Modern: Cool Breeze Over the Mountains 4/10

Admittedly, I started listening to this with high expectations.

I have a very high respect for Spaceships and their independence as a duo.  It's very impressive to me that they write/produce/perform/record/mix/engineer/whatever else on their own, and I'll give them alot of credit for that.  However, their music leaves much to be desired.  The distortion is just too dissonant, there's too much unfiltered noise, it's almost painful to listen to, and not enough actual melody or solid rhythm or actual display of vocal/instrumental/technical talent.  Listening to them gives me a bit of a headache, truth be told, all that noise at once, it's hard to follow, and nothing particularly stands out.

Make your own decision on their music here.

Modern: Songs of Love and Despair 7/10

There's something endearing about The ABIGAILS' oddly depressing and too-short songs and Warren Thomas' ridiculously low and sometimes slightly flat vocals.  Their new take on country style is interesting, and although this isn't a great album (most of the songs are basically the same thing), it's still cute to listen to when drowning your misery in spirits and wallowing in your sorrows at the local bar.  Or doing whatever it is you do when you feel like being overdramatic and stereotypically depressed (because it definitely does feel nice to just whine and complain about how unfair life is every once in a while).  Just like the title says - songs of love and despair.  Give it a run-through, it's a nice change.  Also, not gonnna lie, I love this album cover.  It's funny in a dark not-really-funny way, just like the songs on this album.

Better than listening to the mix CD your ex gave you over and over after your messy break-up.

Listen to it here

Modern: Scott Walker - Epizootics! 5/10

WARNING: this song will haunt you in your sleep.

It's basically the soundtrack to your nightmares.

I have no idea whether to focus on the outbursts of noise or his low voice.  There's so much juxtaposition here, but somehow it still fits in a scary, surreal way.

Still have yet to listen to the rest of Bish Bosch, although I've heard some pretty interesting things about it so far.

Classics: Little Queen 8/10

Well my goodness.

Yes, I did buy this album because of Barracuda.  It's so rare to hear a song with such powerful vocals from a female singer, and I wanted more...but I ended up with MUCH more than bargained for when I found it on vinyl for $3 and gave the whole thing a go.

So I'll start with Barracuda - I know it is just one of those songs that everyone knows, but it is that ridiculously famous for a good reason.  The driving beat of the guitar holding the song together combined with Ann Wilson's fierce voice are intimidating to listen to, and it is surprising to hear a song so rough from two female musicians.  I also usually don't listen to music for the vocals, but Ann Wilson has unexpectedly good range to add to her powerfully threatening voice.  Yes, it's a good song; yes, you hear that everyday from everyone you know; and yes, I'm telling you that too.

Onto the rest of the album: there's no track that is as much of a driving force as Barracuda, but the whole album still displays the talent of the Wilson sisters.  Love Alive displays again Ann's versatility as a singer as her style shifts to relaxed and quiet - and she still manages to sound original and display her range.  She doesn't just yell her songs; she can murmur them softly too.  The rest of the instrumental parts fit ridiculously well together - the guitar is delicately played and has a much more polished sound then the roughly played repeated chords of Barracuda, and it harmonizes deliciously with the bass as the drums take the lead towards the end of the song.  Props to this album as a whole also for it's use of unconventional instruments (such as flute and mandolin) giving the whole thing a medieval, almost minstrel-like twist to a rock album - something I've never heard before and probably won't hear again.  Dream of the Archer holds onto the unconventional medieval feel with it's delicate vocal harmonies and focus on the mandolin; Kick it Out reverts to the hard rock running feel of Barracuda with Ann going back to her louder, fiercer vocals and the lower guitar part with mild distortion. Little Queen has a more modern funk style with the focus on the bass and the dissonant clash between the two guitar parts, while Treat Me Well feels like a slow jazz-y song you would hear in a smoky bar late at night.  The album ends on a solid note with Go On Cry, a final display and return to Heart's hard rock style shown in their first track.  I especially love this: how they begin and end the album in the same style, when everything in between differs so heavily.  They still manage to wrap all of Little Queen together.

            In short, Heart plays with a lot of different styles and uses Ann's versatile voice and the talent of each musician to their advantage in this album.  I love the upbeat feel and the contrast between each song but how each still manages to be beautiful in it's own way.  This album may be ridiculously centered on Ann Wilson's voice, but it is deservedly so as she has a voice to be respected that one doesn't come by on every album.

8/10 not necessarily because this is such a great album, but because it was so unexpectedly amazing, and proves Heart's ridiculously versatile talents.

Modern: Come of Age 6/10

Not exactly a "recent" album, it's been out for a few months now, but I just started listening to it.

I wasn't really into The Vaccines before getting this album - admittedly, I had only heard "Norgaard" and "Tiger Blood"; both catchy songs that I thought were pretty fun to listen to, and I'd heard some pretty great things about the band, but I never got around to fully listening to them.

Anyways, this isn't a bad album - the low rating is just for unoriginality and little variation.  They do have catchy music; there isn't a single song on the album I dislike.  It's just that most of them sound the same - same distortion, same rushed riffs, etc.  Sometimes the distortion is even a little too much or too non sequitur (e.g. Aftershave Ocean.  Good song overall, but some parts make me feel a little taken aback, and not in a good way). This isn't necessarily a bad thing as The Vaccines do pull off their genre of modern indie rock very well, but this could turn out bad if they show little progression into their next album (again, nothing to base this on; I'll start listening to What Did You Expect From the Vaccines? soon and be able to accurately compare/hear the full difference).  Again, not trying to put them down - I do enjoy this album. The whole album also takes a darker twist from the two songs of theirs I'd heard before, which is nice to hear.

I take album order seriously.  Opening with No Hope - eh. Not a very strong start, and definitely not one of the best songs on the album.  It's cute, but there's nothing too special about it.  I do like closing off Come of Age with Lonely World though: it's a slow song that has a pretty legitimately pretty melody - kind of makes you nostalgic, and leaves a good taste in your mouth when the whole thing is over.

Good to listen to for rainy days that are still really good days (not like, sad rainy days).

Gems of the album: Ghost Town (love the ominous but cute feeling of this song - I feel like I'm in an 80's horror mystery comedy B-movie while listening to it.  It just makes me smile.), I Wish I Was A Girl (I have a soft spot for those darker sounding songs - this one is pretty sexy.)

Artist Review on The Vaccines coming soon!

Modern: Josephine EP 6/10

I hadn't heard of The Pharmacy or any of their music before giving this EP a listen a few times through - this turned out to be one of my better life decisions.  There's something oddly charming about their sound; the driving pace of each song, the imperfections in Scott Yoder's vocals, the occasional distortion thrown in which takes you by surprise and adds a satisfactorily dark touch to an otherwise upbeat song.  Each of these distinguishes The Pharmacy from an average 2012 pop/indie rock band - they add their own messy touch to (in this day and age) factory-made music, which may be unusual, but they make it fit perfectly.  This EP definitely left me wanting more (which is easily available, as they just released a new album: Stoned and Alone.)

Listen to it here

Artist Review on The Pharmacy coming soon!

(another note: The Pharmacy is currently touring! Although I don't think I'll be able to make it to one of their shows. Sad face. But anyways, check out the next stop of the Stoned and Alone USA 2012 Tour here)

Classics: Blind Faith 8/10

I'll admit it - I had only heard of Blind Faith this summer, and it was only because of the controversial cover of this album, but after looking into them a little more and finding out my third favorite guitarist of all time (Eric Clapton) was part of their band, I decided to buy this on vinyl and test it out.

I wasn't surprised - after all, most of Clapton's bands have the same focus on the blues-y guitar parts and his characteristic impressive high vocals used throughout Blind Faith.  This isn't necessarily a bad thing - Blind Faith holds onto all the good things like the jazz influence on the improvisational guitar solos and the repetitive steady bass riffs holding the songs together .  Good album, points off for the lack of creativity, but even typical blues rock rides above most music.  Nice to listen to when just relaxing - I especially love listening to how each factor of each song fits together: the lead and background vocals harmonize, the drum parts are consistent and hold the songs together without being boring (credits to Ginger Baker, I feel like any drummer would've had fun playing most of the album), and although there is a definite focus on the guitar, the bass still gets it's spotlight occasionally (e.g. Had to Cry Today).  I especially love Do What You Like as it showcases each instrument with bass and drum improvisational solos to be remembered - it may seem to drag after a while, but picks up again and finishes strong, earning it's place on a very good album.
(apologies in advance for crediting most of this album to Eric Clapton: I hadn't listened to the other band members extensively before this album so most of this review is focused on Clapton's style and how Blind Faith is similar or dissimilar.  Just want to give credit to the rest of the members, and especially to Steve Winwood for writing most of the songs)

Modern: Crystal Castles III 8/10 (and Through the Years)

Crystal Castles has two kinds of songs: the ones that anesthetize your body and bring you to a state of complete calm, and the ones that go past your ears and overload all your senses with the sheer sound and feel of chaos; both styles force you to focus only on the music.  This may not sound like a good thing; however, Crystal Castles has pulled it off not once, but three times in a mere four years.  Crystal Castles's III definitely takes a turn towards the relaxed, but still holds onto the use of extreme noise as displayed in II (I seems to be a perfect combination of the two styles).  The contrast is interesting; how Alice Glass whispers you into mental numbness in III, instead of screaming you awake in II; how III goes down easily, allowing you to let go of your body and relax completely, while II's gritty sound forces itself into your mind and takes over.  In this new album, the beats are slower, the vocals are less screeching, the noise is overall less imposing to the listener's brain, but the impact is the same.  Crystal Castles remains a force not to be listened to lightly.

examples of "smooth" songs: 

Wrath of God (III)

Transgender (III)

Courtship Dating (I)

Vanished (I)

Celestica (II) 

examples of "rough" songs:

Doe Deer (II)

I Am Made of Chalk (II)

Xxzxcuzx Me (I)

Alice Practice (I)

Pale Flesh (III)