The Drums - The Drums (downtown records)

I must admit, at the first and second listen from a friend's referral, I could not get into this record. Most likely this was due to the overall repetitiveness of the album, but I promised myself to give it another chance. In today's day and age where music is pretty much "free," by most people, the fact that someone actually gives an album 3 chances is asking a lot, but I try my best to give at least 3 listens, because in my day, if you spent $18 on a CD you were going to listen to it for months and get you moneys worth, even if it sucked.

Well, this definitely does not suck. The Drums album dug its way in my brain by the third listen. The standout track that got my attention was the beautiful, "Down by the Water," and its sing a long chorus, and 50's style chord progression. This band excels in writing simple single note guitar lines, and catchy choruses with some occasional synth parts thrown over fast drum patterns.

Other keys tracks are, "I need fun in my life" which I can imagine fitting perfectly in a John Hughes teen movie, "We Tried," and "Forever and Ever Amen," which is the most "cure-esque" on the record, with its traveling guitar melodies and catchy chorus about "running till the end of time."

The Score: 7.3
The Math: early New Order x early Cure = The Drums

Old Amica - For A Second EP (KNOPPAR)

Hailing from Sweden, "Old Amica," is two man band that prides itself on making music with the powers of the internet. I was lucky enough to be contacted by this band to give them a review of their second EP, appropriately titled, "For A Second EP."

The album opens with "At Sea," a ghostly vocal over a strumming acoustic guitar and electronic loops. Clocking in under 2 minutes, it is more of an intro to set you up for the mood of the album...mellow. This is a very wintry record with layered vocal harmonies and a "less is more," attitude in the musicianship which I like. Think "Kings of Convenience," or "Fleet Foxes," with some loops and samples in there. The 2nd track "Weekdays," starts out again on the mellow side, but has a nice pickup toward the middle with more loops, and a nice electric guitar. The band's vocal harmonies sound great, not too drenched in reverb, but enough to go with the dreamy atmosphere.

My favorite tracks are "Moon," with a surprising female vocal makes its appearance to add a little more texture to the album and of course, "Operation Table," which has the best hook. If there were any doubt of a "single" on this record, this would be it. The chorus is superb in its simplicity, with its video game sounds mimicking the vocal melody and the violen-esque guitar sweeping in the background.

The rest of the disc moves the same way, layered volume swells, ethereal keys, acoustic strums and the moody vocal harmonies. "Old Amica," is great at righting and producing ambient songs, nicely done.

http://oldamica.tumblr.com/info

The Score: 7 out of 10 bells
The Math: Fleet Foxes x and Atari Console = For A Second EP

The Crack in Liberty Awards - 2010

Here it is, the best and worst of 2010 by your favorite music blog in Philadelphia:

Album of the Year: Beach House "Teen Dream"

Song of the Year: Morning Benders "Excuses"

Biggest Reunion of the Year - Pavement

The Consistency Award - Of Montreal "False Priest"

Welcome Freshman Award - The xx

Breakthrough Artist Award - Foxy Shazaam

Most Over-hyped Album- Kanye West "My Beautiful Dark Twisted Fantasy"

Worst Follow-Up Album - MGMT "Congratulations"

Most Anticipated Return in 2011 - The Strokes

Most Anticipated Reunion in 2011 - Pulp

Least exciting expected release in 2011 - Radiohead

I wish they'd go away in 2011 award - ...Kings of Leon

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