Sleepy SunFeverATP Recordings (2010) Genre: IndieRating: B+ Call it all-embracing, contemporary white-boy blues, or call it some hippie jam band that has their shit together, but they just call themselves Sleepy Sun. This San Francisco six-piece has released its second album, Fever, with nine earthy tracks rooted in enough soul that not even Peter Venkman can contain it. What fuels this musical machine are the vocal compliments of Bret Constantino and Rachel Fannan. Their male/female harmonizing on “Rigamaroo” brings an element that is rare in the muck of all the auto-tuned yowling that usually floods the ears these days. Tracks like “Ooh Boy” ignite a grace typically found in old country and gospel tunes, yet you’re receiving it without Catholic guilt or Christian piety. “Desert God” switches to an epic nature, like attempting to score a thunderstorm. The track pokes lightly for a spell until the drums fall like brimstone with a harmonica solo that honestly shreds; those two quickly sit on low heat so as to reign in the might of some hefty guitar work. From there, we’re privy to bass lines that hum like a a power plant (“Freedom Line”) and tribal percussion that could make any heathen dance like the devil (“Marina”). “Sandstorm Woman” closes the album with the feel of a smokey jazz lounge hidden away in some dingy back alley that panders to crowds rolling on psychedelics. Besides a stretch of abrasive guitar effects, this ender wraps up all of Sleepy Sun’s angles. Fever is an album that flows so sweetly it seems to be over before it begins—even though your ears have been blessed for the better portion of an hour. -Sean McCoy Listen:“Open Eyes” Sleepy Sun on Last.fm

Sleepy Sun
Fever
ATP Recordings (2010)

Genre: Indie
Rating: B+

Call it all-embracing, contemporary white-boy blues, or call it some hippie jam band that has their shit together, but they just call themselves Sleepy Sun. This San Francisco six-piece has released its second album, Fever, with nine earthy tracks rooted in enough soul that not even Peter Venkman can contain it.

What fuels this musical machine are the vocal compliments of Bret Constantino and Rachel Fannan. Their male/female harmonizing on “Rigamaroo” brings an element that is rare in the muck of all the auto-tuned yowling that usually floods the ears these days. Tracks like “Ooh Boy” ignite a grace typically found in old country and gospel tunes, yet you’re receiving it without Catholic guilt or Christian piety. “Desert God” switches to an epic nature, like attempting to score a thunderstorm. The track pokes lightly for a spell until the drums fall like brimstone with a harmonica solo that honestly shreds; those two quickly sit on low heat so as to reign in the might of some hefty guitar work.

From there, we’re privy to bass lines that hum like a a power plant (“Freedom Line”) and tribal percussion that could make any heathen dance like the devil (“Marina”). “Sandstorm Woman” closes the album with the feel of a smokey jazz lounge hidden away in some dingy back alley that panders to crowds rolling on psychedelics. Besides a stretch of abrasive guitar effects, this ender wraps up all of Sleepy Sun’s angles. Fever is an album that flows so sweetly it seems to be over before it begins—even though your ears have been blessed for the better portion of an hour.

-Sean McCoy

Listen:
“Open Eyes”

Sleepy Sun on Last.fm

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Hear Two New Arcade Fire Songs

The music world is always thinking up new ways to premiere music, so as to get the edge on your ever-assaulted ears, but this may take the cake. Somewhere in Glasgow, Scotland a double-sided white-label single was uncovered by one Chris Ward, preceding any official announcement or availability of two new songs from the epically minded Canadian indie-rock troupe, Arcade Fire.

“The Suburbs” and “Month of May” made their debut via BBC Radio 1, and were subsequently radio ripped for your convenient listening pleasure. We’re going to save any in-depth comments on the music for when official releases are made, but we’ll go ahead and say, Arcade Fire seems to be getting a bit back to is roots while keeping a mind on the stadium-sized sounds they love so much.

Listen to Arcade Fire’s “The Suburbs” and “Month of May” on OneThirtyBPM, here.

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The NationalHigh Violet4AD (2010) Genre: IndieRating: B  Most people either love The National’s ability to write a song that subtly—though somewhat predictably—swells from a quiet, minimal place to a louder, busier still mostly minimal place punctuated by brass and slick drum fills or are completely bored by the sometimes lackluster crescendos, Matt Berninger’s monotone voice, and his overly melodramatic lyrics. You could belong to one of those camps, or like me, you could reside near the fence, comfortably and a bit shamefully in the middle. There is something to be said for not conforming after being widely chastised by some with the “generally boring” criticism. The band is making the music that they want to make, whether we all love it or not. High Violet is the latest example of The National putting naysayers in a box, forgetting about them, and continuing to do what it does best. It’s a record that’s full of beautiful progressions and skillfully executed instrumentation, even if most of the songs do follow a pattern of beginning simply and building up to endings heavy with layers, textures and little bits of muted chaos. High Violet is also a record of completely depressing lyrics that are, at times, almost moaned into the microphone by Berninger. Such is the case on “Sorrow,” as he repeats in his most sorrowful tone, “I don’t want to get over you/I don’t want to get over you.” This is also no different from The National that we have known in the past, and those who love the band might say that they knew what was coming all along and that they’re into it. Maybe they love getting totally bummed out, which is fine, but others might say that this dude needs to get out in the sun for a while and lighten up. Both sides might be on to something. In the end, I can see where the haters are coming from, and I tend to agree with them on a lot of points, but I can’t help but like this band and this record in spite of it all. Whether it’s stronger than 2007’s Boxer—it might be. High Violet features a band that is more confident than it has ever been, which is shown in the album’s consistent and polished sound. The National is definitely getting better and better at what they do, even if what they do isn’t for everybody. -Todd Miller Listen:“Bloodbuzz Ohio” The National on Last.fm

The National
High Violet
4AD (2010)

Genre: Indie
Rating: B 

Most people either love The National’s ability to write a song that subtly—though somewhat predictably—swells from a quiet, minimal place to a louder, busier still mostly minimal place punctuated by brass and slick drum fills or are completely bored by the sometimes lackluster crescendos, Matt Berninger’s monotone voice, and his overly melodramatic lyrics. You could belong to one of those camps, or like me, you could reside near the fence, comfortably and a bit shamefully in the middle.

There is something to be said for not conforming after being widely chastised by some with the “generally boring” criticism. The band is making the music that they want to make, whether we all love it or not. High Violet is the latest example of The National putting naysayers in a box, forgetting about them, and continuing to do what it does best. It’s a record that’s full of beautiful progressions and skillfully executed instrumentation, even if most of the songs do follow a pattern of beginning simply and building up to endings heavy with layers, textures and little bits of muted chaos.

High Violet is also a record of completely depressing lyrics that are, at times, almost moaned into the microphone by Berninger. Such is the case on “Sorrow,” as he repeats in his most sorrowful tone, “I don’t want to get over you/I don’t want to get over you.” This is also no different from The National that we have known in the past, and those who love the band might say that they knew what was coming all along and that they’re into it. Maybe they love getting totally bummed out, which is fine, but others might say that this dude needs to get out in the sun for a while and lighten up. Both sides might be on to something.

In the end, I can see where the haters are coming from, and I tend to agree with them on a lot of points, but I can’t help but like this band and this record in spite of it all. Whether it’s stronger than 2007’s Boxer—it might be. High Violet features a band that is more confident than it has ever been, which is shown in the album’s consistent and polished sound. The National is definitely getting better and better at what they do, even if what they do isn’t for everybody.

-Todd Miller

Listen:
“Bloodbuzz Ohio”

The National on Last.fm

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The Black KeysBrothersNonesuch Records (2010) Genre: IndieRating: B+ Brothers is both the longest and the strongest LP The Black Keys have released thus far, which is surprising. Most people would say that stripped down, duo-born bluesy rock doesn’t really work in large doses, especially when approaching the hour mark. But for whatever reason, this band has seemed to carry an enduring individualism that none of the White Stripe knockoffs have been able to replicate. Dan Auerbach and Pat Carney’s sound is familiar, chunky FM-rock, laced with gospel, roots-R&B, and, of course, the blues, about jail time and misguided sexual conquests. But nobody pulls it off quite like The Black Keys do. Brothers is an album full of potential singles; it honestly sounds like a greatest hits compilation and spans every sound the Keys have ever experimented with. Opener “Everlasting Light” is a rumbling track reminiscent of “Spirit in the Sky,” with Auerbach adopting a soprano, saloon-door church choir impression. “Black Mud” is the obligatory garage-jam instrumental, perfect for ending side A or starting side B. There’s no “Strange Times”-esque jammer or anything else born for hyperactive radio play. Brothers is a distinctly slow-paced album that lurches—rather than blazes—across its 15 tracks. Despite the constant outpour of, you know, great songs, Brothers also works really well as a record. It’s sprawling and sonically diverse, of course, but these songs rely on each other for their impact. It’s something we hardly ever see in rock music today, and it makes perfect sense that a band as elementally awesome as The Black Keys would revive it. -Luke Winkie Listen:“Tighten Up” The Black Keys on Last.fm

The Black Keys
Brothers
Nonesuch Records (2010)

Genre: Indie
Rating: B+

Brothers is both the longest and the strongest LP The Black Keys have released thus far, which is surprising. Most people would say that stripped down, duo-born bluesy rock doesn’t really work in large doses, especially when approaching the hour mark. But for whatever reason, this band has seemed to carry an enduring individualism that none of the White Stripe knockoffs have been able to replicate. Dan Auerbach and Pat Carney’s sound is familiar, chunky FM-rock, laced with gospel, roots-R&B, and, of course, the blues, about jail time and misguided sexual conquests. But nobody pulls it off quite like The Black Keys do.

Brothers is an album full of potential singles; it honestly sounds like a greatest hits compilation and spans every sound the Keys have ever experimented with. Opener “Everlasting Light” is a rumbling track reminiscent of “Spirit in the Sky,” with Auerbach adopting a soprano, saloon-door church choir impression. “Black Mud” is the obligatory garage-jam instrumental, perfect for ending side A or starting side B. There’s no “Strange Times”-esque jammer or anything else born for hyperactive radio play. Brothers is a distinctly slow-paced album that lurches—rather than blazes—across its 15 tracks.

Despite the constant outpour of, you know, great songs, Brothers also works really well as a record. It’s sprawling and sonically diverse, of course, but these songs rely on each other for their impact. It’s something we hardly ever see in rock music today, and it makes perfect sense that a band as elementally awesome as The Black Keys would revive it.

-Luke Winkie

Listen:
“Tighten Up”

The Black Keys on Last.fm

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Listen to a Bunch of New Albums Now

We’d like to think that record labels are becoming generous and thoughtful with age, but it’s more likely that they offer their latest releases for full streaming weeks before the release dates to combat against you whippersnappers trying to download something for nothing. Regardless, right now over on AOL Spinner you can listen to a whole lot of new, as-yet-unreleased albums, some of which are pretty great.

Among the list of available titles, web surfers will find Broken Social Scene’s Forgiveness Rock Record, Holy Fuck’s Latin, Minus the Bear’s Omni, The Hold Steady’s Heaven is Whenever, Booka Shade’s More, and Rusko’s O.M.G.!. Listen to those albums, among many others, over here. Enjoy!

pictured Rusko

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High on FireSnakes for the DivineE1 Entertainment (2010) Genre: IndieRating: B A little bloodletting, crashing war hammers, and dark religious imagery keeps the world a-turning. If you disagree then you’re probably not a fan of metal, and High on Fire’s Snakes for the Divine won’t agree with your easily upset musical stomach. The heavy output this Oakland trio smash onto their listeners sits upon a throne in comparison to the many modern metal acts that don’t believe in solos, throw singsong choruses in their songs, or think oversaturation via breakdowns is healthy. High on Fire know that metal needs to be loud, evil, and something chanted by an approaching army of Satan’s legion. “Four thousand years of mystery surrounds the signs / the children scream aloud when pain and guilt align.” Don’t try to deny these lyrics. Given, many lines on this album are meant to draw images from your mind and not emotions per se, but that responsibility was rightfully claimed by the guitars and drums. All of the sweeping riffage and inimitable finger-work on the solos meld so well with the other instruments that it’s hard to really call them “solos” because they fit so elegantly into the whole sound. The drumming on Snakes’ title-track is such a succulent example of the kind of rolling percussion featured on the record; it feels more like punctuation for each word and sentence than just rhythmic timing. It can be said that the more psychedelic, or “stoner,” qualities that have made High on Fire its own entity (2007’s Death Is This Communion being the required listening) are somewhat lacking on Snakes for the Divine, but tracks like “Bastard Samurai” and “How Dark We Pray” easily fill that void. Besides, frontman Matt Pike’s rasp is nothing less than the American equivalent of Lemmy—soaked equally in cigarettes and cheap booze, and spewing forth rumors of war amidst true, seething metal. -Sean McCoy Listen:“Snakes for the Divine” High on Fire on Last.fm

High on Fire
Snakes for the Divine
E1 Entertainment (2010)

Genre: Indie
Rating: B

A little bloodletting, crashing war hammers, and dark religious imagery keeps the world a-turning. If you disagree then you’re probably not a fan of metal, and High on Fire’s Snakes for the Divine won’t agree with your easily upset musical stomach. The heavy output this Oakland trio smash onto their listeners sits upon a throne in comparison to the many modern metal acts that don’t believe in solos, throw singsong choruses in their songs, or think oversaturation via breakdowns is healthy. High on Fire know that metal needs to be loud, evil, and something chanted by an approaching army of Satan’s legion.

“Four thousand years of mystery surrounds the signs / the children scream aloud when pain and guilt align.” Don’t try to deny these lyrics. Given, many lines on this album are meant to draw images from your mind and not emotions per se, but that responsibility was rightfully claimed by the guitars and drums. All of the sweeping riffage and inimitable finger-work on the solos meld so well with the other instruments that it’s hard to really call them “solos” because they fit so elegantly into the whole sound. The drumming on Snakes’ title-track is such a succulent example of the kind of rolling percussion featured on the record; it feels more like punctuation for each word and sentence than just rhythmic timing.

It can be said that the more psychedelic, or “stoner,” qualities that have made High on Fire its own entity (2007’s Death Is This Communion being the required listening) are somewhat lacking on Snakes for the Divine, but tracks like “Bastard Samurai” and “How Dark We Pray” easily fill that void. Besides, frontman Matt Pike’s rasp is nothing less than the American equivalent of Lemmy—soaked equally in cigarettes and cheap booze, and spewing forth rumors of war amidst true, seething metal.

-Sean McCoy

Listen:
“Snakes for the Divine”

High on Fire on Last.fm

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Hear Two New Arcade Fire Songs
Listen to a Bunch of New Albums Now

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