May Album Release Round-Up

May is always an eventful month, given all the people I know that have birthdays this month, plus Mother's Day and Memorial Day.  This year, May saw a lot of new albums too.  Of course, anyone with ears or eyes knows that Daft Punk's "Random Access Memories" came out last month.  Daft Punk is undeniably awesome, but I must admit that listening to their new release is still on my to-do list (I have heard "Get Lucky" though and I don't see what all the fuss is about... pleasedon'thurtme).  But there were three album release days marked on my calendar last month, and as May is officially over now, I thought I'd do a recap.

Noah and the Whale: Heart of Nowhere

May 6, 2013

Noah and the Whale have never been a band to make the same album over and over again.  Their first, Peaceful, The World Lays Me Down, was folky and morbidly bright, full of happy-sounding sad songs, which are my favorite kinds of songs.  Laura Marling was harmonizing and lending a delicate air to the band. Then she left the band and broke Charlie Fink's heart and holed up in a church to write the heartbreakingly beautiful The First Days Of Spring, which balances the pain with suites of orchestral arrangements which yes, evoke bright sunny days after a long winter.  Their third, Last Night On Earth, while it definitely showcased Tom Hobden's signature violin prowess, was a significant departure from the folk beginnings and had a more electronic-y rock-pop sound.  Most of the album is stories of multiple characters, seemingly reflecting on their lives and mistakes and moving on from the past.  It's very easy to sing along to and plays very well live.

Their latest, Heart of Nowhere, is similar to the band's last album in that it is more rock-influenced and tells stories of characters; this time it seems to follow the same characters from adolescence through their respective comings of age.  Like First Days of Spring, the band has made a short film to accompany the album, about a futuristic dystopian society where all teenagers are quarantined from society until they reach adulthood.  The album seems to follow the path of teenage dreams of escape into the world, plans of love and happiness that seem just on the horizon, only for those dreams to fizzle out and fade away with age, leaving the protagonists with regret.  The story is nice and has its poignant moments, some songs have sing-along potential, but musically I can't say that I'm terribly impressed.  The members of Noah and the Whale are undoubtedly good at what they do, and Charlie Fink's quavering voice always gets me right *here*, but this album doesn't have a uniquely NATW sound; in fact, much of the album sounds like 80s pop-rock, like an understated Springsteen perhaps.  It doesn't seem like anything new or different or exciting, at least to me.  The first track, "Heart of Nowhere," which features Anna Calvi on vocals, is the most likely crowd-pleaser, and the lyrics of "Silver and Gold" personally resonate with me, but there aren't many obvious stand-out tracks.  The album isn't exactly flat, but there's not much drama nor surprises.  I'd say it's a decent album, just not their best.  That said, I still can't wait for them to come to Chicago so I can see them live again.

(Hopefully this review won't prejudice you against Noah and the Whale if you were previously unfamiliar with them.  They're a wonderful band.)

Vampire Weekend: Modern Vampires of the City

May 14, 2013

Modern Vampires is the band's most experimental and edgy--can you even call Vampire Weekend edgy? I'm not sure--album so far.  It sounds more like something you'd listen to while speeding through the city or dancing at a rock club than frolicking on a sunny beach on the Gulf, such as their previous two records.  It has a good balance of upbeat and mellow songs, and is something you could put on at a party without someone objecting or changing the song.  I listened to it this morning on my commute to work and it set a happy tone for the day.

There's Vampire Weekend's signature sprinkling of odd and cheeky lyrics ("I'm ready for the house/Such a modest mouse") that occasionally promote inter-religious harmony ("An orthodox girl fell in love with a guy at the falafel shop/And why not?") and the motivation for shaving.  "Worship You" is an absolute tongue-twister of a song, and reminds me a lot of King Charles (just look him up--you're welcome).  Perhaps the title "Obvious Bicycle", the first track on the album, sets the tone for bizarre word-play.  The instrumentation is just as quirky, and it's hard to tell exactly what you're listening to, machine or musician.  "Hudson" appropriately sounds like you're at the bottom of the cold Hudson Bay and the distorted vocals on "Diane Young" are silly in a good way.  Rostam Batmanglij talked in an interview about playing with effects for this album that can be repeated in their live shows, and I bet their tour of this album will be fantastic.

To sum up, Modern Vampires of the City shows that Vampire Weekend is constantly improving and its members are talented without taking themselves too seriously.  The album is well-crafted and fun and will be brilliant live.

Laura Marling: Once I Was An Eagle

May 28, 2013

You know I can't shut up about Laura Marling.  But if you've listened to her you understand why.  From her first album it was evident that she was an artist to pay attention to.  Her striking lyrics matched with her intricate and powerful acoustic fingerpicking cut right to the core, somehow making you feel very melancholy yet somehow happy at the same time.  Her new album Once I Was An Eagle is her best yet.  It's the turning point album that 20 years from now, every music lover will have in their collection, the album music snobs will stare at you, mouths agape, for not having heard.  It's good.  Really good.  It's difficult to believe that this is the same person who played with Noah and the Whale just five years ago.  Her precociousness has become wisdom, her bright, youthful voice now husky and deep.  She's not so much singing as emoting; every line is delivered carefully and deliberately, every word integral to her message.  The instrumentation is kept simple but hardly seems that way, such is the power with which it is used.  You would be doing yourself a disservice not to listen to this album in order, start to finish.  The songs flow into one another, all connected through themes of heartbreak, love, temptation, and regret.  Once I Was An Eagle proves that Marling defies genre: here you can find folk, jazz, bluegrass, rock, blues, even Spanish guitar.  There’s something for everyone.

The album begins with a suite of four songs which were brought to life in the short film, When Brave Bird Saved.  They deal with the beginnings of heartbreak, of resentment and regret.  Rosie, the main character, bids her lover leave her mind as she swears off romance.  She is full of regret and chides herself for being so naïve.  Following the suite is "Master Hunter," in which she makes the claim that she's "cured her skin so nothing gets in/Nothing, not as hard as it tries."  She is defiant and sneering, asserting her new tough shell.  She finds herself caving again though, trying to maintain her tough skin, wary of new love but desiring it all the same: “I can’t seem to say/I’d like you to stay.”  She becomes a temptress, a sultry sinner in “Devil’s Resting Place,” a dark and driving track that sounds like a train fast approaching.  She inevitably looks to change course, wishes again for naivety, and searches for love.  You can hear echoes of Bob Dylan in “Where Can I Go” and a hint of Joni Mitchell (who Marling has been compared to from the beginning).  Rosie hesitantly stumbles into love again, asking “How does he make love seem sweet/Isn’t that some heavy feat?” in “Love Be Brave.”  The end of the album consists of Rosie reflecting on all that’s happened through the album’s journey.  The final track, “Saved These Words,” is like the prize at the end of a long treasure hunt.  I think it’s the best track on the album.  It is grand and confident and concludes the album perfectly.  She shout-sings “You weren’t my curse/Thank you naivety, for failing me again!”  And so begins again the eternal cycle.