The Month in Music: Ben Taylor, Divine Fits, Yeasayer

Listening – Ben Taylor

Ben Taylor is an incredibly talented songwriter, and it kind of figures: his parents are James Taylor and Carly Simon. Pretty good pedigree. He tried to avoid music for a while, but eventually found himself drawn to it, and the results have been impressive. He’s been one of my favorite artists ever since I discovered his album with the Ben Taylor Band, Famous Among the Barns, back in high school, and since he’s gone solo (well, more solo I guess), his work has been even better. Another Run Around the Sun is one of my all-time favorites (check out “You Must’ve Fallen”, “Someday Soon”, “I’ll Be Fine”, and everything else on there), and the goofily-titled The Legend of Kung Folk, Part 1 (The Killing Bite) (I guess there’s no part 2?) was excellent as well. Another Run was more acoustic and organic-sounding, while The Legend of Kung Folk leaned more towards R&B in its instrumentation and arrangements. Considering the somewhat dramatic shift between albums, it was going to be interesting to see which direction he went on Listening. The answer is mostly still in the more electric, sultry vein of The Legend of Kung Folk, but this time around, especially towards the end of the album, he throws in some busy electronica, not dissimilar to what Sufjan Stevens did on The Age of Adz. (Although certainly to a lesser degree, practically by default. Sufjan went cray-cray on that one.) Unfortunately, much like Stevens’s effort, these songs tend to get bogged down under the weight of all that’s going on. However, the first half of the album is less cluttered and shines like his previous work. The title track is a contemplative slow burner, and then “Oh Brother” picks things up with a bouncy ode to his twin stepbrothers (and an appearance from his famous dad). “Not Alone” wouldn’t have sounded out of place on The Legend of Kung Folk, save for some tastefully scattered synths in the chorus that foreshadow the greater electronic involvement on the record. Despite its weaker second half (which is not to say every song is bad – “You Could Be Mine” is a fun, reggae-tinged number), Listening is still certainly worth your time.

Start with: “Oh Brother”, “Not Alone”, “Giulia”

 

A Thing Called Divine Fits – Divine Fits

Ok, I’ll admit that I was severely predisposed to like this album because one of the guys in this indie supergroup is Britt Daniel, the genius behind Spoon, probably my favorite non-Beatles band. (Come on, the Beatles are in a league of their own. It’s not really fair to put anyone else up against them, so I don’t try.) I had high hopes for this project, and A Thing Called Divine Fits does not disappoint. The only way to describe this album is cool – it makes the Barry Manilow tracks in your library feel very insecure. Divine Fits’ sound definitely bears the mark of Daniel’s influence – sharp, precise beats; well-behaved guitars that flame out in walls of distortion – but also reflects the contributions of Dan Boeckner, formerly of Wolf Parade and Handsome Furs, and Sam Brown of the New Bomb Turks. The most notable example of this is Boeckner’s voice, heard in half the songs on here. It’s very different from Daniel’s but is awesome too, with a sound that is roughed-up and desperate in a good way. Divine Fits also use synthy bass lines where Spoon never does, and this calls to mind the Cars (as does the cover, in my opinion). Divine Fits sound like the outstanding musicians they have proven themselves to be in other endeavors, and it’s awesome to hear them meld their styles together into something great.

Start with: “My Love Is Real”, “Flaggin a Ride”, “Would That Not Be Nice”

 

Fragrant World – Yeasayer

Historically, I’ve never really been able to get into Yeasayer. I could tell that they were talented musicians writing good songs, but I don’t know, their sound was always just a little too world-beat-kooky for my taste. But hey, lots of people love them, so what do I know. However, they went in a new direction with Fragrant World, one that dips into the darker sounds of the electronic realm, and I love it. The songs are more focused, with fewer stylistic deviations within each, making for a more cohesive, powerful attack. The apocalyptic synths and nervous beats that drive songs like “Longevity” and “Devil and the Deed” are awesome, and it’s impressive that Yeasayer can utilize this sonic palette so expertly. If you’re already a Yeasayer fan, don’t worry, they didn’t completely eradicate their old sound: its influence can be heard in places like the extended outro to “Henrietta” and the intro to “Demon Road”, among others. And to top it all off, their label is called Secretly Canadian, which is hilarious. Definitely check out this album.

Start with: “Longevity”, “Henrietta”, “Devil and the Deed”

The Month in Music: Beach House, John Mayer, The Walkmen, and . . .

Bloom – Beach House

Beach House is an excellent dream pop band from Baltimore that started getting significant buzz with their last album, Teen Dream (they had that title first, Katy Perry!). Bloom largely follows the philosophy “don’t mess with a good thing”, but there are significant differences from Teen Dream. For this album, Beach House decamped to west Texas to record, and it sounds like the sweep and grandeur of their surroundings crept into the music. Leadoff track and single “Myth” sets this tone, with singer Victoria Legrand’s breathy vocals soaring at perhaps their highest heights to date over epic, swelling waves of guitar and synthesizer. In fact, “epic, swelling waves of guitar and synthesizer” is a pretty good description of most of the album, but that’s definitely not to say that the songs all sound the same. Beach House does a great job varying the mood and dynamics from track to track, delivering a record that is compelling, captivating, and beautiful from start to finish.

Start with: “Myth”, “Lazuli”, “Wishes”

 

Born and Raised – John Mayer

John Mayer is back! I was largely disappointed with his last effort, Battle Studies – the songwriting sounded unfocused to me, perhaps understandable given his highly publicized, ah, distractions – but he completely rights the ship on Born and Raised. This album is infused with a rootsy, soulful sound that leans towards country and Americana where Continuum leaned to blues rock. The sound perfectly complements the lyrics, which point to a calmer, more peaceful Mayer, who sounds like he has overcome many of the demons that landed him in the tabloids numerous times over the past few years. This is perhaps best illustrated on “Shadow Days”, where Mayer sings “I’m a good man with a good heart, had a tough time, got a rough start, but I’ve finally learned to let it go” over a steady drum beat and peaceful slide guitar. Only he knows if those words are true, but given the contentment and peace that seem to pervade this album, I believe it. Another favorite of mine is “Something Like Olivia”, with Mayer’s bluesy electric guitar recalling the best moments from Continuum and the lyrics singing the praises of Olivia, who though taken, Mayer finds a good model for what he should be looking for. (And of course, because of his tabloid past, you gotta wonder if he’s talking about Olivia Wilde and we’re about to get another round of headlines here.) It’s great to see John Mayer back at his best, because he’s one of the most talented musicians we have today.

Start with: “Queen of California”, “Shadow Days”, “Something Like Olivia”

 

Heaven – The Walkmen

 The Walkmen’s last album, Lisbon, is absolutely fantastic and one of my all-time favorites. If I was doing my favorite albums of 2010 list over again, it would without a doubt be in the top 10. (For the record, so would Dr. Dog’s Shame, Shame and LCD Soundsystem’s This Is Happening; Sleigh Bells’ Treats would be honorable mention.) Lisbon was influenced and inspired by a trip to Lisbon, Portugal, as well as Elvis music. Go figure, right? This, combined with the fact that the Walkmen could have best been described pre-Lisbon as a gritty post-punk band, made for a really interesting and excellent album. The follow-up to that album, Heaven, is not as great, but is still pretty good. As every review of this album will tell you, the Walkmen are getting older, and this album exudes the happiness and reflection that comes with moving into new stages of life. On some of the songs the practical meaning of this seems to be that the band is just less energetic. Thankfully though, this isn’t the case on all the songs, and there are several outstanding tracks: “Love Is Luck” and “Heaven” are, in my opinion, the best songs on here and stand up well to any of their previous work. Even some of the slower, more laid-back tunes, like the short homage to their love of old country music, “Jerry Jr.’s Tune”, are well done and enjoyable. Unfortunately, a few of the songs just never quite come together, which is surprising given that no song on Lisbon could be described that way. And producer Phil Ek, whose work I actually admire, doesn’t seem to be a great match here. The band talked in interviews about how exacting he was, how he made them do things over and over until they got it right, how he made them actually tune their instruments, etc., which they were grateful for and described as a good thing – but part of the Walkmen’s charm has always been how ramshackle and ragged their music can sound, and Ek’s attention to detail kind of rubs that out here. All in all though, I don’t want to sound too negative – the Walkmen hold a special place in my heart and this really is a good record. It’s hard not to compare it to Lisbon, but that’s not totally fair, and when looked at on its own the stronger tunes stand out and make this an overall satisfying listen.

Start with: “Love Is Luck”, “The Love You Love”, “Heaven”

 

 

And last but not least, those who know me know I couldn’t go without saying anything about . . .

Listen Up! – Haley Reinhart

 . . . my celebrity crush, Haley Reinhart. She won me over completely on American Idol last season because of how effortlessly and charmingly different she was from not only all the other contestants, but from what the Idol powers-on-high seem to want in their contestants. Her voice is incredible and unique, full of soul and grit and power, and this album does a fantastic job of channeling all her strengths and quirks into a batch of bluesy, soul-infused pop tunes that have a ton of personality. Reinhart co-wrote all but one track, and even though a couple of tunes in the middle are a tad snoozy, overall the songs are excellent. The only real minor complaint I have is B.o.B.’s appearance on “Oh My!” – he sounds like competition a little out of place, but to be fair, the more I’ve listened to it, the more in tune I’ve gotten with it. All biases aside, this really is a good album, not just for a former Idol contestant but for anyone.

(And man, that album cover . . . the typography is excellent. What, where did you think I was going with that?)

Start with: “Liar”, “Wasted Tears”, “Keep Coming Back”

The Month in Music: Alabama Shakes, M. Ward, Norah Jones

Boys & Girls – Alabama Shakes

Based on word of mouth that spread like wildfire, Alabama Shakes became one of this year’s biggest buzz bands, garnering lots of hype leading up to the release of Boys & Girls, their debut full-length. As with any buzz band, once the hipsters all realized, “Wait, other people actually like this band?” there was a little bit of backlash against them – but now that the dust has had time to settle, what’s the truth about this album? The truth is that it’s awesome, full of sweaty, earth-rattling, honest-to-goodness blues rock that gets as deep into your bones as it does your head. Alabama Shakes is mainly influenced by the bluesy, soulful music of the ’50’s and ’60’s (think Otis Redding, The Temptations, etc.), but what makes them interesting and distinctly modern is the simultaneous influence of contemporary indie rock, an influence they readily acknowledge. This is heard best in songs like “Rise to the Sun” and “Hold On”, which sound like they could be old standards until some distinctly modern-sounding guitar squall kicks in and overwhelms everything. The ingredient that makes their music so satisfying, though, is front-woman Brittany Howard’s voice. It’s gritty, soulful, and passionate, and she’s in complete control of it, whether howling in rage about how she’s been done wrong or cooing sweet nothings in barely a whisper. This is an outstanding debut that proves the band is way more than just hype, and that they are a force to be reckoned with.

Start with: “Hold On”, “Hang Loose”, “Heartbreaker”

 

A Wasteland Companion – M. Ward

Perhaps better known as the male half of She & Him with Zooey Deschanel, M. Ward has had an outstanding solo career for several years now, and A Wasteland Companion, his eighth solo album, continues that pattern. I once read a description of his sound as “soft-spoken, hard-edged Americana”, and that to me is the perfect way of describing it. He mixes a poignant tenderness, heard often in the gorgeous, wistful sounds of his acoustic guitar, with a sharper edge and irascible sense of fun, and this is as true as ever on AWC. While it doesn’t quite hit the pop peaks of some of the tracks on its predecessor, 2009’s Hold Time (see songs like “Never Had Nobody Like You” and “Epistemology”), it nevertheless contains a ton of true gems, from the fun (and insightful) bounce of “I Get Ideas” to the beautiful, classical sound of the title track. Ms. Deschanel herself appears on two tracks, “Me and My Shadow” and “Sweetheart”, and Ward uses her voice to great effect in very different ways, as a haunting background touch in the former and a sly, flirty presence in the latter. The only minor misstep here to me is “Watch the Show”, which sounds really cool but never totally develops the narrative in the lyrics, which dampens its emotional impact. Minor quibbles, though, on an overall outstanding effort from Mr. Ward.

Start with: “Primitive Girl”, “I Get Ideas”, “Pure Joy”

 

Little Broken Hearts – Norah Jones

There is one gigantic shadow that hangs over this album and must be addressed before anything else, and it is that of Danger Mouse. When I heard that Norah Jones was working with Danger Mouse on this album, I was apoplectic. Let me explain. It is undeniable that Danger Mouse has a very distinctive sound, sort of like a highly compressed spaghetti western thing, and that’s OK (even if it unpleasantly reminds me of Quentin Tarantino movies, which I hate, but that would be a whole other post). His sound is not in and of itself bad – I even like his work with, for example, Gnarls Barkley and Broken Bells. What I hate, though, is when he works with artists who are already established and forces their music into The Danger Mouse Mold, rather than working to bring out their true sound. Put more simply, ALL THE MUSIC HE PRODUCES SOUNDS THE SAME. It’s almost as if he’s a musical parasite, latching onto the host artist and infecting their sound with his annoyingly clipped drums and watery guitars. That’s a little harsh, because I don’t totally hate his sound; I just hate how he seems to be homogenizing the indie rock landscape by working with lots of different artists and giving them all the same makeover. So, much like Beck’s Modern Guilt and the Black Keys’ El Camino, on Little Broken Hearts we end up with a very good album that is marred by the fact that it sounds more like Danger Mouse than it does the artist who created it. All this aside, though, the songwriting on LBH is excellent (and while Jones gets the lion’s share of the credit for that, Danger Mouse was credited as a co-writer, so to be fair, he probably had something to do with it as well). This is most definitely a break-up album, and Jones pulls no punches lyrically or otherwise. Highlights include “Say Goodbye”, in which Jones sends off a failed relationship in a sinisterly deceptive sing-song voice; “After the Fall”, which is gorgeously heartbreaking, driven along by a numbly disinterested drum pattern and Jones’s pained harmonies; and “Take It Back”, which has the restrained danger in the melody that was so appealing on much her last album, The Fall. It’s certainly no surprise that Norah Jones has produced an album full of quality songs, and I hope that next time around she’ll ditch Danger Mouse and continue to develop the excellent sound she has proven she already has.

Start with: “Say Goodbye”, “After the Fall”, “Happy Pills”