The Books
"Lost and Safe" (Tomlab)
Sounds like: a deftly produced hodgepodge of found sounds, cello and guitar from a long-distance duo.
A-
The Books are multi-instrumentalist producers Nick Zammuto and Paul de Jong. "Lost and Safe," their third LP to date, continues their tradition of beautifully quirky electro-collage-pop.
The songs are basically layers of sound that form collages built with fragments of found sound from the pair's enormously extensive collections - clips from television, speeches and radio (including one great clip from radio show "This American Life"), which are sampled and set in the context of the song. Even most of the instruments are sampled and then rearranged on the "canvas" of the recording. The effect of all this sampling and arranging of seemingly random giggles, phrases and exclamations nestled in guitar, cello and various percussion is very stimulating and interesting.
There is more singing on this record than on their previous albums, which, almost surprisingly, doesn't distract from the beautiful confusion these production wizards create. The vocals are hushed, almost spoken, and strangely touching and emotive.
Standout tracks include "Smells like Content," the bombastic "An Animated Description of Mr. Maps," and "Vogt dig for Kloppervok," which features percussion fashioned out of what sounds like an intense game of pingpong.
All of the songs on this album are so busy, complex and intelligently composed that you hear something new each time - a giggle, a little joke or pun, a special surprise just for you.
-CHRIS DEWITT
Crooked Fingers
"Dignity and Shame" (Warm)
Sounds like: a grizzly bear singing songs about love and stuff while backed by a rock band with Mexi-Cali trumpets.
B-
Crooked Fingers, led by former member of Archers of Loaf Eric Bachmann, continue to channel their Latin side in their fourth LP. Mexican-style trumpets, Latin percussion and even bits of Spanish guitar lend flavor and a sprawling epic quality to the album. But paired with Bachmann's growing voice, sometimes something seems off.
Most of the record is Bachamann trying to combine, maybe a little too forcefully, elements of country, aforementioned Latin music and traditional old-school indie-rock balladry. Sometimes it works, sometimes it doesn't.
"Dignity and Shame" explores, appropriately, those very themes. Either losing your dignity to failed love (the ain't-too-proud-to-beg rock of "Call to Love"), regaining your dignity (as in the title track), or something in between. Bachmann, who's been around the block once or twice, has a lot of material on both extremes.
As for highlights, "Valerie" is definitely the catchiest, with its sing-along chorus and egg-shaker percussion. The lyrics are kind of silly ("Out of the darkness you grabbed me by the hand / I went in just a boy and came out with you a man, Valerie"), but can be overlooked because the ending is so great.
Some might complain about Bachmann's weathered, perhaps affected, voice. But once that hurdle is jumped, what's left is nicely crafted indie-pop songs with Mexican trumpets and egg shakers. Not bad.
-C.D.
Armor for Sleep
"What To Do When You Are Dead" (Equal Vision)
Sounds like: Fall Out Boy and Something Corporate.
D+
Armor for Sleep's sophomore album, "What to Do When You Are Dead," another addition to the growing number of throwaway albums from New Jersey's post-hardcore scene, meanders through 11 tracks of directionless clich?.
Based loosely around the concept of dying and ascending to some sort of ghost world, the album offers nothing new to a market oversaturated with angst-ridden lyrics, hookless moaning, repetitive drum rolls and overbearing guitar slides.
While principal songwriter Ben Jorgensen's intensity seems genuine, his writing and delivery play out like every other Fall Out Boy, Further Seems Forever or Something Corporate offering. Vocal hooks are almost nonexistent, and Jorgensen seems confident he can tie together verses solely by drawing out the last word of each line. Lyrically, any number of passages could soon find their way into live journal entries, dwelling on themes of abandonment, unsuccessful relationships and lack of validation. At some points laughably unoriginal, imagery of drowning, finding one's way through the dark, digging six feet underground and wanting to start over continue without interruption.
The band worked closely with Lamb of God producer Machine, but aside from occasional flirtations with string accompaniment and chic drum machines, songs can't help but fall into a by-the-numbers pop-punk routine. The music undoubtedly works to excite a live audience, amassing the band quite a devoted following, but as an album it fails to deliver anything fresh.
-DAN POTOCKI
El Pus
"Hoodlum Rock, Vol. 1: The Bogard" (Virgin)
Sounds like: Nothing else we've heard in the hip-hop world.
B-
El Pus' "The Bogard" is like a mix tape because of the variety of styles exhibited on each track, like smooth rap rhymes intertwined with punk rock riffs.
On some of the tracks you might think you're listening to some mellow N.E.R.D. jams until you hear the hard guitar riffs and screaming we usually expect from Linkin Park. If the band held back on the punk rock attitude and had more energy, some of the tracks, most notably "Monday Morning," could get the party started at a club like some good Black Eye Peas jams.
But just when you think you've got these emcees figured out, they mix things up. Track six, "Madame Zenobia," is reminiscent of No Doubt's funky punk rock interlaced with a reggae beat. The best song on the record is the soulful joint "Flirtin'," which could be useful if you wanted to get intimate with your partner on the dance floor.
Despite their versatility, El Pus leaves something to be desired in their artistry. It's not energetic enough to keep you going on the treadmill, but it's not mellow enough to help lower your blood pressure either. The record has a lazy feel to it. It's a better listen if you've got a buzz going and just want to hear some silly lyrics and random beats.
- DYANE JEAN FRANCOIS
M.I.A.
"Arular" (Beggar XL)
Sounds like: The Spice Girls rapping to a mix of Missy Elliott, traditional drums and techno beats, accompanied by Ludacris-type sound effects.
B+
On her debut album, scheduled for release later this month, the British Tamil beauty known as M.I.A. combines electro-techno beats with old-school rap, taking bits and pieces of music and lyrics and "cutting and pasting" to create a new sound. The daughter of a Sri Lankan activist involved with the Tamil independence movement and a refugee who settled in a notoriously racist estate in Surrey, England, her words are politically and emotionally charged. Some tracks include a chanting chorus, which sounds like protesters singing fight songs at a demonstration. The music itself is catchy and addictive, the perfect blank slate just waiting for the right verses and refrain to make it a pop hit. Despite the lyrics - her Achilles' heel - M.I.A.'s beats will certainly get bodies moving.
M.I.A.'s best songs include her hit singles "Galang" and "Sunshowers," which have both been made into music videos. A strong aspect of her songs is that they have great sound effects, ranging from "Amazon" and "Bingo," which combine Caribbean-style rhythms and drumbeats with lasers and sirens, to "Fire, Fire," which mimics gunfire and sound effects reminiscent of Missy Elliott's "Work It," to the fast-paced "10 11," whose rhythm is more geared to the techno fanatic.
There are three 20-second skits that are nonsensical with unintelligible lyrics, and most listeners would agree that they detract from the album's overall quality. Besides the possibility of alienating people with her politicized lyrics and annoying habit of pronouncing the "H" in the song "Hombre," M.I.A.'s "Arular" is a collection of music that gets better the more you listen to it.
- JOHN RILEY
The Postal Service
"We Will Become Silhouettes" (Sub Pop)
Sounds like: Video game soundtrack meets a soft-voiced crooner.
B
In its latest EP, The Postal Service uses an eclectic musical mix to hook listeners in. Electronic drumbeats drive the tracks, and mixed in are what seem to be sounds from some original Mario Bros. games. Other ambient electronic sounds are intertwined with the drumbeats and vocals.
The singer's soothing voice is in contrast to the sporadic electronically based music, but the two work so well together. It is like a calming effect amidst a room full of screaming. Through his voice, listeners can hear emotion and longing, especially in the original version of "We Will Become Silhouettes." (There is a remix of the track on the EP by Matthew Dear.)
Overall, "We Will Become Silhouettes" contains four quality tracks that are good to sit back and listen to, but could also be used as background at a gathering.
-ALICIA KRAWITZ
The Game
"Documentary" (Aftermath/G-Unit/Interscope)
Sounds like: The quintessential gangster rap album for the new millennium.
A
Gangster rap enters a golden age with the debut of The Game's "Documentary." The Game, aka Jacyceon Taylor, does extraordinary work in this album by blending East and West Coast sounds. He credits artists such as Dr. Dre, Jay-Z and Snoop Dogg as inspiration for this album.
Taylor also uses his experiences growing up in Compton, Calif., in many of his songs, including his time as a former gang member. "Start from Scratch" basically sums up his life in very rough lyrics. "Westside Story," "Dreams" and "Higher" are the highlights.
Not only does the album feature Taylor's talent, it includes artists like Eminem, Mary J. Blige and Busta Rhymes. So there is some familiarity within the new. With powerful lyrics about life on the streets, this album proves that not all hardcore rap says nothing.
-JASON ALREDGE
