James Blake – Overgrown
British beatmaker and digital crooner James Blake returns with
his sophomore album and after his breakthrough 2011 beautiful self-titled
debut, Blake grows and stretches his limbs as an artist, composer, singer,
producer, and lyricist. Overgrown hears Blake take more of an R&B approach
to his music rather than writing folk tunes over dubstep beats, it is a
swelling and emotional record that takes the listener on a journey into the
darkest places of their heart and mind. With a guest appearance from RZA, it is
a testament that a brilliant mind from another genre is running to work with him.
FINAL GRADE: A+
Caitlin Rose – The Stand-In
The young rising Nashville star strikes a chord outside of
country music’s realm and releases a fantastic rockabilly, skiff-rock, record
that still has Caitlin Rose staying true to her roots. While many believe
country music these days is whatever garbage maybe on the radio or dominating
award shows, it is great to hear women like Rose staying true to the genre that
Johnny and June Carter Cash loved so much. The Stand-In is a record that should
be embraced by all.
FINAL GRADE: B+
Kvelertak – Meir
The Norweigan death metal band, whose name means
“chokehold,” returns with their second record of simply brutal and blood
pumping metal anthems. Recorded in Massachusetts and produced by Converge’s Kurt
Ballou, it is no wonder that this is the hardest record to arrive in 2013 thus
far. Meir only leaves you wanting more.
FINAL GRADE: B+
Bonobo – The North Borders
The British DJ returns with his fifth record and creates a
world that embraces the audience in a tight hold and transports them to a whole
new universe.
FINAL GRADE: B+
Gin Wigmore – Gravel & Wine
The New Zealand songstress returns with her sophomore record
and brings forth a much more aggressive and darker sound than she did when she
entered our musical lives nearly three years ago. Wigmore, who had The
Cardinals as her backing band on her fantastic debut, Holy Smoke, comes back
with her unique voice but brings more rock and roll than Americana folk and pop
and comes heavier and harder than before. Wigmore is poised for a big year and
this record explains why.
FINAL GRADE: B+
Killswitch Engage – Disarm the Descent
Over a decade away form original singer Jesse Leach,
Killswitch Engage return with the man who originally gave them their vocal
steam, after they parted ways with their acclaimed singer Howard Jones in 2012.
Killswitch are back in the saddle like Black Sabbath were after Ozzy returned
when they parted ways with Ronnie James Dio, they still pack the same punch and
power they did early on in their career and have not lost a single step. While
Jones may have brought singing and melody to the bands sound, as well as
brutality, Leach’s sound – which can be compared to fire coming from a dragon –
is now a reality rather than a memory.
FINAL GRADE: B+
Tyler, The Creator – Wolf
The Odd Future leader comes back with his third album, and
while much of the production still sounds like it was made on a $15 Radio Shack
keyboard, Tyler ventures into deeper personal territory. With songs about his
MIA father, his newfound fame, and being one of the most sought after emcee’s
in hip-hop, Tyler, does have much to discuss, and as soon as he shows
improvement on maturing, he then drops the ball with counterintuitive lyrics
and terms for homosexuals and women. As Tyler goes on with his career, Wolf
maybe the turning point where he has evolved as a story teller, but we only
hope his mind evolves past certain ideals.
FINAL GRADE: B
Peace – In Love
The British indie darlings finally release their debut
album, and with slick garage rock hooks and catchy songwriting, Peace is
finally here – at last.
FINAL GRADE: B
Team Spirit
The New York City garage rock band releases their debut EP
and it packs as much energy as their live shows and is the perfect introduction
as to how much fun this band is. If this is a prelude to what a debut LP will
sound, we expect great things from this already awesome band. To get to know
more about Team Spirit, take a look at our March interview with them HERE.
FINAL GRADE: B
British Sea Power – Machineries of Joy
The Brighton, England, indie rock band return with the sound
that got them their acclaim and attention nearly a decade ago and back to form
after the disappointing 2011 release, Valhalla Dancehall.
FINAL GRADE: B
Hurts – Exile
The somber English synth-pop duo, Hurts, return with their
first album in three years and still bringing the same minimal but powerful
formula they did with their debut, it does not sound or look as if the duo are
going to be evolving anytime soon. Hey, they say if it ain’t broke, don’t fix
it – right?
FINAL GRADE: B
Low – The Invisible Way
With Wilco’s Jeff Tweedy producing the Minnesota indie rock
bands 10th album, Low do not show off new tricks, but bend toward
the sonic style Tweedy uses for his band, which makes for an interesting sound
and idea, but still makes for a worthwhile listen.
FINAL GRADE: B-
Black Rebel Motorcycle Club – Specter at the Feast
The San Francisco band returned with their seventh album and
while this was supposed to be “classic” BRMC, it seems to sound flat and
uninspired. With a few moments of great hooks that make the listener believe
this is going to be a grand song from a grand album, Specter at the Feast loses
its mojo and hears a band just making records for the sake of making records.
FINAL GRADE: C+
KEN Mode – Entrench
The Canadian metal core band return with their fifth album,
and Entrench had much hype behind it, however, it fails to deliver. The record
sounds unfocused and at points generic for the genre and while much was made
about it, it does not pack the punch it was supposed to.
FINAL GRADE: C
She & Him – Volume Three
M. Ward and Zooey Deschanel aka She & Him, return with
their third album. Of the 14 songs off the record, 11 are originals and three
are cover tunes, but nothing is new in sound or style. If you heard the last
two She & Him full lengths, you pretty much heard this one as well.
FINAL GRADE: C-
The Strokes – Comedown Machine
After 2011’s disappointing Angles, The Strokes return two
years later with Comedown Machine and has us asking, is this it? Comedown
Machine sounds like a band going into the studio and throwing as much shit on
the wall to see what sticks. It is a disjointed, discombobulated, uninspired,
and frankly, makes us wish the band will throw in the towel so we remember them
for what they were – New York City’s premiere garage rock and roll revivalists
that changed the music world and had rock and roll at its feet over a decade
ago. The Strokes have no plans to tour behind this record, the main reason may
be is that they embarrassed by this unlistenable material to even play it in
front of a crowd of fans.
FINAL GRADE: D
