Joker

The Vision

4 AD Records

Joker’s roots are in the Bass and Dubstep techno genres, but The Vision is more than beholden to either scene. It includes old-fashioned pop and beats, both good and strong melodies and rhythms, singing that is soulful, lyrics, and raps that are left wing political. “Back in the Days” is a boastful rap. The Vision is a much an album for deep listening on headphones as it is for dancing. All of which make it a wonderful and fun album, and a big reason to cheer on an album so multi dimensional.

[http://4ad.com/artists/joker]

Andrea Weiss

Strange Boys

Live Music

Rough Trade

The title implies a live recording, but it actually is a studio project. And what an excellent, fun record this is. Imagine if the Velvet Underground, at the time they made Loaded, were a blues band. And what if Pavement had played the blues on Crooked Rain, Crooked Rain? And were more mellow than either of those bands. That’s the Strange Boys musically.

As for lyrics, they are wry humored along the lines of “ah yes, that’s life.” This is good-time music for a small gathering of friends, as it’s a little too laid back to be played at a big party. The Strange Boys put a smile on my face with their easy going, rolling blues, and gentle lyrics. I hope they do the same for you. [http://strange-boys.com/

Andrea Weiss

St Vincent

Strange Mercy

4 AD Records

This is an excellent follow-up to Actor, and as good as Actor was, and Annie Clark’s debut Marry Me was, Strange Mercy tops both of them. Clark has found her voice as never before. These strong, confident, songs are a wonder to hear, and delight in.

Her lyrics, while having echoes of Sam Phillip’s The Indescribable Wow, and Hounds of Love-era Kate Bush, are in the end all Clark. While those two albums dealt with having pain, Strange Mercy is about relief from pain. Not that these songs are pain free. They are pretty dark, but the straightforward release she gets from that relief, also make this album her most buoyant. There are also snatches of political commentary here, like on “Cheerleader” which may be about realizing that America is not all it’s cracked up to be, or the line, “America, can I owe you one?” on “Year of the Tiger.” The commentary works because she realizes that there are other things to write about than relationships. It’s very smart.

This is Clark’s most guitar oriented album. She had wanted to be able to play all the songs on guitar, and the guitar playing here attests to that success. She is a fantastic guitarist, and as there still aren’t many woman lead guitarists, it is always wonderful when a woman steps to the front and slams down a bracing solo or riff. Taken together, this is a complete package, and a great one at that. [www.ilovestvincent.com/]

Andrea Weiss

Caveman

CoCo Beware

Magic Man! Records/ORG Music

This NYC band’s wonderful debut sounds like a little like a faster paced, louder Winterpills. Since Winterpills is a fine band in its own right, that Caveman should come up to their level, and in some cases top them with songs that aren’t as dark lyrically, means that Caveman is a band to watch, and who deserves every bit of their buzz.

They also sound a bit like the Dodos’ No Color album, but Stefan Marolachakis’ drums roll smoothly, not clatter around. Matthew Iwanusa’s lead vocals sound natural, and not oh-so-clever. His guitar and Jimmy “Cobra” Carbonetti’s blend together nicely, and the whole band’s harmonies are thrilling to hear. In the end, a joy, and one of the best debuts of the year. [www.facebook.com/CavemanBand?sk=wall]

Andrea Weiss

Stephen Malkmus and The Jicks

Mirror Traffic

Matador Records

He’s never sounded so mellow, gentle, and wiser, with the wisdom of age in his singing and lyrics. He still thinks everything is an ironic joke, but the irony has receded a bit, replaced by warmth, and even comfort. And fondness for bygone good times, like when he and little Micky smoked some pot in his van.

Now that he’s gotten his jam band impulses out with Real Emotional Trash, he prunes his guitar playing back somewhat, and what emerges is a cross between Pavement, Jorma Kaukonen and 90s Liz Phair. He is still a tremendous guitar player, one of the best of the last 30 years, and now that he’s older, he allows his playing to have sincere emotion. He cares, and it’s reflected in his playing.

Mirror traffic is his best solo album yet, but could it have been made if Pavement had continued its reunion? Did Pavement have to die for good so that he could make this great album? Perhaps answers the first question; a sad yes to the second. His new one ranks with Pavement’s best work, and with Pavement toast, this album is what replaces that band wonderfully. [http://stephenmalkmus.com]

Andrea Weiss

The Horrors

Skying

XL Recordings

The Horrors combine the pretty, somewhat gloomy atmosphere of 80s era Church with the drive, and the drolly romantic languor of early Psychedelic Furs. It's a wonderful updating of both bands, and a worthy follow-up to their 2009 Mercury Prize nominated Primary Colours. [www.thehorrors.co.uk]

Andrea Weiss

Inc.

3

4 AD Records

Inc (formally Teen Inc) are brothers Andrew and Daniel Aged, who have toured with the likes of Cee-Lo, Elton John, 50 Cent, Beck, and Raphael Saadiq. They are a synth-pop duo from L.A. whose three song EP is perfect for the dance floor, with a sound reminiscent of “Little Red Corvette” era Prince. A worthy and great debut. [www.officialinc.com] [ www.facebook.com/Inc-Life]

Andrea Weiss

Zomby

Dedication

4 AD Records

If Keith Emerson were to make a mellow techno album, and did not draw on classical or jazz for the music, he might make the kind of album Zomby has made: a little bit grand, but also quieter, and contemplative. “Digital Rain,’ a highlight of Dedication is an example of this, sparse, moody, but also a somewhat majestic peice..

The tone if this album is somber, befitting what Zomby calls a tribute to a much loved and missed friend. Zomby is one of the greats of mellow techno, with this very fine album. [www.myspace.com/zombyproductions]

Andrea Weiss