The Ten Best Albums of 2010

This is the biggest problem I've faced in years. This list, this year, when I could've easily put down 15, I put it down to 10 for the sake of the reader. 2010 will probably be looked back at as one of the best music years ever. Every band, group, singer, rapper, seemed to step their game up, narrowing the list and even placing these albums was a difficult task. To you, there may be some glaring omissions, bear in mind I wanted to do 15, and even 20, but that's just too damn much. Not since 2002, have we had so many "instant classic" albums appear, but if you're following closely, you'll see that we were blessed, and next year should be just as good. Now, the top 10.

10. Grinderman- Grinderman 2
Never has a guy on the wrong side of 50 gotten so much better and kicked so much ass, so much to the point where he fronts two bands who are equally putting out great material. Nick Cave is one of the best songwriters period, so when he announced he was releasing another album under Grinderman with his core Bad Seeders, I was skeptical, but it paid off. Cave and the boys bring rock and roll back to where it was fun and like most men in the world, he just wants to rock out and get laid. While most bands are treading water to keep their edge and stay heavy, Nick Cave keeps his cool and ups the ante on his already brilliant career, and if that cover doesn't yell "bad ass", the music will.

9. Deerhunter- Halcyon Digest
Bradford Cox is a machine, like Nick Cave above, the guy fronts two bands, both put out amazing music. Brad and Deerhunter follow up 2008's best album (by a mile, it's a classic!) with something equally as brilliant. Deerhunter take it back to the heyday of art-rock in the 70's where experimentation is king. The only difference is that there's more melody and song written into these songs, and rather than it falling flat, it works on many levels. Deerhunter aren't just making albums for the hell of it, consider they seem to put one piece of material out a year if not more, but it all deserves to be heard and it's all very good. As with any Deerhunter album (or EP), there's no wasted moments, every song is as important as the last, it has an epic ending, and it's all heartbreaking. In a few years, Deerhunter are going to be the hipster default answer to the cool kid question of "who's the best band out there?", and they've deserved it more so than any artist on this list.

8. The Black Keys- Brothers
In the past three years, there's been one coveted rock and roll band that us indie kids adored who finally hit mainstream. In 2008, it was My Morning Jacket, last year it was Kings of Leon, now it's The Black Keys. Unlike the other two, The Keys put out a stellar album rode the success as best as possible without losing fans or their mojo. "Brothers" is a smart piece of blues rock filled with a nice vocal range of Dan Auerbach and catchy songs that keep coming one after another. They're everywhere now, but for good reason. While most will tell you they perfer Jack and Meg, I'll take the Akron duo any day, they're expansive, they can change, and you'd never know they were successful. From Danger Mouse produced songs to stripped down tunes, they can do it all, and do it well. If 2010 was any indication, these guys are going to be huge and handle it better than what most of us are used to, but it's all well deserved for two guys who have been doing it all for a decade.

7. Owen Pallett- Heartland
The first curveball on the list. Mr. Pallett is probably more known as a unofficial member of Arcade Fire, but "Heartland" should keep his stock rising. He's managed to put out a better album than the band he works with the most and did it all while managing to help them with the best parts. With a Christopher Cross-like voice over violin and synth loops, Pallett brings a concept (not sure what the hell it is exactly) thatcan keep you guessing while still being enjoyable. The songs are infectious and some of them even fun, and while he may seem to be a one trick pony here, it's a trick that doesn't tire by the end of the listen, it's an album worth obsessing over, not just for the concept, but for the music in general. Pallett may come off as a poor man's Sufjan Stevens, but he's put out a better record for a guy who was on SNL recently backing shitty renditions of a band he's made better music outside of.

6. Vampire Weekend- Contra
VW did it the right way. They gained much hype, delivered on the hype with a good debut, tour the fuck out of it, make an even better, more ambitious album, sell more copies, and become one of the biggest bands around. That formula shouldn't work, and considering they're a band you'll love or hate, they could silence any haters with "Contra". Boasting catchy tubes like "Cousins", "White Sky", "Holliday" and others, Vamp Weekend have upped a game they had no interest in playing and became bigger because they deliver. A surprise you say? Sure, but The Police and Paul Simon were always big and those are the two biggest names Vampire Weekend owes as much as anything. They're proof that indie counter culture can be fun without being ironic, we don't have to be too serious, and we can be ourselves, leave everyone else behind and still make it. It's not blue collar, but with Vampire Weekend's success, they've done it the old fashioned way if you haven't noticed, they just wanted to have a good time and play music, something dearly missing in today's realm of Pitchfork's stranglehold on the culture some of us love so dearly.

5. LCD Soundsystem- This Is Happening
What was supposed to be a swan song, actually isn't, but we're still left with one of the best albums of the year by everyone's favorite hipster DJ James Murphy. Murphy probably has a better record collection thanall of us combined, and he's let us know. But "This Is Happening" is more personal, it has more feeling and the grooves are as good as they've been. From the opening bars and soft spoken beginning of "Dance Yrself Clean" to the epic ending of "Home", James Murphy is a genius with wordplay and song structure, call him the David Byrne of the new era, James Murphy is indebted to all the music he enjoys and each LCD album is a tribute of that. Electronica, punk, funk, disco, rock and roll, balladry, it's a storied three album career that thankfully isn't over yet. Swan song or not, it's a hell of an album either way for an artist who is on his way to becomming one of the most respected talents of American music with a three album arc that many can't even touch.

4. Spoon- Transference
Spoon are the San Antonio Spurs of rock and roll and Pitchfork culture. Their best work was done between 1999 and 2007, many people forget about both of them and they fly under the radar, they're aging, they've never been as respected as they should, and look at that, they're both from South Texas. And like the Spurs, 2010 has been a reawakening. "Transference" isn't their best album, but it's probably their most complete, it's the sound of a band who just wants to rock out. There's no horns, the production is limited, and some songs just cut out before the seem to get interesting, but damn if these guys don't know how to write some of the best break up music ever. Brit Daniel screams over "Written in Reverse" while a piano gets trashed, "Trouble Comes Running" is a stomper" and "Got Nuffin'" rocks an amazing solo. So what's the problem here? Older than most of their counterparts, Spoon are playing songs here like they haven't lost a step, in fact, it's more of a call to arms to their younger festival bands to step their game up and try to dethrown them, as far as I'm concerend, Spoon are still kings of the Coachella/Bonnaroo generation, "Transference" just solidifies it.

3.Kanye West- My Beautiful Dark Twisted Fantasy
Here's a guy who knows all about backlash. For all the shit Kanye's been through since the release of "Graduation", he had no choice to knock it out of the park, and he did that and then some. "Fantasy" is a classic, it's not about having a good time, most of the time it's just boastful and sometimes just downright depressing, but Kanye know's what he's done, he also knows how to combat it all. Introducing a "art-rap" album full of a guy who is piss and vinegar and remains the best while his aging counterparts in Jay-Z and Eminem continue to put out music that's not worthy of their classic material. Yeezy brings it, whether it's a Bon Iver sample, a King Crimson sample, showing up his guests on the album or just being himself, he's done the only thing that he could possibly do for most of the world to forgive him. He put out something ambitious, took the heat, reaped the benefits and now can laugh knowing that he's done something most artist could have never recovered from. Hell, how can an album with two of hip hop's best songs ever written (Power and Runaway respectively) not be a classic? Yeezy can take it to the bank, you can love him, you can hate him, but admire and respect the man for being in a tail spin to being on top of the music world.

2.Titus Andronicus- The Monitor
Here's your second curveball. An album nobody heard by a band who has made the ballsiest album and most fun rock albums in recent memory. Titus Andronicus have the mindset and smarts of a band who's been around for years, yet they're only two albums in and with this one being based off the Civil War (loosely I may add), The Monitor is an album full of Clash like punk, Springsteen Jersey rock, and Pavement slacker smarts. Boasting some of the smartest, most honest songs written in years, The Monitor breaks into your mind and doesn't leave, big grand hooks, stomping beats, and amazing musician work all around, The Monitor is an instant classic by a band who will soon be on all of our radar's. There are some bands that may sound like them, but nobody is as balls out, fun, fearless, and as brilliant as these kids from Jersey.

1. The National- High Violet
There's no question, it's a sure thing here. The National have become a band we can all appreciate, and even if they've become more user friendly, it's not taking away from anything they've done. Nobody is writing lyrics as poignant and realistic of modern life as Matt Berninger is. No band is using alt-rock crunch with arena filling noise as well as they do, in fact nobody is making beautiful music like this. The National are a lost-art, they have great depth, teriffic story telling, and can go from 0 to 60 in a second. They nearly had a number one album for fuck sake, not that it means anything. After "Alligator" and "Boxer", it was impossible to create something half as good, yet they defy odds, and make an album that's just as good if not even better. More expanxive and easy to relate to without losing a damn thing in the proscess, can it be done? It sure can, "High Violet" is an answer to the question of where do we go if we're already at the top, the answer is to keep going. No doubt it my mind they can top this. There's a reason they're as respected as they are in the music world, and it's because they can do damn near anything and make it sound beautiful and rich without being pretentious.

There you have it. If there's anything I missed, please comment below. 2011 is looking good so far with new releases from The Decemberists, My Morning Jacket, Cake, U2, Nick Cave and the Bad Seeds, R.E.M., Jack White, The Strokes, ...And You Will Know Us By The Trail of Dead, Arctic Monkeys, Beastie Boys, Coldplay, Death Cab for Cutie, Atlas Sound, Drive-By Truckers, Fleet Foxes, Foo Fighters, and more.


Thanks for reading, see you all next year!

Review: Kanye West- My Beautiful Dark Twisted Fantasy

Kanye West is a straight up polarizing figure. He's classic in his approach, and is the only true hip hop artist who at this point is making his mistakes and shout outs and is human because of it. He feels things and shows it in his music, that's something hip hop lacks is the definition of being human. Like him or not, the guy is talented and has topped Hova as the king, if Graduation didn't do that, "Fantasy" does. To call it the best "hip hop" album in years doesn't do it justice, after all is said and done, it'll be thought of as one of the best albums of all time. Hip hop hasn't seen a powerful force of an album like this since Jay-Z dropped "The Blueprint", and that was nearly a decade ago.

So what makes the album so great? It's a huge question that offers many answers. Kanye has stepped up his flow big time, delivering angry and raw verses that showcase why we fell in love with him in the first place. The production on the album is of the best in years too thanks to 'Ye and a super team of producers including RZA and the latest superstar and "total package" Lex Luger. The album's only flaw, the overkill of guest spots on this album.

Unfortunately, the album's two weakest tracks feature guest spots up the ass and are back to back. "All of the Lights" gets off to a horrid start with Rhianna crooning, she has a poor voice to begin with and weakens the track which also feautres Fergie and Elton John, it's a suckfest of a song followed by a more ridiculous song in "Monster". "Monster" is a hit or miss affair for most listeners. It's a pissing contest between Mr. West, Jay-Z, Rick Ross who probably deserved more than his small bit and the queen of all that is unholy and annoying, Nicki Minaj. Miss Minaj has marked 2010 with numerous appearances, each more scating than the last, none more hopeless and unlistenable than her verse on "Monster" switching back vocal styles ranging from a challanged kid to a budget M.I.A.. It's safe to say without both these songs, this album is perfect.

"Dark Fantasy" and "Gorgeous" open the album in style and serve as what to expect. Hot beats with West spitting about him being unsure but not apologizing, he's made mistakes, we all have, he also talks a large amount of shit, but he's one of the few artists that has a body of work and talent that can back it up. Both songs serve as a great start to the album's first centerpiece of "Power".

To call "Power" is great song is too little praise. It's quite possibly the best hip hop song ever written and the best song this year by far, it's not even close. What makes it such a striking song is the delivery and focus that West puts into it. Surely he's not backing down and he lets us know. Ranging from subject from SNL to his hiatus to becoming hip hop's enemy of the state, West is letting us know it's not cramping his style, in fact, every damn thing he's been through since releasing 808's has probably strengthen someone who already was the cream of the crop. The song also has a beefy beat and a King Crimson sample. There's no shortage of emotion and heart into this song. It's West's finest hour as an emcee, and this guy wrote "Amazing", "Diamonds", and "Stronger".

The other centerpiece of the album is "Runaway", it's the king bee of a bottom heavy album. With it's modest piano and introspective lyrics, it's a nine minute titan of a song that ranks up there with the best songs he's written. Songs like "Power", "Runaway" and the Aphex Twin sapled "Blame Game" show Kanye isn't just an ordinary rapper, he's a musician, he's an artist and a very important one of this generation. We can only hope moving into a new decade where he dominated the last one, Kanye West will continue to lay cans of whomp ass to anyone who comes near him.

This isn't an ordinary hip hop album, it's probably the first of its kind which can be called a "Art Rap" album. This is a work of art, this is a masterpiece as much as "Fear of a Black Planet" is, as much as "The Marshall Mathers LP" is, as much as "The Blueprint" is, hell as much as "Kid A" is. If we're comparing here, let's say "The Blueprint" is hip hop's "Is This It", both are albums marked by their work ethic and sound of the best the 70's had to offer. So that would make "Fantasy" hip hop's "Kid A". Like "Kid A", this album shows that a savior of a genre could tear down all he was and come back with an even better version of himself. Both albums pushed just how far you could take music into being popular. You don't have to write songs, you can still make albums that you can listen to from start to finish, you can still create works of art that polarize and are thought provoking. There's a reason every critic is getting behind it. It hasn't just restored faith in hip hop, but music in general. We finally have an artist with as much popularity and smarts as West who isn't being lazy and is pushing the lmits and is creating something we never could've expected, and boy does it sound good.

**** 1/2 out of *****

Review: Sufjan Stevens- The Age of Adz

In 2005, I grew weary of radio rock. Very few bands were speaking to me and I'd had a shitty time in life. I was in a strict school and had the world's worst best friend. But I remember it as the year I finally came into my own. I evolved from music and I think it had something to do with me finally hitting puberty. Going through all the best of '05 lists, two records kept showing up. One was My Morning Jacket's "Z", an album I consider to be the best pure rock and roll record since Seattle's heyday. The other was "Illinoise" by Sufjan Stevens. "Illinois" continues to show up in lists of best albums of the past decade, and rightfully so. I wasn't one to go gaga over it, but it was different from anything I heard and I always felt compelled to revisit it and see what I missed. Flash forward five years later and Stevens has finally released a proper follow up to it, and it's not even about a state.

Part of the reason I always admired Sufjan Stevens was because he used everything in his music and made it work somehow. It was never mindblowing to me, but I could never help but think whatever he was doing was pretty damned original compared to other music my peers were listening too. Now more than ever, Sufjan is using the electronics. "The Age of Adz" sounds like Trent Reznor and Owen Pallett got together, thought of all the weird ideas possible, put some surreal lyrics and came out with an album. Though Stevens has a better voice than the two, you can't help but think some of these ideas weren't borrrowed.

The album isn't for the faint of heart either, it has a million different things going on at once, sort of like the mashups my brother had been making lately, but that's the genius of the album. So much at one time only makes you want to explore this album again and again, it's a trap, but it's worth it. "Too Much" and "Age of Adz" build up like epics only to have that same quality feel that you got from the earlier albums. Filled with electronic beats and a sometimes whiny voice, the strings make things pop out more than usual, making it for a rush and a head scratching listen. But the beats are so strong, you're almost wondering why Sufjan Stevens hasn't produced a hip hop album or why Kanye West and some of the shitty rappers like Kid Cudi who think samples of a indie song are the gateway of making a good song, haven't gone to this well. It's brilliant, and I forsee a lot of that happening in the near futre if this album is as popular as I hope it will be.

The songs have a similar formula, and that's not saying they sound the same, but Stevens has found many ways to combine hip hop beats with strings and surreal images to the point where he made a well versed 11 song, 74 minute album. No these songs won't be played in clubs, and it's going to be an awesome task performing these live, but that's the point. Sufjan Stevens was always doing things and making music that you weren't hearing anywhere else, and in a age where nothing is original and everyone sounds like everyone else, Sufjan isn't breaking that mold, but he's making us believe he is.

Epic is the only word to describe this album. Perhaps there's nothing more epic than a 25 minute song to close your album. No, it's not seven minutes, then 15 minutes of silence before coming back, this bad boy goes all the way through. What easily could've been five songs for an EP, is a whole damn track. The funny thing is, it's not boring for one damn minute. Each part of the song has a reason to exist, and it brings together everything he's been doing great for his whole career. Art rock, baroque pop, electronica, you name it, every phase is covered in at least one portion of this 25 minute titan named "Impossible Soul". But that's the sign of a good musician, you can make an epic this long and not have it lag, it fact it's pretty damn interesting and if you have the time, it's worth several listens.

I always thought guys who listened to Sufjan Stevens were college dorks or people who were generally smarter than me. It's not entirely true, because there really is something for everyone. It's not something to listen to once, it's not you either get it or you don't. You owe it to yourself to let it sink it and have it overtake you at least once. Sufjan Stevens is one of the greatest American songwriters of the past two decades, and you owe it to him and everyone to give this album your time. He's doing something only a few people are actually doing, the trick is, he's probably the best at doing it.

**** 1/2 out of *****

Review: Belle & Sebastian- Belle & Sebastian Write About Love

A few weekends ago I tuned into myspace.com to watch live coverage of Matador at 21 from Vegas. A bunch of my favorite bands were playing, the likes of Sonic Youth, Spoon, The New Pornographers and two of the headlining sets were from the reunited likes of Pavement and Guided by Voices. The third headliner was Belle & Sebastian. Suffice to say, the were the best out of the three. Where Pavement was going through the reunion train on their last stop, they looked like they hated each other...still. Guided by Voices was a fun mess, complete with Uncle Bob's antics, drinking, and sloppy playing, you know what to expect at a GBV show, and don't expect a tight sounding group. Belle and Sebastian though have fallen into a catagory of "where have I been?".

I was skeptical about Belle and Sebastian, I'm not a girl, nor am I in love, but damn, if they weren't so adorable and great sounding live. I decided to bite the bullet, purchasing the album at work, where I'm already known for being weird and going home and listening to it, and well...I sort of like it...a lot!

"Write About Love" has it's pop sensibilities down to a point. There's ace drumming all around, great string arrangements, awesome use of synths, great song writing, and most of all, beautiful singing. Who said pop music was dead? "I Didn't See it Coming" is a nice slice of it all, featuring the fabulous pipes of Sarah Martin. In fact, Martin's vocal delivery is so good on this album, it's easy to forget Isobel Campbell was in this group, much less put out a good album this year. "Come On Sister" is a synthpop extravaganza with Stuart Murdoch taking the lead here. Murdoch isn't pretentious, in fact, much of this album revolves around ordinary life. There's no quizzical or weird imagery, and the way these songs are sung, it could almost be as if these things could happen to you. It's as relatable as pop music gets.

The album also has guest spots, and unlike many albums where this type of ordeal would take away from it and mask the band's flaws, they work extremely well. Norah Jones guests on "Little Lou, Ugly Jack, Prophet John" and while it sounds like a song that could've been on her vastly underrated "The Fall" which was released last year, you'd be foolish to say she doesn't have a voice that doesn't match what B & S are trying to accomplish, and if your local Adult Alternative station finds this song, you and your parents will be sick of how good it is.

The other guest spot is from Academy Award nominated actress Carey Mulligan. Mulligan made my pants tighter and heart flutter in last year's amazing film "An Education", and I think I'm more in love with her now that she sings back up on the title track. "Write About Love" is a cooky, upbeat, sometimes funny and brutally honest song. Realistic images are seen listening to the lyrics, the song is so infections and groovy that you can't help but smile. This song followed by "I'm Not Living In the Real World" are a strong one-two punch smack dab in the middle of the album, equally balancing the top and bottom halves of the album.

"Real World" is everything happy about this album. Living the day by day life can be hard sometimes, and doesn't the band know this, but this song makes it downright liveable. If I ever get dumped, I could play this song and not have a care in the world until the Cowboys lose again. It really is the last "upbeat" track on this album, but the album is so strong as a whole you won't even care.

The Flaming Lips' "Soft Bulletin" was an album I bought in high school because I heard it was one of the only albums that could rival "Kid A" as the best album of the past decade. What "The Soft Bulletin" did to me was restore my faith in pop music. Steven Drozd and Wayne Coyne crafted an album that took Pet Sounds senses and crafted up for the next century. While "Write About Love" isn't an album like that, it should restore your faith in good pop music. While many pop musicians are looking to do something different, most of the time it flat out sucks and it turns out badly, look at Xtina's latest turd.

Belle & Sebastian, I'm here, I'm a new convert, your style of effective and believable pop music is something I thought I could never enjoy, but congratulations, you've won me over and I don't feel guilty one bit. If I had a band like you in my life, I probably would've been a less cynical person growing up. But it's okay, I've found you guys now and I'm staying for a while, won't you?

**** 1/2 out of *****

Review: John Legend and The Roots- Wake Up!

Collaborations are supposed to be like this. This is fun, hopeful and at times, downright bad ass! "Wake Up!" sounds like a group of guys playing their favorite soul tunes and just jamming, and that's how it should sound. Is it gimmicky? Is it a little late? To both, maybe, but there's no denying that there's a strong sense of sincerity to these old songs, and who better to bring it than hip-hop's most iconoclatic group and the best R&B singer who's so good and vital to the industry that even your mom has heard of him?

That's not to say "Wake Up!" doesn't misstep. It suffers from length problems and some of these songs are questionable choices. "Humanity" is a near laughable track with a reggae backbeat that doesn't do the album favors, but when everything is clicking, you'd be hardpressed to find a better soul album. As expected, the music is top notch. In fact, you could go as far as to say this is the best The Roots have sounded as a band. Maybe it's the fact they play near every night on the talk show circuit, but the insturmentation is teriffic. In particular, Captain Kirk's awesome guitar and ?uestlove's always on pace drumming.

"Hard Times" and "Compared to What" are the first two cuts on the album and immediately suck you in with their vintage vibe and Legend's sense of urgency singing on both tracks. He's believing in the wrong and want's to do something about it damn it! Lord, does it sound all powerful too. "Compared to What" is a favorite forthe best song of the year, the song gets everything right that made the original such a vital soul tune in its day.

The lead single "Wake Up Everybody" doesn't live up to the high standard held up by the first two songs. It's not even Melanie Fiona who ruins it, but a verse by Common which at best, sounds out of place for a would-be legend who has been swinging and missing as of late. "Our Generation" makes up for it as it displays the sense of urgency and passion displayed on the first two tracks of the album, with its beat and production as retro as it should sound.

"Hang on in There" has the Curtis Mayfield vibe going on with its strings and dark view of the urban world which is on display this whole damn album. "Wholy Holy" doesn't exactly fit the mold for a would be gospel tune in the midst of an album whose views lie on taking on those who have bastardized faith, but I may be looking too much into it, and it doesn't help that the song is the slowest in a thick of jams.

John Legend starts of "I Can't Write Left Handed" talking about Bill Withers' last days before launching into a 10+ minute jam session full of amazing solos and guitar work done by the underrated Captain Kirk Douglass. He makes it shine with Hendrix like explosions, solidifying his spot has the best soul guitarist since the purple one.

Even though "Shine" may be a weak way to end this album, there's no denying that despite playing other people's songs, it showcases the talents of all these gentleman, who are the best at what they do, whether you've been watching or not. It's not a vital album by any means and both parties have done better, but in the hip-hop world, it's entirely refreshing and amazing to see artists talking about issues that matter, no matter how old the songs may be. In the world of "Not Afraid" or "Fine Your Love", I will take this any day of the week.

*** 1/2 out of *****

Review: Grinderman- Grinderman 2

The idea of Nick Cave making a doom metal album sounds silly, yet here we are with Grinderman. Grinderman is a side project consisting of Cave and the core of the past decade's Bad Seeds lineup minus Mick Harvey and unlike the Bad Seeds, it's heavy as FUUUUCCCKKKK! The first Grinderman album was a much needed can of whomp ass for anyone who thought Cave was losing it at his old age. Even Snoop Dogg admitted to liking "No Pussy Blues". So with one album done and Cave's "Dig Lazarus Dig!!!" album being Grinderman-lite, we get the much needed sequel, and while it's not entirely more of the same, it's still pretty damn awesome.

Album opener "Mickey Mouse and the Goodbye Man" and first single "Heathen Child" are the expected straight forward "rawk" affairs that you'd come to expect. More than that, the band shows of more a blues style in this album than in the previous one. It's dirtier and grungier and the songs are as heavy as they could possibly be, evoking a Stones "Exile" like blues approach to an already distinct sound for a band. It's a ballsy and admirable move, and of course something that only Nick Cave and Warren Ellis could make work.

There's also no shortage of weird, druggy like tunes on this album too. "When My Baby Comes" is a down tuned affair with the perfect musicianship these middle aged guys should and have been putting together for quite some time now. "Evil" and "Kitchenette" while having a different sound from each other, best showcase Cave's magnetic wordplay with the dirty sound to match the equally dirty lyrical content of both songs. Not that Cave's ever had the friendliest or cleanest of lyrics. He's the dirty uncle writing about things that would make Donald Dagan and Walter Becker say he's a little fucked up.

Like every hard rock band, Grinderman mix in their share of ballads. "What I Know" and "Palaces of Montezuma" aren't traditional ballads in any sense, but it's as soft as the band gets. It doesn't last long, in fact, both songs are among the shortest of the album, leaving more time for ass kicking rock and roll. They're not throw away songs by any reason and if the whole album was as heavy as the rest, you wouldn't be able to stand up afterward.

Nick Cave is on the wrong side of 50, but of course if you've been paying attention, it doesn't matter, nor should you give a damn, because he obviously doesn't. Cave is as creepy and cryptic as he's ever been. The past decade of work is perhaps his best, and even when he's doing a completely different style than what we're used to, he's still knocking it out of the park. Musicians aren't supposed to age this gracefully, considering the amount of drugs this guy has taken. But who are we to complain, the music still rocks and that's all I'll ever ask.

**** 1/2 out of *****

Review: Of Montreal- False Priest

First things first, as of right now, this may be the most satisfying album to any band's fanbase this year. Of Montreal have been popular in the indie community for the past decade, now taking their funky styles to new heights, the band has recorded what should be their breakthrough album. "False Priest" is an album with no dull moments, it lasts damn near an album but there is no filler, it's classic Of Montreal. The band has enlisted Solange Knowles, sister of megastar Beyonce, as well as Janelle Monae, who released the amazing "Archandroid" this year. It's a recipe for something great and it pays off.

"I Feel Ya' Strutter" is a opening funk jam with Kevin Barnes sounding like a coked up Donald Fagan. He talks through most of the song except when he's breaking into a falsetto, and it's teriffic. With its thumping bass and porn guitar, it would be right at home with Sly Stone. "Our Rioutous Defects" follows and has Barnes almost rapping and dueling with Monae into a mash of battle of the sexes who is more crazy? Apparently Monae is a "crazy girl".

"Godly Intersex" is a club banger that's sure to shake the asses. Less on the live insturments, heavy on the beats and ever surreal imagery, and heavy on the Bee Gee's like chorus. It stands to be one of the best songs of the year by far. "Hydra Fancies" is hokey and sounds like mid-80's R&B, but you can't help but get the feeling that they're trying to have fun with every other R&B style that isn't New Jack Swing on this album.

"Like A Tourist" goes back to that Sly Stone sound but reinvents it for a new sound that doesn't sound dated. Once again Barnes is singing silly for the hell of it and none of his words make much sense, but that's half the fun of listening to the band. "Sex Karma" is as awesome as it sounds, and with Beyonce's little sister taking some vocal calls, it would be silly to think that they weren't writing a single.

The ending of the album is just as fun as the start. It's a smartly sequenced album and songs like "Girl Named Hello" are basically a hangover from all the fun within the first half hour of listening to this album. "You Do Mutilate?" ends the album as three different songs, all unique and original to the band's sound in every way possible.

If you haven't checked out Of Montreal already, there's no better place to start. It's a classic album by a band who has deserved all the praise out outcry from their fans in the indie community. In a world where Lady Gaga is passing off as listenable pop music, it's refreshing as shit to hear a funky, pop album with balls that isn't pretentious and is enjoyable for all fronts. If this is any indication of the new decade for the band, I can't wait to go along for the ride.

**** 1/2 out of *****

Review: Interpol- Interpol

The cover of the album says it all. It's the band logo being broken up. Ladies an gentleman, Interpol are broken. Once they were they were being hailed as the next Joy Division, they're now yesterday's news. But it's not all bad, there's some signs of life, just not enough to justify them being back. The band started beautifully with "Turn on the Bright Lights" and "Antics", a great one-two punch to the start of the career. They then released "Our Love to Admire" in which I'm in the minority for liking. Now having a chance to redeem themselves to their fanbase, they fizzle.

Musically the band is as good as they've ever been. Hard hitting drums, thumping bass lines and the usual kick ass guitar we've come to expect. "Success" followed by "Memory Serves" are a testament to that, and if you haven't gotten used to the weird vocal effects for Paul Banks by these two tracks, you won't enjoy this album at all. As unexciting as these songs sound, things start to pick up.

"Summer Well" through "Always Malaise (The Man That I Am)" are probably the best four sequenced songs in Interpol's canon. It's classic Intepol that channel the first two albums very well and helped earn them the new kings of post punk. First single "Barricade" is a chest thumper and as hard as a song as the band has written, it may be one of the best songs they've ever written.

Sadly, this album also contains one of the worst songs they've written. "Try It On" is one od the most boring turds of a song a rock band has written in years, it even makes me question if this was the same band that wrote "PDA". Luckily "All of the Ways" washes the taste out of our mouth, if only for a little while. "The Undoing" closes us out, and yet, we're stuck with another boring and weakly track that hust makes you scratch your head.

There's not much to say here. It's almost as if all the energy has been taken from the band in favor of piano and string sections. Not that that's a bad thing at all, but a band that had such fury and a knack for writing some of the best alt-rock songs of the past decade shouldn't flame out so quick like this. Maybe it's a drought and they can recapture the glory. But with former bassist and brainchild Carlos D leaving, we're left to wonder what could've been, but for right now, what was.

** out of *****

Review: Philip Selway- Familial

Phil Selway is the most underrated drummer around. He stands in the shadow in the world's biggest band playing fiddle to Thom Yorke, the world's greatest lyricist, and Johnny Greenwood, a guy who has found ways to get the most out of his guitar in a Kevin Shields like manner. Drumming for the generations most important band might be enough for some of us, for Selway, he deserves more and gets more.

Over the span of ten tracks and just over a half hour, "Familal" doesn't overstay its welcome. For a side project from a drummer not known for much else, it's a reminder of the talent of not just Selway, but the band he backs. If that wasn't enough, enlisted are Pat Sansone and Glenn Kotche (the second most underrated drummer) from Wilco, frequent session musician Lisa Germano, and Soul Coughing bassist Sebastian Steinberg. Quite the murderer's row for a side project.

"By Some Miracle" opens the album and is a sign of things to come, following a simple formula that's shared on the rest of the tracks. Acoustic guitar, backing vocals, and Selway's great voice make it a tune that actually ranks up with the best that Radiohead has written. "Beyond Reason" follows and sounds more like Radiohead's "The Gloaming" with an acoustic guitar and no jazz breakdown, the band influence is there and pushes it to being the great track it is on the album.

"A Simple Life" and "All Eyes on You" are standard singer songwriter affairs, full with Nick Drake soft appeal and beautiful rich melody. "The Ties That Bind Us", originally featured on 7 Worlds Collide's "The Sun Came Out" last year is another highlight with stand up bass accompanying Selway's guitar and voice making it the stand out track on this album.

Unfortunately the album suffers from being top-heavy and the second half doesn't quite deliver to what preceeded it."Patron Saint" through "Don't Look Down" fall into each other without warning, making it hard to distinguish where one ends and begins. Album closer "The Witching Hour" all but makes up for it as it stands as a beautiful ballad and showcases the teriffic songwriting many of us did not know Selway was capable of.

"Familial" isn't anything we haven't heard before. It's standard acoustic affair, but rather than taint it, it's a nice surprise to find that the talents of the best band on the planet don't just lie on Mr. Yorke and Mr. Greenwood. In some ways, "Familal" is just as every bit satisfying as Yorke's "The Eraser" and Greenwood's soundtrack to "There Will Be Blood". It won't overshadow Selway's drumming, but maybe it'll make us appreciate it a little more.

*** 1/2 out of *****

Review: The Sword- Warp Riders

The Sword are a band you either get or not. If you don't like retro metal that Sabbath and Priest would be proud of, you can leave now. However if this is the thing you can jive with, and if you get pass goofy Rush-like concepts and J. D. Cronise's less than stellar voice, welcome home. Austinites have taken notice as well as huge metal outlets like Ozzfest and those dudes in Metallica have professed their liking for the quartet and expanded the band's fanbase with each album. On their third album, the band finally makes a name for themselves, taking a gamble and succeeding...kind of.

Warp Riders is the type of album you can release deep into your catalog, just three albumsin, it's a gutsy move to release a concept album that's a hell of a lot heavier than we've come to expect. Warp Rides is heavier than the first two albums, but the band has taken strides to make their sound better by being heavier. In this case, bigger is better.

The album kicks off with "Acheron/Unearthing The Orb" which is complete with no vocals, displaying just the type of sound that'll be revisited throughout the album. It's loud, it's clean, but it'll knock you off your ass with how fresh it sounds when you put it up against most metal band gaining popularity. The first single off the album. "Tres Brujas" follows with two guitar solos at the same time that's utter mayehm. Ignore the lyrical content, and it's one of the best rock songs of the year.

"Arrows in the Dark" doesn't display better lyric writing, but it's hard to deny the musicianship and talent with the band. All four members show their cards and everything is top notch because they actually sound like the give a shit about what they're playing, something most young bands forget. Following "Arrows" is "The Chronomancer I: The Hubris", the longest song on the album, but also the highlight. In nearly eight minutes, they tackle rock from Sabbath and Zeppelin to Metallica all in one swift kick to the ass, it's all here, and it's all done right.

The album's second half is a little dreary unfortunately. "Astraea's Dream" isn't anything we haven't heard from the album's opener and almost crosses into wankery territory, but almost into crappy New Wave of American Metal territory, something the band is way better than. The title track that follows more than makes up for that lapse and shows Cronise doing his best Ozzy impression. It's a song so heavy even the Ozzman Cometh would be proud.

The album closes with "(The Night The Sky Cried) Tears of Fire" which much like "Chronomancer I", has the band going harder than anything while displaying their talents of rocking the fuck out, it's a closer worty of praise for an album that has this young band ready to take the next step of being arena gods.

Warp Riders may not be a mainstream breakthrough for the band, they're one album away from that, but don't say I didn't warn you. With a growing fanbase, a heavier sound showcasing 70's heavy metal with a cleaner production, and the band's constant touring, The Sword are going to make a name for themselves. Making Warp Riders is a huge step and a challenging one, but the lesson learned here is that the band doesn't fear anything and just wants to rock, and that should be a creed for many bands to follow.

**** out of *****

Review: Isobel Campbell and Mark Lanegan- Hawk

Three albums in, this collaboration of Belle and Sebastian heavyweight Isobel Campbell and Screaming Trees ass kicker Mark Lanegan would seem to have run its course. After all, how many songs can you write with Campbell's beautiful and soft voice with Lanegan's whisky soaked mumbles? Apparently you can write many, and not only is this the third chapter, it's probably the best. It's a nice formula that reinvents itself here after "Sunday at Devil Dirt" left many people wondering if it had indeed been one too many.

Campbell is indie rock royalty and for the most part, the choices she makes in putting these songs together works. She's not just a great female vocalist, she's a great vocalist, and not only is she a great vocalist, she's a damn good musician who knows how to arrange these songs well. Lanegan on the other hand has spent much of the decade appearing with Queens of the Stone Age and Soulsavers using his gravely voice is a fine tuned insturment, and boy is it always powerful.

Opener "We Die and See Beauty Reign" is a classic example of the duo hard at work. Slow music with both voices lapping each other through a slow ballad is exactly why we loved the duo in the first place. It's depressing, dark, heartbreaking, but enjoyable. It's quickly followed by "You Won't Let Me Down Again" where Lanegan is heard loud and clear over a kick ass blues rocker, it's a song that was tailor made for him.

Standouts on this album include "Come Undone", backed by a 50's soul sound, the song is exactly the type of drown your sorrows song that would probably hit you hard in the gut with its poetic honesty and almost perfect timing on vocals by both Campbell and Lanegan. "Get Behind Me" is a jolt to the diner, dance off rocker filled with riffs and solos that were absent from the first two albums that rears its head here. It's probably the most fun song on the album and sees Lanegan almost by himself as Campbell's voice are almost gone from the mix.

The second half of the album is just as strong as the first. The title track has no vocals at all, instead it's a kick ass jam filled with sax and blistering guitar, it's the type of track that a higher end bar band would break into and it's probably the best song on the album. "Eyes of Green" is backed by flutes and accordian in a sort of celtic like tune. It's beautiful and enchanting and a perfect way to describe the bulk of the work done by the duo throughout their efforts.

"Lately" closes out the album with Lanegan being backed with bongos and a gospel choir. Americana in its own unique way and quite different from all the heavy norms most of us are used to hearing from Mark, it's pretty much the exact opposite from anything he's done with Queens or Screaming Trees, but serves as a reminder of how powerful his voice is because it works well with damn near anything.

It's safe to say we can go ahead and order another helping of this, because it's simply great music. It works and just when you think it isn't going to work anymore, we're all caught blind-sided by how fresh it sounds each time. And while I'm praying that Mark gets together with Queens again in the near future (look no further than his work on Rated R and Songs for the Deaf), his work with Campbell stands alone and is worthy of the input he's been on of the past two decade. As for Campbell, let's just say she's sorely missed in Belle and Sebastian, but has managed to pass her old band in making teriffic music.

**** out of *****

Review: Arcade Fire- The Suburbs

Canadian Indie Rock kings Arcade Fire have probably benifitted the most from being a buzzband. Their 2004 debut "Funeral" caught they eye of every hipster, A&R guy, and mainstream cool guy to the point where the damn thing was out of print. It is a landmark album and changed the way that music was going to be marketed for alt rock as we see it now. As if that wasn't enough, 2007's "Neon Bible" was a sophomore jump of an album. Loud, anthematic, and warm, it showed us that they weren't a flash in the pan, but in fact, the next great band. Sadly, "The Suburbs" is a mess. Slow, boring, and as bland as indie rock can get, it's almost hard to believe that they were nearly fighting Radiohead for most important band in the world.

"The Suburbs" is poorly sequenced, it's not top or bottom heavy, hell it's just not heavy, it's a collection of auto pilot songs sprinkled with some of the best material the band has ever done. The opening title track continues the band's winning streak of awesome openers. Like "Neighborhood #1" and "Black Mirror", "The Suburbs" is a track worty of your attention with Win Butler's voice mowing over a near rockabilly tune, it's not anthem, but it's a great song that ranks up there with the band's best work and starts the album on a high note. Oddly enough, it's about as high of a note this album has, and the next few songs that follow are painful to endure.

"Ready to Start", "Modern Man", and "Rococo" are little more than dreary, there's really nothing new here to add that the band hasn't expanded on and done much better on their first two albums. The tracks lack of the Springsteen like sound that defined "Neon Bible" and made it such an enjoyable album, instead it sounds flat and hurried with a sense of "what can we say now?" or "what should we play?". "Empty Room" follows which sounds like a track off of Owen Pallett's "Heartland" on crack, stringy and fast, it washes out the bad taste of the previous three songs.

"Empty Room" is way too short and we're again bombarded with more boring tracks that are grey and less interesting than what they've showed. It's all forgiven though once "Month of May" hits you with it's heavy as thunder, rock and roll, ballsy, Queens of the Stone Age riffage. This song is what the band should sound like, it's not only the best song off the album, but probably the best of the entire year. With Win and the misses dueling on vocals, it's shows the strength of what made them a big fucking deal in the first place. It's a track that wouldn't sound out of place on "Neon Bible", exactly the type of song to play to get the crowd ready to get excited and have fun, something the band can't seem to accomplish.

"Month of May" ends and again, we're attacked with pellets until the surprisingly dancy "Sprawl II" comes up. With it's synthpop hooks and female vox, it's a nice surprise to end an album that is nothing else but a failure in execution. "Sprawl II" utilizes Régine Chassagne's voice which is a hidden treasure for the band, making it an enjoyable end to an album that's not a breeze to sit through.

One thing striking about the album is even in Obama's USA, Butler still writes songs because he has a chip on his shoulder. He's a bitter guy who comes off as someone who can't have fun. This time around he's taking pot shots at suburban life and hipster, two things that made this band matter. Call it a matter of biting the hand that feeds, but listening to Butler croon about how miserable he is is exhausting and just plain silly at this point.

Like The Strokes with "First Impressions of Earth", Arcade fire have hit a slump on their third album, making us fail to see what's so special about them. Even though they had blood bad last year, Win Butler can take some hits from Wayne Coyne on how to have fun and not be self serious being in a band that can do so much more. It's a swing and a miss and proves what we feared, these kids aren't ready for the torch yet.

** out of *****

Review: Los Lobos- Tin Can Trust

First off, there's the door. If you think of Los Lobos as that one band that remade La Bamba and haven't done anything since, leave. For the rest of us, Los Lobos have been putting out album after album for over 30 years and have shifted styles to just about everything while not losing their Mex-Rock appeal. If you don't know where to begin with the band, you're in luck. Tin Can Trust is the perfect introduction for those checking in.

The album greatly showcases the musical abilities of this band, I remarked to my daf that every other song seemed to have two bitchin' guitar solos and even one track, "Do the Murray" is just dedicated to showing of the talents with no vocals whatsoever, just straight up rock. And really, this album straight up rocks, the more upbeat tunes oon this album carry it and keep it from being a bore that one may have expected.

Many styles are visited here. "On Main Street" could easily pass off as a lo-fi indie rock track that P4K or Stereogum would splooge over. "Yo Canto" is a kick ass number done in spanish with the exact chicano rock stylings fans have expected. It's a fist pumper in a very different way. The other non-english track "Mujer Ingrata", is one that would feel right at home at Market Square during Fiesta week in San Antonio, or an East L.A. BBQ.

The lowest points on this album are when the band slows down. It's not that these songs themselves are bad, but smack dab in the middle of the album gives it an uneven feel. "Lady and the Rose" and "Jupiter on the Moon" aren't poor songs, but poorly placed on an album that thrives when it's at its fastest. But if the songs weren't on the album, it would probably leave the elder crowd grasping for air with how fast this album moves.

Los Lobos are a little more than a critically acclaimed band, they're the standard for chicano rock. The past decade was great for them as it brought plenty of acclaim and interest the band hadn't generated in years. This album will hopefully continue that streak. They won't be the biggest band in the world, but they sure as hell deserve your attention. For a band many can consider the Mexican Wilco or Chicano Radiohead, we can only hope that Hidalgo/Perez keep on putting out music that is as interesting and fresh sounding as Yorke/Greenwood.

**** out of *****

Review: Best Coast- Crazy for You

Bethany Cosentino is the lead singer and songwriter for L.A. trio Best Coast. She operates a lot like Nathan Williams of Wavves. Both make surf rock, A.M. Gold and punk rock, and both love writing songs about weed. And while Beth hasn't had an onstage meltdown yet, we can only assume it's a matter of time considering the content in Best Coast's debut album. "Crazy for You" isn't short on song about being idle and lost love, in fact, it's the perfect album for summer time introspection.

"Boyfriend" leads off the album with a lo-fi ballad that finds Cosentino longing for her knight in shining armor. It's one of a few songs that actually has something positive for the male crowd as they tend to get painted as jerks in this album, and rightfully so. But like other songs, "The End" included, all Beth wants is to be loved, it seems like a lot to ask for, especially for someone who is painted as being lazy, lacking direction, and loves her weed.

"Goodbye" and "I Want To" solidify the straight forward narration of this album. Not much if anything is cryptic, in fact, anybody could grasp the emotions of this album, they're all basically the same, much like the songs on here. And while it isn't the most original album in the world, it's refreshing in this age of indie rock to find an album that's not hard to grasp and actually goes down smooth.

The album is a half hour of fun. Hell, the longest song on this album is a whopping three minutes and two seconds, and it happens to be the best cut of the album and probably the best song of the year. "Honey" is a sexy, sleek, slow grooving track that puts a change up in the album and begs for repeated listenings. Needless to say it's a nice change of pace for the album, even if it sounds like a Cranberries tune.

When all is said and done though, Best Coast have put out a solid debut. It's not going to change the landscape of music at all, but as far as jangle pop and lo-fi music is concerned, you'd be hard-pressed to find a better album that displays it well. Punk rock, surf rock, your mom's 70's preset station, there's something here for everyone. And damn it, isn't it about time for something we can all agree on.

**** out of *****

Review: Big Boi- Sir Lucious Left Foot: The Son of Chico Dusty

It was a hell of a decade for Outkast. They put out two of the greatest hip-hop albums of all time, gathering all the critical acclaim and fan support you could possibly get. Then they ended the decade by releasing the turd "Idlewild", and it's hard for me to tell you which was worse, the album or the movie. No need to fear though, it's a new decade and Big Boi is back. Dre isn't with him this time around, and that may be for the best, at least this time around.

"Sir Lucious Left Foot" is full of bangers, and it's reason to see why every music critic out there was awaiting this solo debut. I can't count how many times I listened to "Speakerboxxx" in high school, and it was far superior to Dre's "The Love Below", and while Dre has always been all show with some game, Big Boi is all game, and he has stepped it up.

Big Boi is still rapping about Caddy's and Subwoofers, the usual, "Daddy Fat Sax" is the second song off the album, and with that, Big Boi is back, teriffic production by R. DJ, and Big Boi's flawless flow make it the best song on the album and a perfect beginning. This sets the stage for "Turns Me On", and with Sleepy Brown and Joi sharing time with Big Boi, we're batting 1.000 thanks to this fun, dirty, little tune.

Fun and dirty is what this album is all about, we're not talking inner city problems here, but this ain't crap spewed by "generic rapper #42", but that's not to say this album has some downfalls. "Follow Us" is a very weak track that's made weaker by Vonnegutt who sounds like Andy Samberg doing a Lonely Island track. Jamie Foxx doesn't add much to "Hustle Blood" which comes off more like a forced studio track to be released as a single and sell some records.

But while the low points are low, the high points are very high. "Shutterbug" is fantastic, and being followed by the quite funny and quite awesome "General Patton" is another good one-two punch that gets the asses shaking in a hurry with grins from ear to ear. It comes as no surprise that Janelle Monae offers the best guest spot on "Be Still" adding that R&B punch that every rapper has now, the difference is, is that Monae kicks the asses of her counterparts like Beyonce or Rhianna who tend to make things more generic than they need to be.

While it isn't the masterpiece that "Speakerboxxx" was, "Sir Lucious Left Foot" is a great reminder of why we need Big Boi in the hip-hop world. He's a divide between the self serious (Common, Talib, Mos...etc.) and the so called kingpins (Jay-Z, Kanye, Eminem). It's refreshing to hear an album like this while the genre seems to be in a downward spiral. Hip-hop may be "dead", but Big Boi is keeping the flame alive.

**** out of *****

Review: Wavves- King of the Beach

Nathan Williams comitted career suicide as far as I'm concerned. His public meltdown in Spain last year was a hit with the hipster crowd on Youtube, and Williams' outbursts and problems are probably as forgiven and encouraged as those of Robert Pollard. And like Pollard, Wavves have been able to craft short, experimental, and mostly upbeat songs making for easy listening. "King of the Beach" is no different in that aspect, but in nearly all the others, this is almost a different band to begin with, and not just because of the members.

Borrowing from the late Jay Reatard, Williams has given his band new life and that means a new sound. The surf rock/lo-fi sound is still in tact, but these songs aren't just rockers, they're actually pop perfection, or as close to it as it can get anyway. There's an Animal Collective/AM Gold sound coming through, and as weird as it may sound, it works, and granted, that's only half the charm of the album and Wavves in general.

The other half of their charm has always been Williams' lyrics. On this album, he sounds defeated and is showing self loathing at its best. "Idiot" is a prime example with its laughs to lead off, before jumping into a pop-punk gem. "I'd say I'm sorry, but it wouldn't mean shit" Williams croons with a fast approach and "ooh's" and "aahs" to back him up. Williams clearly doesn't give a fuck, and probably doesn't have to. "Green Eyes" also basks in the pity party with lines like "my own friends hate my guts...I don't give a fuck...I don't give a shit", it's as cool as it sounds.

"Baseball Cards" follows later in the album and is the best example of their Animal Collective and Brian wilson like approach to songwriting, it's something we've heard a dozen times, but it still sounds fresh and invigorating. "Mickey Mouse" brings the same thing that made "Baseball Cards" fun to listen to, with these two tracks, it's really hard not to get lost in this album and what exactly Williams is doing.

Unlike M.I.A. who built up her reputation between albums only to not follow through, Williams goes in a totally different direction and delivers when it counts. "King of the Beach" may be a little repetitive at times and the contrating styles are nothing we haven't heard before, but at this point, nobody is doing it much better. Nathan Williams is a young guy, and we can only hope that he can keep everything together long to keep putting out music as good as this.


**** 1/2 out of *****

Review: Tokyo Police Club- Champ

Watching Tokyo Police Club's performance at Coachella this year, I couldn't help but take note of the fact that they looked more mature and sure of themselves on stage. They played a hefty mix of their debut album and songs from "Champ" and it was easy to distinguish which songs came from which album even if you weren't familiar with the band. The songs off "Elephanst Shell" came off more like beat stompers and the kind of songs a band who would open up for Blink 182 would. The songs off "Champ", not so much.

This is a more relaxed effort from the Canadian band who find themselves more at ease and better song writers. The lyrics that Dave Monks sing aren't childish as they could be, instead they could almost be looked at as thoughtful and even engaging. Album opener "Favourite Food" and "Hands Reversed" not only act as supreme stand out tracks for the album, but a hell of a showcase for a once buzzband who show what they can do when they reach their potential.

That's not to say this album doesn't have its problems. Like Wolf Parade's "Expo 86", the keyboards in this album are nearly in danger of being beat to death, but unlike that album, they're kept in check for the most part and it doesn't ruin the album entirely. The album is also short and a little flat in the back and it makes for a top heavy and uneven listen, but if it were any longer, it would probably drag.

The album is able to overcome its flaws though, making for a listen that's worthy of your time and actually a surprise to those who expected the ultimate sophomore slump if there was ever one. Tokyo Police Club have crafted an album blazing with a bigger production value and actually makes great use of it, not letting it go to waste, and at the same time, not making a watered down, more far reaching pop record then they could have made.

At this rate, Tokyo Police Club could become the new leaders of this somewhat new wave revival. An unexpected surprise, but a good one. It doesn't require careful listening, and it's not going to change the indie landscape as you see it, but damned if you can't get happy at a band with a lot of hype, wanting to live up to it and working hard for it. If that's not respectable in this current day and age in music, I don't know what is.

*** 1/2 out of *****

Review: Wolf Parade- Expo 86

Look at that cover and tell yourself it's not the greatest thing you've ever seen! Wolf Parade are an Canadian Indie Rock Band, and if you've heard one Wolf Parade song, you've heard them all. Hell, itf you've heard one Wolf Parade song, you've heard just about every fast breaking indie rock song made. That's not to say they're a bad band or even lazy, but the thing seperating them from their own spotlight or being a crappier band like Hot Hot Heat is the shared vocal duties of Dan Boeckner and Spencer Krug. Both gentleman have a croon that's easy to distinguish from most of their other counterparts.

If you're tuning in for the first time, Wolf Parade started off with "Apologies to the Queen Mary", which every other person named the best album of 2005. And while I can't say how high it ranked on any year end or decade lists, "Shine a Light" does rank as one of the best songs ever writtenm and it's hard to imagine a better written song off of a debut album. They followed that up with a sophomore slump in "At Mount Zoomer", which in all honesty, sounded like a retread of their debut. So facing a position to where they can either be titans of stadium indie rock or another group with failed expectations, Wolf Parade drop this on us, hoping to regain that strong form.

"Expo 86" is a good album, no more, no less. It's sort of lazy in how it entertains because not much is exciting and it's nothing we haven't heard before. "Cloud Shadow on the Mountain" is a promising opener, delivering the brand of break neck music and quivering singing we've come to know and love, it's a hopeful tune and starts the album off right. "Palm Road" follows, and this is where it gets dicey. Another romper stomper anthem but what kills it and the majority of the album is the heavy use of synthesizers, adding a rich layer of sounding dated. It ruins a good chunk of the songs and it suffers from "Year Zero Syndrome". For those out of the loop, Year Zero Syndrome is when an albums songs have the same formula after a promising start, it's crafted after Nine Inch Nails' shit sandwich album.

It's not to say that "Expo 86" doesn't have its fair share of great songs. "Two Men in New Tuxedos" is the shortest song on the album, but it has a depth of richness and warmth and excitement that goes along with some of the best material the band has ever written. Closer "Cave-O-Sapien" suffers from a stupid title, but it is a titan of a track that caps off what could've been a titan of an album had so many of the songs been left untouched by what almost sounds like 80's keytars.

It's not an album that is going to win their fanbase over, but would probably serve better as an introduction to the band. None of the songs match the greatness that was "Shine a Light", and they're not going to become big stars, but Wolf Parade are playing it safe for right now. Hopefully they'll take more chances next time around, but it really isn't anything to be ashamed of just three albums into their lifespan.

*** out of *****

Review: The Gaslight Anthem- American Slang

To say The Gaslight Anthem aren't influenced by Bruce Springsteen is to say that you aren't really reading this. It's a damn lie. The Boss even showed up on stage with them last year at Hyde Park and sales of their album "The '59 Sound" shot up. There's now a generation of bands influenced by The Boss, some for the worse (The Killers), but rest assured, The Gaslight Anthem are for the better, and "American Slang" is a step into proving that.

The album is loaded with sing along anthems played at break neck speed with life or death consequences, it's pretty awesome stuff that even Joe Strummer himself (another one of the band's influences) would be proud. Songs like "American Slang" and "Boxer" are forceful with Brian Fallon's croon and fast pacing guitars with sing along hands in the air choruses ready to dominate your next festival...or ballroom.

Another charming thing about the band is their writing. Brian Fallon's lyrics are so descriptive and his indulgence to reminisce on nearly every tune here is remarkable. Most song writers don't have the great story writing arc that Fallon does, but when he speaks, you feel as if the guy is actually familiar with life in the 50's or the blue collar, lunch pail American life.

If you're a fan of the style, there's not much to dislike here, but the songs do run into each other after a little while and it's a formula that they already perfected the last time around, it makes the rest of us wonder if they'll be ready to break out of a comfort zone and start exploring anytime soon. Still, it doesn't pose as a problem, since they do it so damn well, and it's better than most of their counterparts who are either The Killers or are signed to label mates Sideonedummy.

The Gaslight Anthem are a different kind of punk band. They're not crazy about overthrowing the government, and they're not a bunch of guys who would look to sell out once the pop-punk train comes calling. You get the feeling that they're in it because they love doing it. They're making music for normal people by normal people, it's the kind of stuff you'd like to put on, pop open a beer, and talk about your...bad pun...wait for it...Glory Days.

*** 1/2 out of *****

Interpol release new video

If you haven't seen it yet, it's worth a view. The band are hard at work getting ready to release their fourth album as well as a tour. And with the absence of bassist Carlos D, and the addition of Brandon Curtis on keys, it looks like they'll be alright.

Review: Various Artists- Eclipse Original Motion Picture Soundtrack

Twilight is a part of American culture sadly. But the marketing genius' have made sure to spare nobody. The soundtracks to Eclipse and New Moon have featured artists respectable to just about everyone except for the demographic for Twilight, since you know, they'd much rather listen to Adam Lambert than Thom Yorke, and probably can't tell you that Beck's first album was called "Mellow Gold".

The wait for the soundtrack was a good one, artists being announced one at a time, and they had some heavy hitters. The likes of Muse, The Black Keys, The Dead Weather, Vampire Weekend, and Band of Horses getting tracks on the coveted soundtrack, sadly, it could be said that most of these contributors left their dignity at the door, offering nothing but b-side material, some that would've been best not to have been heard at all.

Metric kicks things off with "Eclipse" but it sounds mailed in, much like the band on their latest album "Fantasies". Muse deliver the single from the album "Neutron Star Collision", a song so over the top and full of cheese, that it would've felt at home on last year's shit sandwich album "The Resistance".

The Bravery follow with a horrible synthpop tune in "Ours" that sounds like the worst song The Killers have ever put to tape, and after all, The Killers kinda suck to begin with. A Florence and the Machine track comes next, making for the first of only four good tracks out of this 15 song marathon.

Tracks by The Black Keys, Vampire Weekend, The Dead Weather, and Band of Horses, sound absolutely flat and mailed in, with the latter being the most boring song on the album not credited to Howard Shore. The choices in these songs are poor, making for a huge misfire to convert young fans who otherwise would have no interest in these bands who aren't dominating Top 40 radio.

There are some good tracks though. Beck and Bat for Lashes make "Let's Get Lost" a duet that's as fun and interesting as it is dark. UNKLE and The Black Angels breeze through "With You In My Head" making it the best song off the soundtrack. Unknown band Eastern Conference Champions make due with "A Million Miles An Hour", showing up the indie counterparts who are cock of the walk.

The album has some big names, but ends up being a complete dissapointment on most ends. These songs were left on the cutting room floor and should've stayed there. The soundtrack comes off as trying a little too hard to be cool and it shows, in the end, it doesn't pay off, but would you think any less coming from the Twilight banner?

** out of *****

Review: Chemical Brothers- Further

The Chemical Brothers are arguably the best big beat musicians out there. Capable of holding arena sized crowds with their huge beats and sometimes great insturmentation, it's easy to see why they were in such high regard. The past decade however, hasn't been to kind to Tom Rowlands and Ed Simons. After the release of the virtually flawless "Surrender" in 1999, what followed was a trio of true hit or miss affairs. With that behind them, they're playing with house money and nothing to lose, making for their newest release as somewhat of a triumph.

Further opens up with "Snow" a soft opening and Stephanie Dosen's beautiful voice back fand forth, easily syncing into "Escape Velocity" making for a teriffic opening one-two punch. While "Snow" is soft and almost passing off as a lullaby, "Velocity" is another run of the mill clubber that the Chemical Brothers have always been great at making, and with the near 12 minute length, it's a marathon that's worth running.

The album does have its down points though, "Horse Power" comes off as a goofy dance number complete with horse noises and a frat boy beat. "Swoon" follows, but seems out of place and a little dated in sound, making for the middle of the album to be kind of a drag to get through, though it does become rewarding in the end.

"K+D+B" follows "Swoon" with its percussion heave beginning and goes into full out trance, making for the album's standout track. "Wonders of the Deep" follows and ends the album on a high note and eases the listener's tension and caps off a very solid, yet short effort from The Chemical Brothers.

The questions of if they were in a funk are answered here. Easily the best later career album they've made, even if it doesn't rank up there with "Surrender", yet it doesn't try to. Further is a success because it goes back to the drawing board and takes its time to engage you, as long as you engage it. And the more paitent you are with it, the better.

**** out of *****

Review: The Roots- How I Got Over

The worlds of hip hop and indie rock are coming closer together. Whether it's Jay-Z showing up at a Grizzly Bear gig, or Kid Cudi sampling Vampire Weekend, hip hop has finally taken a shine to something vastly different. The Roots on the other hand, have always been respected by anyone. They've built a reputation on great hooks, Black Thought's lyrics, and one of the best live acts around. So it wasn't really a surprise to see Jim James of My Morning Jacket and Joanna Newsom guest on the latest offering from the kings of Philadelphia.

How I Got Over is easily the best album they've done since "Things Falling Apart". Once again, the band is superb with their jazzy hooks and low tempo beats, but what shines on the album is the awareness of the lyrics. Black Thought has always been one of the best lyricists not only in hip hop, but in any genre of music, and though the band has always had some politically charged lyrics, they're at the top of their game, mostly because unlike most rappers trying to sound smart, Thought is and comes across as someone who could be on CNN's Crossfire.

Musically, the band can't be topped. The best thing about them has always been the addition of live insturmentation opposed to sampling the hell out of everything. Maybe it's the fact that they play five nights a week as Jimmy Fallon's backing band, but the band sounds tighter and as confident as ever, making for their best offering of jazz music in years.

And with everything on the table, those collaborations I mentioned earlier, they work. "Dear God 2.0" uses "Dear God" from last year's debut album from Monsters of Folk, complete with vocals by MoF/My Morning Jacket frontman Jim James. While a Joanna Newsom sample drives "Right On", making for two of the albums standout tracks.

If there's any problem with the album, it's the length, running way short of its 42 minute running time. But if there was any question if they could deliver another great album while constantly working on a late night show as a backing band, they've answered the call and up the ante again. We can only hope with their busy schedule, we don't have to wait too long for another album.

**** out of *****

Rated R to be remastered

Some time ago, Queens of the Stone Age/Them Crooked Vultures frontman Josh Homme hinted at a remastering of their 2000 breakout album, Rated R. And thanks to a Facebook post, it looks as if it's coming soon, August 3rd to be exact. The remasterd edition will contain b-sides from the era as well as the disc itself. This is good news for fans who don't want to hunt down all the EP's and such. Needless to say, it's about time, Rated R is one of the best rock albums released in the past decade and served as a easy road toward their masterpiece Songs for the Deaf in 2002.

The best albums of the first half of 2010

2010 has been one of the best years of music that we've had in a while. More and more indie bands have been crashing the top 10 with albums and as in recent years, we've seen more reunions that we'd probably care to see. I have chosen 10 albums from the first half of the year that have been spectacular. Keep in mind, albums by The Roots and Chemical Brothers come out tomorrow, and later this year, we expect material from Arcade Fire, Clinic, and possibly Radiohead.
10. She and Him- Volume Two
Actresses shouldn't be able to write decent music, much less a good album, but what we have here is everyone's favorite Plain Jane, Zooey Deschanel and M. Ward, teaming up to deliver their second album of A.M. Radio gold! It's cute, it's adorable, and it's some of the catchiest music released this year. Ward doesn't try to overcompensate and Zooey's voice works wonders for one of the best surprises of the year.
Song to check out: Don't Look Back

9. Band of Horses- Infinite Arms
Ben Bridwell is the only remaining member left of the original lineup, but that's okay. Band of Horses is to Bridwell what Queens of the Stone Age is to Josh Homme. That being said, the band is back with songs that are appropriate for the summertime and are full of southern rock riffage and Bridwell's sweet voice which miay be the best in rock and roll. While most have viewed it as a step back, it seems as if this is the most complete BoH record yet, and a great sign of things to come.
Song to check out: Factory

8. MGMT- Congratulations
MGMT pick up where they left of on the second half of their debut, instead of crafting danceable hits for your party mixes, they've transcended into freaky psych pop and have made one of the best Flaming Lips albums ever. There's no singles here, and they run long, but each listen is rewarding, and anyone who doubted MGMT could not craft an album better than their first, can now be counted out. Congratulations trumps the debut in every way possible.
Song to check out: Brian Eno

7. Titus Andronicus- The Monitor
Some New Jersey punks decided to make an album loosely based off of the Civil War, they ended up creating a second album that ranks up there with their splendid first album. The Monitor is full of passionate songs played loud and fast with bagpipes and yelling, whiskey soaked and ready to fight, these songs pack a punch that'll leave your ears ringing for hours after it's ended. It's fun, it's loud, and it's everyting rock and roll should be.
Song to check out: A More Perfect Union

6. Vampire Weekend- Contra
Songs about having rich people fun, hanging around the eastern sea board and just being happy and fortunate. The guys from Vampire Weekend aren't modest about their surroundings, but they write great, upbeat songs and have fun doing it. Contra isn't as good as their debut, but that would've been a stretch, instead they got creative and craft and experimented a little, and still wound up making one of the year's best albums. This is afro-pop at its finest.
Song to check out: Cousins

5. Owen Pallett- Heartland
Somewhere out there, Brian Wilson is wishing he wrote this album. Mr. Pallett writes a hard to follow story, but with his arrangements and Christopher Cross like voice, he crafted an amazing album that with each listen, gets better, and easier to follow.
Song to check out: Lewis Takes Action

4. The Black Keys- Brothers
After their two weakest efforts, The Black Keys have returned with one of their best efforts yet, combining the early lo-fi charms of their earlier works, and the quality production of Attack and Release, Brothers has the best of both worlds in a greatly sequenced album that runs quicker than its 55 minute length. Brothers is the sound of the band taking what made them great in the first place and showing everyone, they can still bring the rock, high production or not.
Song to check out: Howlin' For You

3. LCD Soundsystem- This Is Happening
What may be the last release from James Murphy's outfit, is also the finest. This Is Happening has more songs with Murphy reflecting on his age and partying and the world surrounding him, but it is accompanied by his best beats yet. More introspection than previous albums, but it's not a bad thing, if this is truly the last we hear of LCD Soundsystem, you better believe that they went out on top.
Song to check out: I Can Change


2. Spoon- Transference
Britt Daniel has rallied the troops together for the seventh and possibly best effort yet from Austin natives Spoon. The tracks are lo-fi and sound as if they were only done on one take, and Daniel's voice sounds as rough as ever, but the genius of Spoon has always been that with any style thrown at them, they seem to perfect it and with that, they've become one of the most well respected bands in the land. Transference is reason why.
Song to check out: Written In Reverse

1. The National- High Violet
As if there was any question! The National have had two of the most acclaimed albums of the past decade and the most highly anticipated album of the year, it's safe to say they delivered. High Violet doesn't have anthems like Abel or Mr. November, instead, it just has songs that speak to the mind of the middle aged man like nobody around. Matt Berninger is one of the best lyricists around and he proves it here as he also sings with one of the most powerful and distinctive voices around. The National have slowly become the best band around, and with High Violet, a trilogy masterpiece is now born.
Song to check out: Afraid of Everyone