The Shins - Port of Morrow

I was able to score tickets to see The Shins at Terminal 5 in New York City on April 29th. They're touring in support of their new album, Port of Morrow, and playing three nights in NYC. I've never had the chance to see them live, so I jumped at the opportunity. When was the last time they even toured? Since this was the first album release in five years, it had to be around that long ago, at the very least.

I've always been a fan of frontman James Mercer's music. Not absolutely obsessed, but a fan. I could listen to any Shins album in its entirety and enjoy every track. I love the popular hits (Caring is Creepy, New Slang, Australia, Phantom Limb), but I especially liked that their albums could be appreciated from start to finish. I also absolutely loved Mercer's side project with Danger Mouse, Broken Bells. I've never had a Shins "phase," but Mercer's music has been in my iPod, on my computer, in my CD cases, and on my shelves for a long time now.

The Shins - Port of Morrow

Port of Morrow is James Mercer at his best. It's everything I like about the Shins and more. It's that same unique brand of classic guitar pop/rock. The jangling, daydreaming sound is still there, as is the focus and effort in the studio and the top-notch production value. It's a vibrant record with each individual song presenting it's own story and feel.

"The Rifles Spiral" opens the album with a fury, it's a rock song that's powerful and heavy, getting your head bobbing right away. "Simple Song" is the immediate standout on the record. It's Mercer's power pop that he's become known for, slowly building to a musical swell and a blissful chorus, resulting in a broad smile while listening. "40 Mark Strasse" and "September" both have a drifting, breezy feel, with a subtle country swing. They're beautiful ballads that remind me of Ryan Adams' best efforts. "Fall of '82" sounds like easy-listening pop-rock from the 70s and 80s. And there's "No Way Down," a bouncy, pop-rock-driven tune with a strong rhythm and lines like "Make me a drink strong enough to wash away the dishwater they said was lemonade."

With so many shifts in styles and different flavors for each song, it's hard to pin down this Shins' album to a specific genre or even time period. It's an all-around fantastic record that should be listened to from beginning to end. It's a one-of-a-kind experience that is at the same time nostalgic as it is groundbreaking.

Port of Morrow is already topping lists as one of the best albums of 2012. Don't call it a comeback, Mercer's been here for years.

Album Highlights: The Rifle's Spiral, Simple Song, September, No Way Down, 40 Mark Strasse... just listen to the whole album ok?!

Jack White - Sixteen Saltines

Jack White's debut solo album, Blunderbuss, is set to be released on April 24th through his independent record label, Third Man Records. Since the project was first announced, bits and pieces of the album have been strategically released by White himself. First there was the laid-back Love Interruption, which showcases White's songwriting abilities and his country/blues roots. It's a slow groove with a slight build and poignant lyrics. It's good in it's own way, but it made a lot of people question what type of direction White was taking with his new solo project and what other songs will sound like.

The newest song to be revealed is Sixteen Saltines. A much heavier rock song that fans of White certainly have been hoping for. It's reminiscent of the rock and roll from the White Stripes' album De Stijl and his work with The Raconteurs. The song comes complete with an intro featuring a heavily distorted rhythm guitar riff and a thick, effect-peddle-driven, screaming guitar solo. White's vocals punch with the song's timing pattern and the lyrics are innocent on the surface, but filled with innuendo at second glance. Enjoy:

While I did enjoy Love Interruption, Sixteen Saltines has me legitimately excited for the release of Blunderbuss. Awesome tune.

Update 4/3/12: Another previously unreleased cut from Blunderbuss has become available, but you'll need to stumble across a deflated balloon to hear it. Third Man Records let loose 1,000 helium balloons into the air yesterday with a flexi disc containing the new track "Freedom at 21" attached to each one. Jack White is the music world's Willy Wonka. Video below:

Morning Commute

I get to do some of my most intent music listening on my morning commute. From the moment I get on the elevator in my building to the moment I sit down at my desk at work, I have my headphones in and I'm fixated on the music. It's sometimes enough time to get through an entire album. I listen to every detail, focus in on each specific instrument, decipher the lyrics, and feel the rhythm. It sets the tone for the day. I listen to music at other times during my day, of course, but the morning commute is when I am most absorbed by the tunes.

On this fair-weather Monday morning, I listened to Twin Sister's debut album In Heaven.

Twin Sister - In Heaven

The five young (average age of 23) members of Twin Sister make a cool brand of indie pop. It's pleasant, easy on the ears, and diverse. The music sounds simple and small, but it's rich, textured and subtly sharp. At times, the album is rooted in smooth lounge-pop and at other times it's bouncy and disco-esque. The record runs the gamut, it had me both gazing out of the bus window during some songs and tapping my toe to others.

Female vocalist Andrea Estella has an innocent, dollhouse-like voice that fits perfectly with the style of music. She charmingly croons over the steady flow of bass lines, electronic drum beats, and shimmering guitars, creating some truly enjoyable grooves. The lyrics are focused on little moments, specific incidents and emotions that come up during our day-to-day lives. 

This is one of those great albums that gives back what you put in. It requires multiple listening at different times, maybe even repeating a song that you find particularly catchy twice in a row. The more you listen, the more you appreciate what the band is doing. It's an enchanting experience.

Needless to say, this was a perfect album to listen to at 9am on a bus heading down Second Avenue in New York City.

Album Highlights: Daniel, Bad Street, Space Babe, Kimmi in a Rice Field, Gene Campi

Youth Lagoon Live

I had the chance to see Youth Lagoon last Tuesday, March 27th, at the Bowery Ballroom. The band is the outlet of one individual, 23-year-old Trevor Powers, and his debut album The Year of Hibernation was released in 2011 to critical acclaim (it made Pitchfork's list of the Top 50 Albums of 2011).

The album itself is dreamy, ethereal and harrowing. Powers' voice is unique, and he howls over the music with passion. The lyrics are melancholy, according to interviews he wrote the music in the wake of a breakup and through his struggles with chronic anxiety. The album was made using a drum machine, keyboard, guitar and vocals, and the live show was no different.

I walked into the Bowery at 9:15pm not knowing what to expect. My ignorance was confirmed by the poster on the entrance wall that read "Dana Buoy 9:30pm. Youth Lagoon 10:30pm." There was an opener?! And Youth Lagoon won't be on until 10:30?! My girlfriend and I hung out at the bar downstairs and met up with a couple of friends who happened to be going to the show. We headed upstairs at 10:15, after the opening act was done.

Now, I love The Year of Hibernation. I listen to it on my morning commute often. The dreamy tone and delicate music is perfect for those mornings when I'm too tired to be listening to something heavy. But, I had no idea how the sound would translate to a live venue. Powers' voice on the album seems almost impossible to replicate in person. And how many people would be on the stage with him? How would those soundscapes be created?

Well, pleasant surprise, it was perfect. Powers' had only a guitarist with him and sat behind his keyboard and drum machine. His voice sounded as good as it does on the album. Each song built from a fragile melody over keyboard and guitar into an intricate swell of energetic sound accompanied by a powerful rhythm from the drum machine. He played every song off of the debut album and the audience seemed captivated the entire show. Everyone I was with was extremely impressed, and I agreed, the show was awesome.

Here's a video of the song "Cannons" that my girlfriend took using her iPhone:

After the show I couldn't help but thinking about the future progression of Youth Lagoon's career. After the excellent debut album and a great live show, I'm very excited for what Powers will produce next. There's certainly room to grow in his musical career and he seems to have a firm grasp on the type of music he wants to create. One or two albums in the future, plus a few turns in the right direction, and Powers can be a musical force.

While waiting on the line to get our coats, I overheard someone talking to their friend about the show. He said something like, "I'm always hesitant to fully enjoy the music at a concert where the person isn't playing actual instruments or there isn't a full band. It seems less authentic or just not as impressive or good." I didn't wait for the person he was with to respond before I proclaimed to my girlfriend that I disagree and it's a shame that people still feel that way. I think this is a popular thought among the older crowd or fans of classic/alternative rock. I'm a fan of it all. 

First of all, Powers still needs to have the talent, vision and work ethic to perfect the rhythm of the drum machines and create all those soundscapes, all while singing. Second, the technology in the world now that allows a single person to create such rich and complex music needs to be embraced. There's a beauty in it just the same, and Youth Lagoon's music seems the perfect example of that. 

That's the way I feel. I'm just thankful I have the ability to thoroughly enjoy all types and styles of music.  

I Can't Go For That

I love Hall & Oates. Their own brand of "Rock and Soul" is highly enjoyable. The song writing duo perfected the art of strong hooks and melodies combined with new wave and hard rock elements. They're responsible for countless chart-topping hits. They were featured in Yacht Rock. Hall & Oates are awesome, there's no way around it.

There's been a video makings rounds on my Facebook news feed that I had to share. It's the brilliant combination of mobile vehicle acoustics, a bluegrass/country band, and of course, Hall & Oates.

Too cool. Nikki Bluhm and the Gramblers do a great job. This is the type of video that makes my day a little brighter. Follow the link above to their website for other acoustic van session videos, including a cover of Madonna's Material Girl.

Sidenote: Also check out Live from Darryl's House to see some great collaborations between Darryl Hall and other popular artists. Hall & Oates explosion!

Vinyl I've Purchased

I can measure how much I like an album by how much I want to buy the vinyl. The "Vinyl I've Purchased" distinction is reserved only for albums I absolutely love. With that said, I just placed an order with Insound.com (a great website if you don't know it) for two records:

Tanlines - Mixed Emotions 

The full-length debut album from Tanlines, made up of Jesse Cohen and Eric Emm, is truly impressive. They began making music four years ago and seemingly have been crafting this album for a long time. I was informed of the release about a month ago from my friend Renata, made a playlist on Spotify, and was immediately in love with the first track, Brothers. From there the album doesn't waiver, but continues to deliver delightful, dance-able pop, song-after-song.

This is do-it-yourself electronic pop at its best. The time put into its development is evident. The entire album is focused and diverse. The two members play multiple instruments and put out enticing beats and beautiful, catchy melodies and hooks. I sense 80s and world-music influences, reminiscent of Yeasayer's best songs, but slightly different with a lush and profound thickness to their sound. It's unique and refreshing, and particular to a popular genre at the same time.

Listen to this album from start to finish, with the volume cranked up. I personally love listening to electro-pop on my headphones, and this ablum is a rewarding experience.

Record Highlights: Brothers, All of Me, Real Life, Cactus

Phantogram - Nightlife 

I've been a fan of Phantogram from their first album, Eyelid Movies, so I was very excited when I saw they released an EP with tracks that are most likely going to be used on their second full-length album. Then I heard the song "Don't Move" and immediately went and purchased the vinyl online. Wow, that song is amazing and heavy, and possesses all the qualities I love about Phantogram, but more refined.

Comprised of six total tracks, this EP finds Phantogram at the peak of their capabilities. The electronic rock/indie pop that the duo of Sarah Barthel and Josh Carter produces is intoxicating. It's part psychedelic pop, with Sarah's lead vocals reverberating through the beat and Josh's background vocals floating above the melodies. It's part hip hop, with strong beats that create hypnotic rhythms and set the tone for the synth and electronic melodies. And it's part shoegazing, with a wall of sound and some slight distortion and a strong urge to bob your head while listening.

If this EP is any indication of where Phantogram is headed, then the music world is in for quite a ride. This band does a lot of touring and I can't wait to see them live next time they come around. Until then, I'll be spinning this vinyl.

EP Highlights: Don't Move, Nightlife, 16 Years