Memory Tapes - Seek Magic (101 Distribution)

When I first stumbled upon “Memory Tapes,” something struck a chord in my brain, especially when I saw the name “Dayve Hawk.” I was reading reading about a “Yeasayer” remix in none other than SPIN magazine. After some fast internet research, it appeared that the ex-Hail Social front man (and one of my local Philly favorites) has had some success with “Memory Tapes,” after disbanding the latter. Apparently, while guys like me were enjoying the last of the “Hail Social” records, Hawk was beat mining in the laboratory; making remixes of indie rock’s finest under the surnames “Weird Tapes,” and “Memory Cassette.”

“Memory Tapes,” is his combined effort, and it looks like he is doing well. Checking in on his myspace page the past few months, I see he has been all over the world, from SXSW to various stops throughout Europe, pretty impressive for a guy whom I hear does not really enjoy touring in the least bit. With help from the underground epic dance smash, “Bicycle, ”the second track from “Seek Magic,” Hawk takes you where Hail Social left off. It’s harmonized, droning, yet, desperate vocals radiate over melodic synths, percussive beats, and guitar one liners.

This 8 song album takes you to a crowded dance-floor, perhaps somewhere in France, trying to remember who put what in your drink, and not giving a fuck until the next day when you wake up. The guitar hooks are straight off of a New Order/Cure vinyl platter, but I am sucker for them, so I will continue to eat, thank you very much.

If you were looking for more indie-pop structured songwriting with a hint of synthpop/dancerock like his last works, “Seek Magic,” may not be for you. “Bicycle,” is the strongest and most well rounded song on the album, which focuses on layered melodies, and lots of them, and of course huge house beats and great breakdowns. The vocals are still there from before, but it’s more about tripping out in outer space, than that song you can sing a long too on a late night bike ride through the hipster alleys of Fishtown, U.S.A.

I must admit, “Seek Magic,” is growing on me, and this guy always seems to impress me in one way or another.

The Score:  6 out of 10 ringing bells

The Math:  a darker Hail Social + dance beats – less structured songwriting = “Seek Magic”

Of Montreal - False Priest (Polyvinyl)

Kevin Barnes returns in all of his "purple one" obsessed glory, and for that I can't complain. It is not like the "Of Montreal" front man/principal songwriter/album performer is doing a Prince impersonation like Lenny Kravitz would, I truly believe he is the indie-rock second coming to the purple throne and I welcome him with open arms. Take Prince's vocal harmonies and synthy instrumentation, add some weird subject matter, but subtract all of the Jesus nonsense and you may have a better updated version. Sorry buddy, Prince, but I LUV Of Montreal, and if you haven't guessed where my head has been in my early "life in pastel" years, I too, have gone through my own Prince obsessions.

Now on to, "False Priest," titled from a lyric off their last effort (Skeletal Lamping), gets the party started from the opening line "I see you, girlfriend," and a quick drum fill into the album opener, "I Feel Ya' Strutter." A great opening track, with its Bowie-esque versus, Queen-esque breakdowns, and sing-a-long-chorus. You cannot help to hope that we may have another "Sunlandic Twins" or "Hissing Fauna" record here, especially after the last progressive trip the band took us on w/Skeletal. "Our Riotous Defects" follows, and Barnes chats his way through the rhyme-y versus about a "crazy girl" which becomes the howling chorus, layered with the Barnes's signature multiple harmonies. "Couquet Couquette," is next track, and the album single, going back to rock territory and I like it, however, it wouldn't be my choice for the single. There are so many better tunes on this record.

"Enemy Gene" takes you to a lounge somewhere beyond middle Earth, an extremely catchy and shared chorus with help on vocals by "Janel Monae." "Sex Karma" is another track with an extremely catchy chorus, and much more pop sensibility than I've heard from them in awhile, but I kind of get lost in the versus. They are a little boring and bleak and I hate to say it but "Solange Knowles," yes her, (and yes I am shocked too) saves the song on the chorus with yet another dual call and response vocal trade off with Barnes. Probably, my favorite tune is the odd time,  new wave rock tune "Famine Affair." Sending nods to "the Cars," during the verse, and a chunky power chord chorus, taking the listener even further to another signature Of Montreal beautifully melodic breakdown, and back to another verse for another go around. This is great tune.

The album's weaker songs "Like a Tourist," or the funky slap bass of "Girl named Hello," the dreary piano ballad "Casualty of You," just don't go anywhere exciting, but aren't un-listenable. Even on the album finale "You Do Mutilate," where "1999/Controversy Prince" is channeled yet again, Barnes's recited lines do border to walk the line of being "preachy," but for an artsy band with an artsy guy, I'm not bothered. "False Priest," definitely lands in my top 5 of their extensive catalog, and that is saying a lot.

The Score: 8 out 10 bells
The Math: Hissing Fauna x Skeletal Lamping - the mathematics + guest females = False Priest

Drink Up Buttercup - Born and thrown on a hook (Yep Roc)

Philly kids, and one of the most locally buzzed bands in the past year "Drink Up Buttercup" release debut full length on Yep Roc records and it is finally growing on me.

"Born and Thrown on a Hook," begins with "Seasickniss Pills," a trippy rocker sending nods to Philly's "Dr. Dog." With the help of producer, "Bill Moriarty," (Dr. Dog, Man Man) it is no surprise that these guys are reminiscent of an "Easy Beat-ear-Dr. Dog." For the first song on the record, I don't feel "Seasickness" sells the band's strong points and neither does the second noise track "Animate the Hangtime," ringing in at 56 seconds. There are a few of these "filler" tracks on the record, but don't let that scare you away just yet, in this generation of song/please/now/quick or I'll select another song on my ipod! Track 3, "Young Ladies," is the start of where I think the band showcases their strength. Eventhough some of the lyrics are a little too cliche "all the ladies wearing necklaces of pearls," the melody, the carousel instrumentation, the huge vocal sound, and white album-esque chorus, saves it entirely. When you think the verse is about to end, it jumps ahead another few bars of staccato piano before that dreamy chorus winds back up. Well done.

Other key tracks, "Gods and Gentleman" with more of those reverb filled harmonized vocals sweeping through each big chorus, and the sad waltz of "Lovers Play Dead" whose melody and fat tambourine takes you to the funeral procession, are superbly done. The band returns to the cabaret sound of "Young Ladies," again on "Sosey and Dosey," and to Beatles territory with "Mr. Pie Eyes," and "Maestro Monsignor" which reminds me of an indie rock take on "Elanor Rigby."

I think "Drink Up Buttercup" is good band, and definitely one of Philly's finest. For their first release there is some "magic," here. The vocals are superb. I think with a little more songwriting editing, a great album is in their future. When you take a band, (and I hate to compare them yet again) like "Dr. Dog," with whom it took a few albums to craft their sound, I think these fellas are following in the their footsteps/paws.

The Score: 6.5 Liberty Bells
The Math: Dr. Dog x the White Album + a night at a carnival = Born and Thrown on a Hook

Los Campesinos! at Johnny Brendas - 10/12/2010

So Fall has fallen, and what better way to enjoy a cool Autumn night than to be packed in like sardines at Philly's cornerstone of music snobbery, "Johnny Brendas." Los Campesinos returned to Liberty City for their 4th time (I was there for their first, in case you didn't know how hardcore I am) so it was time I check in on these "youngsters."

The band was TIGHT. The great performance began with the opening mid-tempo "In medias res," the opening track from their newest LP "Romance is Boring." Not the way I would open the show, but maybe they were saving the fierce attack for the 2nd song, and that it was, they tore into "Death to Los Campesinos," followed by "Miserabilia." Speaking of "We are beatiful we are doomed" the band also performed that title track and "Ways to make it through wall," all personal favorites of mine," and it was obvious the crowd felt the same.

For the 13 song set (give or take) the energy level clearly rose during the songs from that record the tracks from "Hold on now youngster," where I felt like the floor was going to cave the fuck in from people jumping up and down during, "You, Me, Dancing." Also, followed by "My year in list," and closing with "Sweet Dreams, Sweet Cheeks," with frontman, "Gareth Campesinos" doing half of the song from the crowd.

The dualing electric guitars, violin, 3 part harmonies and sometimes 7 part vocals were superbly done by this now, "8-piece" band. It seems as thought they added a multi-instrumentalist taking more of a percussive role in the band. "Los Campesinos" do what they do, EXTREMELY well for a stage plot so congested. And I must say, for a girl next door looking bassist, "Ellen Campesinos," plays that bass as good as any tough, male, indie rocker I've seen to date, and looks way better doing it.

The Score: 8 out of 10 bells
The Math: tight crowds + Kensinger + tweecorepopmelodies = L.C. & J.B.'s

Ra Ra Riot - the Orchard (Barsuk)

The kids from Brooklyn release their sophomore effort to much anticipation, and the perfect time of year for its arrival. "The Orchard," begins with the title track, a soft ballad, driven by strings as Wes Miles croons over a trebly bass line mimicking the melody at times. This is definitely not what I expected as an opener, considering the band's debut, but after two or three plays, it suits the album perfectly. The second track, "Boy," and the album's first single, takes you right to where "the Rhumb Line," left off. Its syncopated rhythm and catchy melodies working together with Alexandra Lawn and Rebecca Zeller's dueling strings is excellent. This is probably one of the album's highlights and definitely takes you to that place where leaves are falling/winter is near-feeling of the first record. "Too Dramatic," another uptempo catchy tempo in the vein of "Too Too Too Fast" is a key upbeat track. "Massachusetts," is boring for a lack of a better word, and clocking in at 5 and half minutes is not helping the song or the listener. It makes me not want to visit that state even more now than the Bee Gees tried to make it sound cool on their take of that mysterious place up north. Alexandra Lawn takes lead vocals on "You and I know," which was unexpected, and I like it. Her voice suits the mellow string driven ballad. This band does these types of song WELL, but I'd like to see "Ra Ra Riot" be a little less "ballad heavy" on the next album. For and album of 10 tracks, half of them are of that nature.

Other key tracks are, the bouncy off kilter rhythm of "Shadowcasting," and "Do you remember," again with  Wes's vocals being uplifted by the strings and the rhythm of the band behind him. For the band's second full length record, this is definitely well received by yours truly. I am anxious to see what they come up with next.
Until then...

The Score: 7.5 out 10 bells
The Math: The Rhumb Line - the caffeine X a mellow season = The Orchard

Pixies at the Tower Theater, Philadelphia - 09/07/2010

Wow!

All I can say, is wow. The pioneers of an alternative generation that never got the commercial respect they deserved, returned for another reunion, but this time, a smaller venue, the Tower Theater. What a great night for music, and much to my surprise, their best record was played...in its entirety.

Lights dim, fog machine emits smoke and the crowd is silent, watching a strange foreign film where a woman is getting her eyeballs sliced (hint hint). After 5 to 10 minutes, the strange movie ends, the band walks to their equipment and plays "Dancing the Manta Ray." A very mid-tempo song, followed by 3 more B-Sides, much to the crowds confusion. Kim Deal announces they are playing "deep cuts." The screen flashes the word, "Doolittle," and out belts Frank Black's opening lines to "Debaser," tieing the film together with the set. After a few songs from the album I figure out, wow, I think they're playing the entire album from beginning to end!!!! Duh? And they did. It was impressively tight. Frank Black/Francis's vocals were perfection as well as Kim. The DVD that was released from the last reunion did not display how great his vocals are live. I couldn't comprehend how he can scream so loud and long and still hit those falsetto notes throughout the night. The band was on top of their game.

High points of the set were "Here Comes Your Man" with the hokey screen of all of their faces behind them being silly and bobbing to the song as they were performing. They really seemed to appreciate each other and be really happy to be there at the show. "David Lovering," singing "La La Love You," another highpoint, "Hey," ofcourse another great one, and one of my favorites was hearing Kim and Frank's harmonines on "Silver" sounding just like the record was superbly done. After "Gouge Away," the band does a big bow w/the the screen behind them doing the same, and a long goodbye, as if they were trying to say goodbye to each and every individual. The band leaves the stage and we await the encore.

1st encore, "Wave of Mutilation" reprise, this time, U.K. Surf version, followed by a violently noisy "Into the White," as the exit the stage again.

2nd encore, Kim announces, "we know more songs than just that album," and out comes more early Pixies tracks. "Nimrod's Son," "Vamos," "Isla de Encanta," and finally, a few tries to nail that "alright, stop" intro, all in good fun of course, and out comes "Where is my Mind," with all of the house lights on full shine. It was a great ending to a great show. It couldn't have been more pleased.

The Score: 8.5
The Math: Doolittle + a few besides x a strong performance = Pixies @the Tower Theater

The Breeders at the Unitarian Church in Philly 09-03-10

Friday night, Septermber 3rd, 2010 and a sold out crowd of people in a non-air conditioned basement of the First Unitarian Church, anxiously await 90's alternative heroes "the Breeders" to take the stage. Following the extremely noisy "Hot Guts," (how appropriately named for the evening) I have to admit, since my shirt was soaked in the disgusting heat, I was almost ready to leave, but as soon as "the Breeders" kicked into the first song "Overglazed," from "Mountain Battles," the heat didn't seem to bother me for the next hour and 15 minutes. Kind of a short show, huh? That's ok, I won't complain, it was hot as fuck.

The band sounded great. Kim Deal's voice sounds as good as it always has in the past, if not better. The last time I saw the Breeders was back in 95 so it was great to see them 15 years later and still having a clean well mixed melodic sound. Following the opening tracks from the last record, "Bang On," and few others, they played most of the favorites from "Last Splash" throughout the night. First off, "Divine Hammer," and later with "No Aloha," "Saints,"and "Flipside." Of course they played "Cannonball," but not last, surprisingly. The band was tight, except for a little flub in the second chorus of the latter, but Kelly Deal laughed it off. Also, some some songs by the "Amps" made it to the list that night. All in all, great song selection, great set, good performance.

If you were expecting some stage tricks, crazy lighting, a backdrop, costume changes, pyrotechnics...then you just weren't there in the 90's my friend. This was alternative rock at its finest. Simple and plain, and that's how we liked it back then.

The Score: 7 out of 10 rocking bells
The Math: Mid 90's alt superheroes- the stardom x hot church + good songs = The Breeders @the Church

Stars - Five Ghosts (vagrant)

Fresh out of Canada with a new album is the band "Stars" with "the Five Ghosts." The shared members of "Broken Social Scene" have put together a fine list of dreamy indie pop wonder on the new set.

The album begins with the somber "Dead Hearts," one of the album's triumphs. Amy Millan's call-and-response whispering vocal with Torquil Campbell soars over etheral strings. It sounds like they are mourning together, or preparing for the battle to come. A catchy chorus sweeps in with staccato instrumentation, and the vocals harmonize for an even catchier chorus, chanting "dead hearts are everywhere." The band wastes no time to pick up the pace on "Wasted Daylight," reminiscent of Postal Service meets Metric. "Fixed," the breakout single of the band is very "Cure-esqe" with its upbeat jingle and single note melodies, and I love it.  This is another example of taking from an influence and putting it back out there...correctly.

"Stars" takes you to the discotheque on the chorus of "We don't want your body," with its steady bass drum and rhythmic guitar. They get a little mellow and "jazzy," for lack of a better word, on "Changes," which is not a terrible song, but I like them more when they take you through their electro dreamy side.

I really, really dig this band, to me they just get better and better.

The Score: 7.5 out of 10
The Math: soft crisp boy/girl vocals + mid-tempo electric soundscapes = the Five Ghosts

Dr. Dog - Shame, Shame (Anti)

Philly's beloved Dr. Dog returns for another take on their old-fashioned indie/classic rock n' roll. This Anti-Records debut begins with "The Stranger," a carousel of sound staying true to Dr. Dog fashion songwriting and analog goodness. The album's first single "Shadow People," and second track from the album, doesn't really lead anywhere. The poor lyrical chants, "where did all of the shadow people go," sounds like they  aren't really trying to go anywhere new and exciting as a band either. Between that mediocracy, and the country ballads, yes, call it country/country-esque/alt-country or whatever, but "Station" and title track, "Shame Shame" are a little too country for my taste with their slide guitars and overall "twang." Add a couple of dreary ballads, "I only wear blue," and "Someday" and it makes it hard to get through this record.

I hate to be one to badmouth fellow Philadelphians, especially after giving fake Philadelphians "Free Energy" a somewhat decent review. Look, I'm a long time supporter, and fan of Dr. Dog, but this album just isn't up to par with their catalog, especially the greatness of the last record, "Fate." I will have to put some blame on "Rob Schnapf" (Beck, Elliot Smith) who took more of a producer roll on this album. Sorry Rob.

The salvaging points are the post Beatle-esque ping-pong vocals of "Mirror, Mirror" and the track "Unbearable." This will remind you that Dr. Dog still has their signature sound, they are still a force to be reckoned with live, and should give you some hope that they'll come back strong on the next one. I have faith boys, I still love me some Dr. Dog.

The Score: 4.5 out of 10 bells
The Math: Dr. Dog + some country vibes + a few downers = Shame, Shame

the XX - XX (young turks records)

What can I say about these youngsters? The XX are a trio from London whose songs a very simple, dark, and easily creep into your head and stay awhile If simplicity is key, than the XX may be the true locksmiths.

The debut record was in the top 10 on just about everyone's list in 2009. With dual vocals from Romy Croft and Oliver Sim, the melodies come across as hardly trying, an almost talking, effortless way of singing, and it works with the instrumentation (guitar, beats, keys) which also seem to pull back. To me, this is great "night music," and its darkness is reminiscent to the Cure's early days, i.e. Faith and Seventeen Seconds. Maybe, that is why I like it so much, and obviously the rest of the critics do as well. I think the XX pull from the Cure in a different way than say...the Black Kids, but its good to hear how they interpret an older sound in a new way and concentrate on the simpler side of things.

The key tracks here are, the back and forth male/female banter of "VCR," the hand clap interplay with the guitar and vocal melody on "Heart Skipped a Beat," and "Shelter," whose naked vocals over the heavy reverb of the guitar is both haunting and addicting to the listener.

My biggest drawback is that the simplicity may be so simple due to the musicianship of the band. I can hear a little struggle in the guitar picking, but hey, it doesn't not make me not like the songs, so who cares, right?

The Score: 8 out 10 bells
The Math: The Cure's Faith x Seventeen Seconds - the instrumentation + soft female vocals = XX

Sleigh Bells - Treats (N.E.E.T.)

"Treats," is the debut album from male/female duo (and M.I.A. employees) "Sleigh Bells." The duo brandish their take on danceable guitar-rock over beats guaranteed to crack your iPod headphones. Ex-Poison the Well guitarist, "Derek E. Miller" at the helm as guitarist and producer with Alexis Krauss on vocals. The screaming guitar riffs borderline "metal" at times, but over the slightly distorted drum machine and Alxesis's soft croons, it actually works..well. There has been so much hype about this band, and I actually classified them as a guitar heavy and somewhat catchier version of the M.I.A.'s last record, "Kala." I guess it is no surprise they were signed to her label with such similarities.

Most of the tracks are in the 2 minute to 3 minute range, and tend to get a little monotonous, from the juxtaposed rhythms of "Crown on the Ground," and "Riot Rhythm," that anything longer could get REAL annoying. With that said, there are some beautiful moments on here. Take, the wordless chants of "Run the Heart," which really makes you feel like the aliens are hovering down for your soul, so let them take it. "Rill Rill," another standout track, and more structured than most on the album, is very catchy and poppy and I'd like to hear some more tunes in this direction than the latter.

So, do I think "Treats" deserves the hype? Well, the album on a whole has its moments, and I've read they perform with just a guitar and an iPod, which is interestingly and lo-fi enough that I'm sure it does the trick. I'd be curious to see what kind of an album they come up with next before I make my decision.

The Score: 7 out of 10 bells
The Math: a catchier M.I.A. + plus softer vocals + distorted drums x screaming  guitar riffs = Treats

The Morning Benders – Big Echo (rough trade)

The second full length release from "The Morning Benders" is a well crafted ride through indie-rock bliss. Opening with the seasick rhythm of "Excuses," which sounds like it was recorded in a church or a large hall. The album begins with a shaky organ, violin, and a marching snare, followed by a stagering vocal on the verse to the Beatle-esque harmonies which take the infectious melody to the dreamy chorus. The chorus makes you want to sing along and sway back and forth, beer mug or absinthe in hand.

Other key tracks include, "Hand Me Downs," the upbeat jingle of "Cold War," and "Promises" with its odd time riff and hand claps take you to to edge of the cliff, just to lift you back up into another stellar verse. Some of the more mellow songs like, "Pleasure Sighs" and "Mason Jar" don't seem to really go anywhere exciting, but the album as a whole, is pretty close to flawless.

The Morning Benders have really nailed down what they were going for, and I believe that is a collection of songs that sound modern and yet vintage at the same time, without coming off as trying too hard. Well done.

The Score: 8 out of 10 bells
The Math: a Magical Mystery Tour - John, Paul, George, & Ringo = Big Echo

Best Coast - Crazy for You (mexican summer)

Reverb...Check!
California sun...Check!
Clangy guitars and jangle pop tunes...Check!

You have the debut record from "Best Coast - Crazy for you."

The album sounds like it was recorded in a bathroom and that doesn't bother me a bit. I miss the way records used to sound and this sounds like it should be in the cassette player of your car while you're cruising the down the sunny coast.

Vocalist, Bethany Cosentino, has a twang in her voice which drones on at times, but the beauty here is that if starts to get annoying, you only have about 2 and a half minutes to the next song. With that said, after 13 songs, it probably could have been narrowed down to 10 songs for a perfect pop record, but it is what it is.

Lyrically, it can get a little...amateur, but I don't think "Best Coast" is trying to make an artistic statement or reinvent the wheel here, just craft some pure summertime pop, and they have succeeded. 


The Score: 6.5 out of 10 bells
The Math: Beach Boys - the harmonies - the orchestration + female vocals = Crazy for You

Vampire Weekend - Contra (XL)

The sophomore effort from Vampire Weekend, takes us back to those preppy days on the green with our cocktails in hand, at that rich relative's estate that we wish we had. Yes, these young lads have crafted another catchy album laced w/hooky guitars, afro-beat rhythms, and witty lyrics that most of us can't relate to, but isn't that what makes them so unique?

Contra is great follow up to the hard to follow first record by Vampire Weekend. The opening track, "Horchata," and its bouncy rhythym only gets bigger at the chorus. It is very transcendent of...I don't know... Paul Simon's - Graceland? Ezra Koenig's falsetto stabs on the second track "White Sky" fit well over the landscape of banging drums. This is indie-pop at its finest. I'm not a big fan of the second single from the album, "Cousins," as it seems a little to easy, and directly to the point for them. The track is probably the most uptempo song on the record, and for me, I like my Vampire Weekend slower with a groove.  "A-Punk" was my least favorite song on the first album, but hey, maybe its just me?

You can dislike them if you want for their off kilter stage banter (from what I've heard at their appearance at the Roots picnic this year) but, the kids are alright and their making some good records.

The Score: 7.5 out of 10 bells
The Math: Paul Simon's Graceland + Wes Anderson film scores = Contra

MGMT - Congratulations (Columbia)

Well...I have tried and I have tried folks, but I just can't get through this album with something positive to say.

Call it the sophomore album curse, but I don't think so. I think we have something much deeper here folks. We have a band "trying" to out smart their fans. Think back to Radiohead, Kid A. I am sorry, but Radiohead didn't fool me either and neither is MGMT. I know when a band is refusing to write "good" tunes, and is hiding behind "artistic merit." I understand that a band and/or artist has the freedom to make the record they want to make, but I also think that if said bands release those albums in the first place, they'd still be playing the club circuit, so why kid yourselves? It is clear that MGMT is giving the listener a middle finger by the album artwork alone.

"Congratulations," is an experimental prog-rock opus of schizophrenic melody, and at times some melodies are good, they lead to nowhere, and off the cliff they go. The best songs on the album is the opening track "It's Working," and the two minute "Someone's Missing." I would put "Flash Delirium" as one of the better tunes of the lot, but its blatant melody thieving from Cindy Lauper's "Good Enough for Goonies," is there in every way, shape, and form...and no one steals from my Goonies!

We can only hope that better things are on the horizon for this band, but an Oracular Spectacular 2 will probably be null an void by then. I can already hear the influence of the first MGMT record on some of thier competition and it is clearly being taken to new strides.

The Score: 2 out of 10 bells
The Math: Flaming Lips Soft Bulletin x Oracular Spectacular - song structure = Congratulations

Free Energy - Stuck on Nothing (astralwerks)

Ahhh, Free Energy, the band from Phillly, but not really?

After hearing so much about the so-called "Philly band," I had to hear what the hype was about. Hailing from St. Paul, MN and transplanted to Philadelphia, they create a retro-guitar rock album of pop tunes for the up and coming hipsters of today. There was so much hype about this band, similar to the arrival of the Strokes, but sorry to say, the Strokes kind of deserved the media attention. And as much as a Philly boy is supposed to not like the Strokes, I am a fan, but enough about those rich kids. 


"Stuck on Nothing," the bands debut, opens with the song..."Free Energy." Not since Black Sabbath or Iron Maiden, has a band been so bold to name a song after the band, or vice versa, but a decent track nonetheless. Moving on, the second track "Dream City" is where it's at and definitely the best on the album. Perhaps these boys had big dreams when moving to Philly, and things are definitely going their way, but this song is as much "Thin Lizzy" as it is "Free Energy" I am afraid, but still a strong pop tune. "Bang Pop," another key track, very catchy tune, with a sing-a-long chorus in the style of a Pinkerton leftover, but that's not a bad thing. These two tracks are indeed, great pop rock tunes.


The rest of the album is pretty much moderate, not many highs or lows, just roll the windows down, or sit in the back of your friends pickup and wonder why you moved to this city. A city with so much hate for retro rock and roll? Well...not really, but Free Energy will have a tough road ahead without digging into more of who Free Energy is, than the crates of the classic rock record bin.


The Score: 6 out of 10 bells
The Math: Thin Lizzy + hipster chic = Free Energy

Ed Harcourt - Lustre (piano wolf)

One of my favorite singer-songwriters returns to the piano with a new batch of songs and sounds. It's been four years since the "The Beautiful Lie" release, and Ed Harcourt is back, and it is well worth the wait. He never seems to let me down with his brand of piano-based songwriting and dreamy soundscapes.

The album opens with the soft piano balled, "Lustre," and moves right into the organ intro on
"Haywire," which is almost identical to the beginning of an older tune, "All your days will be blessed," 
(From Every Sphere) and stays true to the formula with a catchy chorus. "Do as I say not as I do," is by far the greatest track on the album, with its swinging chorus and the breathy female backing vocals, this is Ed Harcourt at his best. I actually prefer his upbeat tracks than the slow lengthy ballads, but it is all here.

I must say, "Heart of a Wolf," could have been deleted from the album. It is a boring, melancholy track, and the dreary backing vocals do nothing but drag the song down even more. It seems like the artist likes to include a track similar to this on all of his albums, it's like an alter ego of his in my own opinion, but it just takes away from the rest of the record.

In conclusion, this is a great listen for the Autumn, to sit back and watch the leaves fall and wait for the Winter.

The Score: 7.5 out 10 bells
The Math: a piano on a hill+an Autumn breeze = Lustre

Foxy Shazam - Foxy Shazam (Sire)

Foxy Shazam's self titled major debut release is an album of action packed, fast flying, piano driven rock anthems. From the opening track, "Bombs Away," to the beautiful ballad "Evil Thoughts" which concludes the album, it's a refreshing well put together group of songs from beginning to end. The single "Oh, Lord" and it's "keep on, keeping on," lyric at the end of each chorus, sums up the triumphant, down on your luck, theme that stays constant throughout the record. On "Wanna be angel" lead vocalist "Eric Nally," belts "And all you hipsters say I'm gay, well I'm not gay AT ALL," keeps the content of the lyrics current while the music is more of a 70's piano-rock throwback, but in a good, good way. Such "borrowed" musical stylings are few and far between when done by other acts. Foxy Shazam is not stealing from from that glorious decade of the 1970's, but I believe they are taking its influence to a new level.

There's really nothing negative I can say about this band, so I won't. I have yet to catch them live, but I hear their live show is in fact, a "show," which makes me more anxious to see them. The only thing I would advise today's listener is, to give Foxy a few spins before you dismiss it, because sometimes, great things take time to understand and I do believe this album is one of them.

The Score: 8.5 out 10 Bells!
The Math: Rocky Horror Meat Loaf - vampires + basketball = Foxy Shazam