”) and bassist Dean Dinning.

Lyrically, Phillips is a wheeler and dealer with a gift of language and observation. He continues on his journey of spiritual self-reflection that began with Fear. “God loves a madman/but I wore his patience through,” Phillips softly sings on “Golden Age” as a gentle fingerpicking and piano melody trickle by.

The song offers a swirl of lyrical allusions touching on an angel, a kitchen knife, and a peacemaking saint. And that’s all in the second verse. Alluding presumably to personal and professional loss, Phillips yearns of a redemptive return to a more tranquil and harmonious period. “Walls and barricades surround our golden age/we will return again someday.”

Quite a promise from New Constellation, an album whose melancholic edges are lightened with the hope that comes from starting anew. And somewhere along the way, Phillips and his band mates discover the journey toward reconciliation and forgiveness, like the album, is a rewarding one.

Toad the Wet Sprocket – New Constellation tracklist:

1. “New Constellation”
2. “California Wasted”
3. “The Moment”
4. “Rare Bird”
5. “I’ll Bet on You”
6. “Golden Age”
7. “Get What You Want”
8. “Is There Anyone Out There”
9. “Life is Beautiful”
10. “The Eye”
11. “Enough”

“I’d like to welcome everyone to the innanet, tune in, log on,” Vic Mensa says, welcoming us to his new mixtape INNANETAPE. (The title is a combination of “internet,” or “innanet,” and “mixtape.”) INNANETAPE is the first solo project Mensa has released after the dissolve of the jazz/hip hop/rock hybrid band Kids These Days.

On INNANETAPE, Mensa is trying to figure himself out as an artist, and he breezes through different styles to find his fit. “Lovely Day” has jazzy sounds that echo the work of Kids These Days; “Tweakin’” is oddly similar to a Tyler, The Creator-produced track; “RUN!” is an unexpected new wave nod; and “Holy Holy“ is has similar production style to Kendrick Lamar’s Good Kid, M.A.A.D. City.

The way Mensa careens between genres could be criticized as a lack of direction, but he’s 19 and has time to figure out what production style and vibe he is after.

In the meantime, INNANETAPE is a must-listen mixtape for the sake of the lyrics alone.

Mensa seems like he wants to explain or prove himself. He’s constantly rapping about who he is, what he’s doing, and why. The track “That Nigga” closes the mixtape, and Mensa is completely open about his story. “Used to call me a fucking failure/I bet I’m looking familiar, like damn he really that nigga, I did it/I bet your girl would be, wit’ it, she ain’t used to know my name, now she just call me that nigga/Now they just call me that nigga,” he raps on the hook.

He leaves that self-reflective territory on “Tweakin’.” It stands out on INNANETAPE because of the distinct production and the break from more intimate lyrics; it also features Mensa’s friend Chance The Rapper.

Mensa raps goofier lyrics on “Tweakin'” than on the rest of the mixtape: “Or slapping a paraplegic with a pair of crutches/Or wiping my ass with Rosie O’Donnell’s mustache/I got Martha Stewart cooking yola/Molly in the cherry cola, rub it on your areolas.”

On a more serious note, Mensa raps what feels necessary on “Time is Money.” Throughout, he addresses the school closings and frequent shootings in his hometown of Chicago.

His lyrics are blunt as he raps, “All because the system that raised me from grade school made me the villain,” and “Cut schools, buy guns, but when the shots is lickin’ at the ones that’ll lose they son/Instead they send ’em to private schools and pull back on public funds/While functioning as if they could begin to fathom where the fuck we comin’ from.”

The track title “YNSP” stands for “Yung Net Save Peso”—“Yung Net” is Mensa’s nickname and “Save Peso” is a nod to SAVEMONEY, his original crew. This track is one of the few places where the “innanet” theme actually stands out. The production makes the track bump with a distinct beat.

Mensa is pretty serious on most of the mixtape, and when he isn’t—like on “YNSP”—he’s worlds away from that feeling. The track ends with an outro where Mensa is woken up to a phone call making sure he gets on a plane, flowing seamlessly into the next track, “Hollywood LA.”

The transition from track to track is rarely this seamless, though. Because the production feels disjointed, INNANETAPE doesn’t sound as clean as it ought to.

Most of the tracks were produced by Peter Cottontale or Cam, but they’re organized in a strange way that distracts from the content.

Mensa’s rapping is on point, though. He is clever, though he’s not one for many metaphors or puns. The cadences of his lines create patterns and rhythms that offset the beat.

INNANETAPE displays Mesa’s rap skills and is a means for him to express and explain himself. While Mensa isn’t signed to any label just yet, it will be interesting to see where he goes from here.

Vic Mensa – INNANETAPE tracklist:

1. “Welcome to the INNANET”
2. “Orange Soda”
3. “Lovely Day”
4. “Tweakin’ (feat. Chance The Rapper)”
5. “Fun! (Interlude)”
6. “Magic (feat. Jesse Boykins III)”
7. “Time Is Money (feat. Rockie Fresh)”
8. “YNSP (Ft. Eliza Doolittle)”
9. “Hollywood LA (feat. Lili K)”
10. “Holy Holy (feat. Ab-Soul & BJ The Chicago Kid)”
11. “Fear & Doubt (feat. Kenna & Joey Purp)”
12. “Yap Yap”
13. “RUN! (feat. Thundercat)”
14. “That Nigga”

Balearic beat backgrounds are the calling card of sunny Spanish popsters Delorean, and are still the cornerstone of Apar, but the building itself is of a completely different nature.

The group aims here to move back to a more analog approach at the expense of the computerized glow that took it from local standouts to the indie stratosphere. It’s no stretch to say that 2009’s Ayrton Senna may be one of the best EPs of the last 5 years; its and Subiza’s sunny, almost cheesy compositions were the stuff of blissful dance floor heaven.

With Apar, years of exhaustive touring, personal setback, and the climate of a Spanish economy on the brink of collapse have turned beach-born beats into a darker affair.

Live instrumentation, a more clear and concise vocal approach, and darker lyrical undertones all subvert the unbridled cheeriness that fans have come to expect from Delorean.

Still, Apar is top heavy with some stunningly produced cuts. Album opener “Spirit” may be the strongest track on the release. With its laid back, fresh plucking and warm guitar pulsing, the track is appropriate for dance floor slow jams and top-down cruising alike.

“Desitiute Sound” also has some remnants of the jittery bounce of previous releases. Its catchy melodies and throbbing beat mask the despair and loss that lead singer Ekhi Lopetegi details. In addition, the use of female vocals, like Chairlift songstress Caroline Polachek provides on “Unhold,” help to capture the haziness of a more dream-pop feel laid out by the likes of Beach House and Washed Out.

The album putters out in its latter half, as tracks like “Your Face” and “Inspire” fail to actually inspire. Musical talent and group cohesion notwithstanding, the tracks lack that extra punch of dynamism needed to establish notable essence.

All this isn’t to say that the band has taken a step backward. In many senses, it is clear to see the maturation of the group. The members’ cohesion is at its best, and Lopetegi  sounds more confident and comfortable than ever.

The songs may not give such an immediate reward as before, but wiser ruminations on the group and its surroundings have transformed this band into what we come to expect from a more traditional indie outfit.

When listening to the album, one can’t help but parallel Delorean’s trajectory with that of indie supergroup Phoenix.

Both received critical acclaim (although certainly on different scales) for their catchy and digestible brands of indie dance, and both reverted to a more concentrated and less instantaneous effort afterward.

While Bankrupt! will certainly never live up to Wolfgang Amadeus Phoenix, its varied and evolved sound, like that of Apar, shows how both groups are willing to take chances for the sake of growth. Apar is a good enough album, one with some noteworthy songs and themes, but one that feels a little too dismissive to be a good Delorean release.

The album title translates to “froth,” and labels the album appropriately, as change and upheaval seem to be the central themes. Sometimes, though, change can take a little too much out of something so good.

Delorean – Apar tracklist:

1. “Spirit”
2. “Destitute Time”
3. “Dominion”
4. “Unhold”
5. “You Know It’s Right”
6. “Keep Up”
7. “Walk High”
8. “Your Face”
9. “Inspire”
10. “Still You”