Swim Until You Can't See Land Review (Release Date: November 16, 2009)

Nearly a year and a half since their sophomore release, "The Midnight Organ Fight," Frightened Rabbit has already decided to start prepping for their new album, "The Winter of Mixed Drinks," which is set to be released in Spring 2010. Unlike "The Midnight Organ Fight," the new album includes two new band members, Andy Monaghan, who plays bass, and Gordon Skene, who plays a variety of instruments. If you've been following Frightened Rabbit for a while, you probably know that their past two albums didn't have ANY bass on it, a trait that usually damages an album as a whole. Surprisingly, the band pulled off the no-bass sound quite well. This time they've realized it's time to change their sound. Their new single, "Swim Until You Can't See Land," rewards us with a sneak peak of their new sound. Fat Cat, Frightened Rabbit's record label, is streaming both songs for free, along with a video for the title track. Check out both songs before they're removed.

Establishing itself with a resonant buzzing, the delicate heart beat sounds of the drums and a cheerful guitar melody, you can already tell a difference from "Swim Until You Can't See Land" and their older stuff. Contrary to their earlier tunes, this song sounds more upbeat, almost more pop-oriented. Lyrically, though, this song doesn't seem to stray from their prior style, which was mainly grievous ballads; In this particular song, lead singer, Scott Hutchinson, trails off about someone who suddenly realizes he needs to break away from his lover. Nothing new in the lyric department. Similar to songs off "The Midnight Organ Fight," Scott's brother, Grant, backs Scott up with dejected harmonies, still managing to give this band a desolate ring to it. Progressing rapidly, the song reaches it's climax as Scott achingly pants "swim until you can't see land, are you a man or are you a bag of sand?" Interrupted momentarily by a jovial piano interlude, the song takes no hesitation in getting back to the peak of the song.

8/10

In addition to the main track, this single comes with a buoyant B-side, "Fun Stuff," which may be known as "Last Tango in Brooklyn," an unreleased song that's been lingering around certain websites for a few months. Following a few seconds of a hollow guitar being picked, Scott's wintry vocals intone a bleak, glum serenade about how "the fun stuff just isn't as much fun with you." Gingerly, the string instruments gradually build intensity, until about halfway through the song, Scott's bawls "I'm quite alright, I'll get by just fine, I'm not depressed, not most of the time... It's just the fun stuff is much less fun with you..." For the last minute or so of the song, Billy Kennedy, the band's keyboardist, and Skene perform a distressed, grief-stricken instrumental version of the main melody, gradually fluttering away like a docile lullaby.

8/10

Microcastle Review (Release Date: October 28, 2008)

Recently I've really been getting into Deerhunter, and, in my opinion, this is easily their best release yet. Deerhunter's first official release, Cryptograms, isn't exactly one of my favorite albums. Cryptograms is good, but I feel that there's a lot of forgettable melodies. Microcastle, on the other hand, I can truly appreciate. The album is far from being perfect, but it's an obvious step-up from Cryptograms. Deerhunter jam-packed Microcastle with infectious poppy sounds, while still retaining the experimental sound that could be heard throughout Cryptograms, making the album enjoyable for both fans who loved Cryptograms and those who didn't. I encourage you to buy this album, since Deerhunter is one of those few bands out there that truly deserves to be supported.

Just like Cryptograms, the album starts out with an introduction track. The aptly named "Intro" starts out with an eerie, stuttering humming that reaches a high pitch before drifting away into a pleasant drone. Meanwhile, you can hear a slow-paced series of drum beats. Suddenly, the drums become more intense and the the comforting vocals of lead singer, Bradford Cox, start to falter more as they grow louder, reaching the song's climax. Eventually the song starts to fade away, leaving only a throbbing electronic sound, which will guide you into the next song. Quite good for an "introduction song."

I give it a 7/10.

Right from the start, Lockett Pundt's warm and inviting voice sweetly chants "Come for me, you come for me, come for me, comfort me... come for me, cover me." I suppose those lyrics are quite fitting considering the song's title is "Agoraphobia." About halfway through the song, the vocals vanish and are replaced by the drums and guitars, all of which were being played softly throughout the song. A synth also makes it's appearance after the vocals died out. The flowing harmony of all the instruments together slowly drift aimlessly for the last minute and a half of the song, before finally making their departure.

It definitely deserves an 8/10.

As the fuzzy instrumental harmonies of "Agoraphobia" finally fade out, "Never Stops" makes its arrival. Right from the beginning, Cox's soft voice catches your attention as he mutters "I had dreams... that frightened me awake."A couple seconds later Cox belts out a soothing lullaby, reminiscent of one drifting off into a heavenly state as their body begins to expire. Subtly, the instruments pick up speed, their din getting even more boisterous with each passing second. Conclusively, the melody ends abruptly, ending with a sputtering apocalyptic groan.

7/10

"Little Kids" always seems to evoke a nostalgic feeling from deep inside me. Not only does it remind me of me of my childhood, but in early autumn of this year I witnessed something special while I was listening to this tune. While I was taking a run through a park, I passed a slightly meager playground. On one of the swing sets was a middle aged man, swinging back and forth in a wistful trance. He wasn't even with a child; He was just swinging peacefully for his own enjoyment. Something about that scene was very admirable. Perhaps it's time to return to the review of the song itself. When you compare this song to the rest of the album, you could easily say that it's the "poppiest" on the entire record; However, it's quite morbid in the lyrical aspect. This song tells of a group of youngsters who resent an older man to such an extent that they decide to burn him alive. Two minutes into the song the lyrics' story has reached its finale and Cox begins to chant "To get older still." His vocals get more and more oppressed has the refrain is overwhelmed by an immense shoegazy denouement.

10/10 for sure.

"Microcastle," the self-titled track, is classic Deerhunter. Like many Deerhunter songs it starts out with Cox's classy vocals eloquently weaving a simple, yet consequential, parable. Bradford divulges that he isn't able to absorb the myriads of experiences he goes through. For a good portion of the song his voice almost sounds "Motown-esque." Wrapping the words with soul, Bradford really brings the tune to life. Just when the listener starts to think the song is reaching it's demise, Moses' thrashy, yet articulate, drums come out of nowhere, stunning you. Swiftly, a wall of glorious synth-y noise starts to tear up the rest of the melody, leaving it in tatters. Now, this is the point where you think this couldn't get any better. Then it does. Forcibly, the wavering vocals from the introduction track cram their way in between the rest of this chaotic climax.

9/10

Tracks six through eight are pleasant interlude tracks that effortlessly guide you to the tenth song, which is arguably the best on the album.

Firstly comes "Calvary Scars," a gentle melody that successfully combines feelings of hope and desperation. Lyrically, it contains obvious allusions to Jesus on the cross. Halycon sounds of guitar strings being plucked and harsh scraping noises accompany Cox's voice. In it's entirety it's a relatively solid song; However, on "Microcastle's" sister record "Weird Era Cont." there's a 12 minute version of this song which is clearly superior.

7/10

Next is "Green Jacket," which, in my opinion, is rather sinister at times. Although they're sometimes overlooked, the warbled sounds of the guitar really make the track what it is. To be honest, Cox's vocals are a bit weak on this song. Frankly, it's all about the instrumentals. Throughout the track an ominous piano interval is repeated over and over. Ensuingly, Fauver presses a few chords and then the original piano melody returns. On the other hand, the piano is escorted by an eerie whispering noise. Chances are I would jump out of my skin if I listened to this at midnight.

7/10

When it comes to depressing lyrics, "Activa" surely takes the prize; For the brief amount of time the song lingers around for, Cox confides about how he believes he's "Wasted his life." Besides Cox's desponded lyrics, the instrumentals are pretty spectral. The jumbled echoes of a guitar being finger-picked meld together with some sort of glitchy hysteria pre-recorded by Cox. Both "Activa" and "Green Jacket" remind me of being in a subway station late at night, hearing the illusory whispers of the dead as they endlessly wander across the earth. The only other song I can recall that reminds me of such a scene is "Grey Stripe" by Aphex Twin.

8/10

About two minutes into "Nothing Ever Happened" is the point where you realize that this may be one of the best songs you've heard in years. Commencing with a couple seconds of Moses slapping the drums, it takes no time in getting going. All of a sudden a deep, gruff bass riff starts being played as Cox whips out his quick-paced lyrics. Before you know it, the song has evolved once again, as Cox begins to chant about how he waited, yet nothing came. Just as you are starting to truly appreciate the song it gets even better. The next three minutes of the song are completely taken over by a synthy jam, all of the members of Deerhunter just going nuts on their instrument. I would like to keep going, but I can't... this song is indescribable; You need to hear it for yourself to understand what I'm talking about. Listen to this one. Now.

10/10

To be candid, I have no idea what "Saved by Old Times" is about; Most of it seems to be just cryptic nonse. During the beginning of the song, Cox croons about "the land of OAO" while a soft instrumental harmony backs him up. Unexpectedly, you begin to hear a poorly recorded message of what sounds like some cheesy horror film.

"We are a romanian sound collage searching for the ghost of past sinners but this futile coffin will not let us gain entry into the immortal soul of the redneck!! you are trapped in your basement for a war of 16 years to combat prevention and in combat with yourself we are in combat with these cultural vampires we were trapped in the basement we were trapped in the basement of the teenage halfway hell!!"

Further research reveals that this was a from an iChat session between Bradford and Cole Alexander of the Black Lips. Once the iChat part is finished, Cox continually chants "We were saved by old times," until the song finally decides to settle down.

7/10

Of the two tracks on the record sung by Pundt, "Neither of Us, Uncertainly" -or as some may know it, "These Hands"- is, simply put, my favorite. Starting out with an upbeat tempo and a ghoulish moan, you can already tell the song is going to be interesting, to say the least. Within a few seconds, Pundt's airy vocals enter the scene, his voice croaking earnestly. Shortly after, a descending guitar riff slowly begins to build volume until suddenly all the noise drops, leaving you with a grumbling drone that rapidly shifts into a creepy, swirly collection of keys being pressed on a keyboard. Finally, the drone, which has now transformed into a high pitched siren, gives it's last bay and silently departs.

9/10

Wow... the last track on the album, "Twilight At Carbon Lake," really took me by surprise. First of all, I've got to mention something about the name; It's fantastic. Whenever I listen to this song -hell, whenever I even read the title of this song- I'm stunned by it's greatness. To me, the name alone produces vivid imagery of an entire pond filled to the brim with tonic water, bubbles occasionally forming on the surface and floating off shortly after. And, of course, the scene in my head is always at twilight. It's such a truly picturesque title. Now for the main part of the review: the music. If one listens to the lyrics alone, they'll probably be pretty bummed by the time the song is nearing it's end (but then again, most Deerhunter songs are known for being pretty sad). The guitar riff always reminds me of the song "Just You and I" from the old drama series, "Twin Peaks." Oh yeah, and I'm pretty sure that "Just You and I" is a homage to the even older song, "Sleepwalkin'" by Santo & Johnny. Don't believe me? Look up any of those two songs on Youtube and compare them to "Twilight At Carbon Lake." There's definitely an uncanny similarity between them, which leads me to believe this song may be a tribute of sorts. The song meanders for a little bit, catches you in a trance, and then startles you out of your mental slumber. The last minute of the song is a completely unpredictable cacophony, a complete wall of sound. Absolutely amazing. I was blown away by the end.

Also, if you'd like to know the true meaning of this song, read below. Bradford posted it on his blog a couple years back along with a demo version of this song.

This is an demo I made for a song from the forthcoming deerhunter LP microcastle. It will probably end up taking quite different form once the other band members work on it with me. i wanted to create a song that had the melodramatic sadness of old everly brothers or righteous brothers songs but have the dissonance and catharsis of early velvet underground. I want the video to be a little boy playing a videogame based on zelda in which he completes the actions described in the song. then his dad busts into the room from off frame and grabs him by the hair and drags him into another room and beats him. this is based on a real story. its not some kind of sick thing i'm joking about. i wanted this song to be about the sadness of childhood.

I have no choice but to end this song's review with the same word that I started it with. Wow.

10/10

Blood Bank EP Review (Release Date: January 20 2009)

Bon Iver, meaning "good winter," has been making his way up "top 10" music charts for 2008 all over the place. His first album, "For Emma, Forever Ago," recorded solely by Justin Vernon in a cabin up in Wisconsin, is truly a masterpiece. However, this review isn't about his first solo album, this is about his first EP (extended play), which was announced a little bit after FEFA's release. The single titled "Blood Bank" was released to the public in late 2008, and the whole EP leaked sometime between late November and Early December. Truly a great EP. Listen to it a few times first before you set it down. I was disappointed with it at first and set it down for another time. I picked it up again over winter break, and instantly got hooked to it. Although Bon Iver still doesn't really "fit" to be listened to any other time of the year besides winter, it is still a commendable band. Hopefully in the future we might see Bon Iver truly excogitate where they want to take their band sound-wise. In fact, we see a glimpse of that in the last song of the EP.

The first song, titled "Blood Bank," is traditional Bon Iver. I think it easily surpasses the quality of most of the songs on FEFA. Like his previous album, this song has a snowy and chilly feel to it, while staying away from a sound that's too "bitter" to listen to. As Vernon soulfully repeats "I know it well," in his ghostly voice, you can't help but remember a myriad of fond memories in the past. Good to see Bon Iver is managing to stick with his original sound while at the same time advancing into a different sound (see track 4). This fresh, wintry tune deserves a 9/10.

The second song, "Beach Baby," has a beautiful strumming of a slide guitar accompanied with Vernon's voice. Although it is a pretty laconic track, it's far from being bare, and it's trimmed with meaningful lyrics and quirky, haunting guitar rifts. It's very short, as I stated earlier, but is definitely a treat for the ears. In my opinion, it's the best of the two "baby" tracks. It get's a 8/10, only because it's cut a little short. Nothing wrong with that though, still a favorable song.

Next, there's the second of the "baby" tracks, "Baby," in which we hear the beginning of something new. Starting out with the piano, a high chord is repeated for about a minute. It almost reminds me of spring. The snow is melting, bits of green start to appear, birds start to chirp and tiny little violet flowers emerge from the damp ground. Soon Vernon starts to sing. This is probably the whiniest we've heard him so far. Not a bad thing at all. He can even make a squealing, whining voice sound gorgeous. It really sounds like Vernon's singing from his heart as he says "my woman and I, my woman and I." He starts all over again, this time with a guitar accompanying the piano, and his voice increases in volume. The second half of the song now sounds even more triumphant and glorious. A great transition song, and considering it's leading to the final track, it couldn't be even better. Although I prefer "Beach Baby," to "Babys," this song is absolutely perfectly positioned in the EP. It also deserves a 8/10.

Well, throughout this entire EP I've been talking about it. The final track. "Woods." "I'm up in the woods, I'm down on my mind, I'm building a still, to slow down... the time." That's the only verse. It's sung throughout the entire song. The one difference between this song and the rest is that he uses a vocoder. This song truly had mixed reactions from everyone. In fact, contrary to many people, this isn't a cheesy effect used by music artists like "Kanye West." Vernon uses the vocoder to its best effect. As the song goes on, he sings louder, and layers the vocoder over and over. The sound of this song is extremely deep and rich. As Vernon starts to sing over the other verse, and it builds up to it's climax, it truly leaves you amazed. And to think, if you go back to FEFA and listen to "The Wolves (Act I and II)," you'll hear a blip of a vocoder in the song. If that isn't brilliant foreshadowing, then I have no idea what is. This song deserves a 9/10.

All in all, a fantastic EP. I'm extremely satisfied with it, and I look forward to Bon Iver's future releases.

Preview: Next album to review I'm actually not sure on. I might review one of my favorite albums that came out a while ago, but if not, as soon as either the new Akron/Family or Grizzly Bear album is leaked/comes out, I'll review it.

Merriweather Post Pavillion Review (Release Date: January 20 2009)

Well, MPP has been out since Christmas day in 2008. After months of anticipating the release of this album, it finally leaked, and to be frank, it definitely lived up to it's hype. After only a month into 2009, one of the best albums in a LONG time has already been released. Good thing is, that with the other great EP's and albums coming out this year, MPP won't have the easy path to being the number 1 album of 2009.

Merriweather Post Pavillion starts off with the twisting and turning song, In the Flowers. Starting off with a queasy and mysterious droning of tingly beats and ghostly lyrics. After about 2 or 3 minutes, there's a small hint to the explosion that occurs later on. 30 seconds later, it happens. I'm sure anyone listening to this song for the first time was blown away when they first heard the abrupt outburst of perfectly-aligned notes. Moments later, as you start to get comfortable with this amazing pattern of awing sounds, the song goes back to the coiling and drowsy part that we heard earlier. All in all, one of my favorite songs off the album... worth a 10/10 in my book.

A quick succession of rapid, pins-and-needles beats follow In the Flowers. This song of course being "My Girls." Although not one of my favorite songs on my album, it's definitely not a dud. The rhythmic, almost Native American crooning lyrics in the beginning are great, and when followed by "I just want 4 walls and Adobe slabs for my girlssss," it definitely gets you into an upbeat happy mood. This song gets an 8/10.

The next song, "Also Frightened," has a swooning, chill sound in the beginning, but after a few minutes, quickly evolves into a song that truly gives you a life. As Avey and Panda, start to shout "Are you also frighteneeeddd?" you immediately get a rush of energy through your body. Excellent song, also deserves an 8/10.

What can I say? SUMMERTIME CLOTHES! My favorite song on the entire album (except the last track of course)! The song starts out with a grooving and upbeat pulse that carries on through the entire song. The rich and wild lyrics spurted out of Avey's mouth impacted me more than any other AC song. I always pause whatever I'm doing when I hear "Midnight Meal." If you're going to get any song on this album (although I encourage you to buy/download the entire thing), definitely get this song. 10/10.

The chirping scrapes of the electric organ in the beginning of the next song, Daily Routine, are almost eerie, but when accompanied with Panda's voice it surges into a Brooklyn-influenced Pow-Wow. The descending shouting that eventually leads up to an eruption of keys being pressed is wonderful. This is the first time Avey pipes out "Just a signal... in my head..." A minute later, when he says the same verse it comes along with a soft strumming of the guitar, which reaches a whole new plateau of musical grandeur. Perfection. 9/10

The song starts out with an eclectic beeping that sounds like something out of a 90's video game. Although it is short and sweet, it appears later on in the song. The song's nostalgic and gorgeous lyrics combined with the illusory and haunting melody is quite addicting. As the song begins to grow up a little more, you first hear the lyrics "It makes me so crazy yet I can't say whyyyy." Ironically, that one verse fully represents how nearly every lover of this song feels. 9/10.

I honestly can't understand why the song "Guys Eyes" is loved so much. I'm certainly not denying that it's an enjoyable song, just that it's not the best on the album. I honestly would give it a 6/10 if it wasn't for two things. These being (1) that it leads into "Taste," and (2) it has a very cool buildup of harmonizing bits of singing from Panda and Avey. Still a fantastic song though. Deserving of a 7/10.

The next song, which I mentioned earlier, is Taste. Where to begin... The beginning of this song sounds like a electronic beach paradise. I don't know how to describe it. The lyrics are positively supernatural and eccentric. My favorite verse being "Am I really all the things that are outside of me?" If this song COULD be described... picture yourself floating in a blinding and swirling cosmos, being lightly effaced by expurgating pigments. It truly is indescribable. Animal Collective, you outdid yourself here. 10/10

Moving onto the last 3 song, the next one being Lion in a Comma. What a wacky song! The first instrument to be heard is a Jews Harp, which certainly doesn't hide it's presence throughout the rest of the song. The lyrics jumps all over the place, eventually reaching a perfectly arranged crescendo at the word "BEDROOM!" After a few repeats of these kooky tones, the song becomes utterly unhinged and Avey starts to mindlessly spit out the nutty tongue twister "Lion in a Comma," over and over. Another great song, which deserves a 9/10.

No More Runnin'... what a quirky song...

The intervals of this song feel like you are

A. Walking through a creepy Bayou Swamp at midnight

B. Slowly fading away

When Avey Tare first yells "No More Runnin'..." you feel completey blown away. As "Runnin'" slowly diminishes into the past, there's only one option as to where you are

-Standing on the top of a lofty African hill at sunrise. No one else is there except you, and everything in the world is at peace.

This song obviously deserves a 10/10.

Finally... this album goes out with one heck of a bang. Brothersport. Although this song is completely unfitting to the rest of the album, it's obvious AC just had to cram it because it was just so awesome. This song is what got everyone highly anticipating the release of this album in the first place. The tribal pitches and beats of this song are extremely captivating, and after the the minute long head-ache inducing maraca-shaking break between the first half and the second, the song almost seems to start out anew. There's only one verse repeated until the end... the good thing is... it sounds absolutely great, and almost anyone wouldn't mind hearing this for ten minutes straight. You need to hear it for yourself to experience this great song. Hate to be generic, but this song, just like seemingly everyone else, is my favorite song on the entire album. 10/10

That's it. That's the MPP experience. What a great start to 2009. This album is definitely worth a dozen or more straight listens, and definitely doesn't get old. It seems AC has taken the right turn, and the golden age of AC has officially started. If the rest of 2009 will be this astounding, I welcome it with both hands open.

Preview : Next album review will be the "Blood Bank" EP by Bon Iver. Look for it's release sometime soon.