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

The Rest - "Seesaw"

Artist: The Rest

Album: Seesaw

Label: Auteur Recordings

Release Date: June 12^th, 2012

Review by: Sean Kayden

            Relatively obscure Canadian indie rockers, The Rest, are poised to drop their third record, Seesaw on June 12^th. The band has had a tumultuous path leading up to this release since their friend and producer (of their first two albums), Dan Achen passed away. Additionally, the band suffered a hard drive glitch of sorts that completely wiped out everything that was recorded. This led to a two-month delay, but despite dire circumstances, The Rest pulled through the pain and suffering. Unbeknownst to the band’s existence up until most recently, I’ve had the utmost privilege to discover one of the best under-the-radar indie acts in recent memory. “Seesaw” is a soaring, richly textured, emotive piece of art. To have been unaware of the existence of The Rest is a deep shame, but to those who read this and don’t seek them out, consider yourself foolish. “Seesaw” will awaken your eyes in midst of a shutdown in your own life.

            Irrefutably charming, utterly serene, and continuously inspiring, the album is as deeply intelligent as it is mesmerizing. Without offending any fans, you can hear hints of Radiohead, The Antlers, and Sigur Ros, but at any rate, The Rest is completely special. Shifting from melodically driven tunes to swiftly paced ones, “Seesaw” proves to be a prime example of consistency and a well-balanced sounding album. Their exceptional ability to intrinsically develop tender pop songs is considerably effective. I don’t recall the last time I was truly excited to listen to an album all the way through immediately after already doing so. The Rest has without doubt crafted an incredible, powerhouse record that can stand toe-to-toe with any album this year.

Every song off the record deserves praise and recognition to the maximum degree. The Rest will probably never reach the status it rightfully warrants, but don’t let that stop you from listening to one of the best records this year will have to offer. It’s always a great feeling to discover new, exciting, and fresh music, but with this particular breakthrough, the emotion is at its highest peak. Sure, The Rest won’t be for everyone (as there is no such band ever to achieve such an accomplishment), however, if you’re a supporter of the genre or seeking something quite moving, look no further than “Seesaw.” It will abide as your go to record for anything that life throws your direction.

Key Tracks: “Who Knows”, “Hey! For Horses”, “Laughing Yearning”, “John Huston”, “The Last Day”

Grade: 9.1 out of 10

Published by Mountain Views News on May 26th, 2012
http://mtnviewsnews.com/v06/htm/n21/p10.htm

Beach House - "Bloom"

Artist: Beach House
Album: Bloom
Label: Sub Pop Records
Release Date: May 15, 2012
Review by: Sean Kayden

Steady artistic growth and progress is essential in today’s music. Without it, you’ll remain hanging onto previous laurels and never move forward with your own true artistry. For the likes of dream-pop aficionados, Beach House, they’ve somehow managed to stay within the margins of their genre of expertise, but further expand their dreamy and hauntingly immaculate resonance. The latest album, “Bloom”, comes off the heels of their acclaimed 2010 opus, “Teen Dream”, which wowed critics and fans alike. “Bloom” dazzles and hypnotizes with its atmospheric haze that embodies the ten glorious tracks. The innately organic tone Beach House offers is a marvel to become fully immersed with. There is something truly remarkable to the weightlessness each track plays off. That’s not to say they don’t provide any substance because they do, but attempting to discover this kind of utter beauty anywhere else may as well be a futile task. 

           
Darkly layered rhythms and immensely personal, “Bloom” takes you on an ethereal journey. Composed of stunning melodies and a deep complexity of arrangements, the album is a passage to an unearthly reality. Occasionally a track proceeded by another track might only offer imperceptible change in style. However, if you listen to each song in consecutive order, the awareness to this will mean nothing because the bits and pieces of “Bloom” translate to something much greater. The concept of assorted feelings is scattered throughout the borders of the record. The lyrics transcend one emotion, but the sound lifts you to an even higher cloud of sentiment. Astonishingly, it’s vastly difficult to find a fault with any of the ten songs here. Seemingly flawless from start to finish, “Bloom” is exactly what it’s named after—a period of time which sparks the utmost exquisiteness and imagination.

To pinpoint exactly which track stands out the most would be pointless because each song here takes you to another world. My favorites though have to be the heaven-like sound of “Lazuli” and the lean guitar riffs spotted in “Wild”. In addition, the lyrics of “New Year” may not sparkle on page, but are ignited with such passion and are full of life when sung from the celestial sound of Victoria LeGrand—“You were getting wiser/It’s better this way/Faces in the mirror/Memories again/Now look to a feeling/It’s lighter than breath/All you ever wanted/Is it getting away?” The real treat with “Bloom” is the voyage from beginning to end—one I may add, will stay with you far after your return back.

Grade: 9.3 out of 10

Key Tracks: “Myth”, “Wild”, “Lazuli”, “New Year”

Published by Mountain Views News on May 19th, 2012
http://mtnviewsnews.com/v06/htm/n20/p10.htm

Best Coast - "The Only Place"

Artist: Best Coast

Album: The Only Place

Label: Mexican Summer

Release Date: May 15, 2012

Review by: Sean Kayden

Best Coast, fronted by songstress Bethany Cosentino, return with their sophomore LP, “The Only Place”. The band’s first album, “Crazy For You” garnered a lot of attention both with critics and fans. Two years later, the current sound of Best Coast is both refiner and shaper. The lyrics are similar to the ones found on “Crazy For You” as they equally deal with breakups, love, and relationships. With the help from mega-producer Jon Brion, Cosentino and company drop their fuzzy fidelity for elevated production values and a polished soundscape. In translation, Best Coast really hasn’t sounded any better than they do now. Their surf-pop resonance is blithe and dreamlike. While some fans may show dissatisfaction with the change, those who can embrace it will be captivated. Granted, Best Coast may not transform your life, but their latest songs will be the soundtrack to your summer, no matter the results.            

“The Only Place” zips by fairly quickly. At shy of 35 minutes, the eleven estival induced tracks are fun and pleasing to the ears. Nonetheless, besides the closing track, “Up All Night”, the rest of the songs never really stick with you. Nearly all the songs here are gems, but despite having the shiny demeanor there’s not much else to report on. Sometimes you don’t need to be completely moved or enthralled by the music you listen to. If you simply find contentment with Best Coast’s elegant surf-pop sound and their lyrics about yearning for past lovers, then you’ll be overwhelmingly satisfied.

          
Best Coast never come up short on making the listener either singing along, bobbing their head, or even dancing to their joyous material. The title track plays out like a cheesy love letter to California. It’s harmless, but quite good. “How They Want Me To Be” is the centerpiece for the record. It’s a dance ballad that shows the ultra sensitive side to Best Coast even if most of their songs already deal with mixed emotions. At any rate, the abovementioned song is one of the finest off the record. In the end, nothing beats “Up All Night” the longest song off the record. It closes out this occasionally uneven affair and leaves you contemplating many things. It’s distressing, painfully nostalgic, and wonderfully beautiful. It kind of makes you take a step back and recognize why the rest of album doesn’t give off the same everlasting appeal. Even with some minor blunders along the way, “The Only Place” secures a spot as a definite summer album to listen to even if fades away faster than the season itself.

Grade: 7.5 out of 10

Key Tracks: “The Only Place”, “My Life”, “How They Want Me To Be”, “Up All Night”

Published by Mountain Views News on May 12, 2012
http://mtnviewsnews.com/v06/htm/n19/p10.htm

Suckers - "Candy Salad"

Artist: Suckers

Album: Candy Salad
Label: Frenchkiss Records

Release Date: April 24^th, 2012

Review by: Sean Kayden

Brooklyn art rockers Suckers strive for more of a straightforward record this time with their sophomore release, “Candy Salad.” The band’s debut album, “Wild Smile” was critically acclaimed and an undeniably bold, albeit inconsistent, experimental opus. I was somewhat of an ardent fan of their first record, despite the irregularity of each consecutive track. The songs off “Candy Salad” are definitely more communal than the ones from its successor. The follow-up release may not be what diehard fans of the band have come to expect, but Suckers have successfully grown both lyrically and musically. The latest collection of tunes consists of tight arrangements, catchy hooks, and an overall sprawling soundscape. It’s hard to knock the band for taking a different direction with this newest effort. They’ve stepped out of their own comfort zone even though they’ve seemed to enter a zone of slight familiarity within the confines of the genre.

           
There is a sufficient of things to enjoy from “Candy Salad.” The popper resonance, the anthem-like tunes, and consistent vibe throughout are anything to snarl at. The band even slows the tempo down a bit with “Leave The Light On.” It starts off with a dreamy, twinkling cadence and then sails into a peaceful chorus. Toward the end, we have “Roses,” an exquisite, bare bones piano driven song. A lot of the songs off “Candy Salad” are really beautifully arranged. The reason that “Candy Salad” may not be as critically acclaimed as “Wild Smile,” is because how they’ve taken a so-called safe route. They took bold risks with their first endeavor and right out of the gate people were talking about this much-buzzed about band back in 2010. Now that two years have past, the tides have certainly changed. The hype became calm on the front end and Suckers were in need to make some waves yet again. The way they went about it may upset their avid supporters from the get-go, but don’t be fooled by their own frustration. Suckers have successfully avoided the common sophomore slump curse and I believe appear to be further complete than ever before.

           
The closest tune you’re going to get to the likes of something off “Wild Smile” is “George.” The tribal resonance within the instrumental aspect of the song will transport you back to the days of Suckers circa 2010. In the end, album number two is an entirely comprehensive, ebullient, elated experience. It’s a happy record that will guide you into the summer effortlessly with its pure sunshine tunes. I commend Suckers for mixing things up. Sure, it’s not groundbreaking in the overall soundsphere, but a significant leap forward for a band that undoubtedly possesses a copious amount of raw talent.

Key Tracks: “Going Nowhere”, “Figure It Out”, “Leave The Light On”, “Charmaine”

Grade: 8.5 out of 10 

Published by Mountain Views News on May 5th, 2012
http://mtnviewsnews.com/v06/htm/n18/p10.htm