John Vanderslice "Cellar Door" (Barsuk) Indie rock
** 1/2
To write a review for anything by John Vanderslice without mentioning his day or night job producing for indie rock's elite would be utterly blasphemous. He's worked with bands such as Spoon and The Mountaingoats, and has produced countless more. The breadth of Vanderslice's reputation comes from these talents, which prove to not only be a blessing, but a windfall as well.
"Cellar Door" is no exception in his catalogue of "good' albums, yet nothing so impressive to elevate his albums to the superiority of his production skills. Prose laces "Cellar Door" throughout the solid array of hi-fi melodies, all demonstrating Vanderslice's way to craft a song. "Up Above the Sea" and "Pale Horse" are two of the most repeatable tracks on the album, loaded to the core with rich structure, sophisticated melodies, and Vanderslice's signature "fuzzy" production quality. "Cellar Door" is good but not great, accurately displaying the talents and weaknesses of one man's abilities.
- JEN TURNER
The Chromatics "Plaster Hounds" (Gold Standard Laboratories) Punk
***
Don't make the mistake of innocently tossing this in the CD player before going to bed. While it serves as poor falling-asleep music, this collection of dark, enchanting tunes packed with pathos is definitely worth a listen.
"Plaster Hounds" is an intense album reminiscent of Joy Division's "Closer," albeit more raw. It is comprised of relentless drumming and furious bass lines reigning supreme over guitarist and lead singer Adam Smith's muffled vocals. On "Jesus," the group pushes the boundaries of the post-punk genre and fearlessly melds in some beats borrowed from the eletronica underworld.
The lyrics are not a high point mainly because they are so sparse and difficult to hear. "24/ 23/ 22/ 21" is a solid track, but the tumultuous single "Ice Hatchets" will have you wondering why this band has not gotten more press. Do not avoid this album just because of its darkness; any music that can incite this kind of emotion deserves time.
- SARAH REED
The Frames "Set List " (Anti) Rock
**
Oh, the perils of a live album. This one has it all, from the storytelling before "What Happens When the Heart Just Stops," to the inexcusable cover of "Redemption Song" halfway through "You Face" to the most annoying audience ever recorded.
Regardless of the sing-along audience, "Set List" is a decent album. The tracks flow well, and it makes a good soundtrack for a calm Saturday afternoon. "Santa Maria" has a terrific bass line, while "The Stars are Underground" sounds like Placebo minus the glam rock attitude. "God Bless Mom" is a great song, until some ill-advised "la la la's" assail your ears toward the end of the track. At certain points it seems as though the vocalist is forcing emotions through his lips that should come naturally, if for no reason but to increase interest, since the musicianship on this record is lacking. For chill, bob-your-head-type music a la the Barenaked Ladies, this CD is worth a listen - just tune out the aforementioned nightmare of an audience.
- SARAH REED
Wheat "Per Second, Per Second, Per Second...Every Second" (Columbia Records/Aware Records) Rock
**
As a major label debut, "Per Second ... Every Second" is a promising album with 12 impressive tracks. Written and co-produced by Wheat itself, this Boston trio croons about themes of love and its surroundings, like in "Hey, So Long (Ohio)."
The lyrics read like a teenage boy's diary - childish, yet short and sweet. It could've been a little more creative, but since John Mayer got away with it, why not? Sometimes the spaces between the words say more than the words themselves. Incorporating the occasional viola and cello diversified the tracks and made the music more vivid.
The album as a whole gives a lazy and relaxed feel and is definitely a beach and road trip soundtrack. Now on tour with Hey Mercedes, Wheat will be playing at the Black Cat Feb. 19.
- DEBBIE KANG
Howie Day "Stop All the World Now" (Sony Records) Adult contemporary pop
1/2
What do you get when you mix David Gray's soft vocals and John Mayer's flare for the mundane? Look no further: Howie Day's sophomore attempt is the answer. The album sounds more like a filler record than an actual attempt at credible musicianship. With its catchy tunes and airy vocals, it serves as the ideal background music to the next Britney Spears film. The album has a weak start but shows a glimmer of hope in "She Says," which can coincidentally be found on Day's debut album "Australia," but it is not enough to save this album. This is one of the safest albums of the year, with a vortex of trite lyrics heading nowhere and a musical accompaniment trailing not far behind. "LiteFM" eat your heart out.
-CHRISTINA VIRGO
Fuel "Natural Selection" (Epic Records) Rock
* 1/2
Fuel's latest release, "Natural Selection" on Epic Records, does not achieve anything more than mediocrity. Though Fuel once showed signs of talent and creativity, "Natural Selection" shows that the band is well past its prime.
Most of the tracks that show initial promise drag on for over four minutes with no apparent reason. Verse, chorus, verse is followed by repeated chorus over and over again. In most cases, the choruses are the same barely melodic melodies in each song.
One highlight is the song "Won't Back Down," which originally appeared on the "Daredevil" soundtrack. It has a harder edge to it and actually evokes some emotion. But if you want to hear it, buy the "Daredevil" soundtrack. On "Natural Selection," Fuel has lost whatever it was that made them stand out from the candy rock bands of the late '90s.
- GARRETT KARRBERG
The Bens "The Bens" (Sony Records) Rock
** 1/2
The Bens showcases the combined talent of same-named singer-songwriters Ben Lee, Ben Folds and Ben Kweller, highlighting each musician's distinct voice and sound. On its self-titled four-song EP, the Bens blend keyboards and piano with acoustic and electric guitars, producing a varied mix of electronic and folk rock.
The trio offers its strongest collaborative effort with "Just Pretend," hitting its peak with the first track on the EP. With the impressive and intricate vocal harmonies on this mellow acoustic song, the Bens sound like an updated version of Crosby, Stills and Nash. The vocal collaboration of "Just Pretend" is lacking on the rest of the EP as backup singing replaces harmonies. Overall, the trio fails to meld each member's individual musical styles throughout the album, resulting in a fragmented and cluttered sound.
Unfortunately for the Bens, sharing the same name isn't enough to create a seamless sound or a cohesive album.
- LAURA KAPLAN
Travis "12 Memories" (Epic Records) Brit rock
***
Maybe there's a profound reason why one track on Scottish pop-rock band Travis's new album is titled "Mid-Life Krysis." Granted, a mid-life crisis usually means losing hair and dignity, not necessarily the ability to spell. In any case, Travis's new album, "12 Memories," atones for its spelling sins with memorable melodies and fairly complex lyrics. The band's best moments are when it forgets to sound like a hybrid between Coldplay and Oasis and puts out something slightly messy, but refreshingly unique. On "Re-Offender," lead singer Fran Healy's voice aches with emotion while cellos and violins echo back poignantly. "Somewhere Else," the most up-tempo song on this unhurried album, provides an innovative and welcome departure.
"12 Memories" may sometimes make poking Travis with a stick until they speed up their plodding sound necessary, but when the occasion calls for introspective lyrics and slow haunting melodies, Travis doesn't disappoint.
- COLLEEN MCCARTHY
