Now It's On

Album Review: S. Carey "All We Grow"

Recorded during breaks from performing with Bon Iver, Sean Carey's solo debut (he records as S. Carey), is as lovely as anything you'll hear in 2010. Although Justin Vernon records most of the Bon Iver material in the studio on his own, Carey is an integral member of the touring band on drums and vocals. Here, he makes his case that he is as attention worthy as Vernon's studio efforts. 

"All We Grow" certainly compliments "For Emma, Forever Ago" musically. It's hard to imagine if you love Bon Iver's work, you won't love this as well. It may not have the whole 'locked away in a cabin, clearing his head through writing a deeply personal album' story going for it, but it is still a magnificent listen. 

Carey creates soundscapes using a lot of acoustic instrumentation, piano and wonderfully multi-tracked vocals, that often leave him backing up his main vocal until his voice is just enveloping you in its warmth. Opening track "Move" is exquisite as Carey's soft vocal carries the divine medley alongside the acoustic guitar backing. "We Fell" builds upon a driving piano line with Carey's main vocal interwoven with backing choruses of himself as well.

This is not a challenging listen by any means, but you need to give these songs time to build and breathe as they are not all structured like your standard radio fare. And this is a good thing when the music is as beautiful as it is on "All We Grow." Never is this more apparent than on the gorgeous "Mothers", with its sighing backing chorus and sparkling acoustics. This is the kind of music that can warm you up by itself on a cold winters night.

05 Mothers

Surprisingly, drums don't play a prominent role on this album. Many of the tracks are carried along by just a bass drum beat or simple pattern. The instrumental "Action" is a rare exception, a showcase for Carey's drumming, as well as one of the more electric tracks here.

The Bon Iver connection can't hurt, but even without it, this is an album worth your time and attention. Sean Carey has produced one of 2010's best debuts. You'll be haunted in a good way.

"All We Grow" was released in the U.S. August 24, 2010 on the Jagjaguwar label.

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Album Review: Duran Duran "All You Need Is Now" (Download Version)

You can call it the long lost follow-up to "Rio" or call it a throwback album, but make sure you call "All You Need Is Now" what it truly is. The best Duran Duran album since the 80's.

The last Duran Duran album I enjoyed from start to finish was 1988's "Big Thing", although it was quite a departure from the sound that made them famous, focusing on a lot of electronic and house music elements. But let's face it, the band has been searching to find their voice again for awhile now. Something even felt 'off' on 2004's "Astronaut", which reunited the original five member line-up for the first time on a full length album since 1983's "Seven And the Ragged Tiger". Though better than anything since "Big Thing", it was still missing that magic. Now four of the five original members, with the production help of Mark Ronson and remixing by Mark Stent, have created a better Duran Duran album than the original "Fab Five" were able to come up with six years ago.

Ronson has wanted this opportunity for awhile. A self-professed Duran fan since his childhood (no surprise when you listen to some of his work), he went into this project with the intention of making the follow-up to "Rio". The good thing is, he has pretty much done it, while adding enough contemporary sounds to keep this music sounding fresh, instead of sounding like a band attempting to recapture its glory days. 

You can draw a direct line to earlier songs from their catalog a number of times throughout, but again, when the music is this good, I'm OK with that. The dance beat of "Being Followed" calls up the 'Night Version' of "My Own Way", or even "Last Chance On The Stairway", with guitar licks from Dom Brown replacing Andy Taylor admirably, Nick Rhodes' atmospheric synth fills and John Taylor's bouncing bassline sounding straight out of 1982. It's impossible not to move to this track, and it is the epitome of what the band used to refer to as 'night music'. "Girl Panic" is another track in this vein, with Taylor's bass popping all over this rocking dance track. "Leave A Light On" may just be the band's best ballad since "Save A Prayer", and you can certainly hear elements of their chilly classic "The Chauffeur" on album closer "Before The Rain".

The title track, which opens the album, is schizophrenic in a good way. The verses have an off-kilter keyboard line with Simon Le Bon's vocals slightly distorted, sounding like something from their more forgettable mid to late-90's output. Then the chorus kicks in with that unmistakeable Duran Duran sound and the juxtaposition between the verses and chorus suddenly works.  

Every album has a stand-out track and I give the honors on this one to "The Man Who Stole A Leopard". Featuring echoed backing vocals from Kelis, it's the longest track here clocking in at over six minutes and it manages to sound both eerie and funky at the same time, with fantastic orchestral arrangements from Owen Pallett added to the mix. It's the crowning moment on an album that showcases Duran Duran's ability to mix dance, disco, pop and rock music into the sound that has now garnered this band, rightfully so, credit as an influential and groundbreaking act from the 80's. What may be the best thing about this whole project is, they sound like Duran Duran again (if you love "Rio" it seems impossible you would not love this), but still current and relevant.  

As good as "All You Need Is Now" is, the even better news is this is just a shortened download only version, available through iTunes. An expanded physical release is due in February of 2011 that will include three additional tracks. With Simon Le Bon sounding as good as ever, the welcome presence and beats of Roger Taylor back permanently behind the drums, John Taylor's bass work bouncing on every track, and Nick Rhodes' keyboard mastery, the more material that can come from this collaboration with Ronson the better.       

This download version of "All You Need Is Now" was released in the U.S December 21, 2010 via iTunes.

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Album Review: Tom McRae "The Alphabet of Hurricanes"

English singer/songwriter Tom McRae returns with another of 2010's best on his fifth full length, "The Alphabet Of Hurricanes". If you enjoyed Josh Ritter's fine "So Runs The World Away" this year, you'll find a kindred spirit in 'Hurricanes'. McRae has also toured with a number of other artists I've raved about here including Greg Laswell and Cary Brothers.

There are definitely a lot of folk influences in McRae's music, with plenty of acoustic instrumentation from guitar to banjo. Piano also plays a prominent role, especially on the album's six ballads highlighted by "Summer Of John Wayne", a sad but lovely admission that "nothing good lasts forever." 

04 Summer Of John Wayne

The emotional highlight here is "Out Of The Walls", an examination of inner demons. "Wake up love, think I've lost control, the shadows are on the march and I can't fight them all" McRae sings in this beautiful piano driven song. "American Spirit" and "Still Love You" are other standouts in the ballad department. 

It's not all melencholy though as McRae also delves into more upbeat pop/rock material, all coming from a folk base. "Please" is a smoldering march with an anthemic chorus, another of the album's highlights. The waltz "Won't Lie", as well as straight up folk of "Told My Troubles To the River" and "Me & Stetson", have much more bite in the vocal performances and are as strong as most of the ballads.

It also doesn't hurt that McRae is an ace songwriter and lyricist. He certainly deserves more of a following in the States. There are an overwhelming amount of artists in this genre out there, but rest assured McRae does not disappoint. It's well worth your time to take a listen to "The Alphabet Of Hurricanes".     

"The Alphabet Of Hurricanes" was released March 16, 2010 on the Cooking Vinyl label.

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Album Review: Corinne Bailey Rae "The Sea"

Tragedy often, fairly or unfairly, brings out the best in an artist. The greatest music comes from an emotional place, and when a musican opens themselves up to the world with a deeply personal work, it can scare away the casual listener, but mesmerize those looking for more than background noise from their music.

Few put out a more personal work in 2010 than British songstress Corinne Bailey Rae, whose "The Sea" is haunted by the 2008 death of her husband, fellow musician Jason Rae. What is even more amazing about this album is that a number of the songs that sound so deeply affected by such a tragic loss, were actually written before Rae's husband passed. They, of course, have taken on a whole different meaning in the wake of such a personal tragedy, and the album stunningly lays bare the pain Rae dealt with in the near two year hiatus after losing her loved one. 

One such track is the powerful title track which closes "The Sea". Written in 2007, Rae sings the prophetic words "Goodbye paradise" before closing with the spine chilling lines "The sea, the majestic sea, breaks everything, crushes everything, cleaned everything, takes everything from me."  

The ballad "I'd Do It All Again" is another such song. Written while her husband was still alive as a testament to their love, no matter the ups and downs of the relationship. Rae states she would do everything the same, a vow of complete commitment to the person she had chosen to marry.

Some of the feedback I've read online astounds me concerning this album, especially from the music buying public. Did you really expect another "Put Your Records On" in light of what has gone on in Rae's life in the last two years? Yes, this is a sad record, but at the same time beautiful and uplifting in its sadness. And there are plenty of musically upbeat moments. "The Blackest Lily" is the rockingest moment here, while the slinky, sexy funk of "Closer" is a true highlight.

But make no mistake, the jazzy, soulful ballads are where Rae makes her mark on "The Sea". The gorgeous "Love's On Its Way" builds from a quiet, acoustic based ballad into a full fledged, majestic finale as Rae touches on societal ills, then pleas for the saving grace of love to get to us all in time. "I Would Like To Call It Beauty" was written about her late husband, a song about finding beauty even in your worst times.    

Rae's vocal performance throughout this album is flawless. Subdued when she needs to be, naked and emotional at times, powerful and in complete control throughout. In this era of the disposable garbage that passes for R&B music, she is a true original and this is a must hear release.  A true gem.

"The Sea" was released in the U.S. January 26, 2010 on Capitol Records.

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Album Review: Four Tet "There Is Love In You"

Yes, "There Is Love In You" is considered an electronic album, but this is not really dance music. It is hard to pigeonhole Four Tet into a particular genre of electronic music to begin with. On his first studio album since 2005's "Everything Ecstatic", Kieran Hebden concocts a mix of ambient and techno, throws in the occasional hip-hop beat and adds plenty of live instrumentation in to make for an always interesting listen. 

There are danceable moments on the album, but the nine tracks that make up "There Is Love In You" go through movements and run the gamut of influences and genres within electronic music. If you're a fan of this type of music, it is far from a "difficult" listen, however.    

Opener "Angel Echoes" is an ethereal wonder, with chopped up vocal samples that appear to be repeating the album title at times. Or are they? Meanwhile a simple beat plods along while shiny keyboard sounds and bell effects chime in. The album's longest track, the over nine minute long "Love Cry" has a funky drum loop running throughout, while a sample of "Love Cry" repeats over the minimal techno track.

"Circling" is a soothing mix of keyboards, looped harp effects and ambient sounds to make up one of the more relaxing tracks on the album. "Plastic People" has a heavier, harder beat with a memorable keyboard line that repeats often enough to become ingrained in your head. 

The highlight here is "Sing", as close as you'll get to a legit dance-floor track here. Complete with another memorable synth line, sampled female vocals and a club friendly beat. This one reminds me of the techno the Electrifying Mojo would spin back in the day on Detroit radio that first endeared me to this form of music.    

One of the things I like best about Four Tet's music is the mixing of the electronic with live instrumentation, and the wide swath of the musical spectrum he draws from. If you've been looking for something different from the mainstream in the genre, check out "There Is Love In You". It may have flown under the radar a bit, but it's one of 2010's better electronic music releases.

"There Is Love In You" was released in the U.S. January 25, 2010 on Domino Records.

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Album Review: Fran Healy "Wreckorder"

With his band on hiatus, now was the perfect time for Travis front man Fran Healy to record that inevitable "debut solo album". And you should be glad he did because here we have another of 2010's best in "Wreckorder". It would be seemingly impossible for fans of Travis to not like Healy's solo work, but the good news here is this is not just another Travis album without their name attached to it. Healy makes sure to explore enough new ideas to differentiate "Wreckorder" from his band's material.

That is not to say there is nothing here that sounds like the new Travis single. "Holiday" is that mid-tempo ballad complete with a banjo led chorus that could have been a nice follow-up to "Sing". The acoustic guitar driven "Buttercups" has the type of richly melodic chorus that Healy has made his calling card with his band.

There is a relaxing moodiness to a lot of this material that separates it from Travis. Opener "In The Morning" starts with just a piano line and Healy's voice before strings, drums and bass join in, giving off just enough of an air of tension to contradict the sweet sounds at its center. "Anything" is the standout track on an album without any filler to speak of. Healy's tender falsetto wraps around an amazingly lovely chorus as strings and soft acoustic guitars set the scene musically. It's one of 2010's best ballads for sure.

"Wreckorder" also boasts a few big guest stars as well. Neko Case shines on the duet "Sing Me To Sleep", an almost hip-hop like beat carrying things along. And none other than Sir Paul McCartney lends his hand, providing bass on "As It Comes".

There truly isn't a bad song amongst the ten on "Wreckorder", and Healy continues his penchant for both intelligent lyrics and unforgettable melodies. Clocking in at just over 34 minutes, you're left wanting more, but fine with the album's length since it works from beginning to end so well. The softer vibe of much of this material makes this a perfect fall listen. I associate certain albums with the fall/winter season, just based on that sound, and this is a new one to add to that category. Pour a hot cup of tea, wrap yourself in your favorite blanket, throw on the headphones and let the warmth of "Wreckorder" envelope you. Highly recommended.   

"Wreckorder" was released in the U.S. October 5, 2010 on the Rykodisc label.

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Album Review: AM "Future Sons & Daughters"

Mixing many different styles of music, but with an obvious love affair of 60's and 70's pop music, AM delivers an eclectic, highly satisfying third album with "Future Sons & Daughters". 

The Tulsa born, New Orleans raised singer/songwriter brings a soulfulness to this music as well, inspired by the sounds and music he was exposed to in the Louisiana city he was brought up in. His music is quite the stew of mixed influences, but with one foot firmly entrenched in classic 60's and 70's pop. He's been rewarded with placement of his songs in numerous movies and television shows, another indie musician who was successfully used that route to gain exposure for his music. 

Highlights here include the country flavored "The Other Side", the psychedelic "It's Been So Long" and the mellow "Fortunate Family Tree", with its instantly catchy chorus. The slower moments also shine just as much, if not more. "Darker Days" calls to mind old school soul ballads of the past, with AM shifting to a falsetto for the chorus as strings weave in and out behind him. The sparse, acoustic "Leavenworth" and the lovely piano based closer "Endings Are Beginnings" are also amongst the album's strongest tracks.

Although I don't think "Future Sons & Daughters" will wind up in my Top Ten releases of the year, it's still another noteworthy 2010 release and worth your time to check out. AM's soulful, throwback spin on indie pop is a winning combination. 

"Future Songs & Daughters" was released in the U.S. February 9, 2010 on the Filter U.S. label.

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Album Review: Massive Attack "Heligoland"

Is a mediocre Massive Attack album better than not getting a new Massive Attack album at all? That is the question "Heligoland" raises as, make no mistake, this is a mediocre album, the bands worst at that.

Coming seven years after "100th Window", an album that divided critics and fans, I was expecting a lot more from "Heligoland". This is a much more laid back affair than previous efforts, but it is hard to believe this is the same act that recorded the masterpiece that was "Mezzanine", simply one of the greatest albums ever made in the electronic music realm. I personally thought "100th Window" was a fine follow-up, "Heligoland" is a much weaker album than even that. 

Not wanting to write a knee-jerk reaction when it was released back in February, I've given this album eight months to settle in and it still leaves me cold. The aggressive beats of the past are gone, most of the songs just seem to drone on and on with little happening within them. It is one thing to call the music "difficult", it's another when it is as lifeless and bland as much of this album. Tracks like "Saturday Come Slow" featuring Damon Albarn and "Babel" featuring former Tricky vocal foil Martina Topley-Bird, sound like unfinished ideas or leftovers that never would have passed quality control on past works. "Pray For Rain" featuring Tunde Adabimbe of TV On The Radio is the worst offender, a near seven minute dull drone of boredom that goes nowhere and opens the album with a dramatic thud.

I've never been a huge fan of albums that feature numerous guest vocalists on each track. It is hard to maintain any level of cohesiveness and "Heligoland" suffers here as well. Hope Sandoval (Mazzy Star) delivers the best track of the guests here, the deviously soothing "Paradise Circus". The song keeps just enough tension beneath its surface to leave a feeling of unease, despite the lovely strings and piano line. It's not just the best guest spot, it is the high point of the album.

Things work better when the members of Massive Attack themselves stay out front. Robert Del Naja (aka 3D) takes the lead on the menacing "Rush Minute" as well as album closer "Atlas Air", while he shares vocal duties with Daddy G (Grant Marshall) and long-time collaborator Horace Andy on "Splitting The Atom". Horace Andy's driving "Girl I Love You" is another track that works, proving things would have been much better here had the band not handed so much over to guest vocalists.

Here's hoping there is something left in the tank for Massive Attack. They've produced too much great music to completely write them off. But I can't objectively look at "Heligoland" any other way than as one of 2010's most disappointing releases.   

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Album Review: Cary Brothers "Under Control"

I've been listening to and reviewing a lot of singer/songwriter, melodic pop material lately. Although not as impressive as 2010 releases from Greg Laswell or Andrew Belle, you can add the latest from Cary Brothers to the list of solid 2010 albums in this genre.

Brothers was one of the artists at the forefront of gettting his music exposed through television and movie placement. His most well known track, "Blue Eyes" was featured in the movie "Garden State", and actor Zach Braff has championed Brothers' music, both on the television show "Scrubs" and in other films he has done. There's little doubt a number of songs on "Under Control" are headed for similar placement as Brothers specializes in the kind of moody, yet melodic, pop that shows such as Grey's Anatomy feast on.

Album opener "Ghost Town" is one such song, as a dark piano line leads into an impassioned chorus. Slower ballads like "Ghost Town" are the name of the game here as six of the ten tracks that make-up "Under Control" fall under this category. The best of these are the heartbreaking "Alien", a tale of two people drifting apart, and the album closer, the acoustic, emotional vocal performance of "Can't Take My Eyes Off You."

Brothers doesn't stray too far from slower to mid-tempo tracks, but songs such as Belong" and "Over And Out" move into more of a rock direction, without losing the sense of melody prevalent on his ballads. There's no sense trying to make it more than it is, however. This is slower tempoed pop music, ripe for television and movie soundtracks that will appeal to a certain segment of people. If you find this type of music too "safe", "Under Control" isn't for you. If you like a strong voice, nice melodies and dramatic ballads, you'll love the music of Cary Brothers.    

"Under Control" was released in the U.S April 6, 2010 on Procrastination Music

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Album Review: Groove Armada "Black Light"

Three years after their last release, Groove Armada return with a vengeance on "Black Light". The duo of Tom Findlay and Andy Cato have produced an unabashed love letter to 80's synth-based dance music, while mixing in some of the rock elements they have explored in the past. I'm hearing influences from the likes of Depeche Mode, Gary Numan, Yaz and New Order all over this album.

Even though they both share the same tracks, for some reason the U.S. version of "Black Light" has a completely different track order from the version released in England. Still haven't made up my mind if one running order makes more sense than the other, but the U.S. version works fine for me. They come right out of the gate with the buzz saw of "Warsaw", the first of four tracks featuring Nick Littlemore (of Pnau and Empire Of the Sun) on vocals. Littlemore saves his best for "Cards To Your Heart", with a near rap during the sparse verses, before the song swells into a blissed out, euphoric chorus.

Will Young is featured on the album's best track, the disco flavored "History". The effects on Young's vocals, especially during the chorus, turn him into a reverbed disco diva. It's a stunningly killer dance song. Check out this live performance from the Jonathan Ross Show on BBC1 for evidence.

Jess Larrabee from Brooklyn based rock duo She Keeps Bees is featured on another highlight of the album, the guitar heavy "Look Me In The Eye Sister", a convincing mix of rock and dance styles. New vocalist SaintSaviour is featured on three tracks, with the soulful performance on "Time & Space" standing out the most.

Surprisingly, one of the duller tracks on the album is the collaboration with the legendary Bryan Ferry, "Shameless". The pulsing track is one of the more subdued songs on the album and it never really goes anywhere. This still can't take away from one of the better dance albums I've heard this year. If you want a darker take on classic 80's dance music, "Black Light" is the album for you.

"Black Light" was released in the U.S. March 2, 2010 on OM Records.

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