SuperHeavy

A new supergroup-ish collaboration whose heart is really in the right place. A desire to make eclectic pop music has all of the ingredients. And from the view of the sonic landscape, what was desired was completely achieved. Next to that, all the participants could have spent another week re-working the songwriting angle.

Heading up the group is, of course, Mick Jagger. Which also brings me to another beef with the record. The vocals are WAY overmixed. This is true of all three vocalists, but is especially apparent at Mick's mic. This is mostly because Damien's vocals are meant to be basically solo reggae breakdowns. And Joss is a great vocalist, whereas Mick is not. All vocals are generally bleeding out what Stewart and Rahman are putting together, but it's more obvious with Jagger, whose voice the listener is more familiar with. I'm avoiding using the word "annoyed" because you won't be. At times, Jagger is quite impressive- spilling out mile-a-minute raps as he does in "Energy" and "Hey Captain". Another time, on the ballad "One Day One Night" it seems that Jagger is playing some alcoholic Tom Waits-type character. The result is definitely weird, but I enjoyed it.

Outside of the vocals is where the band is going to make most of its press. A.R. Rahman is an Indian film composer, which is the bedrock for most of these songs. Dave Stewart then adds some traditional pop and rock elements and puts it over a danceable beat. This is most evident in the title track for the group, which works well as a statement of purpose. Other tracks fair similarly well and will probably go over great at your next mixer.

Lyrically though, I was unimpressed. Most tracks are stuck in the rich-guy-wants-good lyrics that ask for world peace and implore the listener to do their best. It's all a little to general and cliché for me to grab on to emotionally. A couple of exceptions mix the best of every one's performance to create some standouts. The aforementioned "One Day One Night", in all of its oddity, really does leave me with more a feeling of wonderment than of annoyance. And easily the energetically strongest track, called obviously enough, "Energy". It's huge dance vibe will take over whatever room its in.

All in all, the group is surely just a one-off. And that generally comes out without thinking about the details. What they turned out was a good one-night stand moment, but isn't going to be the basis for a lasting relationship. (3 of 5 stars)

Astronautalis - This Is Our Science

I caught Astronautalis at a SxSW show years ago. He rapped over his laptop songs, did some very good freestyling. I came home and fell in love with one of his albums. He's a rapper, to be sure. But his style strayed from straight hip-hop and he was basically rapping over indie rock music.

Andy's lyrics are very literary. Not remotely the boasting MC at all. He tells stories and explores the human condition. The title track talks about how we would live our lives differently, if given the chance. "For the rest of us with our hands on our hips, our work is never done, we are Sisyphus." He's very wordy, fitting as much in as his mouth will allow.

A fantastic mellow number questioning the morality of what comes naturally may have arrived to me just in time to be included on my own next album. "Measure The Globe" doesn't end with answers. The singer is still not sure if he's driven by goodness or evil, but is sure that there's no easy way to judge.

This isn't party jam rap. The closest he comes is with a dance music coda to the otherwise mellow "Midday Moon". A track that effortlessly compares the end of a relationship to mortality questions faced at the end of our lives. That, and the lead single shown below, which does have a very upbeat ground and a huge chorus, backed by Tegan (without Sara).

I never say this, but sometimes I think Astronautalis would serve himself better if he popped it up a little. A perfect example is "Secrets On Our Lips". An excellent romantic story of a one-time hotel fling. It starts out with a simple, poppy piano underlay. But then during the chorus he lets the drummer go nuts. It's perfect for the album, but a single remix could easily be a radio hit.

In the end, I just want to see a great artist get more of the recognition he deserves. This is another great album and I love to see another one in less than three years. (5 of 5 stars)

Peter Wolf Crier - Garden Of Arms

Just read a review which compared this to Amnesiac, Bowie's Berlin era and the Black Keys. Three things that see completely at odds to me, which leaves me excited to start. And I see the Amnesiac part, kind of. There's plenty of atmospheric drums crashing all about without regard to the mellowness of the keyboards or guitars that may be the anchor of the written song. Even amoung the most ballady of the collection, "Having It Out" pits a weepy Pisano trying to croon like Chris Martin at a piano all while Brian Moen keeps the pace moving with a frenetic tambourine.

It's still way too indie to really be sat alongside those previous examples. These songs are little more than a basic piano or guitar structure with drums that get about a layer of effects overdubs. I get the feeling that Pisano would like to be regarded as a Jim James or Conor Oberst. He's trying to come acoss that earnestly. He lacks a little in the way of dynamic writing, vocal inflection and simple ability to get there.

Still, the pair are able to chalk up a number of successes on the album. The riff laden "Hard Heart" and the more subdued U2 influenced, "Haunt You". (2.5 of 5 stars)

Beirut - The Rip Tide

Having my dreams dashed of listening to the new RHCP record (not on Rhapsody...) I turned my sights to indie folkers Beirut. I liked their debut release, but that was several years ago. Let's skip ahead to see what they're up to now.

Beirut is an indie folk band, which means that they've got all the instrumentation of an Arcade Fire, except that they are way bigger pussies. Which is expressed with casualness all over this record. A thankfully brisk nine songs, the rolling theme seems to be the isolation and loneliness of the musician's wandering home.

It doesn't have that morbidity though, nor is it as clever, as the Magnetic Fields; but I'm still reminded of them through mostly Zach's monotone vocal delivery. On the contrary to Mr. Merritt, who has often fairly fascinating wordplay; Zach is sparse and leafy. "Sound is the colour I know... is what keeps me looking for your eyes."

But I don't want to be too critical. The songs are very pretty. And it's rare that I get comfortable with a horn section that's not funky. A throwaway electronic track, "Santa Fe" which sounds like The Killers were falling asleep, the songs sound like northeastern coastal cities with Ralph Lauren jackets. It's got a mood that fits, but you won't be driving to it. Standout track attached, "Goshen". (3 of 5 stars)

Muppets: The Green Album

It may sound too perfectly precious, but I'm going to go ahead and celebrate the new Muppet movie with their non-soundtrack. A collection of Muppet classics done by indy-rock's current finest (and has-beens and who?s). It's hip and sentimental, but Muppets are still awesome, no matter how you look at them.

That being said, covering awesome is not always successful.

The theme song to the show is of course kicked off first. And I'm happy that OK Go supplies their own version than a faithful cover. A crazy break beat is the bed of this classic. It's fun, and brings the rock more than any other in this collection. The Fray's "Mahna Mahna" is fun (how could it not be) but certainly brings no rock. Speaking of rock, it is inexplicable that the post-hardcore group Atreyu is represented here, as the drummer/singer Brandon Saller takes credit for the metal rendition of "Night Life".

Alkaline Trio stays in their comfort zone with their "Moving Right Along" cover and keeps the upbeat swing of the original in their pop-punk version. But again, it comes across as filler- and there's no reason to continue the film dialogue in your cover.

Two surprises are included in the middle, the first being My Morning Jacket's Emmet Otter song choice of "Our World". The perfectly represents an MMJ song and is performed with the same integrity that they would tackle their own Jim James' written tracks. That's a good cover. Similarly, if less effectively, is Amy Lee's cover of "Halfway Down the Stairs". I wouldn't say that I like this version, but I can say that it was approached as Amy wanted to approach it and the original is barely noticeable.

Sondre Lerche is a highlight, bringing a fun "Mr. Bassman" that fits his childishly playful style. Weezer, on the other hand, takes the Muppets best song and turns in the most one-note vocally indescript wastes of time of their career. Rivers Cuomo is subtly auto-tuned for whatever reason, because he's not evoking any emotion at all and neither is his duet partner, Hayley Williams.

Weezer should have taken Andrew Bird's approach, who took the other of Muppet's most-classic tracks, "Bein' Green". Some might call it too precious, but I would aruge that it would be difficult for anyone to take on this song without sounding like you're holding back tears. It's so well written, and whomever took on the violin solo here nailed it.



Similarly sentimental, but no less effective, comes Matt Nathanson, who has to this point evaded my musical knowledge, turns in a perfectly lamentful lovers' quarrel "I Hope That Something Better Comes Along" without any of the playful duet-ness of the Kermit/Rowlf original.

For the most part, like all tribute records, you'll wonder why you're not just listening to the originals. But there is plenty of inspiration of the Henson camp to make for some great listening. (3 of 5 stars)

The War On Drugs - Slave Ambient

I remember seeing The War On Drugs open for somebody in a club. (TV On the Radio? Hold Steady?) I remember them being a little too loud and sloppy. But they are on Secretly Canadian (not generally the home for loud and sloppy). So, I'm picking this album to listen to instead of Jeff Bridges'.

And I can declare through even just the second song that it is neither loud nor sloppy. Maybe it was the loss of Kurt Vile that mellowed them out. (Or maybe I'm just remembering wrong) But Adam et. al. keep a sunny, mellow upbeat folk rock feel.

"Brothers" which begs the wonderment of "where my friends are going? Wondering why they didn't take me." It's all vaguely Dylanesque, especially the vocals. I get the feeling that Adam's favorite song ever is "Lay Lady Lay". The band itself is a little more modern. Without much multi-instrumentation to use, they otherwise sound like a stripped down R.E.M. at times. Wilco at others. And while I can't place the song, I feel like "I Was There" sounds exactly like some '70s AM Radio Gold track.

Having said all that, right about halfway is about the time Drugs turns the tables and channels their inner Arcade Fire. And then their inner U2.And another that's a little new wave-y. They've got the rock in them too. And I'm okay with eclecticism of the album. Like I said, it's not as sloppy as another band might do with this much diverse material. The only part that slighted me at all was this "Ambient" part of the title. There does seem to be some riding out on waves of sound a good minute or two after each song should have been completed. It may be someone's cup of tea, but that was a limiting factor for this listener. (3 of 5 stars)

Trivium - In Waves

I've never been the biggest advocate of the heaviest metal. Love, however, the classical metal form. My favorite genre, as a matter of fact. But once they start growling, drumming 64th notes, I get lost. But I haven't heard new metal forever, so I'm taking this on today.

But they're not kids. Trivium is on its fifth record and have had some success. And I can't complain too much; this one is actually quite well put together. It's definitely thrash; not quite death, but it is quite morbid. And while growling is prevalent throughout; it also runs up into the mainstream a little bit. Some post-hardcore heaviness.

A new drummer helps the proceedings, conjuring visions of Dave Lombardo (more Grip, less Slayer) but still... There's plenty of old school Maiden-like metal grooves, and when the thrash takes over; it's earned. Not speed for speed's sake, but some real compositions that jam.

Vocally, unfortunately, there's nothing there. Growlies aside, Matt Heafy just doesn't have the chops to do anything else. Which could be forgiven if he also wrote with a little more dexterity. But he keeps it close to the vest; general malaise and morbidity. "You taught me what it feels like to feel pain for the first time" and others that tie directly to the sense of drowning that the title alludes to.

It's good though, to find that I haven't lost faith in the genre. Horns up. (3 of 5 stars)