Go- Jónsi

Jónsi has gone out of his way to be strange as hell on this cd and it works for him quite well. His ridiculously high pitched Falsetto allows him to hit quite a range of notes and the strong beats (many of which feature a flute in the lead) really help keep the tracks hum along.

1. Go Do- This is easily the best song on the CD. The powerful beat gives the song a strong start (especially when the bass kicks in), but when Jónsi himself kicks in, he steals the show. His voice accompanied by the flutes provides an excellent sense of buildup, reaching an eventual crescendo before Jónsi brings the song to its close.

2. Animal Arithmetic- This song starts out with a much more fast passed tempo than Go Do does. Jónsi definitely takes the center stage, though the percussion serves to create a fairly strong background. Jónsi, ditches the drawn out falsetto for a faster tempo which actually helps make the lyrics a bit more coherent. The song hits its climax at around 3:04 before tapering off.

3. Tornado- Tornado is the first track of the album where we begin to dip down into a more emotional driven song, instead of the upbeat blissful introduction tracks. A low rumble of bass and crescendo snare comes together in a track meant to be the calmer, more melancholy face of this album. Dronier vocals towards 3:05 and rise in energy creates one last surge of music before totally drifting off into Jon’s last few lyrics.

4. Boy lilikoi is quite possibly one of my favorite songs on the album, because of the fact that it sounds as if a young child is explaining his perception of life; a calm and innocent song. A strange series of bells, whistles, crashes, booms and “tincks” all over the track do nothing but create an epic forground for Jon’s playful lyrics. This is the climax track in between Tornado and the second third of the album; However, this track (along with almost all others) follow a distinct yet very undertone structure.

5. Sinking Friendships- The layered voices that start the song sound almost like something that would come off of Bromst The piano eventually takes over for the layering and creates a strong backdrop for Jónsi's voice. However, he works fairly well with the piano instead of trying to be the star. The combination of flutes, piano, and who knows what else create the airy feeling which Jónsi has been trying to perpetuate all along. Coming full circle, the layered voices come back in, slipping out one after another until the song falls in upon itself.

6. Kolnidur- A strong background is provided by a piano and what seem to be at least part of an orchestra. Although Jónsi slows his tempo down, he manages to bring his pitch down too. This song has a much more winding feelings to it, creating a sense that at the end, the listener will have reached the end of a very long journey. Jónsi lets the orchestra take the lead here, especially after 2:00, when he starts back up with the airy falsetto.

7. Around Us- Around us is another striving song on the album with a very nice drum background. Perfect layering of instrumentation, layering vocals that fade away into each other, only to be washed away by a clean series of vocals. At about 1:40, Jon whips out the low vocals that create such a contrast, you can’t help but be sucked in when the higher vocals kick back in. Another perfect example of this is towards the end; the beautiful single violin and orchestra gently fading into distant vocals accompanied with lots of tremolo. Beautiful song.

8. Grow Till Tall- Grow till tall could possibly be the last track on the album and make me even happier. The previous works of Sigur Ros are more than apparent in this track. The low vocals accompanied by almost nothing, vibrato, and constant altercations of his angelic voice combine to create a sound we wouldn’t mind seeing more often. And only more and more familiar with Sigur Ros. The constant rise in his vocals gives way to the orchestra in the background, but nothing is ever too empowering; the voice is clear, sharp, yet beautiful; the orchestral instrumentation is done perfectly so that it all drones out into Jon’s vocals. The listener is taken on a journey, only to come to terms with a strangely perfect end, a fuzzed out, horribly altered 30 seconds that leaves the listener wanting more.

9. Hengilбs- This track first begins to sound all too familiar, but the rawer vocals and contrast in, well…language leaves in the listener in a semi dazed state. This is a track to reminis over the rest of the album but a beautiful ending within itself. A strong introduction with gentle rolls in energy. The sort of track you would listen to on the way back home, late afternoon after a tiring day. The fact that this track is clearly also a field recording makes listeners happy im sure. And as the track ends, we are quickly dropped off into the last swipes on the cello.

Go Do- Jónsi

This video is absolutely insane. Lots and lots and lots and lots of birds flying around, not to mention Jónsi. Really excellent song though. When the drumbeat is in sync with him beating the box, it is just incredible. Take a look, it will make your day better. I promise.

Check it out right HERE

Flash Delirium- MGMT

This is the most ridiculous music video I think I have ever seen. Its complete lack of logic is what makes it amazing though. Plus, you can't not love MGMT. As an added bonus you can stream the rest of the album from the same webpage.

Check it out right HERE

Sing Sang Sung- Air

A very laid back and melodic song led by very soft drum beats and an acoustic guitar. The star is the video itself. The whole thing consists of the epic journey of a simple black ball that travels through a series bizarre backgrounds and tessellations.

Check it out right HERE

Khoda- Reza Dolatabadi

This is a seriously intense piece of work. It is made from over 6,000 paintings, each of which serves as a separate frame. The ambient synth-heavy music in the background combined with the intense visuals leaves you physically exhausted. Definitely worth taking a look at.

Check it out right HERE

Lucky- All India Radio

This is just a really fun video. The music in the background is very relaxed and lets the animation be the star. Coincidentally, said animation is done entirely with glow sticks. Awesome.

Check it out right HERE

The Monitor- Titus Andronicus

A revival of all that is beautiful about punk rock. If Bright Eyes exists to allow Connor Oberst to lay out his strongest emotions in every track, then Titus exists for the pure joy of rocking out. Speaking of Connor Oberst, Titus front-man, Patrick Stickles, sounds like a much angrier version of the acclaimed vocalist. Many of the tracks on this CD lean towards rousing choruses while violins and sweeping guitar riffs dance in the background. The lyrics take on a much darker side if you actually take a moment to listen. The more apocalyptic sound of the words are mirrored by the earlier excerpts from some of Lincoln's most famous speeches. The album itself is named after the first US ironclad, and the CD focuses on a very loose civil war theme, thus the Lincoln allusions.

Track List:

1. A More Perfect Union: Possibly my favorite track on the album. It starts off with a very morose speech by Lincoln followed by a strong drumbeat while the guitar builds up in the background. Stickles dives right into his lyrics, describing the loneliness that he sees in the world around him. This is the start of a series of round-robins between singing and free floating guitar solos which give more life to the song. Eventually, all of this feeds into a rousing chorus by Stickles and the drummer, Eric Harms, that sounds almost Arcade Fire-like. Despite the gloominess of the lyrics, you can't help but smile because of the rousing sound of the Stickles, Harms, and three separate guitars wailing in unison. A guitar solo plays the song out and another Lincoln speech fills out the final 30 seconds.

2. Titus Andronicus Forever- Possibly the happiest song on the whole album. "The Enemy is everywhere" states Stickles. He never quite describes who this "enemy" is but that's ok. Despite its lack of substance lyric-wise, the band has fun rocking out for 2 minutes of bliss. Once again, part of a Lincoln speech leads the song towards its close.

3. No Future Part Three: Escape From No Future- This track starts on a slow, mournful note but picks up with a guttural war cry from Stickles. A strong guitar riff backs up the vocals and it leads the song out of the slow melancholy feeling of the first 30 seconds of the song. Stickles really digs deep into himself on this track. He spends the whole time describing the part of him that he lost, this just so happens to be the one thing that makes him unique. His final conclusion is that he will "always be a loser." Dammit, if losers can play like this, then maybe there is some hope for the future of punk rock.

4. Richard II- This track is closer to a revolutionary yelling his protest against a despotic regime than anything else. A slow tidal wave led by the guitar entente leads this song to its energetic take-off at 1:08. "To whatever extent you hate yourself, it isn't enough" screams Stickles. Someone must have pissed the guy off, because he is not letting go of whatever was done to him. What he can't say for himself, he lets the guitars scream out allowing for Richard II to come to a rousing close with a long fadeout.

5. A Pot In Which To Piss- Fittingly this track starts with a quote from Jefferson Davis instead of Lincoln. Likewise, this spells the end of the high intensity of the first 4 tracks. Stickles slows his lyrics down, instead of trying to cram in the last word, he takes a nod from Bon Iver and lets his voice follow the drum beat through each line before trailing off. About 1/3 of the way through, the song picks up and so do the lyrics. Stickles throws out any possibility of surrender saying that, "There's a white flag in my pocket, never to be unfurled." While all this goes on, the piano kicks in, and soon the it joins the guitar in leading the song to its close.

6. Four Score And Seven- By far the most depressing song on the album. The lyrics reflect Stickles loss of hope for humanity and he sings about his loneliness while a Dylan-esque harmonica tune fills the gaps. The now familiar formula of a slow beginning followed by an abrupt pickup jumps in. Instead of a piano, trumpets and tambourines take the lead on this one.

7. Theme From 'Cheers'- The violin takes the lead while a very drunken sounding Stickles belts out his various reasons for getting into his current state. He has decided to drink away all of his problems and live his life without ever having to deal with whats in front of him. The guitar kicks in and the violin follow the lyrics as they weave their way to the climax. The guitar takes over the song and plays an energetic riff which ends the track.

8. To Old Friends And New- The slowest song on the album, and surprisingly one of the strongest. The piano starts off leading the song until Stickles and violinist, Cassie Ramone, start a lyrical back and forth resulting in a duet. The background and drums start in, but stay muted in the background letting the two singers take the spotlight. Eventually the whole band puts down their instruments and join in a finale that evokes Stickles vision of a better future, but only if people actually learn to accept each other.

9. ... And Ever- By far the liveliest song on the album. The CD comes back full circle repeating the words of track 2. This time, the piano and saxophone play a game of pass the baton resulting in an entire sax solo. The final speech by Lincoln is fairly ironic considering the words to the song. "We are not enemies, but friends," the reader states.

10. The Battle of Hampton Roads- This winding epic hits every single high point of all of the songs on the record and towards the end it has a ridiculous bagpipe solo. What more is there to say?

Stylo- Gorillaz

Figured that it would only be fitting to put this up now that the Plastic Beach review is done. The animation on the characters is great (especially Murdoc). Did I mention that Bruce Willis is in it? 'Cause he is. On a sidenote: there is a reference to Superfast Jellyfish at 1:40.
Check it out right HERE

Bless- Kira Kira

Wow. This is one trippy video. Eyelids pop off like suction cups from a window, and the main character changes into a two dimensional version of himself while flying horses with 8 tongues float through space. The artwork looks like something that would show up on [Adult Swim] at 2 AM. The song itself is strange, but the weirdness really kicks in during the video.
Check it out HERE

Plastic Beach- Gorillaz

Not what you were expecting.

This CD kicks off with an orchestral intro that sets a precedent for the somber mood of the rest of the CD. Snoop Dogg's contribution to the album is mediocre at best, thankfully Mos Def sets the record straight with Sweepstakes. If you were expecting Demon Days part II, this isn't it. Gorillaz have shifted their focus from rap to a much moodier, more melancholy sound,which is interrupted by occasional energetic tracks such as Rhinestone Eyes. It's not a big surprise that the shift is so drastic considering that the CD was originally meant to merely be presented by Gorillaz. The other half to this, is that most of the tracks sound like Gorillaz stepped back and watched while the guest-stars (Mark Smith, Little Dragon Etc.) took the spotlight.

Tracks:
1. Orchestral Intro (feat. sinfonia ViVA)- This track starts with the sound of waves and the calls of seagulls. This is onlt the beginning of the beach references that are made throughout the rest of the CD. The intro does not have much substance but sets up an excellent build up for Snoop Dogg's track.

2. Welcome to the World of the Plastic Beach (feat. Snoop Dogg & Hypnotic Brass Ensemble)- The most disappointing song on the album. Snoop feels aloof from the beat (except for a short stint from 2:04-2:20). The most obvious problem is the lack of variety in this song. It feels monotonous from beginning to end. Thankfully this disappointing start is not reflected by the rest of the CD.

3. White Flag (feat. Bashy, Kano & The National Orchestra for Arabic Music)- An excellent introduction by The National Orchestra provides a perfect intro for Bashy and Kano. The flutes and drums give way to a strong beat that both of the rappers use to play a lyrical game of tag. The playful back and forth that these two rappers create mirrors the intro, and in fact The Orchestra makes its triumphant return at 2:44 and play the song out in a fitting manner.

4. Rhinestone Eyes- This song is easily my favorite song on all of Plastic Beach and it is 100% Gorillaz. Damon Albarn finally takes center stage and he certainly makes an effort to make this sound like what his fans were expecting. What really makes this song is the drop at 0:52. At this point the song picks up in strength and Albarn seems much more confident. Just a great track overall.

5. Stylo (feat. Mos Def & Bobby Womack)- Mos Def and Bobby Womack make their debut and it certainly makes up for the mediocre performance by Snoop Dogg. While it is not the strongest track on Plastic Beach, it still is very solid. Womack's voice is what completes the track. This is one intense dude and he really puts everything hes got out there.

6. Superfast Jellyfish (feat. Gruff Rhys & De La Soul)- The ridiculously silly intro eventually gives way to a solid rap track. Rhys and De La Soul stick to the beat much better than Snoop or Mos Def and it pays off. The rap portions are separated by an intensely happy chorus making this one of the catchiest tunes on the album.

7. Empire Ants (feat. Little Dragon)- This track opens up in a very relaxed manner. The singing takes a backseat to the beat which winds its way up to a climax about halfway through the song. At this point the vocals come back into the spotlight and the song plays through to completion led by Little Dragon.

8. Glitter Freeze (feat. Mark E Smith)- Glitter Freeze starts with a fairly deep synth and some strong bass behind it. When the second synth breaks in the song gets much more energetic. Thankfully at about the time that the constant blaring produced by said synth gets unbearable the song tapers off.

9. Some Kind of Nature (feat. Lou Reed)- Lou Reed makes a very strong showing here. By far the best collaborator on the album, Reed brings it back to feeling more like something off of Demon Days. Returned is the airiness of songs like 19-2000, and Albarn's backup vocals don't hurt either.

10. On Melancholy Hill- Once again, the song that is solely Gorillaz shines. By far one of the strongest tracks on Plastic Beach. The laid back feel of the song combined with Albarn's voice helps to create a serene calm. Perfect for relaxing after a long day.

11. Broken- Gorrilaz seems to be in a bit of a funk. The energy that was present in Rhinestone Eyes has been replaced by the relaxed feel that started way back on Empire Ants. Not a bad track though, and see if you can catch the reference to another song on the track during the first half of the song.

12. Sweepstakes (feat. Mos Def & Hypnotic Brass Ensemble)- Mos Def really comes in strong on this track. A solid performance by both featured artists give this song a solid base to go off of. It's poppy sound moves it away from the proceeding few tracks and although the song begins to lose its feel towards the end, Hypnotics Brass Ensemble brings it back.

13. Plastic Beach (feat. Mick Jones & Paul Simonon)- The song begins with a sense of serious finality that would be more appropriate for a standoff in some crappy western. The keyboard soon cuts in and provides a solid background for the vocals that take center stage.

14. Cloud of Unknowing (feat. Bobby Womack & sinfonia ViVA)- Womack does it again. His haunting voice is given some help by the lonely, reverberating synth (courtesy of sinfonia ViVA) that warbles its way through the background. Very solid song.

15. Pirate Jet- Gorillaz plays their final solo track. Not a whole lot of substance here, but that does not detract from it too much. A little more variety would have been nice, but the relative shortness of the song keeps it from getting boring.

16. Pirate's progress- Not much to say here, it's a pretty enough sounding track, but it really isn't in keeping with the rest of the album. The song's real effect is to bring the album full loop, ending it just as it began.

17. Three Hearts, Seven Seas, Twelve Moons- More or less the second half of Pirate's Progress. A little baton passing between the trumpets and the flutes ends the album on a playful note, but once again, this really does not sound like something that would be expected on a Gorillaz CD and I'm a little disappointed that they didn't provide a stronger close.

Two- The Antlers

Just some guys jammin' out in an apartment. All sorts of bubbles spew forth from their instruments, and eventually they float away too. Awesome. Really gives some feeling to the airiness of the song itself... so long as you aren't listening to the vocals.
Check it out right HERE

Bright Orange Air- Twosyllable

This wonderfully trippy video follows the journey of a lone boats-man on a river. The visual of the forest turning into a city of orange light is perfect for the slow melody and the singer's haunting voice.
Check it out right HERE

American Ghetto - Portugal. The Man

A little more structured than past CDs and unlike Censored Colors, there is distinct separation between each song. The separation could also be attributed to the constant genre swapping that seems to be going on. Power chords and synth give way to a passion pit-esque 70s style throwback, and by the end of the American Ghetto, you will be left wondering where this band could possibly be heading next.

Tracks:
1. The Dead Dog- An airy rhythm winds its way through the background while John Gourley takes center stage as both the guitarist and vocalist. No real strong feeling either way towards this song.

2. Break- Easily the weakest track on the entire CD. I'm not really sure what Portugal was trying to accomplish here. The piano that begins at 0:31 has a decent enough tune but it never amounts to anything solid. Break ends up acting as an opening for track three, which begs asking why they didn't just combine the two.

3. 60 Years- So far my favorite track. A slow pickup coming off track 2 gives way to a solid song that focuses on a winding synth and fairly catchy guitar riff during the chorus.

4. All My People- Starts with a very strong beat accentuated by the twang of a guitar. Gourley soon steps in and the chorus begins. Once again, a solid performance as the vocalist and guitarist makes this track a definite keeper.

5. 1000 Years- Power chords pervade this loose track. The sound of Gourley's voice hearkens back to Portugal's older tracks such as MK80 The Wolf. The weak beat is the only thing that keeps this track down.

6. Fantastic Pace- Censored Colors makes its triumphant return. A Loose piano based rhythm leads to a Hendrix-esque guitar riff that sadly lasts only a few seconds. By far the most depressing song on the album. Gourley tells a tale of isolation that is betrayed by the more neutral feeling of the song itself.

7. The Pushers Party- The opening is reminiscent of the spaghetti-western style of most Fleet Foxes songs, yet this soon changes into its own entity, constantly morphing and twisting. A mix of strong guitar riffs and drum beats help to boost Gourley's voice into the spotlight and create a very strong track.

8. Do What We Do- Gourley sings a song of rebellion but does so in the calmest manner possible. A strong (if not repetitive) chorus cuts in every few seconds, giving the track a very solid foundation. Once again the focus shifts towards the singing and away from the other instruments, although the synth adds a nice backdrop.

9. Just A Fool- The slowest song on the album. The synth really creates a nice structure for this track. Notes wind in and out providing something for Gourley to chase. It sound's like an empty MGMT song. That isn't saying that there is anything wrong with it, there just isn't much going on.

10. Some Men- The opening consists of a mournful wail that sounds very much like Ecstasy by JJ. The emphasis soon moves to the guitar and Gourley's singing. The synth helps guide this track to its eventual close.

11. When The War Ends- A strong guitar riff serves as intro, and soon a 70s-era keyboard cuts in. A faded background drumbeat shifts the focus away from the keyboard and the chorus begins. It sounds as if Portugal has been listening to some Passion Pit, and despite the aged sound of this song, it definitely comes off well.