Bands and musicians: If you would like to submit an album or EP for review, please e-mail me at the address above. I love sampling new music and would be happy to review if I like what I hear. This blog will give a good indication of my musical tastes.
Electronic dream-pop? That seems to be the most fitting description for the new album from the duo of Tobias Wilner and Bo Rande, better known as Blue Foundation. Label it whatever you like, I call the majority of it mesmerizing. "In My Mind I Am Free", their fourth full length, is filled with plenty of lush movements, this is certainly an album to get lost in with a set of headphones on, preferably in a darkened room for just the right ambiance.
Wilner is the brainchild behind Blue Foundation, since releasing the debut single for the project in 2000. Rande joined in 2008 and the two multi-instrumentalists are joined by a number of fine vocalists for this new album. Sara Savery features on three tracks, with the best being the string laden "Dressed In Black" which maintains its beauty amongst the heavy beats being laid down. "Flame", another collaboration with Savery, is acoustic heavy for the first half before layers of synths and keyboards wash over the conclusion.
The wonderful Findlay Brown contributes to "Hard Life", the album's longest track at nearly seven minutes. The soulful British singer is long overdue for his next album, and its good to hear him back on record on this exploration of cascading loveliness. It's one of the album's best songs, along with the mostly instrumental and darker, but no less seductive, "Broken Life" and the equally enthralling "Needles". Other vocalists featured on the album are Jonas Bjerre and Cokiyu.
There are also hints at synth-pop, rock and ambient on "In My Mind I Am Free". There are plenty of spiky moments and oddball electronic blips and bloops to keep it interesting and far from ordinary. Blue Foundation have produced a helluva way to lose yourself for an hour with their musical dreamland.
"In My Mind I Am Free" was released May 22, 2012 on Dead People's Choice Records.
Rich Machin and Ian Glover are Soulsavers, a production duo from England who are returning with their fourth album. Although you may not be as familiar with those names, the name Dave Gahan certainly will peak some interest in this project, the stunningly gorgeous "The Light The Dead See". The lead singer of Depeche Mode provides the vocals on the entire album and the mix of orchestral, downtempo electronic and Gahan's singular voice leads to one of the year's finest releases.
Soulsavers' music is far from just electronic, however. It is awash in cinematic strings, guitars, bass and live drums, in addition to the electronic elements. It is absolutely no surprise Machin and Glover also compose film scores, the music here fits that description perfectly. It's majestic, swirling and captivates you from the start. The duo has previously featured the likes of Mark Lanegan and Mike Patton as vocalists on their albums, but Gahan takes things to another level here.
The majority of the album is filled with lovely downtempo tunes that delve into numerous musical styles. There is a soulful quality at work here, certainly a dramatic rock influence, and even some gospel elements as well. Lush tracks like "In The Morning", "Longest Day" and "Presence Of God" certainly border on a religious experience, they're that good. "Take Me Back Home" is a bluesy slow burner, another standout track.
Gahan fans will not want to miss this album, he delivers fantastic vocal work throughout. But fans of moving, emotionally compelling music will want to make sure to pick up "The Light The Dead See" as well. It's the perfect response to the tired notion that 'good music isn't being made anymore.' A must have 2012 release.
"The Light The Dead See" was released May 22, 2012 on Mute Records.
A new Orbital album? Yes please! Brothers Phil and Paul Hartnoll are no less than electronic music legends and after splitting up in 2004, hope was always held out for the day they'd reunite and finally it is here with "Wonky", their first new studio album since 04's "Blue Album".
"Wonky" doesn't disappoint when it comes to the staples of Orbital's music. From the obvious techno influences to buzzy electro to moments of lush ambient sounds, they're all here. It's an album that delivers on what I would hope a new Orbital album would contain. It's their distinct sound spread out over nine new tracks.
After the dreamy "One Big Moment" kicks things off, the album settles in with one of the best tracks here, "Straight Sun". Its searing keyboard lines and minimalist techno atmosphere are offset with a breakdown of heavy beats that eventually all meld into a grand conclusion. "Stringy Acid" delves into acid techno territory while "Beelzedub"is a dubstep remake of their classic song "Satan" which I only wish was longer.
Zola Jesus features on first single "New France", another album highlight with her vocal work soaring over the anthemic track. The only mis-step here is the title track. This one would be fine as an instrumental, it's a killer funky electronic workout, but for some reason they decided to have UK rapper Lady Leshurr completely butcher the song with as annoying a rap as you'll ever hear. Why the brothers Hartnoll felt a piss poor attempt at sounding like the equally abhorrent Nicki Minaj is just what this song needed I'll never know. It's the only letdown on the entire album, an otherwise triumphant and welcome return from these absolute legends of electronic music.
"Wonky" was released in the U.S. only as a download through iTunes on April 17, 2012 via ACP Recordings. It was released in the UK April 2 on CD and vinyl. If you're like me and still want your music on physical releases, your only choice is to import a copy right now.
In the U.S., the band a-ha are mostly thought of as one hit wonders What person who grew up in the 80's doesn't know "Take On Me" and its iconic music video? Sadly, that is where it begins and ends for most American music fans. Yes, "The Sun Always Shines On T.V." was a Top Twenty hit, but in the shadow of "Take On Me", it can be easily forgotten.
Worldwide, however, was a much different story. a-ha was huge, selling over 36 million albums, by far the biggest selling Norwegian act of all time, scoring numerous number one hits and playing to sold-out arenas and venues far and wide. The band finally called it quits with one last large scale tour in 2010. Of course, most recognizable in a-ha's music were the vocals of Morten Harket. From his lower register to his near choirboy-like falsetto, Harket is a great pop vocalist and with a-ha no more, it's not surprising he has resumed his solo career. "Out Of My Hands" is his fifth solo album, and first in four years.
The new album finds Harket diving deeply back into synth-pop music, but unfortunately its a rather watered down version that doesn't have enough spunk to entice you to return often. Harket is certainly in fine form vocally, that never needs to be called into question, but the first half of the album is bogged down with rather bland, by the numbers pop tunes such as "Scared Of Heights" and "I'm The One". "Burn Money Burn" and "Keep The Sun Away" at least have a little more punch and bite to them, allowing them to stand out from the rather mediocre material they're surrounded with.
If you stick with "Out Of My Hands", there is a payoff at the end as the album closes with three stellar tracks. "Just Believe It" is the best dance track here by far, sounding fresh and contemporary, while the title track that closes things is a lovely piano based ballad. The album's stand-out track is "Listening", a collaboration with dance-pop legends the Pet Shop Boys. Written by Chris Lowe and Neil Tennant, who also provides backing vocals, it's a gorgeous ballad with a massive chorus. It would be a shame if this doesn't see a single release. These three tracks salvage "Out Of My Hands". It's a pleasant enough listen, but in these days where more music floods the market than ever, 'pleasant enough' quickly falls into easily forgotten territory.
Detroit's The Summer Pledge return with their second full length, the follow-up to 2009's well received "You Are You". Now pared down to a quartet, the band have focused their sound much more this time around on "Vessels". Their debut was more of a cycle of songs, most running into each other, largely instrumental and when there were vocals they were oftentimes buried deeper into the mix. There is a new approach on "Vessels" and it makes for a convincing and worthy sophomore album.
The 11 songs that make up the new album are a bit more structured this time around. Dustin McLaughlin sings vocals on every track, sans the short but sweet instrumental "Madrigal", and they play a big part on this go around. "You Are You" tended to veer into post-rock territory quite often, there is no denying good portions of it sounded like a local version of Explosions In The Sky . However, the songs on "Vessels" follow a more traditional vocal rock blueprint, just don't mistake them as generic. There are still plenty of spaced out guitar excursions throughout the album, the band has not lost their knack for experimental rock music that draws from other influences.
Highlights include "The Ledges (Outsider)" which is one of the more laid back tracks here until its blistering ending, "B's Teeth" which is both jazzy and funky at the same time, and the nine minute album closer "Through The Vessels" which crystallizes everything The Summer Pledge does best into one epic track. Album opener "Bloodclot" is my favorite here, amazingly a Summer Pledge song that can be accused of being catchy with its melodic chorus calls of "ah's and "oh's" that stick in your skull. Simply a great track.
The Summer Pledge are hitting the road, cementing their spot as one of the hardest working bands in metro Detroit, on a tour that will take them everywhere from Minneapolis to Denver and on into Texas. Make a point to catch them if they come to your area. McLaughlin, Andrew Davis, Jeremy Damaske and Rob Wilson put on a helluva live show, and they've delivered a helluva second album.
I'd kind of given up on Paul van Dyk after 2003's "Reflections", an album with a few really strong cuts and a whole lot of mediocrity. Coming off his best work, 2000's "Out There And Back", it was a major letdown and things only got worse with his last album, 2007's "In Between". There is no denying the man is an absolute legend in the electronic dance music world with plenty of legendary tracks to his name as well. But the days of classics like "Words", "For An Angel" and "Another Way" seemed long gone.
Needless to say, I wasn't expecting much from his first album in five years, "Evolution". And when the first single "Eternity" featured the truly awful Adam Young, from the truly putrid Owl City, on vocals I was reluctant to even bother with the rest of the album. But I have a need to hear any new album certain artists put out, and as a lover of electronic music, Paul van Dyk is such an artist. And lo and behold, I'm glad I did because "Evolution" is his best album since "Out There And Back".
The title is somewhat deceiving as there is not much of an evolution in PvD's sound. I have seen some reviews complaining that van Dyk comes across as stuck in the past on this album, not growing his sound much to match the productions of current popular electronic acts like Skrillex and Deadmau5. Why the hell would you want Paul van Dyk, the master of progressive trance, to sound like Skrillex? There are hundreds of lousy Skrillex sound-alikes already flooding the market. PvD is getting back to what he does best here, mixing instrumental dance anthems with some fantastically produced electronic pop songs with guest vocalists. The latter have often been the downfall of his past few albums, but with the exception of the Owl City misstep, and that is almost unforgivable, he is on the mark here.
The album opens with the excellent one-two punch of "Symmetries" and, to these ears, a new Paul van Dyk classic "The Ocean". "Symmetries" has an instantly memorable piano line and smoothed out groove, while "The Ocean", a collaboration with Arty, utilizes two brief vocal samples from Dash Berlin's "The Night Time" in its beautifully blissed out mix of progressive house and trance. It's the best instrumental track on here by far, worthy of adding to the list of great PvD songs.
There are plenty of other strong instrumental tracks here too, something I am glad to see return as previous albums suffered from an emphasis on vocal tracks in a seeming desire to cross over into the pop market. "Rock This" is pure electro while "Dae Yor" will satisfy those looking for one of those fast, pumping van Dyk dance tracks. "Verano" has another of those melodic keyboard lines PvD has down to a science, it's no surprise the collaboration with Austin Leeds has been selected as another single off the album.
Where "Evolution" sets itself apart from the last two Paul van Dyk albums is in the strength of the vocal tracks. "I Don't Deserve You", featuring Contemporary Christian singer Plumb, is an absolutely gorgeous declaration of unrequited love and she gives a tour de force vocal performance. Johnny McDaid, as Fieldwork, who has worked with van Dyk in the past on "Time of Our Lives" and "Home" returns on "Everywhere", which opens with diving basslines before breaking down for his heartfelt, baritone vocal of a lost love. Sue McLaren provides dreamy vocals to the insistent, buzzing "We Come Together". "Lost In Berlin" is yet another highlight, starting as a stomping dance tune before breaking down into Michelle Leonard's vocal balladry, then returning to the hand-claps and persistent beats to close out. "If You Want My Love" featuring Caligola has all the elements to be the genuine pop hit PvD has been seeking, it's concise and catchy as hell.
Extract "Eternity" from the tracklist and you've got a solid album from start to finish. I'm perfectly fine with one of the greats of the electronic music genre doing what he does best. As far as critics of "Evolution", where exactly was he supposed to take his music at this stage of his career? These songs, be they instrumental or vocal, are his strongest collection in 14 years.
"Evolution" was released April 3, 2012 on Vandit Records.
I haven't been able to stop playing the new Greg Laswell album for a week now. "Take A Bow" was one of my favorite releases of 2010 and now "Landline" is here and on its way to my favorites of this year. Laswell has a number of guest female vocalists on this one, including new wife Ingrid Michaelson, and the album is full of his gorgeous ballads and wonderfully melodic pop/rock. He is one of the finest singer/songwriters working in the pop genre today and my complete review for Greg's "Landline" can be found over at Popblerd, a site I am very happy to be able to contribute to from time to time.
Here's the video for one of my favorites off "Landline", the beautiful ballad "Back To You", a duet with Elizabeth Ziman, who records as Elizabeth & The Catapult.
"Landline" was released May 8 on Vanguard Records.
Wondering just who the hell's music that is in the Microsoft Internet Explorer 9 commercial that is inundating television lately? Well look no further, it's British singer-songwriter Alex Clare, who has seen his career resuscitated thanks to the ad campaign. After being released in the UK in July of last year, his debut album "The Lateness Of The Hour" makes its way to the U.S. thanks to the exposure and success of the track "Too Close".
The last year for Clare has been a whirlwind. "The Lateness Of The Hour", even with production by electronic whizzes Diplo and Switch, didn't fare well in the UK and he was forced to turn down an opportunity to open for Adele during her tour. The lack of success of the album led his label, Island, to drop him. Clare returned to the regular work world until the Microsoft ads started to take the world by storm, utilizing "Too Close". Suddenly the song was climbing the charts in the States, the UK and other countries (it has hit Number 1 in Germany), Clare was signed to a distribution deal in the U.S., the album was rush released to iTunes in March and now sees its physical release this week.
So with this new lease on his musical life, what about the rest of the album? Well, there are a number of tracks that come close to matching "Too Close" as highlights including the soulful "Hummingbird" and "Treading Water" which flopped in its initial single release in the UK, but deserves another shot. Clare's music certainly has the stamp of the Major Lazer production team. There are a lot of dubstep and drum and bass influences, but much like with Jamie Woon, whose "Mirrorwriting" is another favorite of mine, Clare infuses his music with piano, acoustic guitars and an overwhelming sense of soul. Like Woon's album, this is part electronic, part R&B, and completely accessible, heartfelt music. Clare even closes things here with a piano ballad in "I Won't Let You Down".
Not everything works as well as "Too Close", "Sanctuary" is a little too light weight, but thankfully his abomination of a cover of Prince's "When Doves Cry" has been left off the U.S. release. It takes serious balls to cover a song as great as "When Doves Cry" and it's better left on the cutting room floor. Trust me, it's awful. Not including it pulls this album together nicely, a wise decision. Clare's story is a nice one in an industry that doesn't have enough of them. Hopefully the success of "Too Close" will carry over to this album as a whole, it would be much deserved.
"The Lateness Of The Hour" sees its physical release May 8, 2012 in the U.S.on Universal Republic.
Any time The American Dollar drop a new album is reason to get excited. Few do the orchestral/ambient/post-rock thing better, and they've produced another beauty with "Awake In The City". "Atlas" was one of my favorites of 2009 and they've repeated that feat with this new one, a 40 minute journey of seductive, cinematic soundscapes and impressive musicianship.
The Queens, New York duo of Richard Cupolo and John Emanuele once again will have you thinking this is a four or five piece outfit producing these magnificent sounds. They mix guitars, piano, keyboards, bass, electronic beats and live drums together to create a full band sound, with luxurious melodies and movements throughout the album's twelve tracks. I hesitate to just call The American Dollar a post-rock band as they can delve just as much into ambient or chilled out electronic moments and lush orchestral backgrounds.
The album flows beautifully from start to finish, no need to skip anything here, but there are stand-out tracks with the slow burning "Heavy Eyes Ignite" and icy cool "Ether Channels", which boasts a heavenly piano melody, at the top of the list. Album opener "Faces In The Haze" is a tour de force of all the elements that make The American Dollar so great at this genre. Lovely piano line leads into atmospheric guitar work, while Emanuele kills the drums amidst soothing electronics. It's one of many stunners here and it is good to have The American Dollar back with new music.
"Awake In The City" was released March 24, 2012 on Yesh Music.
I certainly don't expect innovative music from Keane. They fit into that category of radio friendly pop/rock music that sells tons of records, without being completely disposable. "Hopes And Fears" will always be a classic album in the genre for me and "Under The Iron Sea" had plenty of high moments too. But fears of being typecast led them into a much more synth-pop direction with 2008's "Perfect Symmetry" which also introduced, gasp, guitars to their music! But I found 2010's "Night Train" EP abysmal, they had a guest rapper on a couple songs for Christ's sake, and was hoping for a return to form with their next full length.
"Strangeland" serves as a return in one regard. Back is the piano based pop the group became famous for. But, with the exception of a couple standout tracks, the whole thing feels bland, as if they've played it way too safe. It's obviously an attempt to return to the feel of "Hopes And Fears", it's just lacking the melodies and tunes that album had. Although clocking in at 45 minutes, about halfway through it felt like I'd been stuck in "Strangeland" for hours, in the land of pleasant, but ultimately empty, pop tunes.
Yeah, there are some nice ballads here, with "The Starting Line" being far and away the best, a truly anthemic chorus that seems tailor made to be the backing of some future televised sporting event highlight clip. "Black Rain" flirts with electronics successfully, one of the few songs here that breaks from the piano-based formula, and closer "Sea Fog" is a lovely sparse piano piece. But too much of the album falls into middle of the road, mid-tempo sluggishness and it's hard to differentiate one song from the next.
The clear highlight here is "Disconnected", the only song that matches the level of Keane's best work. It's no surprise this was tapped to be the second single off the album, it has that gigantic melodic chorus their biggest hits always contain and should get them back on the radio in the States.
"Strangeland" isn't a failure by any means. If you're a fan of the sound of Keane's first two albums, it's certainly back here. I don't find it a regression that they've returned to that sound and cut out the experimentation in their music. But for me, too many of these songs blend into each other, the equivalent of musical fast food. Pleasant, somewhat enjoyable, but ultimately unfulfilling.
"Strangeland" is released May 8, 2012 on Interscope Records.
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