Atlas Genius - "When It Was Now"

Artist: Atlas Genius

Album: When It Was Now

Label: Warner Bros. Records

Release Date: February 19, 2013

Review by: Sean Kayden

2013 may very well turn out to be a huge year for Atlas Genius. Originally from Australia, the four-piece indie-pop group has been riding high with their 2012 buzz song, “Trojans.” While the song has been percolating since 2011, it wasn’t until last June when brothers Keith, Michael, and Steven Jeffery, along with keyboardist Darren Sell were signed onto Warner Bros. Records that it became known stateside. The hit song appeared on their debut EP record, “Through the Glass” while garnering much praise and popularity. However, now that we’re in 2013, Atlas Genius, the Foster The People/Phoenix type of band before them, is still banking on “Trojans” alongside ten other tracks (only eight being brand new) on their debut LP, “When It Was Now.” The songs found on the record exude pure summer vibes that are dance inducing, high energy, and pack a mighty punch. While Atlas Genius could turn into merely a one hit wonder group, the brothers and friend will have to prove they’re not just another pop rock band with nothing much to offer besides one catchy tune.

“When It Was Now” isn’t treading any new ground. It sounds like any other band in the genre, but that’s not to say there isn’t anything to take away from it. For the most part, the record is incredibly catchy and very accessible to connect with. Majority of the album borrows from an 80s style that incorporates both synths and rhythmic guitar riffs. “Through The Glass” is toned down compared to the other tracks since it’s more of an acoustic tune and piano-driven. The title track “When It Was Now” is a combination of the sounds of both Twin Shadow and Phoenix. “If So” might as well be the second hit single for the band. It’s just as infectious as “Trojans” even if it’s somewhat derivative. The slower tempo standout track is “All These Girls.” It’s easily the band’s best song and shows the band in a very sensitive light. The super charged, full-fledged dance anthem known as “Electric” is probably the most uninspiring tune. “Electric” is a rather generic opener that may give the listener the wrong idea from the get-go even if it doesn’t sound all that much different than subsequent tracks. Fortunately, things improve rather quickly. The thing is, these slick, electro-pop driven songs work very well most of the time. However, separating this band from others alike is a difficult undertaking.

At the end of the day, the music here isn’t going to change your life. It’s great workout music or just playing in your car in the windows down. “When It Was Now” is a fun album—nothing more and usually nothing less. When it tries to be something deeper, it comes off amateurish despite relatively fun, cool, summery beats. There’s sort of a dichotomy to a band like Atlas Genius. On one hand they’re on their way of becoming the “it” band and some would say rightfully so. They’ve mastered the art of expanding on something (snyth-pop) that’s been beaten to death. On the other hand, they’re really not doing anything revolutionary. They have some nice tunes to their catalogue and their presence alone will have them opening up for bigger acts and performing on late night talk shows. However, Atlas Genius isn’t leading the pack and despite merely following the herd, they somehow might find themselves closer up in the mix than those who tried to do the same thing previously before them. At any rate, I wouldn’t get too invested in band like this, but enjoy it for what it is and certainly not for what it could have been.

Grade: 7 out of 10

Key Tracks: “If So”, “Trojans”, “Centered On You”, “All These Girls” 

Published by Mountain Views News on 23rd, 2013
http://mtnviewsnews.com/v07/htm/n08/p11.htm

Night Beds - "Country Sleep"

Artist: Night Beds

Album: Country Sleep

Label: Dead Oceans

Release Date: February 1^st, 2013

Review by: Sean Kayden

      Winston Yellen is a 23 y/o singer-songwriter who performs with a band called Night Beds. The Nashville-based indie folk band is heavily influenced from artists such as Jeff Buckley and Ryan Adams to My Morning Jacket and mid-90s’ alt-country bands like The Wallflowers and Counting Crows. Originally from Colorado, Yellen rented a house outside Nashville, formerly owned by Johnny Cash and June Carter Cash. There he spent ten months creating his debut LP, “Country Sleep.” The record is beyond Yellen’s sensitive years. It’s incredibly warm and passionate. “Country Sleep” beautifully creates a portrait of nostalgia that can easily tear your heart apart as well as it may be able to mend it. Whatever the case may be the listener, you’ll be swirling with emotions that are too powerful to dismiss. However, with its relatively short duration, Night Beds doesn’t grasp for you too long. With a few uninspiring tunes in the mix like the closer, “TENN” and the painfully dreary, isolated vocal opener, “Faithful Heights,” the record still has this uncanny knack for captivating you when you least expect it. 

     “Ramona” is the most “upbeat” song of the bunch.  It’s an ingratiating alt-country tune sans the twang-y vocals usually found in such songs of the genre. “22” reminds me of a Ryan Adams song from beginning to end. Actually at first listen, I thought it was Adams singing as a guest vocalist. It’s heartbreakingly beautiful and echoes with strong passion and propulsion to keep moving forward. While the record has many influences, that doesn’t mean it’s derivative or middling. If anything, for those who appreciate alt-country jams and delicate folk-rock, you should feel right at home. Yellen’s voice is quite exquisite and carries this languorous trait that puts you into a deeply reflective mood. “Wanted You In August” showcases Yellen’s falsetto. His range is not only impressive but shows hints of a vivid future for the young and talented vocalist. 

     “Lost Springs” is another sensitive song that exhibits the heartbreak in Yellen. This soulful tune repeatedly and authoritatively claims, “I don’t want feel this,” but the listener is destined to feel the pain, either the one of Yellen’s or their very own calamity. In the end, this is by far no perfect album, but it’s earnestly honest, satisfying, and tender. “Country Sleep” goes through several tonal shifts and with many influences brought into one full album, the results is a record that’s both versatile and recognizable. Nevertheless, you’ll have to be in the right mood for an album of this disposition. When you’re ready, it will take you away. The place of destination is solely up to you. Wherever that is, you’ll find what you’re looking for or maybe leave behind what you have no need for any longer.

Grade: 7.6 out of 10

Key Tracks: “Ramona”, “22”, “Cherry Blossoms”, “Lost Springs”

Published by Mountain Views News on February 16th, 2013

http://mtnviewsnews.com/v07/htm/n07/p11.htm

Local Natives - "Hummingbird"

Artist: Local Natives

Album: Hummingbird

Label: Frenchkiss Records

Release Date: January 29^th, 2013

Review by: Sean Kayden

Three years ago, a little known band from Silver Lake released their powerfully emotive, pop rock-induced record, “Gorilla Manor” to the masses. Early comparisons were drawn from bands such as The Dodos, Fleet Foxes, and Grizzly Bear. Sonically lush with terrific harmonies, undulating guitar riffs, and thoughtful lyrics, Local Natives were onto something few bands could say with just one album under their belt. Flash forward to present day, the West Coast rockers headed east to record their follow-up LP, “Hummingbird.” With the overwhelming buzz settling down, the departure of a band member, health problems striking down on some of the members, and singer Kelcey Ayer’s mother passing away, the band was determined to rebound through adversity. Through fortitude, Local Natives crafted a wholly introspective and utterly sensitive sophomore record. “Hummingbird” is epically beautiful with its delicate arrangements, spiritual undertones, and melancholy sound. It never feels forced or strained, only completely organic and entirely sincere. Local Natives are hoping to be one of the elite rock bands of their generation with a defining sound they can easily call their very own.

Now a quartet of three singer/multi-instrumentalists and a drummer, the band recorded a much darker, deeper album than their debut had to offer. “Hummingbird” is more a controlled effort but presents very rich, unconventional instrumental textures.  When touring with the band The National a few years ago, Local Natives befriended the group’s Aaron Dessner, who co-produced this latest effort. It was the perfect setup given The National’s proclivity for dark, brooding, emotive music. While Local Natives still express some buoyancy, the endeavor differs much from the days of “Gorilla Manor.” The four-piece rock act enchant with their memorable choruses and tender melodies. The standout track and climax of the album is “Columbia.” It was written through the somberness and despair of the passing of Ayer’s mother. “Columbia” is brutally heart wrenching and devastatingly beautiful. With lyrics are like “Am I giving enough? /Every night I am asking myself, am I loving enough?” it’s easily the most compelling, thoughtful, and well-written songs the band has ever made.

With songs like “Black Balloons” and “Wooly Mammoth,” the band brightens up just a bit. They’re not as solemn or fragile as the other songs but still strong tunes to complete the eleven-track album. “Breakers” is a soaring track that starts with a 30 second intro of howling guitars and catchy drums beats before it explodes with grand arrangements accompanied by “oohs” to fiercely escalate it to new heights. It slows down a bit and the vocals kick in, but it’s the chorus that brings the song to into a freshly new environment. At the end of the album, I was emotionally exhausted in the best way possible way. “Hummingbird” is absolutely gorgeous in every aspect of production. Compassionate, deeply expressive, and vastly heartfelt, Local Natives didn’t just meet expectations, they surpassed them in an unbelievable fashion. Clearly put, the record is dazzling from start to finish that clearly validates the boys’ long lull between records. However, even with the elongated gap among the albums, “Hummingbird” stands as a truly extraordinary piece of music that will be difficult to match by any artist this year.

Grade: 9.5 out of 10

Key Tracks: “You and I”, “Ceilings”, “Breakers”, “Mt. Washington”, “Columbia”

Published by Mountain Views News on February 9th, 2013
http://mtnviewsnews.com/v07/htm/n06/p11.htm

The Joy Formidable - "Wolf's Law"

Artist: The Joy Formidable

Album: Wolf’s Law

Label: Atlantic Records

Release Date: January 22, 2013

Review by: Sean Kayden

     Nearly two years ago to the day, The Joy Formidable released their rock anthem driven record, “The Big Roar.” The UK band garnered much critical acclaim for their power-rock tunes, piercing sound, and dynamic range both vocally and musically. On paper, the sophomore slump was in the equation, but these past 24 months have proven the band is through with playing second fiddle to bigger, more well known acts and geared up for center stage. On this new album titled “Wolf’s Law,” the scope of it all is quite larger than their debut. They keep the songs rolling fast and push the tempo to the highest of degrees. Fortunately, the band knows how to slow things down at just right the moment making their second album not a one-trick pony. However, the amalgamation of both fast and slow tunes may cause for some to question what kind of band The Joy Formidable wants to be. I prefer the slower, more consistent in tone songs the band cranks out than the overblown, overproduced material. One thing is for certain, while Wolf’s Law isn’t a masterpiece by any comprehension, it is a mostly enthralling and often captivating record that unquestionably will please previous fans and attract new followers. 

     Wolf’s Law is a series of peaks and valleys. On one hand, The Joy Formidable is making some of the best mainstream music out there. Music with as much power and buoyancy as it demonstrates both compassion and emotion. For starters, opening track, “This Ladder is Ours” begins with an orchestral intro before it’s cut wide open with an aggressive guitar riff and Ritzy Bryan’s powerful vocals that take over. This is a terrific opener that sets the record off to an amazing start, as Bryan’s unmistakable vocals guide the melody from supercharged arrangements to a relatively softer pace. The five minute plus rock anthem hits the nail right on the coffin and instantly becomes one of the best songs by the band. One of my personal favorite tracks is “Tendons.” It’s very melodic in tone. It’s not incredibly loud like most of the other tunes, but loud in the sense that it packs an emotional bite like no other track off “Wolf’s Law.” “Silent Treatment,” the entirely slow tempo track is a real winner too. It shows yet another side to the multifaceted rock group as well as showcasing Bryan’s heart wrenching vocals. You can sense the sadness, feel the pain, and see the troubles that she ever so demonstrates in both vocals and words. Lastly, another tremendous song comes in the shape of “The Leopard & The Lung.” While Bryan’s vocals are a bit under the arrangements making it sometimes discernable to the ear, the beauty and tonal shifts alone are simply incredible. It’s a six-minute song that is never dull or wickedly ordinary, but rather rapturous and astonishing. Clearly the most ambitious song the band has ever produced and it easily hits it out of the park, into another hemisphere.

     With the good comes the bad or in this case the painfully mediocre. The lacking any rhythm “Little Blimp,” the god-awful experimental track “Bats,” and the rather tepid, overlong “Maw Maw Song” formulate for some considerable misfires here. Despite the calamity of what those tunes offer, you’re still left with eight significantly good songs. At any rate, this record, which is a few minutes shy of one hour in length, delivers most of the goods, albeit, a few rotten eggs in the bag.  The high energy is present, the soaring melodies and huge choruses aren’t missing, and the band’s scope is still as wide as ever. “Wolf’s Law” is a grand materialization that strikes upon the emotional and spiritual effectiveness of relationships in the period of both restoration and those slipping into reinvigoration mode. Nonetheless, The Joy Formidable create some pretty good music, which should have them becoming even more superior in 2013, but still a ways away from total stardom.

Grade: 7.3 out of 10

Key Tracks: “The Ladder Is Ours”, “Tendons”, “Silent Treatment”, “The Leopard and The Lung”

Published by Mountain Views News on February 2nd, 2013
http://mtnviewsnews.com/v07/htm/n05/p11.htm