MeWithoutYou, "Ten Stories"

Wow, am I late to the party. MeWithoutYou's debut record was released 13 years ago, but I have only become engrossed in their catalog over the past week. But, as the saying goes, it's better late than never. These guys are immensley talented. MeWithoutYou first emerged in the Christian hardcore scene, and become known for their dark, heavy instrumentals that backed lead vocalist Aaron Weiss's distinctive, frantic shout/screaming vocal delivery matched with lyrics that were very introspective and 'wordy'. But over the years, MeWithoutYou's sound evolved into something more reminiscent of indie folk (Neutral Milk Hotel, The Mountain Goats), with hardly a trace of the hardcore and emo that helped them amass their devoted fan-base. Perhaps the alienating of their original fans made MeWithoutYou feel guilty, because the band decided to incorporate their hardcore roots into their music again on their latest album, 2012's Ten Stories. This is a truly compelling album that mixes loud, distorted guitars and traditional folk music that could almost pass for a children's album if not for the occasional screaming and dark lyrics of Aaron Weiss. Lyrically, Ten Stories is a concept record about a circus train crash in 1878. Each song tells a story about a circus animal's experience in the circus and in the aftermath of the disaster. Mostly told in first person, the songs are extremely detailed and authentic. Even though Weiss is talking through characters, his words somehow don't sound any less personal than they did in the band's early days when he wrote songs about battling his own personal demons. The chorus of the indie-pop influenced track "Cardiff Giant" may be a conversation between a peacock and a tiger, but when Weiss belts out "I often wonder if I've already died", the intensity of his delivery along with the powerful words makes you contemplate if perhaps this is a personal record doubling as a story about talking animals. Another highlight on the album is "Nine Stories", which starts out as a dark, subdued folk song, but suddenly transitions completely into a stomping rocker. This experimentation with song structure is also a welcome addition to MeWithoutYou's sound. This is a band that is always looking for ways to do things differently, and it shows on this record more than ever. MeWithoutYou have recently announced that they will be releasing a new LP this year, and after hearing the blending of different genres and compelling storytelling on Ten Stories, I can't wait for it.



Click here to listen to "Cardiff Giant"

Kendrick Lamar, "The Blacker the Berry"

It's a popular belief amongst hip-hop fans that after the 90's, the quality of hip-hop music has gone downhill. Within the past ten years or so, glorification of gang culture, misogyny, drugs and alcohol has been extremely present in mainstream hip-hop music. Artists such as Public Enemy, A Tribe Called Quest, Common, and Nas were among heavyweights from the late 80's to the mid 90's. These rappers focused on positive messages of empowerment (especially for the black community) as well as sharp critiques of American ideology. Of course, this music still existed after the mid 90's, despite not being part of the mainstream rap scene. But in 2012, Kendrick Lamar's major label debut good kid m.A.A.d. city took the music world by storm. The album is a concept record that takes place over the period of one day in the life of a 16-year old Kendrick Lamar. It vividly describes the peer pressure that many inner-city kids feel growing up around gang culture. The descriptive, emotional lyrics combined with the soulful beats and irresistible hooks have propelled "intelligent" hip-hop to be "cool" again to a certain extent. Anyone who follows hip-hop music has certainly heard of Kendrick Lamar and his impressive breakthrough album. Now, in 2015, the pressure is on Kendrick to deliver a new album as great as good kid m.A.A.d. city. Kendrick could choose to rely heavily on his catchy hooks and become a bona fide pop-star, or he could focus on his ability to skillfully rap about social issues and become something greater. On his newly released single "The Blacker the Berry", Kendrick makes as blatant social statement that proves that he is much more than a pop-star. He is a very intelligent rapper who truly cares about the message of his music. On this song, Kendrick raps aggressively over an urgent guitar-sampling beat courtesy of Boi-1da. He begins each verse by saying "I'm the biggest hypocrite of 2015", but goes onto rap about how proud he is to be part of black culture. He takes many racial stereotypes but showcases them in a positive way. One subtle hypocrisy that he may be alluding to is the dissonance between his celebratory lyrics and angry vocal delivery. It is confusing at first, but in the second verse, he goes on to eloquently attack racists who look down upon his culture. His observations show that many times, it is the white-dominated American society whose judgments may keep the perpetuation of gang violence alive ("I'm irrelevant to society / at least that's what you're telling me / penitentiary would only hire me", "church me with your fake prophosizing / that I'mma be just another slave in my head.")  And on the third verse, Kendrick initially switches back to celebrating his black heritage. But at the song's end, he finally reveals why he considers himself to be a hypocrite. He violently spits "Why did I weep when Trayvon Martin was in the street / When gang-bangin' made me kill a n---- blacker than me? Hypocrite!" Naturally, some people have been offended by these lines. Many people have misconstrued these shocking lyrics as Lamar taking the side of the predominantly white groups of Americans who have denied police brutality against minorities. But Lamar has actually been strongly advocating against brutality, and has been vocal about his support for Mike Brown, Eric Garner, and all other victims of police brutality. The overall message is that all forms of violence should not be tolerated. He makes it very clear in the second verse that the way many whites judge and treat black Americans is NOT morally correct in any circumstance. That being said, he feels that if predominantly black inner-city gangs did not kill each other, then certain white officers might not judge every other black American in such a way. Despite it's aggressive nature, I believe this song is essentially a call for peace on all parts of the spectrum. And whether or not you agree with the song's message, it's undeniable that this is the most blatantly political and thought-provoking song that mainstream hip-hop has seen in quite some time. It is also worth noting that the song does not feature a traditional, sing-along chorus like many of Kendrick's previous hits. Instead, the chorus features reggae singer Assassin rapidly firing lyrics such as "they treat me as a slave, 'cause me black / we feel a whole heap of pain 'cause we black". Both sonically and lyrically, this chorus does not sound remotely like a song you would hear on the radio on your way to work. While his previous hits were socially conscious to a degree, this song makes much more of a poignant statement, and sounds much less like a typical pop song. I truly hope that Kendrick's newfound superstar status will cause the mainstream audience to embrace music with a message. I desperately do not want his lyrical boldness and sonic experimentation to cause the mainstream hip-hop audience to turn a blind eye to his new music, because this is the type of hip-hop the world needs to hear again.





Click here to listen to "The Blacker the Berry"

Beck, "Morning Phase"

Whether or not you care about the Grammy Awards, chances are you heard about the big 'album of the year' upset. Beyoncé's self-titled video album, which shook the world when it was released unexpectedly on iTunes with no prior announcement in December 2013, was the clear front-runner for the prestigious award. But instead of Beyoncé accepting the honor, the award went to Beck's much less popular Morning Phase album. Beck broke into the mainstream in the early 90's with his quirky folk-rap hit "Loser". Since them, he's had a series of critically acclaimed albums that have covered many genres of music including funk, hip-hop, hard rock, electronica, and on 2014's Morning Phase he showcased yet another new sound. The result is a somber mix of gentle acoustic folk, shimmering indie rock guitars, orchestral flourishes and even a hint of country twang, which shows how much Beck has matured both musically and lyrically since "Loser". But, Beck has not had a mainstream hit since "Loser" in the early 90's, and therefore he has not been in the public eye. Only avid music fans have been aware of Beck's more recent material including Morning Phase, while anyone aware of pop culture surely knows something about Beyoncé's album. Understandably, many people felt that Beyoncé was robbed of an award that she deserved for challenging conventions in the music industry and creating a wildly popular album. One of these people was none other than Kanye West. After almost interrupting Beck's acceptance like he did six years ago to Taylor Swift, Kanye told reporters after the show that "Beck should have given his award to Beyoncé", and that "Beck needs to respect artistry". He also claimed that "if the Grammy's want real artist to come back, they'll need to stop playing with us." I'll admit that I am a big Kanye fan, but I can't support anything he said about Beck. You can argue that Beyoncé's album was a more significant event and therefore deserved the award, but to suggest that Beck is not as much of an artist as Beyoncé is utterly ridiculous. In fact, every song on Morning Phase was written and produced entirely by Beck himself. Beck played many instruments himself and only had friends help out when needed, and recorded the album in his own home. If this is not pure, original artistry, than I don't know what else is. Beyoncé's record did showcase some experimentation, interesting production, unconventional song structures, and lyrical risks. But it's credits also boast the names of many of the industry's hottest songwriters and producers. I'm by no means saying that Beyoncé is not a 'real' artist and did not deserve the award, but I believe that the home-made nature of Beck's album shows that the Grammy's are respecting artistry.

Click here to watch Beck and Coldplay's Chris Martin perform "Heart Is a Drum" at the Grammy's
Click here to read the Washington Post's report on Kanye West's comments made after the show

Nick Jonas, "Nick Jonas"

After reviewing a couple indie rock records, I think it's time to dig into a pop record. Nick Jonas's debut solo record is probably the most interesting top 40 release of the past few months. Like most people, I first heard his hit single "Jealous" on the radio when I was driving over winter break. After hearing the song a couple times, I couldn't get it out of my head. Not just because of the melody, but because the subject matter is very relatable.  Most people who have been in a relationship can admit to being jealous of their partner at one point or another. And most of the time, it's over something that's plain stupid, especially in the selfie-obsessed digital age we're living in. I thought it was pretty cool that a song on the radio was talking about this new social-media inspired type of jealousy (the lyrics "I wish you didn't have to post it all/I wish you'd save a little bit just for me" seems to be about others liking and commenting on his girlfriend's photos), since most of the time these feelings go unspoken. The combination of the lyrics and the catchy, r&b/pop sound made it stand out to me compared to many other dull songs on the radio. I was very surprised the first time I learned that this song was by a Jonas brother. I honestly don't remember any Jonas Brothers songs, and haven't thought about them in years. But I did know they definitely weren't an r&b band, and I probably didn't have a high opinion of them because of their Disney label. But here I was, appreciating a song by Nick Jonas. I heard the rest of his album a couple weeks ago when a friend of mine bought his record on vinyl. We spun it on my turntable, and the first song impressed us right away. "Chains" is probably my favorite track on the album. It's less r&b than "Jealous", and he actually sounds not unlike a male version of Lorde on this particular song. The drop on the chorus is completely unexpected at first due to the minimalistic verses, and it's pop perfection. While many of the songs on the album aren't as catchy and may be considered pop "filler", there are a couple gems. The uptempo, 80's-sounding "I Want You" adds some variety, and the smooth ballads "Push" and "Warning" are very emotional and well-executed. While I don't particular like every song on the album, it's also not a genre that I listen to very often, which could be why many of the tracks didn't catch my attention. Despite some "filler" tracks, this record is definitely refreshing. If you remember the Jonas Brothers, then I recommend listening to this record. Even if you don't like pop music, you have to admit that the guy can actually sing. He also had a hand in writing most of the material on the album. Overall, Nick's album shows that perhaps the Jonas Brothers weren't a talentless, made-for-TV band after all.

Click here to watch the "Chains" music video!

Why?, "Eskimo Snow"

Okay, so I know I used the word “underrated” in my post about Mimicking Birds' Eons. And trust me, I also get really annoyed when people call any album or song or artist they like “underrated”. But I cannot describe this album without using the word, so I apologize for that. WHY? is probably my favorite band on the planet, along with Modest Mouse. My brother showed me a song by them a couple years ago, and I ended up becoming the one obsessed with all music composed by Yoni Wolf (WHY?’s lead singer/rapper). While fans of WHY? tend to worship their earlier albums Elephant Eyelash and Alopecia, Eskimo Snow is not only my favorite WHY? record, but one of my favorite records period. Eskimo Snow was not well-received by fans when it was released in 2009 because there is no trace whatsoever of the hip-hop sound and electronic experimentation that they became known for. Maybe this doesn't bother me because I didn't listen to WHY? until two years ago, so I already knew that they went on to make the most hip-hop oriented album of their career after this album was released (Mumps, etc.) But whatever the case is, Eskimo Snow is plain underrated amongst WHY?’s own fanbase and in the rest of the indie world. While hip-hop and zany production had previously been integral to WHY?’s sound, stripping these elements away somehow resulted in one of the most beautiful straight-up indie pop/rock records I've ever heard. The melancholy, piano-based opener “These Hands” sets the tone perfectly for the rest of the album. Sad, but still lyrically witty and oddly uplifting. As the album progresses, there are hints of post-rock (“Against Me”), folk (“Even the Good Wood Gone”), and even a loud, Built to Spill - esque 90’s rock tribute (“Into the Shadows of My Embrace”). These are all genres that WHY?’s previous albums never tackled, but they somehow pull it all off with great ease. In some ways, this album proves that Yoni’s signature lyricism can make any WHY? record sound great no matter what the music sounds like. However, it would be foolish to say that the instrumentals don’t contribute to the greatness of this record. Two tracks found near the end of the record, “Berkeley by Hearseback” and the title track “Eskimo Snow”, are two of the most beautiful indie songs by any artist. “Berkeley”, a song about Yoni’s obsession with death, uses a combination of acoustic guitar, piano, xylophone, light percussion, and a touch of gentle electric guitar to create an instrumental that any music fan could get lost in. The lyrics accompanying this astounding piece seem bizarre and maybe even off-putting at first, but after a few listens they make perfect sense. “Eskimo Snow”, the short but reflective album closer, should by all means be an indie classic. It’s similar in vein to Death Cab’s “I Will Follow You Into the Dark”, or even a somber Elliott Smith track. But this simple song hits the core like no other WHY? song (except maybe “Berkeley”) and few other indie songs in general. Yoni’s brief closing statement is the hopeful declaration “I’m still here”, yet he sound more and more worn each time he sings it. This perfectly summarizes the mood of the entire record, making it one of my favorite album closers.

Hopefully this write-up will convince you to check out this largely unrecognized, great record! I could go into much more detail about this album, but I think this post is already long enough…



Click here to listen to "Berkeley by Hearseback"
Click here to listen to "Eskimo Snow"

Modest Mouse, "Coyotes"

Yesterday, Modest Mouse released a second song from their upcoming album Strangers to Ourselves, titled "Coyotes". For those who don't know the whole story about Modest Mouse, I strongly suggest that you go back and listen to their earlier material. Their first three records contain an eclectic mix of overly emotional, scrappy, indie rock (my personal favorite being their third record, the psychedelic Moon and Antarctica). These songs from the late 90's and early 2000's strike a chord with me both lyrically and musically more than most other music out there. When they broke into the mainstream in 2004 with "Float On", which is how many fans including myself discovered them, their style shifted dramatically. While I do enjoy a good number of post-2004 Modest Mouse songs (they were the first ones I discovered, after all), the angst, emotional depth, sheer beauty, and instrumental experimentation that made up their earlier work is blatantly missing from most of these songs. Only two or three of these "newer" Mouse songs are truly on par with the quality of their "older" songs in my humble opinion. Fast forward to 2015, and Modest Mouse has not released a new record in 8 years for unknown reasons. But with the recent announcement of Strangers to Ourselves, Modest Mouse have been coming back into style with their popular new single "Lampshades on Fire". I was a bit disappointed with "Lampshades", although I was honestly not expecting much because I was not impressed with their last record. The funky, dance-rock of "Lampshades" is enjoyable, but sounds very similar to most other songs on their last two records, and nothing like the older material that I've come to love. "Coyotes", however, is a different story. I haven't been this moved by a Modest Mouse song in a very long time. Isaac Brock's lyrics might not be as clever as usual, but he more than makes up for that by using superb imagery against a reverb-heavy wall of guitars that reminds me of my favorite tracks from The Moon and Antarctica. The song's overall soft nature and gentle vocal-line is also a nice change of pace from the majority of tracks on their last record, which featured many frantic songs with 'shouty' vocals. Try not to be heartbroken when you listen to Isaac sadly repeat "and we say we're in love with all of it / and we say we're in love with everything" at the end of the song. It's not a fun song like "Float On" or "Lampshades", but it is overflowing with emotion like the Modest Mouse I love. After hearing this track, I can now truthfully say that I'm excited for the new album.


Click here to watch the "Coyotes" music video and hear the song!

Mimicking Birds, "Eons"

Mimicking Birds is a band that I discovered a few years ago through their connection with Modest Mouse's Isaac Brock. Being a fan of Modest Mouse, I tend to keep up with artists that Brock signs to his label Glacial Pace. Immediately, Mimicking Birds stood out to me for having a sound of their own. The folky, droning psychedelic acoustic looping guitar parts with the gentle yet cynical vocals and lyricism of Nate Lacey makes for what I could best describe as "doom-folk". While many of the songs on their first album Mimicking Birds were very compelling, the pessimism and "droning" quality of the music began to sound a bit repetitive as the album progressed. I was pleasantly surprised when I first heard the lead single from Eons, called "Bloodlines",  over the summer. It is refreshingly different from the songs on their debut. For one, it's happy. "Bloodlines" is just as emotive as many of the brooding songs on their first album, but it actually makes you feel good. Another major difference evident on this track is the addition of delay-drenched electric guitars and prominent electronic effects. Too often, guitar-oriented bands tend to incorporate electronics in an attempt to refresh their sound, but do so by adding distasteful synth-leads and uninteresting drum-machine beats. But Mimicking Birds uses very subtle synth chords that compliment their new use of delayed guitars. The result is a blend of their original subdued "doom-folk" and a prominent, ethereal post-rock sound that work perfectly together. It's very rare for a band to adopt a new sound yet still sound like themselves, but on Eons, they do just that. Even if the new sonic landscape isn't for you, Lacey's detail-oriented lyrics about the universe and life's intricacies are as strong as ever. And while the single "Bloodlines" shows a new, positive side of the band, there's still plenty of darkness on tracks like "Water Under Burned Bridges" and "Wormholes". Even though this record was released in May, 2014, I did not listen to it front-to-back until very recently. But I am very glad that I did, because Eons may be one of the most underrated releases from the past year.


Stream Eons for free here!