Shearwater’s latest is a set of covers and one original that pay tribute to bands they’ve toured with. It may seem like a strange way to round up a set of covers, but it mostly works, and serves as a nice follow-up to last year’s Animal Joy before the band regroups to record new material. It’s a kick to hear them take on Xiu Xiu’s “I Luv the Valley OH!!” and hear Jonathan Meiburg intone “my behind is a beehive.” They make Coldplay more tasteful on their rendition of “Hurts Like Heaven.” And while some covers remain faithful, like their version of Folk Implosion’s mid-’90s rock radio hit “Natural One,” they take a different melodic tack to St. Vincent’s “Cheerleader,” making the song their own, and give a more humanistic sense to Clinic’s “Tomorrow” while retaining that band’s rhythmic thump. Fellow Travelers pulls a neat trick for Shearwater, a band who is distinctive in its own right but whose moody indie-rock sound is difficult to pinpoint, by showing how that sound applies to the music of others. And it ends up a nice showcase for the bands they cover, highlighting some of the lesser-known bands they’ve toured with, on lovely renditions of David Thomas Broughton’s “Ambiguity,” for instance, while shedding new light on bigger bands like Coldplay. It’s a winner, all-around.
Wooden Shjips have always been one of the coolest psych-rock bands on the block, one that gives a good name to the concept of jam bands. But their latest, the aptly named Back to Land, reins in some of the jams in favor of more concrete songs. It’s a bold move, as the band has relocated to Portland from SF and seems to have re-energized the band, but it’s a move that likely won’t upset their fans. Songs like the great title track still are allowed to drift past the five-minute mark, utilizing simple, repeated chord structures built on fuzz guitar and organ drone, encircling the proceedings with tasteful improvisation, while frontman Ripley Johnsaon’s Alan Vega-esque drawl fades in and out, directing things like a super chill camp counselor. While the songs lengths may be shorter, there’s no shortage of variety on Back to Land, making room for fuzzy Velvets-style ballads like “These Shadows” and the kind of driving, power-chord romp they do so well on songs like “Other Stars.” Wooden Shjips may pick up a few more seafairers with the friendlier Back to Land, but there’s plenty to like for longtime fans as well. Dock up and listen.
Worldwide stardom hasn't softened M.I.A. one iota; if anything, it's made her resolve to be the planet's most provocative pop star that much stronger. Following the all-over-the-map Maya, by comparison Matangi is laser-focused, utilizing harsh industrial noise much in the same way Kanye West's Yeezus did, though she fuses it with a worldbeat touch and heavy EDM nods. Most of all, Matangi succeeds because it sounds like an M.I.A. album, even if it's been digitally chopped up and reassembled more so than previous releases. Her opening tracks come on hard, dropping names of wartorn nations in the title track amid a digital grenade of atonal sounds, while "Warriors" drills with a minimalist hip-hop beat. "Come Walk With Me" starts like a love song, quiet with a reggae sway, before jumping off the rails with a hyperactive dancehall-house beat. Though these tracks touch on her typical subject matter of empowering the global masses, she's also having a great time, rapping like a cocky hip-hop star and subverting the formula. And the second half of Matangi is loaded with ass-shakers. "atention's" twisted beat makes it one of her sickest dance songs since "World Town." The previously released "Bad Girls" makes an appearance in all its bhangra-beat glory, and "Bring the Noize" is the album's instant classic, unleashing a brutal beat that makes most EDM sound like kid's music as M.I.A. pulls off sounding disaffected while spouting rhymes at an impressive tick. Matangi is a welcome comeback after a troubling period for M.I.A., proving her once again to be one of the most forward-thinking pop music entities around.
The amazing new album from Arcade Fire proves the band was, and is, worthy of all that damn praise and hype that's been heaped upon the band since its inception. It also proves you can teach an old dog new tricks, as the band largely ditches the orchestral indie rock of their previous releases in favor of lean, mean groove-oriented jams. This isn't to say Reflektor is somehow less complex than their earlier work; the title track alone is a seven-and-a-half minute odyssey that sets the tone for an album that gives listeners a dance song while seemingly satirizing itself at the same time—are they the reflectors, repeating past sounds for the sake of accessibility? Are we the mirrors, reflecting what we want onto our musicians? It poses interesting artistic questions while giving us visceral thrills. Reflektor continues with more pensive groovers. "We Exist" pulls off a "Billie Jean" rip through "Reflektor's" staging of borrowed sounds, yet its also a silky rocker worthy of its own ripoffs, peeling into half-time chorus that that keeps listeners on their toes. The band successfully ventures into dub reggae on "Flashbulb Eyes"—no really, don't roll your eyes until you hear it—which moves into the tribal opening of "Here Comes the Night," making use of the band's many-membered setup for a dynamic, smooth jam that questions the concept of heaven in an accessible way, much as their forebears in Talking Heads did on "Heaven." "Normal Person" is like a response to The Suburbs' "Roccoco," which took hipsters to task for pretentiousness—this Robert Palmer-style rocker asks, "Is anything as strange as a normal person?" Reflektor's second half struggles for the same energy as its first, it offers the kind of sonic exploration the band perhaps hasn't always let itself undergo, like venturing into krautrock on "Porno," and more of the sort of spiritual questioning posed on "Here Comes the Night" pops up on "Afterlife," a much-wanted followup to The Suburbs' "The Sprawl II." It's a lot to take in at once, but you could listen to Reflektor ten times in a row and find a new song or idea to latch onto that you hadn't noticed before. It's the next logical step for a band who has carefully considered each release thus far, and it's also one of the year's best.
Best Coast - Fade Away (CD, LP or Download)
Best Coast's new EP marks a confident start to a new era for the band. Their previous album, The Only Place, featured more mature songwriting as Bethany Cosentino grew more confident in her voice, yet Jon Brion's smooth production didn't always jibe well with Cosentino's rough around the edges approach to confessional pop. The first release on her own label, Jewel City, Fade Away takes back some of the reverb and distortion of her early material but keeps the assurance she displayed on The Only Place. The result plays out as the most refined version of Best Coast yet. Cosentino sounds pissed in opener "This Lonely Morning," a rocker about a dude who won't stick around. "I Wanna Know" is one of her best girl-group jams yet, all desperation buried beneath sunshine and "Be My Baby" drums. Several songs take on quarter-life crises ("Who Have I Become," "Fear of My Identity"), while her heartbreak songs are equally riddled with introspection, as on the great Mazzy Star-ish ballad "Baby I'm Crying." One of Cosentino's best tricks is sneaking existential dilemmas into songs and lyrics that are on the surface straightforward and simple. By the end of the seven-song Fade Away, you're emotionally exhausted, as Cosentino gives it her all throughout. With Fade Away, she's given fans more than just a stopgap release, and one that leaves fans hungry for what's next.