M83
"Before the Dawn Heals Us" (Gooom)
Sounds like: Synth-heavy tones and unearthly vocals for "Lost in Translation" soundtrack devotees.
A-
The synth-driven sound of M83 is almost as otherworldly as the far-flung galaxy with which the band shares its name. With the recent release of "Before the Dawn Heals Us," the French mastermind behind the music, Anthony Gonzalez, dispels the notion that electronic-charged melody is spiritless and unfeeling. His brainchild M83 combines the superhuman power of machines with the emotional energy of the human heart, creating a chorus of distant vocal effects and cosmic instrumentation on his newest album.
As the third release by the band, "Before the Dawn Heals Us," represents a shift from the more esoteric aspects of M83's character, at times trading spoken-word soundbytes for melodic vocals and adding drums and bass to a previously keyboard-dominated sound. Since guitarist Nicolas Fromageau's departure from the band following its second release, "Dead Cities, Red Seas and Lost Ghosts," Gonzalez has taken the creative reins, guiding M83 toward a fuller, dreamier sound.
Though quickly likened to fellow-countrymen Air, M83 claims an edgier, more frenetic corner of the French music market. Comparisons to instrumentalist colleagues Mogwai are also overdrawn, especially with Gonzalez's added vocal focus on "Before the Dawn." Evoking the atmospheric effects of My Bloody Valentine and the reverberation technique of Sonic Youth, M83 crafts a beautifully upbeat web of rapturous vocals and keyboards in the album's single, "Don't Save Us From the Flames." "Field, Shorelines and Hunters" and "*" track the band's instrumental expansion, showcasing percussion and guitar in lieu of the pure synth, while "Teen Angst" counters electronic orchestration with heartfelt lyrics: "How fast we burn! / How fast we cry! / The more we learn, the more we die!" And the more we listen to "Before the Dawn Heals Us" the more we like it.
- AMANDA PRICE
Bright Eyes
"Digital Ash in a Digital Urn" (Saddle Creek)
Sounds like: Bright Eyes invests in electric guitars, drum machines and lameness.
D+
Bright Eyes
"I'm Wide Awake, It's Morning" (Saddle Creek)
Sounds like: Bright Eyes sings uninspired country songs.
C
Despite the rumors going around, this record is not Bright Eyes' attempt at sounding like the Faint. It's not even that good. Bright Eyes' latest efforts, despite some star guests (members of Rilo Kiley and Emmylou Harris to name a few), aren't quite up to par. Reportedly, the point to all this separate record business was reportedly to make two opposite records: one all digital and rock, and one all acoustic and country. Instead, the talented songwriter seemingly spread himself entirely too thin, even for his normally ambitious self.
For "Digital Ash," not electric guitars, nor a studio full of effects, nor even emphatic vocals can make up for the inherently uninteresting songs. Oberst's vocals seem canned and forced at times. It's just not the same from a guy who's cultivated a huge following on emotional release and passionate delivery. The production isn't as dance-y or brittle as an electro record, nor is it warm enough to be viewed as anything but an error in judgment.
As for, "I'm Wide Awake," most of the songs lack the emotional depth and lyrical punch of Bright Eyes' earlier work. Oberst's normally spine-tingling vocals seem somehow subdued. He screams and carries on like always, but something sounds off. The melodies aren't as catchy and the arrangements aren't as full.
There are some redeeming moments on "I'm Wide Awake" ("Road to Joy" and the single, "Lua"), but for the most part, the songs are boring. From a guy who's been known to write some really stirring and touching songs, it's a disappointing reality.
- CHRIS DeWITT
M. Ward
"Transistor Radio" (Merge)
Sounds like: It's snowing and you and someone special just fixed some hot cocoa so you can throw on this record and cuddle.
A
Well it's a little bit country, and it's not a lot rock and roll. It harkens back to old Townes Van Zandt and other country-folk mainstays.
Somehow this album manages to channel the old days and still not run the unfortunate course of mindless decade-worship (see: pretty much every band around, filed under the '80s). In one stand-out track, "One Step Away," the gentle blues comes across better than any in recent memory. The same goes for "Oh Take Me Back." It seems so real, so genuine: "Goin' down to yonder mountain / And I won't be back 'til dawn."
But it's not barebones: the production is tasteful and inventive (on "Oh Take Me Back" a broken tube amp provides a nice percussion bit).
Mike Ward doesn't stop at the blues. He genre-hops all around, touching on everything from country balladry ("Paul's Song") to borderline surf-rock ("Regeneration No. 1"). Ward's voice is really versatile, at times reminiscent of old-time blues men like Blind Willie McTell ("Deep Dark Well"), and at times Bob Dylan ("Radio Campaign"). This is a solid and encouraging release, one that gives hope for the coming year.
- C.D.
Destroyer
"Notorious Lightning and Other Works" (Merge)
Sounds like: Sondre Lerche's voice meets the Walkmen
B-
Destroyer's latest EP, "Notorious Lighting and Other Works," offers a 10-minute opus of changing tempos and distinctive vocals, plus five other tracks to satiate listeners. Backing the band is mastermind Dan Bejar's tour partners, Frog Eyes, who fully suit the rusty moan that seeps from his vocal chords. "Notorious Lightning" features a considerable amount of diverse moods - it lurks in the beginning, picks up to a sway and repeats before hitting full swing halfway through and receding until the final notes. "New Ways of Living" and "An Actor's Revenge" pick up the momentum to hopping, with quick hits of the cymbal and repetitive, energetic guitar riffs. "The Music Lovers" and "Your Blues" are slow, plodding numbers with deliberate and carefully sung lyrics, while "Don't Become the Thing You Hated" mixes a gloomy attitude with enlivening piano chords. On the whole Dan Bejar manages an interesting blend of sounds and rhythms with this latest effort, but fails to keep it stimulating on the more stagnant tracks.
- REBECCA ARMENDARIZ
Neko Case
"The Tigers Have Spoken" (Mint)
Sounds like: Run of the mill Neko Case
C
It's interesting when members of a band collectively have a very likeable, friendly, indie-pop sound, and when then the solo projects spawn, relatively different songs emerge. Neko Case, member of the New Pornographers and the Sadies, croons her milk and honey vocals over twangy guitars and succulent harmonies on her latest release, a collection of live recordings from various venues called "The Tigers Have Spoken."
The album begins in triumph with Case's satiated voice wailing to the Sadies, "If You Knew." The recordings then descend into a fit of country-laced tunes that are half-covers, half-originals. The second track, "A Soulful Shade of Blue" is a Buffy Sainte-Marie song, an artist who has also been revered as famous by the Indigo Girls. The mandolin, banjo, train whistle and fiddle begin to make appearances, and the subject matter of most songs generally doesn't pertain to one's everyday woes. However, Case's voice redeems any lack of correlation to reality.
The inclusion of "This Little Light," at the end of the album is so abysmally traditional that it's hard to stomach. For the proper occasion or humor, Case's amazing ability to produce such a resonant sound with her vocal chords will be enough to fully appreciate this album.
- R.A.
