The Dutchess And The Duke - She's The Dutchess, He's The Duke (2008)

While I am not usually a fan of folk music, the Dutchess and the Duke add a heavy dose of the Rolling Stones' version of the blues to theirs, incorporating a sinister and snaking guitar line straight out of "Paint It Black" into "The Prisoner". A lot of the songs actually sound like acoustic versions of garage rockers, capturing that same rock n' roll snarl. That's not to say they sound unfinished. The songs are consistently pretty cool and the guy/girl harmonies create a ramshackle intimacy. Plus, they sing about fucking in a phone booth in "Strangers". "Armageddon Song" reminds me of Brian Jonestown Massacre, back when they were good, circa Thank God For Mental Illness. "I Am Just A Ghost" is another standout track. I'm excited to see them open for the Fleet Foxes.

Chris Mills - Living In The Aftermath (2008)

In my narrow little mind I had relegated Chris Mills' music to late nights and early mornings. As an largely accoustic singer-songwriter, with a strained voice and beautiful ballads, at least on The Silver Line, his songs were perfect for listening to while falling asleep. Sure, he had some catchy choruses, but who doesn't love falling asleep while singing along? Well, something got him excited because this album is revved up folk rock. And it's great. Not all the album is upbeat, but my favorites are the ones he really digs into, leading his full band through a set of passionate and catchy choruses. Although many of the songs have vaguely political themes, the lyrics cleverly combine the political and the personal and the tone isn't overly serious. "Calling All Comrades", is a joyful stomper that sounds more like a call to party than to arms. "Living In The Aftermath" follows that same mood, making for a good one-two punch. You'll also need to check out "Untitled No. 1" and "All's Well That Ends". For fans of The Historical Conquests of Josh Ritter and, well, awesome music.

Titus Andronicus - The Airing of Grievances (2007)

Titus Andronicus, the play, is thought to be Shakespeare's first tragedy and known to be his bloodiest. Its kind of the lemon in his theatrical arsenal. No one takes it seriously for good reason, its horrifically violent and laughably overdone. Give the guy a break! He was still zeroing in on his literary sweet spot. The first time I listened to The Airing of Grievances, I laughed out loud when about a minute into the first song, "Fear and Loathing In Mahwah, NJ", the lo-fi vocal and simple guitar riff is cut through with a "FUCK YOU!" and the band starts in at a breakneck pace. From that point on, the band rocks out in a way that kinda sounds like The Boss let Connor Oberst front the E Street Band on a lark. Titus Andronicus, the band, is not honing in on anything. This album is 45 minuts of lo-fi anthemic punk rock perfection. Some of their song titles are a little pretentious, but I'll let that slide.

Faves: Arms Against Atrophy, Upon Viewing Brueghel's "Landscape With The Fall Of Icarus", Titus Andronicus, and No Future Part Two: The Day After No Future

Port O'Brien - All We Could Do Was Sing (2008)

For the past year or so I have had people of all different musical tastes recommend this Oakland based band's live show. So, when their current tour slated them to rock Santa Cruz, Santa Barbara, and San Francisco in support of their recently released album, I figured now was as good a time as any to dip my ears into the musical waters of Port O'Brien (I think that line just put me as the front-runner for "Cheesiest Line of the Year" award).

Anyway, the opening beats of "I Woke Up Today" made me want to do a drunken sailor jig in deck shoes aboard a storm ravaged fishing vessel... And when the gang-bang vocals kicked in (where the whole band sings simultaneously) I was sold. In my opinion, comparisons to many and mighty indie darlings are thrown about too easily for All We Could Do Was Sing. Sure there are moments when Port O'Brien sounds like other bands, but their music—layered, girl/guy vocals, occasional string arrangements, strummy guitar, nautical themes, and intimate, mellow, folky acoustic pieces—is far too diverse for a closely paralleled comparison. I have listened to this album HARD the last few weeks, and it continues to impress—both the up-tempo and mellow tracks, equally.

Check out: "I Woke Up Today," "Close The Lid," "Stuck On A Boat" and this video that looks like something awmercy & ancientindianwizard would collaborate on...

Boyz II Men @ The Alameda County Fair

Oh, its real. And it was spectacular! Some rather large gentlemen in a Raiders jersey who sat in front of me remarked, "more like Men to Grandparents", but classics are classics folks. They're ageless.

Before I get into the main event, I'd like to talk about the opener, Too Crazy (2 Crazy? Too Crazee?). He was introduced as a Disney tween sensation but all my google searches were in vain and yielded results concerning Miley Cyrus only. He had a midget hypeman and the song he performed was called "Stay in School" (I assume from the chorus). It was a postive message for all the children in the crowd at the 6 pm show, and I was excited to find out more about him but now I'm wondering if it was all a funnel-cake induced dream. I'd love to know more about this mysterious Too Crazy character if anyone is highly-skilled at internet stalking and wants to look him up.

And then Boyz II Men came on, taking the stage to "Motownphilly". Their mikes went out and there was some very loud feedback, but they didn't let that slow them down and they belted and bootied to the best of their ability as the crowd went wild. And by went wild, I mean people stood up. I was dissapointed to see the tall, skinny member of Boyz II Men who does the deep-voiced talking interludes and carries a cane in the music video for "End of the Road" was no longer with the group. It did leave a bit of a hole in their slow numbers, ie almost every song. But there was a contagious sense of magic in the air that peaked during their classic number, "I'll Make Love to You". At this point in the show, the floodgates of emotion burst wide open as women ran down the aisles flapping their arms in a manner reminiscent of the prize-winning pigeons on display at the Small Animal Exhibit.* They were flapping not to fly, but for a rose. Boyz II Men handed out dozens of red roses to their adoring fans during this song, it was really a beautiful moment. However, I thought the song was bit of a racy choice for a 6 PM set. There were a lot of children and also a lot of babies in the crowd.** I mean there was a parking lot for strollers right next to the theatre. They ended their set with "End of the Road", inviting the crowd to sing along. My pleasure.

One of the best parts about seeing Boyz II Men at the county fair is that you're also at the county fair. And nothing says county fair like eating food on a stick, or even better is still on the bone.

*I was really dissapointed by this. Tricked by the wording, I was expecting a miniature animal exhibit so you can imagine my dissapointment when it was just a bunch of bunnies and pigeons in cages. Animals that are small by nature, not by deformity. Totally misleading.
**My theory about all the babies in the crowd: Boyz II Men is some baby making music. Some of those babies were definitely conceived to BIIM.

Sloan - Parallel Play (2008)

Sloan consistently pumps out good to great power pop that even non-genre fans can enjoy. However, this album practically defines the term "front loaded". The first half of this album is great, the second half is just fine, although even their misses are pleasant. "Believe" kicks things off a catchy and fuzzy riff. "Cheap Champagne" brings in a warmer sound and a handful of "ba ba da ups". I think they're better with they rock out, like on "Emergency 911", which reminds me of the Dirtbombs' soulful garage rock. After the awesome "Witches Wand", which is either about a relationship or a roll playing video game or both, things mellow out and the songs pass without distinction until "I'm Not A Kid Anymore" comes on towards the end.

Katy Perry - One Of The Boys (2008)

Just when you think Pop Tarts© can’t come out with yet another flavor, they develop “next big thing” Katy Perry. I was hoping to discover my newest guilty pleasure on her major label debut, One Of The Boys, but yeah... [insert smashed hopes here]. Instead, I found something incredibly derivative that wasn't even created in a way to at least be considered decent pop rock.

Start with a dash of Avril Lavigne’s nasaly yelp, a touch of Alanis Morissette’s in-your-face tonality, a dollop of Linda Perry’s off-kilter vocal styling, a hint of Pink’s visceral energy and poof: pop starlet Katy Perry is born! With 40’s inspired pin-up girl looks, Perry belts out super-raw vocals with refreshingly tongue-in-cheek lyrics, such as “I lost my fake ID but you lost the motel key / Spare me your freakin’ dirty looks” from “Waking Up In Vegas,” a song dedicated to drunken revelry in, well, Vegas. And then there’s the anticlimactic love song, “Ur So Gay,” where she sings “I hope you hang yourself with your H&M scarf” over a reggae-tinged beat. Fortunately, these quirky elements separate her from other formulaic pop acts of today, but wait… as suspected, the rest of the record is mostly filler that only makes me long for the days of Lily Allen. Sigh.

Oh, there's a kicker: it was only 7 years ago that this daughter of two pastors released her first Christian gospel album, with a song titled “Faith Won’t Fail.” Huh? Maybe a hiatus made her realize that G-d can’t guarantee you the #1 spot on TRL… but shock and awe can? Evidently, when you can’t quite pull off the virgin-whore complexity that worked brilliantly for Britney Spears, the last resort in marketing strategy is concocting songs that titillate in completely different ways… example: providing anthems for prepubescent grrrls that will universally worry soccer moms, with songs titled “Ur So Gay” (...and you don’t even like boys) and “I Kissed A Girl” (...and I liked it, the taste of her cherry chapstick). Dayumn! I know girlfriend di-int just say that now, did she?!

Musicians who cultivate controversy in order to distract from the fact that their music is a garden variety of overproduced rubbish just plain irk me. Perry’s vocals are actually pretty strong, but blatant un-originality isn’t exactly a saving grace. Honestly, who allowed a cover of The Outfield’s “Your Love” with modernized lyrics tailored to the female point of view? Seriously, can’t people leave well enough alone? Must we butcher a classic? Now I know how the French feel when Americans go there and try to speak their language! And doesn't anyone remember Jill Sobule’s bi-curious hit-song “I Kissed A Girl” from the 90’s? At least Sobule’s foray was genuine since she followed it up with an “…and I just may do it again,” whereas Perry instead chimes in with a “...I hope my boyfriend don’t mind it?” Clearly, she’s just trying to get a rise out of a neglectful boyfriend [and her listeners] by asking a question she already knows the answer to. No Katy, unless you're dating Lance Bass, he won’t mind… idiot.

The final verdict:
Don’t buy this, don’t even illegally download it for free. Just get “Ur So Gay” and “I Kissed A Girl” for those *rare* moments when you wanna sip on haterade while simultaneously getting your top-40 on.

The Annuals @ Iota

The Hymns rocked the small stage with their country-tinged garage/roots rock and got the crowd warmed up. What they may have lacked in sonic creativity they made up for with sweat - a great band for a bar. The Annuals followed, pulling sounds from all over indie rock history, from hand claps and harmonies to discordant guitars and screaming. The music consistently sounded great, sprinkled with tempo changes and rhythmic breakdowns, although the vocals were sometimes a bit rough. Their best songs were their poppiest. Overall, it was a lot fun, even if some of the little details that made their album great were lost when they rocked out.

Infadels - Universe in Reverse (2008)

I've been eagerly waiting for this album since I heard the single "Free Things For Poor People", which has been rocking my world for the last month. The lyrics are kind of inane, but only to the point where they are insanely catchy. I even like the remix version and I almost never like the remix version (The dub mix is still a little much). While waiting for this album to be released I went back and downloaded their previous album off eMusic (It's good). That's my passion for this song. There's a bunch of good danceable British indie rock on this album. I like their faster songs better, the thumping beats seem perfect for dorky white boy dancing at places like DC9 (queue wincing). In fact, most of the songs would get people moving, "Code 1" and "Make Mistakes" in particular. While I am not sure I'll listen to the album straight through all that much, I'll be glad each time a single shuffles on.

The Little Ones - Morning Tide (2008)

The Little Ones Part II or how did I become such a fanboy? The album is every bit as fun as I hoped - just as good if not better than everything they released before and only two songs were on the preceding EPs. The title song kicks things off with a rolling drumbeat and a series of backing "Do do do do's". Of course I'm hooked, I'm a sucker for playful backing vocals. After two great songs from their EPs, "Gregory's Chant" builds from a laid back to blissful and upbeat (which could generally describe the range for the album) and then more nonsense backing vocals. Sweet. It's worth checking out if you like the Beach Boys/Zombies/Left Banke vein of sunshine pop.

Fleet Foxes - Fleet Foxes (2008)

After the Sun Giant EP, I was decidedly piqued to give Fleet Foxes' self-titled debut proper consideration and... I’ve never been prouder to be an American. I've discovered the musical equivalent to warm apple pie and vanilla ice cream. With all this talk of a revival in folk rock circles, FF make me believe they will do nothing but revive the revival even more.

This Seattle quintet creates music so warm, cathartic, lush, and fairly epic that I honestly hoped the end of this album had an additional 11 tracks of brilliance waiting, just so it didn't have to end. The record boasts a cornucopia of sounds created by a variety of musical instruments I can't/won't even begin trying to properly identify. And the songs! Simple but complex, unabashedly hopeful, and chock full of unique intros, gentle yet purposeful strumming, interesting breakdowns, lingering vocals and memorable codas.

I wish I could get My Morning Jacket, Sufjan Stevens, Ryan Adams, and Simon & Garfunkel over for a game of horseshoes set to the instrumental gem "Heard Them Stirring." We'd talk about which tracks kick ass or just simply blow our collective minds instead. Oh, and Bill n' Ted would lend me their time machine so Billy The Kid could stop by with some moonshine to regale us with stories from the wild wild West, as "Blue Ridge Mountains" permeates the background. Then Band of Horses and The Shins would crash the party just to argue over who wishes they wrote "Tiger Mountain Peasant Song" more...

The final verdict:
I've barely pinned the tail on Fleet Foxes, so please listen for yourself. Be warned: this frontier-friendly music may make you wanna hop on your trusty horse and ride off into the sunset [to Seattle, perhaps]. If your collection lacks true-blue American folk rock, it’s time to tuck away your Vampire Weekend and let FF folk up your life.

We Are Scientists - Brain Thrust Mastery (2008)

If you dig The Killers or Hot Hot Heat, chances are you probably already love We Are Scientists. After the considerable success of 2006’s With Love and Squalor, they're back with their latest: Brain Thrust Mastery. It's not as instantly awesome as WLAS, but this will definitely grow on you after a few listens.

Touring with Arctic Monkeys seems to have been influential since their sound is similar to AM here, except on crack…after being electrocuted at their synthesizers. WAS themselves describe their intentions as "rock music of the thoughtful, sometimes epic, often loud, vaguely danceable, and implicitly humanist variety." Pretty spot-on for their unique brand of musical schizophrenia.

The Words: BTM is an 11-track journey detailing a soured relationship with [no?] hope of resuscitation. Pepper in some attempts at understanding, a few classic "I’m a dick, it’s all my fault"s, an ill-advised indiscretion, ever-growing confusion, coming to terms with the inevitable, partying [of course], and the perennial dilemma unfolds for your listening pleasure.

On “Impatience,” we get our contemplation on (For every promise kept / There's a thousand I don't even know I'm making). On the ska-infused “That’s What Counts,” I find the soundtrack of my life in a beautiful refrain: Enough is not enough / But I keep saying that I'll stop / Over and over / I’m drowning in each drop, all leading to the final “If I’m not waking up with you, why am I waking up at all?” Hmm, good question. I only ask myself the same thing... every... fucking... day. But the non heavy-hearted “After Hours” has my favorite lyric: We're finally drunk enough that / We're finally soaking up / The hours that everyone else throws away. Awesome for the car ride home after that great first date when the possibilities are infinite, everything is perfect, and no one hates anyone yet.

The Sounds: "Sonic overload" is barely sufficient. BTM expertly focuses on glitzy retro-rock riffage and electro-rock danceability to churn out an entire record of tracks suitable for The Killers, or at least the synth-conscious listener. It also helps that singer Keith Murray blesses us with a truly resonant voice. Couple this with capable back-up vocals of Chris Cain and the resultant force is a killer example of what harmony can and should be in the world of indie rock and beyond.

Stand-out tracks:
"Let's See It" - electro-poppiness laced with this record's best example of harmonious vocal interplay.

"After Hours" - quintessential last-call song after a great night out.

"Lethal Enforcer" - the sounds of Pet Shop Boys, Echo & The Bunnymen and The English Beat are all playing pinball with each other in my head... and I'm lovin' it.

"That's What Counts" - just plain saxy.

The Final Verdict:
Love BTM for what it is: a hodge-podge of songs that you've gotta get up to get down to. Throw this on for background tunage at your next party and expect a little head-bobbing, a little toe-tapping, and a heckuva lot of dancing.

R. Kelly - Double Up (2007)

In honor of R. Kelly Freedom day, aka Friday June 13 2008. I'd like to review his most recent album, Double Up.

For what it is, which is an album by an insane person, Double Up is awesome. This album marked his ascension to a whole new playing field as he continues to chronicle and find inspiration in his own insanity - and the life it lends itself to.

Lyrically, he is untouchable. "Leave Your Name" is a song about, duh, leaving a voicemail for R Kelly. He's a straight forward kinda guy, so the chorus goes like this "Leave your name right after the beep and I'm sure to get back with you if I'm not asleep/ Or smoking on some trees or having a little sex/ Or if I'm not faded or making a baby." R Kelly is more subtle than you might imagine, which you can see in the above lyrics. Because sometimes, you just be having sex. And sometimes, you be making a baby. Real Talk.

There are so many good songs, its difficult for me to decide which ones to talk about. Other favorites of mine include "The Zoo" (where he refers to himself as a sexasaurus), "Real Talk", and "Sex Planet". The latter of which, contains a mind-blowing amount of outer space sexuality. More than I thought possible. He's not going to rhyme painless with uran.... oh yes he is. Wow.

Some people don't like R Kelly for the multitude of good reasons that exist not to like R Kelly. I choose not to listen to reason, and to appreciate him for what he is. He's a joke that takes himself seriously! He's the funniest "serious" artist I know.

The Huxtables and Dan P. @ The Red Room

I can’t remember the exact words, but I think that the call from the crowd towards the end of The Huxtables set was: “Where can we buy the album?!?” Of course this was answered by a bit of a laugh from the band, and those in the know, because after a decade or so of live shows The Huxtables have yet to produce a tangible release... that I know of. The power-pop / pop-punk quintet, firmly anchored by playful lyrics, enthusiastic backing vocals and a stellar rhythm section, plays FUN music accompanied by humorous showmanship and theatrics—nothing short of entertaining.

Dan P. writes catchy pop songs with hilarious lyrics. I recommend catching them both at a smoked-filled, dimly-lit dive bar near you… if you happen to live in Santa Cruz.


Ultimately, this is less of a review and more of a reiteration of the call from the crowd: “Where can I buy the album?”

Oona Garthwaite @ The Red Devil Lounge

Wow dude.. last time it was friends and now it's family? Good thing I'm an amazing un-biased reporter..

Oona is my sister in law and has been playing tons of shows for the last 1? 2? years... Since Serena and I are old people who have trouble venturing out of the house (let alone Santa Cruz) in the middle of the week, we have said "maybe next time" as politely as possible to all of Oona's show invites. I have however been following her career via the emails that she sends out on a regular basis, did you know that she played at the House Of Blues in LA last week? real talk!

Anyways same apprehension that I have about friends shows was applicable here, except even more so. What if I hate it? that could be awkward. What if one of her songs is called "Asshole brother in law"? Family dinners might be weird after that..

I'd always known that Oona had a larger than life voice.. though previously I'd mainly heard it used for "animated" and "spirited" "conversations".. turns out she can sing as well, and not just sing but really belt it out. Oona's aunt is the lovely and talented Terry Garthwaite who has obviously passed on her singing talent to her niece.

Now.. unlike my last show review I am going to actually attempt to describe the music.. It's a less electronic more explosive Luscious Jackson mixed with the good aspects of Fiona Apple (of which yes, there are a few).. I'm already not happy with that description as I feel I pigeonholed the sound as mid 90's which it is not. The sound is quite timeless but is a nice departure from some of the current female singers out there right now. Not that there is anything wrong with female singers these days. If I were a woman starting a band today I'm sure it would sound pretty much like a Feist cover band, and I'd be stoked.. In the case of Oona though, she does a great job of providing hooks and memorable lyrics while forging her own territory.

Whatever it sounded like it definitely captivated the entire room.. Oh yea, did I mention her backup band was ruling? The bass player had smart outfit, the drummer a sparkly drumkit and the guitarist had bendies for days! As a unit they were very cohesive as all get out! Good job fella's..

So anyways go see Oona play! it's pretty rad..

Nicely done sis!

myspace.com/oonamusic

Death Cab For Cutie - Narrow Stairs (2008)

Death Cab For Cutie returns with their seventh release and I honestly had a fraction of the anticipation for this one as I carried for Wolf Parade's brilliant follow-up. But then again, WP is a band that continues to satiate my aural fixation in ways that Death Cab used to, several albums ago...

Narrow Stairs is a noticeably darker, edgier, less idealistic and, well, more grown-up record. As brilliant as this may sound in theory, there's actually a lack of cohesion in the album's overall sound. The fact that this was produced by their very own Chris Walla also makes it damn near impossible to blame this discord on anyone other than Death Cab themselves.

There’s an experimental feel here, true, but sometimes experimentation is the last refuge for bands who are running out of ideas. Let's face it: dabbling with reverb and distortion (“Bixby Canyon Bridge”) doesn’t make you Radiohead. Neither does lacing a track with tabla (“Pity And Fear”) lead to an updated spin on “Norwegian Wood.” Lastly, holing up your band in a cabin in Northern California hoping to channel Jack Kerouac for inspiration definitely won't produce the musical equivalent to Big Sur. It's evident that genius remains with this uber-talented lot, except this record only seems to highlight the currently misguided state of said genius.

When considering the entire Death Cab oeuvre, their undeniable ability has already left an indelible mark on the musical landscape, while Ben Gibbard’s lyrical capability is about as boundless as his heart’s imagination. What seems to be missing here is the unforced inspiration of their erstwhile masterpieces [particularly, The Photo Album and more recently, Transatlanticism]. They’ve harnessed this magic before, but can they ever get it back? ::insert collective sigh:: Who knows? But in the meantime, Narrow Stairs best serves as a reminder that when inspiration leaves, it leaves with a vengeance.

The saving graces:

• “Bixby Canyon Bridge” – delightfully dreamy opener with great build-up that ends in wailing guitar and heavy distortion.
• “I Will Possess Your Heart” – entrancing bass-line, 8 min. of musical tension with no sign of release, and the best lyrics:
  
  Outside your window / I see my reflection as I slowly pass / And I long for this mirrored perspective / When we'll be lovers, lovers at last
• “No Sunlight” – melancholy lyrics contrast with upbeat music, ie. the perfect song to bop to when you’re going to CVS to refill your Zoloft prescription.
• “Cath...” – lush guitar and heart-wrenching lyrics that remind you why you fell in love with DCFC in the first place. Ahhh.

The final verdict: Not quite a watershed musical victory, but veteran fans will still find something worthwhile on this record. And to new fans, queue The Photo Album > You Can Play These Songs With Chords > Plans > Narrow Stairs > Transatlanticism on your playlist, in that order… and your life will never ever be the same. I promise.

The Dream - Lovehate (2007)

Without fail, everytime I jam the song "Fast Car" from this album someone says "Is this Prince?" Thats a pretty solid compliment for any artist in my book. I admittedly have a soft spot for slightly cheezy R&B, but I honestly think that the first 5 songs on this album are good. Swear. Do you like the Rihanna song, "Umbrella?" Don't even, everyone loves that song. And this is the guy that wrote it! Yeah! I know!

Also check out the song "Nikki," its his I gots cheated on and am gonna a write a Justin Timberlake "Cry Me a River" style song bout it. Its unabashedly awesome.

Johnny Foreigner - Waited Up Til It Was Light (2008)

These guys sound like Los Campesinos! at their most exuberant and reckless. The songs are fast and packed with girl/boy harmonic chanting, screaming cacophony, and alternating snippets of guitar distortion and riffing. Their frenzied and upbeat songs remind me of the rockier side of 90's indie pop. I also hear hints of Bloc Party and the punk choruses of the Futureheads. "Lea Room" is the hyperactive lead off track and seems to overflow with ideas packed into two and half minutes. It sets the tone for an album that starts and stops, jerks and charges, layering up of lots of song pieces like a collage. It'd be fun to sing along if I could keep up. These guys must be amazing live.

The Fratellis - Here We Stand (2008)

Costello Music was catchy, immature and a lot of fun. Here We Stand is just a little less than more of the same. They still can write a revved up pop song, but they've replaced some of the spunk with lazy classic rock influences and end up sounding more like the Redwalls, a good but not great Nuggets-style garage rock band. Although the songs are generally good, without as many standout singles, the album starts to feel a little repetitive. However, if you rocked out to them last time, you'll probably like, but maybe not love, this album. "Mistress Mabel" and "My Friend John" are pretty sweet singles for spirited sing alongs.

Portishead - Third (2008)

Part of the reason this review took me so long to write is that after purchasing Third, people kept commenting that it was a "departure" from Portishead's earlier work. So, of course, I had to revisit the excellent 1994 album Dummy to see for myself. Upon listening to both (I'm not a huge fan of the self titled 1997 album, now that's a departure), I've come to the conclusion that the hypnotic vocal power of Beth Gibbons and trippy electronic twanging make Portishead Portishead, and although Third is perhaps more spare and slightly more raw? aggressive? than their previous work, it's still very much Portishead: moody, slightly spooky, driven by a vague sense of longing, and pretty sexy.

The best example of this is "Nylon Smile," Gibbons moaning "I don't know what I've done to deserve you" over an ambient, insistent rhythm. Two other hot tracks are "Silence" and "Machine Gun."

On the other hand, there's also the 1 minute and 33 second "Deep Water," Gibbons singing accompanied by what sounds sort of like a ukulele. I'm not feeling it, and I'm glad the rest of the album stays away from this.

This first time I listened to Third, it was Sunday morning, and I was making pancakes. It gave the whole endeavor a sort of dark, seamy feel. Music that turns Sunday breakfast into something vaguely naughty is always fine by me.

Joe Bataan – Call My Name (2005)

I know this album is a couple years old, but I just discovered it, and I felt obliged to review it, just because of its overall sweetness. In a frustrating attempt to engorge my Soul/R&B collection (all the neo soul singers put me to sleep), I came across Joe’s newest release. If you aren’t familiar with Joe Bataan, back in the 70’s and early 80’s he was nicknamed the “Godfather of Latin Soul”, like the would be love child of Carlos Santana and Quincy Jones.

Call My Name is his first album in 20 years and it swings man. He signed with the ESL record label, which I think is a testament to how much he is still with the times, even though he is a “Godfather” and now more like a “Grandfather”. ESL primarily has D.C. underground elcontrica artists such as the Thievery Corporation, Ursula 1000, and French sensation Chris Joss; some of whom make appearances remixing tracks on this album, which is kinda like having today’s hottest DJs go back in time, and work with a legendary pioneer of Soul. The results are some pretty off the wall dance mixes.

It’s amazing to me that with all the changes in music over the past 30 years, Joe can make the same type of songs and still have them totally rock. My favorite track “Chick-A-Boom” could be played at any nightclub and everyone on the dance floor would be burning major calories, thinking it’s off of Beck’s new album. “Ernestine” and “I’m a Fool” are slow paced, with lyrics about love lost, but still are sexual charged love jams, full of rhythm and soul. Joe’s voice is throaty, but he hits the high notes like a champ, which makes for definite ostentatious baby makin music. Still, he doesn’t stray far from his funky Latin roots, i.e. major percussion, organ piano, and bongo drums. Songs like “Call My Name” and “Keep the Change” make me feel like I’m clubbing in Spanish Harlem with Carlito Brigante, only I’m having a good time, not trying to avoid getting shot by John Leguizamo or the Mob. Anyway, if you like Soul and R&B, check out Call My Name you will not be disappointed.

The Explorers Club – Freedom Wind (2008)

“Hello. Is this The Explorers Club? It is. Well, Brian Wilson called and was wondering if he could have his sound back. Thanks!” Click. The Explorers Club take the words “influence” and “similarities” to whole new heights with their album Freedom Wind—essentially a Beach Boys tribute album, albeit with original lyrics. There are a few tracks that barrow from other 1960s bands—The Beatles spring out at times—but ultimately, the harmonies, arrangements and lyrical themes that anchor this puppy are straight Wilson. This is not necessarily a bad thing, since The E Club have taken their “recreation” (See also: homage, regeneration, impersonation, etc.) seriously, and produced a very listenable, upbeat, summery record. Nevertheless, this could be hit or miss for serious Beach Boys fanatics, for some may see this as a degradation of sacred sound; however, for someone looking for some care-free, 60s style pop, there’s no reason why this album shouldn’t be enjoyed.

Rev up your Woodie to: “Forever,” “Don’t Forget The Sun” & “Last Kiss.”

Kaki King - Dreaming Of Revenge (2008)

So how exactly does one become a guitar virtuoso? Well, you play drums as a kid in Atlanta, pick up guitar while at NYU, busk around subways for some extra pocket money, sign on as guest guitarist for the likes of Tegan and Sara or Foo Fighters (perhaps you’ve heard of them?), play all the guitar parts for the lead in August Rush, and get nominated for a Golden Globe award for contributing to the Into The Wild soundtrack. It’s just that simple.

What drew me to Kaki King? A rumor that she was banging Tegan and/or Sara (one of today’s finer female indie rock outfits), for one. But also the following Dave Grohl quote: “There are some guitar players that are good and there are some guitar players that are really fucking good. And then there's Kaki King.” Not that we all should believe everything Dave Grohl says like it's the Gospel (and by that I mean we should), but he did make that statement with Serj Tankian and Jimmy Page in the audience. No one is that brazen for just anyone.

King’s fourth release, Dreaming of Revenge, is her most impressive to date. It will reveal to listeners that even though her guitar-playing is an undeniable mainstay, she still stays true to her percussive ability. Combining her signature fret-tapping and slap guitar technique, this adds complexity and layering to her seemingly “simple” melodies. With every tap and slap on her strings, it’s clear these songs (or soundscapes, rather) are written by someone who’s more concerned with instrumental arrangement than anything else. But when you manage to construct a gorgeous wall of sound, who cares about vocals?

To stylistically sum it up: If Ani Difranco, Suzanne Vega and Juliana Hatfield had a musical orgy, not only would Kaki King be the illegitimate love child… she’d also provide the soundtrack. Her technical prowess will appeal to the more scientific listener, whereas her innocent, vibrato-less voice (which hints at great potential) and thoughtful lyrics will appeal to the rest of us. Her vocal ability does not span the wider range of her instrumental genius, but she’s well on her way to musical longevity.

Favorite lyric:
“I don’t want to go, but I can’t say I’ve had a good time.”

Stand-out tracks:
“Pull Me Out Alive” (staccato vocals reminiscent of early Ani Difranco)
“Sad American” (wistful, atmospheric, lush, ethereal instrumentals)
“Montreal” (beyond explanation)

The final verdict: If you can’t exact revenge yourself, get your dose of sweet Revenge here. Kaki King lulls us with swirling guitar melodies that are dreamy enough to put you to sleep… or give you something soothing enough when you just can’t get to sleep.

Nicole Atkins - Neptune City (2007)

When I first listened to Nicole Atkins’ Neptune City I was hooked, but it took me a while to accurately describe my love for the album.

In the voice department, Atkins does not let down. This lady can really belt out a tune (but not in an annoying, pop starlett, warbling kind of way). Her style harks back to the music of my parents' and grandparents era – 50s and 60s crooners with a touch of vaudeville at times. I can’t pinpoint her sound to one particular influence, but if you could imagine Cass Elliot covering The Ronettes covering Judy Garland, you’d have it just about right.

Neptune City, released just a few months ago, is wonderfully diverse album. The downside? Is how long I will have to wait until she comes out with another!

Favorites: Neptune City, Brooklyn's on Fire, Maybe Tonight

Mylo Jenkins @ The Poet and Patriot

Wow I went out on a Sunday night! That's big for me. Last time Mylo Jenkins played I promised I'd go and we did but then we got to the house where the show was at the combo of the drunk teenagers and vibing kooks turned me from stoked-to-see-my-friends-play into I-want-to-get-the-fuck-out-of-here pretty much instantly.. to be fair I was in an old man bad mood that night.. However, I've been to many a house show in my life and I've just come to terms with the fact that I will never be that into them.

I spent Johana Lefever's set trying to figure out where I know her from. Then mutual friend Jenny helped me realize that I know her from the climbing gym. She sounded great and her drummer played shoeless which was rad to me.

Pete is from the Devil Makes Three and is great. Last time he played at the Poet it was awesome as was this go round. He's got this song that has one of the best refrains of all time

a lot of people don't like me
not my music / but personally

Mylo Jenkins.. what to say about these guys. Five of my favorite people in the world and I like their music too. It's weird when friends want you to come see them play because sometimes its not that rad which makes it super awkward.. luckily that isn't a problem here. This is the second time I've seen them with that addition of JJ in the band and his multi-instrumented-ness is hecka impressive. Go see them.. well since Tim doesn't want to tour you'd better come to Santa Cruz to see them..

Good times with good friends and good music... I got so caught up in the excitement that I started text messaging people across the table.. who's the drunk-kook now?