Archive for the Reviews Category

Wildstyle Wednesday Review: Brother Ali, Shadows On The Sun

Posted in Music Reviews, Wildstyle Wednesdays with tags , , , , on Wednesday, June 24, 2009 by Tim Althaus

Shadows_on_the_SunRhymesayers has been a stamp in Midwest Hip-Hop for as long as I remember. They also have their fair share of classics, but I’m almost positive that Brother Ali’s Shadows On The Sun is still the best album from their catalog to date. Brother Ali leaves the microphone murderously massacred on every single track on this album, and Ant’s production is nothing short of superbly stellar. I am a fan of everything that Ali has put out, but I really don’t think that any other album stands up to this one. There are so many different feels on this album, one track Ali will be spitting furiously, and the next track he’ll be having fun. If this album makes one thing clear, it’s that Brother Ali loves Hip-Hop, and Hip-Hop loves Brother Ali. Continue reading

Album Review: Discovery – “LP”

Posted in Audio, Downloads, Music Reviews with tags , , , , , , , , , , , on Monday, June 22, 2009 by Erik Burg

discoverycov452My album reviews this summer have been mostly fantastic. The music is, not my amateur writing. The Dirty Projectors, Major Lazer, Phoenix, the list goes on of phenomenal summer albums. I use the term “summer” not only due to their summer release, but because of their youthful nature, their sensational charm, and their downright fun dynamic. I bring all of this up because Discovery, the side project of Vampire Weekend genius Rostam Batmanglij and Ra Ra Riot frontman Wes Miles. It’s a hell of a lineup for a two man group, but Discovery doesn’t stop at that alone, enlisting Dirty Projectors singer Angel Deradoorian and Vampire Weekend lead man Ezra Koenig along the way. LP is maybe a bit immature at points, but despite it’s youthful and playful sound the album absolutely delivers a great listen.

“Osaka Loop Line,” the long time leaked lead single on LP still holds up one of their best tracks. It’s a rhythmic roller coaster, bouncing pitch, pace, and testing the patience of listeners who have no idea what this Discovery project is all about. I’ll give a brief detailing, Discovery was started by its two members before Vampire Weekend or Ra Ra Riot were making music, so the reason for this music being more electronic, more auto-tuned, and more humorous than either of the two more popular components was due to the pureness of the music tastes of the two artists. It makes Discovery seem like a joke at some points, but oh well, it’s still awesome music. But back to “Osaka Loop Line”, it’s the first time that vocals really shine, despite their slightly altered state. As a choir teacher of mine once said, “chicks dig the falsetto”, and it’s apparently true as Wes absolutely nails the high tones, blending the keyboard blasts with love lost vocals.

Angel Deradoorian’s appearance on the album is a welcome surprise, and a slightly hilarious one at that too. As Wes and Angel’s vocals are both featured on the track, revealing a discourse back and fourth about a budding relationship. The twist is, however, that Angel’s first line is “I want to be your boyfriend” tweaked and reverted over and over, again right in line with the synth madness that Rostam creates. And as Wes jumps into the mix it’s from a women’s perspective on the thing, doing chores for the man (Angel). I always thought that she was cutest member of the Dirty Projectors, but this is just sort of kinky. But seriously though, it’s another spectacular track, displaying not only the production quality of Rostam, but the laid-back and enjoyable nature of Discovery’s music.

MP3: Discovery – “I Want to be Your Boyfriend” (Featuring Angel Deradoorian)

There’s a track on LP that features one of the best new voices in music, Ezra Koenig of Vampire Weekend, but there are so many better songs that I’m not even going to talk about “Carby” because it’s obvious how amazing it is (I mean, it’s essentially a Vampire Weekend track).

I’ll discuss at length one last track, “Swing Tree”. Even though “Osaka Loop Line” might get a few more plays, I think that “Swing Tree” is the cadillac of Discovery songs. The synthesizer loops, echoing with reverb ever so slightly, make for an infectious hook. The keys sound like something I use to play around with on my old Yamaha board, but they way the track is so carefully put together, with bass lines jumping in and out, it’s stunning. The vocals aren’t exhausting, much like every Discovery track, but the way they are chopped up and repeated to match the change in synth patterns makes the same words sound new every time. “Swing Tree” gets my vote for best track on the album, and definitely one of the better tracks of this summer. For as much play as Vampire Weekend got on Apatow movie soundtracks last year, I wouldn’t be surprised to hear some “Swing Tree” rolling during the opening credits of a movie later this year.

MP3: Discovery – “Swing Tree”

The discussion on this album doesn’t need to be long. Discovery’s formula can get slightly repetitive in the wrong situations, but for a day at the beach or an afternoon bike ride there isn’t a better album to have on. WEs and Rostam have already confirmed that they won’t be playing live dates, so no tour to look forward too, and probably not an album ever again either (this one took about 5 years). For a side project it’s great, but if not for the critical acclaim of each member’s main band Discovery might have never been found. Either way though, I love LP.

8.4 out of 10. Out July 3rd on XL Recordings. Pre-Order.

Wild Style Wednesday Review: Common, Like Water For Chocolate

Posted in Music Reviews, Wildstyle Wednesdays with tags , , , , , on Wednesday, June 17, 2009 by Tim Althaus

LikeWaterForChocolate A lot of people might totally hate on me, but I’ve never really been a huge Common fan, with the exception of Like Water For Chocolate. I honestly think that this album might be one of the best Hip-Hop albums of the last decade. The production put forth by Jay Dee and the Soulquarians is nothing short of perfect, and Common manages to compliment every single beat on this album the way it should be. Jay Dee did a great majority of the production and he absolutely killed the beats on this record. In my opinion this album is and always will be a classic. Most emcees wish that they could drop an album this good. Continue reading

Album Review: Major Lazer, Guns Don’t Kill People… Lazers Do

Posted in Audio, Music News, Music Reviews with tags , , , , , , , , , , , , on Wednesday, June 17, 2009 by Erik Burg

major-lazer

In light of one of the world’s craziest ideas for a half-real concept album comes one of the more fun and plain enjoyable albums of the year… that is, if you enjoy techno infused reggae dancehall and auto-tuned babies (more on that later). I discussed the nostalgic video for the lead track “Hold The Line” a while back, but after hearing the entire album all the way through today I feel like Guns Don’t Kill People… Lazers Do needs a full discourse.

So we all know by now the full story of Major Lazer, right? Well maybe not all of us. (You could just read the bold and get the point, such convenience):

Major Lazer is a Jamaican commando who lost his arm in the secret Zombie War of 1984.  The US military rescued him and repurposed experimental lazers as prosthetic limbs.  Since then Major Lazer has been a hired renegade soldier for a rogue government operating in secrecy underneath the watch of M5 and the CIA. His cover is that of a dancehall night club owner from Trinidad and he enlisted the help of long-time allies and uber-producers, Diplo and Switch, to produce his first LP. His true mission is to protect the world from the dark forces of evil that live just under the surface of a civilized society. He fights vampires and various monsters, parties hard, and has a rocket powered skateboard.

All jokes aside, what the hell is Major Lazer? Well it’s awesome. The team at Mad Decent always have great marketing and art production, and Major Lazer is no exception, it’s actually probably the best example. The album has action figures coming out soon of each member of the story from the above paragraph. It’s like a more danceable and more crazy Gorillaz, as Diplo and Switch lurk in the shadows of musty Jamaican dancehalls much like Alborn did for years in crowded opera halls. But musically Major Lazer is much more than one distinct sound. Due in part to the all-star cast of guests, Guns Don’t Kill People highlights many of the talents that Diplo and Switch enlist on their own. Diplo’s ability to take your breathe away and Switch’s ability to precisely fine tune any remix. Continue reading

Album Review: Mos Def, The Ecstatic

Posted in Music Reviews with tags , , , , , , , , on Monday, June 15, 2009 by Tim Althaus

mos-def-the-ecstatic Mos Def is part of one of my favorite duos of all-time (Black Star), and to be honest I really haven’t felt any of his solo projects since Black On Both Sides. The New Danger had Mos going in a different direction than previously heard, and Tru3 Magic just seemed like it was (for the lack of a better term) a half-assed effort. I remember hearing the buzz that this album was coming out this year, and prior to its release I was waiting with great anticipation. I can tell you that this album absolutely eclipses his two prior efforts, and to go even further I just may like this album more than Black On Both Sides. Continue reading

Album Review: Dirty Projectors – “Bitte Orca”

Posted in Audio, Downloads, Music News, Music Reviews with tags , , , , , , , , , on Friday, June 12, 2009 by Erik Burg

bittee orca

Move over Veckatimist, there’s a new sheriff in town for second best album of the year (yes, of course Merriweather is first). It’s an album that’s slightly underrated, never hyped like the beasts that Veckatimist or Merriweather are, and often times dismissed because of The Dirty Projectors former albums. 

But Bitte Orca is so far from the solo David Longstreth era Dirty Projectors is nearly unrecognizable. Though Longstreth’s amazing guitar work remains, Bitte Orca is a more original, more polished, more enjoyable Rise Above. The album’s cover features two of the most talented women in the music business, Amber Coffman and Angel Deradoorian, vaunting the importance of the two on this album compared to former works. The pair make the album what it is, their vocals, used exclusively on certain tracks like the first single “Stillness is the Move” or used perfectly in conjunction with Longstreth on “Cannibal Resource” to create a sound that’s uniquely Dirty Projectors. And that’s why it rivals some of the best material out there, just like Animal Collective or Grizzly Bear define their genres or in essence create their own genres, The Dirty Projectors define what art-pop, or whatever you choose to call, is. 

Tracks like “Useful Chamber” exemplify exactly why The Dirty Projectors are in a class of their own. It starts with a slightly electro-infused bass line, something uncharacteristic yet still well placed. Longstreth’s undulating voice comes in, calm and whisper like. Deradoorian and Coffman follow, adding a melody that echos and swirls. The Dirty Projector’s constuct a song like it’s a painting. One thing builds onto another, parts overlap, it becomes a mess, but yet the goal remains clear, the meaning is clear. The song slows, it gathers itself for the album’s title, “Bitte Orca, Orca Bitte.” Longstreth absolutely whales on the guitar, plucking string after string in his own unique sound. It’s classic Dirty Projectors, and as Deradoorian and Coffman sing as loud as ever, the song comes to its crescendo. “Useful Chamber” continues on. There’s a small guitar solo, there’s more drums at the end of the track than on any other song. It’s masterful… and probably only the fifth best song on the album. 

MP3: The Dirty Projectors – “Useful Chamber”

Many of the songs on the album follow that same formula, the following track, “No Intention” is nearly the same way. Using Coffman and Deradoorian as compliments to Longstreth’s powerful vocals. “No Intention” shines thanks to the guitar once again, the way Longstreth plays the guitar, it sounds nothing like anything else out there. It’s perfection, it’s precision, it’s just plain fun to listen to. Each string has it’s own individual sound, and as he plays up and down the guitar, Longstreth is crafting the album of the year. whoo whoo whooo, if you read this far, and if you know how much I lOVED Merriweather you’re wondering what’s going on. Well readers (all 5 of you), after seeing The Dirty Projectors live earlier this year at the Walker Arts Center, playing nearly the entire album live before it’s release, and after listening to the album countless times already, I think it’s safe to say that Bitte Orca is THE album of the year so far. 

It just does everything so well, and so uniquely. Maybe it’s the timing, teaming the summer-ish feeling album with the summer, and maybe I’m just in a really good mood today, who knows, but as Bitte Orca plays in my ears yet again, it’s as enjoyable and as jaw-dropping as the first second I heard “Stillness is the Move” live months ago. The Dirty Projector’s have put themselves on the map as a band, not Longstreth making weird half-instrumental albums or re-creating Black Flag songs, but as a full-fledged force. Bitte Orca is a beautiful work of art. Exemplifying some of the best vocalization and guitar work on album in a long time, it’s time for Merriweather and Vecaktimist to move over, because Bitte Orca is only beginning to gain momentum. 

MP3: The Dirty Projectors – “Stillness is the Move” (A Cappella Version)

9.5/10  This album simply has to be heard, get it at one one of two places: Amie Street mp3s or Domino Records

Concert Recap: Mayhem, Anal Blast, Grand Demise of Civilization, and Deterioration @ Station 4

Posted in Concert Reviews with tags , , , , , , , , , , , , , , , on Thursday, June 11, 2009 by Ryan Buege

Mayhem live @ Station 4

As Mayhem brought Blackened Fest to St. Paul, MN on June 9, 20009, the vibe was unexpectedly and unfortunately even more somber than one would have hoped for the return of some of Norwegian black metal’s reigning elite. After already suffering the crippling blow of a late visa-related cancellation from Marduk before the tour began, the rest of the lineup except for Mayhem (Cephalic Carnage, Cattle Decapitation, and Withered) were forced to cut the trek short the night before St. Paul due to a variety of complications described by Justina V. over at Metal Injecction. Whether or not Justina’s indictment of Mayhem’s responsibility for the festival’s implosion is accurate or not, I certainly can understand her resentment as a fellow Metal Injection reporter (based in MPLS) and someone who was on the opening band’s guestlists that never arrived. To put it shortly, it was a huge bummer to be greeted with the cancellation announcement sign as I walked in, and it made me skeptical I’d even enjoy what was now becoming an expensive evening for me (although, I must say, the ticket price was actually slashed to 1/2 the original cost for those who bought advanced tickets, and refunds and free Absu tickets for next week were being offered to attendees – the venue was graciously being overly apologetic for the unfortunate circumstances).

While performances from Cattle Decap, Cephalic Carnage, Withered, and Marduk would never occur, Mayhem pushed on against the odds and advice of financial experts, carrying the torch of blackness alone on the last dates of a now-solo headlining tour. Playing to a crowd of devoted Twin Cities extreme metal faithful, Mayhem’s blistering, theatrical black metal and a collection of local bands that adequately replaced the openers who were dismissed eventually won over the dejected.

Chris Deline, my pal from CultureBully, has already posted an excellent review that breaks down the action for the show set-by-set, so I invite you to check out his recap and live videos to see exactly how the entire night panned out.

For my part, every opening act that played brought something unique to the table, just as I had originally expected heading into the night. Deterioration‘s two-instrument aural assault was the most eye-opening physical display of death-grind talent I’ve seen all year, while Grand Demise of Civilization‘s straight-forward black metal offered one of the most spectacularly ceremonious performances you’re likely to see from a band of any kind in this region. To top it all off, the classic campy metal humor of deathgore lifers in Anal Blast helped to lighten the mood considerably before Mayhem finally took control of the room.

By the time Mayhem hit the stage, the crowd was primed and ready to unleash under their dizzying spell of disgusting black metal. As Necrobutcher, Hellhammer, and the guitar duo of Morfeus and Silmaeth blasted out the storm, Attila Csihar hung his rope mockingly above the thrashing mass of a darkness in front of him, taunting the pulsing mosh pit with an oppressive arm and repeatedly ridiculing the disgraces of humanity. The stage set up was grizzly and overbearing, as well; however, one such as myself couldn’t help being sucked sucked in by this chaotic display from such a legendary and influential band beneath the dazzling lights at Station 4 in the much the same way that many people are by shocking horror films. Until the end, Mayhem never ceased to shock and impress my blackened heart after so many years throughout the lenght of their performance; when it’s said and done, they put together a show well-worth the ticket price and surely were appreciated by everyone who they stuck it out and played for (despite their inevitable financial loss).

Concluding our coverage at Station 4, I’ve got my own video from Mayhem’s set as well as some pretty vivid photographic evidence from the night. The media continues below:

VIDEO: Mayhem, Live at Station 4 in St. Paul, MN, 6/9/09

Mayhem live @ Station 4(Mayhem)

Mayhem live @ Station 4(Mayhem)

Photos of Mayhem, Anal Blast, Grand Demise of Civilization, and Deterioration continue after the jump… Continue reading

Album Review: Power of 2, Power of 2

Posted in Music Reviews with tags , , , , , , , , , on Thursday, June 4, 2009 by Ryan Buege

From my point of view, there are only two reasons why any instrumental rock band would choose to remain vox-less these days: 1) they are Power of 2frightened that vocals would destroy the aesthetic they’ve developed, or 2) they don’t have time for a fucking vocalist! ¶ Power of 2, a Minneapolis based prog-rock band featuring Max Becker on drums and Joe Clark on guitar, clearly falls into the latter school, as evidenced by the new self-titled album of driving, explosive, ball-bustin’ rock ‘n’ roller coaster rides they’ve nailed down for release on Friday.  It’s a guitar centric album (vocals finally make an extremely brief appearance on the final track, “Eight Chupacabras”)  that simply has no room for a third wheel to disrupt the charging energy that pulses between the two, one jperson seemingly acting as a anode and the other as a cathode . Continue reading

Album Review: J Dilla, Jay Stay Paid

Posted in Music Reviews with tags , , , , , , , , , on Thursday, June 4, 2009 by Tim Althaus

Jay Stay PAid J Dilla’s latest ethereally epic release may be one of my favorites that I’ve heard from his catalog. Jay Stay Paid is a hybrid if you will, the vast majority of it plays out like beat tape, but in between are tracks that feature blazingly blistering emcees. Ma Dukes & Pete Rock put a lot of tender love and care into this album, and it really shows through. They both did a great job of arranging the tracks on this album into a graceful and gorgeous mosaic. It sounds so authentic that you would think that Jay produced the album himself. Continue reading

Concert Recap: Victims, Trap Them, and Black Breath @ the Triple Rock Social Club

Posted in Concert Reviews with tags , , , , , , , , , , , , , , , , on Tuesday, June 2, 2009 by Ryan Buege

Victims live at the Triple Rock

Victims, Trap Them, and Black Breath stormed through Minneapolis yesterday evening with what could easily be called the most vicious hardcore tour making rounds in the U.S. early this summer, and all bands displayed an overwhelming presence despite the underwhelming crowd size (..for better or worse, I’m speculating that a local concert calendar that is more saturated than usual with hardcore shows courtesy of the ENR 15th Anniversary and tightening working class budgets are to blame..). However simply put, Victims were on top of their game, Trap Them proved to be more than worthy of the praise that has been thrown of them by some of extreme noise music’s most respected names (these days Napalm Death and Disfear even cite them as influences, to give you an idea), and Black Breath, while young, introduced the crusty part of my evening with a heavy swagger rocking through their dirty modern hardcore. Personally, I just felt lucky to be one of the few who got to pit it up to the live tornado of chaos contained within the cavernous club in west bank Minneapolis for one night; and lucky for you lazy punks, I brought my camera and captured some guerilla style videos and photos from the show which follow below:

VIDEO: Victims, Live at the Triple Rock Social Club, 6/1/09

Victims live at the Triple Rock(Victims)

Victims live at the Triple Rock(Victims)

Trap Them live at the Triple Rock(Trap Them)

Trap Them live at the Triple Rock(Trap Them)

Black Breath live at the Triple Rock(Black Breath)

More videos from Trap Them and Black Breath and photos from all the sets I attended last night available for you after the jump… Continue reading