Film Review: The Summit
Posted: October 9, 2013 Filed under: Film, Published Work, Reviews | Tags: The Summit Leave a commentI reviewed The Summit for Paste Magazine. Read here.
Iceland Airwaves Day 1
Posted: November 3, 2012 Filed under: Published Work, Reviews | Tags: Iceland Airwaves Leave a commentI’m currently in Iceland covering the Airwaves festival, having a great time and attempting to be thoroughly distracted from Sandy and the election. Read my coverage of day one of the festival here.
Review: Dan Deacon – America
Posted: August 29, 2012 Filed under: Published Work, Reviews | Tags: Dan Deacon Leave a commentOne more review, this time Dan Deacon’s new album, America. Read it here.
Review: Teengirl Fantasy – “Tracer”
Posted: August 29, 2012 Filed under: Published Work, Reviews | Tags: Teengirl Fantasy Leave a commentExcellent new album from Teengirl Fantasy which I reviewed here.
Album Review: Foals – Tapes (K7)
Posted: August 10, 2012 Filed under: Published Work, Reviews | Tags: Blurt, Foals, K7 Leave a commentRead my review of the new Foals mixtape for K7 called Tapes.
Review: Mr. Oizo – Stade 2 (Ed Banger)
Posted: January 3, 2012 Filed under: Published Work, Reviews | Tags: Mr. Oizo Leave a commentJustice has gone prog-rock, but Mr. Oizo is still keeping it dirty. Read my review here.
Review: Gold Panda – DJ-Kicks (K7)
Posted: December 10, 2011 Filed under: Published Work, Reviews | Tags: DJ-Kicks, Gold Panda Leave a commentHey, DJ mixes can still be really good. Gold Panda’s entry into the DJ-Kicks series is one example. Read my review here.
Album Review: Rob Crow – He Thinks He’s People
Posted: October 25, 2011 Filed under: Published Work, Reviews | Tags: Pinback, Rob Crow Leave a commentA brief pause between Pinback records. Read my review here.
Review: The War on Drugs – Slave Ambient
Posted: August 16, 2011 Filed under: Published Work, Reviews | Tags: The War on Drugs Leave a commentI reviewed the new War on Drugs record for Blurt Magazine, which you can read here. It’s a good one, believe you me.
Review: Memory Tapes – Player Piano (Carpark)
Posted: July 6, 2011 Filed under: Published Work, Reviews, Video | Tags: Memory Tapes 1 CommentMemory Tapes’ new album, Player Piano, is a hazy combination of lo-fi electronic music and pop-rock, which mostly succeeds but suffers for Dayve Hawks’ sometimes strained singing. Read my review for Blurt here.
Review: Hospital Ships – Lonely Twin (Graveface)
Posted: June 14, 2011 Filed under: Published Work, Reviews | Tags: Hospital Ships, Minus Story Leave a commentEx-Minus Story frontman Jordan Geiger’s new band, Hospital Ships, reviewed for Blurt here.
Review: Parts & Labor – Constant Future (Jagjaguwar)
Posted: March 9, 2011 Filed under: Published Work, Reviews | Tags: Parts & Labor Leave a commentAnother review for Paste Magazine – Brooklyn trio Parts & Labor’s new album, Constant Future.
Review: Young Galaxy – Shapeshifting (Paper Bag)
Posted: March 9, 2011 Filed under: Published Work, Reviews | Tags: Young Galaxy Leave a commentI’m contributing to Paste Magazine again after a hiatus of a few years. They have scaled back from print to web-only, but they are still doing a good job covering music, TV, film, and more. Here’s my review of Young Galaxy’s new album, Shapeshifting.
Review: Telekinesis – 12 Desperate Straight Lines (Merge)
Posted: February 28, 2011 Filed under: Published Work, Reviews | Tags: Telekinesis Leave a commentTelekinesis‘ sophomore album made me take notice. Read why in my review for Blurt below.
Telekinesis, the fuzzy pop project from Michael Benjamin Lerner, crafts simple, exuberant, heartwarming rock and roll. Lerner is well aware of the power of the power chord, the emotive effects of loud-quiet-loud, and the eerie potency that his upper register vocals have, quavering above the 12 addictive nuggets on his new album.
12 Desperate Straight Lines gets going with unwavering aplomb, as Lerner sings about a summer-spring romance over strummed acoustic guitar. Then the bass kicks in, the overdrive-coated instrument at the core of the album. He says he was inspired by Mark Robinson’s Flin Flon project for Teenbeat, and wrote the new record’s songs mostly on bass. It’s a good idea, especially when combined with the spindly guitar lines and flange-effected drums of a song like “Please Ask For Help.” “50 Ways” slows things down a bit, bringing The Clean to mind on its sparse verses before a Weezer-style anthemic chorus punches in. Such effects may be due in part to Death Cab For Cutie’s Chris Walla’s hand on the production tiller here, resulting in a crystal clear and extremely warm sound that serves Lerner’s songwriting well.
This is straight-up power pop projected through a vulnerably personal filter of life and love, but the songs never feel contrived. Each has its own distinctive personality, and at less than three minutes apiece, there are no frills. Yes, there are recognizable elements here, but that’s part of the pleasure. Lerner’s current touring lineup consists of sometime Robert Pollard bandmate Jason Narducy on bass and Jaguar Love and ex-Blood Brothers member Cody Votolato on guitar. So Lerner’s playing drums and singing on tour, and making better music than Phil Collins can even dream of (at least as of late). 12 Desperate Straight Lines is the proof.
Review: Verbal Kent – Save Yourself
Posted: February 1, 2011 Filed under: Published Work, Reviews | Tags: Verbal Kent Leave a commentChicago MC Verbal Kent’s latest reviewed for Blurt.
Chicago-based MC Verbal Kent isn’t exactly a hip-hop household name, and maybe this is partially his own fault – in his press release, he claims to have never “shopped” one of his independently released records. But money, fame, and popularity don’t seem to matter to the rapper. Instead, he focuses on using his sinister sounding voice to spit thought-provoking lyrics while working with producers and other MCs of the highest caliber, known and unknown. In other words, as his new album, Save Yourself, attests to, it’s the craft of hip-hop that concerns him, not the flash.
Save Yourself opens with the ominously intoned “Same,” a track which finds Kent explaining that, “This isn’t the same song spit to the same beat.” Indeed. Of course, neither is “Take,” a bouncing number whose charm can be credited to the legendary Pete Rock’s bombastic old-school beat production. “Give me that, give me back real hip-hop. Give me that, take that real hip-hop” goes the chorus. One can only imagine that Kent was just as excited to work with Sadat X and Edo G on “My City,” a song on which each defends and extols his city (Chicago, NYC, and Boston accordingly). Granted, Sadat can make almost any track sound nice, but Marco Polo’s textured, luxurious beat offers a lot of mileage here.
Of course, everything in between is pretty solid as well – and don’t ignore “Last Laugh” near the end of the album, featuring Masta Ace and a Madlib on mushrooms beat by Varan. Verbal Kent remains a champion of the underground, and he’s probably not going to crack the top 40 anytime soon. As long as he keeps making solid albums like this, he’ll get what he deserves and craves, in his own words, “to be part of hip-hop history.”