Five Songs You Don’t Know But Should

Review by: Sean Kayden

Crystal Antlers – “Pray” – Not too familiar with this California band until the release of their third LP, “Nothing is Real.” This ferociously crafted tune is pure rock with heavy emphasis on guitar, bass, and drums. The last part of the song dazzles with crazy guitar riffs and the energy level throughout is beyond comparison. With heavy rock, garage rock, and punk rock at the core of its influence here, “Pray” feels entirely unique. As we get into a sleepy fall season, Crystal Antlers will make certain you’re wide awake throughout. Listen to this one with the volume turned all the way up.

Bear Hands – “Giants” – Perhaps not the most innovative song the band’s come up with, but “Giants” is explosively energetic. It’s an insanely catchy track that embodies this vaguely hip-hop sound. It’s not until it breakouts into the chorus, where we know this is a full-blown synth-pop song. In the lyrics department, there’s not a whole lot to be deemed spectacular. However, it’s the arrangements that make “Giants” a summer inspired tune that will liven up your cool autumn days.

Los Campesinos! – “As Lucerne/The Low” – Los Campesinos! continues to make good albums over the years. Their fifth LP, “No Blues” is no exception. One of the best records of the year, Los Campesinos! truly make beautifully executed pop music. “As Lucerne/The Low” starts off with the line “There is no blues that can sound quite as heartfelt as mine.” However, frontman Gareth Campesinos never succumbs to whiny, self-indulgence. While sarcastic, self-aware lyrics have always been a staple for the band, “No Blues” feels much more mature. The band from Wales is still having fun, but the record balances earnest lyrics and lighter arrangements. “No Blues” is a display of band aging, but never losing their whimsical youthfulness that makes them who they are and who they seemingly will always be.

Motorama – “Winter At Night” – Russian indie rock act, Motorama continues their trend of incredible song making. “Winter At Night,” the light as a feather b-side to their new seven inch single, “Eyes,” is an extraordinary gem. Motorama, topping my best of 2012 list, are at it again with effervescent melodies and smooth guitars. Influenced by New Order and The Radio Dept,, the dream-pop rockers craft such an indelible sound that it is almost criminal how they’re not bigger in the indie scene than they are. Motorama is one of the best bands out in today’s music scene and yet in the US, they’re virtually unknown. Something just doesn’t add up here.

Shine 2009 – “Running Around” – “Running Around” is off Shine 2009’s latest sophomore record, “Our Nation.” The Finnish duo’s recent track is snyth-infused that’s both soulful and downtempo. Shine 2009 definitely have a distinct style of all their own. They’re an unconventional synth-pop group that has plenty of flair and poise to spare. “Running Around” is a very elegant tune that will put you in a hypotonic state of mind.  The duo’s beats will utterly pull you in and have you become lost on the dance floor. Dreamy and as smooth as any song released this year, Shine 2009 have positioned themselves to which it would be inconceivably wrong if they don’t have a big year in 2014.   

Mutual Benefit - Love's Crushing Diamond

Artist: Mutual Benefit

Album: Love’s Crushing Diamond

Label: Other Music Recording Company

Release Date: October 25^th, 2013 (Digital Release)

Review by: Sean Kayden

Mutual Benefit is the experimental baroque folk project of Jordan Lee. He’s been releasing music for several years, but “Love’s Crushing Diamond” marks his first proper LP release.  Already a buzz artist for a few years now, this debut record may launch the man from obscurity to indie folk stardom. “Love’s Crushing Diamond” may only be seven tracks in length, but these ardent tunes are entirely heartfelt. The arrangements consisting of guitar, violin, banjo, percussion and other interesting sounds are always graceful and heavenly. However, what really pulls you in is Lee’s fragile and elegant voice that sends chills down your spine. His ability to create these atmospheric sounds is relatively stunning. There is optimism and a yearning latched onto the record even when the songs appear to be downbeat and somber. “Love’s Crushing Diamond” is romantic at heart but the record runs deep creating an emotional landscape filled with beautiful experimental sounds, emotive vocals, along with celestial arrangements. “Love’s Crushing Diamond” is filled with hope when all hope seems gone these days.

Lee’s whispery vocals occupy the record and the results are rather lovely. On “Golden Wake,” Lee boldly states, “we weren’t made to be afraid.” This sentiment is kind of a theme for the record. A collection of songs to get yourself back up from the ground, stand tall, and take care of those you love. The record glides as much as it moves you in ways you could only wish for in a record. The music seems more like art than anything else. It’s a canvas with panorama of meanings. Each listen may give you another interpretation. “Advanced Falconry” is the most expansive track and undoubtedly the best one. The romanticism on display is divine. It’s a sweet, gorgeously crafted song that would have one becoming lost within their personal daydream. Lee isn’t heavy handed with his lyrics. The harmonies found on “‘Let’s Play/Statue of a Man,” are exquisite.  Lee sings, “There’s always love/when you think there’s none to give,” which stays true to the idea that “Love’s Crushing Diamond” is idealistic even in a world increasingly becoming disparaged.

The debut record from Jordan Lee is truly an accomplishment. I believe that the album is quite effective, as all the songs feel super connected. “Love’s Crushing Diamond” is an album you’d have to listen in the comfort of isolation. If you allow it to sink in, you’ll be quite stirred by the experience. It’s one of the better folk type records to come around this year. Lee has constructed a small album with a big impact on the human spirit. Just like with love, if you let this album get inside, you’ll be amazed at what it can do. And if love is truly the answer, then this album is the medicine for an ailing heart.

Grade: 8.5 out of 10

Key Tracks: “Golden Wake,” “Advanced Falconry,” “That Light That’s Blinding,” “"Let's Play" / Statue of a Man”

Heavenly Beat - "Prominence"

Artist: Heavenly Beat

Album: Prominence

Label: Captured Tracks

Release Date: October 14^th, 2013

Review by: Sean Kayden

“Prominence,” the sophomore release from John Pena a.k.a. Heavenly Beat is essentially the first album revisited all over again. Some may deem it a dead on sequel to 2012’s “Talent.” Since the first album was a pleasant surprise it’s not all that alarming this one is too. Moreover this was also a complete departure from the previous band (Beach Fossils) he was a part of. The tropical pop resonance with daydream lyrics is a fitting fall season release. The lulling arrangements may alleviate some past wounds one may still have. While I mentioned the album feels identical to the first record, it goes a bit deeper. Pena is more comfortable in his own skin now and it shows with his lyrical abilities. The music here is a bit morose, but he’s able to liven things up from time to time.  Another key component to Pena’s signature sound is the grouping of sounds that stem from popular music of other countries. However, “Prominence” lacks variety, which makes it the experience a bit stale toward the end of its 9-track run. The songs are better played throughout a mix CD, popping up periodically, instead of listening the record track by track.

The echoed low voice of Pena is extremely calming. With his proclivity for electronic beats, lush, and layered melodies, Pena is a masterful composer of pop-orientated songs. At the same token, most songs blend together, making it rather difficult to differentiate the tracks. I’m a fan of Pena’s work, but I find myself bored with the album as it comes to a halt. It’s less than 35 minutes in length, but feels greater since most songs have overlapping sounds. Heavenly Beat creates a very ethereal atmosphere from beginning to end. The record sort of glides throughout, but could be due to the lack of diversity. With nearly every song sounding overwhelming similar to the next, the record never takes a much-needed detour. One of the better tracks here is, “Expectation.” Sure it’s not a whole lot different than the other songs, but Pena’s voice is a lot clearer here. The lyrically gloomy tune displays words such as, “I wanted that and so much more/won’t accept that I lost out/it hurts to think that all I’ve felt was only leading me nowhere.” Overall, it breathes such beauty and warmth. “Forever” is another highlight that has Pena painfully reciting the lines, “can’t remember a time when I didn’t feel awful,” and “it’s so hard believing there’s nothing more I could do/forever’s a long time to spend hurting for you.” The man’s sensitivity shines throughout even if sometimes it appears more on the doom and gloom side.

“Prominence,” is a decent record that puts on display a musician with many talents. However, it would be great to see (and hear) what Pena can do beyond this sound he’s cultivated over the span of two albums. I will say his music doesn’t sound like any other American musician since the influences span different cultures. While I applaud his creativity, I can’t say that I was utterly enamored by this experience. There are things to appreciate with “Prominence,” however becoming completely stimulated by it may not be the case. Heavenly Beat has a lot of potential but with “Prominence” it’s only shown in small doses. Not bad by any means, just kind of substandard seeing how Pena has a lot going for him artistically.

Grade: 6.5 out of 10

Key Tracks: “Honest,” “Forever,” “Expectation”

Dale Earnhardt Jr. Jr. - "The Speed of Things" Review

Artist: Dale Earnhardt Jr. Jr. 

Album: The Speed Of Things

Label: Warner Bros. Records

Release Date: October 8^th, 2013

Review by: Sean Kayden

Dale Earnhardt Jr. Jr., the Detroit duo, cook up carefree, pop-induced tunes for their sophomore record, “The Speed Of Things.” The band’s first record, “It’s A Corporate World” demonstrated the guys proclivity toward humorous lyrics and saccharine electronics. With their latest LP, they expand their sound, but keep within the same realm. The debut record was a modest outing from Joshua Epstein and Daniel Zott, who came from other bands to join forces. However, “The Speed Of Things,” shows the band to be more comfortable with the sound they’re conveying. They made not be treading new ground entirely, but the catchiness and ramped up melodies on the sophomore release exemplifies much improvement.

“It’s A Corporate World” offered many simple compositions. I never thought the album fully came together as a whole. The band had a few innovative ideas that sprawled over the course of a few songs, but exhaustively ran out of gas midway. On “The Speed Of Things,” Dale Earnhardt Jr. Jr.  keeps the energy flowing quite smoothly. They know when to slow it down like on “I Can’t Help It.” This tune shows a different side of the band, more melodic, more sensitive. I prefer the toned down electronics rather than completely going overboard with them. There’s still a carefree vibe attached to most of the songs they perform, but something about this album feels more grown up. They may still be delivering the fun without being taken too seriously. However, the growth they’ve made from the last record to this is rather striking. There is still a lightness to be found yet this records runs much deeper than previous material. The harmonies are in full force here especially on “Dark Water.” Epstein and Zott effortlessly pull off Beach Boys style arrangements.

With a combination of fast and mid-tempo tracks, glowing harmonies, and a penchant for dazzling electronics, Dale Earnhardt Jr. Jr. surprised me with this latest effort. I thought they only had a decent first outing which inevitably led them falling off the grid for me. Now they’ve come back with such a cool, nearly seamless second LP that impresses me a lot more. When the interlude hits, it tilts the record into a slightly slower speed from then on out. Nonetheless, it’s still incredibly joyous. “A Haunting,” puts on display a different side to the band. It demonstrates a more heartfelt, serious tune compared to their appetite for lightheartedness. “Run,” is probably the best track here. It’s high energy, super charged electronics and purely addictive sound makes it one of the most entertaining songs of the year. “War Zone” is absolutely intoxicating.  It’s another prominent song for the band. In the end, Dale Earnhardt Jr. Jr. might not take over the world with this record, but it’s a great addition for anyone looking for a good time with an album that balances buoyancy and sensitivity in a near perfect fashion.

Grade: 8.3 out of 10

Key Tracks: “Run,” “I Can’t Help It,” “Don’t Tell Me,” “War Zone”

DON JON - Review

Written & Directed By: Joseph Gordon-Levitt

Rated R for strong graphic sexual material and dialogue throughout, nudity, language and some drug use

Release Date: September 27^th, 2013

Review by: Sean Kayden

Joseph Gordon Levitt makes his directorial debut with “Don Jon.” The thespian also wrote and stars in it.  In the film, JGL portrays the title role of a modern day lothario who can pretty much get any girl he wants on a night-to-night basis. The problem is he’s only truly satisfied by the women he sees in porn. His expectations of women lie within the videos he views multiple times on a daily basis. While viewing pornography, he “loses himself.” It’s something that in fact has never occurred with a real life woman for him. “Don Jon” attempts to explore the world of pornography, men and women, and relationships. However, it only touches upon these different subjects and rarely does it dig deeper than surface level.

Jon cares about only a few things in life: his boys, his girls, his family, his body, his church, and his porn. The latter becomes an issue when he scores with a girl (Scarlett Johansson) he calls “the most beautiful thing he’s ever seen.” Once she discovers his little secret, she will have no part of him. He has a logical excuse for it and for the time being, she buys it. In the movie, Jon navigates boyfriend territory, beloved son, gym enthusiast, and student. Johansson’s character has Jon take a night class because she prefer for him to have a suit & tie job rather than a food service one (bartender). In the end, we realize this woman is very taxing with her demands. Scarlet Johansson is certainly adequate in her role, but it’s not as if she needs to go above and beyond. Other scenes depict Jon at church always asking for forgiveness when he has sex out of wedlock. It becomes comical as the priest always tells him practically the same thing. Then there’s his family life. Jon is actually very similar to his father, played by Tony Danza. His father looks at women the same way as his son and they both communally posses a random temper (several scenes within the film where Jon is screaming at passing drivers on the road). Despite a constantly moving camera and a film bursting with high energy, the film starts to deflate toward the half way mark. It picks up here and there, however, while there’s nothing erroneous to point out, the road it travels on isn’t as fascinating as I was eagerly hoping for.
      When Jon attends his night classes, introduced is Julianne Moore’s character. At first they don’t really get off to a good start despite a considerate effort on her part. Once Jon’s relationship with his girlfriend starts to deteriorate, the two of them start up an unlikely friendship that leads to unlikely intercourse. Keep in mind, Jon is always hooking up with women around his age and now finds himself attracted to a middle-aged woman. In fact, what he sees in her and most of all feels when with her doesn’t hold a candle to women of his past.  Moore is always great, but she doesn’t really have a whole lot to work with. Besides being a widow, that’s briefly touched upon, it’s unclear what her role really is. I guess she helps Jon figure out that there’s more to life than sex and porn. Don never spends time with women and really treats them as another conquest, one after the other. Moore opens his eyes to a different side; one that ultimately is more pleasing than what Jon gets out of watching porn. “Don Jon” is a fine effort from Joseph Gordon-Levitt. He surely has a knack for behind the camera, keeping us interested even if the story starts to go nowhere. You also realize that he’s carefully studied the directors he’s worked with on previous films. The screenplay is a bit green, but there have been far worse first time efforts. “Don Jon” is at times fun, humorous, and very light. Almost too light. With an abrupt, quickly wrapped up ending, and some themes never explored to their fullest, “Don Jon” is a decent time at the movies rather than something much more memorable.  

Grade: 3 out of 5

Kings of Leon - "Mechanical Bull"

Artist: Kings Of Leon

Album: Mechanical Bull

Label: RCA Records

Release Date: September 24, 2013

Review By: Sean Kayden

Call them overrated, underrated, rock Gods or major sellouts, but Kings of Leon, perhaps one of the biggest modern rock acts in the world, are back at it. It’s been three years since Kings of Leon released their fifth and ultimately disappointing album, “Come Around Sundown.” In 2011, it appeared the band was slowing down and hits like “Sex On Fire” and “Use Somebody” were clearly absent on the aforementioned record. With a tour abruptly cancelled and breakup rumors swirling, Kings of Leon decided to take a seemingly much desirable hiatus. This past June, however, it was revealed by the band that they would be making their return with album number six in ten years entitled, “Mechanical Bull.” Does “Mechanical Bull” put the band back on top? Well, for starters, after a first listen, this is clearly a much better record than “Come Around Sundown.” Nevertheless, some inconsistencies with tone and theme forbid the record on being spectacular rather than just very good. If you can skip through those particular tracks that drag down the record, you’ll find out that Kings of Leon still have the magic left in them.

“Mechanical Bull” kicks off with the first single, “Supersoaker,” a summer type jam with enthusiasm and vigor to boot. It recalls the youthful days of KOL such as the “Aha Shake Heartbreak” record. However, with the heavy studio sound surrounding it, the song appears less organic than those of their earlier days. Nonetheless, “Supersoaker” is undoubtedly the inner workings of a band that knows how to still have fun. After the frolicsome opener, the band throws a few misfires into the record. First with “Rock City” and subsequent track, “Don’t Matter.” Those two tracks stray away from what the album wants to say midway through the end. “Don’t Matter” channels the former days of KOL, but since the band has clearly grown into a more, mature rock band, this song feels painfully outdated to be added to their current repertoire. Rests assure, regardless of a pretty solid single that’s followed by two or three average tracks, Kings’ come on stronger than possibly ever before. “Temple,” a clear standout that is filled with hooks and powerful, but smooth guitars. It’s one of their catchiest songs to date and an obvious choice for the next single. “Wait For Me” slows it down, but you couldn’t ask for a better cool down track. Beautifully written, wonderfully wistful, and supporting a vintage KOL sound, “Wait For

“Comeback Story” is another gentle song, however, it’s very difficult not to be utterly enamored by it. Sure, it may sport some silly lyrics, “I walked a mile in your shoes/And now I am a mile away and I’ve got your shoes.” Nonetheless, the sensitive, attractive guitar layout pulls you in which easily captures your heart. Compassionate and cordial, Kings adds another strong track to their collection (one that is quite plentiful with hits). “On The Chin” closes out the album and it’s another simple and carefree tune. It has an alternative-country rock vibe attached to it. Not the best song here, but a fitting closer to an album that balances between youthful sounds and mature themes. The deluxe album has two bonus tracks that are terrific, especially “Work On Me.” This classic rock inspired tune alone should attract new fans that never seemed to give KOL a fighting chance. I wish the bonus material had been on the regular edition instead of some of the subpar tracks that did make the final cut. If you pick up this album and you totally should, the deluxe edition is the way to go. All in all, “Mechanical Bull” is a winning effort from a band that has had its share of ups and down. Kings of Leon are one of the biggest rock bands around and over the span of their 10 plus year career, no other rock act has come close to imitating their signature sound. Love them or hate them, they should be respected and regarded as utterly talented musicians. Innovators or not, Kings of Leon’s latest endeavor pulls the Nashville boys out of the rubble to shed new skin. At the very least, there is plenty of satisfying rock songs to enjoy. Deserves a listen, but possibly worth much more than just that.

Grade: 8.4 out of 10
Key Tracks: “Temple,” “Wait For Me,” “Comeback Story,” “Coming Back Again”

Published by Mountain Views News on October 5th, 2013
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Yuck - "Glow and Behold"

Artist: Yuck

Album: Glow and Behold

Label: Fat Possum Records

Release Date: September 30^th, 2013

Review By: Sean Kayden

Two years ago Yuck released their highly inspired 90s alternative rock self-titled record. It was a glorious record that ranked among the best debuts of the year. Earlier this year when lead singer/songwriter Daniel Blumberg announced his departure from the band, it appeared the days of Yuck as a band would come to an abrupt end. However, guitarist Max Bloom stepped up to the mic and Yuck was reborn. Where Blumberg had an affinity for melancholy tunes, Bloom’s vocals are smoother, more cheerful. For their sophomore release, “Glow and Behold,” the band didn’t completely abandon their proclivity for 90s alternative/grunge, but their seemingly more optimistic approach has the band displaying new signs of life. Their aptly titled first single, “Rebirth” is a shining example of Yuck heading down a different direction, but ultimately reaching a similar destination as before. Blumberg’s dulcet vocals will be missed for sure, however, Yuck’s ability to carry on without him is commendable. They may not be the same band from 2011 and you know what, I’m okay with that.

“Memorial Fields” is a slow burner and reminds me a lot of their debut record. It’s not until track five, “Middle Sea,” where the energy and enthusiasm kicks into high gear. Half way into the album, you’re realizing Yuck is doing just fine without Blumberg. Disappointingly here comes the second half. Admittedly so, Yuck has established a unique sound with their new album that touches upon their old material as well as indicating the band isn’t resting on their laurels. However, “Glow and Behold” is different than what I was expecting.  I really enjoyed the first several tracks and then the rest of the album was, to put simply, a bore. It’s not as if the wheels come completely off the rails. However, while the first half was traveling smoothly, the record takes a turn to dullsville on the way to our destination.

While the sounds of their previous outing will always be cherished, Yuck’s decision to change it up second go around was probably necessary. “Glow and Behold” starts off incredibly strong for a band that could have been easily dismissed to never return again. I thought for a minute Yuck actually made a better album this time, but then my anticipation was shattered. The last few songs including, “Somewhere,” “Nothing New,” and “Glow and Behold” will have you snoozing. Those three songs alone account for over sixteen minutes of material that has you wondering what went wrong after hearing six really good songs in the beginning. In the end, I’m not exactly sure how I feel about Yuck. If they only released the first six tracks as an EP for their celebrated arrival, I would have praised the band to the fullest. Unfortunately, the additional five songs in the second half puts a real limitation on what could have been, should have been, a grand homecoming. Yuck didn’t quite hit a homerun with their latest at bat, but hung in there long enough to safely reach base. Still, they at least find themselves in scoring position.

Grade: 6.8 out of 10
Key Tracks: “Out of Time,” Memorial Fields,” “Middle Sea,” “Rebirth”

Published by Mountain Views News on September 28th, 2013
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