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The Best Albums Of 2011: Part Three (10-1)

#10 - Jeremy Larson "They Reappear" (Released 3/15/11)

Jeremy Larson's third full length is a stunning achievement. A song cycle through life, love and loss that Larson wrote, produced and played most everything on, including those strings that sound like a full orchestra backing him. Nope, that is Larson meticulously recording every string part himself and building an orchestra of one. A simply beautiful album and his best. My full review is here.

#9 - Duran Duran "All You Need Is Now" (Released 3/22/11)

Mark Ronson helped Duran Duran sound like Duran Duran again with the comeback album of the year.This is what the follow-up to "Rio" should have sounded like and to get that album in 2011 was a thrill. The classic Duran Duran sound, yet sounding fresh and current at the same time. How wonderful to have these pop music legends back and relevant again. My full review is here.

#8 - Bell X1 "Bloodless Coup" (Released 4/12/11)

The biggest band in Ireland not named U2 came through with their best album yet with "Bloodless Coup". Filled with swooning ballads, electronic influenced pop and rock and Paul Noonan's continued lyrical mastery, Bell X1 expanded their sound and delivered the goods yet again. My full review is here.

#7 - Adele "21" (Released 2/22/11)

Let me play music snob for a minute. I reviewed this album about a month before it was released and turned Adele into the biggest music star of the year. I knew this album was going to be big, but even I didn't expect Adele to become such a star I'd actually start to get sick of hearing some of these songs. But it is nice to see a true talent selling millions of records and dominating radio for once, and long after the hype has died down this will still be a great album. And I'll still never forget seeing her live this year in a small theater because it'll probably be the only time she plays somewhere like that locally again. My full review is here.

#6 - Radical Face "The Family Tree: The Roots" (Released 10/4/11)

This one came out later in the year, but I knew from the first listen this was bound to be one of my favorite albums of the year. Ben Cooper returned under his Radical Face pseudonym with another folk/pop masterpiece. Chock full of melodic acoustic and piano based music, this is a compelling listen from start to finish.

#5 - James Vincent McMorrow "Early In The Morning" (Released 1/25/11)

More great music coming out of Ireland, this time of the folk/pop variety. With his mesmerizing voice, James Vincent McMorrow is in complete command of his craft on his debut album. Spectacular all the way through and one to watch for years to come. My full review is here.

#4 - Active Child "You Are All I See" (Released 8/23/11)

New Jersey's Pat Grossi created an album that haunted me upon first listen. His angelic falsetto soars over a mix of 80's synth pop, his ethereal harp lines, various current day electronic genres and classical and ambient touches. The heartbreaking "Hanging On" is what led me to check this album out and I was floored all the way to the end with the knockout punch coming in the form of the icy cool gorgeousness of "Johnny Belinda". Stunning. My full review is here.

#3 - Bon Iver "Bon Iver" (Released 6/21/11)

Justin Vernon avoided the sophomore slump with a better album than his debut, opening up Bon Iver to a more collaborative effort in the studio. A warm, masterful work and I've yet to find a more gorgeous song released in 2011 than "Holocene". My full review is here.

#2 - Dolorean "The Unfazed" (Released 1/18/11)

One of the first 2011 releases I checked out back in January and it never let go of its hold on me. The Portland, Oregon band led by Al James draws from folk, country and rock influences and "The Unfazed" is their masterpiece. An exploration of the end of a relationship that is both deeply personal and highly relatable, by the end of the album hope is restored by the wonderment of falling in love again on "How Is It". My full review is here.

#1 - The Envy Corps "It Culls You" (Released 8/26/11)

The Envy Corps have started selling a tongue in cheek t-shirt declaring themselves 'Radiohead for Coldplay fans'. Yes it's funny, and somewhat true, but "It Culls You" is also better than the 2011 releases from either of those bands. Luke Pettipoole leads the way with crunching bass work on this scintillating album that delves into funky grooves while still firmly entrenched in the melodic indie pop/rock world the band excels in. "Give It (All) Up" and "In The Summer" lead a fine group of ballads contained here as well. "It Culls You" staggered me on first listen and continues to with its brilliance. My full review is here.    

The Best Albums Of 2011: Part Two (20-11)

#20 - Thirteen Senses "Crystal Sounds" (Released in the UK 2/21/11)

Released as a download only in the U.S., Thirteen Senses excel in spacey rock with a pop sensibility. Swooning melodies and choruses intertwine with dreamy strings and orchestral movements to make for a compelling listen. My full review is here.

#19 - Hey Rosetta! "Seeds" (Released 2/15/11)

Released as a download only in the U.S., "Seeds" will see a full re-release in February 2012 now that Hey Rosetta! have been signed to ATO Records. This Canadian powerhouse could not be more deserving. Known as a can't miss live band, which I can confirm after having the honor of seeing them perform at the DIY Festival in Ferndale this past fall, Hey Rosetta! produced another gem in "Seeds". Majestic and moving orchestral and chamber pop that hopefully reaches a wide audience in the States this year. My full review is here.

#18 - Death Cab For Cutie "Codes And Keys" (Released 5/31/11) 

Far superior to 2008's "Narrow Stairs", Death Cab came back with a release that shines from start to finish. An album alive with what the band does best, with "Home Is A Fire" the highlight. My full review is here.

#17 - The Original 7ven "Condensate" (Released 10/18/11)

The Time returned 21 years after their last studio album with a new name thanks to Prince, but all seven original members. And they silenced any doubters with a fun, funky slice of the Minneapolis Sound. You'd be hard pressed to find a better funk/R&B album released in 2011. The reunion may be short-lived however with Jesse Johnson apparently having left the band. It'll be a shame if this good of a comeback is wasted. My full review is here.

#16 - Matthew Ryan "I Recall Standing As Though Nothing Could Fall" (Released 6/22/11)

Plain and simply one of the best songwriters working today, Matthew Ryan followed up the brilliant "Dear Lover" with another essential album. This time tackling many of the world's ills, Ryan delivers music that moves, inspires, questions and calls you to act. My full review is here.

#15 - Moby "Destroyed" (Released 5/17/11)

Moby picked up where "Wait For Me" left off with another album of beautiful, downbeat electronic, but this time there were also enough covert beats and harder edged tracks to lighten things up just a bit. Moby seems to be at a place, far enough removed from the insanity that was "Play", where he knows what he does best, and he delivered it again on "Destroyed". My full review is here.

#14 - The Lonely Forest "Arrows" (Released 3/22/11)

The Lonely Forest made their major label debut and put out one of 2011's best rock albums. Think of them as a harder edged Death Cab For Cutie, and it's no surprise they were the first signing to Death Cab member Chris Walla's record label. "Arrows" hits hard. My full review is here.

#13 - Beastie Boys "Hot Sauce Committee Part Two" (Released 5/3/11)

I grew up loving hip-hop in the days of Public Enemy, Ice Cube, Ice-T and so many others, but the genre has long passed me by. How nice it was then to have a hip-hop album in 2011 that took me back to those great days of old. The Beastie Boys are legends and this album is funky, packed with nasty grooves and beats and masterfully produced.

#12 - The Juliets "Perfect Season" (Released 11/5/11)

Jeremy Freer cements his reputation as one of the finest composers in Michigan and The Juliets take the crown as the finest pop band coming out of the state right now. This is sheer mastery of pop music with classical and baroque influences. Electric guitar based songs play a bigger role this time around, but Freer also delivers his two finest ballads to date in the title track and the stunning "Ad-Lib". My full review is here.

#11 - Other Lives "Tamer Animals" (Released 5/10/11)

After opening for Bon Iver in 2011, Oklahoma's Other Lives are set to open for Radiohead during their upcoming 2012 U.S. tour. It's well deserved exposure for a band that is now near the top in the indie world at delivering gorgeous, cinematic folk/rock. Swelling strings, twinkling piano, it's all here and it is not to be missed.      

The Best Albums Of 2011: Part One (30-21)

I know I'm a little late to the game with this, but better late than never. There were plenty of excellent releases in 2011 that I'd be remiss if I did not do some type of year-end wrap-up of my favorites. There are certainly albums I never got around to that would likely replace some on this list, but you have to close the book some time and since 2012 is already here, that time is now. So what follows are my thirty favorite albums of 2011, broken into three easily digestible posts.

#30 - The Boxer Rebellion "The Cold Still" (Released 3/29/11)

With a title that befits the music contained on the album, the Boxer Rebellion's third full length is finely crafted, melancholic rock. My full review can be found here. 

#29 - The Dears "Degeneration Street" (Released 2/15/11)

Sometimes melodramatic, sometimes over the top, but never dull, Montreal's The Dears returned with their fifth album, one of many impressive indie rock releases that came out of Canada in 2011. My full review is here. 

#28 - The Cars "Move Like This" (Released 5/10/11)

I certainly wasn't expecting a new Cars album in 2011, or that it would turn out as good as "Move Like This" did. Fourteen years after their last studio album, Ric Ocasek and the boys, minus the late Benjamin Orr, returned with what they do best. An album of vintage Cars material. 

#27 - Young The Giant "Young The Giant" (Released 1/25/11)

This multicultural rock band from California broke out in a big way in 2011. Mixing numerous styles into their rock based music, they've connected with a lot of listeners and are poised for an even bigger 2012. Yes, there is more original music being made, but I sure as hell still can't shake the likes of "My Body", "I Got" and "Cough Syrup". My full review is here.

#26 - Explosions In The Sky "Take Care, Take Care, Take Care" (Released 4/26/11)

The post-rock legends from Austin, Texas added another emotionally resonating full length to their catalog. "Let Me Back In" is among the greatest songs they've recorded and it was a thrill to finally get to see the quartet live in 2011.

#25 - Bear Lake "If You Were Me" (Released 5/21/11)

There is so much great music coming out of the Detroit area and the Rochester based band Bear Lake is a strong contributor to that trend. "If You Were Me" continues their streak of accessible but still challenging rock and pop with strong electronic undercurrents. It's no surprise then that Bear Lake's music continues to pop up on national TV shows. This is also a band not to be missed live.

#24 - Mogwai "Hardcore Will Never Die, But You Will" (Released 2/15/11)

My favorite album title of 2011 by far, and yet another great record from the Scottish post-rock masters. Loud, yet melodic, instrumental rock music and the band mixed more electronics than normal into their sonic attack. My full review is here.

#23 - Charlie Simpson "Young Pilgrim" (Released in the UK 8/15/11)

I'll hold out hope for a 2012 U.S. release of this one, an album dominated by warm harmonies and melodies that stick in your brain. Acoustic based pop at its finest. My full review is here.

#22 - Dale Earnhardt Jr. Jr. "It's A Corporate World" (Released 6/7/11)

The leaders of two of my favorite Detroit based bands combined to form a dynamic pop duo that got them signed to a major label deal with Warner Bros., touring the country relentlessly and generating the most buzz of any Detroit band since possibly the White Stripes. They'll make their first national television appearance on Conan in late January and show no signs of stopping in 2012. My full review is here.

#21 - My Morning Jacket "Circuital" (Released 5/31/11)

Still the best live band on the planet for my money, a fact I saw confirmed again this year, My Morning Jacket returned to some of their earlier influences and sounds this time around after the eclectic "Evil Urges". This album did not resonate with me at first, but over time it revealed itself as yet another solid effort from Yim Yames and company.     

Album Review: The Juliets "Perfect Season"

I've been hooked on the music of The Juliets since the first time I saw them live in 2009. Their self titled debut album was one of my Top Five albums of last year and they are back with the follow-up, "Perfect Season". So, did they avoid the dreaded sophomore slump that derails so many bands? Absolutely, and then some.

"Perfect Season" continues The Juliets' mastery of pop music with a twist of baroque and classical. Jeremy Freer continues his uncanny ability to compose top notch songs with all the melodies and hooks your ears desire. It's a gift he puts to good use across all twelve of the tracks on the new album. The duo of Kaylan Mitchell on cello and Sarah Myers on violin still serve as the heart of The Juliets unique sound. Their strings do not serve as filler, they are at the forefront of each song, as important to the band's music as  typical pop-rock instruments like guitar, bass and drums. Speaking of bass and drums, Ashton Hopkins and Jaclyn Phillips round out the lineup this time, making their debut on record with the band.

Produced by the band along with Dave Feeny, "Perfect Season" definitely has a more polished sound than their debut. Also instantly noticeable is the prominent role electric guitar plays on a number of songs. Piano is usually Freer's instrument of choice, and it is utilized often here, but tracks like the driving "Heart In Heart", "Why Should I?", and first single "Loon" are propelled by Freer on electric guitar, as opposed to the acoustic that was used on their debut. Regardless of what his instrument of choice is on any song, Freer has an instantly catchy, accessible melody and chorus ready made for each one. "Only You" even brings some electronic beats and effects into the mix, but these additions do not detract from the formula or distinct sound of The Juliets. They're only occasional enhancements that leave the door open for them to experiment more in the future, without losing what makes their music so special.

There are still plenty of piano based compositions here too, with the best being the energetic force that is "Fashion", quickly becoming a live staple for the band. "G.W.N.L." features Sarah Myers' vocal debut on record in this duet with Freer and "You Found Me Out" closes the album with a bouncy, light pop piece. In ballsy fashion, the longest track here is "The Lost Memory", a lovely instrumental waltz placed in the middle of the album, giving Freer room to show off his skills on the piano while Mitchell and Myers do their thing on the strings.

As good as the uptempo material is, The Juliets also deliver their two finest ballads to this point. "A Perfect Season" opens with electric guitar while somber strings play and the song's beauty just grows from there. Freer's falsetto soars on the chorus of this declaration of love and devotion. Placed near the end of the album is the stunner "Ad-Lib".  Backed by just piano and strings, Freer delivers a vulnerable vocal performance with a melody that is heart achingly gorgeous. He'll be hard pressed to top himself in the ballad department after this one, but it will be a pleasure to hear him try.  

Although I think I favor their debut slightly more, there is not a bad track on "Perfect Season" and it is a perfect follow-up. The Juliets retained everything I loved about their first album while adding in some new musical elements. Jeremy Freer cements his reputation as one of the finest composers working in Michigan and The Juliets are one of, if not the, finest pop bands currently in the state. Much like their debut, "Perfect Season" is an album worthy of breaking them on a national level.

"Perfect Season" was self-released by The Juliets on November 5, 2011.

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Album Review: The Boxer Rebellion "The Cold Still"

It's a good thing I am playing catch-up on a number of 2011 releases or I might have missed out on the new one from The Boxer Rebellion. The third full length from this truly international band, "The Cold Still" has a title that befits the music. The quartet has crafted an album of melancholic rock at its finest.

Formed in London, the Boxer Rebellion was started by Tennessee native Nathan Nicholson and Australian Todd Howe. Englanders Piers Hewitt and Adam Harrison rounded out the band over time and they released their debut album, "Exits", in 2005. Ever since the release of their debut, the band has gone the independent route, not signing to a label and self-releasing everything themselves. Their second album, 2009's "Union", became the first self released album to enter Billboard's Top 100 album charts, based only off digital sales as it was initially only offered through iTunes. Obviously, this is a band intent on doing things on their own terms, and they've been succesful doing so.

For "The Cold Still", the band collaborated with respected producer Ethan Johns, who has worked with Ray LaMontagne, Ryan Adams, Kings Of Leon and Turin Brakes to name a few. There is a brooding chilliness to much of the material here, tracks like "Locked In The Basement" and "Cause For Alarm" have an undercurrent of sadness running through them with guitars moaning and Nicholson's emotionally compelling vocals. "Memo" is an obvious highlight, with an instantly catchy chorus. First single "Step Out of The Car" is one of the more upbeat songs here, probably why it was chosen as the lead single.

The somber mood of much of the album carries over into its ballads, which are all sublime. Opener "No Harm" slowly smolders along with little more than drums, bass and piano rumbling underneath, while "Caught By The Light" is a more tender piece with Nicholson often singing in an angelic falsetto on the chorus. "Both Sides Are Even" slowly builds into a grand crescendo of strings and sighing vocals. Album closer "Doubt" staggers in its sparseness as Nicholson spends the first two minutes singing to a lone acoustic guitar as backing. Eventually drums join in before the song blasts into a full band finish with screaming guitar work leading the way.

There is a gloomy beauty to much of "The Cold Still". It is perfect that I didn't get to this album until the fall as it fits the mood of a rainy, chilly fall day. The Boxer Rebellion continue to do things their own way, and this liberated foursome has produced another of 2011's best.   

"The Cold Still" was released in the U.S. March 29, 2011. It is a self-release by the band.

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Album Review: Peter Gabriel "New Blood"

Since 1986's smash hit "So", Peter Gabriel has become notorious for taking a long time between releases. With the exception of two soundtracks, he has only released two proper all new studio albums since "So", with the last one, "Up", coming in 2002. So on the surface, it would seem exciting that Gabriel has now released two new albums in the last two years. I doubt I am alone though in wishing he'd released something more than back-to-back albums of cover songs. 

Last year's "Scratch My Back" was a collection of covers of other artists, ranging from Bon Iver and Radiohead to David Bowie. Every song was recorded with just Gabriel on vocals and the London Scratch Orchestra providing the music. It was an interesting enough concept, but the execution was not always there and it too often was a rather drab listening experience.

Now Gabriel has done much the same thing, another cover album working with arranger John Metcalfe, except this time it is his own material being re-recorded. "New Blood" features orchestral versions of 13 Gabriel songs, including classics like "Red Rain", "In Your Eyes" and "Digging In The Dirt", and some lesser known, fan favorites.

My problem with "New Blood" is none of these songs take on any new meaning or reveal anything different about them. The reaction to every song is basically 'hey look, it's an orchestral version of another song, this time it's "Don't Give Up"'. And Ane Brun's vocal performance here is so lifeless, it ruins the message of the song and sense of hope Kate Bush's brilliant work brought to the original. You could rename this one "Give Up Or Don't, I Really Can't Be Bothered". The evil, demonic voice Gabriel uses during parts of "Darkness" elicited chuckles from this listener, and the power of a song like "Digging In The Dirt" is taken away when there are lovely strings serving as the arrangement.

The concept works best on quieter tracks such as "Mercy Street" and "San Jacinto", but all I can think when listening to an album like this is, what's the point? The original versions of these songs were perfect, so if I want to hear them, I'll go to the original source material. "New Blood" gives me no compelling argument to ever pull this out again for a listen. I really loved "Up", it was proof that Gabriel still can produce an excellent studio album and stay relevant. I just hope he has another one in him and he has gotten these orchestral cover albums out of his system.   

"New Blood" was released in the U.S. October 11, 2011 on the Real World label.

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Album Review: The Original 7ven "Condensate"

The Original 7ven, the Band Formerly Known As The Time, whatever you want to call them, make sure you also call them funky. 21 years after their last studio album "Pandemonium", the original lineup returns with "Condensate", a fresh update of the Minneapolis Sound they played such a big part in, and their first full length without any Prince involvement.

For those unaware, the first three albums by The Time were essentially Prince albums with Morris Day on vocals. He wrote, played and produced just about everything on them, with only a few exceptions, and the band's lack of input on their studio work was just one of many sticking points that led to frictions between them and Prince. The growing rivalry was often played out onstage, with The Time feeling some measure of revenge by trying to top Prince every night with their opening set, and often succeeding. On multiple occasions Prince himself has called The Time "the only band I was ever afraid of."    

I guess he was so afraid of them, he couldn't give them the courtesy of using their original name. Because Prince owns the name The Time, and wasn't in a giving mood, the band was forced to come up with a new one and chose The Original 7ven as a way to show all the original members were involved with this project. Morris Day has toured for years as "Morris Day And The Time" with many of the original members not present, but this is the real deal folks. "Condensate" erases any doubt of whether this band could carry on without Prince's involvement.

And there never should have been any doubt, especially with Jimmy Jam and Terry Lewis in the mix. After being fired from The Time back in 1983, the duo went on to become one of the biggest and most successful songwriting and production teams in the music world. Jesse Johnson is a guitarist extraordinaire, Jellybean Johnson is a monster on drums and Monte Moir is an unsung and talented keyboardist and songwriter in his own right. Add in Jerome Benton's comic relief and these legends are back doing what they do best and schooling just about everyone in current R&B/funk/soul circles.

Of course I didn't forget Morris Day, and "Condensate" makes clear this is still his show. The album is filled with Day's persona, played up more larger than life than ever. All the old bits are here, how cool and sexy he is, how all the ladies want him, how bad his band is, they even re-use some classic Time phrases and you wouldn't have it any other way.

The band wastes no time getting down to business with one of the best tracks on the album opening the proceedings, the infectious "Strawberry Lake". The Linn drums and sing along chorus nod to their best 80's work, while the song also calls to mind such funk legends as Sly And The Family Stone. It is a true celebration of all the elements and influences that make up The Original 7ven. First single "#Trendin" may instantly date itself with its Twitter heavy references, but even I can no longer deny how insanely catchy this song is. Lewis' popping bass mixes with nasty, buzzing synths as Day brags his way through it all. "Toast To The Party Girl" starts off like a long lost outtake from their debut album then progresses into an ending segment that sounds straight out of their 'Purple Rain' era work.

The Time were always more than a funk band and they prove that again with a variety of different tracks here. 'Girl yo shit is sick' they sing on "Sick", but nothing can be as sick as the guitar licks Jesse Johnson lays down on this hard rocker. "If I Was Yo Man" is about as perfect a pop/rock track as the band has ever done with an absolutely delicious melody. "Cadillac" is a sparse jam with an electronic drum beat and guitar scratches while Day does a classic call and response with the rest of the band over which of his many luxury cars he should take out for the evening.        

Sexy, soulful ballads have also always been part of The Original 7ven's repertoire and they don't disappoint here either. Album closer "GoHomeToYoMan" is a throwback to old school soul while "Lifestyle" is a more modern take on the R&B ballad and the best slow jam on "Condensate". That chorus is so silky smooth and Day delivers a fantastic vocal performance on this one. 

With 14 songs, there was bound to be some filler. The band originally wanted to pare the album down to 12 tracks, but decided their fans had waited so long for a new album, they'd give them a little more. I could do without the swinging "One Step" and "Hey Yo" is the only song where they seem to completely capitulate to modern R&B trends and lose their identity, but it's easily forgivable on an album that is otherwise this good.   

I was cautiously optimistic about this album when word first broke it was finally complete and ready for release due to the deep respect I have for the individual talents of everyone in this band. Even through my optimism, I don't think I expected such a fantastic return from the Band Formerly Known As The Time. Fun, funny and funky, with one foot in their legendary past and one in the present, The Original 7ven can again lay claim that 'ain't nobody bad' like them. It's no surprise, word is Prince is now back in the studio, feverishly working on new material in the aftermath of this bombshell his former mates have dropped. Will the rivalry resurface again? We can only hope, but in the meantime do not miss out on "Condensate". You'd be hard pressed to find a better funk/R&B album released in 2011. 

"Condensate" was released in the U.S. October 18, 2011 on Saguaro Road Records.

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Album Review: Coldplay "Mylo Xyloto"

Let me preface this by saying I am the last thing from a Coldplay hater. There are plenty of those out there ready to pounce on anything they do. I have been defending this band since before 'Parachutes' even hit it big in the States, after hearing the stunning "Trouble" on the local public radio station one afternoon back in 2000. I saw their first U.S. tour, in small theaters, when it came to Detroit at the then State, and have since seen them in amphitheaters and arenas as they have become one of the biggest bands in the world.

Even though I don't feel they've ever topped 'Parachutes', there was still plenty to love on 'A Rush Of Blood To The Head' and 'X&Y'. It seemed, however, that each album release was weaker than its predecessor. They rebounded with their strongest album since their debut with the assistance of Brian Eno on 2008's "Viva La Vida Or Death And All His Friends", adding new sounds to their repertoire but still retaining enough of the Coldplay formula to appeal to longtime fans.

Now Chris Martin and company are set to release their fifth full length and there really is no polite way to say this. "Mylo Xyloto" is an abysmal mess. After the initial shock wore off that this indeed was the new Coldplay album I was listening to and not some practical joke, the remainder of my listening experience was as empty as this collection of songs is. Barren of interesting ideas, bereft of any lyrical depth whatsoever, this is the one that will have the Coldplay haters saying "I told you so." 

Members of the band have stated numerous times over the last few years they wanted the followup to "Viva La Vida" to be a more stripped down, acoustic affair which is laughable considering the electrified, everything but the kitchen sink production of this album. Apparently Coldplay are now all about the 'sick beats' and the ridiculous electronic gimmicks that permeate the shit that spews from typical Top Forty radio hits these days. I should have known something was amiss as soon as I saw there was a duet with the dreaded Rihanna and her dull, robotic tones that some people call singing.

The hyped up beats and electronic effects on Martin's vocals on "Hurts Like Heaven" are embarrassing, the 'para, para, paradise" chorus of, you guessed it, "Paradise" is bloated and overblown and the more acoustic "Major Minus" sounds like it was tossed off in about five minutes, lyrically and musically. 

I paid little attention to first single "Every Teardrop is A Waterfall" before the album came out, and now that I have given a proper listen to this mix of Sesame Street and U2, it is no wonder it never grabbed my attention. Even a song like "Don't Let It Break Your Heart", which proves that the other band members actually were present during the recording sessions instead of the overbearing electronics that dominate too many of these songs, is buried in way too many layers of production, making it impossible to find the song lurking somewhere in there. 

Even the less bombastic tracks can't compare to Coldplay's best work. "Us Against The World" is one of the better ballads, a mostly acoustic affair that is refreshing just for the reprieve on your ears. "U.F.O." never really gets a chance to go anywhere, clocking in at just over two minutes. Closer "Up With The Birds" is also on the reserved side, but I've frankly heard this band put better tracks on B-sides in the past.

There are only two songs on "Mylo Xyloto" that can stand up with the best this band has released over the years. "Charlie Brown" has the most insistent hook on the album. Yes, it has a grand chorus and plenty of sing along ready moments tailor made for adoring arena audiences, but there is no denying it works on this one. And by far, the best track on the album is piano ballad "Up In Flames".  A lonely, thudding beat runs underneath, while Martin switches to falsetto for the heavenly chorus. It's a gorgeous song, but sadly one of the only ones that exemplifies what Coldplay does best. It actually depresses me more that such a gem is surrounded by the rest of this rubbish.

I am all for bands experimenting with their sound, or even exploring new territory. I am not expecting "Parachutes 2", the fact I loved "Viva la Vida" serves as proof of that. I'm sure "Mylo Xyloto" will sell millions and be all over the radio for at least the next year. That doesn't change the fact it is largely, to my ears, a hollow, soulless pandering to current musical trends. Fast food Coldplay. Chris Martin is again hinting in interviews this could be their last album. I hope, for their sake, it is not as it would be a lousy way to go out. C'mon fellas, you're better than this.     

"Mylo Xyloto" will be released in the U.S. October 24, 2011 on Capitol Records.

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Album Review: fDeluxe "Gaslight"

After the dissolution of The Time when Morris Day left, Prince built a new band in 1985 consisting of former Time members Jellybean Johnson, Jerome Benton and Paul Peterson, plus saxophonist extraordinaire Eric Leeds and vocalist (and twin sister of the Revolution's Wendy) Susannah Melvoin. Peterson was rechristened St. Paul and established as the front man of the group, named The Family, sharing lead vocals with Melvoin. 26 years after its release, their self titled debut remains one of the best albums to be released on Prince's now defunct Paisley Park Records label.

However, much like with The Time's first two records, 'The Family' was essentially a Prince album with special guests. Prince wrote (with the exception of one song), produced and performed the entire album, then had Peterson and Melvoin record their vocals, replacing the guide vocals present on Prince's demos that are widely circulating amongst fans. Leeds' saxophone and flute work was also added to the mix, as was Clare Fischer's orchestra.

The album produced one minor hit in "The Screams Of Passion", though it is probably better remembered as the first place Prince's "Nothing Compares 2 U" was released, long before Sinead O'Connor's massive hit cover version. Peterson decided to leave the band to pursue a solo career after Prince lost interest in the project, a move that didn't exactly sit well with his former boss.

Now, all these years later, The Family (minus Benton) have returned, albeit under a new moniker. Although both Peterson and Melvoin reached out to him, Prince was not open to the idea of them using the group's original name, not even in the album title, and instead of a long, drawn out legal battle that they simply wouldn't have been able to afford, the group decided on the name fDeluxe. To be honest, it's for the best. They may as well make a clean break and start a new chapter for themselves.

That brings us to "Gaslight", and it is a high compliment when I say it is exactly what you would hope an album by The Family in 2011 would sound like. fDeluxe have captured the feel of that first album, but have avoided recreating it or sounding dated. This is a refreshing, modern mix of funk, soul and jazz, with a nod to the Minneapolis Sound they all played a part in.

fDeluxe are at their best on "Gaslight" when they are bringing their brand of funk, and the first half of the album contains a number of strong tracks in this vein starting with opener "Drummers And Healers". With greasy guitar licks, Leeds' sax perfection and Peterson's catchy falsetto chorus, it's a perfect reintroduction to what this band is about. Melvoin takes the spotlight on the title track, another song that utilizes Eric Leeds' sax lines flawlessly. "@8" has the slinkiest, sexiest groove here. If a single were to be pulled from the album, this would be my choice.

Another highlight is the laid back "Over The Canyon", a duet between Peterson and Melvoin with a memorable sax line by Leeds. It's a sweet mix of jazzy, atmospheric soul. Eric Leeds takes center stage on the appropriately titled "Leeds Line", and may I just say this guy is an absolute master of the saxophone. Especially when utilized in a funk, soul or fusion setting, few are better than Mr. Madhouse.

Where "Gaslight" tends to falter a bit is in the slower numbers. The sparse "When You Go" seems like an attempt to recapture the magic of "Nothing Compares 2 U", and although the melody is lovely, it only half succeeds. Lush, sensuous tracks like "Beautiful You" and "The Vigil" are serviceable, but tend to slow down the second half of the album a bit too much. "Lover" stands out as the best ballad here.

Overall , "Gaslight" is a triumphant and welcome return for fDeluxe. Acts like the former Family and The Time are in a completely different category from a large portion of former Prince associates. These are bands filled with talented musicians in their own right, fully capable of stepping out of his purple shadow and laying claim to their roles in the legacy of the Minneapolis Sound. Consider "Gaslight" a success in achieving just that.

"Gaslight" was released in the U.S. September 27, 2011 on the Ropeadope label.  

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Album Review: Memphis "Here Comes A City"

Torquil Campbell is a busy man. Best known as one of the leaders of Toronto based indie popsters Stars,  he also released a solo album under the name Dead Child Star at the beginning of the year. And I haven't even mentioned his work with Broken Social Scene. Now, here is his new album with Chris Dumont, as part of the duo Memphis. I was highly disappointed in Stars' last release, 2010's "The Five Ghosts", and this makes up for it as it is a superior album.

"Here Comes A City" still ventures in many of the same territories Campbell's work with Stars does. There are plenty of melodic pop moments, along with a heavy emphasis on electronics mixed in with the standard guitars, bass, keys and drums. But this is a much more focused album than "The Five Ghosts" was as it's basically the album I was hoping that would be.

The uptempo, celebratory nature of "Apocalypse Pop Song" revels in the fact 'it's the end of the world today!', while "I Want The Lights On After Dark" carries with it a certain bit of paranoia, showing even if these may sound like sunny pop tracks, the subject matter is far from it. 

The album really kicks into high gear in its second half, starting with the fantastic "What is This Thing Called?", a darker track musically, but no less accessible and memorable. Diving into relationship territory, things are kept equally dark on "Wait!" which has verses detailing how 'you were the only one' before a dreamy chorus of 'I don't love you anymore' shatters that illusion. "Way Past Caring" is pretty self explanatory, another exploration of a relationship falling apart. Stunning in its uniqueness to the rest of the album is "Reservoir", an over seven minute ambient instrumental piece. It's quite gorgeous, with Dumont's guitar work leading the way over drum machine beats and electronic soundscapes.

"Here Comes A City" is full of melodies and beauty, but underneath that surface something darker lurks. A very mature, often times heavy and sobering look at life and love, and another of 2011's highlights. 

"Here Comes A City" was released in The U.S. March 8, 2011 on the Arts & Crafts label.

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