Rating: 8.0/10

I’m not good at math, but it seems to me that no matter what you do there must be a finite number of note combinations  to be made. So the blues, arguably America’s oldest art form, which relies heavily upon that a note that only appears in 1/5th of every scale, certainly must be recycling old hooks by now.

I feel justified in my rationale about the blues, but when I heard Brothers, I felt a bit stupid for thinking that way. But, rather than consider myself stupid, I think that my feelings are more of a reflection upon The Black Keys brilliance.

Blues has been done by everyone and their brother; Robert Johnson, The Rolling Stones, Buddy Guy, B.B. King, Stevie Ray Vaughan, etc., and each of these artists has given the genre their own flavor.

The Black Keys have put their flavor on seven full-length albums now (along with Auerbach’s solo effort and their blues-rap collaboration, Blakroc), and Brothers is as inventive and creative as their most recent, Attack and Release, or Rubber Factory. This is somewhat of a triumph for the Keys’, as it was speculated that without Brian Burton, a.k.a. Danger Mouse, lending a hand in the production (a la Attack and Release) that the album would fall flat like anything between their two most notable albums.

Though Burton did get his hands on “Tighten Up,” the rest of the album is all Dan Auerbach and Pat Carney. The band finds fresh new riffs and bold new hooks to trot out for this album; from “Everlasting Light” you get the sense that this album can be as special as anything the duo has released previously.

While the whole album is worth listening to, I found the second half of the album to be more immediately gratifying. My favorite track from the album would most certainly be the dirty southern rocker “Sinister Kid;” the bass bumps behind the snarling guitar throughout the track and his voice sounds a bit sinister as he sings about the kid who wants to meet his maker.

Followed up by “The Go Getter” and all the way through to “These Days,” the last half of the album is simply superb. However, getting there proves to be quite a task. At fifteen songs, Brothers can be a bit of a handful to get through, though it’s length would be my only complaint about the album.

In general, this is another solid album for the Keys, and it can be very rewarding for anyone who is willing to put in the time with this album.

I was introduced to the site by my favorite musicians of all time: Limbeck. Way back in October 2007 the So-Cal alt-rockers dropped by The Horseshack in the Quad Cities for a recording session, and because they enjoyed their time there so much they decided to release a limited edition album with more songs from that session entitled The Delicacy of Living Modestly (and it’s great, by the way).

Because, just like Limbeck, I enjoy the site so much that I can’t get enough of it, I would like to present my ten favorite sessions of all time. I j hope you enjoy these sessions as much as I do.

10. A.A. Bondy – Feb. 3, 2010

Though this session only has four songs from When The Devil’s Loose it retains all the power and gusto that the album provides. Bondy’s music has a magnificently understated glory to it to begin with, this subtlety is perfect for Daytrotter. And, as usual, the live nuance and charm is captured perfectly in the Rock Island studio. I love this session because of it’s simplicity: that’s all that is really needed.

A. A. Bondy – “I Can See The Pines Are Dancing”

9. Dear and the Headlights – Dec. 16, 2008

Dear and the Headlights hit Daytrotter with a wild streak; their session, which features songs from Drunk Like Bible Times, displays the band unrestrained. The voice of lead singer Ian Metzger cries out over the heavy distortion creating a raucous sonic bliss. The band clearly knew how to have a good time in the studio, and they may have had the best time while playing at The Horseshack.

Dear and the Headlights – “Bad News”

8. Joe Pug – Feb. 3, 2009

Chicago native Joe Pug’s first trip to the Daytrotter studio is undoubtedly my favorite of his two sessions. At the time of his session he had only released his Nation of Heat EP, but had much more to share with the public. Joe decided to share the beautiful “Hymn 101″ from Nation of Heat and three unreleased tracks (which would later appear on his full-length Messenger). Joe’s session is partly great because of it’s content, but also great because the timing that let fans hear three new songs a year before the album came out.

Joe Pug – “Hymn 101″

7. The Avett Brothers – July 27, 2009

This session came out on my birthday, so maybe my fondness for this session comes from my misguided feelings that this was a birthday present to me. No one could ever accurately capture the experience of a live Avett Brothers show – not in words, by video or sound recording – but this live recording is about as good as it will get. And it’s plenty good, even though the Daytrotter crew was using a minimalist SXSW set-up.

The Avett Brothers – “Laundry Room”

6. Owen – Mar. 25, 2007

Mike Kinsella makes some beautiful music, that’s not news. But his ability to recreate those songs live is pretty newsworthy. For those who have never seen the man play live, this session might even be better than attending a concert. The focus of these recordings are his intricate playing; this opposed to drinking, or stage banter, or arguing with the guy in the back who wants to hear a specific song. I’m not saying that you shouldn’t see Kinsella live, just treasure this session.

Owen – “Bad News”

5. Justin Townes Earle – Sep. 8, 2008

It’s hard to quantify how Justin Townes Earle makes me feel in words. In short, he gives me faith in music. His Daytrotter session gives me six more reasons to live him. With entries from both of his full length albums and a cover of Bo Carter’s “Biscuits,” this session is a good time for all, with a great Nashville swing. By way of Twitter I am to understand that he has an encore session being prepped for the site in the near future. I look forward to hearing some new songs and maybe getting another great cover or two. For now, I’m content with this great set.

Justin Townes Earle – Lone Pine Hill

4. Headlights – June 13, 2008

One of the greatest things about seeing Headlights perform is that they almost never play their songs identical to the album versions. In fact, most of the time the version you hear live is dramatically different from the version they recorded. Their Daytrotter three sessions are no exception to this, but my favorite is most certainly their second, which came shortly after their sophomore album Some Racing, Some Stopping. It’s a fun and beautiful take on a few songs that were beautiful to begin with.

Headlights – “Market Girl”

3. Spoon – June 16, 2008

Spoon did something quite interesting when they visited The Horseshack: rather than select tracks from their most recent (critically acclaimed) album, Ga Ga Ga Ga Ga, to perform, they chose a myriad of lesser known songs to share. This decision might backfire for a band without the pedigree of Britt Daniel & Co. but their choice seems sublime. The odd assortment of “I Could See The Dude” (from the Soft Effects EP), “Back to the Life” (from Kill the Moonlight) and Paul Simon’s “Peace Like A River” make for an amazing collection of songs. Their set is certainly one of the best ever put to tape in the Quad Cities.

Spoon – “Peace Like a River (Paul Simon Cover)”

2. Josh Ritter – April 12, 2010

Josh’s Daytrotter session, like those previous, contains a wonderfully eclectic mix of songs from the breadth of Ritter’s career, as well as a bevy of new songs released on the cusp of a new album. Two songs from his latest album So Runs The World Away, one from three previous albums and one unreleased song make up the diverse session, a brilliant collection from one of folk’s most gifted artists. Ritter’s delicate voice rings softly over his acoustic guitar; it’s a perfect little concert in your headphones.

Josh Ritter – “The Curse”

1. Andrew Bird – Oct. 29, 2007

Picking Andrew Bird to be number one for any list seems like a cop out. The man may be the most talented musician of his time; his skill on violin, guitar and songcraft in general are of the highest caliber and when he puts it all together the product is incredible. He uses the familiar formula of varied songs for his session, but those that are present truly special. I was unfortunate to just be on the outside of the lucky 2,500 who were able to download “The Giant of Illinois,” but just to stream it from the website is a treat. Bird’s work is gorgeous and his Daytrotter session is not one to be missed.

Andrew Bird – “Fiery Crash”

James Murphy claiming This Is Happening will be his last album as LCD Soundsystem is as preposterous as Michael Jordan’s first retirement. Not only is Murphy the best at what he does right now, but his three albums under the LCD moniker represent his own personal three-peat.

Now he can live his father’s dream as a baseball player (or hide his gambling problems per the commish’s edict for you conspiracy theorists) and then come back wearing number 45 and make three more incredible albums – or something equally preposterous.

However, it’s probably best to keep this review in the present and consider just how great This Is Happening actually is.

Though “Dance Yrself Clean” is a bit of a slow-burner, it is easily the best song on the album, and maybe the best LCD song to date. The most incredible part about the song is that it clocks in just short of nine minutes, but manages to be just as catchy as any two to three minute radio-friendly pop anthem.

“Dance Yrself Clean” is a testament to Murphy’s songwriting talent, and the rest of the album is just icing on that cake. Every song, except the infectious “Drunk Girls,” runs at least five-and-a-half minutes in length, but is constantly providing a different version of the LCD sound.

Murphy’s songs range from thumping low-end to shrill high notes, often within the same song, presenting aural diversity that makes each song feel very special. Though diversity makes the album feel special, the omnipresent aesthetic of “cool” that pervades each song makes it memorable and timeless.

If “Dance Yrself Clean” is the best song on This Is Happening, “I Can Change” is the jealous younger brother constantly nipping at the elder’s heels, trying hard to nab that distinction. I get the feeling that if you give the album enough time, just like with any determined younger sibling, “I Can Change” might just become the favorite. Unlike “Dance Yrself Clean,” the song is more direct, shooting it’s refrain straight at the listener and giving a more immediate good feeling.

The rest of the album hits the highs just as well with hits like “Pow Pow” and “You Wanted a Hit” sticking out of the crowd in particular. These songs are instantly enjoyable and have an awesome power to move feet and hips.

While Murphy may be calling LCD Soundsystem off after this album he isn’t going out with a whimper. This album is his triumph over the Trail Blazers; his dunk over Clyde Drexler. My hope is that whatever Murphy does next is a lot better than M.J. in a Birmingham Barons’ uniform.

Pitchfork has all kinds of various news updates about the single, but what is really important, of course, are the songs themselves. The first song, “The Suburbs,” feels lighthearted and poppy, almost the opposite of “Month of May,” the second song from the 12″.

The lyrics of “The Suburbs” paint the picture of a urban dystopia running opposite the jaunty nature of the pop music they are set to. Steadily pounding piano and acoustic guitar backed by the traditionally delicate and intricate Arcade Fire instrumentation make the song seem familiar, but distinctly new.

“Month of May” provides a stark contrast, musically, to “The Suburbs.” It hits heavy from the very beginning with it’s chugging Ramones-esque guitar that seem to be more fitted for it’s companion on the 12″ single.

Win Butler’s voice and the lovely harmonies of his conspirators are the same we’ve heard before, but this one feels all new. The vocals have the same urgency that were present on “Antichrist Television Blues” mixed with the dour nature of “My Body is a Cage,” the addition of a synthesizer also lends an eerie nature to the song that reminds of “Cage.”

The songs, however, need to be heard by one and all, so without further ado I present them both courtesy Consequence of Sound:

The spirit of Daytrotter’s first ever Illinois barn concert was most evident in the smile that spread across Delta Spirit frontman Matt Vasquez’s face. As his eyes poured over the crowd, from the floor to those seated in the rafters of the old barn, his smile spread wider, clearly relishing the moment.

There were plenty of special moments to be had at the Kalyx Center in rural Monticello Friday evening. Fans of all ages flocked from different locales to the tiny barn outside of Monticello proper. Pearly Gate Music began the evening with a few slow jams, providing the fans sitting around the barn an ear feast. Outside fans played bocce ball, pitched tents and enjoyed what was described as “the biggest bonfire ever.” Nathaniel Rateliff and his band took over the barn floor next, providing the seated crowd with plenty of reason to cheer.

Philadelphia rockers Free Energy lived up to their name, raising the fans to their feet and turning the barn floor into a dance floor with their classic-rock-proto-punk tunes. Lead singer Paul Sprangers did his best to not only look like Joey Ramone, but to work the mic the same way the seminal punk musician did. Sprangers knew when to let the guitarists take the lead however, and their face-melting solos invigorated everyone in the crowd.

Delta Spirit brought their dirty alt-country rock to the barn next, pushing the building to what seemed like maximum capacity plus a few extra bodies. The claustrophobic mass of the crowd jumped along with the band and fed off their wild stage presence. A particularly boisterous rendition of “People C’mon” got the entire barn floor moving in rhythm with the excited crowd. After the song the owners of the barn had to politely ask the fans to sway their hips, rather than bounce up and down, for fear the floor would collapse under their feverish dancing.

Perhaps as a response to the dancing ban, the crowd dwindled slightly after Delta Spirit, but the barn still seemed cramped for Ra Ra Riot’s set. The Syracuse, N.Y. did their best Kevin Bacon impersonation, pressing the crowd back into their dancing shoes. Their set was quite lively: violin, guitar, cello and electric bass pulsating through the rafters of the old barn. Lead singer Wes Miles pressed into the crowd several times, even high-fiving everyone leaning over the balcony, making sure everyone was having a great time. The band really seemed to be enjoying themselves as well, Miles even claiming, somewhat sincerely, that Kalyx might be the coolest venue they had played at.

The night was filled with a wonderful good feeling that eludes description. Everyone in attendance seemed genuinely happy to be there, bands included. Everyone mingled together and showed their appreciation for the musical acts: Rateliff danced energetically beside me during Delta Spirit; Sprangers cheered from the back of the barn throughout every act. The easy-going nature of the concert added to the aesthetic of wonder that pervaded the whole evening. It would be no stretch of the imagination to say that Sean Moeller and his Daytrotter crew would be welcome back in Central Illinois anytime.

The festival will take place September 22-25 in venues across Champaign-Urbana, Ill. Now in it’s sixth year of existence, I would expect more big name acts to be added as the festival dates grow closer.

Festival passes go on sale May 3 at 10 a.m. For more information about the festival visit their website at PygmalionMusicFestival.com.

She & Him
Volume Two
March 23, 2010
Merge

Rating: 5.6/10

The theme of this year seems to be disappointment. The second most anticipated album from 2010, The Winter of Mixed Drinks by Frightened Rabbit, was nothing short of a let down, and now I have that familiar bitter taste in my mouth about She & Him’s sophomore album.

Everything I hear in Volume Two sounds like a reproduction of a song from their first album with one major difference: It’s not as fun. The whole time I’ve been listening to this album, in my mind I’ve been inserting Volume One lyrics and it seems to fit just fine except that Zooey’s voice is falling flat off the speakers.

Maybe I’m spoiled, but there was an indefinable enthusiasm present in the voice of Zooey Deschanel on each track. This charming exuberance was never more apparent than her playful laughing on “Why Do You Let Me Stay Here?” On Volume Two we are greeted with playful melodies (i.e. “Don’t Look Back” and “Over It Over Again”) but then get a particularly lackluster performance from the lead singer.

There are some songs, like the first single “In the Sun,” and, of course, the wonderful music created by Matt Ward, that highlight this album; however, it’s just not enough to propel this album to the heights of its’ predecessor. Overall, I would classify Volume Two as yet another misstep from an incredibly talented group.

She & Him – “In the Sun”

Wasilla Rock City

Portugal. The Man
American Ghetto
March 2, 2010
Equal Vision

Rating: 8.7/10

Wasilla is probably best known for giving us the indomitable republican, Sarah Palin, but it’s their second most famous export that are really making a name for themselves. Portugal. The Man burst on the scene with their album Waiter, You Vultures in 2006, a startlingly original composition of genre-bending lysergic bliss. Since 2006 the band has released four full length albums to various degrees of success.

The one constant among the band was failure to consistently stick with a specific genre. For instance 2007′s Church Mouth dwells more in the genres of blues and roots rock, whereas The Satanic Satanist from 2009 draws its’ sound from the psychadelic rock of the 70′s. Their latest effort, American Ghetto, doesn’t pick a certain genre so much as meld together their previous efforts into one cohesive style.

American Ghetto finds the band at the peak of their game, providing calm, cool psychadelia blended with quick hits of classic rock guitars. Standout tracks like “The Dead Dog” and “All My People” excel for their simplicity: cool, under control, poppy and genius.

This album is a staggering work of inventiveness; American Ghetto seems to find Portugal. The Man settled on a genre, and that’s not a bad thing at all.

Portugal. The Man – “When the War Ends”

Taken from his April 16 show at Lincoln Hall with Rocky Votolato and Brooke Waggoner. Both opening artists played great sets, setting the stage for Kinsella’s set. He played a nice variety of new and old material and interjected humor into his performance.

The ending of the show, however, was quite suspect, and even frustrating. After promising the crowd one more song (as an “encore”) Kinsella proceeded to plod through various Metallica and Megadeth riffs on his acoustic guitar rather than playing any of his material. After about 20 minutes, he decided he had done enough and put his guitar down to end his show. Certainly the strangest (possibly least satisfying) ending to any show I’ve attended.

The new song is good though, hope you enjoyed it.

Rating: 8.6/10

When describing Silver Lake, Calif. quintet Local Natives it is quite easy to describe their sound as “reaching for the sky.” It is an aesthetic to their music that is immediately available to the listener; that of soaring dynamism.

When the first layer of guitar is set on the opener, “Wide Eyes,” it’s understood that this song will continue to build and grow. What’s not necessarily unexpected, but learned, is that as the album grows in sonic scope it also grows on the listener.

Gorilla Manor has everything demanding music fans have come to expect in this age of illegal downloads and MySpace bands. The music is engaging, soulful, pretty and most importantly it is unique.

There aren’t many bands around that work the generic five-piece structure as well as Local Natives. The aural landscape that these gentlemen create with two guitars, a keyboard, bass and drums is quite impressive, but the real key to their larger than life sound is the beautiful three-part harmonies that chime over their post-punk instrumentation.

Comparing their vocalizations to that of Fleet Foxes has become a lazy journalist’s platitude. Certainly a similarity can be drawn, but there is a similarity to the Beach Boys as well; I’m not ready to make that leap yet.

The harmonies on Gorilla Manor are not like what you’ve heard from Fleet Foxes (or the Beach Boys) and it only takes a listen to “Sun Hands” to dispel any of those notions. When their collective primal scream cuts ring out the music practically drops out, but the album doesn’t seem to be higher than that moment.

That’s the wonder of Local Natives’ music: often it doesn’t take several layers of guitar and piano for their sound to seem gigantic.

Gorilla Manor is not an album that is worth listening to solely for its instrumentation, however, there is profound lyrical content to the album as well.

Guitarist Ryan Hahn describes “Airplanes” as a song he wrote for his late grandfather. The song is rather light musically, but quite heavy lyrically. When Hahn sings, “I bet when I leave my body for the sky the wait will be worth it,” only a hardened heart does not feel compassion.

The slow burning “Shape Shifter” builds into a wonderful crescendo of crashing drums and pulsing guitars, asking the listener questions like, “Why don’t you give me an answer for when you’ll let it go?” The effect is a lingering desire to hear the song repeatedly, perhaps searching for answers.

Though the album is probably best described as “post-punk,” the Californians prove they are not afraid to limit themselves musically. “Camera Talk” takes a stab at fast-paced pop, melding in peppy drumbeats and chaotic bridges to create a unique sampling of genres.

The Talking Heads cover, “Warning Sign,” takes the original and flips it “on its head,” to hear drummer Matt Frazier explain it. David Byrne’s yelp from the original is no longer present, replaced instead by the beautiful harmonies and chanting Local Natives call their trademark.

Throughout the record, the feeling of rising is almost palpable. As the band fuses layers of guitar, piano and vocals together the album reaches improbable heights, as cliché as it sounds.