Top 10 of 2009

I think Mike summed it up perfectly. It wasn't a great year for music, but there were some really good records. Below's my top 10 for the year.

10.Röyksopp - Junior
9.Camera Obscura - My Maudlin Career
8.Kings of Convenience - Declaration Of Dependence
7.Sunset Rubdown - Dragonslayer
6.Bear In Heaven - Beast Rest Forth Mouth
5.Neon Indian - Psychic Chasms
4.Neko Case - Middle Cyclone
3.Yeah, Yeah, Yeahs - It's Blitz
2.Fever Ray - Fever Ray
1.Animal Collective - Merriweather Post Pavillion

2009 Top 10: Everyone Else is Doing it...

Not the best year in music (worse than 2008 to be honest), but there still were some stellar releases. A lot of these records below you've probably seen on other lists, but some you may have not. I made my list based on several factors: what initially appealed to me the most; it's lasting power or legs; the contribution it made to my day-to-day life; and the quality of the songs. Enjoy!

10. Tiny Vipers - Life on Earth

Like the old bat-shit crazy Cat Power we all loved, Tiny Vipers uses stripped down music to wear a thin mask to cover up the insanity of everyday life. You listen to the simple songs here and you feel it, but you also feel comfort in that we all share the same basic secret.

9. the Antlers - Hospice

Upon first listen, this was a fascinating record and I thought it had a great chance of being my record of the year; however, it's strained style and composition just didn't stick into my head and plead to be listened to like the records above it.

8. Frankel - Anonymity is the New Fame

Beautiful record much in the line of mid-90's Jude, but with less tongue in cheek and more focus on the style. I liked this record so much that I ordered the vinyl from this independent artist and even received a nice 'Thank You' note from him.

7. Neon Indian - Psychic Chasms

Chillwave (God, I hate that label!) is the late 2000's version turntablism blending multiple styles and recording techniques to achieve a constantly varying song type that mostly falls flat. Most of these groups get completely lost in the process and forget to make god songs. Neon Indian is not one of those-they make quality music and I look forward to hearing their style progress.

6. CFCF - Continent

CFCF is mostly known as a producer and this is his first full length release. Electronic simplicity is his goal with this record and it achieved beautifully. Most of the tracks are downtempo and consist of only a few generic sounds, but the songs develop something larger than their production.

5. Lee Fields & the Expressions - My World

This was my summer jam! I haven't listened to it in a couple months, but after going over it again I'm still loving this funky soul record. Production is simple and the music is full of emotion that can shake anyone to the bone.

4. Silversun Pickups - Swoon

Was extremely excited to see what they would do with a completely clean sheet on this record. I really didn't know what to expect and initially I just thought it was a decent effort, but about mid-way through the third listen I realized how much they have grown in the time from Carnavas to present and how great this record actually is. Some of the production may have been a bit over-the-top, but every band should experiment if they have the chance.

3. Neko Case - Middle Cyclone

Another 'grower' record. Upon first listen, I thought it was just another Neko record, but after a while I started craving the songs and getting excited hen I heard them randomly. Love her work, voice, and emotion.

2. Fever Ray - Fever Ray

Can't escape this record. It came out in mid-January and still sounds fresh, vibrant, and brilliant. It's jerky style always keeps your mind leaning forward to hear the next beat and section.

1. Animal Collective - Merriweather Post Pavillion

Ok. I really dislike Animal Collective, but the more I heard 'My Girls,' 'Daily Routine,' 'Bluish,' 'Guys Eyes,' etc. the more I had to admit this was a great record. It made me go back and listen to all of their previous releases even-I still don't like them, but I am willing to concede defeat and crown MPP the best record of the year.

'til next time!

Kid British/Electric Sex/Japandroids

Time to catch up!

Kid British - It Was This or Football...
I'm a sucker for British pop, especially the upbeat/dancy variety, but Kid British is just too sugary for me. If you took the absolute worst aspects of Madness and mediocre 90's pop (think New Radicals), then you'd have Kid British. There are some stand-out tracks like 'Our House is Dadless' and 'Lost in London,' but they are worth hearing only because the formersamples Madness along with a decent beat and the latter has a good feel akin to the Streets first hit 'Let's Push Things Forward.' The ideas seem to be there, but the pop aspect is a full-on fail. Maybe they should have chosen football.

Grade: 3.3

Electric Six - Kill

Electric Six, who brought us the great 'Gay Bar' years ago, comes back with Kill and while it's dangerously close to being really good-it's relentless style changes and themes of over the top machismo kills most songs on this record. Anthemic dance beats usually give way to over-powering, Green Jelly/Ugly Kid Joe style guitars and it just doesn't mesh well. I liked the tracks 'My Idea of Fun,' which had a good progression and actually lacked the masculine aggression present on 90% of the record, and 'White Eyes,' which had a tolerable beat and a White Lies (the band) feel to the track despite the more terrible lyrics. Overall, yuck.

Grade: 2.6

Japandroids - Post-Nothing

A decent record, finally. Vancouver, B.C.'s garage rock is pretty good on record and imagine it's thrilling live. If you are into the Thermals, the Henry Clay People, or Titus Andronicus, etc. then you'll like Japandroids. I do think the Japandroids have some growing yet to do in order to be a really good band. The progressions and songwriting are not just up to par with bands like the Thermals yet. The songs lean keenly forward over the beat pushing tracks, like 'The Boys Are Leaving Town,' forward nicely, but not too much to make it uncomfortable to the listener. Emotion carries the band through the initial tracks, especially coming clean on 'Young Hearts Spark Fire,' but then falls flat. The band seems to blow it's 'load early and lose its electricity soon after the first few tracks regressing to sound more like a early 90's Dinosaur Jr. demo tape that was thrown away for good reason.

Grade: 4.2

So many records and so little time...

to post.

Let's get this started.

The Black Heeart Procession - Six

I am a huge fan of the Black Heart Procession's earlier work, but they have let me down over the years. The dirge-ridden and plodding tracks gave way to up-beat and overly thematic songs. The BHP return to the numbering system with their newest record and a few of the tracks return to their old nature as well. When the tempo increases,however, the music loses it's impact. There's no overbearing spectre or ghost behind your back on most the record, but 'Liar's Ink" and "Iri Sulu" are worth a spell. They are full of foreboding, fear, and haunting. These tracks are certainly worthy of the oncoming wintery weather.

Grade: 4.1

Zero 7 - Yeah Ghost

Zero 7 is another group who's releases have been less stellar as of late; although, they have not had many releases to mention. There is more depth of production on Yeah Ghost, but the whole of the album is not that good. While including more variances in style, they lose what they do best in most cases. Several tracks have a feeling of trying to do too much. Superfluous beats and a too contemporary feel make the record feel like it'd be better suited on VH-1 than an in a loungey set. The melodies are also missing with many of the tracks. When they do pull of quality songs it is with the methods that made them so great to begin with. The organ sound of "The Road" and the bounce of "Swing" are what you are looking for from Zero 7.

Grade: 3.8

Golden Ghost - The Unimaginative Body

Coming from Endicott, New York, Golden Ghost embodies a plugged-in farmers' market group with a lot of style and substance. Laura Goety's voice and talent are clearly present as is her spirit. The music has an ethereal psyche feel to it but with more depth to the sound which gives it more body. This psyche group is capable of so much more that daydreamy crap and I have to admit that I really dig their earthy sound. I kept "Plain Sight," "If You Are In Love Then Why Are You Aslpeep," and "Russet, Citrine, Olive & Black."

Grade: 5.6

Way Out Sounds

Jake Holmes - The Above Ground Sound of Jake Holmes (1967)

Never heard of Jake Holmes? Surely, you've heard one of his songs then! He wrote the "Be a Pepper" jingle with Randy Newman and the "softer side of Sears" riff that is still in use today. More importantly, he wrote "Dazed and Confused." That's right the Led Zeppelin song, which Jimmy Page stole and never gave credit for. Jake didn't care enough to pursue it past a letter, but those who do love music it's interesting to hear a much darker version of the song. Jake is like the Townes Van Zandt of the psyche world of the late 1960s: great melodies and songwriting, but never quite accepted past his pure talent. It's worth it for "Dazed and Confuse" itself, but also worth listening to "Signs of Age," "Lonely," and "Wish I Was Anywhere Else."

Grade: 5.9

Pleq - The Fallen Love
Minimal IDM made with organic sounds making wonderful use of the silence yet incorporating ambient noise to build tension throughout. Some good tracks here from Pleq. Who is Pleq? He is 25 year-old Bartek Intelligible based out of Katowice, Poland. The overall feeling from his songs is that of Angelo Badalamenti's background music from Twin Peaks with elements of glitch. Not Moby's crappy "Go" version of "Laura Palmer's Dream," but a dirty, ominous, and true representation of that same feeling of foreboding. Pleq does utilize vocals occassionally, but the creepy factor is increased exponentially for those tracks and it's a bit much. My one issue with Pleq is that the music does seem a bit too constructed at times and not as alive as the sounds that carry it. After a few tracks you realize that nearly all the spaces are measured and too exact-varying these spaces, even by the 1/100th of a second can breathe so much more life into songs. When all said and done I chose to keep "The Fragment in My Life," "Do You Remember Your Dreams," "Pleq is Dead," and the title track "The Fallen Love" is good too.

Grade: 6.0

Dizzee Rascal - Tongue N' Cheek
I love, love, love Dizzee Rascal. On his first record, 2003's Boy in da Corner, he amazingly produced the beats and spit vocal like a veteran: he was 17. Now he is a veteran, and he's using the beats of such club legends of Armand Van Helden, Calvin Harris, and Tiesto for the majority of his tracks. This leaves time for Dizzee to concentrate on his rhymes. While his frenetic vocals occassionally get in the way of the tracks, he is contuing to mature and allow for more space. Dizzee is nothing else if not focused and his track record of putting out a new album every eight months or so proves this. Even more amazingly, these records are usually not lacking in quality. The herky/jerky bangers are still there and ready to pump you up for a night out at the club. I kept "Bonkers," "Dance Wiv Me," and "Holiday."


Grade: 6.9

Some more records real quick...

Dirty Projectors-Temecula Sunrise

So, Dirty Projectors released one of the "albums of the Summer," according to a lot of bloggers, this year; well, they are now back with an EP. I have one pretty serious question: Why does it have "Cannibal Resource" on it again? I hate that! This EP is a waste and Dirty Projectors are one of the most over-rated acts out there. They re-use samples and sounds so often that the tracks begin to meld into one long painful cacophony of garbage. Nothing is worth your time here.

Grade: 1.2 (only for "Cannibal Resource" being on it)

Real Estate-Real Estate
Is this what we need? Another soft-rock indie rock band from Jersey? I say why not, but they better be good. They aren't great, but they have talent. The songs really aren't that impressive and the production is way too twangy (I can still feel the strings vibrating somewhere in my chest), unedited, and really just not that good. There is a general feeling of possibility-like when you listen to Death Cab for Cutie's You Can Play These Songs with Chords. I suppose this is the result of too-early hype and the rush to put out a record. If you want to hear their best, then seek out the tracks "Fake Blues" and maybe "Black Lake" or "Let's Rock the Beach." Good luck!

Grade: 3.7

Cate Le Bon-Me Oh My

Welsh-born Cate Le Bon brings her dark imagery and subject matter together with a light musical style that can go from psychedelic melancholy to dementia in a matter of seconds, see: "Burn Until the End." It always seems like one piece of a chord progression is a bit off-like an ice cream truck that has a warped note on it's jingle. Cate's voice is entrancing like a Joni Mitchell of the night. It takes on the personality of the music quite well going from dark and foreboding to light and seemingly unaware of the words that are coming forth. I kept the title track "Me Oh My," "It's Not the End," and the aforementioned "Burn Until the End."

Grade: 6.8

Back & with more ideas

Sorry for the break, but drama intervened and now we're back. I was thinking about the format for what we've been writing about and have decided to branch out and include all media. I take in at least one new thing per day and I have the same high standards to apply to TV, film, and video games that I do to music. For my first post back, though-we'll stick with the tunes though.

Lake - Let's Build a Roof

Lake are labeled a psyche-pop band and come from Olympia, Wa. It's a surprise I know, but K Records put this out too. Seriously, I really liked parts of this record. It is smooth and lovely with less of the kitsch-y psyche crap that makes me generally dislike the genre as a whole. If you like Hem or even Flunk, then you'll like Lake. I kept "Loose Wind," and "Gravel."

Grade: 5.3

Jim Ward - In the Valley, On the Shores EP

You remember Jim Ward. He was the lead guitar in perhaps one of the best bands of the early 00's: At the Drive-In. Sure, he went on to form Sparta and be moderately successful, but this is Jim Ward on his own and it is not what you are used to hearing. The record is bare, raw, and full of emotion consisting mainly of Ward's tender vocals and acoustic guitar. There is a brightness to the record and it is a testament to his talents. Since it is an EP, I kept the whole thing because each track was powerful in it's own way.

Grade: 7.2

Alec Ounsworth - Mo Beauty

The unique vocalist for Clap You Hands Say Yeah has produced a record with plenty of depth that, while it's hard to immediately take in, is incredibly interesting. The music is stripped down, unamplified, and more bare than we are used to, The progressions and timing are also recognizable. What really stands out to me on this record is the slower more delicate moments, while the more uptempo tracks seem to take away from the overall feeling of the record. Alec has an air of Bob Dylan at times with slurred vocals and drawls that create emotion and give the music a lot of distinction. I kept "Modern Girl," "Holy,Holy, Holy Moses," "What Fun.," and "Obscene Queen Bee."

Grade: 6.2

Unplanned Hiatus...

I must apologize for being away so long...a move, the failure of a trusty hard-drive, and mounting have pulled me away from the site. I promise to be back with a ton of updates later this week!

Massive Attack -Splitting The Atom EP

Massive Attack is one of the few trip-hop to still be standing (the other being Portishead). They haven't had a huge hit in quite some time, but due to the brilliance of Mezzanine masterpieces "Teardrop" and "Angel" they will forever have a place in the history of downtempo electronic music. WIth that said, I just had my first listen to Splitting The Atom EP and I wasn't really impressed. The first track "Splitting The Atom" sounds like Leonard Cohan/Gorillaz amalgam that really goes nowhere. I think if the song had a better hook in the chorus this track could be interesting but it's a little predictable and tends to linger on the same progression throughout the entire 5:18 of the track. "Pray For Rain" features Tunde Adebimpe of TV On The Radio and the tune almost sounds like a TVOTR song. Minor piano chords keep the track nice and moody but again we hear a single progression that just goes on forever. The one saving grace of the EP is "Psyche (Van Rivers & The Subliminal Kid Remix)" featuring Martina Topley Bird. This track is in the vein of Teardrop (it even has a simliar drum beat and tempo) and really carries some depth with Bird's soulful voice and catchy melody. Granted, this remixed version isn't perfect but I image the original version of the song will be mindblowing. All and all I wouldn't waste my time with the EP. Wait for LP5 this Jan. I have a feeling it may be brilliant but then again that could be wishful thinking.

Grade: 5.8
Standout Track(s): Psyche (Van Rivers & The Subliminal Kid Remix)

SPIN Presents Purplish Rain

SPIN released a nice little tribute for Prince's Purple Rain recently and I just wanted to highlight it reel quick (get what I did there with the word pun? You know, because it was a movie soundtrack too?!). It features some well-knowns like the Twilight Singers and Of Montreal as well as some up-and-comers like Chairlift & Lavender Diamond. Click the image above to go to the site or use this link if you're feeling lazy: here. The password to put in the spot is 'keyboardist' (no quotes). They'll send you a link to confirm your email address and download the album. Check it out!

Wild Beasts - Two Dancers

Wild Beasts are another much-hyped band from the UK looking to break into the yankee market. If you're a fan of Bat for Lashes-esque theatrics or a near poly-sexual vocal style then you'll love Wild Beasts. The music contains more melody than Bat for Lashes and is therefore more pleasing overall, but it is still more of a mood-requiring sound that utilizes sparse instrumentation to create dense and almost primal sounds that contrast nicely with the smooth vocals of Hayden Thorpe. Tracks like "The Fun Powder Pot" or "We Still Got The Taste Dancing On Our Tongues" feature a steady plodding rhythm based background throughout, but some are deeper require more attention than like the first single "Hooting and Howling." While I'm really not a fan, I'd certainly recommend Wild Beasts to someone who is truly interested in more than just a catchy hook.

I kept:

"The Fun Powder Plot"

"Hooting and Howling"

"All the Kings Men"

"We Still Got The Taste Dancing On Our Tongues"

Grade: 5.7

No New EP From Radiohead

It's 2:30am and I just decided to check wallofice.com. To my surprise, the new leaked track (These Are My Twisted Words) has been posted on Radiohead's digital store as a free download. So, the enigmatic message was nothing more than to introduce the bands latest (and free) single. No EP unfortunately, but at least the new track sounds decent enough.

NEW RADIOHEAD EP OUT MONDAY?

So, the code has been cracked and it appears we may have a new Radiohead EP on the horizon (Monday to be exact). On August 12th, the track "THESE ARE MY TWISTED WORDS" was leaked with some cryptic message (see below). Someone figured out a hidden web address based on message and discovered the site: http://www.wallofice.com, which interestingly enough takes you to Radiohead's digital store. Coincidence I think not. Keep your eyes peeled and head over to wallofice.com on Monday morning.

iiiiiiiiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiii iiiiiiiiiiii
iiiiiii radiohead - these are my twisted words iiiiiii
iiiiiii iiiiiii
iiii artist.......radiohead iiii
iiii title........these are my twisted words iiii
iiii label........?????????? iiii
iiii cat.nr.......????????? iiii
iiii style........'dificult' iiii
iiii nr of tracks.1 iiii
iiii total length..5.32 iiii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii
iiii audio source.CD Advance iiii
iiii encoder......LAME 3.93 iiii
iiii quality......320kbps/44.1kHz/Joint Stereo iiii
iiii size.........12,70 MB iiii
iiii ripper.......sca[GG]er iiii
iiii rls.date.....2009-08-17 iiii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii
iiii i just wanted to reassure readers iiii
iiii that following representations iiii
iiii seeking confirmation iiii
iiii that before your very eyes iiii
iiii behind the wall of ice iiii
iiii that the box is not under threat iiii
iiii however they are set to remove iiii
iiii other boxes iiii
iiii in fact i have the list in front of me iiii
iiii i went to a briefing on their plans iiii
iiii and challenged them to tell me iiii
iiiii exactly what the cost would be iiiiiii
iiiiii iiiiiiii
iiiiiii they spoke in broad terms iiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiii we're looking for: talented puppeteers iiiiiiiiiii
iiiiiiiiii worms, disgruntled executives, sacked flies iiiiiiiiii
iiiiiiii genres: doomcore, folktronica, ukf iiiiiiii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

Flunk - This Is What You Get

The Norwegian pop group Flunk has made a career off of beautiful covers and the fact that their new record's name is taken directly from one of the most popular songs from arguably the greatest band of our era shouldn't come as a surprise. What does surprise is the level of the non-cover tracks on Flunks new record. The late-era electronic feel is oddly comforting in a weird trip-hop reminiscent way. As stagnant as most current era Trip Hop groups are, Flunk has managed to elevate their music to something with a better disposition. The record starts out with the very strong "Dying to See You" and "Common Sense," but achieves nothing more than mediocre until track six "Speedskating." After that, "Karma Police" is the last vestige of brilliance on the record. Ok, unfortunately it's not except for it's novelty. This version is sparse and not too exciting to be fair, but Anja Oyen Vister's voice keeps it interesting in a Nico-ean way. Gone is the smoothness of most of the rest of the record and all of the rough edges seem to be exposed on this track. It's worth one listen, really, as is most of this record.

I kept:

Dying to See You

Common Sense

Speedskating

Grade: 4.4

Jesse Rose - What Do You Do If You Don't?

Jess Rose is a British beat-maker based in Berlin who has a new head-boppin' release made almost specifically for short attention spans. The beats are mostly straight ahead and glitchy, but there are really too many different feels on the record. Ranging from glitchy dance, ala Justin Timberlake, to turntableism style sampling, and even near trance it's a virtual clown car of styles. The collaborations with Hot Chip, "Forgot My Name" & "Day is Done," is worth a name check at least and the understated pushing of the beat in "Pop Your Porn" makes me want to watch my MPG go down as the white lines go by faster. "Miss Taker" features remixer David E. Sugar and is a dance-floor banger. "Night at the Dogs" features an all too familiar jazz sample and "You're All Over My Head" starts off reminiscent of early Aphex works but takes a strange turntableism slant that is truly hokey. For all of the styles in here, I'd have to say Jesse Rose doesn't excel at any really. Maybe a little more focus would make the record more cohesive.

I kept:

Pop Yer Porn

Miss Taker (feat. David E. Sugar)

Grade: 3.8

Pitchfork's #1 album of the 90's

The guys over at Pitchfork have created a very respectable top 100 albums of the 90's. The number one album went to Radiohead's OK Computer. I'm happy to see something besides Nirvana's Nevermind at the top of the list (that's right Spin, I'm talking to you).
Check it here

New Radiohead track

...speaking of Radiohead. I found this new track the other day. It's a tribute to the last living British soldier who fought in World War I. Here's a YouTube video of the song and you can purchase it at their site for 1 quid! Is August going to be Radiohead month?

Radiohead Done With Albums!?

Just when you think we may be getting another great concept album from the mighty Radiohead in the coming years, Thom York has to go and tell the masses they're moving on from that approach stating, "None of us want to go into that creative hoo-ha of a long-play record again. Not straight off." So, then it's true. The CD is officially dead and the one band keeping it alive has abandoned the idea. I suppose this was inevitable but still quite sad considering we may never experience a Radiohead album the same again. At least we'll be seeing a plethora of singles from the band in the upcoming months but damn, I miss the concept album.
You can read the entire article on The Believer's website here

SPIN'S 20 GREATEST ALBUMS OF 2009 ... SO FAR

Below is Spin's top 20 record of '09 (thus far). Its quite the conundrum considering they've left off some obviously good records of '09. Not to mention, we still have five months left to the year. Makes one wonder what Spin's true intentions were for doing this so early. Perhaps they wanted people to see just how irrelevant they truly are. I'm actually surprised Dave Matthews didn't make it on the list personally.

SPIN'S 20 GREATEST ALBUMS OF 2009 ... SO FAR
Ida Maria - Fortress Round My Heart
Peter Bjorn And John - Living Thing
Blk Jks - Mystery
Dirty Projectors - Bitte Orca
Mastodon - Crack The Skye
Amadou & Mariam - Welcome To Mali
Yeah Yeah Yeahs - It's Blitz!
Phoenix - Wolfgang Amadeus Phoenix
Animal Collective - Merriweather Post Pavilion
Regina Spektor - Far
Mos Def - The Ecstatic
Glasvegas - Glasvegas
Jarvis Cocker - Further Complications
Bat For Lashes - Two Sun
Mavado - Mr. Brooks... A Better Tomorrow
Wilco - Wilco (The Album)
Neko Case - Middle Cyclone
Grizzly Bear - Veckatimest
Sa-Ra Creative Partners - The Age Of Love
Antony And The Johnsons - The Crying Light

Here's a few of my favorites so far, but I'm not making any top 20 lists til the end of the year.

Fever Ray - (Self Titled)
Animal Collective - Merriweather Post Pavilion
Yeah Yeah Yeahs - It's Blitz!
Bibio -Ambivalence Avenue
Sunset Rubdown - Dragonslayer
Dinosaur Jr -Farm
Camera Obscura - My Maudlin Career
Dark Was The Night -(Various Artists)
Neko Case - Middle Cyclone
Dntel - Early Works for Me If It Works For You II

La Roux - La Roux

La Roux is a British synth-pop duo that is slowly (not really that slowly) coming your way. The hype that precedes them is actually gargantuan and has that unmistakably corporate taste to it. They're slogan is Synth-Pop: This Time withe Even Less Soul! Ok, not really...

Don't get me wrong because I see the appeal. I love to dance (as my girlfriend can certainly attest) and I love the great upbeat, yet apathetic, feel that is usually present in synth-pop, but La Roux just feels like something hastily thrown together to me. Elly Jackson's voice leaves a lot to be desired as it dips and wavers through the tracks and more often than not she fails to fully show any desparation which is a hallmark of great synth-pop. They may have incredible amounts of emotion coming off the stage, but it does not come accross on record. Surely, there are some gems present, but I don't feel like they have the legs to warrant mention 10 or even 5 years from now.

I kept:
In for the Kill
Quicksand
Bulletproof

Grade: 5.6

Lee Mayfield & the Expressions - My World

It seems like most my music conversations recently have been complaining about how there have been no truly great releases this year. While I wouldn't call My World a great release, it is tolerable enough to where I do not want to turn it off and I can listen to the entire record several times in a row (which is rare). It is a true soul record in a time of souless music and I think that is what appeals to me most about My World.

Nicknamed "the Little J.B." in the 70s, Lee Mayfield has been making music since 1969 (there's another 40-year anniversary for you Apollo Mission!). Turntablists renewed interest over the last several years and Mayfield went into the studio with a new band, the Expressions, consisting of studio musicians who have recorded with everyone from Amy Winehouse to TV on the Radio to record a new record. They have created an organic and deep soul record for the new age. Mostly ballads, the record is full of emotion and genuine feeling. Mayfield's voice is incredible and evokes a time that I, and most of us missed, regrettable missed. It was a true time of Change and cultural revolution. When people said things and backed up their words with action. I think about the movie Dead Presidents or Baadassss! as inspiration.

Thanks to Peanut Butter Wolf and Stonesthrow Records who have unleashed this gem on us.

I kept the whole album, because I want to continue to hear it. I'd recommend "Honey Dove," "My World is Empty Without You," & the title track "My World."

Grade: 8.2

Bibio - Ambivalence Avenue

I'm always keeping tabs on Bibio and his unusual amalgam of Boards of Canada infused Folktronica. He's got great ideas and amazing soundscapes imbedded in his music, yet, for some reason, he's really fallen victim of being a one trick pony over the years, or at least until now. With Ambivalence Avenue, we've got a whole new Bibio. We still hear Stephen Wilkinson's trademark guitar lines and ambience (field recordings/found sounds) buried within, but now we see a much more diverse artist begin to emerge. Infusing elements of glitch-hop, psychedelic folk, and even funk into the mix, we start to see the limitations once hindering this creative soul dissolve. From the opener "Ambivalence Avenue", we're given an upbeat, folk-driven (yet very melodic) psychedelic track that just hints at what's to come. As we get to "Jealous of Roses" we're introduced to the funkier side of Bibio. Border-lining on something you'd hear on a Ween album, this track is definitely one of the more unusual pieces on the record, but honestly it works with its low-fi production and syncopated beat. "All The Flowers" is the next tune and it’s a complete change from the past two. Both short and sweet, this little ditty could almost be confused for a Simon and Garfunkle song. As we approach "Fire Ant", we get a glimpse into Bibio's latest influence, glitch-hop. Perhaps because this is Bibio's Warp Records debut, or perhaps he because he’s just has taken a liking to some of the other artists on the Warp label like Prefuse 73 and Jackson and His Computer Band, we’re hearing a much more upbeat and glitchy record than Bibio’s predecessors. The next track, "Haikuesque (When She Laughs)" is by far my favorite on the record. Both soft and melodic, this track flows beautifully and will leave you craving more by the time its over. As the tracks progress we keep getting new surprises. "Sugarette" has to be one of the more experiemental tracks here with its breakbeat feel and syncopated drum sounds (think Aphex Twin Windowlicker). "Lovers Carvings" is probably my least favorite on the record. It’s a short and sweet folky, guitar ditty that turns into poppy tune about 1:29 into the track. Its decent enough but did little to move me emotionally like many of the other tracks did. On "Abrasion", we hear the Simon and Garfunkle folk sound so prevalent in earlier songs. It's melodic but again nothing fancy. "S'Vive" is another brilliant glitch-laden track with funky bass sounds and vocal samples (I can almost dance to it). By the time we reach the last few tracks we approach "Cry ! Baby !". A mellow, alt rock slow jam that soon becomes quite psychedelic with deep synths driving at the chorus. The last track on the record "Dwrcan", sounds the most reminiscent of Boards of Canada on the album. The track is downtempo, dark and carries a cinematic feel to it. All and all this is a really intruiging piece of work by Bibio. If Ambivalence Avenue is the address to Bibio's newfound creativity let’s hope he doesn’t move for a long, long time.

Standout Tracks: "Haikuesque (When She Laughs)", "Fire Ant", "Sugarette", "S'Vive", "Cry ! Baby !", "Dwrcan"
Grade: 8.2

Most Over-Hyped Album of '09

Dirty Projectors - Bitte Orca
This album has won the praise of both Stereogum and Pitchfork (9.2!). Stereogum has even proclaimed it to be, possibly, the best album of 2009.
The problem: The song structure is often dull and repetitive (the woozy 3 part vocals becomes an easily redundant element in the bands jam-band formula), the guitar riffs are often reoccurring and uninspiring, and the songs themselves lack any real direction. This album is more of a collage of sound than a cohesive album build upon the idea of good songwriting. The hippies may like the looseness of the tracks and the tribal feel of the raw, spare beats but I personal don't wear patchouli.

Jason Lytle - Yours Truly, the Commuter

I remember Grandaddy, do you? Of course you do and if you don't then you were blacked out like Dash Snow was for most of his life. If you're a Loney, Dear or Andrew Bird fan then you're in luck and will have a new favorite singer/songwriter. I really should emphasize the songwriter. That's better. Fans of Earlimart's lighter tunes and heavier Elliott Smith will also rejoice. Lytle's smooth, etheral style is extremely uplifting and is really a breath of fresh air in a, frankly, mediocre summer of schmindie music.

What really elevates Lytle's music is the dramatic changes that take place in his best songs despite that relatively few of the songs seem to really go anywhere. Maybe the climaxes just do pay off enough as the record inevitably does: a song called 'It's the Weekend' Really?

His ability to write great songs and progressions isn't in question or in doubt as Jason Lylte has a true gift. It's more about the execution and the development of that one great theme that is in your head (like Ben Gibbard has done). Every song seems to have that moment of brilliance, but somehow it never really makes up for the low points.

I kept:
Yours Truly, the Commuter
Ghost of My Old Dog
Fürget It

Grade: 5.7

Elizabeth & the Catapults - Taller Children

I heard some grumbling about this band a while back and thought I'd try them out. Mike Mogis produced the record, which is always a great start for me, that was recorded at his home studio in Nebraska where so many other great artists have plied their trade. Elizabeth Ziman's voice is wonderfully pleasing but I don't think the band really pulls it off on this, their major-label debut, record. Her vocals possess a bit of Amanda Palmer's (Dresden Dolls) theatrics, but not near as much cleverness or shocking direction; her lyrics contains a bit of the emotion that made Fiona Apple so appealing as well, but not the edge; and the band's poppiness is sprightly but not as compelling as the Bird and the Bee. The range of styles on the record is the most impressing aspect of the record, but they just aren't there yet. Hey, everyone has to start somewhere. I hope they are given the chance to continue growing.

I kept:

Momma's Boy

Right Next to You

Grade: 4.2

Sunset Rubdown -Chop Suey 06/27/09

Sunset Rubdown (featuring Spencer Krug of Wolf Parade)

I understand the logic behind marketing a not so well known band with a well known front man of another well known band (in this case Wolf Parade) but the thing I can't quite understand is why Wolf Parade is more popular than Sunset Rubdown. Spencer Krug is known for being in a plethora of bands but in my personal opinion Sunset Rubdown is far superior in both songwriting and musicianship compared to his other endeavors. Saturday night at Chop Suey was no exception to the bands obvious potential. Besides being very rehearsed, Spencer's jarring delivery grabbed the attention of every person in the building. The band brought a huge sound to the stage employing just the right instrumentation to recreate their catalogue of dynamic songs, which sounded as good if not better than their actual CD's. Seriously, it would have made an excellent live CD but I imagine all their shows are on the same caliber. This is why I bring up the question as to why Sunset Rubdown isn't the band Wolf Parade is. After a show like this, the only thing I can hope for is that more people go out to see the band for the wrong reasons and come out as new disciples to their unique blend of meticulously crafted indie pop.

Michael Jackson RIP

We here at This Damn Enlightenment just wanted to take a moment to send our deepest condolences the entire Jackson family. Michael Jackson may be as crazy as a coconut but his musical legacy will be one never forgotten and one never repeated. The king of pop has also left the building but his music remains. Michael, I think you've just made your comeback.

Top Albums of the 2000's

Reading through Lineout on the Stranger this morning, David Schmader made a lame attempt at formulating his Top 10 albums of the decade and it got me thinking that I will start on mine as well. I won't re-post his list, but can tell you that he must've not started listening to music until about 2004 and that only a couple records on our lists match.

Now, before you go off readin half-cocked, I'll explain how I came to this list. I'd say 60% of my reasoning goes into how much I think the songs from these albums will be listened to in the future or their staying power. Another 15% into their popularity at the time of release or soon after and another 15% into the quality of the music and songs. The final 10% must come down to personal taste, because it is impossible to make such a list without this influencing the outcome. I'll continue to look at this and maybe even rank them in the coming months.

Without further ballyhoo, here's the beginning of my list with a Top 25 (in alphabetical order at this point):

Arcade Fire - Funeral
Boards of Canada - Geogaddi
Burial - Untrue
Common - Be
Crystal Castles - Crystal Castles
Damien Jurado - I Break Chairs
Death Cab for Cutie - We Have the Facts and We're Voting Yes
the Decemberists - Picaresque
Deltron 3030 - S/T
Dizzee Rascal - Maths & English
the Flaming Lips - Yoshimi Battles the Pink Robots
the Hold Steady - Boys & Girls in America
Interpol - Turn On the Bright Lights
John Vanderslice - Time Travel is Lonely
Mum - Finally We Are No One
PJ Harvey - Stories from the City Stories from the Sea
the Postal Service - Give Up
Radiohead - Kid A
Sigus Ros - Agaetis Byrjun
Silversun Pickups - Carnavas
System of A Down - Toxicity
the Knife - Silent Shout
TV on the Radio - Return to Cookie Mountain
Wilco - A Ghost is Born
Yo La Tengo - And then Nothing Turned Itself Inside Out

Dark Night of The Soul

Most by now have heard the hullabaloo surrounding the release of the Danger Mouse, Sparklehorse (Mark Linkous) and David Lynch collaboration so elegantly titled, Dark Night of The Soul. In a nutshell, Danger Mouse heard some unreleased material by Sparklehorse’s Mark Linkous and wanted to join forces. With the assistance of some highly renowned vocalists including James Mercer of The Shins, Wayne Coyne of the The Flaming Lips, Gruff Rhys of Super Furry Animals, Jason Lytle of Grandaddy, Julian Casablancas of The Strokes, Frank Black of the Pixies, Iggy Pop, Nina Persson of The Cardigans, Suzanne Vega, Vic Chesnutt, David Lynch, and Scott Spillane of Neutral Milk Hotel and The Gerbils, these two music innovators then commissioned David Lynch to create a book of photography to go with the theme (he also sings on two of the tracks!!). Although the concept behind the record sounds incredibly intruiging, I can’t help but feel somewhat disappointed in what we get in terms of the music. Yes, the tracks are produced well and the singers for each are appropriate, but there is still something lacking to really make this as forward-thinking as the title suggest. Perhaps it’s the familiarity of the chord progressions from Sparklehorse’s previous work or the lack of innovation interjected into recreating these older tracks into something brand new. The songs seem a bit fleeting and I only returned to a selected few for repeat listens. Bottom line: it could have been better executed to fit with the theme of Dark Night of The Soul. The music on the album just doesn’t feel very dark or moody. Lyrically, we hear Linkous' trademark prose both surreal and metaphoric and I did enjoy several tracks on the record including "Revenge", "Everytime I'm With You", "Insane Lulluby", and "Dark Night of The Soul" (the last very effectively capturing the hypnotic, eerie, atmospheric feel of Julie Cruise from David Lynch's Twin Peaks days).

Dark Night Of The Soul may never be officially released with the actual music thanks to an ongoing grudge between EMI and Danger Mouse (currently they are shipping the album with artwork and photography book by David Lynch with a blank CD with the intentions of hoping you will just download it from the web) but if you’re a fan of any of the guest vocalists it's definitely worth a listen. Just don’t go into it expecting anything darker that vanilla.
Grade: 7.5

Luna is Honey-Raptor Red

    Luna is Honey use various instrumentation in a constantly evolving level of sound fidelities to create a darkly experimental pop music that is more Ariel Pink than Animal Collective, but with strong elements from both.  "Raptor Red" is their newest self-released record and the recording methods and techniques continue to improve while not overwhelming their vision and music goals.  The band uses the traditional setup of drums, bass, guitar, and vocals, but add a turntable and effects to add organic sound elements to their art.  

    LiH's soundscapes are what make their songs beautiful.  7th and Witmer Blues, while only a little more than 2 minutes long, has a depth that only simplicity can create with waves of sound building to a intentionally anti-climatic let-down.  WLT (Wicked Little Thing) is a completely different jam relying more on a repetitive verse to lead to breakdown, which while is not compressed quite enough, leads to the desired effect of a complete song.  

   Still Killing Creeps is almost a soul-jam, but the lo-fi element gives it a kind of cruisin' during the apocalypse feel or a dark-sunshine vibe.  Rhino Sinners feels like the top of the pyramid for this record.  Beginning with a sound collage, the song enters a well-developed verse but deteriorates gradually until it unwinds and runs out of gas.  The record ends with Tail End, which sounds like a four-track recording of a sunset on a beach of toxic waste. The listener walking down a barely populated Venice Beach boardwalk heading towards another darkened doorstep.  

Check out LiH here!

Grade: 7.6

Titus Andronicus - the Airing of Grievances

     Titus Andronicus is a band from New Jersey that I've been hearing whispers (or screams) about for several months now and their record is finally being re-released on XL here in the states.  They have a sloppy, fun, and drunken sound but their songs are easily memorable in a sing-songy kinda way.  Unfortunately, they don't even come close to living up to the hype.  Imagine if a big label had gotten ahold of the Black Lips and put some Polo's on them and told them to sound edge-y, but not too offensive.  That's Titus Andronicus.

     The record starts out with a lo-fi, tin can-ny into and after a resounding "Fuck you!" launches into a lyrical opening track Fear and Loathing in Mawah, NJ which reminds me more of Flogging Molly with its bouncy rhythm aggressive jigginess.  While the songs are decent, I don't believe they can truly be beyond good as they do nothing special.  It feels more like another rich-kid band trying to relate their experience in yet another uncommunicative way.  Sonically, they sound no different than a cleaned up garage sound with a B.A.  The vocals feel affected in the same way Conor Oberst's sounds when he attempts to yell.  

   The decent songs on the record appear toward the end: Titus Andronicus (oh, how I love when a band has the same name as one of their songs) and No Future.  I have to briefly mention the last song on the record, Albert Camus.  Seriously, be more creative guys.  This is so amateur that it makes me nauseated.  

    When people start saying they like a band because they named themselves from a seldom-mentioned Shakespeare work (which made a better movie, anyway) and because their is a quirky reference to a beloved TV show (that EVERYONE watched anyway) them I'm hesitant to attribute any kind of high-brow vision on their work.  Titus Andronicus do their part in not even living up to half of their billing.  I'm going to listen to Bishop Allen now so I can gain some brain cells back and feel a little more intelligent. 

Grade: 3.1

Sonic Youth - the Eternal

I love the Sonic Youth. I remember seeing them play in the street at the Sunset Junction several years ago as I stood on the bottom of a ferris wheel and they rocked it! Since then they recorded some softer records ("Sonic Nurse" & "Murray Street"), but "the Eternal" marks a return to the more traditional sound for Sonic Youth. Your mom will again ask you: "What's that noise?!" This record is way more aggressive, dirty, and experimental and recalls the New York indie rock sound of the late-80s and early 90s.

I've been hearing Sacred Trixter for a few months now and you probably have been as well. It took a while for me to come around on it, but I like it a lot now and find Kim's voice just as fiesty as ever. Gritty guitar sound and snarky lyrics abound on other tracks like Leaky Lifeboat, Antenna, and What We Know. The swirling sounds show Sonic Youth still to be at the top of the heap in an era where most releases are weak by comparison. They do cross the hokey barrier on occasion (Poison Arrow), but it is at a minimum.
If you're looking for a new record to play really loud, then Sonic Youth has given us all that again and hopefully can spur a release of more aggressive music into this world scmindie crap that modern independent music has become.

Grade: 8.1

Camera Obscura - My Maudlin Career

Camera Obscura has always been one of the bands I could really never get into, although I’ve always admired Tracyanne Campbell’s very distinct and very captivating voice. On the Scottish sextet’s latest, My Maudlin Career, we find Camera Obscura reaching to far away places for inspiration, most notable being the Motown sound of the late 1950’s and pop of the early 1960’s (e.g. Lesley Gore). On the very first track, “French Army” we’re swooned by Campbell’s simplistic yet catchy declaration of a broken heart, "I wanted to control it. But love, I couldn’t hold it.” Campbell’s ability to wear her emotions on her sleeve adds a level of depth and maturity not really seen on CO’s previous work. I must admit it feels genuinely sincere here and the trend just continues throughout the entire album. Actually, the only track I found rather dull on the record was “Swans” but even this one isn’t a complete waste. “Swans” is more playful, upbeat number but lacks any real excitement or direction. Another of my other favorite tracks is “James.” Both haunting and soft, this track has a bittersweet melody that clearly shows the scars on Campbell’s heart when she belts, “Oh James, you broke me. I thought I knew you well” (can someone get the girl a kleenex?).

My Maudlin Career might not be for everyone with its soulful feel and luscious melodies but I’m sure anyone with an appreciation for honest, interesting music (otherwise known as Bell and Sebastian fans) will love this record. This record with its raw sound mixed with lavish strings and strong indie pop sensibility creates the perfect amalgamation between the past and present. The music could almost be described as being somniferous (the best word my thesaurus could offer up) but I don’t mean that to be a negative about the album. It’s hypnotic, melodic and quite frankly an enjoyable listening experience.
Standout Tracks: "James" "French Navy" “My Maudlin Career"
Grade: 7.9

TV on the Radio - Read Silence

            I wasn’t a big fan of TV on the Radio’s most recent release, “Dear Science.”  I thought they got away from the simple things that made them such a great group.  They lost the plot.  Sometimes that happens when bands are trying something new and trying to grow and evolve, but rarely is it apparent at the time.  It’s like getting a snap-shot from the mid-point of an open-heart surgery…it could be the most flawless heart surgery ever, but it’s not going to look pretty to anyone except the people directly involved.

            On to the new EP then, shall we?  I think it’s great!  The Willie Isz Remix by Jneiro Jarel of Shout Me Out has that beautiful simplicity I mentioned earlier.  In fact, this track is almost too simple in that I don’t get much of a progression feel as the song moves along, but I still think it’s a nice re-imagination of something I initially didn’t like. 

         Gang Gang Dance is one of those “hot” groups right now and I gotta admit that I’m pretty into them.  They rarely depart from their formula of using classical sounds and everyday noises to make sound clashes.  I think Stork and Owl is a stark reminder of what GGD does so well.  They create a long intro and add attempt to add depth to the vocals but end up creating a separation between the music and it’s message.  I think it leaves a lot to be desired and while has touching moments doesn’t necessarily qualify to end up on my iPod.

         My favorite track on the record is the Glitch Mob’s remix of Red Dress.  The intro reminds me of part of the original “Willie Wonka & the Chocolate Factory” when they descend on the boat ride to insanity.  What we come out into is a dirty beat that Glitch Mob uses to truly remix the song instead of just reinterpret it.  The over-bearing mechanically march on the top side of the beat sounds bright and real and demands the listener move.

         Three solid remixes from a record I didn’t really like to begin with?  Who can ask for more?  I think this EP will do exactly what it is supposed  to do—make me go back and listen to “Dear Science” again!    

Jarvis Cocker - Further Complications

It took me a while to come around to Pulp back in the days of my college radio stewardship, but I did and it was because of JC’s soothing voice and his debaucherous tales of the underbelly. His first solo record, “Jarvis,” left a lot to be desired though and while “Further Complications” is a leap in the right direction I still can’t fully recommend it.

The record’s sound is aggressive in a strange 1990s alternative way and gone is the back alley lounge of the future replaced by fuzz and rough edges of the past. Barely any of the songs truly feature Cocker’s wonderful voice, which leads one to think it may be failing after years of abuse. The mix of the instruments also seems to be way forward overpowering the singer at times which is strange for such a crooner as JC. I Never Said I Was Deep comes close to offering the complex writing and performance I long for but ends up sounding more like a local band playing at the prom. Slush is my favorite track, but still only comes close not quite accomplishing the lofty ideals I have for Jarvis and at 6:28 is a bit on the long side. Another track worth noting is You’re In My Eyes (discosong), but the backup singers up the cheese factor dramatically here.

For JC fans and Pulp rememberists it’s worth a listen to remember the old days in a new light, but “Further Complications” will not make the Top 100 list this year for most. If you’re in the mood though, I recommend pouring yourself a whiskey, neat, and turning down the lights and having a drink with this common person, again.

Burial/Four Tet 12" -Moth/Wolf Cub

So, everyone is hyped about this new Burial/Four Tet split 12" entitled Moth/Wolf Cub, which is set to be released sometime in May on Kieran Hebden's TEXT label. I just heard some samples over at Juno and it doesn't dissapoint.

bearded mechanic=pain

What better reason do you need to join our blog besides the bearded mechanic.

Music For The Masses

Current listens:
Camera Obscura -My Maudlin Career
Japandroids -Post Nothing
Royksopp -Junior
Neko Case -Middle Cyclone
The Rosebuds -Life Like
Fridge -Early Output 1996–1998

Best Electronic Record of '09 (so far)

My favorite electronic record of '09 ( as of April) is the debut solo album from Fever Ray. I'm fairly sure it will end up on my top ten for the year. Karin Dreijer Andersson has become the Bjork of Sweden. If your not familiar with her work with The Knife, I highly recommend giving "Heartbeats" a listen off Deep Cuts then work your way up to Silent Shout (a classic of 2006).

Depeche Mode - Sounds of The Universe

Depeche Mode’s output over the past eight years has been somewhat lackluster compared to their previous new-wave anthems produced in the eighties and mid-nineties. After their ninth studio album (Ultra), the band began to sound both overproduced and dull as they attempted to take their sound in a new direction. Working with such talented producers as Mark Bell (Bjork) and Ben Hillier (Blur, Elbow), Depeche Mode has repeatedly failed to bring their unique style of synth-pop to new heights. However, I do remain optimistic that the band does still have the potential to create another great record. The unfortunate thing is Sounds of The Universe isn’t that record and although I can appreciate the production value of the new material, I can’t help but feel there is nothing memorable about this trek into the universe.
Standout track(s): Wrong
Rating: 5.6

National Record Store Splits!

So many 7"s! My head's gonna explode!

Jay Reatard "Hang Them All"/Sonic Youth "No Garage"

Oh Jay! First of all, this is not a Tapes 'n Tapes cover. It's taken me a while to get into your guitar-driven angst-ridden rock, but I'm coming around. Maybe it was the initial idiocy of the name--who cares now though. This new track is not as pounding, yet it is still aggressive and has a light-hearted feel to it. Ok, most of his tracks are fun and "Hang Them All" is pretty tight.

The great Sonic Youth! How often do you find bands that get better and more experimental as they age despite their success? Unfortunately, this means they still try different thing and this is one. It sounds like a demo from 1984 Dinosaur Jr that just plods along with occasional noise-freak-outs. Yeah, we'll skip that one.

Beck "Green Light"/Sonic Youth "Pay No Mind"

Beck's track is more or less forgettable besides the fact that it's a John Legend cover. Basic in its style and more Elliott Smith-ish that true lo-fi Beck. What we really want here is Sonic Youth's cover of "Pay No Mind," which does not disappoint. It features a lone Kim Gordon on the first verse with a crackling fuzz behind her. Thurston joins as well as a simple drumbeat (ala Beat Happening) which crescendos with quickening pace and screaming feedback. This mid-90's anthem is given the full works and I think it's a wonderful tribute from one of the bands that helped make it happen in the first place.

Flaming Lips "Boderline"/Black Keys "Her Eyes Are A Blue Million Miles"

Again with the Flaming Lips, but this is the electronic Lips that seems to be most popular and when they cover Madonna, they COVER MADONNA! This version is fantastic! So slow and beautiful in it's simplicity that it's hard to imagine Madonna dancing around in her black mesh outfit to this track. Things pick up and it become an epic masterpiece worthy of Ming's court. The musical hook is also a surprise with its contrast adding that little extra bit of weirdness you were looking for from the Lips.

Another strange choice for a cover as the bluesy Akron boys take on Captain Beefheart's "Her Eyes Are A Blue Million Miles" and it comes off just like you think it would. I love the Black Keys, but will be the first to admit that they are becoming a bit predictable. This track, while excellently performed, just sounds like an out-take from Attack & Release: worth keeping but not praising.