Obsolute Music Review

Whistling in the dark.

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"Cool Cocoon" Review

The Spinto Band's "Cool Cocoon" is a very appropriate follow up album to "Shy Pursuit", maintaining their super poppy, British Invasion style rock. Taking after The Lovin' Spoonfuls, The Everly Brothers, and The Byrds, this band has developed their sound into a very profound niche. When "Shy Pursuit" came out of the blue in 2012, this band released song after song of incredible, fun loving tunes, but it didn't seem like anyone noticed. As if that wasn't enough, they are back with this swift follow-up album, to bolster some attention and keep things interesting.

"Shake It Off" is a light, catchy song, surrounded by a strong piano riff and Nick Krill's shrill voice. Krill has a unique way of dancing around keys in his singing style, which isn't necessarily a bad thing. His voice is like a combination of Thomas Mars and Lou Reed; it is very unique.

"Amy + Jen" has a dynamic, robust intro with an even higher pitched vocality. This song is great on so many levels - the elevation of the chorus is right in line with their retro pop sound and the guitar blends incredibly with the vocals. This song is like a perfectly made mixed drink, hitting the palate masterfully and having just the right amount of liquor. 

The guitar playing by both Joe Hobson and Nick Krill adds so much depth and character to their sound, it doesn't ever disappoint. Additionally, the fact that three out of five instrumentalists sing lead, makes their tone exceptionally rich. "What I Love" could have easily been track 11 on "Shy Pursuit", which makes "Cool Cocoon" very transparent and congruent. 

As the album progresses, there are some forced tracks that take back from the overall flow. However it may be possibly due to the influx of bursting creativity that this band exudes. On the contrary, the melody of "Look Away" is well-formed and it is a charming reprieve from the typical drum-heavy nature of this band. It definitely seems like the band is spending a lot of time collaborating and experimenting with their style even though it may only be subtle. Furthermore, it is timely how quickly they released this album, keeping "Shy Pursuit" fresh in our minds. It is hard to dislike anything that this band creates; their floaty, cheerful qualities makes them a breath of fresh air. 7.7/10

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Timeless - "Hummingbird" Review

It is known that sound waves can be transmitted through a solid, liquid, or a gas, but when it comes to "Hummingbird", it traveled through plasma. Local Natives have developed a very rare and distinct sound over the past few years and it is clear that they will only continue to evolve. Whoever said they are "sort of the West Coast Grizzly Bear" spoke from a distance; their hauntingly eclectic sound in this album is very much like the proverbial "Shields", but within this album lies a sincere sadness. "Hummingbird" captures love, happiness, broken hearts, and moments of life inside twelve monumental tracks, without detracting any of their initial genius of "Gorilla Manor". While their songwriting is what makes this band relevant and intriguing, the crux of their sound is the combination of Matt Frazier's drums and Kelcey Ayer's percussion, adding such a special swing to indie rock. It is almost ineffable to describe the power of this album, which makes it timeless.

It is somewhat iconic the way that these guys started their band, all living together under one roof, collaborating till the sun came up. I can almost picture their living situation to be like 710 Ashbury but with less acid and a lot more craft beers. Respectively, when it comes to their songwriting, their collaborative nature has separated them from anything ordinary. "You & I" thunders ardently as the opening track of this album. The space in this track lends beautifully to Kelcey's vocals and sets the stage for a darker, more sentimental side of Local Natives. It can't be said enough how fitting the percussion is in these tracks and especially so with "Heavy Feet". When the chorus strikes, it hits on such an irregular but calculated timing, which is definitely a trend throughout their songs. 

"Ceilings" is a prime example of how Local Natives use their guitars and piano to create such a lush sound, letting their notes ring out on end. It is because of their balance of instruments, timing, and lyrics that makes this album congruent and consistently contagious. "Black Spot" doesn't pick up until the last 2:30, but when it finally does, the harmonies and the simple refrain make this song quite a treat.

The single on their album, "Breakers" has a strange but subtle hint of Chinese folk music, with its skittish drumming and choppy guitar riffs. The longing of the ooo's give this song the mien of the beginning of Spring; that change we have all waited for. "Three Months" is like the stirring morning feet, the first part of your body to wake up and first part of you that goes to sleep. This song has such harsh falsettos that slightly distract from the surrounding sounds, but are undeniably apt for the structure of this song. 

The heavy drumming aside the guitar picking of "Black Balloon" give this song an upbeat, Vampire Weekend-esque semblance, adding to their ability to cut an edge. This album was born of tragedy and "Colombia" is their remarkable tribute to the loss. It is incredibly depressing, retrospective and perennial how they can capture the love and devotion within the confines of a 5 minute song.

The more serious nature of "Hummingbird" is the proof that this band isn't just able to create fun, upbeat music, but can aggregate their emotion, excitement, and fears within one unique album. The movement of "Hummingbird" is succinct, sufficient, and seamless, with the tireless beating of the drums alongside a delicate piano, and an expansive guitar. The darkness surrounding this record is illuminated by their commitment to express themselves emotionally through each song. They are definitely shaping out to be the new face of indie rock and resemble many of our favorite bands, but with their own unique flair. Local Natives have found a niche, but won't be getting too comfortable. 8.9/10

[obsolute]

An Old Fan Reunites - "Away From the World" DMB

Dave Matthews Band's 8th studio release can best be described as ruminant; it requires a certain amount of attention. Dave's writing style hasn't changed, but his framework for an album has developed in a rather thoughtful way. The album is self-reflective and his songs somehow follow the struggles of life, while addressing the restricting ideals of modern man. Having DMB paired up with Steve Lillywhite again gives this record its roots and captures the best side of Dave. The songs on the album almost feel like throw backs, like they were from the 00s, albeit possessing a modernization. That's the beauty part, writing really good songs 

 Jumping into this album is like starting a game of laser tag, heart it races. "Broken Things" resembles the "Everyday" style, with a heavy, octave guitar and horns riff. The chorus is catchy yet not obnoxious, a nice familiarity for the listeners. Excitement trumpets as soon as "Belly Belly Nice" kicks on. This song has a funky side and a poppy side, which seamlessly transition into each other. "Mercy" overflows with gooey sentiment, but in a good way. I can tell the band is having a good time in the studio with the length and jammy nature of some of these songs. 

The skittish sounds of "Gaucho" makes this song memorable. It has a very impenetrable and inspirational chorus, inciting us to go make it happen, not just to believe. That and it's genuine when Dave says, "we landed a man on the moon," not to let us forget that we are bold creatures. "Gaucho" echoes into "Sweet", a pretty song, but not fitting to his vocal range and the tempo change is disruptive. I would've preferred it to have been a 'short but sweet' song, but the song drags on into the ending. 

"The Riff" is emotional and self-reflective. Dave feels like a little kid, stuck inside a box. In the chorus he is begging her not to leave, as if he has no control over this separation. The song is full of dynamics and passion, the way the drums, guitar, and saxophones take the song from one level to the next. He is also singing every word with meaningful inflection, making the song soar.

Can't have too many belly songs, especially when the song is like "Belly Full". The way Dave and the guitar blend together, mixed with rich lyrics, gives this song its charm. It's complementary how brief and complex this song is. 

"If Only" is original but familiar, making it very agreeable. The "post chorus" is very powerful and is engaging for the listener. This song is symmetrical and is well written. When "Rooftop" chimes in I am again teleported to 00's Dave, it sounds like it should be on a disc two of "Everyday". I think this song fits perfectly into his catalog of songs, both edgy as well as sing-songy. The bridge is like the end of a fireworks show when you think it's over and it should be over, but it's still going and you can't be more thrilled. Just when all is going so well, the last two songs just don't fit the bill and my attention is lost. For a moment I thought during Drunken Soldier I thought he was taking us into "Speak to Me/Breathe", it's oddly too similar.

There are many memorable moments during this album that it brings me back to the goodle days when my CD wallet was primarily comprised of DMB albums and when I would annually catch Dave's summer tour.  I can't adequately state how much I got into this album, in such a way that I haven't felt toward Dave since "Busted Stuff". I'm excited to have these songs shuffled into my iPhone and it will be the last time I brush over Dave. This album strikes the heart strings of an old DMB fan, and even after all the years I can still be surprised. 8.0/10 

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An Artistic Footprint - Review of Tiago A. Marques

Tiago A. Marques's expressive folk is truly unique latin music, but would be better off with a more organic approach. When listening to Tiago's "Demo", it is clear that he is dedicated to folk music, present and past. He is a virtuoso accordionist and changes his style from latin folk to metal to pop music in a heartbeat. At times, this demo beautifully blends the sounds of acoustic guitar, mandolin and accordion, but other moments reveal an unbalance of electric guitar and synth, which throws me off guard. The "Demo" at large is a clear demonstration of musicianship and a closeness to antiquated folk music, which resembles Rodrigo y Gabriella and definitely has a great appeal. 

"Demo" begins with "Frio e Amargura", which is a nice start-off point for the EP. The likeness to baroque music is what makes this song magnetic. In the beginning, the back and forth between guitar and synth creates a unique texture, but as soon as the song hits, the sound is somewhat synthetic. It might be the way the drums were recorded or the blend of synth, but I just would have appreciated a more simplified version of this song. The guitar and accordion have such chemistry here that a basic arrangement would have made this song very powerful. Regardless, this first song definitely captures my attention and I am eager to hear what more Marques has to offer. 

When "Bandolim Assassino" chimes in, his style has formed into pop infused folk music with a dazzling mandolin riff over top drum beats and synth. However, the metamorphosis doesn't stop here, he then opens the stage to a heavy metal guitar, which is unexpected. The electric guitar slightly overcrowds the rest of the music, but I can admire how the clashing of genres really works. 

"Valkyria" sounds like something I've heard street performers play before, which isn't a bad thing. The syncopation is great but the synthetic sounds make this song less appealing for me. The electric guitar isn't done yet and shreds towards the end of the first part of this song. However, the guitar is unbalanced and hard to enjoy. With all of this said, "Valkyria" is an incredible composition and is one of my favorites on this EP. Moreover, this song has such a delicate outro and leaves me with a smile on my face; I wish this outro was its own song.

One of the last songs on "Demo" is a cover of Bach's "Badinerie" and is a fun, upbeat finale, which features just the accordion, the organic sound I was looking for. However, the album isn't over just yet, the hidden track, "Mar de Gelo" leaves me perturbed. I really enjoyed Badinerie as a closer to the EP, but Tiago decided to throw in this track later on down the road. The mixture of classical guitar and piano is undeniably gorgeous, but the synth and the Wah of the guitar make this song muddled, leaving me with a sour taste in my mouth.

This EP is an odd combination of instruments and sounds, but has an ever present display of folk music. There are definitely times when I wish the beauty of the accordion and classical guitar would have been the extent of the songs, but Tiago is stamping his own artistic footprint. My favorite moments on this album are when the track is simplified and the essence of the accordion and guitar shine through. The tracks feel overcrowded with some of the instruments that are added and it just feels like he's pushing the limits of these songs. In all, Tiago A. Marques is a talented musician with a lot of room for growth. 6.8/10

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Hip-Hop's Royal Highness - KID 214 Review

The king of acronyms has released another full length album, K.I.D, but this is anything but abbreviated. With almost an hour of hip-hop, KID 214 is a serious lyricist and I'm sure he has piles upon piles of marble notebooks full of lyrics. Hailing from Dallas, Texas, this young rapper is a show-stopper, a genuine 'not give a fuck' kind of a guy and shows this spirit throughout his record. Working with over ten producers, KID 214's style is ubiquitous, no matter who is spinning. 

The record starts off with a captivating intro, which establishes his prowess on the microphone. The nature of this intro almost feels like KID 214 walked into the studio and just started spitting rhymes. Of course, the Crosby, Stills, & Nash sample by SupremeBreed gives this track a memorable impression and I take notice of this producer throughout the record. "I'm Back" is an unforgettable track, it solidifies his sound and shows his ability to write rhymes as well as superb refrains. There is definitely a familiarity to Lupe Fiasco and Too $hort in his rapping style, which shows his versatility. 

With the album cover displaying a crown, it is clear that KID 214 is proclaiming his right to the throne. This on-going theme of kingship throughout his record shows he is resolute in his ambition for greatness. This kind of confidence is harmonious with fame and success, but only if it is captured and streamlined correctly. 

"Cam Newton" has the theatrics of Immortal Technique's "Point of No Return" and is an anthem for the N. Carolina quarterback. It has these heavy beats that shake your entire body and synth notes that are nostalgic of baroque music, which is weird and wonderful at the same time. However, I begin to feel distracted during some of these songs, which is not unusual since there are over 12 songs on this record. It might also be the fact that I haven't listened to hip hop in a while, but I started to lose my zeal halfway through the album.

"Done Nothing Yet", "Pharoh Flow" and "L2LYL" have that Bay Area feel and take the record on a perfect turn. It's like People Under The Stairs stepped in and resuscitated KID 214, bringing the CD back into a unique groove. "If I Knew" is another epic production by SupremeBreed and just drives home that these two are a perfect match. SupremeBreed has a great way of incorporating oldies into his beats and it sounds really compatible with KID's rapping style. 

I only wish that the flow continued after "Empire Wayz Over Lames II" because I begin to lose interest again. It is so hard to maintain absorption with this many tracks and especially nowadays when people are releasing albums with less than 10 songs. Luckily, "Dreams Real Life" swoops in and leaves me with my jaw dropped. This closing track is definitely in line with Lupe Fiasco's "The Coolest" and is a proper ending to this enormous album. 

KID 214 is a breath of fresh air and this album took me down memory lane. His technique is aligned with the greats and is surely bound for much recognition. Even though his album is lengthy, he is definitely showing his lyrical talent. With a little bit of abridgment, this artist could put out albums that make Kid Cudi look like Moby. It would be interesting to see KID 214 working solely with one producer instead of the 11 that were on this album. With all of his efforts in this album, it definitely demonstrates his commitment to hip hop and his seriousness about the rap game. I'm excited to hear what he comes up with next. 7.4/10

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Changing the Shape of X-Mas - Silver & Gold Review

Front lawns are beginning to look like north pole snowglobes and Sufjan Stevens is caroling with his comrades again, what joy! Songs for Christmas was Stevens' first commemoration to Christmas with delicate versions of Christmas carols and light-hearted yuletide originals, making a definite mark on the holiday experience. With five volumes and over 30 songs, the first box set showed the world his love for the holiday and his commitment to spreading Christmas cheer. But his fondness has grown into an obsession and I think people are a little bit bewildered. The next five volumes have a variety of voices, stories, mystical creatures and musical genres to say the least. Recorded from 2006-2012, Silver & Gold shows all of the different sounds of Stevens, it is a concatenation of The Avalanche, The BQE, All Delighted People EP, and Age of Adz.

The first album, Gloria, is the closest thing to the Stevens that I know. With a comfortable 8 songs, Gloria is a very delightful start to the box set and has a nice balance between covers and originals. "Lumberjack Christmas" is an upbeat, catchy original and is very reminiscent of his writing style during The Avalanche. Just like what Stevens did in Songs for Christmas, he is taking the archaic carols from centuries past and rejuvenating them. "Coventry Carol" dates back to the 16th century and is part of a mystical play called The Pageant of the Sheamen and Tailers. Stevens and his cast bring out such a pleasant air in this cover by staying true to the original; a tactic that is hard to come by in this box set. 

"Auld Lang Syne" ends Gloria on such a blissful note and is worthy of much praise. The way that Sufjan Stevens and his comrades share in the melody on some of the songs in this box set brings such warmth to the songs, which is perfect for this type of holiday setting. However, the heat evaporates when the jarring notes of "Jingle Bells" are pounded. We are headed for the weirdest part of the box set with I Am Santa's Helpers!, which was most likely recorded while he was working on The BQE. Although it is not a complete mess, there are many moments when I begin to feel disoriented and wish for the songs to end. Luckily, each track doesn't span longer than about 2-3 minutes each.

Sufjan is taking the songs we know so well like, "We Wish You A Merry Christmas" and "Jingle Bells" and forming them into a grotesque display of the holiday. He is definitely making some kind of a statement when he gives those songs an erratic edge because the rest of the songs are so beautiful and lofty. One of the best examples of the bizarreness of this album is "Ding-aling-a-ring-a-ling" where time isn't kept and the dissonance hurts my ears. Stevens knows it too when he says, "alright, let's do a real song," at the end of the track.

With so many odd tunes, it's hard to enjoy some of the ancient carols on this CD and I'm seriously ready to move on halfway through it. I actually did take a two day break from this box set to clear my head of Stevens before I could continue onto Christmas Infinity Voyage. When I came back to the box set, a gorgeous version of "Angels We Have Heard On High" welcomed me back with open arms. It was so memorable that I was even singing this song in the shower and throughout the day. But right when I think I am back with the Stevens that I remember, I am transported into the future with "Do You Hear What I Hear?" It is clear that this part of the box set was recorded during Age of Adz with vocal modulation and heavy drum beats. 

One of the most interesting songs on Christmas Infinity Voyage has to be "Joy To The World". It is a perfect combination of Age of Adz and All Delighted People EP, from its softness to its zealous drum fills. Towards the end of the track, Stevens adds one of his favorite riffs from the 25 minute song "Impossible Soul" on Age of Adz. He is busting out everything on this track and even ties in "Do You Hear What I Hear?" into the song at the very last second. 

This CD keeps my attention but doesn't necessarily flow with the rest of the box set. There are moments when I questioned if these were even Christmas songs or if he just threw them in for shits and giggles. I would have preferred to have had just one or two of these electronic songs because they are overwhelming at times. There isn't much constraint in this box set.  

The next two albums are a bit more congruent and pick up where Gloria left off. Let it Snow! has a lot of different voices that give this album a unique precedence. Additionally, it is enjoyable the way that Sufjan covers these songs. He does it with matchless technique, giving these songs new lyrics or just creating new melodies for them. "Ave Maria" has a starry, mystical air with it being sung by Cat Martino. It is one of the first times that I've wanted snow outside and a cup of nog.

"X-mas Spirit Catcher" has the perfect Sufjan Stevens appeal with fetching instrumentation and rhythm. Even though there is weird breathing at the end, it is more fitting than some of the oddities that occur in the past couple of albums. When "Let It Snow! Let it Snow! Let it Snow!" is creepily sung, my first reaction isn't disdain like it was during I am Santa's Helper! because it ties together better. I like this version because of the creativity and it gives me the feeling like it should be in the Nightmare Before Christmas or something.

The final album, Christmas Unicorn, is unorthodox and gives the box set a very prolific ending. There is a guest appearance by Vesper Stamper on "Up On The Housetop" and has a strange intrigue, drawing us in with heavy rhythm and spacey synth. The classic Christmas song, "We Need A Little Christmas" is covered with excellence; my girlfriend and I were singing with the track all over the house and dancing. This is one of the albums I would play at a Christmas party or during a cold winter night. 

The track "Justice Delivers Its Death" gives our box set its name, being a rendition of "Silver & Gold" by J. Marks. It is an incredibly dark song and makes me wonder if the theme of this album is death. Game, box set, match is all I can say when "Christmas Unicorn" is triumphantly sung at the end of this album. The words and melody give this song such a perfect balance, something that could relate to any believer of mystic. Christmas Unicorn is my new favorite holiday creature and once I finish constructing a paper mache unicorn, I'm going to dress it and display it proudly. 

With so many songs for Christmas, it is hard to believe that Stevens had a life outside of Christmas for the past 12 years. When Songs For Christmas hit the shelves, this was a remarkable accomplishment for Stevens and was his way of changing the shape of Christmas for all. With Silver & Gold, Sufjan is still altering the holiday experience and giving his fans a unique way to express their excitement for this time of year, but in a very odd way. It makes me wonder if he is ever going to stop making Christmas volumes and if they are all going to continue to reflect his studio albums. It was an unusual couple of days listening to this box set but if anything, it put me in the mood for this holiday season. My only hope is that his next five volumes aren't as asymmetrical. 7.6/10

[obsolute]

A Genuine Performance - AGF Review

Oftentimes is anything but a freakshow. This could only be said to describe the freakishly awesome combination of a harmonious string and horn section with a stunning vocalist, amidst an omnipresent drummer and poignant guitar playing. With today being the first I've heard from the group, I can equate them to bands like Copeland, Further Seems Forever, and Sleeping At Last, with an urgent sense of emotion seeping through their songs, which makes them very unexpected. 

I am captivated right from the beginning. "We Are The Undercurrents" transports me to a late spring afternoon at the beach, with the sun warming my body and my feet deep in the sand. As the song continues, I'm not sure if I am about to listen to a more emo version of Explosions in the Sky or if there is going to be a vocalist in the band. When Tim Sutcliffe starts singing, I am completely mesmerized and am enthralled for the next 30 or so minutes that I get to enjoy this album. Uniquely, the first song doesn't follow a normal arrangement  - it is abbreviated and straight to the point, which definitely grabs my attention. 

The band's post-rock ascetic continues to capture my attention as "I Can Feel His Heartbeat" strikes its key. The deliberate drumming mixed with falsetto vocals separates them from any expectation of a post-rock performance. Right when I think I have an idea of what their sound is, "Hopscotch Machine Gun Madness" breaks in and flips the switch. This is a sensational, pop-tastic piece with a female vocalist along the lines of Carly Rae Jepsen, but with an edge.  

With the decorative sound of the violin, cello and horns, A Genuine Freakshow has me wondering how many members are involved in the band.  Once I discover that this is a seven piece, I am thrilled to know that these instruments aren't going anywhere. In fact, to know that this sound can come to life on stage adds to their appeal. In addition to the resonance of their sound, the songwriting ability is uncanny and the movement of each song keeps me on the edge of my seat. 

"She's Got a Shooter (Part 1)" has a hauntingly long intro, which gives me the oceanic feeling again, only this time, I am sinking deeper and deeper into the blue abyss. The darkness doesn't settle but the feeling is more alive than dead. Sutcliffe's vocals are very reminiscent of Grayson Sanders' from the band Snowmine, which definitely shows his versatility. This ominous theme continues into "You Cut Me Out", but with more of a dynamic engagement. Time stops and the piano sings with Tim as his vocals illuminate this track. This is one of those songs that could be a set closer at a live performance, with the audience fervently displaying their lighters or cell phones. 

Although their sound is distinct and powerful throughout Oftentimes, I begin to almost feel disoriented towards the end of the album. There is so much instrumentation in "Our Bodies" that it is hard to retain the best part of the track, which is that "we won't waste our life." The next to last song, "Holding A Heart," is like a continuation of "We Are The Undercurrents", picking up right where the song left off. They describe themselves as riotous, callous, and the marching thousand, which is kind of a perpetuation of the oceanic theme from the undercurrents sweeping us out to sea. The thundering orchestra brings so much movement to the piece that it almost clouds Sutcliffe's voice, but his simple grandeur keeps the song grounded.

The last track on the album is one of my favorites. The simple, subtle guitar picking really stands out against the rest of the album. I love the melody and the fact that the song is not much more than a man and his six-string. My only wish would be to have this track in the middle of the album instead of as the last track. However, it really does leave me wanting more and I can't wait to hear another AGF performance. 

This album deserves much esteem. This is an honestly complex band and I am confident that they will continue to develop their sound. Whether or not there are intentional themes in this album, it is definitely open to many interpretations. It is even transcending other emo or post-rock albums that I've heard this year and in years previous. The cover alone is ambiguous enough to keep me guessing; to try and unravel this innovational group. I look forward to hearing more work from A Genuine Freakshow and will keep them on my radar. 8.5/10

[obsolute]

Note to the Reader

I've torn up my blog, crumpled it up in a ball and threw it into the bin. I looked in the bin and saw myself, all wrinkled and dusty. I pulled it out of the trash, flattened it and came up with this newly revamped blog. This one still has bells and whistles, the original posts and an ambiguous name, but with a more concrete foundation. 

I wanted to create a guideline for my reviews, something that will allow readers to get a better understanding of how I grade albums. Yes, there is a scale and each song is judged based on five principles - text, melody, harmony, rhythm, and creativity. Each of these principles has categories like content, beauty, memorability, intricacy, style, movement, etc. AND each of those has sub categories. Taking these song critiques with the overall flow of an album, allows me to grade an album. 

"Music is forever; music should grow and mature with you, following you right on up until you die." -Paul Simon

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The Softer Side of Dispatch

Dispatch is back and with them is a new sound. They were sorely missed, with their reggae rockin, sing along-ing, free talkin, musical pioneering. But practically all the things that we loved about them seem to be lost with their resurrection. “Circles Around the Sun” isn’t a disappointment, but it is definitely different.

The album begins with the title track and puts the record off to a strong start. I feel like I am back in 10th grade listening to Guster’s Goldfly with that catchy guitar riff but with a unique edge to it. From there we head to completely different side of Dispatch with the folky yet overdriven “Not Messin’”. There is a strange essence of Nickleback in the beginning that gladly melts away when the vocals hit. Then it’s the Dispatch I remember with their jive talkin, tenacious attitude that I love so much. But it’s a new embodiment, it’s missing their reggae pop prowess and is more of a darker, colder Dispatch than I recall.

Fluttering banjo brings me back when “Get Ready Boy” chimes in. This simple and gentle melody drops me back in the Silent Steeples days and I’m smiling again. However, right when I feel like I know them, I’m lost in the dissonance of “The Sign of the Times”. This misplaced tune brings in forced harmonies and leaves me uninterested. I’m happy for that 3 minutes to be gone and a joyful John Mayer-esque riff to catch my tired ears. “Josephine” combines their former happy-go-lucky disposition with their ambiguous new sound. But once again, I become as sleepy as that trailing guitar riff.

To my luck an energetic mandolin wakes me up when “Flag” picks up. This has the echoey feeling that “Whirlwind” had in Bang Bang, but in a more mature setting. This definitely seems like a song Chad would sing with his side project State Radio. I want this feeling to last but to no avail. “Come to Me” is muddled and just plain forced. With “Come to Me” finished, I am left with a sour taste in my mouth. As if I’m on a roller coaster, we are climbing the track again in the upbeat, super catchy, “Now or Never”. They snapped out of their tranced monotony and cheerily chant this great song. It is incredibly powerful, especially when the chorus hits and we are reminded of their zing in Who Are We Living For?

Dispatch definitely sounds like they’re headed in a new direction with this album. There are many songs that I want to listen to again and again, but it’s missing a key part of what made Dispatch so unique – the energy. A lot of the music here is more expressive, almost a softer side of Dispatch than we’re used to. They’re missing the goofy, boisterous spirit that they had in their youth, which for obvious reasons is gone. But I can’t say I am upset or disappointed by any means; they’re back together and making music and that’s that. 6.3/10

[obsolute]

Built and Borrowed - "Hands of Glory" Review

Andrew Bird has created another passionate and majestic studio album. This record couldn’t have been released at a better time, with autumn at it’s peak, the foliage is changing just as Bird’s sound is. “Hands of Glory” is a follow up to “Break it Yourself”, which is evident throughout this album, with lyrics and melodies borrowed from his previous album as well as a few cover songs. He is giving the listener a glimpse into the simple life – barn yard melodies and passages through a quiet and still country life. Throughout the album I can picture the four members of the band in their remote, quirky farmhouse, enjoying the company of a few.

The first song invites the audience with thumping bass and consonant notes. Thence, we are swept by a sea of harmonies, joined by a sparkle of violin to give a subtle playfulness to the foreboding nature of the song. Just as “Desperation Breeds…” gave “Break It Yourself” it’s melancholy backbone, “Three White Horses” gives us another ‘peculiar incantation that we’ve heard before’. Suddenly, we find ourself in an echoey embrace in “When the Helicopter Comes”, a cover of The Handsome Family’s. This old-timey reverb confers that joyful feeling as though we’ve landed in some speakeasy, doing a side sway.

The record continues with country-inspired jigs, particularly the fun-filled, “Railroad Bill”, in which the energy is palatable. We follow this foot tapping to a more intimate, pensive “Something Biblical”, where Bird references Adam & Eve and even the 10 plagues. His muddy lyrics remain grounded by his switch between biblical and visceral. For it’s the farmer that yearns for that “50-year flood” because “nothin’s grownin’” and the “county remains dry”.

The billowing sound of Bird’s violin doesn’t once lose its footing. The fiddle strikes and we are entranced in a campfire chant in a cover of Townes Van Zandt’s “If I Needed You”. Any way Andrew plays his violin is a surefire success, especially when he strums it like he does in this song, sounds just like Bill Monroe’s 8-string. The three-part harmony fits like a jigsaw puzzle and it’s clear that these guys aren’t just session players, this is one super group. Since “Break It Yourself”, Andrew and his band have remarkably shifted his sound. If you’ve seen Andrew Bird in concert, you know this song was definitely recited around one microphone, which is another old-fashioned element Bird has renovated his sound with.

The soft picking of the acoustic guitar in “Orpheo” lends a gentle hand in this remix of “Orpheo Looks Back” from Break it Yourself. Similar to what Sufjan Steven’s did in “Outtakes and Extras from the Illinoise Album” with the different versions of “Chicago”, Andrew is doing it here with “Orpheo”. He isn’t ready to let this song rest and pushes more beauty out of this track. The violin is almost crying in this version and he’s truly hitting the heart strings here.

The final cascading enthrall of “Beyond the Valley of the Three White Horses” brings the album full circle. The sliding notes and trembling harmonies in this song garnish this track and wet the palate for more moving music from Andrew Bird. The echoing of the melodies with a synth-like texture creates a haunting ending to another great album by Andrew Bird.

Throughout this record there was something missing, but I just couldn’t put my finger on it. It wasn’t until the end of the album that I realized it was the sound of Bird’s poignant whistling that I was missing. However, the sadly missed trill doesn’t change the fact that this follow-up album is just as powerful and prolific as his earlier release, “Break it Yourself”. I’m actually glad there was a distance between the two albums because it gave us time to appreciate the depth of “Break it Yourself” and instilled in us that their teeming creativity will not be short-lived.  7.8/10 stars.