Music Reviews:

This is another great album by Dizzee Rascal *a young UK musician*. Boy in tha corner and Showtime were strictly grime. This is a mixture of grime, old school hip hop and a little bit of rock. With collaborations with Lilly Allen, Alex Turner of the Artic Monkeys and 2 rappers from America it all adds to an overall good album. The first salient point about this album is clear as soon as you look down the track listing and see "feat. Lilly Allen" and "feat. Alex Turner"; this is Dizzee going "mainstream”. Of course there are still those old "gang violence" references in full flow but the juxtaposition of these references and lyrics such as "Pull your trousers up!… Read a book!… Find a pretty girl and settle!" make for an exhilarating listen, even if at times the ideas seem to jar. One of the best tracks is Pussyole, which is the finest songs of any genre that I've heard in quite some time, and excitement is also to be found on the likes of Sirens (think Jay Z's 99 Problems set in London) and Where's Da G's (which talks about "fake aggression" on the streets and includes the "find a pretty girl and settle" line quoted earlier). As for the Allen and Arctic Monkeys tie-ins, they're good, but don't match up to the best moments on the album. On the whole this is a remarkable album. The variety of it may surprise some, but it provides the album with the magic that makes it pretty irresistible. 

Hailing from the seminal Quannum Crew (home to fellow Hip-Hop innovators Blackalicious and DJ Shadow), Bay-Area rapper/producer Lyrics Born has been making creative, mind-bendingly original Hip-Hop for nearly two decades.  Known for his rapid-fire, articulate flow (imagine a faster, smarter, more clever Twista) and his originally-produced funk infused beats, Lyrics Born only released his first solo album a couple of years ago, Later That Day…, after a hiatus following his critically-acclaimed days in the underground duo Latyrx (alongside fellow Quannum-ite Lateef the Truth Speaker). Later was a big success in the indie Hip-Hop community, even making its way into some commercials and a bit of mainstream radio play.  The album was solid, consistent and packed back to back with catchy, memorable, clever and relevant Hip-Hop that brought the social consciousness of underground rap together with heavy funk that dared you to get down and dance.  Hence, expectations have been high for a strong follow up, only made more urgent since Lyrics Born has seemingly been biding his time by releasing several remix and B-side albums in the meantime (although said releases were of quite high quality all considered).  

Finally, Mr. Shimura’s 2nd album, Everywhere At Once has finally dropped, and the results are largely positive. Lyrics Born keeps the many sides of his multi-faceted flow, although here we see a bit more singing than expected, coupled with many guest appearances by his girlfriend Joyo Velarde on guest vocals.  The rapping is in top form, switching back and forth between half sung, half screaming boasts, under-the-breath ranting, and rapid-fire delivery. Lyrically, Lyrics Born keeps the topics generally diverse, exploring both social issues, party themes, and general Hip-Hop boasting.  One gets the sense that if Later That Day… was about presenting the multiple sides of the MC’s personality, Everywhere at Once is mostly about the party, with some exceptions.  On the beat side of things, the stripped-down funk of before has been quite embellished by a heavier production style that combines studio beats with live instrumentation.  This approach usually works here, although occasionally the beats feel a little schmaltzy and overproduced.  However, when its on, its on; the more intricate production style at its high moments allows Lyrics Born and guests to push the boundaries of underground Hip-Hop into new realms that are very funky and catchy, in a brand new way.  Besides overproduction at certain moments, Lyrics Born only falters when he falls back on played-out Bay Area/Hyphy clichés in his lyrics; his use of occasional Hyphy slang seems to be a new development since the mainstream breakthrough of that genre (which this is doesn’t seem to fall under).  Even though it is probably an attempt at identifying with the greater Bay Hip-Hop scene, it seems slightly suspect.  Overall though, Everywhere At Once is a solid, fun, creative follow-up that grows on you with every listen.  Lyrics Born has shown himself able to stay largely true to his roots while pushing the boundaries of a genre that is truly in need of it.  

Grade: A-

Reviewed by Nick Handman

On Destroyer’s latest album, “Trouble in Dreams,” singer/songwriter Dan Bejar continues to show off his eccentricities that have gained admiration from his fans. The strange yelpy voice, self references, names of women, allusions to other bands, dramatic delivery etc. all find themselves on this album. He takes and entire line from a Swan Lake (a Dan Bejar side project) in the sixth track, “Shooting Rockets,” “A chorus is a thing that bears repeating/ And the problem, as I see it, is girls stay away from that shit." Like any Destroyer album, this one is loaded with names of woman, either real or imaginary. On this album there are references to women named Susan and Jenny. Bejar also looks for new sounds and arrangements to continue his ever-changing sound. “My Favorite Year,” which seems to be an ode to the year 1993, is Bejar’s if not first, then best bass driven song. The album also features whistling on “Foam Hands” and a fun pop driven melody on “Dark Leaves from a Thread.” Most of the album’s lyrics focus on alcohol, woman and drugs, giving the listener a hazy and dramatic look at life as told by Bejar. Although the album is an excellent collection of some of Bejar’s best work, the album tries to be too much like Bejar’s previous and arguably best album, “Destroyer’s Rubies.” Although the new album has a similar sound (the same band from “Destroyer’s Rubies” was used on the new album), it falls short of the great album. Ultimately, although the album has the arrangements and songs to be a great Destroyer Album, it lacks the cohesion of the best Destroyer Albums. Perhaps if Bejar decided to take a different route sonically, such as the excessive MIDI on “Your Blues,” the album could have much better. However, the album still provides listeners and Destroyer fans with a superb collection of over the top and eccentric pop tunes.

Grade: B 

Reviewed by Benzi Rodman

Parisian songstress Yelle and producers TEPR and Grand Marnier have crafted an ambitious debut that is close to synth-pop perfection.  The music on Pop Up is bright, energetic and never boring.  The tracks comprise a deft blend of synths of all varieties for a sound whose aesthetic is rooted in 80’s electro, but whose complexity and depth are examples of the best of contemporary music.

Fair warning: Yelle sings entirely in French, so for those enamored with lyrical depth this may not be a perfect fit for you.  However, her voice is so sweet and subtle that it fits in perfectly with the music as a whole and adds just the right amount of humanity.  Plus, you have to respect a French person actually singing in their native language. (Justice, Daft Punk et. al, I’m looking at you.)  The songs range from dancy, bubbly pop (“Ce Jeu”) to more balladic, epic synth-pop (“Tristesse Joie”)  I know this doesn’t sound like much variety, but the songs never grow stale, as Pop Up’s producers have created catchy melody after catchy melody, often creating multiple “movements” within a single song.

The influences of both Yelle and her producers shine through with lively French Touch basslines, Alan Braxe inspired leads and B-52 aping compositions.  Some songs even evoke the frenetic sprawl of Crunk music and its musical descendants (“Dans ta vraie vie”).  A surprising standout of the album is the unique and singularly soulful “Tue es beau”. Built around a sultry, repeating guitar lick and piano vamp, the song is the perfect backdrop for Yelle, as she seductively hangs on to every beat with cascading vocals and the skill and timing of your favorite rapper.  Overall, the album masterfully straddles the fence between pop profundity and classic French electronica.

Grade: B+    

Reviewed by Zach Best

Mobb Deep affiliates Infamous Mobb have made a (near) career off of sounding like Mobb Deep.  With their new album, Reality Rapp, they continue their grimy, East Coast style, but alas, it seems to be getting old (even for them). Their sound encompasses an amalgam of NYC styles from the last 5 years, and this is most definitely not a good thing.  Chipmunk samples, Jamaican singers, the morose synthetic sound of their more famous associates, its all here.  The album suffers from a lack of cohesion sonically, which isn’t helped by the 12 contributing producers. Many of the tracks sound too thin and digital, with no life to them aside from the simple 4 bar loop. Lyrically none of the group’s members are breaking new ground here: their hollow voices give away the stagnation throughout.  The usual thug life drama is covered, from representing one’s hood (“Capital Q” and “Streetz of NY”), paranoia (“Who Can You Trust”) to gun talk (“Get it Poppin” and “Blauu!”.)  The only saving grace for this album is the well executed sampling of both Alchemist and Evidence, who combined turn in 3 excellent cuts for the album.  Overall, the Queensbridge natives (don’t worry if you forget that, they will remind you countless times on this album) strive for the triumphant sound of the best of G-Unit, but fall somewhere closer to D-12.  As Twin Gambino says on the song “Border Line” “I’m in the studio all day killin the flow/ I ain’t your best rapper but I got time to grow.” Let’s hope so.

Grade: D                    

Reviewed by Zach Best

If one thing is clear about Winnetka based artist Flying Lotus, aka Steven Ellison, that is his inclination towards making great music and keeping a low profile. Being only his second album, Reset EP is a fusion of hip-hop, jazz and electronica that has a melancholy, dreamy feel to it and delivers an experience that makes Thievery Corporaion sound mainstream. With only six songs the album migh seem short but each song is a gem. Brighton-based singer/songwriter Andreya Triana provides sultry soul vocals for the opening cut, “Tea Leaf Dancers”. The song Spicy Sammich incorporated brazilian rhythms, a drum machine and tripped out vocals – an instrant favorite to restless but music savy souls. With this album, Flying Lotus lives up to his reputation as an “left-field instrumental hip-hop artist” and underground producer. Not to forget that Steven Ellison has talent running in his blood and great music in this upbringing – his great-aunt is Alice Coltrane, pianist, harpist, composer and wife of avant-garde jazz musician John Coltrane.

When he’s not dj-ing around the world Flying Lotus is getting busy bringing us more of his unique sounds igniting a sort of soul/funk revival into the next phase of instrumental hip hop with an unmatched subtlety and smoothness.

Reviewed by Klementine Rahneva

Despite touring with Girl Talk and Dan Deacon, Cleveland-based Joe Williams’ solo project White Williams has many things which these two lack – most importantly, taste (though you would never guess by the album art).  Though his songs feature all the laptop twits and glitches and cartoon voices of his tourmates, Williams offers them in tastefully small doses, and balances such off-kilter ingredients with languorous vocals, classic-rock guitars, and not-too-predictable song structure, creating interesting rock-pop songs full of contrasting influences. 

The slow, slinky “In The Club” is an excellent example, facing off Marc Bolan and Dan Deacon, with T. Rex guitars and vocals that are modernized by synth-beats and Deacon-style chipmunk backings.  “Headlines” has 80s synths and a backing men’s group which could be straight from a Cyndi Lauper song, but also incorporates some more modern laptop touches. “Smoke” opens with a candy 70s-pop Jackson beat, only to be disrupted by off-key electronic musings and Williams’ lazy lounging vocals, creating a combination which easily could have gone sour, but instead yields an enjoyable juxtaposition of old, new, and classic.

“Danger” begins as an electro-mess, out of which rises an echo-y groove, and finally morphs into a warped sunny summer tune, while Williams repeats the song’s only lyric, “danger,” with slightly inappropriate enthusiasm.  “Route to Palm” features luau guitars and percussion, augmented by thick electronic chords and off-key echoes which enhance, rather than disrupt.  

Grade: B

Reviewed by Amelia Rhodewalt  

Independent Hip-Hop label Definitive Jux has made a name for itself in recent years for its often abstract, stark, quasi-intellectual take on the genre.  Popular label acts such asAesop Rock and Murs have achieved a great deal of underground popularity with this sound, which has found significant cross-over appeal in the indie scene.  For better or worse, the aesthetic of many of the labels acts has become well known and somewhat expected of newer groups associated with Def jux.  Hangar 18, a lesser-known group from the label, succeeds in crafting a sound that is largely distinct from their cohorts here on their 2nd album, “Sweep The Leg.”

Made up of rappers Alaska and Windnbreeze, as well as producer DJ paWL, Hangar 18 creates Hip-Hop that embraces the hard-hitting, synthesized beats more common to “mainstream” rap while maintaining the varied subject matter and intricate word play of their peers.  “Sweep The Leg” utilizes production that embraces the retro, synthy “electro” aesthetic that has become popular recently with radio Hip-Hop. However, the sound is stark and minimal, like the black sheep cousin of a bouncier, pop family member. Hooks aren’t absent here though, as can be seen in danceable, 808-inspired “Really Wide.”  In fact, most of the albums tracks are at least quite groovy, and many indeed arestraight-up danceable.  Lyrically, the group fluctuates between irreverent party rhymes and more intimate, personal tales, as can be seen on “Sad.”  

However, Hangar 18 never gets mired in sentimentality or the “emo” tendencies that have plagued other Def Juxers, to be unnamed here.  Whatever they’re rapping about, these guys keep their rhymes sharp, clear and fresh, addressing a range of topics without being pigeonholed.  A few more years may do this crew good, as their sound is solid and enjoyable, yet it hasn’t quite matured into something unique and instantly recognizable as Hangar 18.  Solid effort throughout, though; H18 gives us reason to watch for what they do next time around, while we enjoy their promising new album.  
Grade: B

Reviewed by: Nick Handman 

In their debut album, Coronation of Thieves, Dragons of Zynth shows that they are here for business.  It's an album that one must listen to more than once to understand the feelings that are evoked from each song.  From a single listen through, one would be left confused because each part of the band seems to be screaming its own ideas.  A band that has different ideas on the same topic wouldn't be able to cooperate.  However, each individual sound combines to form a collective, unique sound. 

One key piece the band lacks is a bassist and doesn't have the feel of a complete band.  They just have a vocalist, a guitarist, and a drummer which makes the sound weak to my ears, but at the same time, the vocalist serves as the mediator between the guitar and drums which allows this group to function together. 

Each track contains a mixture of metal and electronica.  Some songs do contain interesting guitar riffs and solos while others contain synths and cosmic sounding chords.  One could feel as if they are traveling through outer space when listening to this album. 

Another interesting piece in this group is the usage of saxophone.  The saxophone is actually played by the vocalist who used to play during his childhood.  The sound is quite similar to that of the Mars Volta, but it has been noted that they are heavily influenced by the band known as TV on the Radio.  Dragons of Zynth come with an upbeat sound that will cause you to become pumped, but it will also give you a futuristic feeling like you're on the set of Star Trek. 

Grade: B+                                                                               

Reviewed by: Jonathan Yim

“Make Sure They See My Face” is the 2nd and newest album from experimental singer Kenna.  Born in Ethiopia, Kenna eventually settled in Virginia Beach, home to superstar producers Chad Hugo and Pharrell Williams, together known as The Neptunes.  Kenna has utilized the production skills of Hugo since his first album “New Sacred Cow”, and this new disc is no exception; Hugo produced and co-wrote the vast majority of the album with Kenna, alongside cohort Williams who handles production and co-writing on a couple of tracks. Partially due to this, the singer has been garnering substantial buzz since his debut, which has been steadily growing despite not materializing into mainstream success as of yet.  Such an association may actually be hurting the newcomer, since his latest disc is anything but tailored for the tastes of pop and mainstream Hip-Hop fans. Despite the credentials employed here, “Make Sure They See My Face” is nowhere near a typical Neptunes- produced record.  Kenna’s voice is strong, passionate and emotive, befitting more rock and electronica- based sounds.  His melodic vocals bring to mind an updated, modern combination of popular rock and synth- pop singers of the 80s and 90s, such as Depeche Mode’s Dave Gahan or U2’s Bono (who seems the closeststylistic relative in terms of vocal style).  While these genres form a core of Kenna’s sound, the record is sonically quite experimental, taking a broad approach that mixes elements of House, Soul, Hip Hop, and Hard Rock into a melting pot until they blend together.  

While the album has a general feel akin to dark, electronically-inclined Pop-Rock, the disc is more than the sum of its parts.  What Kenna and the Neptuneshave come up with is a reinterpreted, artsy take on the aforementioned styles, which comes off sounding genuinely new and fresh. The album has the overall drive and “live” feel of a Rock record, despite being anchored by Hip-Hop’s heavyweights.  While the results are creative and interesting, not every piece of the puzzle works.  Certain tracks seem to crave a sense of clarity and sonic intent, yet get mired down in confusing genre experiments that end up sounding muddy and ambiguous. Kenna’s voice also finds occasional trouble fitting the beats, possibly since his style of singing is steady and defined, while the music often comes out of left field, with mixed results.  Regardless, “Make Sure They See My Face” generally pleases, due to the majority of the track’s artful combination of distinct vocals and creative musicianship.   The unsuccessful moments can be chocked up to growing pains; Kenna is still finding his sound here, although the results are very close.  

Grade: B

Reviewed By: Nick Handman

I am fan of the Libertines and previously liked Babyshambles. With that being said maybe if Pete had spent less time smoking crack and hanging out with hookers, he might have had time to make a better album. While I can call this album an honest look into Pete Doherty’s mind, I could never call it good.

The record comes off as sloppy and disconnected. The overall band sounds is not as tight as found in Babyshambles previous album and even its EP (or the bands best singles “Kilamangiro” and Fuck Forever”). In fact songs like “You Really Got Me” and “You Said” have an amateurish quality that you might hear in a crappy opening band or in that band that the club only allows to play during the weekdays. Similarly, Shotter’s Nation has no real direction.  The album jumps from poor attempts to fit into Brit pop then makes a brief foray into rockabilly with a Stray Catsesque sound in “ There She Goes” , attempts to go punk then stumbles back and expires into Brit Pop.

Pete you need to pack it up and crawl back to the Libertines.

Grade: D

Reviewed by: Kristen Tojo

To me, Pinback has always been the ultimate background music. The sort of music that does not need copious amounts of attention to enjoy. Something that you can tune in or space out to. In this regard, the San Diego kings of quietly loud music have created another beautifully sounding record in their latest effort Autumn of the Seraphs. With the inexhaustible genius of Rob Crow and the equally talented Armistead Burwell Smith IV, aka Zack, Pinback has created a much more aggressive and darkly melodious sound.       

The fast paced “From Nothing to Nowhere”  kicks off the album and exhibits the bands punk influence albeit soft.  Album highlights would include “ Good to Sea” with its baroque piano arrangement, to the Police sounding guitar riffs that permeates “ Blue Harvest”  and “ Devil       You Know”.

While I do not believe Autumn of the Seraphs surpasses Blue Screen Life or Summer in Abaddon (which I believe to be the band’s best album), Crow and Smith have created a more dynamic and mature record than the previous two.  My only real qualm for this album and frankly all Pinback albums is their penchant to drag on.  They seem to hit a groove from which their music never really deviates. Instead we continue to hear a complex multilayered monotony.

Grade: C+

Reviewed by: Kristen Tojo

Earlimart's latest work is nothing if not lovely. The band comprising primarily of Aaron Espinoza and Ariana Murray, has been a staple in the LA indie rock scene. With quietly driven guitar riffs and soaring harmonies. Mentor Tormentor is the bands most cohesive album yet.

“Fakey Fakey” kicks off the album and coaxes you into Espinoza’s and Murray’s acoustic guitar and piano driven work. It continues to build into an album highlight “ Answers and Questions”. Beginning with Espinoza’s plaintive vocals, the track grows into a crescendo of sound with an entire string section at its core.

While Espinoza usually dominates in the lyrical arena, Murray’s song “Happy Alone” is a treat. With its simple piano and lyrics like “would it be fair to say that you’re in love with love” and “ I’ve always known … I’d rather be happy alone” it is a quiet highlight. Unfortunately the album hits a snag in the droning qualities of “ The Little Things” and “700>100”. Luckily the filler quality of these songs really highlights “ Everybody knows Everybody” which is easily the best track on the album. As the most guitar driven and heavy sounding song, it’s a breath of fresh air that revives a sometimes stagnant sound. It also exhibits Earlimart’s musical versatility, which is often only seen in live shows.

Strong melodies highlight Espinoza's and Murray's music writing abilities, however at times it seems as though their beautiful words and sound cannot mask monotonous areas within the record. With 15 songs, “ Gonna Break into Your Heart” and the afore mentioned tracks are unnecessary and mar an otherwise excellent album.

Grade: B

Reviewed by: Kristen Tojo

Daphne Loves Derby continues to please us with their newest album, with a very soothing emo voice by lead Kenny Choi and catchy guitar riffs and percussion. The 3-man rock/indie started their humble beginnings in 2003 with their LP, "On The Strength of All Convinced", and made a name for themselves in the alternative/emo genre. The group has the same "sound" for their latest CD, but don't be misled—they still have that new luster. The songs vary from the soft and acoustic to the catchy rock sound.

To no surprise, the songs are mainly of the emo persuasion, that is, full of lyrics about regrets and heartbreak. So if you're looking for songs that'll  put you in that mood, you're in for a treat.  A lot of songs mirror the emotions of their 1st hit, "Hopeless Love", whichmainly talks about a person's struggle to hold on to his/her lover. A lot of the songs has catchy guitar riffs and solos that stays with the listener even long after the song ends.

Some memorable tracks include "Stranger, You and I", "Cue the Sun!", "No One Is Convinced", and "The Best Part About It, Honey". Overall, Daphne Loves Derby leaves no room for surprise—the new album is everything their fans hoped it to be—soft rock and catchy emo-ness. It's worth listening to and fits the winter mood.

Grade:B+

Reviewed by: Nancy Ngan Trinh