Rubblebucket

Omega La La

Sin Duda Records.

On first listen, this band sounds like the Dirty Projectors. But they are cold, cocky, calculating fish, and Rubblebiucket has too much heart, soul, fun, love, joy, and modesty to be like them. Instead this album is a really mellow version of the B’52’s. Not the B’52’s of the late 70s and early 80s with classics like “Rock Lobster,” and “My Own Private Idaho,” but the mature band who wrote classics like “Love Shack” “Song for a Future Generation,” “Roam” and the album Funplex.

When lead singer Kalmia Traver sings a line like “you came out of a lady, oh!” it’s pure happy fun, B’52’s style. On “Silly Fathers,” the band argues they’re not sane, secure, mysterious, just a “chromed up, lubed up image of ourselves” they simply means that don’t take themselves too seriously. And even when their songs are sad like “Triangular Daises” the sweetness of the band shines through anyway, making the songs bittersweet.

This is a blast of a full-length debut. Dancing and thinking, it’s all the same to Rubblebucket, just like the B’52’s do. It’s delightful, and loads of good natured fun to listen to. May they dance and think like this forever. [https://extramusicnew.wordpress.com/tag/sin-duda-records/]

Andrea Weiss

Fucked Up

David Comes to Life

Matador Records

The structure of these 18 songs are formally pop: verse, chorus verse, and very melodic. But the huge amount of noise in this pop is more like Husker Du’s brand of barrage, especially like the Du’s classic album Zen Arcade than hardcore. The vocals may be bellowed like Bob Mould’s, but there is also an element of un-Mould like screaming.

Another way David Comes to Life resembles Husker Du is lyrically: Zen Arcade was about a young man leaving home to face a hostile world, and on both albums the lyrics are surreal. Another album with rather surreal lyrics, but also experiential power pop, was Game Theory’s Lolita Nation. There the theme was a young man coming of age in an increasingly plastic world. So yes, Fucked Up’s new album is something of a concept album. The concept here is love, death, and starting over. A young man named David has a dead end job in a light bulb factory in a small British town, and he falls in love with a woman who is a rabble rousing communist. The woman dies in an explosion or terrorist attack, and David is devastated. He plots revenge, but also meets another woman who he falls in love with. This puts an end to his plan of revenge, and he also realizes that things are okay now. He can still love, so everything is fine, and life goes on. The narrative is very loose, the band doesn’t even know how the story ends, but it works very well. As does the music, the wonderfully sprawling, life- and love-infused music which never quits being positive, just like the lyrics. David Comes to Life indeed. He leaps out of the songs, and tells his bracing story, grins when he gets to the end, confident he’ll leave listeners smiling, happy, and cheering him on. [www.myspace.com/epicsinminutes]

And here is a mini documentary about the band. [http://youtu.be/3dYWof3QZbQ]

Andrea Weiss

Thurston Moore

Demolished Thoughts

Matador Records

Moore’s new solo album is quieter, softer, and gentler than his last solo outing Trees Outside the Academy. With acoustic guitars, violins, and many other muted instruments, the form is simple. Moore’s lyrics are clearly about relationships, including “Circulation” which may be about how much he loves Kim Gordon.

The mood could be described with adjectives that are rarely used about Thurston’s albums or indeed Sonic Youth: soothing and comforting. It’s like having a deeply felt, long conversation with a good friend, who is also a good listener. And it is that which turns Thoughts from sounding like a great follow up to Trees, to something more stunning. His last solo album was great. too. The understated emotions here are sweet and wonderful, usually that wouldn’t be associated with Moore or Sonic Youth. If the album sounds melancholy in places, that just adds to its meaning….kind, loving, caring and even a bit cheery. It’s lovely. [www.matadorrecords.com/mpeg/thurston_moore/thurston_moore_benediction.mp3]

Andrea Weiss

Friendly Fires

Pala

XL Recordings

Pala is an excellent updating of the new romantic movement. Duran Duran seems to be the source the band draws on the most. However, Duran Duran wrote better lyrics, whereas Friendly Fires dosen’t cut any deeper than, say ,Naked Eyes. This makes Pala wonderful as light entertainment, and great for the dance floor. So put this on, do the twirl, and just feel good all over. [www.wearefriendlyfires.com]

Andrea Weiss

The Shivers

More

Silence breaks Records

If Rufus Wainwright had been influenced by indie and garage rock, rather than opera and his parents’ folk music, he would have been the Shivers, the duo Keith Zarritllo (vocals and guitar) and Jo Schornikow (keyboards) from Queens NYC.

They have released four albums, More being their latest, since they formed in 2001. Using their savings to record in an analog studio in Manchester, England, they serve up ten tasty songs steeped in garage and indie rock, with a bit of Leonard Cohen-style writing for extra lyrical content. A really good album, with a lot of charm, smarts, and musical action. Solid all the way around, and a lot of fun to listen to. [www.silencebreaks.com]

Andrea Weiss

Pantha Du Prince

XL Versions of Black Noise

Rough Trade Records

This album reworks 2010's Black Noise into straightforward amibient techno, ready for the dance floor. It's a relief from the original's clattering rhythms and clunky melodies.

The best remakes on this collection are Four Tet’s version of “Stick to My Side,” and Animal Collective’s version of “Welt Am Draht .” They are the best ones for dancing and "Welt Am Draht" is also good meditation music. It's the best composition here.[http://promo.roughtraderecords.com/panthaduprince/ANomadsRetreat_TheSightBelowversion.mp3]

Andrea Weiss

Micachu and The Shapes

Chopped and Screwed

Rough Trade Records

The band's off-kilter melodies are the saving grace of this collaboration between Micachu and The Shapes and the London Sinfonietta. These are melodies that keep the music from going off the rails. There is more dissonance than usual for modern classical music, and it brings the music to a screeching halt.

These melodies are a tribute to the woozy, codeine-infused music of a Houston DJ named Screw, who died of a codeine overdose 11 years ago. They are also the curse here. Classical music, even modern music, hip-hop, and the art pop of the Shapes don’t mesh. They are apples and oranges. Since this is a recording of a concert, perhaps seeing the performance live would have helped. The recording as it stands works best as a great way to end an annoying party. This music will clear a room in one minute flat. For that matter, the most important lyric here is: “Even if I turn my back/twist my head until I snap.”

[http://promo.roughtraderecords.com/micachu/everything.mp3]

Andrea Weiss

The Unthanks

Last

Rough Trade

On their new album, Rachel and Becky Unthank (their real name) add a bit of prog to their musical mixture of contemporary and indie folk. Prog not in the sense of Jethro Tull, but more early Strawbs, the quieter side of Elbow, and a dash of “Carpet of the Sun” era Renaissance, of that band wrote gloomy, not happy, songs. . It is very gentle, but with much sadness, like walking on a cloudy day, but with no rain forecast. It is also magical, and even oddly pretty.

Their lyrics have the same gentle sadness, whether they are talking about star-crossed lovers, or lords and ladies. For all of that , there is a sense of hope. Wait until things get better, move on to a better place, and never give up. And the magic that is in the music, is also in the lyrics, making this album breathtaking,, and a very worthy follow up to their last album Here’s the Tender Coming. [www.the-unthanks.com/music]

Andrea Weiss

Tune Yards

Whokill

4AD Records

Merrill Garbus is Tune Yards, and her great debut, combined found sounds like the foghorn on the Martha’s Vineyard ferry, with the ukulele and her voice, using a cheap vocal recorder and shareware recording software. On her new album, the found sounds and the ukulele are still there, but she recorded in a studio with a producer, who polished up the basic sound. Together they, and people she brought into the recording process, fashioned an album that is just as good as the debut.

While the core of the sound is still folk/rock you can dance to, this album is even better. The beats zing all over the place, but also you can sit and contemplate the lyrics just as on the debut.

While the debut was mostly love songs, the left-wing political undercurrent was muted. Not so on this album. Garbus’ feminist, warm, kind, smart, common sensible, tough left wing politics are reminiscent of Ani DiFranco’s 90’s work, before it curdled into a smug, obnoxious, cynical, self-righteous act. Garbus is a breath of fresh air. Here are politics and music that are fun, cool, witty, and just right for dancing, or thinking. A great album. [www.tune-yards.com]

Andrea Weiss

Cold Cave

Cherish the Light Years

Matador Records

This is a brilliant fusion of Siouxie and the Cure, with a bit of New Order and Joy Division mixed in for detail, coloring and shading. Bandleader Wesley Elsold even sounds a bit like a deeper voiced Robert Smith. Cold Cave has the same musical drive, flow, and fullness as the best Siouxie/Cure tracks, but not as goth lyrically. It is also very poetic, since Elsold has published his poetry with Heartworm Press.

Lyrically the album looks back on where Elsold has been, and where he’s going, it is inspired by his move to New York, and the nighttime walks he took soon after moving to the city. The urban feel of these songs shines in “Underworld USA,” “Icons of Summer,” and the album’s best track “Catacombs.”

The album isn’t perfect. The last three tracks’ energy level flags, and there is a whiff of cheese on “Confetti,” which sounds as if it could have come from the first Till Tuesday album. Nevertheless, this is very good album, one that looks both fondly back on the 80s musically, and forward lyrically, which is a great combination. [http://coldcave.net]

Andrea Weiss

Alela Diane and Wild Divine

s/t

Rough Trade

Musically, this is a wonderful fusion of Neko Case’s more recent work, and what Katrina and Nerissa Nields were doing on their album Sister Holler. It’s rich, and full bodied, quiet, and understated, that can be a bit surreal at times, and in the end, succeeds nicely.

Lyrically Diane combines poetic imagery that is a bit off kilter, very moving, full of love and life, death and dreams. But her writing is never dark, never mournful, just a message that life goes on, maybe not as expected. Live it as best as you can.

This album is a big improvement over Diane’s debut, To Be Still, where she sketched the rough outlines of what was to come, and not much beyond that. On her new one she comes into her own. It’s wonderful, it’s thrilling, and all great. [www.aleladiane.com]

Andrea Weiss

Dinosaur Bones

My Divider

Dine Alone

Sounding some what like the Walkmen and Chavez, but not enough to be called a clone, this Canadian band’s debut album is alive with finely wrought guitar playing, smart lyrics about relationships, and an overall sound rendered cleanly enough to make the band shine. A very good debut. [www.facebook.com/group.php?gid=21774254304]

Andrea Weiss

Kurt Vile

Smoke Ring For My Halo

Matador Records

Vile’s second album is quieter than his debut Childish Prodigy. He’s still tough, still snarling, and still laid back. But now this all sounds different. He’s older, confident, and happy. The brilliant “In My Time” says as much. There is kindness now, a gentleness, and love, for his sister, his girlfriend and for the world. And he has seen more of the world. “Peeping Tomboy” makes that clear. When he finds a scene where he admires the tomboy, but knows he’s not wanted, he splits.

Vile’s guitar playing could be compared to Leo Kottke. He has the same sense of fun and adventure as Kottke, but Vile’s playing is more thoughtful, solemn and, in spots, wiser. Most of this album is Vile solo acoustic. When his band the Violators show up, the rock they produce is muted, and that is perfect here. Taking all three together, this album is wonderful. It’s a big step forward for Vile, and a thrill to listen to. [www.myspace.com/kurtvileofphilly]

Andrea Weiss