Album Reviews

On Oni Pond – Man Man

Experimental rock, over the course of its history, has grown and has been molded to describe a wide variety of bands and sounds. However, Man Man seems to collect all of these sounds into their own albums, especially in On Oni Pond. The band consists of Honus Honus (Ryan Kattner) on vocals, piano, and organ, Pow Pow (Christopher Powell) on percussion and programming, Brown Sugar (Adam Schatz) on DiPinto guitar, trumpet and percussion, and Shono (Bryan Murphy) on DiPinto bass, malletKAT, saxophone, and keyboards. In their previous 2011 album, Life Fantastic, Man Man took a more melancholic approach on their sound, but this follow-up shows that they can bounce back to their eccentric sound, even if it is more refined than previous albums.

On Oni Pond‘s lyrics are clever and shifts from the themes of Life Fantastic. Notably, their single, “Head On” is one of the catchier songs on this record and yet, it still has somewhat of a dark theme to it. Honus seems to roll the lyrics off his tongue while keeping a sort of intensity to it. However, this vocal delivery makes On Oni Pond feels more like a dance album, unlike their previous releases.

To date, On Oni Pond is probably Man Man’s most melodic release as they move toward a poppier sound. Man Man explores this new sound of theirs and gives indie pop a new sort of sound as they add their own elements to On Oni Pond. Throughout the album, Honus leaves breaks in his vocals, giving the hooks the ability to excel. Working once more with producer and multi-instrumentalist, Mike Mogis, Man Man’s instrumentation seem to be more cohesive rather than disjointed, much like their previous albums.

This new sense of maturity for Man Man in On Oni Pond allows the band to be more approachable while never straying from their typical sound. This new music allows Man Man to explore without ever completely reinventing themselves.

Modern Vampires of the City – Vampire Weekend

Vampire Weekend, an indie pop band from New York City, released their third full-length album, Modern Vampires of the City, and seems to give the band more of a fluid sound than their previous releases. The band consists of Ezra Koenig (lead vocals and guitar), Rostam Batmanglij (keyboards and guitar), Chris Tomson (drums and percussion), and Chris Baio (bass). Although there is a new sound on this album, there are still elements in these songs that are reminiscent to Contra and Vampire Weekend, such as Koenig’s bright vocals and their rich melodies. Vampire Weekend seems to experiment more on this album, especially with pitch shifting on various aspects of the instrumentation and Koenig’s vocals.

Throughout Modern Vampires of the City, the lyrics touch upon more mature themes, such as religion, in an imaginative way. It seems as though Koenig questions his faith in God throughout many of the tracks on this record, such as “Unbelievers” and “Ya Hey.” Even with these themes, Koenig keeps his vocals seemingly effortless, much like Vampire Weekend’s previous works. The effects Koenig puts on his voice in this album gives the album an exciting result. The choruses in this album are sweeping and yet catchy which makes them compelling.

Instrumentally, this album is far different from Vampire Weekend and Contra in the sense that Vampire Weekend seems to pull away from their world music influences and tries to create their own style on this new record. There are some beautiful orchestral arrangements throughout the album that are combined with experimental melodies. Staccato percussion in “Worship You” seems to drive this song in a fast tempo and this type of instrumentation has always seemed to play a key role in Vampire Weekend’s sound. The plucking cello and the piano in “Young Lion” bring this mostly energetic album into a quiet and subtle end.

Overall, Modern Vampires of the City seems to be a step away from Vampire Weekend’s typical sound and yet, there is still something about it that remains characteristic to the band. Vampire Weekend seems to strip away the elements they are most known for in this new album as they head into a different direction.

Lazaretto – Jack White

The eccentric Jack White is back with his sophomore solo album, Lazaretto, and this might be his biggest album to date. As well as a multi instrumentalist, singer-songwriter, and producer, Jack White owns Third Man Records since 2001, where he released Lazaretto and various other releases of his own and other musicians, such as Neil Young. Jack White, with Lazaretto, set a record for most vinyl sold, beating Pearl Jam’s Vitalogy, selling 140,000 copies of the ultra LP. On the LP, White set the bar high as it features two hidden tracks inside the inner label, the song “One More Drink” has two intros, depending on where the needle falls, features all three speeds on the record player, and has a hologram floating above the record on certain songs.

The vocals on this album are classic to Jack White, as there is something distinct about his voice and even with this more of a folksy sound to Lazaretto, the tone in his voice remains the same. Lyrics are partially inspired by poems, short stories, and plays he had written when he was nineteen. However, he reworked the writings instead of throwing them away, which he initially was going to do. White, in “That Black Bat Licorice,” raps his lyrics like a raconteur at a festival, which is very reminiscent to his older work, especially in the White Stripes. The backing vocals in Lazaretto feature women and finely contrasts White’s stark vocals.

Instrumentals on Lazaretto are have a much more folk sound to them as White features the fiddle, mandolin, and the harp. The guitar remains prominent throughout and White maintains his classic sound with it. The fuzzy sounding bass on the title-track, “Lazaretto,” is one of the best things on the track and seems to drive this heavy song and this is one of the strongest tracks on the album especially with the fiddle solo near the end of it.

Jack White returns with Lazaretto and shows that he can play country rock and still have his garage rock tone even with fiddle solos. Having his own way in his song-writing since the White Stripes days, it seems like with this bluesy new album, Jack White is testing his waters on what he is able to do.

Reflektor – Arcade Fire

Arcade Fire, a Canadian indie rock band that combine extravagant instrumentals and thematic songwriting, seems to have a different approach in their sound in their new album, Reflektor. This album has a more groove-oriented feeling to it, in comparison to their previous albums. Known for their first three critically acclaimed albums, The Suburbs, Neon Bible and Funeral, this new album seems to be a step away from their typical lavish sounding music. The band consists of multi-instrumentalists, Win Butler, Régine Chassagne, Richard Reed Parry, William Butler, Tim Kingsbury, and Jeremy Gara. Reflektor maintains the expansive sound and deep lyrical themes of Arcade Fire.

Lyrically, Arcade Fire seems to put out their themes in a more obvious way than their previous works but nevertheless, Arcade Fire does maintain their complex meanings. Much like their previous albums, Arcade Fire sings about being an outsider, especially in the songs, “We Exist” and “Joan of Arc” which deals being ignored by a majority that they don’t agree with. Vocally, Win Butler and Régine Chassagne, the lead vocal duo in the band, remain subtle but powerful throughout. The darkness in the vocals seem to add to the various themes in the lyrics which has always given Arcade Fire their original sound.

Reflektor goes into something much different from their previous works, and rather than having instrumentation as layered as previous albums, there is a mixture of genres, varying from new age to disco. Tempo wise, Arcade Fire maintains their epic sound but seems to slow it down a bit and seems to draw out some of their instrumentation more. Although not as layered as older albums, Arcade Fire maintains their large sound and shows that they can perform different genres but it seems that they put all of these experimentations into the one album, Reflektor. 

With an eclectic mix of sounds, Arcade Fire came back with a semi-new sound in Reflektor, and although lyrically they have remained the same, the band has changed up their sound instrumentally. Even though this album is not what many expected from Arcade Fire, there is still something in Reflektor that everyone will enjoy.

Days Are Gone – Haim

Haim, a pop-rock trio of sisters, has recently released their debut album, Days Are Gone, and shows that they more that just a one-hit wonder band of siblings, much like Hanson. However, before they were the effortlessly cool Haim, Danielle and Este were two-fifths of tween-pop band, Valli Girls, most likely remembered for the theme song of the short-lived animated series, “Trollz.” Not wanting to perform songs they did not write, the sisters left the Valli Girls in 2005. Growing up in a family band, Rockinhaim, the two sisters were joined by the youngest, Alana, and the trio soon branched out to become the band they are today.

The sisters, Alana Haim (rhythm guitar, keyboards and percussion), Danielle Haim (guitar and vocals), and Este Haim (bass) are heavily influenced by 70’s rock, especially Fleetwood Mac. Throughout Days Are Gone, there are hints of these influences as well as hints of R&B stylings. Gaining commercial success with their first EP, Forever, Haim signed to Polydor Records in June of 2012.

The vocal harmonies on this album are strong and that the sisters can blend R&B and soft rock in an interesting way. Danielle’s vocal delivery remains consistently staccato and gives the album a unique twist. Combined with R&B beats, there are times in Days Are Gone that the vocals give them the sound of 90’s girl groups, such TLC, especially in the title track, “Days Are Gone” and “My Song 5.” Lyrically, there is not something to closely research into, but, Haim does provide fun lyrics throughout. They do provide a breakup anthem, “The Wire,” which shows, both vocally and instrumentally, that Haim has written one of the kindest breakup songs ever written, with lyrics such as, “I know it’s hard to hear me say it, but I can’t bear to stay and I just know that you’re gonna be OK anyway.”

The instrumentation on this album blends well with Haim’s obvious influences in 70’s rock, R&B and pop rock. Even with these obvious influences, there is something about distinct about Haim that sets them apart from these influences and shows that they take these influences and create their own sound. Their light-hearted melodies seem to come naturally to this trio and contrasts nicely with the lyrics. The percussion and bass across this album are something entirely on their own, as they are not hidden behind the vocals or guitar but rather, they are given their own, well-deserved, spotlight. Making music their entire lives, it is understable why Days Are Gone sounds the way it is.

Whether it is the infamous “bass face” of Este or having their parents join them on stage, Haim proves that they are amiable musicians as well as great musicians. Also, the trio shows that siblings can be musicians together and display good musicianship.

Young & Sick – Young & Sick

The brainchild of Dutch artist, Nick Van Hofwegen, Young & Sick is a music and art project that has created artwork for musicians such as Foster the People and Mikky Ekko. He recently released a self-titled album on Harvest Records, Young & Sick is definitely a band to watch. Young & Sick has a lot to offer with groovy R&B melodies, powerful vocals, and interesting rhythms. The writing, performance, production, and album artwork was all done by Hofwegen and this album is a stunning debut by the artist. Young & Sick has positively-charged music but can transition to jazzy slow ballads with ease.

Hofwegen’s vocals are smooth and breezy and gives Young & Sick elements that adds a charming mood to the grooves of the synthesizers. His falsettos are impressive throughout the album and he knows his abilities and never tries to force it upon listeners. The harmonies are soft and gives a sort of calming nature to his falsetto. The album has some fun lyrics in it that are memorable, especially in “Mangrove,” and gives the album an alluring atmosphere. The vocal trills on Young & Sick are amazing and the gospel-like tones throughout the album are fascinating.

Young & Sick has incredibly groovy synthesizer melodies and rhythms and this album effectively shows that Hofwegen can develop his own sound without straying far from his influences. There is something unique to Hofwegen’s instrumentations, whether it is his laid back tiempo or his captivating usage of the synthesizer. The bass line at the end of “Counting Raindrops” is amazing and gives the song an infectious feeling to it. The mixture of R&B beats with retro synths and modern technology gives a sound to Young & Sick that is unique to him.

With impressive harmonies and rhythms, there is no doubt that Young & Sick will establish himself not only as an artist but also as a musician with this debut album. With various stand out tracks such as “Mangrove” and “Counting Raindrops,” this self-titled debut will launch Hofwegen’s career further than where it has gone thus far.

Bankrupt! – Phoenix

Hailing from Versailles, France, Phoenix is a alternative rock band that continuously make new and interesting music since 1999. Rising to popularity in 2009 with their fourth album Wolfgang Amadeus Phoenix, the album went gold in the United States, Canada, Australia, and was filled with instant hits such as “1901.” In their most recent album, Bankrupt!, Phoneix returns with their charming melodies and catchy vocals, the band seems to return in this new album with their classic sound but with a hint of something fresh. Phoenix’s line-up consists of Thomas Mars on vocals, Deck d’Arcy on bass and keyboards, Laurent Brancowitz on guitar and keyboards and Christian Mazzalai on guitar. This synth-heavy album blends new sounds for Phoenix but also interesting hooks.

The vocals throughout Bankrupt! remain reminiscent of Phoenix’s previous albums as there is a certain sound to Mars voice that is unique to him and Phoenix. Mars combines his sentences and even though the lyrics are not the ones that you can sing along to, his vocals are memorable. With that being said, the lyrics are not the thing that will stay on one’s mind but rather the tone of Mars voice throughout Bankrupt!. The title track is a nearly seven minute, synthesizer based song that does not necessarily focus on the vocals, but, they add an element to the song that makes more fascinating than if it was simply an instrumental.

The grooves on this album standout, especially in the opening song, “Entertainment,” that is easily absorbing as it is addicting. The mixture of a drum machine, synthesizer, and guitar riffs adds to eighties-centric melodies, which seems to be the main sound that Phoenix was trying to get to. These breezy melodies from three decades ago seems to give Phoenix a different sound from their previous records but adds character to their repertoire.

Phoenix in this new album shows that they are nostalgic for the music of the eighties but never strayed from their usual sound. There is a sound to Bankrupt that makes Phoenix seem like they are trying a bit too hard to revive eighties synthpop. Nevertheless, Phoenix has a catchy vibe to them that seems to draw listeners in.

Warpaint – Warpaint

As their first album that they have written together as a band, Warpaint’s self-titled album, Warpaint, is a minimalist sound that seems to suit Warpaint and their music. Formed on Valentine’s Day 2004, the current line-up for the band consists of Emily Kokal on vocals and guitar, Theresa Wayman on guitar and vocals as well, Jenny Lee Lindberg bass and backing vocals, and Stella Mozgawa on drums. Written mostly onstage during soundchecks, Warpaint worked on the songs more with acoustic guitars and percussion once back in the studio. Warpaint has a different sound to it than their first album, The Fool, as Warpaint has a much richer depth to it.

With ghostly vocals, Wayman and Kokal have an alluring appeal to their voices, which can draw an audience in. Lyrically, Warpaint is focused more on the distant and vacancy vocals rather than emotional depth in the writing. However, they do still have a kind of urgency to them that make the vocals even more intriguing. There is something entrancing on this album when it comes to the vocals. Whether it is the softness of the voices of Wayman and Kokal or the hypnotic tone of their voices.

With fascinating rhythms and an abundance of interesting guitar melodies, Warpaint is something that is full of lovely and layered music. Dynamics are subtle but ever so important throughout the album as the music climaxes and then meet its quiet end. There are few parts throughout the album that this subtleness is a bit off putting, such as in “CC,” but then again, this is what makes the album what it is. Also, their mixture of electronic sounds with acoustic guitar and drum machines seem to add an effect to Warpaint’s music that makes them unique to themselves.

Warpaint has certain sound to them that draws listeners in from the first lesson. Whether it is their soft vocals or intriguing mixture of electronics and guitar, there is something that anyone can find in Warpaint that they like. Warpaint’s psychedelic ambience in their experiment of a second album is something that will take patience to fully appreciate but worth the experience.

Forever – Painted Palms

With energetic vocals and bright instrumentations, Painted Palms blends pop with electronics in their sound in a stunning way. The band consists of two cousins, Reese Donohue and Christopher Prudhomme and grows to five members for live performances. Their most recent release, Forever, is their first full-length album and is a positive example of what Painted Palms can do. Painted Palms has an undeniably fresh sound that is intensely layered and fun. With various layers in their songs, it is easy for elements throughout the album to be overlapped, however, this makes the album all the more fascinating as it makes you want to listen to it on repeat to catch everything.

Formed states apart, the duo began exchanging music they had created and once they released their first EP on their label, they have established themselves as musicians. The lyrics on Forever are certainly not poetic but they do have a catchy vibe to them. Prudhomme’s vocals throughout the album are carried similarly to those of James Mercer of the Shins in the sense that both have a melodic tone in their voice and show off their range but know not to get carried away with it. Vocals remain engaging and there is an appeal in Prudhomme’s voice that is both enjoyable and lively.

Melodies on Forever are charming and their deeply layered songs shows that there is more to Painted Palms’ music than a simple rhythm and riff. Although the majority of the instrumentations in the album were made on the duo’s computers, there is still the natural sounds, such as the tambourine in “Here It Comes,” that pleasantly contrasts the heavy electronic sounds. The layering in this album can be overwhelming at times, but the structures of the songs are one of a kind.

Repeated listens to Forever is a must as that is the only way to catch all the fascinating details Painted Palms have put into their music. Even though the lyrics are somewhat lacking, this dense album shows that the duo can write and produce a good album. Painted Palms will definitely begin to make a name for themselves as they continue to develop their  sound, tour, and begin to work on their second album.

Cayucas – Bigfoot

Cayucas seems to pay homage to their home state of California in Bigfoot, with bright lyrics and simple instrumentations in a lo-fi setting. Zach Yudin, lead singer, started as a solo project named Oregon Bike Trails, however, he then expanded this project into a band with his twin brother, Ben Yudin on bass, and Casey Wojtalewicz on drums. A short but lovely album, Bigfoot seems to have a warm sound. There is obvious influences from early Vampire Weekend albums, but, Cayucas seems to build on this influence rather than simply trying to mimic Vampire Weekend. With that being said, these influences are not bad as there is still something unique to Cayucas’ sound.

The vocals throughout the album are breezy and simple. Yudin echoes his voice and seems to add an effect that would have sounded different than if there were simply just backing vocals. Lyrically, there may not be much depth in emotional meaning, there is still a charm in them that will leave the words cemented in your mind for days after listening. Yudin seems to use gentle vocals throughout the album and it sounds as if he mixes dialogue with his singing.

Instrumentals are simple and informal but seems to give Bigfoot a rounded sound when combined with the breezy vocals. There are a few interesting rhythms throughout the album, especially in “Ayawa ‘kya.” With the way Cayucas plays on this album, they seem to paint a landscape of the California coastline, but there is no main focus, simply a panoramic. Combining a natural sound with electronic, Cayucas seems to blend their surf pop influences, such as the Beach Boys, and their own unique sound in a seemingly effortless way.

An essential on any summer playlist, Bigfoot is a quintessential debut from Cayucas. However, as they continue to grow as a band, there is no doubt that they will develop their own style. In this thirty minute album, the band is able to create a nostalgic feeling for a summer bonfire on a beach in California in Bigfoot. Recently playing at Bonnaroo, Cayucas will be play shows in Canada and various cities across the west coast.