The Dandy Warhols - This Machine (2012)

I don’t claim to understand the Dandy Warhols most of the time, I just sit back and enjoy the ride. This Machine offers some familiarity, with the pulsating baselines and laid-back attitude of “Sad Vacation” or the hypnotic rhythm and breathy vocals of “Autumn Carnival”. However, as always, there is something new and interesting. This Machine is heavier, exposing an often grinding and violently strummed guitar. The upbeat “Enjoy Yourself”, along with “SETI vs. the WOW signal”, playfully bringing together an almost mocking tone in the lyrics with pounding and often rough instrumentation. A couple of surprising combinations are the haunting ballad “Well They’re Gone” which easily sets the mind to wander, which contrasts inquisitively with the uplifting guitar and horns combo of “I Am Free”. But what would be a Warhols' album without the psychedelic meditative trance and lighter-than-air vocals of “Don’t Shoot She Cried”, chased by a strong dose of the Dandy 'weird' in "Side" to finish off the album, right? As a whole, This Machine has is paired-down with less synth and less of the catchy hooks present in previous albums, but it still exudes a great energy.

Soft Swells - Soft Swells (2012)

March may be a little early for summer, but it is never to early for summer jammy jams. The summer sounds come early with the Soft Swells' self-titled release. The beachy-vibed indie rock is quite popular these days, and in some respects the Soft Swells could be considered California's response to Florida's Surfer Blood, with less reverb and more appealing vocals.  Overall the album amounts to a well-crafted collection of pop songs, with shimmering vocals and rhythmic drums. Such attributes shine through on "Every Little Thing" and "Shake it Off." While every song is quality, there isn't a dominent single (in my mind) that needs listening to over and over again. More likely, one can toss this on with a couple other breezy indie pop albums, such as the latest Tennis, Drums, or Young Friends and nod along, imaging bare feet in the sand, sun on the face, and an ass in a comfortable folding chair. The combination of Brooklyn and Los Angeles roots reeks of hipster, but the tunes transcend any niche, too-cool-for pop culture genre or stylization. The Soft Swells bring great music and good times.

Howler - America Give Up (2012)

This is rock and roll... This is Howler. Their debut album, America Give Up, is vigorous and catchy much like one of my favorite bands of 2011, The Vaccines. The Drums, Surfer Blood and The Soft Pack (plug in other surf-rock influenced band name here) also come to mind, because the surf-rock trend is so hot right now. The 11 track album comes in at just over 32 minutes, which leaves each riff-laden, power pop track to come and go at a '70s punk pace. It is truly structured as an album from a different era. I suppose we shouldn't be surprised anymore due to all the musical virtuosos currently on the prowl, but I am still amazed by the fact that Howler is made up of mere kids. They pull together an amazingly mature and musically-educated sound, while keeping the songs and song-titles playful and carefree. This album is packed with singles, so take a half-hour out of your day, especially while the sun is shining here in California, and have a listen to some youthful summer jammy-jams. 

Jim Jones Revue - Burning Your House Down (US 2011)

Within any established genre, I'm always impressed when a new band comes along and makes it feel vital again. It's been a long time since I listened to much rockabilly, but the Jim Jones Revue may make me revisit that stance. Then again, they aren't so much rockabillies as a garage rock and punk band that incorporates honky tonk piano and blues chords. From the first track, it's clear that Jim Jones is a a wild and charismatic frontman. "High Horse" matches Jerry Lee Lewis sized carnal swagger with his ferocious key pummeling. Little Richard. On "Premeditated" his voice shifts between a guttural growl and a needle-in-the-red howl. It injects the songs with power and energy that evokes images of them thrashing about chaotically on stage. "Elemental" updates Little Richards' unhinged delivery for the 4 Loco age with a breakneck pace and blistering guitar riffs. Overall, it's a wild and fun album and is guaranteed to be amazing live.

Come on out and see them blow the roof off  Doug Fir Lounge on Saturday, September 3rd. Hell, if you consider the album cover a warning, it might be the last show that log basement ever hosts.

Red Fang - Murder The Mountains (2011)

Portland based, Red Fang has been a band that I listen to for the past few years. Their first album contained one of my favorite singles from 2009, 'Prehistoric Dog'. Aside from being an awesome song, the video might be the best video ever made. There was a lot of anticipation regarding Murder The Mountains, mostly due to Red Fang being signed to Relapse Records.

After a 2 year break, MtM was released to mixed reviews. Some people I talk to, absolutely freak out for the record. Some people think its just kind of "meh". I think that I am caught in the middle somewhere. The major difference in the 2 albums is production value. MtM is produced so well, and is crushingly heavy. Part of my attraction to this band was their low production value that accompanied their beards, and the seemingly millions of cans of beer they consumed on a daily basis. The new album sounds like a super buzzy Melvins record with hints of other bands like The Sword, Torche, Queens of the Stone Age, and Kyuss sprinkled into songs. I don't really hear a whole lot of unique things going on with the record, but if you are going to sound like any other bands, The Melvins/QOTSA/Kyuss is a pretty fucking rad sound to go for.

The opening song 'Malverde' is a great opening song, that sets the tempo for 10 songs that are heavy as hell. Brian Giles' rants through the song of, "Thats the trick/I can't believe you're falling for it" gets your head banging and your feet tapping. The follow up song, "Wires" is an absolute powerhouse. Starts with galloping guitars reminiscent of Black Sabbath's "Children Of The Grave", then goes into my favorite riffs on the album. Its pretty awesome how this song is so heavy, but still catchy as fuck. "Wires" is hands down, my favorite song on the album. "Hank is Dead", and "Number Thirteen" are the two other faves on the album.

Don't expect to be blown away with a new 'genre-defying' album here, but it is still a great album to put on, and shotgun brews to. I listened to it a ton when it came out, and I still play the record every time I DJ my metal night in San Francisco. Go pick it up, and if you can..... see them live. They absolutely melt your eardrums live.

Mariachi El Bronx - II (2011)

I first started to listen to The Bronx when they released their album, 'White Drugs'. I loved them instantly, and when they played live, I freaked out. Around 2007 they were asked to release an acoustic song, that they were hesitant to do. They felt as if the whole "Unplugged" thing was played out, and kind of cheesy. Like any good punk, they answered back with fooling around acoustically and releasing "acoustic" song as a mariachi song. It really kicked ass.

From that point on, the band started to experiment with playing mariachi music, and released their 1st mariachi album, 'Mariachi El Bronx'. I fell in love with it, along with everyone else, but for some reason most reviewers felt as if the alter-ego was going to be short lived and burn out. They toured, and played split sets; first their hardcore set, then come back out in their black charo outfits. They would play their set with the authentic acoustic guitars accompanied by a vibrant horn section.

The sophomore album is just as good at the first, but I really think that they improve their music dramatically. It seems as if every good thing from the first album whacked down a shot of tequila and became louder and cooler. Something that was disappointing to me on the first album was that I felt as if a lot of the songs had a 'salsa' feel to them. They were good, but only a select few of the songs were truly 'mariachi music'. The Bronx adapted a norteno style to the new album, and seems to fit so much better. The subject matter of heartbreak, infidelity, and death is offset from music that radiates sunshine.

The emotion that the band exudes is palpable. The first track, '48 Roses' might be my favorite on the album. The song is triumphant, radiant, dynamic, and epic. It encompasses everything that I feel makes mariachi music so great: speed, rhythm, and a wall of strings and horns. Matt Caughthran's vocals are amazing on the album, with so much emphasis on sincerity and emotion that matches the lyrics perfectly. I think that I rewind the track over my favorite line every time the song plays, "So Father forgive my cold shoulder/I just don't have the time to console her/I can fall back in love when I'm older". 'Revolution Girl' is so damn catchy and upbeat that I have trouble driving to the album, due to my insane desire to grab a babe and start twirling her on the roadside. At first I thought the lyrics to 'Norteno Nights' was so cheesy with little bits of Spanish in the chorus, but it has grown on me, and is another song that has made it to the top 5 on the album. Finally, one of the more emotional songs that I relate to, is slowed down and makes me think that I should be dancing with a rose in my mouth. 'Poverty's King' has my favorite line on the album, "Everyone wants to be alone, until they are alone".

When people are surprised about the album being made by a bunch of LA punks, I can't help but see the similarities in the genres of music. It seems almost fitting that a punk band can go and feel at home making mariachi music. Both genres are young men, fed up with their failures at love, life, and progress. Both genres drip with emotion, and are an art form which requires a uniform, and a passion for playing regardless of audience. Mariachi bands tour around playing in small clubs, and play in restaurants in search of a couple of bucks to fill up the tank to get to the next destination.

Everyone should own this album. Period. De nada.

Waters - Out In The Light (2011)

While Port O’Brien was great, especially the boisterous “I Woke Up Today” and its equally playful video, I love Van Pierszalowski’s new band, Waters even more. It’s quickly becoming one of my most played albums this summer. Decidedly more indie rock than folk, Waters is also louder and feels more emotionally raw. “For The One” (mp3) kicks off the album with a blur of catchy fuzz that just begs to be turned up, as if the guitar was playing through blow out amps. Two of my other favorites on the album similarly embrace the rock n’ roll spirit — “Back To You” is driven by thumping drums and vocals escalating at the chorus, while “Take Me Out To The Coast” incorporates remnants of his old band’s communal sing alongs. However, not all of the album is pushed into the red, it's actually quite balanced. The quiet strumming on “Mickey Mantel” highlights a wonderful yearning chorus. If only all my favorite bands came back this strong after breaking up.

Waters plays at the Branx on Thursday with Mister Heavenly.

WATERS - For The One by cityslang

The Middle East - I Want That You Are Always Happy (2011)

While I Want That You Are Always Happy, is technically The Middle East's first full length album, this by no means reflects their maturity as musicians. A blending of genres defines The Middle East's sound, from the more folky Fleet Foxes tones in "Months" or "Ninth Ave Reverie," to an ambient instrumental in "Sydney to Newcastle," to a meditative hymn in "Mount Morgan," to a more familiar indie rock sound in "Jesus Came to My Birthday Party." A plaintive tone is struck from the beginning and continued throughout the album, starting eerie and introspective in "Black Death 1349" and "My Grandma Was Pearl Hall." Though mixing genres can easily frustrate, The Middle East never strays too far from its folk foundation — well formed harmonies and instrumentation creates an emotional and personal album. Less upbeat than fellow Australians, Boy and Bear, the album has its share of faster tempo tracks to balance out the album. Check out "Jesus Came to My Birthday Party," "Land of The Bloody Unknown" and "Hunger Song."

Paul James - Possessed By Paul James (2007)

Paul James, or Possessed by Paul James (whichever you prefer, as he goes by both names) is far and away my new favorite blues/bluegrass artist. He is a featured performer on the Voodoo Rhythm Records label, which is how I discovered his beloved talents. Paul's real name is Konrad Wert, and he is from the swamps of Immokalee, Florida (rad). He was raised Mennonite with Amish roots, but don't expect toned down, dispassionate, drab and dreary traditional jams. Paul James is raw, full of gut-wrenched carnal yelps, and it almost seems like he himself is possessed, and that stage name was meant as a warning. The songs are not for the faint of heart. Some are about loosing one's mind like in "Committed," or the taboo feelings regarding a loved one's suicide in "Colorofmybloodynose," and for resentment over people giving up see "No Windows." His songs are about life's perplexity; full of contradiction, rage, and if nothing else, the commitment to being absolutely forthright, consequences be damned. The melody of acustic guitar and banjo strings seems to almost put the listener in a trance. Where I feel like I am becoming one of those people overcome by the holy spirit at some crazy week long baptist revival. Definitely check this guy out, especially my favorite song "Cold and Blind" which is not on the album but can be seen below. Cheers.

Portugal. The Man - In The Mountain In The Cloud (2011)

In The Mountain In The Clouds opens with the super catchy “So American” -- a blast of falsetto driven psychedelic rock n’ roll announcing that Portugal. The Man is back. They may now be on Atlantic Records, after stints with Equal Vision and Fearless Records, but the major label hasn’t disrupted the quality of their songwriting that made them a QuickCrit favorite. As with all of their recent albums, their sound continues to evolve. In The Mountain is not as sexy or funky as last year’s American Ghetto, ditching its glitchy electronic buzz and replacing the psychedelic soul of the Satanic Satanist, with cosmic glam. It all makes for even greater sonic grandeur on songs like the anthemic “Got It All (This Can't Be Living Now)" or the soaring “Everything You See (Kids Count Hallelujahs).” Guitars swirl and ring while the vocals alter pitch and pace. Lyrically, singer/guitarist John Gourley is still grappling with life in 21st century America. He seems to accept that we may all be fucked, but that’s just fate, and we might as well “be cool with it.” The songs build, crash and flow together nicely, closing with the "Sleep Forever", which escalates slowly into a wonderfully epic ballad -- a perfect closer to a fantastic album.

The Features - Wilderness (2011)

Simply put, The Features’ Wilderness is a fantastic rock n’ roll album. One of the best that I’ve heard all year. The standout single "Rambo" kicks off with cinematic humming before launching into a charging rhythm and swirling keyboard, the song marching forward over the cries of singer Matt Pelham. The darker “Kids” rides a 70s metal bass line and kick drum through a cloud of heavy riffs. The album is solid from start to finish, subtly shifting from psychedelic pop to prog to garage rock, often multiple times within a song. If it wasn’t clear from the album’s diverse (if classic) influences, the sweet and steady “Fats Domino” is the ballad for a record collector: “You can have everything, except my rock n’ roll, my love / Put down Fats Domino.” It’s right up there with Ryan Adam’s “Come Pick Me Up” in terms of capturing the state of a relationship relative to a mans’ vinyl.

You can bet I'll be there when they play at Bunk Bar on September 17th.

Kaiser Chiefs - The Future Is Medieval (2011)

How many albums do you love all but one or two bum tracks? And how many times have you heard a B side and wondered how it didn't make the album? Well, rather than release an indulgent 20 track double album, the Kaiser Chiefs are giving fans the opportunity to select and order 10 tracks for their own personalized version. It's a cool idea, but these days fans already do that on their computers by rating songs and only listening to their favorites. Perhaps the band is acknowledging that they no longer control how the music is going to be consumed. At least this way, they get some great data on what their fans really like.

Unfortunately, even as a longtime Kaiser Chief fan, I'm having trouble finding 10 tracks I love. Mostly they are fine. Although I'd definitely put "Back In December," "Can't Mind My Own Business" and "Starts With Nothing" on an album, I don't hear any of the type of singles that made me fall in love with the band back when "I Predict A Riot" incited mass dancing/jumping as it pumped across the indie rock dance floors.

Too bad they didn't do this for a greatest hits album. This method would work great for career spanning compilations for any artist with a handful of releases. I am sure fans could pull out enough deep cuts around the obvious singles to make some pretty interesting and personal albums.

PDX Pop Now! 2011 Compilation

Each spring, I look forward to the release of the PDX Pop Now compilation as they continue to introduce me to new bands I go on to love. Even as someone who listens to a lot of local music, there is still plenty that I miss and this is one of my favorite ways to catch up. Last year, I introduced to AgesandAges and Light For Fire.

Once again, there a couple old favorites — such as Jared Mees, Lovers, The Minders (mp3), Red Fang, Viva Voce — who all contribute excellent new or recently released songs. Three of my favorite tracks come from familiar faces fronting their new bands: the beautiful and catchy "Cold Feet" (mp3) by Lost Lander, which is Matt Sheehy of Ramona Falls' new project;  the retro psychedelic pop of "Thought Ballune" by ex-Mint Chick Ruban Nielson's Unknown Mortal Orchestra; and the sweet and acoustic "Tiny Hands" by Hutch Harris of the Thermals on his solo project, Forbidden Friends.

The real gems are new (at least to me) bands. I figured I'd missed my opportunity to see Portland's best new party band, O Bruxo, bit the inclusion of the exuberant "De Colores" and band on the lineup of CD release party gives me hope. Although by no means a hip hop connoisseur, I dig the Cool Nutz' catchy "Monster Up". The Shivas' power popped "Gun In My Pocket" had me checking the calendar to see when I catch their next show. Overall, it's eclectic and surprisingly coherent compilation.

June 2 — PDX Pop Now! CD release show at Holocene with O Bruxo, Blue Skies For Black Hearts, Swahili, Lost Lander
July 22-24 — PDX Pop Now! festival at Refuge PDX

Foster The People - Torches (2011)

Few can deny that Foster The People's "Pumped Up Kicks" is a killer single, building upon the chill psychedelic dance pop MGMT perfected on their first album, but subsequently left behind. Actually, all three songs off the EP are terrific. "Houdini" and "Helena Beats" recapture the joy of Passion Pit's indie dance party with big electronic beats and shimmering keyboards. Given the indie pedigree of the EP, it's no surprise that the rest of the songs off their debut full length, Torches, don't generate the same level of buzz. However, given a couple of spins, it becomes clear that there isn't a bad track in the bunch. "Color on the Walls (Don't Stop)" recalls the Dandy Warhols at their most tight and catchy. The lilting ballad "Waste" snaps along briskly, while "Warrant" brings everyone back out on the floor for one more sweaty spazz attack. Overall, it's a fun, breezy album, packed with plenty of hooks and hip shaking beats, no doubt perfect for summer nights.


Houdini (Live In Solana Beach) from Foster The People on Vimeo.

Fleet Foxes - Helplessness Blues (2011)

While the Sun Giant EP and self-titled album generally caught everyone off-guard with newfound baroque, minstrel pop stylings of woven harmonies and rhythmic acoustic pluckings, three years later everyone knew what to expect from Helplessness Blues. As my most anticipated album of 2011, I was itching for new Fleet Foxes, due in no small part to listening to any and all Fleet Foxes on repeat throughout the California Bar prep period. The group bring a big(ger) sound on many of the tracks with more prominent instrumentation accompanying the formally vocally-centric emphasis. The group still maintains that coming-of-Spring feel, which is what fans have come to know and appreciate, reveling in the free-spirited harmonizations and frolicky folkiness that makes the album, and their corresponding live shows, stand tall above the current indie folk noise. It is a complete album, running a range of tones, with "Battery Kinzie" providing drum-driven, soaring vocal harmonies, "Montezuma" for melancholic movements, "Helplessness Blues" for the single-structured, catchy chorus; however, for my money, it is the strummy, pace-changing "The Shrine / An Argument" that embodies what I love about Fleet Foxes... multiple melodies and moods in one song. Excellent from beginning to end, this effort fills a much needed void in my personal collection — some songs to whistle to, sing-along to, stum to, or (even) wave your hands in the air like a symphony conductor to, this album takes hold and only lets go at the final, wavering notes.

Credit to Nesto for his insightful comments.

King Automatic - In The Blue Corner (2009)

What's up QCM? Thought I'd post about my new favorite band King Automatic. Jay Automatic is a one man band who plays garage blues and self-described "Primitive Big Band." In The Blue Corner is some of the best stuff I've heard in years, as "There is no Truth in the Night" has taken over my mind for the past three weeks at least. I normally hate novelty acts, as they are often all hype and no quality; however, King's songs are full of substance, filled with Jamaican rock-steady background vocals, and perfectly timed breakdowns. There is something intriguing and wonderfully off about his vocals. It reminds me of some sort of voodoo rockabilly guy playing piano at a French whorehouse. Or when you drive by a house with "1/2" in the street address, you sort of have to try and peak to see what happened. The guitar playing and piano are the biggest standouts, see "Things Are What They Are But Never What They Seem." The album is a testament to King Automatic's versatility, as one song will be a low-down, dark and bluesy ode to love-lost, and the next will be filled with up-tempo and catchy keyboarding like "Vague Information." Very strong album and worth a listen at least. Below is my favorite song's video. The actual song starts at the last 2 minutes and thirty seconds, as he opens with a 6 minute instrumental interlude... pretty rad.

The Kills - Blood Pressures (2011)

The Kills' status amongst Coachella regulars is a testament to their wide and lasting appeal, with their position in the lineup consistently rising in the three years they have performed. In their latest evolution, The Kills continue their characteristic vocal interplay with Mosshart leading and Hince supporting that has made them so appealing, balancing just the right amount of distortion and vocal coarseness to keep their sound rough around the edges. Blood Pressures has less frills, with riffs pared-down for powerful deliveries. The heavier sound is heard in the reggae strumming and low vocals of "Satellite". Though I hate it when my favorite track is the first because it always seems like I'm being set up to be disappointed, I have to say that "Future Starts Slow" is my favorite track with it's intense driving beat and piercing guitar. "DNA" particularly highlights Mosshart's seductive vocals, while "Heart is a beating drum" and "Nail in My Coffin" live up to their names. The second half of the album does not have the same energy, perhaps because it is hard to maintain the same intensity throughout, but the final track "Pots and Pans" provides an interesting close- transitioning into a repetitive but soothing trance.
The Kills - DNA - Blood Pressure - Free MP3 Link by smokincharliebrown

Magic & Fur - The Last Of The Late Night Lost (2011)

Magic & Fur were my most anticipated album of 2010 ...I anticipated, but it didn't happen. Now, it has been nearly two full years since we first crowed about the forthcoming album, and it is finally here. Yeah! The majority of Last Of The Late Night Lost has been released in some manner or another, whether it be through bandcamp or EP, but the music still feels like a warm, fresh morning. "Christine" and "Apple Falls" remain the stand-out singles—solid longevity—with uptempo beats and hook-laden riffs that pull you in with great build-ups. "Do Not Toll The Bell" is a bass-line driven five star track reminiscent of "Heroes"-era Bowie. "Us" is my favorite of the newcomers, with a sing-along chorus and a head-nodding beat. I feel that the overall comparisons to Bowie and Interpol's sound still stand given the heavy emphasis on reverberating baritone vocals. The music is self-described as, "noir-soaked, hypnotic pop songs," which I think is partially off-base because, in my mind, noir tends to be associated with dark, cynical drama, and this album makes you want to happily bob about to the hypnotic pop, rather than wallow in it. Maybe that's just me. Regardless of your personal reaction to the music, this album is excellent beginning to end with a broad range of smooth sounds and solid songwriting. Hopefully we'll be seeing them stateside soon.

The album will be available on Monday, May 16 by download only. 

Architecture in Helsinki - Moment Bends (2011)

Moment Bends might disappoint those who expected a continuation of the more playful, Talking Heads channeling sound of Places Like This. Nonetheless, Moment Bends maintains much of the same quirky style, just with heavy, unapologetic doses of synthesizer. Though there are some fun danceable tracks like “Escapee,” “Denial Style,” “That Beep,” the sample-ready pop may be too sweet for certain palates. That said, “Contact High” is a welcome addition to your morning underwear romp playlist. An anthem of sorts, “Everything Blues” stirs up images of a gang of tight-leather clad youths in an empty warehouse looking tough, only to suddenly break out into a choreographed dance routine.

Contact High from Architecture in Helsinki on Vimeo.

The Rural Alberta Advantage - Departing (2011)

I was sitting around a large table of folks at the Connecticut Yankee awhile back, greasing the pipes for The Builders and The Butchers and Murder By Death concert at BOTH, when a friend said, "You know a band I think you should check out? The Rural Alberta Advantage." So I did, and here I am writing this review. I have to admit, I was on the fence at first... And the fence was pretty tall and thick. Nils Edenloff's vocals are not exactly welcoming, beautiful or mainstream, but they had me at "Drain the Blood." Again, initially I was riding that proverbial fence regarding Departing, but in the same manner a few listens turned me into an avid fan of Hometowns, I was drawn into the folky, slightly quirky rhythms, nasally vocals and sing-along choruses. As for Departing, "Two Lovers" is great, "Under the Knife" is remarkably catchy, "Tornado '87" is this album's pull-you-in jam much like "Drain the Blood" was on the last album and "Barnes' Yard" makes my foot-drums go crazy. I'm not going to promise that you'll think this album is a winner at first listen, but give it a few spins, and if those high-notes hit a chord, I'm sure you'll become a fan just like me.