Album-art-for-White-Teeth-Black-Thoughts-by-Cherry-Poppin'-Daddies Cherry Poppin’ Daddies – White Teeth, Black Thoughts

★★★★☆

Cherry Poppin’ Daddies, veteran leaders of the Neo-Swing movement, are back with their sixth studio album White Teeth, Black Thoughts, their most mature and polished release to date. The band, consisting of eight current members, has gone through countless changes in both style and line-up, but has finally established itself once again as a talented swing band seemingly pulled straight from the 1940s.

The album consists of 11 beautifully recorded tracks, including covers of Louis Jordan’s “Doug the Jitterbug,” Hank Penny’s “Bloodshot Eyes,” and Bull Moose Jackson’s “I Want a Bow Legged Woman.” The ex-Ska band has found its true niche with this expertly executed, old-fashioned gem that incorporates influences from their past records.

It’s a modern take on the wildly popular style from over half a century ago, meshing new techniques and ideas with the iconic sound of old powerhouses like Sinatra or Dean Martin.

White Teeth begins on a charming note, but gets a little menacing and loud as the opening track progresses. After the short instrumental intro, “The Babooch” starts with the contradicting lyrics, “Oh I’ve found beauty all my days, with an eerie sense of doom/Lucky as Prometheus unbound.” The song gets chaotic as it transitions into the chorus, where lead singer and guitarist Steve Perry and the band chant about Perry being “The Babooch.”

The next track, “I Love American Music,” is exactly what it sounds like: a love song about American music. Covering the most beloved aspects of the old Swing music the band is influenced by, it’s a fun, vintage song with some newer elements scattered throughout.

From the playful lyrics to the instrumentation, the gorgeous title track sounds like a new-age Bobby Darin song. It’s one of the prettiest and most well-orchestrated songs on the record, with a long segment of instrumental solos that show off the true talent this group holds.

While staying true to the lyrics and melody of Hank Penny’s “Bloodshot Eye,” Cherry Poppin’ Daddies made the song its own in this amped-up cover. Sped up and with the addition of a Ska guitar riff in the background, along with other embellishments, the cover is barely comparable to the original song—they exist on completely separate sides of the musical spectrum.

“Huffin’ Muggles” is by far the most original song on the release. While other tracks resemble or cover songs from the past, this one sits completely by itself.

One of the things that sets it apart is the lack of restraint in the lyrics and the innovative drums and Ska guitar during the two breakdowns. “Huffin’ Muggles” is Cherry Poppin Daddies’ most obvious modernization of the Swing genre, and a definite highlight of the album.

White Teeth ends with another epic, fresh song, “Concrete Man Blues.” The track swings back and forth between loud and calm moments, showcasing Perry’s vocals exquisitely alongside beautiful instrumentals. The only downside to this song—and, in all honesty, this album—is that it uses the historical method of fading out to end the track. It would have been much more powerful if it ended on the built-up, ultra-noisy adieu it seemed like it was going to.

With White Teeth, Black Thoughts, Cherry Poppin’ Daddies has shown the world that the Big Band era is far from over. The group perfectly pulled off its attempt at recreating a lost genre of music while remaining true to its roots.

Throwing in unconventional lyrics, bouncy guitars, and some strange drums here and there, the band was able to make this style all its own. This contemporary twist on a classic style is both an homage to times past and a paved road toward the future.

Cherry Poppin’ Daddies – White Teeth, Black Thoughts tracklist:

  1. “The Babooch”
  2. “I Love American Music”
  3. “Whiskey Jack”
  4. “Doug The Jitterbug”
  5. “White Teeth, Black Thoughts”
  6. “Brown Flight Jacket”
  7. “Bloodshot Eyes”
  8. “Jake’s Frilly Panties”
  9. “Huffin’ Muggles”
  10. “I Want A Bowlegged Woman”
  11. “Concrete Man Blues”
Album-art-for-Telepathic-Love-by-Heaven Heaven – Telepathic Love

★★☆☆☆

In late 2010, drummer Mikey Jones (The Big Sleep, Swervedriver, Snowden) and singer/guitarist Matt Sumrow (Dean and Britta, The Comas, Ambulance LTD) decided to start a project together. With the additions of bassist Luke Hayden Senkbeil and keyboardist Ryan Lee Dunlap, the band Heaven was created. Telepathic Love is the debut album from the New York natives.

The nine-track LP is as entrancing as it is sonically painful. The group’s sound, full of feedback, droning, and heavy bass and guitar, is noticeable from the first track “Color in the Whites of Your Eyes.” Heaven has a clearly conceptualized sound for itself that is coherent throughout the album.

A problem arises, though, when the loud, occasionally abrasive sounds drown out the poorly enunciated lyrics, making the words just another piece of the sonic framework. Sumrow’s vocals are most clearly audible on “Southern Rain.” The lyrics are curious, especially when paired with an acoustic guitar and a steady buzzing. Sumrow repeats, “Southern rain falling through my window/Southern rain doesn’t fall at all/Southern rain falling through my window/Falling lonely/Fall asleep against your phone.”

The title track, “Telepathic Love,” is perhaps the most pleasant listen on the album because it is melodic and somewhat playful, especially considering that Heaven tends to be slow and less mellifluous.

Heaven’s album may not be the most upbeat, but it is indeed entrancing. The guitar strums, steady rhythms, and chill vibe create an atmosphere that is oddly tactile throughout the entire album.

The shifts between sounds and melodies give the music texture, yet it is contained within a very particular realm. Because Heaven has an individualized sound, the album is so coherent that the tracks flow effortlessly.

“Put Me Away (Interlude)” is more exploratory. The interlude is exactly what the album needed, an experimental break that allows the listener to bask in the musical qualities without distraction from the vocals. The other tracks are engaging because of Sumrow’s voice, but the interlude is interesting because of its lucid, wandering qualities.

Part of what makes Telepathic Love such an interesting project is the clear collaborative effort. When compared to the previous work by each of the musicians, Heaven’s music has clear influences from each one’s past. The delicate moments on Telepathic Love parallel that of Dean and Britta, and some of the guitar strums are reminiscent of The Big Sleep. One can hear how band member brought something to the project.

While Heaven’s debut has interesting moments, the prominence of the guitars, droning, and feedback make it an acquired taste. The lack of accessibility isn’t simply a result of experimental tendencies—the collaboration between the musicians is interesting, but as a whole, Telepathic Love lacks innovation. Heaven’s debut simply sounds like the side project that it is.

Heaven – Telepathic Love tracklist:

  1. “Colors in the Whites of Your Eyes”
  2. “Telepathic Love”
  3. “Falling Apple”
  4. “Mountains Move”
  5. “New Amsterdam”
  6. “Southern Rain”
  7. “Put Me Away (Interlude)”
  8. “Once the Heartache”
  9. “Centuries”
Album-art-for-Comfort-by-Splashh Splashh – Comfort

★★½☆☆

Sun-soaked and stoned, the release of Splashh’s debut album Comfort came at the perfect time of year, but judging by the sound, it would fit well in the summers of the 1960s.

Comfort was released by Kanine Records, so it isn’t alone in its rehashing of that retro sound—bands like Surfer’s Blood and Beach Day are also signed to Kanine. However, Splashh diverges from these bands in many ways with its own dreamy touch and pop-sensible method.

Comfort opens with a horribly catchy melody on bass, kept in beat by a snare that sounds like it was tuned to open a Joy Division album. One by one, the guitars join the ceaseless riff of the song “Headspin,” and singer Sasha Carlson’s words come out slowly. It’s as if the musicians have all been staring off into the distance and not paying attention, oddly embodying shoegaze in more ways than one.

Following that seemingly endless groove is the energetic single “All I Wanna Do.” It seems much of Carlson’s lyrical content on Comfort revolves around wanting things; he sings of one “Sweet Cherry” with whom he wants nothing more than to waste his days, whoever she may be. Carlson belts out, “I wanna go where nobody knows,” over a phased-out guitar dripping with wet-reverb on the oh-so-surfer-rock “Vacation,” an anthem about getting out of the zoo-like city life.

Aside from complaining about what they don’t have, the members of Splashh also lament their youth on “So Young.”

Spacey and distorted pop melodies are stuck between punk outbursts and slathered in lo-fi production, giving Splashh a sound that is less a salute to Sonic Youth than a rip-off of it.

With titles like “Washed Up” and dreamy vocals about going for a swim and drinking lemonade, Splashh has a succinct summer motif. Its blissful sound has an edge while still remaining docile. If its music is spacey, then that “space” is the hot open air blowing over the Pacific Ocean.

Splashh is another in this line of bands with serious throwback tendencies. Comfort has smudges of old psychedelic painted into a punk-rock frame, all with a catchy, modern feel. All of the three-chord aesthetics are there, but they’re drenched in weird effects. The result is a record that sounds like it’s been washed up on the shore of nostalgia.

Comfort has the touch of a good record, but it will be interesting to see if Splashh swims through the first wave and has holding power beyond that cookie-cutter surf-rock worship.

Splashh – Comfort tracklist:

  1. “Headspin”
  2. “All I Wanna Do”
  3. “Need It”
  4. “Vacation”
  5. “So Young”
  6. “Lemonade”
  7. “Feels Like You”
  8. “Washed Up”
  9. “Strange Fruit”
  10. “Lost Your Cool”
Album-art-for-Fever-Forms-by-The-Octopus-Project The Octopus Project – Fever Forms

★★★½☆

Earlier this month, The Octopus Project, electropop indie veterans from Austin, released its fifth proper album, Fever Forms, furthering its sensationalist journey through psychedelic electronica in familiar, yet mature, directions.

In a sense, the album is a return to a more organic or primordial sound for the band compared to its expansive and grandiose 2010 release, Hexadecagon. This isn’t the kind of return that negates a worthy release, as the group feels more comfortable with its ambitious brand of indie pop. Fever Forms is as immediately accessible and fun as it is complex and intriguing.

Yet, we should expect this kind of maturity in musicality, this prowess for pop, from a group like The Octopus Project. Its South by Southwest performances in 2010 were particularity noteworthy for their ambition and originality. The group has toured with some of the big names in the alternative world, and even filled in as accompaniment for the legendary Devo.

Apart from tracks “Unspool,” “Perhap,” and “Choi Sighs,” Fever Forms drives through with a frenetic and invigorating pace. Most of this is accomplished through explorations of aural expanses of electronica and pop that the band has been trekking through for years.

Some of the most brilliant sections of the album lie deep within these instrumental tracks, where, to put it simply, the music speaks for itself.

On “Pyramid Kosmos” (an apt name for such a sprawling track), the listener is dropped into what can only be described as the soundtrack to some futuristic, all-immersive arcade game.

A similar vastness is felt on “Deep Spice,” a beautiful piece of alternative indie rock, where digital and analog sounds dance beautifully upward toward a single apex of sunlight and energy. The track is a little dramatic, sure, but it instantly recalls the Balearic inflections of current indie dance darlings Delorean and even El Guincho.

The twee sensibilities of the group’s past are most apparent in the music videos for the singles “Whitby” and “Sharpteeth” than in the actual music on Fever Forms. Colorful construction paper shapes and feather-masked accomplices engage viewers with an amazingly accurate visual pairing to the atmospheres that the songs produce.

Both tracks are stellar, showing a juxtaposition of sound that The Octopus Project can master equally. On “Whitby,” electropop sensibilities reign supreme with hypnotic snyth leads and member Yvonne Lambert’s dreamy vocals that fit perfectly in the current trends of the electro indie cosmos.  The track would click right into place on a playlist alongside upstarts like Purity Ring and CHVRCHES. In contrast, “Sharpteeth” is noise pop with a MIDI tinge, and arguably the best track on the album. A catchy chorus and expansive breakdown, all traveling on an undercurrent of driving synth, result in what sounds like the end of a perfect summer day, as twilight comes to a close and the top of the convertible is lowered while traveling down the highway.

Fever Forms’ genius comes forth in its ability to conjure an elemental sense of good feeling. One finds equal pleasure digging through the album’s dense instrumentation to uncover the sophistication of composition as one does just putting it on in the background to create a great atmosphere, and therein lies the impressiveness of The Octopus Project.

The Octopus Project – Fever Forms tracklist:

  1. “The Falls”
  2. “Pyramid Kosmos”
  3. “Whitby”
  4. “Death Graduates”
  5. “The Mythical E.L.C.”
  6. “Unspool”
  7. “Mmkit”
  8. “The Man With The Golden Hand”
  9. “Perhap”
  10. “Choi Sighs”
  11. “Deep Spice”
  12. “Sharpteeth”
Album-art-for-Ceremony-by-Anna-von-Hausswolff Anna von Hausswolff – Ceremony

★★★★½

Scandinavia—a mystical land where beautiful people have an extremely high standard of living, obtain quality education, and create beautiful music. The region that seems to surpass the rest of the world in everything that counts.

Why is this true? We’ll probably never know, but every artist that comes out of Scandinavia (Denmark, Norway, and Sweden) seems to do pop, hip-hop, folk, and indie better than any others. Anna von Hausswolff is warrant to this claim. She combines the glowing effervescence of pop, the earthy grit of folk, the driving rhythms of hip-hop, and the serene melancholy of (some) indie on her latest album, Ceremony.

Her signature is a mega-instrument: the pipe organ. Ceremony showcases her passion and love with each track beginning on a powerful chord from the ancient noisemaker. “Epitaph for Theodor” is an instrumental prelude demonstrating von Hausswolff’s versatility as a composer and performer. “Deathbed” gives a peek of the singer’s natural pipes after another melody is drawn from the behemoth organ.

The track quickly realizes that particular brand of melancholy and gloom the Swedish have mastered, but these two introductory songs stand miles ahead of the rest of the album. There’s something about gut-shaking pedal tone from the pipe organ that awakens deep thoughts and feelings.

On “Mountain Craves,” the powerful and emotive voice of the artist fantastically punctures through the musical haze of wonder and thoughtfulness. The presence of her folk influences dramatically add, to over-awing effect, to the simple lines of the song.

Ceremony is packed with story-telling songs. Rather than following the common verse-chorus formula, most of the tracks simply go on. Lines in songs like “Goodbye” might appear repetitive coming from most other artists, but Anna’s spectacularly unique voice grabs hold of the listener’s senses and refuses to let them go until the story has come to its end.

If forced to choose one word to describe Ceremony, the pick would have to be a resounding “EPIC.” Though it’s not what the song is about, “Red Sun” conjures images of Viking wars and conquest, mostly due to the incredible effect of the organ. It cannot be overstated how essential this instrument is to the success of Anna von Hausswolff and her work. Songs like “Red Sun” would be featured on a soundtrack to the most epic moments in human history.

“Epitaph for Daniel” brings back the central motif of death that started the album off. This song is again primarily instrumental, and again, it’s mystifying that such sparse composition could sound so lush.

Ceremony is about those things which we hold sacred and beautiful, and how we explain and honor those things through austere and reverent traditions. “Liturgy of Light” delves into this cultural dossier of the human race, fueled by the fiery emotion of Anna von Hausswolff.

Up to this point, the work has been relatively tranquil, albeit powerful, but “Sova” (Swedish for “sleeping”) frantically races with primal drum beats and that ancient cry of the organ. “Sova” is repeated numerous times, intensifying the contentious and wild red hues created by the sound artist.

The headlining track “Funeral For My Future Children” delivers the overall thematic and musical qualities with a series of deliberate, powerful chords. The effect is overpowering when Anna glides in with her brilliant vibrato. No wonder she selected this track as the title of her fall tour.

Ceremony ends on a beautiful ballad called “Sun Rise.” The raw and visceral quality of von Hausswolff’s voice and the imposing tone of the steel guitar, coupled with the pipe organ, capture the serene mood of a new day dawning, probably better than anyone else has done it.

Ceremony is an extremely unique and domineering piece of work. Anna von Hausswolff finally sets herself up as a rising talent to be reckoned with, and this Swedish starlet deserves a round of applause for finding inspiration and making it her own with her second release, when many artists struggle to do just that in a career’s worth of work.

Anna von Hausswolff – Ceremony tracklist:

  1. “Epitaph for Theodor”
  2. “Deathbed”
  3. “Mountain Craves”
  4. “Goodbye”
  5. “Red Sun”
  6. “Epitaph for Daniel”
  7. “No Body”
  8. “Liturgy Of Light”
  9. “Harmonica”
  10. “Ocean”
  11. “Sova”
  12. “Funeral For My Future Children”
  13. “Sun Rise”
Album-art-for-Born-Sinner-by-J-Cole J. Cole – Born Sinner

★★★★½

“It’s way darker this time,” says J. Cole before one of the several self-produced beats kicks in. This album, Born Sinner, is indeed darker than his previous work; J. Cole addresses his own music career and ascent in the rap community through a religious framework, touching most explicitly upon womanizing and money.

In the opening track, “Villuminati,”J. Cole says that he is concerned for the future of his career, but Born Sinner indicates that he’ll be around for a long time.

The title of the album has Biggie Smalls connotations (J. Cole samples “I’m a born sinner, the opposite of a winner,” from “Juicy,” at the beginning of the album) but religious allusions also come into play throughout the album. J. Cole also raps often about money, drawing a connection between the two. Take “Kerney Sermon (Skit),” for example: “I want you quickly, to place that order right now/for the Personal Prayer Package,” says Rev. Kerney.

The idea that one can buy salvation makes an interesting point in combination with tracks such as “Rich Niggaz,” where J. Cole addresses his financial struggles growing up, and “Mo Money,” a critique on his own wealth in contrast to that of others, especially fellow rappers, and wealthy, white “old money.”

“Chaining Day” is another exploration of money; J. Cole says his desire for chains is “enslaving” him. His “chaining day,” when he receives a chain with a diamond-encrusted Jesus pendant, is essentially his baptism into this material aspect of hip hop culture.

J. Cole intelligently addresses the wealth and temptations that come with increased fame and have plagued fellow hip hop greats—a refreshing turn from the cliché of rappers bragging about wealth.

To further explore the idea of temptation, the songs “Forbidden Fruit (feat. Kendrick Lamar)” and “LAnd of the Snakes” directly reference the Garden of Eden story from the Bible. Throughout the album, J. Cole  focuses on morality and the act or idea of sinning, but these two tracks contextualize the religious element in a different way.

The hook on “Forbidden Fruit” is J. Cole’s rendition of the Adam and Eve story: “Me and my bitch, took a little trip/Down to the garden, took a little dip/Apple juice falling from her lips, took a little sip.”

Born Sinner’s religious aspect comes through with sound as well as lyrics. Gospel singing and piano are used on a few songs to replicate the atmosphere of a church and enrich the beats.

J. Cole’s appreciation for those before him is heard on “Let Nas Down.” J. Cole looked up to Nas, who is known for his insightful, conscientious lyrics. Nas openly disapproved of J. Cole’s 2011 single “Work Out” for its booty-shaking triviality, leading J. Cole to become more aware of his work.

His lyric, “Pac was like Jesus, Nas wrote the Bible” from “Let Nas Down” shows J. Cole’s adoration for rappers before him. Nas recently released a remix of “Let Nas Down” titled “Made Nas Proud” with verses about his appreciation for J. Cole’s profound raps.

The creation of the album as a whole is strong because of the insanely smooth transitions between tracks. Lyrics, themes, and beats all stitch Born Sinner together seamlessly. Each one sounds different than the next, but nothing is ever jarring or out of place.

Born Sinner has a very particular sound. J. Cole often samples the greats from the 1980s and ’90s, acknowledging his influences, yet he crafts each track into a distinct, J. Cole-produced beat.

The standout sample is on the track “She Knows” from the Cults song “Bad Things;” it comes a little out of left field, but the production is rich.

Born Sinner is easily one of the strongest hip hop albums out yet this year. From start to finish, J. Cole is not only articulate, but honest, too.

The track “Crooked Smile (feat. TLC)” utilizes the rapper’s crooked teeth as a metaphor for his insecurities about himself. In the machismo world of hip hop, J. Cole’s strikingly self-aware lyrics stand out.

His craftsmanship on Born Sinner is indeed noteworthy. It’s clear that he figured out a sound for himself, and he has used his second album as a way to establish himself as a more intellectual rapper. J. Cole was afraid that Born Sinner would not meet expectations, but he actually exceeded them.

J. Cole – Born Sinner tracklist:

  1. “Villuminati”
  2. “Kerney Sermon (Skit)”
  3. “LAnd of the Snakes”
  4. “Mo Money (Interlude)”
  5. “Trouble”
  6. “Runaway”
  7. “She Knows (feat. Amber Coffman)”
  8. “Rich Niggaz”
  9. “Where’s Jermaine? (Skit)”
  10. “Forbidden Fruit (feat. Kendrick Lamar)”
  11. “Chaining Day”
  12. “Ain’t That Some Shit (Interlude)”
  13. “Crooked Smile (feat. TLC)”
  14. “Let Nas Down”
  15. “Born Sinner (feat. Fauntleroy)”
  16. “New York Times (feat. 50 Cent & Bas)”*
  17. “Is She Gon Pop”*
  18. “Niggaz Know”*
  19. “Sparks Will Fly (feat. Jhene Aiko)”*

*Included on Deluxe Version of Born Sinner

Album-art-for-Stills-by-Gauntlet-Hair Gauntlet Hair – Stills

★★★☆☆

Chicago duo Gauntlet Hair is back on the scene with Stills, the follow-up to 2011’s self-titled debut. This time, members Andy Rauworth and Craig Nice have infused the band’s signature noise pop with a more tangible layer of New Wave influences, though the music still has a modern edge.

Stills opens with the beautifully weird single, “Human Nature.” With minimal, hypnotic vocals and an anthemic blend of floating keyboard notes and ultra-catchy drums, “Human Nature” is uplifting, but with a melancholy tinge. It’s an expertly crafted track; the mesmerizing swirl of noise ebbs in an out, and forceful drum beats always kick in at just the right moment—a trick pulled from pulsing club music. Just as Gauntlet Hair intended, it’s music to get lost in.

Unfortunately, “Human Nature” is the high point of Stills. The following tracks are equally layered and complex, but there’s simply no comparison.

Gauntlet Hair seems to rely too heavily on its catchy drum and synth beats to carry the album’s pace. Each track features an irresistible rhythmic backbone and an intricate melody (if you can call a glorious cesspool of notes and abstract sounds a melody) of keyboard and guitar, but the vocals are usually lumbering along at a snail’s pace. Sometimes, this works beautifully—in fact, each song individually isn’t hindered by it—but it inevitably brings a sense of monotony and drags the album down.

The combination of fast and slow, catchy and weird, can be seen as a tactical move—a way for Gauntlet Hair to remain accessible while creating its own style—but it has a ring of indecision. Stills’ best moments come from the intensity of undistilled oddness when the duo seems to be making exactly the sounds it wants to make.

Despite the tendency to layer a slow melody over quick beats, no two songs are the same, and Stills boasts several single-worthy tracks, like “Bad Apple” and “Waste Your Art.” The latter blasts forcefully through the speakers with intense, crunchy instrumentals.  “Obey Me” is just over a minute and a half of drugged-out bliss.

Throughout Stills, Gauntlet Hair shows off the versatility of its sound. With the basic ingredients of polished keys, thrumming bass, and a distinct lo-fi crackle, the duo manages to craft a plethora of unexpected melodies. The openings of “Spew” and “Simple” particularly exemplify just how far the band’s style can wander, and even within each of those tracks, the sound doesn’t stay the same for long. Gauntlet Hair is constantly shifting, constantly experimenting.

The hard-rocking “Heave” brings out the best Gauntlet Hair’s sound and boasts some of the richest moments on Stills. The effects-laden guitar is reminiscent of The Cure, but a hint of ‘90s grunge can be found in Andy Rauworth’s snarling vocals. Listening to “Heave” is basically like getting slapped in the face by the hand of righteous lo-fi noise.

Individually, almost every song on Stills is worthy of attention, but more work could go toward the album’s flow; as a whole, it tends to drag. Nonetheless, Gauntlet Hair is a group to listen to, and more importantly, a group to party with.

Gauntlet Hair – Stills tracklist:

  1. “Human Nature”
  2. “Spew”
  3. “Simple”
  4. “Bad Apple”
  5. “New To It”
  6. “Obey Me”
  7. “Heave”
  8. “G.I.D.”
  9. “Falling Out”
  10. “Waste Your Art”
Album-art-for-Lightscapes-by-Polarizer Polarizer – Lightscapes

★★★☆☆

Chicago’s own Polarizer has unleashed its debut recording, Lightscapes, an ambitious effort of guitar rock in a world of drum machines and MIDI keyboards. Standing at six songs and under 30 minutes, Lightscapes’ attempts to portray polar sonic landscapes falls short, but the work is a refreshing respite from most everything else in the blogosphere.

Singer Taylor Brennan, along with drummer Ben Ludwig and guitarist Ian Palmer, recruited bassist Stan Tencza for the project after initial recordings and conceptions came into fruition, all revolving around the idea of light and dark oppositions of sound and theme.

The album does not fulfill its promise of generating this dichotomy to an effective state; a more prevalent juxtaposition here is loud and soft (and all dark). Opening track “Wirewalker” is the only sonically “light” part of the album.

Despite its somewhat singular tone, Lightscapes does conjure some brilliant sections of musical clarity and rhythmic command.

The most impressive work comes from guitarist Ian Palmer, who shines through in the rhythmic breakdowns of “Portals” and “Monuments.” His driven, crunchy riffs play off the sonic tone that Polarizer is trying to achieve, and comes through quite effectively to bring the tastiest sections of the entire record.

In addition, singer Taylor Brennan brings an almost ethereal energy to Lightscapes. Tailored for post-rock and progressive rock, Brennan’s voice is powerful, yet able to jump behind its musical accompaniment when appropriate. Brennan brings a certain catchiness to tracks like “Back Down Brother” and “You & Your Tell.”

While still in its infancy as a group, Polarizer has shown with Lightscapes that there is much potential for growth and advancement. You can hear …And You Will Know us By the Trail of Dead-like expanses and even an aural determination akin to Baroness’ latest work. But without any palatable exploration of more diverse musical tones, Lightscapes serves as a plateau more than a launch pad for Polarizer.

There is no question though that this group can become a mainstay in the genre, and perhaps even make the jump into a more exposed light if it avoids stagnation.

In our current state of hyper-blogging, genre-jumping music landscapes, indie rock, hip hop, and dance reign supreme. There isn’t much love left for the sounds harvested by groups like Polarizer, with their prog/hard rock sensibilities.

Still, the group’s debut release is full of striking moments of musical mastery, and while Lightscapes isn’t completely effective in its foray through dichotomy, it can be appreciated as a satisfactory, even impressive product of the current state of guitar rock.

Disclaimer: Taylor Brennan is a freelance writer for Pop ‘stache. However, by assigning this review to the most recent writer to join our team, who was unaware of the connection, we hope to have eliminated any possibility of bias.

Polarizer – Lightscapes tracklist:

  1. “Wirewalker”
  2. “You & Your Tell”
  3. “Portals”
  4. “All The Lights Go Out At Once”
  5. “Back Down Brother”
  6. “Monuments”
Album-art-for-You're-Always-On-My-Mind-by-A-Great-Big-Pile-Of-Leaves A Great Big Pile of Leaves – You’re Always On My Mind

★★★★½

What is more enthralling, more uplifting, more fun than a great big pile of leaves? That’s right: nothing. Same goes for the amusing band by the same name that continually releases some of the most original, enrapturing music to ever grace the indie rock scene.

With a name as nostalgic and youthful as its music, A Great Big Pile of Leaves has managed to create what is by far the best summer album in a long time. It combines callow lyrics with pleasant melodies and instrumentals, making listeners sing along to songs about the joys of growing up. With You’re Always On My Mind, AGPOL has proven once again that it is one of the most consistent bands around.

AGBPOL has grown a lot since its first two EPs entitled The Fiery Works and The Fiery Works II and subsequent full-length Have You Seen My Prefrontal Cortex?, adding two new band members to the original duo and getting signed to Topshelf Records.

While changes have been made to the lineup and recording quality, the band’s buoyant sound is the same. In the same way that J Mascis of Dinosaur Jr. has a characteristic sound that’s immediately identifiable, AGBPOL has an authentic style that is all its own.

The band’s most defining quality is undoubtedly Pete Weiland’s unique voice, enormous range, and the layering of his high and low vocals. All of this, alongside the borderline math-rock, signature guitar style and fantastic drums make it one of the best bands of our era.

Beginning the album with cheery a capella and snapping, “Snack Attack” jumps in with the musical equivalent of a punch to the chest. This fast-paced, bouncy song goes strong until mellowing out halfway through with a beautiful breakdown. From here, it only gets louder and edgier as the song comes to a thumping, chaotic halt.

A majority of the songs on You’re Always On My Mind have the same uplifting feel, while still sounding full and developed. The album is happy-go-lucky, yet mature, like a old man looking back on his childhood. Covering topics from slumber parties, to late night swimming, to the inevitable “Where did the summer go?/I’m not ready for it to be over,” felt by every school kid at the end of their truncated vacations.

But while most of the album has the same quick, melodic guitars, there are some tracks that are more laid-back. “Ambiversion” deals with a teenager trying to fit in and impress a girl. The chorus “I get so extroverted/Only when no one is lookin’,” portrays an emotion many people have felt growing up. The lyrics are reminiscent of the relateable, self-deprecating awkwardness of Motion City Soundtrack’s Justin Pierre, whose vocals are featured in “Pet Mouse.” “Ambiversion” is a slow groove with a cool dual guitar solo toward the end, making it a standout track on the release.

The closing track, “Pizzanomics,” is an epic, charming homage to childhood and pizza.

Weiland shows off his higher range as he glides from note to note during the bridge after the last chorus, and the music is one big, beautiful mess toward the end as Weiland sings, “Playing loud at dawn/But not when they’re mowing the lawn.” It’s a perfect ending to this incredible sophomore LP.

You’re Always On My Mind is as unique as they come, as is the rest of AGBPOL’s material. No matter how hard you try, it’s nearly impossible to compare this group to any other. With a growing discography of instant classics behind it, A Great Big Pile Of Leaves is securing itself a top spot in the indie-rock scene.

A Great Big Pile of Leaves – You’re Always On My Mind tracklist:

  1. “Snack Attack”
  2. “Flying Fish”
  3. “Pet Mouse (feat. Justin Pierre)”
  4. Slumber Party”
  5. “Back To School”
  6. “Egocentrism”
  7. “Ambiversion”
  8. “Fun In The Sun”
  9. “Locus Of Control”
  10. “Pizzanomics”
Album-cover-for-The-Weight-Of-Your-Love-by-Editors Editors – The Weight Of Your Love

★★★☆☆

Summer is a time filled with new music marketed to keep the summer party going on; it’s all about keeping the good times rolling with your friends under the sun. Every party has a crasher, though. While many artists releasing albums in the summer harness people’s need for a power jam, Editors have to be those guys who damper the mood.

This is not to say Editors’ latest album, The Weight Of Your Love, is bad. It’s pretty alright, actually, though it does not stand well when compared to previously released records. It seems tainted by a fear in the air that the departure of lead guitarist Chris Urbanowicz has affected the band’s sound and left it hurting.

Right from the beginning, “The Weight” transports the listener to another world with forceful string lines and the eerie tinkering of a piano. It’s is the most vibrant track on the album, which is slightly disappointing, since it’s the first. It’s heavy and lush in composition, and no song by Editors could be anything but slightly melancholy and forlorn.

“A Ton of Love” repeats the same theme that every other song captures. At the third track, it’s already a little tired. The cherry on top, though, is the cry of, “Desire!” over and over again, as if Editors are really trying to say one thing with their album. It grates on the nerves a bit, and in the end, the song is rather un-creative instrumentally.

Maybe that’s something to consider with this album. The repetition, in its own way, drives home the point that you can’t escape the feeling of heartache so easily. It’s a stretch to say that’s what Editors intended, but if it were true, it would heighten the artistic value of the entire album tenfold.

No collection of achey-breaky songs would be complete without a little angst. “Hyena” is the ventilation duct of the album. The guitar saucily enters onto the scene, and its driving rhythm pushes the detectable spite in the lyrics a little harder into the heart of its target. “Two Hearted Spider” echoes this theme, but in a silky, sad way. The drum thumps vigilantly and consistently throughout the song. As the track climaxes, the pain felt is sincerely conveyed.

The final track, “Bird of Prey,” ushers the dreary compilation to an end. It sounds a lot like all the other songs on The Weight Of Your Love. A repetitive piano line, a repetitive drum beat, a sad sounding string section, and a drab, Tom Smith-like “oooh”-ing get old fast.

In the end, Editors does not appear to hurt by the “amicable” split from its lead guitarist and has retained its sound and composure in The Weight of Your Love.  However, nothing in the album truly sticks out. It would appear that the remaining members of Editors are trying much too hard to show that they are unshaken and are still the same, despite the change. The Weight Of Your Love isn’t bad per se, but it’s not memorable, either.

Editors – The Weight of Your Love tracklist:

  1. “The Weight”
  2. “Sugar”
  3. “A Ton of Love”
  4. “What Is This Thing Called Love”
  5. “Honesty”
  6. “Nothing”
  7. “Formaldehyde”
  8. “Hyena”
  9. “Two Hearted Spider”
  10. “The Phone Book”
  11. “Bird of Prey”
Album-art-for-The-Migration-by-Scale-the-Summit Scale the Summit – The Migration

★★★½☆

The “progressive” bands of yesteryear were the first to earn this title with their unconventional instrumentation, structures, and modes. That era marked the melding of the strict theory of classical music with the openness of psychedelic rock, and the result would forever affect rock and roll, whether in opposition or in honor of that.

Now, in the realms of progressive or tech-metal, attention is paid to the same details, but the result isn’t groundbreaking like the progressive royalty of King Crimson or Yes. The progressive music of today is synonymous with heavy metal, featuring endless solos and hyper-fast arpeggios which often come at the expense of true feeling (see: Dreamtheatre).

Scale the Summit may fall into these pitfalls, but holds all of these assumptions to the litmus test of authenticity with its latest LP The Migration. The album art for The Migration seems to pay homage to its progressive predecessors—it channels the style of psychedelic landscape art found on Yes albums. A series of giant grassy knolls are stepping out of a lush field and turning into hill-beasts, and it’s as if The Migration is about the journey of these grassy, tree-headed creatures.

The journey of The Migration fires off with “Odyssey.” A quick pace is always assumed from Scale the Summit, but on “Odyssey” and other tracks, the pace slows on a dime to bring out some groovier elements of the band’s style.

There are moments in previous albums where these changes seem pointedly chosen, and other times where riffs just seem slapped together. The Migration suffers much less from this, and Scale the Summit’s new expansive sound seems to be the cure.

The epic “Atlas Novus” brings out this diversity in calmer sections that touch on Post-Rock vibes with delay-soaked arpeggios and tapped-out riffs that don a pleasant modality. The carefully selected and placed phrases come close to the hectic moments of the band Explosions in the Sky.

Being an instrumental band, Scale the Summit has more room to show off, but it seems like it’s taken a page from vocalist-fronted bands on The Migration. Some sections are stripped down, repetitive, and thus catchy. “The Olive Tree” has simplistic, chorus-like sections that could be easily envisioned alongside heavy vocals and are welcome amidst the note-assault.

However, not every fast riff comes off as frenzied. Scale the Summits maturity has brought it many things, but most notably, it’s become a jam-band. Yes, it’s a strong label ripe with connotation, but Scale the Summit moves into these moments without stepping on any toes.

“Oracle” is a mixed up mash of righteous, jammy licks carried by groovy bass lines that are slapped up against thick-toned, face-melting heaviness. Bits and pieces of “Willow” and other songs are reminiscent of the styling and tone choice of progressive jam-band Umphreys McGee.

The revolutionary Axe-FX pre-amp is what makes these choices possible, and also what gives The Migration a glossy, over-produced sound. Aside from the purists, many guitarists use this all-in-one pre-amp to imitate amp and effect tones and thus avoid lugging around countless pedals and amps.

The Migration ends with the sound of a vinyl crackling through the speaker, and this isn’t because the recording is a vinyl rip. It’s a sonic nod to all the audio junkies who love pure analog sound, despite being conceptually in conflict with the band’s use of the wholly digital Axe-FX.

For Scale the Summit, the perfectly compressed tones of the Axe-FX allow the ultra-fast successive notes to come through clear, and its style translates even better because of this. The Migration front to back has a flawless feel, and Scale the Summit brings the facet of progress back to progressive metal, a genre which seems to be drying up in a heap of death-core and Symphony X albums.

Scale the Summit – The Migration tracklist:

  1. “Odyssey”
  2. “Atlas Novus”
  3. “The Olive Tree”
  4. “Narrow Salient”
  5. “Oracle”
  6. “Evergreen”
  7. “The Dark Horse”
  8. “Willow”
  9. “Sabrosa”
  10. “The Traveler”
Album-art-for-Trip-Trap-Attack-by-Beach-Day Beach Day – Trip Trap Attack

★★★½☆

Trip Trap Attack opens with a giggle and echoed percussion before the introduction of the remaining instrumentation and vocals. The debut album from Beach Day possesses a lo-fi, surfer-esque vibe reminiscent of a Californian summer night.

The trio from Florida consists of lead vocals/guitarist Kimmy Drake, vocals/bassist Nathalie Smallish, and drummer Skyler Black. Trip Trap Attack is enjoyable, and Beach Day’s classic surfer sound sets it apart from similar bands like Best Coast or Cults.

Drake has an unexpected and diverse voice that is combined with keyboards, tambourine, distinct drum beats, and a rockabilly guitar style. Beach Day produces a fun and unique sound that is particularly melodic.

The trio is strongly influenced by surf rock and girl garage rock from the 1960s, but updates the sound with more intricate instrumentation, making Trip Trap Attack quite engaging. About a third of the songs on the album include guitar solos that serve as intriguing breaks in the band’s jovial sound.

The album is only about 33 min long with 11 tracks, but each is captivating in its own way.

The tracks “Stay,” “Little Weird,” and “We’ve Gotta Go” each are exemplary of different aspects of Beach Day’s sound. “Stay” is very upbeat, features a keyboard, and has lyrics about love and relationships, a consistent theme of Trip Trap Attack. “Little Weird” starts just as quickly as it ends, with a running time of just under two minutes. The track’s peppy rhythms and hand claps make dancing seem like the only appropriate response.

“We’ve Gotta Go” is the closing track to Trip Trap Attack, and subtly stands out from the rest of the album. The vocals are deeper, and the guitar weighs down the track a little differently than some of the airier melodies. Beach Day dips into garage rock territory with this tune.

The lyrics throughout Trip Trap Attack are minimal, often repeating the same few lines over and over, with the exception of “Seventeen,” which tells a bit of a story.

At times, the simplicity is perfect, well suited to the style of the music, and makes logistical sense considering a song’s length; however, at times the album rests too heavily on being fun to have much substance.

“It’s a beach day, baby, and I’m coming to pick you up/I’ve got some change in my pocket and I’m coming to pick you up/I don’t care what we do/’cause we’ve got nothing to lose/Beach day, baby, and I’m coming to pick you up,” are an entire quarter of the lyrics of the appropriately titled track “Beach Day.” Even though the lyrics are minimal, they mesh well with the band’s instrumentation. 

Beach Day manages to produce a rich sound thick with vintage influences updated for a 2013 audience.

The album from start to finish is a slight time warp, but it flows smoothly from one track to the next.The youthful album instantly conjures imagery of being on a beach for a day in the sun. Trip Trap Attack is a solid debut for Beach Day. The tan lines may fade, but this album will last beyond the summer nights.

Beach Day – Trip Trap Attack tracklist:

  1. “Walking On The Streets”
  2. “Boys”
  3. “Beach Day”
  4. “Stay”
  5. “Seventeen”
  6. “Trip Trap Attack”
  7. “Little Weird”
  8. “Come Back To Me”
  9. “Wasting All My Time”
  10. “Am I The Only One”
  11. “We’ve Gotta Go”