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“In Utero” Nirvana album review by Nick Peterson

April 9, 2009 By Leave a Comment

Nirvana - In Utero

In 9th grade, our Pacific Northwest History teacher–Major Marshal Mah–assigned a semester report. While our classmates delved into Salmon runs, chief Seattle and the burlington railroad, Chris maccini and I choose Nirvana. that being said, i’d consider the final album of nirvana’s stardom to be a relic of PNW history.

Now google gives me 31 million hits for a ‘Nirvana” search, a testament to how much has already been said. But I’d add that while the 1992 breakout album “nevermind” has been played to death, “In Utero” is wildly underappreciated, and actually better than “Nevermind”. A listen shows you an aging Cobain, a mastered sound that defined Grunge music at its finest, and  an album that should have been received on a much greater scale. Literally every song on the album is excellent, but “Rape Me”, “scentless Apprentice”, “Penny Royal tea” and “all Apologies” are amongst not only Nirvana’s best songs, but some of the best of the early nineties. The much less polished Post-nevermind sound is a beautiful end to the Nirvana catalogue, and one you should most definitely give a listen to.

Afterall, it’s history.

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Album Review: “We Started Nothing” The Ting Tings, by Liz Crosby

April 9, 2009 By Leave a Comment

We Started Nothing - The Ting Tings

Altogether The Ting Tings have churned out a very fresh sound.  It’s reminiscent of Santogold or The Yeah Yeah Yeahs.  It evokes an energy that makes you want to get up and go.  For a solid week, I would blast the Ting Tings at full volume on my way to the beach in preparation for a good surf session.  “Shut Up and Let Me Go” became that song that I obnoxiously play for everyone in the parking lot for all to hear as I suit up and wax up.  I can’t take my iPod out there with me, so I like to get a legitimate song stuck in my head before getting into the ocean and tackling the waves.

They’re very creative with their use of instruments.  Just like many before them, The Ting Tings come to us from Great Britain.  After dabbling in other bands, Katie White and Jules De Martino started out as an impromptu duo, and their songs started to generate a following.  Katie White’s vocals have a unique sound to them.  They mesh well with the energetic rhythm of her electric guitar and the uppidy drum beats.  When you listen to them, they seem to have this quality about them that reminds you of something that you can’t put your thumb on.  That’s probably because you might have heard them during the Victoria’s Secret fashion show earlier this year or when they performed in Times Square in New York during new years.  They’ve also been featured on Gossip Girl.

Let’s hope that they use all of media coverage as a launching pad for further creative beats.  It seems like so many bands live and die by shows like The O.C., Grey’s Anatomy, Gossip Girl, etc.  They are currently putting together their second album.  They are primarily doing so in Paris and Berlin hoping to sap some creativity from the grandeur of both locations. Let’s hope they succeed in encapsulating the energy of those two places, because let’s face it, who wouldn’t want to go clubbing in either one?  Clearly, they’re a very happening duo, so keep tabs on them; they’re very up and coming.  And for all of those planning on being inebriated by the various bands to be tearing it up at Coachella, The Ting Tings will be taking the stage on Friday.  +

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“Strange Journey Volume One” CunninLynguists album review by Peter Cho

April 2, 2009 By Leave a Comment

"Strange Journey Volume One" CunninLynguists

When looking for albums to review for this week, I was torn between Flo Rida and CunninLynguists. Just kidding, if I hear “Right Round” by Flo Rida one more time I’m going to be googling “bridges in San Diego.”

Anyways, CunninLynguists are a Southern hip hop group consisting of rappers Deacon the Villain, Natti and Kno. Veritable vets of the underground hip hop game, they’ve shared the stage with artists as varied as People Under the Stairs to Kanye West to The Strokes.

With a general disregard for the word “genre,” CunninLynguists have gained acclaim by sampling from a wide variety of genres while also maintaining a wit not seen commonly in the genre. With lyrics covering topics ranging from Google Earth to marijuana, CunninLynguists have a sound that just feels good, that has been described by some as “too white for BET, too black for MTV2.”

Though they are underground, their production is anything but. Members of the CunninLynguists have produced for artists such as KRS-One, Ruff Ryders, Devin the Dude, D-12 and Immortal Technique, among others. The production and overall style are similar to the artist Rhymefest, a Chicago-based rapper who has also done work with Kanye West. There are also similarities to Atmosphere in the lyrical style.

Though “Strange Journey Volume One” only contains two new songs, with the rest being remixes and a single live track, it still manages to be a good example of recycling (like recycled paper that isn’t dirty looking). The tracks, even the remixes, manage to be fresh and play in with the album. Rather than a compilation or a mixtape, the album manages to have an original vibe.

The first single, “Never Come Down (The Brownie Song),” was released in February and can be found on their MySpace, myspace.com/cunninlynguists. Standout tracks include “Hypnotized” and “Don’t Leave,” the latter track featuring Slug of Atmosphere.

If you haven’t heard of CunninLynguists before this review, I wouldn’t recommend using this album as your first exposure to the group. If you’re interested in checking them out, take a look at or pick up “Dirty Aces,” which they released in 2007 to critical acclaim. For long-time fans, Strange Journey Volume One is definitely worth picking up, regardless of the “mixtape-ish” nature of the album.

Seriously though, how can anyone stand that “Right Round” song? Only Adam Sandler can sing that song.

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“The Hazards of Love” The Decemberists album review by Peter Cho

March 26, 2009 By Leave a Comment

The Decemberists - The Hazards of Love

“The Hazards of Love” is The Decemberists’ latest 17-track foray into folk rock storytelling. “Hazards” is their fifth album and it attempts to break traditional barriers of music and plays more like a continuous fairy tale rather than a collection of songs. I would recommend listening to it in one sitting before passing judgment. (Although it is a bit taxing to sit and listen to the album straight for 58 minutes and 36 seconds.)

The album revolves around a cast of characters who live near a forest, including a woman named Margaret and her lover William, “a shape-shifting forest dweller.” It features love, murder and a myriad of other plot elements rarely seen in music. This is not an album that will be spawning many singles or catchy Billboard hits. Rather, what’s audible is a story with charming tracks that attempt to capture the listener’s imagination.

“The Hazards of Love” follows three years after the release of “The Crane Wife,” which was widely accepted by critics as one of the band’s best efforts and was named the Best Album of 2006 by listeners of National Public Radio. There are a few parallels, with “The Crane Wife” also being related to a Japanese folk tale and somewhat narrative-based.

This is not an album you can listen to while working out or at a party. Just like you wouldn’t drink a glass of cabernet at a kegger (I pray that none of you ever do), “Hazards” has its place in the musical listen-o-sphere, and its place is located in the part of your day when you’re in the mood to listen to fairy tales of shape-shifting forest dwellers, a forest queen and the drama that ensues.

All kidding aside, the album is not entirely strange shuffled around, but it definitely has to be listened to in order at least once to make any sort of sense. With this in mind, standout tracks include “The Rake’s Song,” “Isn’t it a Lovely Night” and “The Wanting Comes in Waves.”

I applaud The Decemberists’ effort in making an album that breaks traditional molds and takes a step farther towards weird than mainstream bands do. “Hazards” is an enjoyable forest romp (did I just say that?) that might tickle your music bone and make you wonder what exactly a shape-shifting forest dweller is doing dwelling in a forest.

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“Fleet Foxes” Fleet Foxes album review by Liz Crosby

March 23, 2009 By Leave a Comment

Fleet Foxes - Fleet Foxes

It took me a while to fully appreciate the Fleet Foxes for all that they are worth.  I first encountered them at one of the listening stations at Boo Boo Records in San Luis Obispo.  My eardrums were pleasantly tantalized by them, but they didn’t stand out amongst the other titles I was giving a listen.  Later on, I saw their album cover in Starbucks.  I see music sold in Starbucks as the equivalent of novels that are in Oprah’s Book Club.  Despite whether or not they are good, they’re in Oprah’s Book Club, automatically branded mainstream.  Eventually, I caved and bought them at Boo Boos so as to support a local business, and I’m glad I did.

The slow melodic hymns of the Fleet Foxes sound almost like a lullaby.  It’s the type of music that you envision listening to while driving up the coast of Big Sur.  The vocals are classic.  You could almost take away all of the instruments and just listen to them singing.  They are supposedly going to be a big highlight at Coachella this year.  They emerged in Seattle and began touring with Blitzen Trapper (also to appear in Coachhella)  The five member band is clearly influenced by people such as Neil Young, Bob Dylan, Grateful Dead, Fleetwood Mac, etc.  Nonetheless, they throw their own style upon this familiar sound.

The five band members from Washington all look like the epitome of mountain men.  Each brandishing a rustic looking beard (though not quite Iron and Wine status in length).  They almost seem like they must have been cryogenically frozen from the seventies and just recently were thawed out for our enjoyment now in a time devoid of good music.  Although, none of them exude the sexuality that Jim Morrison had back then, they all are undoubtedly very talented.  Our minds are constantly saturated with concerns about past incidents and future plans.  That lullaby quality that the Fleet Foxes emit lulls us into appreciating the present for a moment.

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“It’s Blitz” Yeah Yeah Yeahs album review by Peter Cho

March 19, 2009 By Leave a Comment

Yeah Yeah Yeahs - It's Blitz!

“It’s Blitz!” is a shift for the Yeah Yeah Yeahs, a mellow departure from previous albums like “Fever to Tell.” The gasping, screaming and shouting are replaced with sultry and smooth vocals from front woman Karen O. Gone are the grunge and dirt of past tracks like “Rich,” instead we see synth-pop influenced tracks like “Zero” and “Heads Will Roll.”

Although the album was originally set for release on April 13, the label changed the date to March 31 after it leaked to the Internet. Spring appears to be a prime season for leaks, with bands The Decemberists and Metric also experiencing leaks of their upcoming albums.

The album is definitely different, as if reacting to the shift of the musical landscape towards electronic music. However, “It’s Blitz!” isn’t an adjustment towards current trends, but rather an acknowledgement and an evolution for the band. It sounds like the Yeah Yeah Yeahs, but not exactly. Rather, it sounds like the pod people version of them. (But good pod people, not the evil ones in movies).

One of the highlights of the album is the danceable “Heads Will Roll,” which will most likely become an anthem for teenage girls getting ready to party. The album plays almost like a movie, with upbeat tracks like “Soft Shock” shifting into a more eerie tone set by “Runaway.” “Dragon Queen” is just a cool track and evokes the image of rock goddess Karen O swaying back and forth, head tilted down seductively, while seducing hordes of men. Seriously. Words to describe the album: eerie, upbeat, electric, dreamy and earthy.

With the critical acclaim the Yeah Yeah Yeahs have received in the past for their albums “Fever to Tell” and “Show Your Bones,” one might think they would be due for a cool down. One would be dead wrong. “It’s Blitz!” strikes like lightning, and is easily one of the best releases of what is starting to look like a musically promising 2009. The digital version of the album was released March 9, and the CD will be released March 31. Thank the leakers for letting us experience this gem of an album a month early.

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“Born Like This” MF Doom album review by Peter Cho

March 3, 2009 By Leave a Comment

DOOM - Born Like This

Hip hop’s biggest villain, Daniel Dumile (more famously known as MF DOOM) is set to wreak havoc on hip hop with a new solo album after a lengthy five year hiatus. Although Dumile has been actively collaborating with artists like Madlib and Danger Mouse, “Born Like This” will herald the return of Dumile’s alter-ego MF DOOM, who is now known simply as DOOM.

DOOM’s persona borrows heavily from his comic book inspiration, Doctor Doom, who is a fictional character from the Fantastic Four comic book franchise. Originally known as Zev Love X in the early 90′s, DOOM took a number of years off after the loss of his brother, only to return with a new identity and a penchant for wearing masks while performing.

The promo sampler for “Born Like This” features five tracks, and is definitely in line with DOOM’s original rap stylings. The album is heavy with samples from vintage television shows, giving it a retro-esque feel similar to his last solo album as MF DOOM, “MM..Food.”

The tracks are shorter than typical hip hop tracks with some running as short as a minute and 30 seconds. Tracks focus more on concise rapping rather than choruses or other elements that would normally affect radio-playability.

The production style is a far cry from contemporary hip hop, and is a throwback to the days of 90′s hip hop. Most of the tracks feature a story-line, with narratives dominating the songs rather than hooks or smack-talking.

Although I’m glad DOOM is coming out with a new album, I can’t help but wish that it was another album produced by Danger Mouse. I love his work as MF DOOM and Viktor Vaughn, but “The Mouse and the Mask” is one of my favorite hip hop albums of all time.

DOOM’s skills as a producer are reflected in his “Special Herbs” series, but I would love for DOOM and Danger Mouse to make an album that doesn’t entirely promote Cartoon Network’s Adult Swim. Look for “Born Like This” at your favorite record store or iTunes on March 24.

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“Tonight: Franz Ferdinand” Franz Ferdinand album review by Peter Cho

February 26, 2009 By Leave a Comment

Franz Ferdinand - Tonight: Franz Ferdinand

Almost four years after their sophomore album, “You Could Have It So Much Better,” Scottish rock band Franz Ferdinand released their third album, “Tonight: Franz Ferdinand.”

After releasing two albums within a period of a year and a half, I’m assuming there was a long hiatus where they tried to figure out how to get another song into Guitar Hero (the first being their hit single “Take Me Out”). The album undoubtedly sounds like Franz Ferdinand of days past, but there’s a distinct change in their style. In various interviews, the band has explained that the theme of the album is supposed to resemble a night out. This late-night theme is shared by both the musical style and the album cover, which features a fake crime scene photo.

The album undoubtedly sounds like something you’d hear at a modern speakeasy if alcohol was banned. With a darker, almost sketchier vibe, the album explores some electronic elements while sticking to their original and unmistakable style. The album’s emotions head up and down as the track “What She Came For” almost gets angry near the end before heading into the melancholy yet upbeat “Live Alone.” The track “Dream Again” sounds, well, dreamy. The album plays more like an ongoing story throughout its tracks, with the connection between the tracks being the story itself and not so much the musical style. If you don’t believe me, listen to “Dream Again” and then listen to “Katherine Kiss Me” and tell me if you think they sound like they’re from the same album.

Tonight: Franz Ferdinand” is a valiant third effort by Franz Ferdinand, and it seems like it will bridge the gap to a riskier fourth album in the future. Although it may not achieve the commercial success of their first two albums, it is a great “dance-y” album and one I heartily recommend. I promise it will make you feel like you’re in a shady speakeasy.

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