Moroni's Review of The Civil Wars' "The Civil Wars"

The Civil Wars

Before I review this album, I have to say that - as a genre - I generally dislike country music.  There are certain artists that I do really like, and, once every few blue moons, I will put it on the country station for a few days until it starts grating on my nerves.  So when I say "country", I should clarify that I am talking about what country music has become today - glitzy, formulaic, and carefully marketed.  What I mean is that the music industry gets songwriters to pump out songs with cookie cutters.  All you get is the cookies, and then someone puts a different color frosting and sprinkles on it to make it distinct.  In other words, you can easily convert a song to a R&B song for Mariah Carey, or a power rock jam for Nickelback.  Add a few twangy steel guitars, and suddenly it's a hit for Carey Underwood.  No, I don't like that kind of generic quality added to music, and I never have.

But the old-time country...  That is a different story.  That is the kind of music that dad listened to, and it's the kind of music I grew up listening to.  Conway Twitty.  Merle Haggard.  Waylon Jennings.  Willie Nelson.  And if I listen to modern country, it has that "old" quality about it.  My collection includes Alan Jackson, Collin Raye, Garth Brooks, George Strait, and maybe some Martina McBride.  That's about it.  I really don't like about three quarters of the stuff I hear on the radio.

When the bluegrass new wave started over ten years ago, I ate that up.  That was about as "old-time" as you could get - Alison Krauss and Nickel Creek.

The first time I heard The Civil Wars, I included them in this exploration of certain artists in Nashville into our reliquary of musical past - a mash-up of Appalachian bluegrass, Delta blues, old school country, and folk music.  This is all-out Americana.  I hope when people think of "American music" that they think of something like The Civil Wars.  This is stuff that our roots are made of.

I have followed this band from the beginning when I first saw their video on VH1 one early morning from a hotel room as I got dressed.  Then later, I heard that some creative disputes had popped up, and the band had divorced, so to speak.  Suddenly, they are back and have an eponymous, sophomore effort out.  (Man, I can't believe I got to use those words in the same sentence!)

This album speaks to my heart.  It is minimalist, often with not much more than Joy Williams's sweet voice and a banjo or acoustic guitar.  The record kicks off with the regretful "The One Got Away", accented with a mandolin and steel guitar.  John Paul White takes over on the next piece, "I Had Me a Girl", a sultry blues piece with a slippery electric guitar.  Some songs sound like they really hail back the times of the Civil War, like "Devil's Backbone".  There are bluegrass ditties like "From This Valley".  My favorite songs are the soft songs that are almost whispers - "Tell Mama", "Disarm", and "D'Arline".  In "Sacred Heart", Williams sings in French, reminding us that our nation has never been an English-only culture.  My absolute favorite song is "Eavesdrop" - sheer sweetness.

The Civil Wars are a celebration of our rich culture.  They are what country music is really about - no twang, but real southern comfort.  Give this album a listen.

Moroni's Review of Phantogram's "Phantogram" EP

Phantogram

This duo from upstate New York describes themselves as "street beat, psych pop".  I think this description of Phantogram's music is very apt.  Even before I knew that this is how they described themselves, I thought that there was a sense of duality to their sound.  On the bottom layer, they have a driving rhythm and synth bass.  The top layer is filled with ambient noises and celestial keyboards.  All of this is threaded with Sara Barthel's airy voice.

This band is relatively new to the scene with only a couple of albums and a handful of EPs.  This self-titled EP is a bit confusing, because it is not their first EP to be self-titled.  The EP starts out with "Black Out Days", an angst-driven piece with breathy wails pummeled by electronic beats.  My favorite song is the second track, "Never Going Home", sung by Josh Carter.  The intro reminds me quite a bit of "In the Air Tonight" by Phil Collins.  He sings:

If this is love, I'm never going home

And the guitars swirl like a Cocteau Twins song.

The next song, "The Day You Died" has a New Order dance vibe that is unmistakable.  The EP closes out with the marching cadence of "Celebrating Nothing".

This EP was a good way for me to be introduced to the work of this group.  They have a new album coming out next year.  I will anticipate it warmly, eager to see what an entire set by these guys is like.

Moroni's Review of Au Revoir Simone's "Move In Spectrums"

Au Revoir Simone

Au Revoir Simone was immediately awesome for me for a few reasons.  As I did research for this band, I discovered that their name is derived from a line from the movie "Pee Wee's Big Adventure", which is one of my favorite movies, and certainly my favorite Tim Burton movie.  Next, David Lynch is a big fan and had the band play at one of his art exhibits.  And that makes total sense, because their music has a dreamy, atmospheric quality to it, just like Lynch's films.

"Move in Spectrums" is this Brooklyn trio's fourth album, and yet this is the first I have heard of them.  Their music is characterized by breathy, soft vocals and mostly synthesizers.  How do I feel about this album?  I started listening to it last night, and I could not put it down.  When it came time to go to bed, I put on the headphones and kept listening to it.  I woke up in the middle of the night with the music on repeat, still playing.

The album starts out with the moody "More Than", a sparse drum beat and bass keyboard and an almost inaudible and haunting keyboard in the background.  Her vocals are deep, almost like a Joy Division or Jesus & Mary Chain song.  Then the synth rhythm starts.  This is dark wave at its best.

There are a few ambient songs that are great - "We Both Know", "Boiling Point", and "Hand Over Hand".  Simple, emotive, and stripped down, these songs will carry you in an effervescent crest of noise.  There are also some bouncy pop emeralds like "Crazy" and "Graviton".  My favorite songs is "Just Like a Tree" with its tinny drum machine, staccato keyboards and layered vocals.

What was I feeling as I listened to this in the middle of the night?  Nostalgia.  Strange for a band I had never heard before yesterday.  This record is already one of my favorites.

Moroni's Review of Hollywood Undead's "Notes From the Underground"

Hollywood Undead

Okay, there is not much that is too terribly original about this band.  They definitely take a page from Linkin Park, before that band veered off into experimental trip hop.  They wear masks a la Slipknot.  Regardless, these guys frickin' rock.  They are my flavor of the week.  I can't stop listening to this album.  I wake up in the middle of the night singing these songs.

Before I was introduced to these guys by Jason McDonald, my body-burning, gator-wrestling friend in Colorado, I had only heard a couple of songs by these guys.  Jason suggested that I take a break from reviewing indie bands and steered me in the direction of Hollywood Undead's third album, "Notes from the Underground".

First of all, any band who gives homage to Dostoyevsky in their album title is going to get my attention.

Next, this is an easy album to listen to.  None of this "after a few listens it grows on you" stuff.  I was jamming from the first scary tones of "Dead Bite", the hard-hitting opening track.  In our modern day, where internet and technology have brought cultures crashing together and created things like "fusion cuisine", is it so wrong that a band has such an eclectic sound?  Hollywood Undead has definitely brought an amalgamation of sounds together on this record.  There are hip hop, metalcore, electronic dance music, screamo, and dubstep, all mashed together in a bucket to create a monster of a good album.  There is even a harpsichord in "Believe", one of my favorite tunes.

Their strong point is that this band is an equal opportunity crew.  Everyone gets turn on the mic to MC.  What is amazing is that all of the members also play their instruments as they rap.  All of the band members have monikers.  I am not going to even try to try to figure out who is rapping on what song, but I have to say - whoever the guy with the falsetto voice is, he has a lovely voice as evidenced in "Lion", "Rain", and "One More Bottle".  The latter song is one of my favorite songs, definitely a drinking song.

My favorite tracks also include the rousing anthem "We Are", the pounding beat of "From the Ground", and the wobble bass of "Another Way Out".

So if you are looking for something new, something catchy definitely check out this release.  It still has me bouncing.  This is a fun, energetic record.  I don't know when my next review will be, because I am not putting this album away for a while.  Thanks, Jason.

Moroni's Review of Arcade Fire's "Reflektor"

Arcade Fire

2013 is not even over, and yet I already believe that "Reflektor" by Arcade Fire is the best album of the year.  Allow me to explain why.

NME recently posted the 500 Greatest Albums of All Time, and many people were surprised to see The Smiths at the number 1 spot, beating out acts like The Beatles.  It caused me to reflect on The Smiths.  Practically everyone knows who they are now.  Everyone acknowledges what an influence they have had, even getting shout-outs in movies like "(500) Days of Summer" and "The Perks of Being a Wallflower".  And yet in the midst of the '80s, they didn't make as much of an impact on mainstream music as they have today.  Sure, The Smiths became the darlings of the alternative crowd by the late '80s, but in 1985 - when my friend Melisa lent my a vinyl copy of their eponymous first release - in the day of Michael Jackson and Madonna, no one would imagine that, 28 years later, "The Queen Is Dead" would be considered Greatest Album of All Time.  The Smiths were not considered quintessential '80s in the '80s, but they sure are now.

As I first listened to the fourth album by Arcade Fire, I wondered - in this day and age of Katy Perry, Rihanna, and Jay-Z - what will be considered the music that defines our era 28 years from now?  Will it be what's on the Top 40 radio?  Or will it be bands like Arcade Fire?

And then I read articles that indicate that "Reflektor" is currently #1 on the Billboard Album Charts, beating out Katy Perry's new album.  (This is the second #1 album I have reviewed in two months.)  Which is amazing, because they are essentially still an indie band, even with a Grammy under their belt (for 2010's "The Suburbs").

Arcade Fire is a band that I have followed since the beginning.  Both "Funeral" and "Neon Bible" are two of my favorite albums ever.  ("The Suburbs", not so much.)  This time Arcade Fire gets to exercise their expression through a sprawling double album.

Yes, Arcade Fire can be annoying sometimes.  At times, they seem self-important and puffed up, because they are "art".  But there is no denying that they are pure genius when it comes to crafting songs.  Some of the songs on the new album are like that - they are weird and start out annoying, but then they do what they do best - the add layer upon layer to the song until you perk up and are forced to ask, "What is this?"  Even the most irritating songs eventually grow on you.

The album starts out perfectly with the title track, "Reflecktor", a bouncy disco piece that has so many dimensions that one can spend hours analyzing it with headphones, right down to the background vocals by none other than the Thin White Duke himself, David Bowie.  The song is followed by "We Exist", with its "Billie Jean" beat.  In "Flashbulb Eyes" and "Here Comes the Night", Regine Chassagne's Haitian roots seem  to emerge in the carnivale/ reggaeton rhythms that are prevalent.

"Normal Person" - one of my favorite tracks - is uncharacteristically hard for an Arcade Fire song, kind of with a T-Rex vibe.  The vibe in "You Already Know" is definitely dance hall, and "Joan of Arc" has a glam feel.  But these descriptions are superficial at best.  Even though they might pay homage to older styles of music, they make it theirs by adding a sense of atmosphere and elegance.  This is true with "Here Comes the Night II", "It's Never Over (Hey Orpheus)", "Porno", and "Afterlife" (another favorite).  The album finishes our with a glowing ambient piece called "Supersymmetry".

When I personally rate albums, I ask myself two questions:

1)  Are all of the songs on the album good?
2)  Do I want to listen to it over and over?

The answer is yes, and yes.

This album is definitely one of the best of 2013.  And who knows?  Maybe in three decades, it will rank as the best album of all time.  I would not be surprised.

Moroni's Review of Chvrches' "The Bones of What You Believe"

Chvrches

Before Chvrches' debut album - "The Bones of What You Believe" came out, it seemed that this Scottish trio was ubiquitous on Sirius Radio.  I rarely imbibe in satellite radio, but it seemed that they were on every time I turned it on.  So I resolved to check them out as soon as their debut release came out.  Admittedly, it took me a long time to get into this album - a long time.  Although it is no fault of their own.

It seems like the musical landscape is filled with electronic music, and it seems that most of my downloads (and reviews) have comprised of '80s-flavored synthpop.  This band was no exception.  In a time when I am craving some old-time rock-n-roll, here was another synthesizer-heavy band, emulating Yaz or Erasure.  I had to put it aside for a couple of weeks.

When I came back to it, though, it spoke to me.  These are scintillating, opalescent little pop songs as fragile as bubbles ready to burst.  Lauren Mayberry's voice is sweet and flits like a stream of butterflies to the bouncy rhythms.  Her voice reminds me of Harriet Wheeler from The Sundays, or Caroline Crawley from Shelleyan Orphan.

The main singles - "The Mother We Share", "Gun", and "Lies" are perfect example of this bands' well-honed attempts at pop music.  But you have to delve deeper to get at the heart of what this group is about.  There is the Depeche Mode-ish pulse of songs like "We Sink" and "Night Sky".  My favorites are the wistful "Recover" and the frantic "Science/ Visions".  My absolute favorite song is the final track - "You Caught the Light" - with it's languid shoegaze pace with Martin Doherty doing his best Ian Curtis.  What a great way to end an album.

This album is a jewel.  It may have taken a long time for me to "get" it, and I am looking forward to what these guys do next.  Please check it out!

Moroni's Review of Pixies' "EP1"

Pixies

Anyone who knows me knows that the Pixies are one of my favorite bands ever.  To me, 1989's "Doolittle" is the best rock album ever, as I talked about here.  Last weekend, on my first karaoke experience ever, my wife suggested that I sing a Pixies song, and I did a rousing rendition of "Monkey Gone To Heaven."  I was heartbroken when they broke up in 1991 and thrilled when they reunited in 2003.

However, their reunion was mainly to tour.  They really didn't produce any new music - until now.  2013 has been an interesting year for the Pixies.  Earlier this year, they released a new single - "Bagboy" - on their website.  It was such a relief to me to hear the Pixies back in their form.  Sadly, this year, bassist and vocalist Kim Deal left the band.  She has been replaced by Kim Shattuck, who is quite good, but I was sad to see the band's performance last month on Jimmy Fallon without Kim Deal.

Last month, Pixies released their first new music in 22 years - the simply-named "EP1", which hints that other EPs are to follow.  This is a very exciting deal to me.

Of course, nothing is going to ever match up to "Doolittle".  But it is nice to see the Pixies back in form.  The songs remind me quite a bit of a lot of the music that Frank Black (aka Black Francis) released during his solo years.  The album starts out with a little space oddity called "Andro Queen".  The song is followed by "Another Toe in the Ocean", which continues their penchant for surf music.  The EP concludes with "What Goes Boom", a hard rocking tune with Francis's trademark roar.  It is offset with a melodic chorus.

The centerpiece of the EP is "Indy Cindy", as good as anything the Pixies have ever done - psychedelic lyrics spat out with sarcasm and a sweet chorus.

It is great to see the Pixies back, and I hope to see more new music from them in the future.