Moving Units "Dangerous Dreams" (Palm Pictures)
Sounds like: every other "it" band out there. B-
It's no big secret that the sound of the moment is the '80s revival embodied by the ever-popular Franz Ferdinand. Every record label on the planet has recently released their own response to this resurgence. Moving Units is Palms Pictures' response, and though enjoyable, it's a pretty damn generic one.
"Dangerous Dreams" is Moving Units' debut full-length album, and it's a commendable effort with all its angular guitars and danceable beats, but it fails to muster the same kind of infectiousness that shot Franz Ferdinand and the Killers to the top of the charts. "Going for Adds," with its radio-alluding title, is the album's most danceable and catchy track, but won't remains permanently fixed in your mind the way "Take Me Out" initially did.
At certain moments Moving Units grasp hold of the more experimental edge perfected by bands like the Rapture and Ima Robot, but their hold on that less mainstream sound is too fleeting. Palm Pictures is probably banking on fans of Franz Ferdinand to flock to this album, and in all honestly they probably will. "Dangerous Dreams" is a satisfying listen if you're looking for more of the same, and ultimately that's all it is.
-EMILY ZEMLER
Clinic "Winchester Cathedral" (Domino)
Sounds Like: not much you haven't heard before if you've ever heard any previous Clinic song. B-
Clinic has, over seven-plus years and three full-length albums, perfected a certain art. This art has both its ups and downs, and Clinic seems only to revel in it. It is the art of possessing an immediately recognizable, completely singular sound. Once you've heard the band once (whether you adored or abhorred them that one time), the next occasion you hear a Clinic song your synapses will connect in that special "Oh, I know this band!" way.
"Winchester Cathedral" generally plods down the path Clinic previously chose. The muffled, incomprehensible vocals, the driving repetitive beats, and a large dose of melody are all there. This time, they introduce some interesting new elements, such as '50s Motown: a subtle tambourine on "Circle of Fifths" and the "Ooh-ooh-ooh-oohs" on the waltzing "Falstaff." The Middle Eastern feel of "August" and the crisp, straightforward guitar rock of "W.D.Y.Y.B." are more inspired than much of the album. This isn't bad, but after repeated listens, it becomes apparent that it's nowhere near great, either.
-LINDSAY BERNIER
Travis Morrison "Travistan" (Barsuk Records)
Sounds like: something you might play to purposely annoy someone, but will end up having to turn off to save your own sanity. F+
Oh, Travis Morrison. It's not a stretch to say you had it all. As the frontman of D.C.'s now-disbanded the Dismemberment Plan, he inspired some of the wildest and most exuberant dance party atmospheres ever seen at sub-thousand person capacity rock venues. Barsuk Records surely signed on to release Morrison's solo debut with high hopes. Unfortunately, he fails.
"Born in '72" starts off with a solo drumbeat that recalls The B-52s' "Love Shack," but the song ends up nowhere near as fun or listenable, plodding along and never breaking a sweat while electronic bloops and a clap track pointlessly loop in the background. And this track is one of the record's highlights.
Gone is the emotional vulnerability of the D-Plan. Enter weird and frantic, just for the sake of being weird and frantic. The lyrics range from baffling to downright cringe-worthy. Only one song, "The Word Cop," approaches decency, with a sing-along chorus and keyboard rhythm hard not to nod your head to.
Near the end of the "Travistan" assault, you could put on an early '90s Phil Collins ballad, proclaiming it far better. Oh, Travis Morrison: "You know I love you, but I just can't take this."
-L.B.
The Arcade Fire "Funeral" (Merge Records)
Sounds like: the most beautifully passionate and sorrowful collection of songs ever amassed. Ever. Ever, ever, ever. A+
The Arcade Fire has officially exploded. At least four WVAU DJs are spinning the record in heavy rotation. The Arcade Fire is the next big thing. They are the new favorite band.
But unlike the days back when everything new was the next big thing until it got old, the Arcade Fire might have the power to usher in a new breed of indie rockers, one that ironically distances itself from the current wave of detached and cynical kids or heart-sleeved whiners.
This new wave will be characterized by the same melodic beauty and hip-shaking sensibility that pervades the current market, but unlike most of those bands, this new wave will finally bring authentic emotion to the table - unpretentious and unafraid.
The Arcade Fire cites Debussy as a major influence, and rightly so.
Their music is indeed orchestral and romantic. The music floods and ebbs, builds and then crumbles mercilessly to the ground; vocals soar, roar with pure cathartic abandon, then come crashing down from the weight of their own guilt. Singers Win Butler and wife Regine Chassagne wail out tragedies and narratives as stark as the frozen north and as warm as the blood that pumps in our veins.
The Shins who? These songs will change your life if nothing will.
Get real, Natalie Portman.
-CHRIS DeWITT
Marilyn Manson "Lest We Forget: The Best Of" (Interscope Records)
Sounds Like: Marilyn Manson aging. C
Ten years after the release of his first album "Portrait of an American Family," Marilyn Manson has released his first greatest hits album. Spanning through all of their six albums "Lest We Forget: The Best Of" is a compilation of singles as well as select favorites. In addition the compilation also contains a remake of Depeche Mode's "Personal Jesus."
In spite of the fact that the album is a nice trip back to the fond and not-so-fond (if you are a true Marilyn Manson fan) memories of middle school, the actual selection of songs could be at least more balanced. The 17-track album sports one song from the critically acclaimed album "Mechanical Animals" while sharing four from the mediocre "Holywood." Furthering this waste of disc space were two average covers, including "Tainted Love."
All in all, this album is a great trip down memory lane; too bad the songs on it are not that memorable.
-JASON GEISINGER
Hanzel Und Gretyl "Scheissmessiah" (Metropolis Records)
Sounds Like: if the S.S. had guitars instead of guns. B
By far much harder then their last release "Uber Alles," "Scheissmessiah" is a brand new breed for this industrial duo. Having a much more organic and harsher sound to their previous releases, Hanzel Und Gretyl may have reached a turning stone. Throughout the whole album there is a minimal amount of synth used.
In addition to their sound having evolved, their image has as well. Over the years, Hanzel Und Gretyl has always had Nazi undertones; they never denied it but always claimed it to be a parody of other industrial acts. However this album has more of an overtone. In spite of this it still seems like more of a parody, especially the use of incorrect German, and the fact that they are from New Jersey is somewhat humorous.
Regardless of their origin, "Scheissmessiah" is an excellent album. One of the highlights is an updated version of "Hallelujah" as well as the track "Fikk Dich Mit Fire." If you're a fan of industrial or metal, this is one album you probably want to research.
-J.G.
Viva Voce "The Heat Can Melt Your Brain" (Minty Fresh Records)
Sounds like: nothing you want to listen to too much. B
Viva Voce is just one in the recent onslaught of husband-wife bands, but they're better than others.
"The Heat Can Melt Your Brain," the band's third album, is a solid release that highlights the band's "do-it-yourself" mentality. Kevin and Anita Robinson are credited for writing and playing instruments for every song on the album.
Anita Robinson's voice is a whimsical playoff of Kevin Robinson's sometimes whiny drone. The couple often sings together, but sounds best when Anita Robinson dominates, as she does on "Mixtape = Love."
Many of the songs on "The Heat Can Melt Your Brain" have a spacey, Beatles-like feel, particularly "Alive with Pleasure," the album's best track.
Despite the band's irresistible qualities - both members are clearly talented musicians and balance each other out - the album's spacey tone makes it hard to listen to on repeated occasions.
-BLAIR PAYNE
Mates of State "All Day" (Polyvinyl)
Sounds like: an apple pie, if pies made sounds. B+
Mates of State are so in love they can't help but sing about it. It seems that all of the songs on "All Day," the band's recently released EP, focus on the subject. And of course Mates of State has a reason to care so much about love: Kori Gardner and Jason Hammel are married.
"All Day" works so well because it possesses that charming, homemade feel that so many albums in today's mass-produced record world lack. Each of the songs on the album are such honest reflections on love that they do not need more than simple accompaniment.
While "Goods [All in Your Head]" is the best song on the EP, the duet "Drop and Anchor" is a close second. The lyrics are simple and sweet: "And I could be an anchor. Drop me in the bay and watch me hold you steady." These uncomplicated lines sum up Mates of State: They're in love and want everyone to know.
-B.P.
