Last Week's Album

Don’t take Jesse Thomas too seriously, but take her music very seriously. She’s a hilarious girl when it comes to commentary and spoken word. However, she writes mainly emotional, acoustic and ear-catching songs. War Dancer is her debut full-length album, and it sounds like the work of a smoky-voiced siren who cracks jokes when speaking but gets her feelings out when singing. A true creative channeler, indeed.

Sounds Like:The Weepies, Lifehouse, Cary Brothers

“Better Geography” starts with soft acoustic strumming, a mellow bass line and a barely-there shaker keeping the beat. When Thomas opens with, “I’m no good at emotional stuff,” she gives us a winking glimpse at the heartfelt, occasionally poignant contents of this diary-like album. She yearns for the love she lost to that someone else, reckoning “All she has on me is better geography” and rhetorically asking “Is that enough?” with the can-do resolve of a girl who’s getting her man back. The simple instrumentation complements her straightforward intent, with only a tambourine, bass drum and ethereal backing vocals entering the calm, collected tune toward its end.

“You I Want” picks up the pace significantly with upbeat drums, driving acoustic strums and a smooth, sliding bass motive. Thomas opens with another clever line – “I said too much again / Foot-in-my-mouth syndrome” – followed by a nod to her sometimes-salty vocabulary – “How did I f*** this up? / I shoulda held my tongue.” The jam quickly builds to a pulsating, pleading chorus as she begs her lover over to talk things out, of all things. Hand claps come clattering in at second chorus, along with echoing backup vocals before she gives one last try to entice him with a peace offering of wine. Alcohol always fixes everything, right?

Key Tracks:
Better Geography, You I Want, Back to Fighting, Song for You, Already Mine

“Sidewalk Ends” sounds like a song written for a terminally ill friend. It’s a quick, hopeful ditty with jangly strumming, lively mandolin and bouncy bass that juxtapose well with the moody cello and bass drum. Thomas drifts from one emotional extreme – “Sometimes her heart beats fast / Like a little heart attack / But I love her, I do” – to the next – “She said she’s leveled out / The medication’s working out / Well I hate her, I do” – with voice-cracking vocals that mirror her torn feelings for that special someone whose body and soul are stretching them thin. Yet with unwavering certainty, Jesse vows to always be there.

“Brave” keeps things mellow and borders on the dreamy territory of the Weepies. It opens with smooth falsetto backing “oohs,” a stand-up bass, shoegaze strumming and slow-country lead guitar, all of which form the song’s steady backbone. Thomas employs her signature style of honest, pleading, almost-whispered vocals to great effect over the tune’s chill, somber orchestration. “I’m ready now, I’m ready / These obstacles seem petty,” she croons as she prepares to put aside her fears and wholeheartedly give her heart away.

                                          Music video for “You I Want”

“Oh My Dear” continues the chill vibe with its ever-so-soft finger-picking and slow build. But it adds some intrigue and tension with as the chorus comes in all flustered and frustrated. “I trip, I trip on every word / You make, you make it less awkward / Our eyes in a line, my love is redefined / I choke, I choke, I shoulda spoke,” Thomas sings. This one really comes to life during the heavy-drum bridge, and the dramatic piano sprinkles on the sadness, driving home its message of a missed opportunity at fate-driven love.

Nothing against the previous few tracks, but beginning with “Back to Fighting,” War Dancer gets really good. Playful piano crescendos open up the song – and I’ll admit: I was disappointed they didn’t persevere throughout. Still, it makes for a great tune thanks to upbeat snare-and-high-hat drums, sliding-and-scorching electric guitar accents and relentless acoustic strumming. Its group chant ending really sets it apart as distinct, (ironically) collective and sing-along worthy.

“Song for You” is another great one. Rhythmic finger-picking and the oh-so-catchy “you-ooh-ooh-ooh-ooh-oohs” make it unforgettable. Thomas’ drawn-out vocals seep through your skin to show you just how earnest she feels about the loved one for which she pines. “We could watch reruns of Jeopardy / Yelling at the TV screen / Rooftops and shooting stars / Roadtrips in my beat-up car,” she sings, obviously for that one-and-only person. Rightly so, the steel drum hits add a unique touch that works surprisingly well with the songs moody cello and downtrodden strumming.

Best Lyric:
“I’m ready now, I’m ready / These obstacles seem petty” - “Brave”

Next up is “Already Mine,” yet another keeper. A rare gem on the album, this one would make a good dance number. Its bouncy stand-up bass, bluegrass drums and lively strumming keep it all upbeat and fun. The doo-woppy chorus takes it to another level – compared to War Dancer’s other tracks – as does its awesome trumpet break. Over all this revelry, Thomas tells her lover to forego the games and “bullshit” in favor of realness and honesty. Word.

“Madeline” brings things back down to the album’s mainly emotional feel. It opens with a piano line reminiscent of John Lennon’s “Imagine.” Her soulful vocals soon enter in, as does a melancholy cello and some dramatic violin. Speaking of which, this track’s violin break takes it up a notch, just before more strings come in to flesh out the main melody. Very nicely and classically done, Jesse.

I’m super-bummed to report that after a week of trying, I’ve still been unable to get “Whisky While I Wait” to download from iTunes. From what I can tell on the preview excerpt, though, it sounds like a bitter f***-you sendoff to a lazy lover with some good acoustic guitar and pensive lyrics.

Overall Rating:
       

As Jesse Thomas’ first album, War Dancer is a strumming contradiction, just like its writer. Sometimes it’s all sad and somber. Other times it’s fun energy and elation. But either way, it’s a great start for an artist that knows how to get in touch with both sides of the emotional spectrum. With her smoky voice, acoustic chops and elusive style, you’ll want to keep an eye on this one for sure.

Dr. Dog, America’s favorite Philly fivesome not named Dennis, Dee, Charlie, Mac, and Frank, puts forth its sixth full-length release with Be the Void. Dr. Dog is comprised of Toby Leaman (bass/vocals), Scott McMicken (guitars/vocals), Frank McElroy (guitar), Zach Miller (keys), and Erick Slick (drums). The band has built a following over the years based on its energetic performances and throwback pop tunes, and they stand to make a larger mark on the greater music landscape with Be the Void. But will this release make waves or fall on deaf ears?

Sounds Like:
Beatles’ pop prowess mixed with the modern twists of MGMT and Portugal. The Man

“Lonesome,” Be the Void’s opening track and early gem, opens with a slow-paced beat driven by booming bass drum hits and thunderous hand claps. A fuzzy electric guitar riff adds a backdrop for a dirty Delta-blues slide guitar to frolic in the background. The bluesy lyrics (“What does it take to be lonesome? Nothing at all”) match up nicely with the vibe set by the instrumentation. A dark, mechanized bass hook introduces “That Old Black Hole.” This track starts out with heavy synths and other ambient sounds, but quickly shifts gears to a more guitar and keyboard sound. The tone also turns to the brighter side with this shift, as guitars pick up the pace and add an upbeat lightness.

Syncopated piano chords and a driving electric guitar riff kick off “These Days,” before subsiding to a lone, pulsating bass riff as a backdrop for the vocals. The bass line is joined by the piano and guitar riff following the chorus, allowing the band to indulge in a little jam session. Lyrically, “These Days” refers to periods referenced using the cliche phrase “those were the days.” Dr. Dog, though, wants to avoid such reminiscing and focus on the present, illustrated well by the lively nature of this tune. The album’s pace hits the brakes hard on “How Long Must I Wait.” A bluesy guitar solo over a stand-up bass line opens the song, and is joined by a heavy, hip-hop inspired drum beat accented by dark, dreary piano keys. Lyrics explore the emotion of carrying around the thoughts of an unrequited love and wondering how long one should wait before jettisoning such baggage.

                                Music video for “That Old Black Hole”

“Get Away” opens with soft splashes of piano chords and subtly synthesized strings. Dr. Dog’s layered backing vocals, very reminiscent of sixties pop, are on full display on this track. The tune builds as the theme of this song becomes apparent through the lyrics, emphasizing the pursuit of challenges of the unknown. “Do The Trick” opens with another foot-tapping drum and bass beat. This easy-paced beat carries throughout, though accompanying instrumentation varies. Clever lyrics find a speaker listing his insecurities and longing for a “better half” to help find some sanity.

Key Tracks:
Lonesome, That Old Black Hole, These Days, How Long Must I Wait, Vampire, Heavy Light, Warrior Man

The band jumps on a recent resurgent trend on “Vampire,” for which a booming electric guitar riff serves as the cornerstone. Humorous lyrics find the speaker professing his love for a vampire and some of the difficulties that arise from such a relationship — “you’re always giving me maybe if I get something at all / leaving me in the dark, oh what a nerve.” Verses are driven by a moving bass line and soft organ chords; the electric guitar riff adding significant bite, comparatively. “Heavy Light” seems to include two different movements. The first part of the song is driven by subtle synths, a simple guitar riff, and a drum beat that feels like it’s holding back. The tune quickly changes color, initially carried by what sounds like an electric sitar. The lyrics significantly change tone, as the latter portion of the song takes a more positive tune (“I wish I only gave love”) before fading out to silence.

A driving drum beat, piano, and electric guitar push “Big Girl” at a quick pace. Dr. Dog doesn’t venture too far into the unknown on this track, as the guitar riff maintains throughout. However, the band does indulge in some exhilarating guitar theatrics. “Over Here, Over There” explores the many roles we each have but often overlook. This one opens with a lively strummed acoustic guitar riff, and picks up pace with the entrance of drums and keys. The chorus is joined by electric guitars, adding another layer. The song ends in a flurry of guitars and drums, almost unrecognizable from where it began.

Best Lyric:
“I don’t want to let go / People they get so old / I hate when people say “those were the days” / Oh what are these then?” - “These Days”

“Warrior Man” opens with a digitized synth and other ambient sounds, before settling in to a sauntering pace driven by fuzzy electric guitars and a industrial-sounding synth hook. The pre-chorus stands in stark contrast, as the heavy drums and synth drop out, leaving a soft synth hook and layered vocals. Humorous vocals find the “warrior man” boasting his accomplishments, ranging from the creation of krav maga to the computer, “hubcaps and soda cans.” “Turning the Century,” the last track on Be the Void, begins with a finger-picked acoustic guitar riff accompanied by sitar. This instrumentation carries through the majority of the song, joined by light drum work and other ambient sounds. Though darker lyrically, the laid-back vibe of the tune makes for a solid last track.

Overall Rating:
       

Be the Void includes all the strengths Dr. Dog has picked up over the years. However, this album also illustrates the band’s continuing ability to make albums that capture the energy of their live shows while in the studio. Be the Void features solid songs from top to bottom, a testament to their songwriting abilities.

I have no idea why, but The Soldier Thread harbors an obsession with bulls. I do know they’re an Austin-based quintet comprised of keyboardist Justin McHugh, guitarist Todd Abels, singer Patricia Lynn, drummer Drew Vandiver and bassist Chance Gilmore. The Bull EP is the rock/pop band’s 4th release, 2nd EP and latest display of bullish bias. Their recent singles “Matador” (a.k.a. bullfighter) and “Anybody” are also worth noting.

Sounds Like:
The Killers, Blue October, Explosions in the Sky

As the opener, “No Parachutes” sets the stage well for the EP. Its ethereal keys, high-hat beat, piercing guitar and emotional vocals give you a great taste of The Soldier Thread’s rock/pop/dance style, which has reportedly been evolving nicely as of late. And the music and lyrics are fused together so seamlessly, you get the feeling of free-falling through the air—a nice thematic touch by the band.

“Would It Kill You” blares guitar arpeggios right from the start and keeps ‘em coming throughout. Fuzzy synth and bass, some lively drumming action and slightly shrieking vocals let you know they’re not f-ing around on this one. The tension is palpable, especially on the haywire bridge, as Lynn laments “You wanna know what to brace for, what to do / I wanna know, too — I do.”

Key Tracks:
No Parachutes, Pretty Bones, For You

“Pretty Bones” is easily the best song on this EP. With breathy, sexy whispers; a keyboard arpeggio hook; driving, double-duty drums and a catchy-as-hell chorus, you’d better grab this bull by the horns and hang on for dear life. It slows down for an echo-filled, whirling breakdown and comes right back for one last chorus before ending with a dirgey organ close.

       Music video for “Matador” (none available for tracks from The Bull EP)

“For You” opens with just a piercing synth. Then, like an angry girl who’s “almost out of patience” pounding at your door, banging drums join in along with fuzzy guitars and distant, disillusioned vocals. If you’re not listening closely, you might easily mistake this emotional track for just another dance jam. It’s definitely worth busting a move to, and Lynn’s staccato vocal hook will likely have you singing along in step.

Best Lyric:
“All my love is made of concrete / It’s a dead weight dragging on the ground / It will build you up so high / into the sky and watch you as you drown” - “Pretty Bones”

“We’re Not Going Down” closes out the EP by letting you down slowly. It begins with a meandering, slowly building start thanks to some whirly, other-worldly synth and wandering guitar work. Lynn sings about not going down “without a fight,” although the track definitely conveys the sense that someone has been badly beaten. I suppose that’s the idea, though — that our protagonists may be almost dead, but they’re still not giving up.

Overall Rating:
       

The Bull EP is a good start. The Soldier Thread did right by releasing it as an EP, as I believe these songs need a tad more development. They’re headed in the right direction, and they’re finding a sound that’s unique, intriguing, emotional and ear-catching. I’d personally like to hear more storytelling in their music, but judging by the following they’re accruing here in Austin, the band is clearly onto something much more than bull.

Chairlift is a Brooklyn-based duo comprised of vocalist/songwriter Caroline Polachek and multi-instrumentalist Patrick Wimberly. Something is their sophomore full-length release, the band’s first release following the departure of founding member Aaron Pffening, who left Chairlift after their 2008 debut Does You Impress You and a failed romance with Polachek. Blogosphere buzz and attention fell upon Chairlift’s shoulders following that first release, which was further bolstered by an Apple ad that featured the single “Bruiser.” With the resources of a major label (Columbia) behind them, Chairlift looks to buck the sophomore slump with Something.

Sounds Like:
Brooklyn-based duo puts a dark, chilling, modern stamp on eighties new wave and finds pop gold along the way

Something’s opening track, “Sidewalk Safari,” sets the bar high with its searing, syncopated snare hits and sinister, lurking synth hook. Polachek really digs into the character of the song, a scorned lover looking to take revenge on those who scorned her (“I do know how to drive a car faster than a man can run”). Faint drums and ambient rumblings open “Wrong Opinion,” before breaking away to a warm, pulsating bass line punctuated by an even snare hit. Soft, airy synths set a calm and complementary backdrop for Polachek’s easy, airy vocals during the verses, while harsher, industrial-sounding hooks appear intermittently to providing a stark contrast to her voice.

“I Belong In Your Arms,” another of the album’s highlights, is a sweet, synth-heavy pop ballad. A cascade of synths, upbeat tempo and catchy melody result in a solid chorus. Verse vocal melodies build anticipation that is delivered by the chorus; a positive, upbeat tune for the romantically forlorn out there. Chairlift takes a turn for the darker on “Take It Out On Me,” which opens with a dark, eerily groovy eighties synth hook. Polachek’s vocals are especially sultry on this track, commanding its presence against (at times) a sparser field of synths. Wimberly also shows off his ability to layer and weave different sounds on this track, all while playing off the strength of Polachek’s vocals.

                                  Music video for “Amanaemonesia”

“Ghost Tonight” starts with simple finger snaps, Polacheks vocals and a bass line, before setting sail on another synth odyssey, paddled along by a booming bass line. Wimberly’s ability to layer and add variety to synth lines is present once again, as sounds range from bright, bouncy, melting synths to another extreme of short, halting, march-like sounds. “Cool As Fire” again features Polachek’s vocals, though this time seemingly at the expense of Wimberly’s sonic strengths. The tempo on this track is on the slower end of the spectrum and never really picks up any steam. Although the subtle synths and other ambient rumblings provide a unique contrast to Polachek’s vocals, this track could arguably be a low point on Something.

Key Tracks:
Sidewalk Safari, Wrong Opinion, I Belong In Your Arms, Take It Out On Me, Amanaemonesia, Met Before, Guilty As Charged

The energy picks up again, though, on “Amanaemonesia,” a song about a fictional disease and magic. Driven by an upbeat, stuttering bass line and faint, spacey synth blasts, Wimberly’s vocals make a brief appearance in form of a call-and-response type interaction with Polachek. Drums pick up the pace, and synths go into overdrive during the chorus, where Polachek delivers another solid vocal melody. Various synth hooks battle for supremacy during a dark, MGMT-reminiscent bridge. “Met Before,” another highlight, opens with a thundering, fuzzy, reverbed electric guitar chord, thumping bass line and steady snare drum hits, only to quickly change gears to a more synth-centered sound. Syncopated synth blasts carry the pre-chorus and chorus, as Polachek’s layered vocals carry the energy. A breakdown allows for an a cappella round of vocals and builds back again, assisted by the driving drum line.

“Frigid Spring” boasts a wider range of instrumentation from the rest of Something, highlighted primarily by the strummed acoustic guitar that is seemingly absent from the remainder of the album. “Turning” is another slower-paced synthesized escapade. Bright, reverbed electric guitar-picking add drops of sonic precipitation against a backdrop of fuzzy synth chords.

Best Lyric:
“I do know how to drive a car faster than a man can run” - “Sidewalk Safari”

“Guilty As Charged,” Something’s closing track, is another good one. A halting, bluesy bass line serves as the basis for the track. Polachek’s vocals get sultry on this one, as she coos “I’m guilty as charged, go on punish me.” Harsher, industrial synth blasts once again stand in contrast against Polachek’s airy vocals and simple bass hook.

Overall Rating:
       

Overall, Something is a solid album. Its highlights soar to breathtaking elevations, though its low points, in contrast, drag a bit. Chairlift have developed an interesting formula of taking eighties new wave ideas and putting a modern, hipster spin on them in a pleasing manner. Some standouts, such as “I Belong In Your Arms” and “Amanaemonesia,” are incredibly catchy pop ditties that will surely get booties shaking and feet tapping, while Something’s snoozers (“Cool As Fire” or “Turning”) will have the complete opposite effect. Fortunately for Chairlift and listeners, Something features more of the former than the latter, making the case for the band as possibly something greater than another one hit wonder featured on an Apple commercial.

There’s only one thing you need to know about Howler: they’re talented beyond their years. Based in Minneapolis, they are Jordan Gatesmith (vocals/guitar), Ian Nygaard (guitar), France Camp (bass), Max Petrek (keyboard) and Brent Mayes (drums), and their ages range from 19 to 24, respectively. While there’s “nothing really serious about his band,” they somehow nonchalantly create sludgy surf rock that’s definitely worth hearing. And like sand at the beach, America Give Up’s catchy jams will stay stuck in your ears for days.

The album opens with “Beach Sluts,” a title that lets you know exactly what kind of music Howler makes — sarcastic, occasionally foul-mouthed “surf thrash.” With fuzzed-out vocals, withdrawn verses and howling choruses, Gatesmith’s delivery sounds a lot like Julian Casablancas’ early style. The jam itself follows suit, jumping from slow, melodic verses to frantic, thrashing pre-choruses to amped-up, anthemic choruses. Hand claps add a touch of humor, and the guitar melody mirrors the vocal one to almost beat you over the head with its catchiness.

Sounds Like:
The Jesus and Mary Chain meet The Strokes in Cali for a surfing contest

Next up is “Back to the Grave,” a short, upbeat jam which Gatesmith admits was intentionally written in the vein of The Jesus and Mary Chain, only without a chorus. “Where will you be / in 2023? / In someone else’s arms / and not with me” he croons in a deep, almost comical tone that subliminally tells you these guys don’t take themselves too seriously. The off-the-wall yet right-on-cue antics continue with sludgy power chords set against falsetto woo-hoos and wailing harmonies that get the muted treatment. The catchy, almost-raucous affair ends in a heavily affected, whirring burnout.

“This One’s Different” is a title of deliberate irony, in that the song was the impetus for the Howler’s sound as a band (see the link above for more on that). Presumably it’s about a girl Gatesmith wants, but the bigger picture is likely about that youthful impatience for something beyond one’s sheltered, boring existence. A driving, cymbals-crashing and guitar-wielding jam, the track is the first on the album to spotlight Nygaard’s scorching lead guitar work, and there’s plenty more where that came from later on. Appropriately, the song’s breakneck speed makes it feel as urgent as its sentiment.

Then there’s the purposely confusing title track, “America.” Howler knows full and well that this album is anything but political, but they like being assholes. Granted the song has a stance, it’s more cultural than political. “Shotgun wedding at a quarter to five / I shot the husband, and I sleep with the bride,” Gatesmith sings, shunning planning ahead in favor of spontaneously living in the now. With plenty of jangly, frenetic guitars and layered background vocals throughout, the song takes an interesting staccato turn at the end for a nice change-up.

                                       Music video for “Back of Your Neck”

“Too Much Blood” suitably opens sounding like a funeral dirge with only organ and drums. Those two are quickly joined by slow, grungy guitar and soft backing croons and the track takes its form with a distant, spacey, almost-creepy-yet-addictive vibe. Howler again stirs up sounds similar to The Jesus and Mary Chain as Gatesmith provides disaffected vocals and Nygaard brings out screeching echoes from his electric guitar. Very weird but very cool.

“Wailing (Making Out)” is a standout track that made it from Howler’s EP to America Give Up. The punk-pop gem’s carnival-esque keyboards, staccato strumming and guitar-and-drums break is all youthful angst at its finest. With sarcastic lines like “I wanna die young as a star / Is that too much, is that so hard?,” the track’s tone reminds me of MGMT’s “Time to Pretend.” Gatesmith aptly wails the closing chorus/bridge as if everyday life really is a living hell. Burning bright like that star mentioned earlier, the track’s brilliance is only dimmed by it s brevity, clocking in at just 2:02.

Headbangers, get your necks ready. Sounding like the soundtrack to a fast-forwarded surf video, “Pythagorean Fearem” brings a breakneck bass line, screeching guitars, cymbal-heavy drums and more super-deep, almost laughable vocals with the occasional shriek. It’s got a killer crescendo halfway through, followed by a breakdown that politely lets you catch your breath before it all builds up again for an almost-as-strong guitar-heavy ending.

Key Tracks:
Beach Sluts, Wailing (Making Out), Pythagorean Fearem, Told You Once, Back of Your Neck, Free Drunk

“Told You Once” is an instant hit that’ll get your lip curling and your foot tapping. Its jangly, acoustic guitar backing carries a bouncy feel throughout, well punctuated by hand claps and snare hits. Then its super-catchy surf rock guitar hook comes riding in, soon followed by a wave of sludge guitar as the solo deftly maneuvers through its ominous force. Forget the downer lyrics like “I hate myself more than I hate you” and enjoy this jam for the mini-masterpiece it is.

Another sand-infused tune follows right after, as the opening guitar hook and Beach Boys-ish backing vocals open up “Back of Your Neck.” The song’s jumpy, nervous feel is comprised of staccato guitars and drums, a West Coast guitar solo, and falsettos so high, someone must be squeezing their balls. It all slowly falls away before coming crashing back in like a 60s beach blanket party.

“Free Drunk” blends a chill vibe with shoegaze stylings. Apathetic lyrics, popping drums and spacey keyboard effects create a swaying, almost seasick track. Plenty of catchy backing vocals and understated guitars add to the motion, until this smooth, soft jam is over before you know it.

Best Lyric:
“I think you’re mid-July/ Smoky, wet and hot as a crack pipe” - “Back of Your Neck”

With its staccato pulsing and chanting, “Black Lagoon” sounds like a Bass Drum of Death B-side. Nygaard’s antsy guitar work rears its wily head again, over surf chord strums and crashing cymbals. Gatesmith’s vocals spell out the song’s title and cleverly turn the O’s into extend oohs. Its sarcastic flair definitely turns a beachy feel into a more dark, dangerous lagoon, as the lyrics recount a story similar to the plot of old-school horror film Creature from the Black Lagoon.

“Pale Skin” rounds out the album with breathy vocals and chug-along drums. Signing off in Howler’s signature style, the song takes fuzzed out guitars to another level, delivers couldn’t-care-less vocals, and clocks in at just under 2 minutes as the record’s shortest song. Still, it makes great use of instrumental layering and lack thereof to build interesing tension throughout.

Overall Rating:
       

America Give Up is a seriously strong effort for a first album by such a young band. It’s a lot of surf, a lot of sludge, a lot of sarcasm and a lot of simplicity. These kids are clearly still impersonating their idols, but they’re also making some interesting choices along the way that give Howler its own sound most of the time. All five of these guys are skilled musicians despite their young age, and they’re showing promise as a good young band that will likely mature to be great. So if you like guitar rock with a surf sound that’s fuzzy at the fringes, don’t give up on Howler.

Oakland-based quartet Winfred E. Eye releases its fifth full-length album with Today Was Another Day. Though much of the band’s lineup has been a revolving door of different faces since its debut in 2000, frontman Aaron Calvert and bass guitarist Mikel Garmendia have been at the core throughout.

Sounds Like: Tom Waits, Wilco, Uncle Tupelo

Clean electric guitar strums and airy keys open “Money In Bank,” Today Was Another Day’s opening track. Savvy drum work picks up the pace of the tune, as Calvert’s Tom Waits-esque vocals sing of moonlight over an easy moving bluesy groove. The chorus is filled with vocal harmonies and blues guitar riffs. Syncopated piano keys and free-ranging guitar riffs drive “We’re Farmin’,” which finds Calvert riffing on the subtleties of his garden (“there’s worms in the mud / they’re making vitamins / we’ll take care of them we need them too”).

Best Lyric: “Don’t let it fall on my watch, no / I get paid to be a professional / but when I’d to think I know my trade / but sometimes I can’t and I don’t trust myself, no” - “No $”

The subdued guitars, dreary keys, and rumbling guitars on “Void” create a darker tone, matching Calvert’s longing lyrics (“stacked on the bills I owe / is a check my heart can’t cash”). The tempo picks up quickly on “Hard Time Comin’.” Steady drums and gently distorted guitar strumming lay the baseline for Calvert’s vocals and intermittent guitar solo riffs. Calvert’s heartfelt lyrics try to explain the heavy emotions encountered when losing someone close before their time.

Garmendia’s moving bass line is accentuated by bells and playful guitar riffs on “No $.” Calvert’s lyrics speak to the general collective that have found difficulties in these tough times, finding comfort in the fact that he is joined by others in the day to day fight to survive. An agonizingly slow, dark blues riff carries “Sentimental Junk,” as Calvert’s lyrics take a scathing look at what lies beyond the white picket fences of a not-so-picture-perfect suburban home.

                                       Music video for “Money In Bank”

Calvert & Co. take large retail chains to task on “Customer Service.” An easy-going melody turns slightly sour, very reminiscent of poor customer service. Calvert’s tongue-in-cheek lyrics (“I can’t get no service here and I’m out on my own / well how do you expect this big box to feel like home? / My money and my time are too precious to spend on you / there’s got to be a farmer’s market around here”) and smooth melodies make a strong argument. Calvert channels his inner Ben Harper on “Burnin’ Alone,” as his croons of love loss float over soft blues riffs.

Key Tracks: Money In Bank; We’re Farmin’; No $; Customer Service; Burnin’ Alone; Why Me; The Office, Him and Me; Movin’ On

An ominous bass line and chilling backing vocals carry “Froze Heem.” Quick drums and a cascading guitar riff provide a change of pace on “Why Me.” On this track, the main character questions his bad luck, fully knowing that he brings it all upon himself (“you drank too much / you shoulda known better / I shoulda known better”). Winfred E. Eye seems to hit its stride on “The Office, Him and Me,” as a palm-muted guitar riff and lighter-picked riff play against each other over a jamming drum line. “Movin’ On” is a somber number, nicely wrapping up Today Was Another Day.

Overall Rating:
       

After listening to Today Was Another Day, my day was brightened up a bit because of it. With minimal expectations going into this review, I found the upbeat songs to be thoroughly solid, finding their stride in the Americana/alt-country jams. Calvert’s songwriting is strong, as even some of the slower and more somber tunes still exhibit some interesting story lines and other lyrical gems.

In a week dominated by Christmas-related albums, El Camino by The Black Keys stuck out like the last Tickle Me Elmo toy on a K-Mart shelf in late December 1996. Even if it’s not, it’s still a good time to check in on guitarist/vocalist Dan Auerbach and drummer Patrick Carney on their seventh full-length release and first since their 2010 hit Brothers.

Sounds Like: Black Keys team up with producer Danger Mouse to open another can of audio blues whoop-ass

El Camino kicks off with a heavily distorted guitar riff and booming drums on opening track “Lonely Boy.” Auerbach’s vocals are howled over a sultry, blues riff and a steady snare drum beat, quickly changing gears to a churning guitar driving the chorus, where Auerbach is joined by a choir of voices. The fingerprints of producer Danger Mouse (whose project with Daniele Luppi, Rome, we reviewed earlier this year) are pleasantly apparent immediately on the next track, “Dead and Gone,” as a chorus of voices ring off in the distance atop the syncopated up-strokes of a clean electric guitar before backing away for Auerbach’s longing vocals. A fuzzy, frantic guitar solo breaks up the song, while the chorus brings back the choir and is further accented by bells and handclaps.

Best Lyric:
“You’re wound up like a weapon / you’ve got an evil streak. / They told me stay away / but I was much too weak.” - “Stop Stop”

The Keys don’t let off the gas pedal as another heavily distorted, palm-muted guitar riff provides a backdrop against a dirty blues riff. Verses see a wide range of of sounds, bouncing from two subtler riffs and bigger, more breakneck benders. A choir again joins the chorus and is accompanied by a return of the synth hook. “Little Black Submarines” will surprise listeners, as the track opens with a softly plucked acoustic guitar riff and Auerbach’s clean vocals. Subtle organs and a tambourine join before fading out. A second later, huge guitars and drums take up a barn-burning rendition. This time, Auerbach is joined by a choir of voices as he laments, “a broken heart is blind.”

“Money Maker” is driven by a machine-like blues guitar riff and steady drum beat throughout the verses, and lets loose to booming chords and a cascade of cymbals during the chorus. A distorted slide guitar is used to lay the hook on “Run Right Back.” Auerbach sings about the uncomfortable subject of running back to a no-good woman (“she’s the worst thing I’ve been addicted to”), over an equally tense guitar riff and terse bass line. These, along with the slide, add up to a great solo following the first chorus and subsequent build-up back into the next verse.

                                     Music video for ”Lonely Boy”

A reverbed guitar riff starts “Sister” and is quickly joined by a steady bass line and tight drum lines. Danger Mouse adds heavy synths over the choruses, layering another dimension to the sound. “Hell of a Season” is very reminiscent of The Clash, driven by steady bass line, syncopated up-stroke guitar riffs, and the like. The pace never lets up until a breakdown at the end, as the up-strokes slow down to a haunting effect, only to pick up again into a sprinting, buzzing guitar solo.

Key Tracks: Lonely Boy, Gold On the Ceiling, Little Black Submarines, Money Maker, Sister, Stop Stop, Mind Eraser

A playful hook kicks off “Stop Stop,” before leaning into a straight-ahead verse riff accompanied by handclaps and drums. Auerbach’s falsetto is joined by a choir over the chorus, dripping with subtle nuances such as bells and another instrument/effect adding a distant, whirring sound to the guitar chords. “Nova Baby” is characterized by the stark contrast between the bare-bones guitar-and-drums-driven verses and the synth-hook driven, more dramatic chorus. “Mind Eraser,” the album’s closer, finds The Black Keys fueling another blues burner. Pounding piano chords drive the opening guitar solo before slowing down into a bluesy groove for the verse. “Don’t let it be over” Auerbach moans, as El Camino fades out on a jam that could seemingly last forever.

Overall Rating:
       

In short, The Black Keys did not miss the lofty expectations that preceded El Camino. Auerbach and Carney once again demonstrate why they stand alone atop the modern blues mountain. Danger Mouse’s production work adds considerable depth the Keys’ sound and does not overshadow the band’s signature sound in drums and guitars. El Camino is a solid effort from The Black Keys and would have likely cracked our Top Ten Albums of 2011 had we not compiled that list last week.

At the end of each year, most people like to reflect on the past 365 days and remember the good times. We at Last Week’s Album are no different. So for our Top 10 Albums of 2011 list, we didn’t just pick all the albums we gave 5 out of 5 lighters. Instead, we selected the ones that haven’t just stood the test of time, but have gotten better with each listen. And just to keep things fair, 5 of them are from Kevin and 5 of them are from Derek. So without further ado, here are our Top 10 Albums of 2011.

Derek’s Top 5

5. Fight Less Win More by My Sad Captains

I only reviewed this album in mid-November, but My Sad Captains still find themselves in my regular iPod rotation. Their acute attention to detail and ability to meld guitars and other keys/synthesizers together into extremely pleasing melodies make for some fantastic tunes. Though Fight Less Win More has yet to be out for an entire month, limiting whatever marketing traction can be gained in such a short period of time, their tunes are absolutely solid, and should help the band continue its climb towards indie-rock success.

4. In the Mountain in the Cloud by Portugal. The Man

In my original review, I stated that I was “initially blown away by intricate array of sounds and melodies.” Three and a half months later, little has changed. The band’s first major label release allowed the fellas to spend some quality time on each track, tying up all possible loose ends, and creating a fantastic album. The vocals and vocal melodies are catchy as can be, and the added production value of a major label release really allowed Portugal. The Man to build on the strength of its vocal melodies. Further, expanded instrumentation, including synthesized strings on tracks such as “So American” and “Floating (Time Isn’t Working My Side)” allowed the band to reach new heights. One of my favorite road trips albums, I don’t see this one falling out of my playlist rotation any time soon.

3. Tripper by Fruit Bats

I had minimal expectations for this album before writing my review, yet this album has stuck with me more than most other albums I reviewed this year. Instrumentally solid front to back, Tripper really flexes its muscles in regards to the stories it tells. As noted in my original review, Fruit Bats’ frontman Eric D. Johnson wrote this album based on stories he might have encountered if he had stayed on a train with a vagrant he met. Each track tells a different tale about life on the road, against a rich folk/rock backdrop. Although this album did not reach the masses, I almost fell out of my chair when I heard “Shivering Fawn” during the credits of an episode of Weeds. After months of play on my iPod, I can definitely say that Tripper is a trip worth taking.

2. Helplessness Blues by Fleet Foxes

In my review, I claimed that this album would find its way into many Top Albums of the Year lists… and here it is! This band of bearded Oregonians released their sophomore full length with Helplessness Blues to much fanfare following the critical acclaim of their debut. I found Helplessness Blues to be a solid effort, far away from the fabled “sophomore slump.” Though Fleet Foxes did not stray far from their folk-heavy bread-and-butter sound, the album’s tracks were much more complex and in-depth than their indie-rock cohorts in the Pacific Northwest.

1. Bon Iver by Bon Iver

There was no doubt that a follow-up to For Emma, Forever Ago was going to be tough task for anyone, let alone Bon Iver genius Justin Vernon. However, Vernon showed that he was up to the task with the self-titled sophomore release under the moniker Bon Iver. Though Bon Iver presented many staggering differences from For Emma, ranging from the inclusion of drums, more distorted guitars and, at times, shockingly deep (read: non-falsetto) vocals from Vernon, it was still able to capture some of the intimacy that made For Emma as great as it was. Like I said in my review, Vernon’s expanded instrumentation also allows his songs to reach new emotional heights, as drums, distorted guitars and other instruments allowed Vernon to add a greater intensity to his already intimate music.

Kevin’s Top 5

5. Torches by Foster the People

On my original review, I called “Pumped Up Kicks” the “song of the summer for 2011.” But I was wrong –- this jam went on to become quite arguably the biggest pop hit of the entire year, and rightly so. “Don’t Stop” also made into the eardrums of almost everyone in the U.S. by way of those ubiquitous Nissan Versa TV ads (watch them here and here). Also including standout jams like “Helena Beat,” “Call It What You Want” and “Houdini,” Torches turned out to be much more than just another superficial pop album. It’s a mix of catchy hooks, dancefloor beats and subtly emotional lyrics. And even if the radio and TV made you sick of their biggest hits, you can’t deny that Foster the People can write and record some seriously contagious jams.

4. Bright Lights EP by Gary Clark, Jr.

Yeah, I know, it’s only an EP and not a full-length album. So what? Carrying on in the spirit of Stevie Ray Vaughan and others, Gary Clark, Jr. is the next big Texas blues man. Bright Lights only included four tracks, but it still encapsulates this young gun’s deft guitar playing, expansive breadth of emotions and original style. One song he’s rocking your ass off, and the next he’s ripping your heart out. The title track was so killer, it made it onto a Jack Daniels commercial. So even though Bright Lights is short and sweet, Clark has the chops to keep me coming back time and again, long after my review. He also puts on a phenomenal show at his concerts, and he’s as humble as they come. I know it’s just an EP, but Gary Clark, Jr. is definitely ready for the bright lights. 

3. Circuital by My Morning Jacket

With five albums under their belt, My Morning Jacket honed their sound as well as they ever have on Circuital. As stated in my review, they dropped the lengthy barnburners but still found ways to follow jams where they led in a tighter fashion. “Victory Dance’s” random voice-and-trumpet hook gives way to a groovy track, “Circuital” displays all five players equal time in the spotlight with its everybody-together-now bounce, and “Holdin On To Black Metal” rocks out in silly style with horns and a girl-choir backing. The album as a whole proves that My Morning Jacket haven’t lost their imaginations with age and their ability to bridge unfamiliar sounds has deepened with time. Rock on, brothers.

2. Screws Get Loose by Those Darlins

These girls (and one guy) really blew me away when I reviewed them this year. Not only can they write smart, catchy quips, but they can tear their instruments to shreds (proof of that here). And although Screws Get Loose is just their second album, they’ve somehow already mastered a signature country/garage sound and a palpable group chemistry. Their sophomore effort contained well-crafted Southern indie-rock gems like “Be Your Bro,” “Let U Down,” “Tina Said” and “Boy.” The album as a whole helped them craft their sound and gained them enough notoriety to get “Red Light Love” on a Kia Sorrento commercial. I can’t wait to hear more outta these talented ladies (and dude).

1. GB City by Bass Drum of Death

I wish I could go back to the day I gave this album just 2 out of 5 lighters and give myself a swift kick in the nuts. GB City has easily become my favorite album of 2011, mainly due to Bass Drum of Death’s uncanny ability to fuse garage rock with old-school doo-wop. It’s left their jams ringing in my ears, pulsing through my veins and blaring through my speakers ever since I got my hands on the album. “Nerve Jamming” rocks with beating drums, fuzzy guitar and effected vocals; “Get Found” has sick guitar hooks and punching percussion; and “Young Pros” boasts snarling lyrics and falsetto backing vocals that harp pack to Motown’s formative years. Even the tracks I found difficult to listen to at first have found their way into my regular listening repertoire (“Velvet Itch,” “High School Roaches,” “Spare Room” and “Leaves”). I sure didn’t call this one in my review, but I now take a trip to GB City anytime I can.

So there you have it, kids. We hope you’ve had as much fun reading out albums as we’ve had reviewing them, and we look forward to another year of even more. If you’ve really dug an album this year, we recommend showing the band some love by buying said album as a gift for someone else. After all, what better way to spread some cheer than spreading the music you dig?

What’s your favorite album of 2011? Let us know in the comments section below, our on our Facebook or Twitter.

Frontman Sebastion Fors leads the Stockholm-based quintet Let’s Say We Did on their self-titled full-length debut. A few Google searches informed me that Fors is a veteran of the Swedish songwriting circuit and this album follows a few singles released by the band. In light of the relatively slow slate of Thanksgiving week releases, I decided to say yes to this album for this week’s review. After some listens, would this turn out to be something I should have said, “No, let’s not, but say we did?”

Sounds Like: The songwriting of Ryan Adams and Conor Oberst, but the sound of Shout Out Louds

“It’s OK,” the album’s opening track, kicks off with tapping drum sticks and lets loose into an onslaught of screaming guitars. The wave of guitars reach a frantic finish, making way for Fors’ cool, smooth vocals played over a humming electric guitar riff (like many other acts from Sweden, Fors’ vocals are sang in English). This track is heavily dominated by guitars, though the band creates a wide range of sounds from the roaring intro to a mellow bridge featuring a subdued, heavily palm-muted riff against an eerie, haunting melody line played high on the guitar neck. Fors’ tongue-in-cheek lyrics strongly mirror the seemingly bipolar nature of this tune as the chorus repeats, ”It’s OK, these feelings will go away.” The next track, “Galaxies,” finds Fors putting the fallout of a breakup into perspective (“galaxies collapsing”) over a hook-laden bevy of guitars and keys. The band builds into a huge buildup over a bridge, introducing handclaps that ultimately break into applause as the bass line picks up the smooth-moving hook into the last verse.

Best Lyric: “I could spend my days / reading rock magazines / and relive my teens. / Whatever that means.” - “Come On Honey”

“Straight Back To You” opens with a harmonized hook-driven guitar riff before fading away to a more subdued riff behind Fors’ vocals. The album’s first single, this track is an overly catchy tune, as Fors’ lyrics focus on missing a loved one while on the road in a playful manner. The harmonized guitar hook comes and goes, often accentuated by subtle hooks, hitting a high point with a thrashing solo at the end. The pace slows down considerably on the bluesy “On the Day.” A reverbed guitar riff opens the track as other lines weave in an out, creating a bleak, sonic haze while Fors’ bemoans a breakup. Following the second verse, the band opens it up as the song kicks it into overdrive for an extended guitar solo and rock out, aided by numerous ambient sounds and effects before fading out on the initial lone guitar riff.

                            Music video for ”Straight Back To You”

“Let the Sky Come Done” is much more lyrically upbeat, as Fors describes the carefree uplifting emotions of falling in love. Fors’ verses are cooed over softly distorted guitar riffs building to a booming anthemic chorus. The verse and chorus create a very appealing contrast, making this one of my favorite tracks of the album. An acoustic guitar riff makes a brief appearance at the beginning of “Come On Honey.” On this track, Fors pleads for his lover to come home while dealing with all the angst that can go along with it. The band captures this angst with a moving guitar line that drives the song along.

Key Tracks: It’s OK, Galaxies, Straight Back To You, Let the Sky Come Down, Follow Me Down, Silent and Still

“Follow Me Down,” the title track of the Band’s 2010 EP, is driven by a strummed acoustic guitar riff, a stark contrast from the distorted electrics that dominate the rest of the album. A lightly, clean guitar arpeggio accents the beginning of the chorus, building to dark, synthesizers accenting the vocals. The elevated production value dripping from this track really makes this one stand apart from the rest of the album, not necessarily in a good or bad way, but significantly different nonetheless. “Blue Skies,” a bluesy ballad in which Fors’ sees gray clouds ahead, leans heavily on clean, layered guitar riffs while a piano accents the chorus.

“Silent and Still” is a somber number, starting slowly and meekly with Fors’ vocals atop a gently distorted and palm-muted guitar riff. Another guitar hook carries the song through a solid chorus melody and gets merely hinted at during the verses. “Give ‘em Hell” is another slow, broody tune carried primarily by guitars and drums. Given the name of the track and the buildup to the end of the verses, Fors toys with listeners with an understated chorus as he whispers, “I will give ‘em hell.”

Overall Rating:
       

After finding this band completely out of the blue, I must admit that I am hooked. Their songs are well crafted and show their ability to make the most out of their guitar-dominated instrumentation. Additionally, Fors’ vocal melodies are catchy as can be, yet delivered with an understatedness that adds to the intimate nature of the songs. The culmination of these elements is a solid indie rock album from another band of Swedes.

Since we’re busy celebrating Thanksgiving this week, you’ll have to settle for a brief recommendation in lieu of a full review. The Dø (pronounced “doe”) are a Finnish/French duo respectively made up of Olivia Merilahti on vocals and Dan Levy on everything from drums to guitars to horns. On Both Ways Open Jaws, their second album, they’ve cranked out an impressive feat of experimental-yet-catchy indie folk. While Merilahti runs the gamet from Bjork-like primal yelps to Joanna Newsom-esque warbles to M.I.A.-ish detached rhymes, Levy provides rock-solid backing via soft percussion beats, indie guitar lines and jazzy trumpet solos. Standout tracks include ”Bohemian Dances,” “Smash Them All (Night Visitors),” “Slippery Slope” and “No Clue.” Both Ways Open Jaws plays more like a smörgåsbord than a four-course meal, but it’s definitely something to be thankful for nonetheless.