Wintersleep - "Hello Hum"

Artist: Wintersleep

Album: Hello Hum

Label: Roll Call Records

Release Date: June 12^th, 2012

Review by: Sean Kayden

            Canadian indie rock aficionados, Wintersleep, have released their fifth studio LP, “Hello Hum”.  In the grand scheme of things, to call the former Juno Awards recipients of the “Best New Group Of The Year” merely an indie rock band would be a misconception. They’ve dabbled with hardcore guitars, synth pop, and experimental art rock in the past and present. Given the music they create, it comes with the territory for Wintersleep to have been compared to numerous bigger acts such as Fleet Foxes, The National and small traces in the vocal department resembling Paul Banks of Interpol. However, at the end of the day and all comparisons aside, Wintersleep possess a distinguishing and authentic sound. It may not always resonate with the listener, but will have them overwhelmed with their emotive form of artistry.

            Paul Murphy is a vivid storyteller with vocals of solace, but some of Wintersleep’s songs take awhile to get rolling. You can’t simply base judgment on a track without giving it a listen entirely through. Most songs here will take you on a joyous ride or have one become utterly lost in reverie. “Hello Hum” is irrefutably the group’s most experimental record. The record kicks off with “Hum,” a heavy synth track with this sort of rattling and crashing background noise in the beginning that gently eases into this stunning, romantic opening track. On track two, “In Came The Flood,” is where the real magic comes alive. If any song is going to put Wintersleep on the map, this is it. It’s an alternative radio friendly song, but not derivative by any means.  It’s a rapturous, full of energy song with a multitude of layered guitars riffs. It’s the clear-cut winner for the best song off “Hello Hum”. “Resuscitate” is a close second. The aforementioned song is a lively, bouncy tune that’s a rush of blood straight to your head. I find that with the music from Wintersleep, you don’t reflect but believe—believe in the endless possibilities of your own conquests.

             However, things aren’t always copacetic. There are a few tunes that aren’t bad per se, but rather middling for the band’s fifth album. One that comes in mind immediately is “Permanent Sigh”.  It’s a sporadic tune that sounds peaceful at times, but is mediocre during most of its duration. The surprise treat off the album comes in the form of “Someone, Somewhere”—a beautifully written and performed song that puts the active listener in a world of utter bliss. The hidden gem though is “Saving Song”. The song is a soft, tender, and unexpected slowdown halfway through the album. It definitely gives the album more scope and validates Wintersleep’s boundless talents. When the dust settles, a few songs here don’t accomplish much, but for rest of the journey, it’s a pretty worthwhile expedition. 

Key Tracks: “Hum”, “In Came The Flood”, “Resuscitate”, “Saving Song”

7.5 out of 10

Published by Mountain Views News on June 23rd, 2012

http://mtnviewsnews.com/v06/htm/n25/p10.htm

The Tallest Man On Earth - "There's No Leaving Now"

Artist: The Tallest Man On Earth

Album: There’s No Leaving Now

Label: Dead Oceans

Release Date: June 12, 2012

Review by: Sean Kayden

Swedish folk singer Kristian Matsson who performs under the moniker, The Tallest Man on Earth has often been compared to Bob Dylan for his nasal, twangy, scraping vocals. While similarities are continually bestowed by critics, The Tallest Man On Earth has released “There’s No Leaving Now”, a narrower but equally as potent record to his two previous ones. Admittedly so, I’m not too keen on his previous work, but I am aware of the realm he works in. Despite prior acclaim and recognition, I’ve decided to leap into this latest album as a relative newcomer. With that being duly noted, I must say the first half of the record considerably impressed me in spite of my lack of interest in his previous material. It’s toward the second half things get a bit shaky and stale where my interest quickly grows fainter. While many diehard fans may not take a liking to the purer sound and more straightforward approach, I found it to be reasonably suitable. “There’s No Leaving Now” is an often exquisite, striking, and poignant album, but runs out of stream in the final innings. 

            This is the sort of easy listening type of album. Like many artists in his ilk, the lyrics can either mean so much to the listener or have no significant meaning whatsoever. I enjoy the sounds and laid back tempo of most of the songs as opposed to becoming spellbound with anything Matsson is proclaiming. Opening track, “To Just Grow Away,” is an immensely beautiful vintage folk tune. It’s followed by the wonderment that’s “Revelation Blues”. Matsson sounds different, speaking a bit faster and the higher tempo sound is a real treat. It’s one of the strongest tracks the record has to offer and it’s extremely peaceful and soothing even though the lyrics seem to be about a horse. The title track is beautifully sung over a delicate piano. I don’t always follow what Matsson is trying to say, but just hearing him speak is enough enlightenment for me. Regardless of what the stories unfold, most of his music is lovely and comforting.

            Like I previously mentioned, “There’s No Leaving Now” stumbles to the finish line. It’s far from egregious, but rather inadequate. The record kicks off valiantly and magnificently. Unfortunately, it drifts away from its greatness when we get in the concluding stages. “Criminals” is too bland even if it sounds comparable to some of the other tracks found here. The closing track, “On Every Page” doesn’t quite do the trick. It’s tedious, one-dimensional, and rather dull. Maybe others will find enjoyment, but these few final lackluster songs put a damper on what could have been an outstanding record. If this album were a two-act play, we’d be amazed with the opening first act and disappointed with what’s to come in the end. My words of advice are to attend the wedding (first half) and sit out the funeral (second half). You wont be missing all that much.

Key Tracks: “To Just Grow Away”, “Revelation Blues”, “Leading Me Now”, “There’s No Leaving Now”

Grade: 7.4 out of 10

Published by Mountain Views News on June 16th, 2012

http://mtnviewsnews.com/v06/htm/n24/p08.htm

The Temper Trap - "The Temper Trap"

Artist: The Temper Trap

Album: The Temper Trap

Label: Glassnote Records

Release Date: June 5^th, 2012

Review by: Sean Kayden

Australian indie rockers The Temper Trap return with the release of their sophomore eponymous album. The band is coming off their 2009 critically and commercially successful debut record, “Conditions”. When it was released, the stand out track of the summer, “Sweet Disposition” dominated the airwaves and was arguably the best pop-rock song out during that time. Now three years later and refusing to rest on their laurels, The Temper Trap try to capitalize on the accomplishment of their debut with twelve brand new tracks. Unfortunately, the slow-burn record falls short of completely wooing me over and feels rather flaccid in comparison to their debut.

            When a band releases a record under a self-title, it generally means the band is saying this is their defining and signature sound. If that’s the case here, The Temper Trap doesn’t live up to their lofty ambitions. This argument comes in the form of how their first album felt relatively fresh and inventive at the time. Lead vocalist Dougy Mandagi still has a tremendous angelic voice. There’s no denying that. However, the music behind him doesn’t always match up so well. Some peculiar choices were made on this album like the completely out of place “London’s Burning,” a complete train wreck that is neither original nor a satisfying replica of something sounding much better. “Where Do We Go From Here” has a great start, but painfully falls into the depths of formulaic. It’s a shame because it could have been something truly special rather than glaringly second-rate. The album oscillates from sounding fairly decent to a middling mainstream pop-rock experience. Finding something to connect with isn’t always easy here, but the first single, “Need Your Love” is an unambiguous standout. The blissful pop track becomes the closest song one is going to get in recapturing the magic of “Sweet Disposition”. “I’m Gonna Wait” is an appealing, soaring tune that strives on being the obligatory feel good love song the album has to offer.

            Despite some pleasant arrangements, the record feels visionless. Without a distinctive goal in reach, it’s difficult to support the band for what they’re unknowingly going for. Inconsistent, lacking any gratifying surprises, and catering to the mainstream masses, The Temper Trap doesn’t demonstrate the growth fans may have being anticipating. In the end, I wouldn’t be all too surprised if the record vanishes quicker than the time it takes to read this review.

Grade: 6 out of 10

Key Tracks: “Need You Love”, “I’m Gonna Wait”, “This Isn’t Happiness”

Published by Mountain Views News on June 9th, 2012

http://mtnviewsnews.com/v06/htm/n23/p08.htm

Catcall - "The Warmest Place"

Artist: Catcall 

Album: The Warmest Place

Label: Ivy League Records

Release Date: May 4^th, 2012

Review by: Sean Kayden

The debut LP from Australian singer Catherine Kelleher, under the moniker Catcall, can compete with any pop album this year. “The Warmest Place” is a mainstream record that unlike its counterparts has undeniable depth, tremendous value, and profound sincerity. Flooded with 80s dance beats and utterly contagious hooks, “The Warmest Place” makes it mark as not only one the finest pop records this year, but also as an indelible listening experience. Forget what you think is cool in pop because Catcall is the next big thing (or at least rightfully deserves to be). 

Four years ago, Catcall released the hip-hop infused EP, “Anniversary”, but to say she’s mature would severely be an understatement. Instead of focusing within the boundaries on one playing field, her latest release is spread across the board. Pop, hip-hop, electronic, you name it, a distinct sound can be found here. Kelleher’s voice is electrifying, grand, and empowering. She just may posses one of the best vocals in pop music. This new affair touches base on all kinds of themes—sex, heartache, bereavement, delightfulness, and love. Nothing on the album is disposable, which is incredibly impressive for a pop record. Arguably the best song is “Satellites”, which occupies a dreamy jubilation. “That Girl” is pure 80s from head to toe and it’s so damn slick, velvety, and polished. It needs to be in a movie worthy of its true awesomeness. In the end, you’ll be hard pressed to find a bad song on “The Warmest Place”.

The only tracks that didn’t win me over completely were “Paralysed” and the closing track, “I’m in Love With a German Film Star”. They’re not necessarily egregious in any way, but simply fall short of what all the other songs have going for them. Other than that, I personally fell in love with this unexpected release. It’s unabashedly poppy, evocative, and catchy. With everything that’s going for it, “The Warmest Place” is also both impressively poignant and downright glorious. This listening endeavor is the key ingredient to kick off your summer escapade in the best possible way.

Grade: 8.7 out of 10

Key Tracks:  “Satellites”, “On My Own” “The World Is Ours”, “That Girl”, “Shoulda Been" 

Published by Mountain Views News on June 2nd, 2012

http://mtnviewsnews.com/v06/htm/n22/p10.htm