Kisses - "Kids in LA" Review

Artist: Kisses

Album: Kids In LA

Label: Cascine

Release Date: May 14^th, 2013

Review By: Sean Kayden

In 2010, Kisses released their quaint, praise worthy record, “The Heart Of The Nightlife.” I was a big supporter of that incredibly catchy and soothing album. It combined 80s dance beats with subtle, charming vocals. At the time, it felt like Kisses was one of the few bands doing something different with their predilection for all things ‘80s. For the LA duo’s sophomore release “Kids in LA,” the band has polished their sound that gives them a larger soundscape to roam through. This inclination for a more developed style has them sounding just like every other band out there obsessed with new wave. From the nine tracks here, there are moments musically that really shine, but the whole is not greater than the sum of its parts. “Kids in LA” suffers from the lack of creativity found on “The Heart Of The Night Life.” It is also burden by a completely dull narrative. When you really get into the thick of things, those flashes of greatness are short lived and sadly forgotten once a number of uninspiring tunes are heard.

While the debut record focused more on tropical beats and laid back vibes, “Kids in LA” has more of a LA nightlife disposition to it. It’s flashy, retro, and packs a lot of gleam. Jesse Kival and Zinzi Edmundson, the couple behind Kisses are engaged. This record reflects more so on relationships than anything else. However, the stories aren’t either interesting or engaging. With mundane lyrics, stale beats and ostensibly no connection from one song to the next, it not only becomes a frustrating listening experience but one that’s difficult to support with its shortcomings. Nonetheless, there’s this twinkle of hope within the songs, “Funny Heartbeat” and “Air Conditioning.” Both tracks remind me of songs from their impressive debut—catchy, sensitive, no nonsense pop gems. Even when Kisses dabble with melancholy arrangements, you still can find the carefree joy embedded in those distinct tunes.

Kisses’ “Kids in LA” exudes a summer night sort of feel, but as with any summer night, the fun ends as quickly as it started. “Kids in LA” is a display of a band burgeoning from adolescence to adulthood. There is this self-awareness of growing up entrenched inside the record, but those listening to it rarely can connect on a deeper level. It’s as almost as if this particular record was a love letter from one member of the band to the other since they’re in a dedicated relationship. The sweetness is there, the passion is present, but the magic isn’t on display the way it should be. Something on “Kids in LA” is awry, which left me wholly unfulfilled by the entire thing. Tragically so the album fails to live up to the potential one may have had for it after listening to their first record three years ago.

Grade: 5.9 out of 10
Key Tracks: “Funny Heartbeat,” “Air Conditioning” 

Published by Mountain Views News on May 25th, 2013
http://mtnviewsnews.com/v07/htm/n21/p15.htm

Noah and The Whale - "Heart of Nowhere" Review

Artist: Noah and The Whale

Album: Heart of Nowhere

Label: Mercury Records Limited

Release Date: May 6^th, 2013

Review By: Sean Kayden

“There will come a time; Where you will need someone tonight,” is a line from “There Will Come A Time,” a Springsteen-lite song from Noah and The Whale. In actuality, the band seems to have taken a class in “Springsteen 101.” For their fourth LP, “Heart of Nowhere,” the band embodies the coming-of-age theme. The ten brand new tracks weave through the turbulent times of adolescence. The four-piece rock act even went as far as creating a short film as a companion piece to the record. Singer/songwriter Charlie Fink specializes in nostalgia here. Fink’s reflective lyrics alongside the band’s crisp 80s new wave influences deliver a pretty killer combo. However, with the word “time” is found in three of the song titles. Noah and The Whale’s affinity for nostalgia may not always mesh with your own. “Heart of Nowhere” works wondrously as a breezy summer album, but on reaching the heights of Springsteen or Lou Reed it falls somewhat short.

“Heart of Nowhere” segues from lush melodies to streamlined guitars. The lightheartedness makes for a non-edgy endeavor despite the Springsteen mimicking. Fink’s lyrics are pretty conventional, but sometimes an intelligible message just purely works. The record is in no short supply of hook-laden tunes accompanied by bittersweet vignettes. These stories Fink delves into are straight from the heart and there is an endearing allure to them in spite of the simplicity. I’m not quite sure if this generation is willing to open up their minds and hearts for some nostalgia, but if they proceed to do so, “Heart of Nowhere” can get you thinking. However, since the music is driven by pure straightforwardness, you won’t have to think too hard or for too long. The stories here talk about ex-lovers, friends, your parents, and not having the slightest clue on what to do in life. These are classic topics for anyone growing up. Noah and The Whale make such enjoyable music that can captivate you with ease, but the required “darkness” to these themes is greatly missed.

On the other hand, it’s truly hard to disregard the band’s efforts in attempting to stand out amongst a crowd of imitators. While Noah and The Whale are guilty of such a thing at times, their songs have a way of grabbing a hold of you. Sometimes that hold is light, other times you can’t shake it loose. The final song, “Not Too Late,” explores the time you go from being a boy to man. It’s that moment in time where taking a leap is not only crucial, but wholly necessary. The closing track is an unhurried tune that perhaps is Fink’s most heartfelt and best-written tune off the record. “Not Too Late” is the anthem of realizing the fun has expired and it’s finally time to look ahead to see where you need to go. You may not know where the journey leads or what obstacles will been seen along the way. All is known is the risk seems frightening, but if you’re not afraid, then you’re not taking a chance. And if you are not taking a chance, then what the hell are you doing?

Grade: 8 out of 10
Key Tracks: “All Through The Night,” “Silver and Gold,” “One More Night,” “Not Too Late” 

Published by Mountain Views News on May 18th, 2013
http://mtnviewsnews.com/v07/htm/n20/p14.htm

Small Black - "Limits of Desire" Review

Artist: Small Black

Album: Limits of Desire

Label: JAGJAGUWAR

Release Date: May 14^th, 2013

Review by: Sean Kayden

It’s been three years since Small Black released their fuzzy, hazy, chillwave debut, “New Chain.” Now the boys from Brooklyn figure that a minimalist approach could be the right change for their sophomore release, “Limits of Desire.”  Although home recorded and produced, the quartet ditch the exclusivity of snyths and samples found on “New Chain.” This time around there are more acoustic guitars, alongside live drum. This resonates a deeper importance on a more natural development with their newly developed sound. With a clutter of bands in the same sonic dome, Small Black may have figured a way to navigate from the back of the pack to the frontlines.

The heart of every song is found within the soft, twee vocals that manifest into the listener’s ears. The gang of four has made grand strides in transforming themselves from past to present. However, it’s not as if an alteration was necessary, but a strong yearning for it was intensely expressed by the band in interviews. “Limits of Desire” brings a lot of washed out elements to the forefront. Despite the emphasis on changing their sound, Small Black still carries a torch for pleasant sounds and beach-y induced melodies. While “New Chain’s” overall sonic sound drowned out the vocals, leader singer Josh Kolenik’s vocals are fully put in front of the music on this new album. There’s so much more now to connect with, like Kolenik’s crisper, cleaner, melodic singing. His range may stay in place within the ten tracks found on “Limits of Desire,” but that’s okay when they sound utterly this pleasurable. The first single, “Free at Dawn” is an example of what Small Black set out to do. By cleaning up the haziness engulfed on “New Chain” and expressing a more spacious sound, new light has emerged for a band that has mind/heart set in a direction unexplored. That path may not be all to foreign, especially to those who’ve surveyed the landscape for quite sometime, but the addition of Small Black is more than welcomed to bring in new life.

“Sophie” errs towards 80s soft pop influences. For that, it’s damn well endearing for a reason. It’s another example of how Small Black trade their penchant for chillwave for simplicity and gleam. It has a terrific, laid-back melody that screams dreamy pop to the fullest. The flow of it reminds me a little of “Gypsy” from Fleetwood Mac. It’s a beautiful addition to the ten solid tracks Small Black has materialized. “Shook Loves” is quite captivating and has a touch of 90s slow R&B lightly glazed over it. Perhaps the most disappointing track is the final one, “Outskirts.” This is the longest one lasting over six dreary minutes. But make no mistake, Small Black has crafted a dazzling sophomore album that builds upon its debut and exceedingly surpasses it. There may be those who believe Small Black isn’t reinventing a genre. That’s fine. However, they’re adapting to their new surroundings in such marvelous fashion. The kids from New York are progressing, maturing, and learning that their own “limits of desire” are only restricted by lack of growth. From the looks of it, they’re growing at a rapidly fast pace.

Grade: 9 out of 10

Key Tracks: “Free At Dawn,” “No Stranger,” “Sophie,” “Shook Loves”

Published by Mountain Views News on May 11th, 2013 

http://mtnviewsnews.com/v07/htm/n19/p14.htm

MINI-REVIEWS: PRE-SUMMER MOVIES WORTH CONSIDERING

Review by: Sean Kayden

“PAIN & GAIN”

In this dark comedy from Michael Bay, Mark Wahlberg alongside Dwayne “The Rock” Johnson and Anthony Mackie all star in this true story of three body builders in Miami who get caught up in an extortion ring and a kidnapping scheme that goes horribly wrong. “Pain & Gain” is loud, fast-paced, and wildly humorous and for that, I absolutely loved it. It may be over stylized and outrageously over-the-top, but it’s incredibly entertaining from beginning to end. Wahlberg’s character Daniel Lugo just wants to live the American dream and will go to get lengths to achieve it. With the help of fellow bodybuilders, his vision quickly becomes a reality when they rip off a shady businessman (and one of his clients), Victor Kershaw, portrayed by Tony Shalhoub. Wahlberg, Johnson, and Mackie are all terrific playing naïve, dumbfounded buffoons. Each actor brings a different element and personality to their characters and despite any overlapping similarities they’re all distinctively unlike the other. However, one thing is certain, wanting more than just the bare minimum drives them all into acting the way they do. Watching these three guys weave in and out of trouble was the most fun I’ve had at the theaters so far this year. “Pain & Gain” is worth every bit of its two hours and nine minute running time. It’s a great pre-summer flick to seek out before all the heavyhitters make their way to the plate.

Grade: 4 out of 5

“MUD”

           

Writer/director Jeff Nichols third feature film, “Mud,” tells the tale of two teenage boys that cross paths with a fugitive on the run. Together they form a pact to help him escape the bounty hunters on his trail in order to reunite him with his true love. Ellis, portrayed beautifully by Tye Sheridan is one of the boys who happen to stumble upon the title character, Mud (played in yet another strong performance by Matthew McConaughey) on an island out in the Mississippi River. The film has a deep depiction of life in the south. As it unfolds, “Mud” ultimately tells a story of love and heartbreak. Ellis believes in love at all costs even if it’s breaking down around all those it consumes.  Realistically, he may be too young to know what heartbreak truly is. Nevertheless, he continues to help Mud come together with his girlfriend, Juniper (Reese Witherspoon) and witnesses the demise of his own parent’s relationship. Ellis’ own personal view of love has wandered aloof. Unfortunately, not everything truly works to perfection in this movie particularly the hollow character Reece Witherspoon must portray alongside the pacing of the movie slows down considerably in the second act. However, “Mud” is still a breathtaking movie to view with strong performances by most of its cast and benefits from a wholly original screenplay that would have appeared to be of one adapted from a great American novel. At any rate, this was a breakthrough performance by young actor Tye Sheridan who displays both sweet and toughness with anger and vulnerability to absolute impeccability. While I didn’t love “Mud” perhaps the way I intended, I did like it enough to give it a strong recommendation.

Grade: 4 out of 5

Published by Mountain Views News on May 4th, 2013
http://mtnviewsnews.com/v07/htm/n18/p14.htm

            

PHOENIX - "BANKRUPT!"

Artist: Phoenix

Album: Bankrupt!

Label: Glassnote

Release Date: April 23, 2013

Review by: Sean Kayden

Phoenix is a band that should have been popular many years ago. All their albums are solid, but it wasn’t until 2009 when they released, “Wolfgang Amadeus Phoenix” that they became the premier band at the time. After much success, winning a Grammy, and intensive touring, the band took a well-deserved break. Fans long awaited their follow-up to what is considered their finest record to date. Four years later, the French alternative synth-pop group is back with their fifth studio record entitled, “Bankrupt!” With the inclusion of keyboards and drum machines, their latest endeavor is pure pop bliss as they’ve completely strayed away from their earlier days of more alternative-rock friendly tracks. Phoenix sounds bigger than ever with “Bankrupt!” but bigger doesn’t always mean better. While the songs here may never have the big hooks found on, “Wolfgang Amadeus Phoenix,” there’s still plenty to appreciate here. From start to finish, the ten snyth-heavy tracks are cashmere soft, glossy as a new car, and smooth as frozen yogurt. However, that’s what you come to expect from Phoenix. However, if one has expected everything by the time you reach the end, it kind of leaves you wondering if you were really taken by the album at all.

The record kicks off in a huge away with the first single, “Entertainment.” The catchiest song off the album is loud and in your face. The chorus just hits you like a freight train as it explodes with a frenzy of multi-guitar sounds and synthesizers. Following the grand opener is “The Real Thing,” a somewhat slow track that never is great during some moments and boring in others. Oddly enough, the listener will be going from the fastest track off the record to the slowest. “S.O.S In Bel Air” is another all over the place track. Flashes of greatness appear but when it slows down, it completely throws the song off keel. It feels more like a prototype track that unfortunately didn’t get all the kinks worked out because underneath, you realize how great this sound could have been. My favorite song is “Drakkar Noir,” which kicks off the second half of the album in a very cool way. Phoenix slightly changes course a bit, while the synths are just as frenetic as ever, the paring with the vocals just work so incredibly well together. Another truly dynamite track is “Chloroform.” It’s a very warm track, the most sensitive song in Phoenix’s collection of brand new material. Strangely so, it would have been a great closer because while it may not be the song you’re dancing to this summer, it definite fits the bill while the sun sets leading to a perfect nightcap.

Keeping with this trend of all the songs in the second half out doing the first half, “Don’t” is yet another true gem from Phoenix. I tend to like the songs that run a bit slower while displaying a nice and steady flow. I feel as if Phoenix really hits their stride in the second half, but is it too late for redemption for a rocky start? “Bourgeois” has indie movie soundtrack written all over it. The song fades in and fades out throughout its near five minutes and has a completely reflective vibe latching on to it. The abovementioned track is easily another winner from Phoenix. The final track belongs in the first half of the album. Sure, it’s filled with kinetic energy and one that rivals “Entertainment” as the catchiest song here. As a closer, it doesn’t fit the bill, one that belongs to “Don’t” or “Chloroform.” By the end, I felt like there’s one half of a great album here. The other half, while not egregious by any means, just didn’t have this wow factor I was hoping for. With the exception of “Entertainment,” the first half of the album is surprisingly ordinary.  This becomes a bit of a problem since I always felt Phoenix specialized in anything, but the ordinary. Luckily, the second half is quite special, but for some it may not justify the rather uninspiring first few songs.

Grade: 7.7 out of 10

Published by Mountain Views News on April 27th, 2013

http://mtnviewsnews.com/v07/htm/n17/p15.htm