Los Campesinos! - The Sea Is A Good Place To Think About the Future

After releasing not one but two excellent albums in 2008, the Welsh seven-piece Los Campesinos! (yes, ! included) deservedly should be taking a break; however, that is not the case. In between touring (and they put on an excellent show) they have began creating their third album which has no street date yet but a new track (and video) has been issued that gives an idea of what the new album will sound like. Whereas the first two albums were loaded with short, party-friendly tunes, this new track explores a darker, more emotional side of Los Campesinos! not found on the previous albums. The result: a great track with signs that the band will be able to stray from their power-pop sound and still succeed in making great songs.

Datarock - Red

To say that the Norwegian duo Datarock is into the 80s would be an understatement. These two revel in the era. From their trademark red tracksuits to their releases, one cannot escape the 80s theme. Here on Red they keep up the same vibe they created with their debut release in 2005. Borrowing heavily from their 80s influences (Talking Heads' angular rhythms and rolling basslines, Police-esque reggae, Morrissey impersonations), Datarock have crafted another fun release full of synths and off the wall lyrics (a whole song devoted to 80s starlet Molly Ringwald?! (aptly titled "Molly")). The Talking Heads ode is a little more subtle even though the entire song is made up of their lyrics ("True Stories"). But no matter which artist they are emulating (or straightup ripping off), the mood is constant: upbeat (ie., "Dance!"). Although not setting the standard for electro-pop, just try to not get into these songs ("The Pretender" is prime Datarock with an excellent beat, catchy hook, bouncy synths, and tongue-in-cheek lyrics). Long live the 80s.

3.8/5.0

Datarock - Red

Bonnie "Prince" Billy - Chijimi

Will Oldham (aka, Bonnie "Prince" Billy) releases material faster than his beard can grow and his hairline can recede. His latest is yet another low-key recording which showcases his ability as a songwriter as well as his passion for Americana. Acoustic and slide guitars, violins, and vocals (both his as well as an accompanying female) are about all that is offered up here on the 4-song EP Chijimi. This simpleness is suited perfectly for Oldham's somber lyrics and mild voice. In contrast to the slow and aged feel of this release, the video for "How About Thank You" (opening track on Chijimi) has two heated DDR (Dance Dance Revolution) counterparts going at it for the ultimate prize (at least to them).

Bonnie "Prince" Billy - Chijimi

I am T-Pain

It's official: the iPhone app thing is officially out of control. Although a number of them are very useful and cool, the number which are lame and pointless is far greater. The other day a friend told me that they had downloaded a glowstick app in order to "use" it at a jammy electronica (ugh) show. As if glowsticks aren't lame enough, an app in needed to simulate the excitement and awesomeness of the real thing? But this one takes the cake; a T-Pain app so that yes, you too, can sound like the talentless, um, artist (?). Is it possible that Jay-Z has purchased it for his phone yet?

http://iamtpain.smule.com/

Spree Wilson - Evil Angel

Atlanta will once again be hosting their annual AC3 Hip Hop Festival next month with a slew of artists to represent the genre. One of the bigger names to be showcased is Atlanta's own B.o.B. who will also be sharing the bill with (among others) local artist Spree Wilson. Material carrying Spree's name is few and far between but he has an EP under his belt: Evil Angel. Although only six songs, it still gives an idea of what kind of path Spree looks to take as an artist. With a strong R & B influence, Spree seems focused more so on a hook and song structure (live instruments are used regularly on this EP) than his lyrics/flow ("I Believe She's Lying" contains no rapping as well as the ironically titled "Chaos"). But when he does he has a kind of positive, easy-going style of early "old school" style rapping (ie., "WORD!" and the closer "Goodbye"). Hopefully, his positive attitude and go-with-the-flow persona translates into an impressive live show for this EP offers very little to its listener.

Spree Wilson - Evil Angel

HEALTH - Get Color

Define noise rock. Hasn't rock itself been labeled as noise since it's inception? Well, this LA four-piece better helps to put a sound with this sub-genre. From the opening seconds of Get Color, HEALTH lets the relentless drumming, obscure feedback, and dream-like vocals commence and doesn't let up until the album's somewhat out-of-place closer "In Violet." To say things are sometimes chaotic (see opening seconds of "Severin" for complete and utter chaos) on this album would be a completely sound statement but they are also able to lock into a groove and create approachable songs (most notably in the album's second track "Die Slow"). However, the whole marching/driving/relentless drumming becomes mundane during the album's later tracks (plus the addition of squealing vocals/feedback doesn't much help) which all culminates in the previously mentioned (and oddly included) final song. Fans of early Deerhunter as well as Animal Collective will enjoy HEALTH's use of repetition and echoey (and indecipherable) vocals but all others who found those (wholly pretentious) bands not to their liking will do best to steer clear of this one.

3.2/5.0

HEALTH - Get Color

Havoc - From Now On

Although Mobb Deep is on a kind of hiatus (with co-member Prodigy serving a three and a half year jail sentence), that has not stopped Havoc from remaining creative. His latest effort is a mixtape entitled From Now On that explores the same street themes common of every Mobb Deep release over the past fifteen years (violence, drugs, ladies, being a target, inevitable death). While some tracks are downright lame (a whole song about making a sex tape!?), things are short and tight throughout ("That's How You Feel" might be the hottest 77-second track ever) with some tracks lasting just long enough for Havoc to drop a verse. Short on guest appearances (except the last few tracks which are pulled from other releases), this also helps to keep things moving along. Although it is a Havoc release, there are still moments in which he acknowledges his partner ("Letter to P") and prove that although the Mobb Deep career has been full of ups and downs, this is a smooth little mixtape to add to their overall catalogue.

Havoc - From Now On

Hail Mary Mallon - "D-Up"

Definitive Jux has for years been acknowledged as a true underground hip hop label who takes pride in being described as such. And for the length of his career Aesop Rock has been part of that movement (underground, only with Def Jux for last few years). Known for his complex and way-far-out lyrics (which at times makes you feel stupid for the fact that you have no idea what he is talking about), he has regularly produced material as a rapper and lately as a producer (most recently it was released that he will take the boards for the latest Slug/Murs Felt installment). Regardless, he has a great flow and an unmistakable voice. Here he has teamed up with Bronx's Rob Sonic (who revels in the same kind of thought-provoking, mind-bending lyrics that Aesop subscribes to) to create the duo Hail Mary Mallon. Although with no official release (EP or otherwise), their first single can be found on the Definitive Jux Presents...Vol. 4. It's the trip you'd expect from these two ace lyricists and the video is just as far out as their rhymes.

Future of the Left - "The Hope That House Built"

Welsh band Future of the Left's second album Travels With Myself and Another has been a standout of 2009. The short, yet excellent, album rips through its running time with a punk-like intensity but surrounds itself in a more alternative/indie environ. A quickly paced album (except for the acoustic, tongue-in-cheek closer "Lapsed Catholics") full of jagged rhythms and surprisingly sensitive lyrics, Travels gives listeners a number of different impressions on it's style (which all point to "well done"). This video for the single "The Hope That House Built" is a march-like track set in the perfect setting for these lads: a bar. Fully of odd imagery and aptly casted locals (giving a nice impression of the attractiveness of folk of Wales) the song bounces along and is catchy as hell.

Big Sean - U Know Big Sean - Finally Famous Vol. 2

G.O.O.D. Music's (Kanye's label) Big Sean has made appearances here and there; most notably on tracks by fellow labelmates such as West and Consequence. With a debut on the horizon, Big Sean's latest (and second) mixtape displays exactly why Kanye would want him on his label; they are nearly the same lyricist. Both are absurdly braggadocious, both have a laidback drawl/flow, each is witty with their analogies/general wordplay, and both share the same interests, ie. money, women, and flaunting the fact that they have them (or in the process of obtaining $$ or women). With a number of snippets (of the upcoming album), freestyle moments and spoken word/skit interludes, the album is all over the place. But as an artist (and a talented one at that), a lot is to be expected in his debut album.

Big Sean - U Know Big Sean - Finally Famous Vol. 2

jj - "Ecstasy"

The debut by Swedish jj has received positive reviews across the board. The album borrows from a number of different genres but does so in a slow, almost trip-hop-like way. Upon a listen, jj no 2 is little more than a good chillout offering (imagine a "chill" album from something whose cover art looks like this). But there was one moment that stuck out immediately early on, it was a pop-sounding synth running on 1/8 notes with an all too recognizable bass/drum line. And anyone who even walked by a bar/club or listening to any sort of top 40 radio station during the summer of 2008 will also recognize it; Lil Wayne's (ugh) "Lollipop." By immulating the track (with dreamy vocals which still manage to keep the party theme intact), it is pretty sweet how such a club song could be both: a dreamy piece of indie pop as well as have enough of a beat to keep heads bouncing.

Destroyer - Bay of Pigs

With a slew of albums under Dan Bejar's belt via different outlets (Destroyer, New Pornographers, Swan Lake, Hello Blue Roses), it is safe to say that Destroyer is all his. Over the course of Destroyer's career (Bejar), he has embraced a kind of indie rock/pop all his own. With a trademark voice (soothing, yet powerful) the albums have been a steady run of similar styles as well as themes. The Bay of Pigs EP takes Destroyer in a whole different direction entirely. Although labeled as an EP, this is more a less a single (released as a '12 vinyl, two tracks) but the kicker is that the title track runs nearly fourteen minutes with the accompanying "Ravers" approaching eight. But forget about "Ravers" (it is a passable track all together) for the true masterwork here is "Bay of Pigs." Shifting from an ambience-y intro and moving through disco-esque drums, rolling synths, lightly strummed acoustic guitars and coming full circle around for a eerie ambient driven outro, the track is a true piece of art. Throughout all the shifting phases, Bejar sings of life and love while highlighting the ups and downs of each. As a single track, it's long, pretentious, and, well, long but as a work of (musical) art, it is a triumph.

4.6/5.0

Destroyer - Bay of Pigs