Jay-Z - "D.O.A. (Death of Auto-Tune)

He may be getting up there in years but as long as Jay-Z keeps releasing songs like this and albums like his previous effort (American Gangster), he will never officially retire.  With his latest single Mr. Carter goes straight at the industry that made him.  This song is a plea for rappers to get back to doing just that:  rapping.  The Auto-Tune has made careers for "artists" like T-Pain and showed another side for artists (Kanye West's terrible 808s and Heartbreak) who need to just stick with what has worked for them prior to the unfortunate introduction of Auto-Tune to mainstream music.  In addition, Jigga blows up (literally) rap cliches such as jewelry (gasp!), bright clothes, and high class champagne.  And he even invites along a few friends for cameos (Harvey Keitel and LeBron) just to prove that although he may be aging in a genre dominated by artists younger, he still has all the tools and pull of a legitimate rapper legend.

Miike Snow - Miike Snow

The debut effort of Miike Snow (singer Andrew Wyatt in collaboration with the pop production duo of Bloodshy and Avant) is very much in the style of the slew of indie pop/electronic releases that have been hot this year (such as the standout debut from Passion Pit).  The difference here though is that Miike Snow has opted to make a more pop album than a dance album.  Strange since the production team Bloodshy and Avant are best known for their work with larger artists such as Madonna, Jennifer Lopez and Britney Spears ("Toxic" brought them immediate attention) and in working with them orchestrated a very dance/pop friendly sound.  Here, with Miike Snow, they have dropped the dance aspect and focused more on the vocals and the pop.  The problem is the lyrics and vocals of Wyatt are not nearly strong enough to carry the album.  Consequently, songs run together and the listener is left not feeling the definite end of one song and the beginning of another but rather just seem to be listening to an overlong single track.  The highlights of tracks like "Silvia" and "Plastic Jungle" just aren't nearly strong enough the carry the weight of this album.  A very listenable album and effort, but it just offers nothing of substance to necessitate repeated listens.

3.0/5.0

Miike Snow - Miike Snow

B.o.B. - B.o.B. vs. Bobby Ray

Next-big-thing (and T.I.'s protege) B.o.B. has yet to "officially" release anything but he has dropped a number of (impressive) mixtapes.  As a result, he has been a hot topic amongst bloggers (ahem) for nearly two years now.  The latest, B.o.B. vs. Bobby Ray, is yet another tease to the talent that is B.o.B.  He truly has all the tools that will shot him to superstardom.  This mixtape has a different feel than his previous efforts in that the second half is devoted to his alter-ego (ala Eminem, Kool Keith and his boy T.I.) Bobby Ray who is more into the all-over-the-place influences similar to fellow Atlantan 3000 (Andre).  "Goodnite" sounds like it was accidently left off Dre's side of The Love Below.  While not awful, Bobby Ray should definitely take a backseat to B.o.B.  Just check out "I Am the Man" for reaffirmation.  B.o.B. + Coen Brothers + Bun B = Awesome.

B.o.B. vs. Bobby Ray

New York Dolls - Cause I Sez So

Cause I Sez So marks the second release since their reunion earlier this decade from the legendary 70s glam/predated (genre not yet coined) punk group.  Now down to only two original members (and approaching 40 years since their 1973 self-titled debut) it only seems fit that they try something new.  And although production was handled by Todd Rundgren, who produced their debut, the sound is the sound of a different New York Dolls.  No longer do they try to be the badasses they were during the onset of their career, but rather they have adapted to a more low-key lifestyle.  And with ages comes the blues; and this album borrows heavily from the genre.  Kicking things of is the very Dolls-esque "Cause I Sez So" that sounds as if it were written in their early days but soon the bluesy side comes out on tracks like "Better Than" and "Ridiculous."  And blues isn't the only genre the Dolls experiment with here.  You get a straightforward pop songs (very 60s in its sound) with "Lonely So Long," a littlte tex-mex ("Temptation to Exist"), and even a reggae-tinged reworking of "Trash" (off their debut LP).  The sound production is handled well (very raw) and the songs in which they step out of their comfort zone don't fail completely ("Nobody Got No Bizness" is one of the better tracks here and is blues all the way).  However, this is their weakest effort to date (this being their 4th album, released 36 years after their debut) but that is not to say that it is a throwaway.  It is just a foreign sound for a seminal band.

3.5/5.0

New York Dolls - Cause I Sez So

P.O.S. - "Drumroll"

2009 is nearly at its halfway point and as I was reflecting on the year's better releases I stumbled (once again) upon P.O.S.'s Never Better and once again had to listen to it.  This is such a great album; it's a hip-hop album but the emotion and intensity of the lyrics as well as the music is entirely punk in spirit.  And this video for "Drumroll" perfectly fits with the song (and entire album) with its in-your-face and relentless style.  Pretty great for a nerdy looking dude from Minnesota. 

Also, to show how varied his influences are (and how he makes the music) I've included a Pearl Jam cover that he did for "Why Go."  Cool stuff.

Sunn O))) - Monoliths and Dimensions

The experimental/doom/drone/metal/ambient/bizarre duo known as Sunn O))) have made a name for themselves by releasing painfully slow drone albums with songs exceeding the single digit length in minutes.  And with Monoliths and Dimensions they have continued to follow the fascination they have with heavy reverb.  At times it sounds like the guitars are being played in a room completely surrounded by amps so that no note fades but rather increases in intensity bouncing from one amp to another.  Needless to say this is a sound that many will just be baffled at.  Regardless, Sunn O))) are masters at what they do and the sound they strive to create.  For this album they brought on board contemporary composer Eyvind Kang to assist in their vision.  The opening track "Aghartha" starts just as you would imagine; drone-heavy guitars constantly echoing as a deep voice details (from what I can determine) the creation of a new Earth.  Or not, who knows but it is creepy.  As the track progresses screeching strings and what sounds like creaking doors are thrown in just to add to the texture.  And each track is similarly arranged:  horns, strings, resonant guitars, a choir, ritualistic chanting and a piano are just a few of the items that find their way into the songs (or rather pieces as these are meticulously composed pieces of art).  At only four tracks (one of which is named "Big Church (Megszentsegtelenthetetlensegeskedeseitekert)") it might seem as though it would be a short album but on the contrary it sludges its way on for nearly an hour.  With the assistance of Kang, Sunn O))) have created a soundtrack for something dark (the final track "Alice" just sounds as though it belongs in a film).  Not sure what it is exactly but it's dark.  Beware:  open-minded listeners (or the artsy folk) will find this work interesting whereas those not so into new soundscapes will want to pass and let the music snobs absorb this one.

3.9/5.0

Sunn O))) - Monoliths and Dimensions

Jump Smokers - "My Flow's So Tight (Chris Brown Should Get His Ass Kicked)"

The other day in court singer Chris Brown pleaded guilty to physically abusing girlfriend (and fellow singer) Rhianna.  Not so much abuse as it was that that prick Chris Brown nearly killed her with his hands.  And his punishment?  5 years probation.  That's all.  Sure, that is a long time to be on probation but this man beat a woman to a pulp yet received no jail time.  Hopefully he messes up during his probation and get what he deserves:  some time in "the big house."  Anyways, here is a totally dope song (seriously, I could totally envision 200 indie kids dancing to this at the local hot spot) that shares my opinion (and hopefully the opinion of everyone) that this fucker deserves a little ol' skool justice.

Deerhunter - Rainwater Cassette Exchange EP

Atlanta based Deerhunter first gained notoriety for its intense sound and Stickfigure-like frontman (Bradford Cox).  After a sloppy debut, the band released Cryptograms to fairly mixed reviews.  The experimental aspect of the album was overwhelming but there was a definite talent that could be observed with that release.  Then last year things came together nicely as they embraced a more pop-oriented stance and issued Microcastle proving that the band was finally clicking on all cylinders and fulfilling their initial talent.  Well, just to keep the creative juices flowing, Deerhunter has released a 5 song, 15 minutes long EP entitled Rainwater Cassette Exchange.  And it is a beautiful little release.  Each song segues nicely into the next finally culminating in the awesome closer "Circulation."  Channeling a kind of dream-pop vibe ("Game of Diamonds"), the band has further distanced themselves from the sonic/distortion/feedback formula of a few years ago and mastered a new sound based on more traditional pop arrangements (lyrics are excellent and distinguishable) and top notch production.  And it's a better situation for all involved; that is Deerhunter themselves and the listener.

4.3/5.0

Deerhunter - Rainwater Cassette Exchange

Street Sweeper Social Club - Street Sweeper Social Club

Tom Morello and Boots Riley have made their careers by interweaving their leftist political ideals into their music.  One as the genius guitarist for groundbreaking rap/metal band Rage Against the Machine and the other as the genius lyricist for funk-driven Oakland rap duo The Coup.  Now, as each approaches twenty years in the industry they have collaborated on what was supposed to be a politically fueled rock/rap party album as the Street Sweeper Social Club.  Yet the outcome seems unfulfilled as each comes off subdued as to not try and outdo the other.  "Clap For the Killers" is an example in which Morello's arrangement seems to be fitted to showcase Boots' lyrics but instead, Boots sounds unusually low-key as though he doesn't want to show-up his SSSC counterpart.  Which is upsetting because Boots is an amazing rapper; he can do political raps, funny raps, drop excellent puns and even narrate a story (the truly amazing "Me and Jesus the Pimp in a '79 Grenada Last Night" is the best story rap ever).  But nowhere does Boots really let his talent shine.  The same goes for Morello.  The opening track "Fight!  Smash!  Win!" is vintage Morello as he stomps his pedal, lays down a hard riff, and blazes through a distortion heavy solo, but he doesn't come off that tight again until the closing "Nobody Move (Til We Say Go)."  Instead he lays down cheesy 70s riffs ("The Oath"), a kind of disco-influenced jam ("Promenade") and even includes an acoustic (!?!?) guitar to "Good Morning, Mrs. Smith."  The album is not a complete failure though as there are tracks that shine both in their communist/leftist stance/lyrics and call for a revolt while pulsing with Morello's guitar ("100 Little Curses" has Boots in full anti-bourgeois mood).  However, the duo hired Stanton Moore (drummer, Galactic, various jazz projects) and he just doesn't have the energy and strength that an album with this kind emotional drive deserves.  SSSC is a group with enough talent and passion that this album should be viewed merely as a template in which future releases will be worked off of.  And hopefully, Morello and Boots will each pour themselves into upcoming efforts like they have been doing for years and years.

3.2/5.0

Street Sweeper Social Club

Bike For Three! - More Heart Than Brains

While drawing comparisons to Beck (which is just an easy label to slap on; not warranted) and Tom Waits (gravelly voice, adoption of his song's character's personas) have been occurring for far too long, Nova Scotia's (Canada) Buck 65 has been producing great releases for the past fifteen years, yet true success has avoided him (unfortunately).  His latest effort has him abandoning his hip-hop based beats (in which, at the outset of his career he was turntablist, producer and lyricist for his releases) for a more  "European" flavor.  That is electronica.  And in order to do so, Buck enlisted the help of Belgian producer Greetings From Tuskan to form Bike For Three!  And although the soundscape may have changed, Buck's honest and personal lyrics are still there; it's just that instead of sampled drum loops and an obvious ode to the hip-hop Buck was raised on, we have electronic drums, blips, and synths.  Just looking at the album's cover and the tracklist ("Always I Will Miss You.  Always You." "One More Time Forever") it is easy to get an idea of the theme that the album is trying to convey:  relationships (trials and tribulations of) and heartbreak.  But of course Buck has more "65-like" moments with the possible killer song "Nightdriving" and the braggadocious rapper from another planet on "MC Space."  But the main idea is constant and the production is well-crafted so that no track feels out of place within the album's running time.  The best example of the two coming together is exemplified on "There Is Only One of Us" as Buck and Greetings From Tuskan (aka Joelle Phuong Minh Le) both display their skills; the beat is ever-changing and emotional as are Buck's lyrics and flow.  Pretty impressive for a duo who has never actually formally met.  The two even have a duet (of sorts) on the album's final cut "More Heart Than Brains" as Le sing-songs here way thru a Cure-esuqe backdrop while Buck's lyrics from the album's run are sampled and spliced together; all done with a positive result.  Although the success that has eluded Buck 65 for his career will not be fulfilled with this album (even though he has returned to the Anitcon label which has become a kind of Mecca for underground rappers and electronic artists over the last decade), it is, nevertheless, an excellent album that showcases the talent of two artists who stay within their comfort zones while still crafting something special that should be checked out by those who appreciate a true expression of artistic talent.

4.0/5.0

Bike For Three! - More Heart Than Brains

Liam Finn - "Second Chance"

During the course of watching an unhealthy amount of United States of Tara (which is a great show and only helps in building Diablo Cody's aura) I was subject to a number of odd moments as well as great songs.  Among those featured throughout the course of the first season included Liam Finn (son a Neil Finn, Crowded House member) who last year released an excellent low-profile album I'll Be Lightning.  One song included on that album, "Second Chance," was also played during his first American television appearance on Letterman.  Watching this is amazing as not only is it a great song but the layers that he adds every 45 seconds or so only peaks with the insanity of the last 45 seconds.  Definitely worth checking out:  both this sweet video as well as his debut album.

Mastodon - "Oblivion"

The second single from their superb 2009 release Crack the Skye has the Atlanta metal trendsetters in a different setting.  No longer are they chasing mystical creatures or locating forbidden weapons of destruction but rather they are aboard a spaceship.  This song has all the makings of a single:  decipherable lyrics (new as Mastodon has begun to stray from the all scream style of their earlier tracks), catchy chorus, great riffs, and a lovely bridge.  The video itself is a little odd.  What exactly is causing them to go crazy in space?  What is happening there on Earth?  Ivy?  But who really cares though.  It's cool and the songs absolutely rocks.

The Coathangers - Scramble

You can say this about Atlanta-based The Coathangers'  second album Scramble:  these ladies are having fun making music.  The album is made up of short tracks which sport quirky lyrics (often unacknowledgable as they are frequently screamed/yelped), odd arrangements, and successfully show off each member's ineptitude at their instrument.  This "lo-fi" (if you can even call this album such) release never takes itself seriously so the listener is left to wonder:  is this a joke?  Are The Coathangers nothing but a gimmick?  Yes and no.  Never does the band shine but at the same time there is an obvious passion and effort being presented.  Each song has its own goofiness that is evident from the track titles alone ("Pussywillow," "Arthritis Sux") but unfortunately the track titles are one of the album's highlights.  Frustration easily sets in from the album's early moments as you are left to constantly ponder the aforementioned questions.  A number of different styles are thrown into the Scramble with none truly shining.  Luckily things move along quickly with an enjoyable song here and there.  But just here and there (here being "Stop Stomp Stompin'" and there is "Sonic You").  

2.2/5.0

The Coathangers - Scramble

Kanye West - "Can't Tell Me Nothing"

So this isn't the newest thing to hit the street but I recently saw The Hangover (hilarious) and the movie was nearly stolen by the weird bearded pervert Alan (Zack Galifianakas).  A few years back when Kanye released Graduation a co-worker of mine (who was the best co-worker anyone could ask for during the two weeks we worked together) told me about this video featuring the aforementioned next-big-thing and the proficient alt indie/country artist Bonnie "Prince" Billy.  The result:  a classic.  Who knew that life on a farm could be so cool?

 

Sonic Youth - The Eternal

There are few bands that emerged from the early-to-mid-80s underground/college scene that still enjoy success today.  But Sonic Youth made it against what should have been impossible odds.  Utilizing oddly tuned guitars, below-average singers, and a noise/art sound that should have been appreciated by a few, Sonic Youth had all the makings of a band whose career would have concluded at three albums, and whose legacy today would only live on via reviews by Pitchfork.  Not the case.  With the release of the sixteenth (!!) album, Sonic Youth has done the impossible:  they have dropped an album which can be appreciated on a massive scale (rather than only by indie-rock aficionados young and old) without straying from the style that they have molded and absolutely perfected for the past (approaching) thirty years.  And, on top of all of this, they haven't made such a rocking album since Dirty.  Opening with "Sacred Trickster," the track covers all the points of a Sonic Youth song:  well-crafted dual guitar play, Kim Gordon sings in her help-me-in-getting-tortured voice, and on top of it all, the song just sounds perfectly crafted and entirely tight.  In fact, throughout the album, the three vocalists sound great even at their age (Kim Gordon just turned 56).  Thurston is the predominant singer, while Kim and Lee Ronaldo add their own flavor to their tracks (as usual, Ronaldo shines on his two songs, "What We Know" and "Walking Blue").  The happily married couple (25 years) of Thurston (Moore, lead guitar) and Kim even share a "duet" as the two trade spirited lines before the song transforms into a slowly pace, almost psychedelic overture ("Anti-Orgasm").  It is amazing that a band who prided themselves on their devotion to uniqueness have survived for all these years; and more amazingly done so by releasing album after album of great material.  Sonic Youth followers (old and new) will find a genuine appreciation for this one.  And if you're new to their sound just sit back, relax and be prepared to become a fan.

4.5/5.0

Standout tracks:  "Antenna" "Anti-Orgasm" "Poison Arrow" "Thunderclaps (For Bobby Pyn)"

Sonic Youth - The Eternal

Complete Sonic Youth Discography

Freddie Gibbs - Miseducation of Freddie Gibbs

There are the obvious hot spots for rap:  New York, Chicago, Atlanta, Miami, L.A.  After those you have the areas with promise:  Detroit, Boston, Seattle.  And then there is Indiana.  Well, here is Freddie Gibbs who is repping Gary, Indiana to the fullest (though I don't think he will ever reach Michael Jackson popularity).  On his mixtape (which is more an album than mixtape) Freddie viciously raps about the gangster life of Gary making it sound like a nightmare-ish hybrid of St. Louis and Detroit.  Basically, somewhere you would not want to visit.  But he does it with an air of pride and toughness that you listen and believe what he has to say.  His flow and content is reminiscent of Soul Food era Goodie Mob but instead of four toughass street kids, you just get one:  Freddie Gibbs.  This Indiana gangster rap album (weird, huh) is a promising release from a voice that will hopefully get recognized and, in the future, put out more material reminding us just how hard life can be on those Indiana streets.  

***"Summa Dis" is especially worth checking out.***

Freddie Gibbs - Miseducation of Freddie Gibbs

Bobb'e J. Thompson - "Bro Mitzvah"

This kid is blowing up.  Not only has he made great appearances in Human Giant, 30 Rock and Role Models (in which he showed the range he has as an actor), Bobb'e now has a sweet rap song/video to add to his resume.  Plus the kid can dance!

Bobb'e J. Thompson

Rancid - Let the Dominoes Fall

Ah, mid-90s punk.  The radio friendly punk songs of Green Day, The Offspring, and Rancid gave us up-and-coming youths some anthems that brought out the rebel.  Now, fifteen years down the road, Green Day is making bloated, politically-inspired "rock operas", The Offspring is remembering better times (seriously, what happened to them?), and Rancid has dropped another album of songs that look to copy the epic group The Clash.  Personally, Rancid was always a favorite as they were able to write songs that incorporated a number of styles (that punk has been ripping off for years) such as reggae, dub, and ska while still writing amazingly catchy hooks.  And they did it pretty damn well.  In fact, Life Won't Wait is a 90s gem that is still underappreciated today.  But alas, they have released a new album (their seventh) and things haven't changed (they even acknowledge their "survival" with "Last One To Die").  Nor have they improved.  Tim Armstrong and company have issued nineteen more songs to add to their catalogue.  But most are throwaways that will be forgotten after one listen.  The problem is that Armstrong (whose faux-British, slurry, intoxicated voice) does not sing as much as he should.  Rather vocals duties are distributed to the band's other members.  And they just don't have the punk swagger that Armstrong possess.  All the Rancid ingredients are here as they touch on ska, reggae, punk, political views and even Beggar's Banquet-esque honky-tonk Rolling Stones (with the excellent "Civilian Ways").  But the mix just seems watered down.  The vocals seemed subdued and at times uninvolved.  Maybe age is catching up to these rockers and the heart is not quite there anymore.  Even though some of the tracks ("Liberty and Freedom") do still have bite on them, the album as a whole lacks a true passion.  Isn't punk music supposed to brim with passion?  It's an attitude you either have or you don't.  Rancid still has it but time (and record company pressure) seems to be the enemy.  I'd like to think that punk doesn't die.  Unless, you have a band member with a serious drug problem.  Even then you don't die, you just fade away (right Johnny Rotten?).

2.9/5.0

Standout tracks:  "Up To No Good" "Disconnected" "Civilian Ways"

Rancid - Let the Dominoes Fall

Southerngold

Here we have Brooklyn DJ Terry Urban's take on what would Santogold's eponymous album sound like if it were spliced together with some southern-ass rap songs?  The answer comes in the form of Southerngold.  Recognizable songs by Purple Ribbon All-Stars, Rick Ross, and others are thrown into the musical landscape of the Santogold album.  And all twelve tracks are in the proper order of the album just so those familiar with the album can keep up amongst all the rap insanity.  Seriously, it's pretty damn catchy but go ahead and cop it now as the Santogold camp (aka her lawyers) have issued a cease and desist against Terry Urban to stop distributing the tape.  Come on Santo; chill out, put this on, and light one up.  Maybe it will give you some ideas on how to not get confused with M.I.A. anymore.

Southerngold

MGMT - "Kids"

The Brooklyn based duo (who is so damn cool it hurts) have released a killer video (for a song everyone has heard whether they know the title or not) that is honestly a pretty cruel experiment on the video's star:  a baby.  I want to see this child five years from now and see if it's fucked up from being put through the torture session that is this video.  And stick with the entire thing as the last minute and a half transforms into a weird cartoon that feels like Radiohead's "Paranoid Android" combined with the acid-eating desert sequence of Beavis and Butthead Do America.  Good stuff.

Dark Night of the Soul

Back in 2006 Sparklehorse (Mark Linkous) released Dreamt For Light Years In the Belly of a Mountain and on that album he received production help from studio wizard Danger Mouse.  The collaboration went so well that the two decided that at some point down the road they would team up again and release an entire album of original material.  Well, it's 2009 and that product is now out.  Sort of (in two different ways, read on).  All though all lyrics, music, and production were handled by the two, singing duties on all the songs (except one which he shares with Nina Persson on "Daddy's Gone") are delegated to various guests.  And the majority of the songs work.  The style Linkous and Danger Mouse have crafted on this album is one of melodic, production heavy numbers with a dense atmosphere.  That is until you hit the weird (and totally unfitting) tracks 4-6 in which Julian Casablancas (The Strokes), Black Francis (Pixies), and Iggy Pop all turn in rock songs that just seem completely out of place in context of the album as a whole.  On the other end of the spectrum, the tracks which feature Jason Lytle (Grandaddy) results in a perfect combination of lyrics, dreamy vocals, and overall production.  The album's cherry (though not best track, yet would fit perfectly into one of his surreal, mindfuck features) boasts none other than auteur David Lynch on vocals.  And he is the (kind of) third member of Dark Night of the Soul as Lynch was so moved by the album that he took a series of photographs which are being sold in tandem with a blank cd-r to burn the album.  That's right.  As hinted earlier, thanks to legal trouble it looks as though this album will never be officially pressed and released, so the closest thing to a "physical" copy of this album you will get to is the photograph book as done by Lynch.  Which is a shame because this album (atleast 75% of this album) deserves to be properly released to the public.

Official website:  http://www.dnots.com/

3.7/5.0

Standout tracks:  "Jaykub" "Daddy's Gone" "Revenge feat. The Flaming Lips"

Dark Night of the Soul

T.I. - A Year and A Day

The other week T.I. began his jail sentence in a prison in Arkansas that will put him on a kind of "hiatus."  But just a few days prior to the start of his stay, T.I. went into the studio and laid down some verses that MLK (who keeps the annoying DJ callouts to a minimum here) has turned into a nice sendoff to the leader of the Grand Hustle crew.  Interspersed throughout the mixtape's run are fellow Grand Hustle members and friends wishing their best to their fallen (of sorts) comrade and dropping verses (including the excellent up-and-comer B.o.B.).  But once his sentence is over and he has served his year and a day (hence the mixtape's title) he will no doubt be ready to release a new album as productivity is a T.I. specialty.

T.I. - A Year and A Day

Dananananaykroyd - Hey Everyone

Yes, this is a terrible band name.  Now about the album.  On paper Dkroyd reminds one of Los Campesinos! as both bands have a number of members (in Dkroyd's case it's six), reside across the pond (Scotland) and a sense to write power pop songs.  But that is about it.  Beyond the single "Black Wax", Dkroyd is far more aggressive and borrows heavily from emo/punk (with a sound similar to At The Drive-In) and even delves into metal at times (the closing moments of "The Greater Than Symbol and the Hash").  Although their influences are varied, their sound isn't so much.  The two drummers pound away as the two guitarists play power-punk chords and the lead vocalist screams (singing every now and then).  Together the album does give a good taste of the band's (assumably) high intensity live show and there are moments when things slow down and the pop sensibilities are noticeable ("Some Dresses").  But in general, be prepared for a 90s emo/punk/pop/doom metal influenced, drum-heavy album with highlights few and far between.

3.0/5.0

Standout tracks:  "Black Wax" "Totally Bone" "Some Dresses"

Dananananakroyd - Hey Everyone

Wale - "Chillin" (with Lady Gaga)

Although having released a number of excellent mixtapes (including last year's The Mixtape About Nothing which was one of 2008's best efforts) and guest appearances here and there (last year's Roots album) fans and skeptics are awaiting his first official album (Attention:  Deficit).  Until then we have a single that showcases Wale's original flow and clever wit (as well as dapper fashion sense).  Along for the ride is young pop princess Lady Gaga (who looks totally uninterested throughout the video's run and I doubt her and Wale shared any actual screentime together) to give the song some single/radio cred.  Although not his best work it is a chance for a larger public to get acquainted with one of the moment's best rappers.

Isis - Wavering Radiant

Let's see.  7 tracks long with all the songs (sans the interlude) surpassing the six minute barrier.  Sounds like an Isis ablum.  The latest effort from the Los Angeles (via Boston) metal gurus is just another in a line of prog inspired "nerd" metal.  Sure, you get the growling vocals (which, as always, are completely incoherent) and crunchy metal guitar, but with Isis they also offer a kind of atmosphere to their sound (that doesn't want to send you to your local satanic cult meeting).  From the outset (and excellent opening track "Hall of the Dead") the listener is gently brought into the album; that is until Aaron Turner starts howling.  But this time around, Turner splits his vocal-time between the metal yell and legitimate singing.  Also injected into each track is the keys (and general electronic ambience).  Sometimes they are merely an added ingredient to the Isis recipe but at times ("Stone to Wake the Serpent" has a great, gothic organ that is lays in the track nicely) the sound reaches a kind of Pink Floyd-esque sound (as well as prog-ish dweeb sound).  New listeners will immediately think of the Tool similarities (their guitarist Adam Jones actually guests on two of the tracks) because of the prog-metal tendencies of weird time structures, lengthy tracks, total disregard of generic song structure, and general mood of the album.  But don't lump them into a copycat kind of band because Isis has molded their sound over the past decade and this album is a welcomed collection to their catalogue.

4.1/5.0

Standout tracks:  "Hall of the Dead" "Ghost Key" "20 Minutes/ 40 Years" 

Isis - Wavering Radiant

Janelle Monae - Metropolis: The Suite Chase

What would the female counterpart of the legendary Andre 3000 sound like?  Answer:  Janelle Monae.  Equally obsessed with weird funk and old school soul the two are brother/sister that are not officially brother/sister.  From the first seconds of this EP you know exactly what you are going to be into.  An obscure weirdness that is a joy to listen to.  It is easy to transport yourself into this crazy world that Monae has created with this short (yet awesome) album.  Beyond the (all too) preachy "Mr. President" the beats are relentless, the vocals (and lyrics) are all over the place, you are treated to an opera (of sorts) and a Prince-eque solo ("Many Moons") is thrown in just for good measure.  Just listen because the 20ish minutes that you spend listening to this little gem are worth it. 

4.1/5.0

Standout tracks:  "Violet Stars Happy Hunting" "Sincerely, Jane"

Janelle Monae - Metropolis 

Method Man & Redman - Blackout! 2

It has been a decade since these two east coast rapper collaborated on 1999's Blackout!  And in the time since they have released a movie (How High), starred in a sitcom (thanks Fox), and dropped other albums individually along the way.  Now, they are back together and have released Blackout! 2 (catchy title, huh).  And although ten years have passed, the two still play off each other in the same manner:  lots of cultural references (even Zohan is name checked), jokes and puns, and songs about their favorite (ahem) plant (the excellent "Dis Iz 4 All My Smokers").  Redman's efforts on this release were to be expected as he has stayed the same (more or less) rapper throughout his career but Method Man was coming off a very impressive showing (Wu Tang's 8 Diagrams) that reminded listeners of the Meth of yesteryear.  And together the two don't disappoint.  But they don't really impress either.  This release is little more than a nice party album which showcases the two charismatic rappers.  What is upsetting is their attempts to "update" their sound with the use of T-Pain-esque hooks (provided by Poo Bear (?!) on "I Know Sumptn") as well as tunes which seemed produced for no other reason than single/club use ("A-Yo").  But when the two are on, they are indeed on (just check the short but braggadocious "Dangerous MCees") and prove how they have been able to stay around an ever-changing genre for the past two decades.  The album's true highlight comes in the form of the southern-rap inspired "City Lights".  With a beat provided by Norwegian DJ Nasty Kutt (that's right, Norwegian infused southern rap) and the appearance of UGK's Bun B, the song comes together flawlessly and hits on all cylinders (with Bun B outshining the two stars as he flows in and out of the beat like a true southern rap legend).  Even Wu legends Raekwon and Ghostface guest ("Four Minutes to Lock Down") but the song sounds like a unused track from the W era (with Redman, as usual, sounding completely out of place amongst Wu-Tang).  Ten years might have elapsed but listening to Blackout! 2 wouldn't suggest that.  Although not going to set any new standards for either of the album's stars (as the album is very up and down), it is nonetheless worth checking out for fans new and old alike.

3.3/5.0

Standout tracks:  "City Lights" "Dangerous MCees" "Dis Iz 4 All My Smokers"

Method Man & Redman - Blackout! 2