February 5, 2012

Posts Comments

You are here: Home / Archives for Album Reviews

Album Review: Day Escape EP by Air Dubai

October 27, 2011 By Leave a Comment

Air Dubai's new EP, Day Escape

 

By Tom “Wonder Boy” Roth

Day Escape
Air Dubai
Label: unsigned
Released October 25, 2011

The last time Air Dubai checked in, it was March 28. The release of Remixtape was a reminder to those familiar (and an introduction for those who weren’t) that Denver-based rap-rockers Air Dubai were still on the scene, pumping out material. Remixtape took tracks from their full-length album, October 2010’s Wonder Age, and gave them a fresh spin.

Now, just seven months later, the band is out and about with a new six track EP, Day Escape. Starting with promotional track “Soul & Body”, Day Escape sets itself up for a jazzy groove-session, as the bumping clap-track backs Julian Thomas’ vocals. As Thomas belts the “soul, soul, and body” chorus, Air Dubai’s six other members clock in with a guitar/up-down drum/synth combo.

On the whole, the EP is a strong showing, more listenable than the outsourced feeling of the group’s last release, Remixtape. Bluesy guitar bits on “Summer Solstice” and “Still Searching” are plenty of fun as is the horn track on “Magazines”. The sinister, creeping progression on that track keeps things interesting.

With Day Escape, Air Dubai adds to their resume a respectable collection of tracks. However, their accomplishments in terms of quality are mitigated by the lack of exploration. Overly similar sounds on Day Escape and Wonder Age could be problematic for the band. On the other hand, this could be the release that gets them noticed. With a substantiated repertoire, Air Dubai could be on the verge of something big. National tour? Signing with a label? Keep an eye open. Air Dubai is poised to take off.

Filed Under: Album Reviews, USD Radio Tagged With: , , ,

Album Review: “Mylo Xyloto” by Coldplay

October 24, 2011 By Leave a Comment

Coldplay's new album, Mylo Xyloto

By Haley Earl-Lynn

Mylo Xyloto
Coldplay
Capitol Recorcs
Released October 25, 2011 

For fifteen years Coldplay has continued to thrill the adult alternative audience with a transforming sound. With constant comparisons to U2 and Radiohead, Coldplay fights to maintain uniqueness. The driving force behind the band’s epic success is the enduring fight to produce the “perfect song.” Striving to achieve perfection has structured the band’s creative process.

Back in 2009, after the release of the album Viva La Vida, Chris Martin, lead singer and lyricist, allowed 60 Minutes’ Steve Kroft to follow the band on the last leg of their tour. Kroft got a chance to stop by the band’s recording studio where Martin explained the writing process, which is really more like a grueling musical marathon.

Like many musical geniuses, Martin is a bit neurotic and always on the move. He grapples with a million ideas a minute. A set of rules keeps the band in line and ensures audience approval, at least that is the goal. Albums are not to go over 42 minutes in length and computers are never to be used as instruments but rather tools. With rules like these, the band hopes to find a balance between allowing the creative juices run wild and producing music the adult alternative audience can jive with.

The biggest mystery surrounding the band was addressed by Steven Colbert last week on the Colbert Report. “How do you sell that many albums and win seven Grammys and still be considered alternative?” Colbert asked, “That’s a neat trick!”

Colbert had a good point and Martin, the clear spokesperson of the band, had no precise explanation. Most critics would argue that the band’s success is rooted in abundant enthusiasm and attention to detail.

Coldplay’s newest album, Mylo Xyloto, drops this Tuesday, October 25. It is just as highly anticipated as albums past. There is much to live up to after Viva La Vida, the last album released in 2008, gained massive support and redefined the band’s strengths. With a gradual move from an acoustic rock band with charming melodies to a rock band with a pop twang, critics are eagerly awaiting Mylo Xyloto.

The newest album features Brian Eno as co-producer. Eno is commonly referred to as the daddy of ambient music. He worked on Viva La Vida and is credited for helping Coldplay step outside of the boxed in category of “acoustic rock band.” It can be expected that Mylo Xyloto has a similar ambient vibe, given Eno’s helping hand. What was not expected was some movement toward the early Coldplay sounds. A fusion of new and old, Mylo Xyloto has high and low points. Coldplay proves they are still worth all that hype though because the highs outweigh even the lowest lows (enter Rhianna).

 

Highs

Hurts Like Heaven – Catchy lyrics and booming sound, “Hurts like Heaven” is the perfect example of the old and new fusion. Crafty lines like “you used your heart like a weapon and it hurts like heaven” prove Martin still has the charisma seen in golden tracks like “Green Eyes” and “Yellow”. There is something about this song that draws comparisons to the organization of a Passion Pit song. Think classic Coldplay meets new, pop influenced Coldplay.

Paradise – If you can resist singing along or at least swaying to this song, you are a cold lifeless being. This song is one of the top tracks on the album, and certainly the catchiest. Try turning it up in the car, rolling the windows down, and drifting away to “Paradise”; but please, keep your eyes on the road.

Charlie Brown – This track is arguably the best track on the album. With ample radio play, tracks such as “Paradise” and “Every Tear Drop Is a Waterfall” take a back seat to the new sound of “Charlie Brown”. This is the type of song that sounds nice on the stereo but will surely be an epic live performance. This track could have fit in nicely on the Viva La Vida album.

 

Low 

Princess of China – This track features Rhianna and is not worth spending much time discussing. The opening sounds like it came right out of Tron. The only fans that will appreciate this track are Rhianna fans, who already subscribe to crappy music and the act of selling out.

Filed Under: Album Reviews, USD Radio Tagged With: , , ,

Album Review: “Castor, the Twin” by Dessa

October 24, 2011 By Leave a Comment

Dessa's new album, Castor, the Twin

 

By Tom “Wonder Boy” Roth

Castor, the Twin
Dessa
Doometree Records
Released October 4, 2011

Margaret Wander is smart.

She graduated from the University of Minnesota at age 20, earning a bachelor’s degree in philosophy. For a while, she worked as a medical writer. Now, she teaches at the McNally Smith College of Music.

And somewhere along the line, she became a rapper.

The majority of people who’ve heard of Wander know her as Dessa. As a member of the famed Minnesota rap collective, Doomtree, Dessa cut her teeth as a hip-hop artist. Now, with the release of Castor, The Twin, she proves her versatility as a solo artist beyond the rap genre.

Castor is a collection of ten previously released, and one forthcoming Dessa track. Including recordings from her 2010 debut album, A Badly Broken Code, Castor represents a modification to Dessa’s pre-existing solo work. However, this is no simple compilation album. Maintaining the lyrics of each song, Dessa completely replaces the hip-hop instrumentals with clip-clopping marimbas, growling cellos, and sweeping cymbals. The result is a completely new perspective on previously familiar tracks. The simplification on Castor, it can be guessed, comes from her work with The Boy Sopranos, a mostly female a capella group she helped establish.

Dessa’s lyrical talents remain undisputed but with the instrumental revisions on Castor, her creative ways of supporting her words shines through. The gritty, accusatory message on “Alibi” is somehow softened when it’s only standing in front of a piano and a violin. Concluding the album, “The Beekeeper”, is a preview of Dessa’s as-yet-unnamed 2012 release. A complicated blend of keys and strings crescendos upon reaching every refrain as Dessa showcases her verbal mastery. With lyrical nods to Greek mythology, beekeeping, and biblical creation stories, it’s not hard to tell that Margaret Wonder is indeed, smart.

Filed Under: Album Reviews, USD Radio Tagged With: , , ,

Album Review: “Neighborhoods” by Blink-182

October 10, 2011 By Leave a Comment

Blink-182's newest album, Neighborhoods

 

By Kevin Terrell

Neighborhoods
Blink-182
Interscope
Released September 27, 2011

Blink-182? The guys that ran naked through L.A. for fun and closed out the 1999 MTV VMAs in a blaze of sparklers and dancing migets? Yeah, they’re back to together and touring in support of their new album Neighborhoods, released on September 27. So how’s the new sound? In a word: confusion.

Some quick background is necessary. In 2005, armed with a bottle of painkillers and a book of “The 100 Most Obvious Metaphors in Music,” singer/guitarist Tom DeLonge grabbed Blink manager Rick DeVoe and left in a huff to try and change the world with lasers and synthesizers as Angels and Airwaves. Missing their angstiest muse, signer/bassist Mark Hoppus and drummer Travis Barker were left to rely on their earnest but erstwhile punk roots, slogging through European pubs and basement venues as +44. Then in 2008, Barker narrowly survived a Learjet plane crash that claimed the lives of four people. With a renewed sense of purpose, the band reconciled and the result is here, a 36 minute, 34 second “lets try to make this work.”

The album opens with a fade up on Barker mid-session, like we walked in on him practicing in a garage.  Cue the synthesizers, which mercifully fade back behind DeLonge’s plucky guitar before the beat kicks up. The rest of “Ghost on the Dancefloor” actually works, and the chorus might be the best hook on the album. The follow-up “Natives” is even better, for pace if not for lyrics. Barker lays down the most intricate rhythm of the album, as if proving just how many beats he could’ve gone with. The heavy first single, “Up All Night,” is the closest thing to reconciliation between Hoppus and DeLonge, who trade off lines of dark lyrics before meeting at the lamenting, down-stroked chorus.

The album is forgettable for most of the remainder thanks to DeLonge’s breathy crooning and blah imagery, bad habits he picked up with Angels and Airwaves (stuff like “the waves on the shore,” “I see a city with lights,” and, did he just say “I’ll catch a shooting star”?) The +44-eqsue “Heart’s All Gone” is the blaring exception – a post-punk romp that allows Hoppus shake the dust off his aggressive take to vocals. Barker’s drumming is its own food group. His playing is the most technical and assertive of his rock career, and the producers wisely turned up the volume.

The trio has emerged from their split as three “individuals,” so afraid to step on each other’s creative toes they occasionally sound like they’re playing three different songs (“Kaleidoscope”). But at times they forget to still be mad at each other with positive results (“Even If She Falls”). The fact that three aging skaters from Southern California can still sell out areas is a testament to just how popular they were in their prime. But then the unlikely happened – Blink-182 outgrew Blink-182 before we did.

Key tracks: Ghost on the Dancefloor, Natives, Up All Night, Snake Charmer, Fighting The Gravity

Filed Under: Album Reviews, USD Radio Tagged With: , ,

Album Review: “Cole World: The Sideline Story” by J. Cole

September 28, 2011 By Leave a Comment

J. Cole's debut album, "Cole World: The Sideline Story"

By Michael Lu

Cole World: The Sideline Story
J. Cole
Sony Music Entertainment
Release Date: September 27, 2011

After a four-year string of mixtapes and notable guest appearances with Reflection Eternal and Wale, J. Cole’s highly anticipated debut, Cole World: The Sideline Story, has finally arrived. Ever since becoming the first artist signed to Jay Z’s Roc Nation label back in 2009, the buzz surrounding J. Cole was filled with absolute excitement as his grit and dedication reveled critics and listeners with the standards he established as a talented emcee and budding producer. As J. Cole spent the last few years as an outsider looking from within witnessing peers, including B.o.B., Drake, and Kid Cudi carving niches and creating headlines in the industry, could he raise the bar even higher from all of the accolades he has garnered thus far? Not quite. Nevertheless, the  high school basketball player from North Carolina laces up his J’s and showcases why he believes he is deserving of a starting position.

A true testament of an artist is how one’s work truly embodies the inner-workings of their life. With the case of J. Cole, he finds his rhythm so seamlessly regarding his personal experiences or depicting realistic scenarios. “Sideline Story” and “Dollar and a Dream III” poetically describe his desire for musical success amidst constant struggle and  frustration. In “Breakdown”, an emotional deconstruction occurs as he lashes against his father for abandoning him while simultaneously yearning for his presence, and recounting his mother’s addictions all in one fell swoop. “Never Told” reminisces on the causes and effects of infidelity while “Lost Ones” discovers a young man and a mother-to-be vigorously arguing over the prospect of an abortion. J. Cole’s remarkable storytelling through stirring imagery, a passionate delivery, and daringness to expose himself serves as a reminder that hip-hop has not completely fallen off the wayside and into the depths of Hades.

Notwithstanding, the commercial success necessary for any artist to expand his or her platform and attract a larger demographic in the grand scheme of things has provided J. Cole the opportunity to diversify himself through a solid collection of radio worthy jams. “Can’t Wait” utilizes a staccato flow and a Trey Songz chorus for J.Cole to address his fixation for women while “In The Morning” depicts him and Drake cooing to women for early action. “Cole World” features an energetic yet formulaic soundbed for his bravado and a Missy Elliott hook enlivens “Nobody’s Perfect.” Even though these tracks are not as galvanizing as his soul-bearing offerings, their additions provide a sufficient balance for the album.

However, the primary critique of Cole World is perhaps the overall quality in the beat production. As accomplished and heralded as Cole is in terms of beatmaking, evident with “HiiPoWer” from Kendrick Lamar’s highly acclaimed Section 80, nonetheless, he produced 15 of the disc’s 18 tracks and played or co-produced another. Aside from the dubstep inspired “Mr. Nice Watch” featuring Jay-Z, most of the tracks sound eerily similar to each other and do not match the conviction of his rhymes. It would have been more beneficial for him as an artist if he could have used his Roc Nation connections and contacted other production heavyweights, such as 9th Wonder, Just Blaze, and Kanye West.

Even so, Cole World: The Sideline Story displays glimpses of flash and promise that undoubtedly lands him a spot on the team. The mechanics of his game need a little reworking but he will be dominating on the court faster than you can say “yahtzee.”

Filed Under: Album Reviews, USD Radio Tagged With: , , ,

I Like My Baths Cerulean – Album Review

October 10, 2010 By 3 Comments

I am the type of music lover that thrives on predictability, regularity, and fundamental rhythms. Due to that fact, I was almost deterred from one of the most unique, interesting albums that I have heard in a long time. Cerulean is the debut album from Baths, the creation of musician/producer Will Wiesenfeld, and I would have to say he is definitely putting his best foot forward, at least in terms of the whole album. Using looped samples and sweet beats this album will have your toes tapping and your head nodding. On a song-to-song basis, tracks are either lyrically or beat driven, and both groups have their ups and downs.

The bulk of the album has lyrics, which is always nice for people who do not enjoy music with an aurally human absence. Track two, “Lovely Bloodflow,” is the first presentation of Wiesenfeld’s haunting falsetto voice, and the repetition of the same line creates a serious potential for singing along in an equally high voice. (Just a disclaimer: I am a sucker for falsetto voices, from MIKA to The Darkness to the Bee Gees, and my review probably reflects this. Feel free to skip to the next paragraph if you disagree.) “♥” follows an instrumental interlude and offers its own beautiful piano rhythmic foundation and beat structure as well as some heartfelt words. My favorite track on the album has to be “Hall.” It leads with a very jagged setup, but when the beat becomes established, it fascinates for half the song before the lyrics even arrive. When they do, the hypnotic crooning of Wiesenfeld leads you down the hall that you do not want to stop traversing. “You’re My Excuse to Travel” immediately follows with a piano line that you never expect to become coherent, but add a clap, some drums, and lyrics and you got a dance going. Out of the final four tracks, only “Indoorsy” is worth discussing. “Rain Smell,” “Plea,” and “Departure” all seemed a little bland to me, but they are still pleasant in an ambient music/background sort of way. “Indoorsy,” on the other hand, might be the most fun track on the album. From start to finish, the combination of eccentric beats, simple tones, and distorted lyrics simply moves the listener’s body. This moving quality is also present in many of the instrumentals.

The initial track “Apologetic Shoulder Blades” honestly scared me that I would be stuck reviewing the album of some would-be-John-Cage. I found the beat a little too irregular to appreciate greatly, but thank goodness it was by no means a true indicator of what coming. “Maximalist” is the next primarily instrumental tune, and it is a much cleaner, rhythmic arrangement. It contains sound bites that are also very well placed and help to create a feeling of a “beat drop” popular in more aggressive techno music. Next, “Aminals” draws in the listener with a cute title and sound clips of children speaking, but then forcibly hypnotizes with a simple looped beat and beautiful variations on that beat. “Rafting Starlit Everglades” then takes you on what else but a serene raft ride down the everglades. It begins with bug noises, but they shortly become lost in the tide of drums rolling through the song.

Overall, Baths sounds a lot like a sort of Passion Pit/RJD2 hybrid. The album has qualities of both simplicity and intricacy. The simplicity and straightforwardness of songs makes them accessible to listeners while at the same time the intricacy creates the danceable and intriguing aspects. It is perfect for any activity from your hipster parties to napping in bed with your honey.

Rating: 6 of 10 “Olés”

“Lovely Bloodflow”

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

“Indoorsy”

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Cerulean

Baths’ Myspace

Filed Under: Album Reviews, USD Radio Tagged With: , ,

A Review of Trevor Hall’s Live Album

June 21, 2010 By 1 Comment

Summer, is that you? Indeed.

You know what that means. A little down time? Perhaps, just a little. Time to roll down the windows, drive into the sunset and party on. In the summertime, though, it seems that more than usual people are looking for that perfect little soundtrack, music to really set the vaca-vibe, a sound some would refer to as “chill” music, something light, easy-going, a tad acoustic and flavorful. Looking for it? Still? Look no further than Trevor Hall, with his new release come June 29th.

Light, easy-going, a tad acoustic and flavorful? Check, check, check and check. All the above…AND all live recordings from his 2009 and 2010 tour. In this live recorded album, Hall asks his listeners for some love in his track, “Where’s the Love?” So, listen up, cool down, join in, chill out and show his album, Chasing the Flame: On the Road With Trevor Hall the summer lovin’ it deserves.

Each transition from track to track includes bits of Hall talking to, joking and making merry with his audience, helping to highlight what a fun and overall casual compilation this album really is. His songs, possessing strong reggae, rock, acoustic and folk influences not only have great rhyme and rhythm, but are seasoned with some insightful lyrics too. Hall asks his listeners to ponder some pretty heavy concepts, especially with the inclusion of “Poem” on the album. Hall’s “Poem,” backed by acoustic guitar is structured similarly to slam poetry – real lucid, free-flowing and stylistically meditative. Hall concludes this track with the repetition of the phrase, “Whoever brought us here, yes, shall have to take us home.” See? While this album has a light, easy-breezy overall sound, it also works in some food for thought, too.

With the inclusion of drums, bass and both electric and acoustic guitar, Hall really keeps his listeners entertained and asking for more. On the album, his audience gets especially rowdy when Hall breaks into “The Lime Tree,” one of his better known and more recognized tracks. Upon the start of this song on the album, listeners will hear loud hooting, continuous hollering, intense whistling and frequent clapping, all signs that Hall has really got the attention he needs and deserves. In this song he sings out, “Toast my glass to all my loved ones to let them know that the stars, well they still shine,” just as all his fans are making it pretty evident that he still shines, too.

So, enjoy that little bit of seasonal downtime with Chasing the Flame: On the Road With Trevor Hall.

Let’s hope this summer is…as hot as Hall.

Trevor


Filed Under: Album Reviews Tagged With: ,

Gregory Alan Isakov at Lestat’s Coffe Shop Tonight!

June 10, 2010 By Leave a Comment

Photo Courtesy Todd Roeth

A man born in South Africa, raised in Philadelphia and now living in Boulder, Col. could make nothing less than beautiful music. Gregory Alan Isakov, who names Bruce Springsteen and Iron and Wine as two of his main influences, released his most recent album, This Empty Northern Hemisphere, last summer, and is touring this summer in support of it. He plays Lestat’s tonight, June 10th, and I am more than prepared to take in a calming yet moving, beautiful display of his talent and melodic prowess. While a show review will be posted tomorrow, save your reading capabilities for a book and catch the show yourself tonight at 8. Lestat’s is located on Adams Avenue. More information can be found at their website, Lestats.com.

If you can’t make it, check out some of my favorite songs off the album. Album opener “Dandelion Wine” is swooning, while “Light Year” is pleasantly upbeat and “Words” has some of the most literary-ily romantic lyrics I’ve heard in a great while. Finally, “Master & A Hound” is beyond-words-incredible.

Gregory Alan Isakov

Dandelion Wine

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Light Year

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Words

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Master & A Hound

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Filed Under: Album Reviews, Upcoming Shows Tagged With: ,

Ellyn Maybe’s Rodeo for the Sheepish

December 8, 2009 By Leave a Comment

Ellyn Maybe’s Rodeo for the Sheepish is a CD collection of ten poems which includes favorites like “All My Life I’ve Wanted a Great Love,” “Picasso,” and “Being an Artist.” For those “not in the know” Ellyn Maybe is a very popular poet and spoken word artist based in Los Angeles. She has performed all over the country at venues such as the Bumbershoot and South by Southwest Festivals, Lollapalooza, MTV’s Spoken Wurd Tour in Los Angeles, The New School of New York, The Poetry Project, and on many college campuses. She has also read and slammed in Europe. She’s published a handful of books and chapbooks of poetry and some of her work is anthologized. “Rodeo for the Sheepish” is her first CD.

Each of Maybe’s poems is backed by a soundtrack of R&B laced with pop and jazz. A few tracks feature hot licks of saxophone and trombone. Backing vocalists sing a line from each poem as it plays, creating a chorus-like effect, which thankfully doesn’t get in the way of the poem or the poet’s voice, except on one track, “I Heard What Sounded Like a Song.” It can be a bit frustrating to parse out Maybe’s words from the overlaid song lyrics, but considering the poem’s title, maybe that’s just the right kind of flourish.

On CD Maybe’s voice is slightly lower than her characteristically high-pitched “little girl voice” heard at readings and her delivery is not at its usual quick clip, but these aren’t drawbacks, necessarily. Finding these small but enlightening differences in tone and pacing between her live readings and this recording adds another dimension to experiencing Ellyn Maybe and her poetry. Her trademark quixotic wit is still very much intact and her words, now alongside musical accompaniment, sound familiar and brand new all at once.

It’s worth noting that Maybe recently spent two years abroad in Prague while attending film school. Her poems are the richer for it. They’re accentuated by multiple histories–personal, literary, and filmic–and it’s as much an education to read up on her references to Oscar Levant and Harold Lloyd as it is to hear her describe what it’s like to listen to Sylvia Plath on LP.  Ellyn Maybe shows us that we never really outgrow a certain awkwardness associated with viewing the world from an outsider’s perspective. Charlie Chaplin couldn’t have said it better, even in the age of silent film.

CD: Rodeo for the Sheepish
copyright 2009 Ellyn Maybe
Hen House Studios
$15; available through Amazon.com

Filed Under: Album Reviews Tagged With: , ,

“Psychic Chasms” Neon Indian Album Review

November 8, 2009 By Leave a Comment

neon-indian-palomo1

Neon Indian is Alan Palomo. And his newest LP Psychic Chasms is a wondrous concoction of synth-beat, laid back, retro 80′s summer bliss. Psychic Chasms may be the album that allows us to achieve a year round summer (or at least an excuse to). With intertwining bloops and twangy chimes finding their way into multiple tracks you can’t help but find yourself really falling into the music, completely entranced by its simple and catchy rhythms. Fans of Memory Tapes, Washed Out or Fuck Buttons will thoroughly enjoy the artistic interpretation of Palomo on Psychic Chasms. Even if you feel you’ve been sucked through time and have been placed in a roller rink outside of Nowhere circa 1983…you’ll be happy for 2 things: 1. the music is groovy   2. you’re not wearing leg warmers.

With a quick intro track entitled “AM” the album gets you ready to experience a mass conglomeration of synth-electro-cassette-oriented-hazy tracks. Quickly following is one of my favorites entitled “Deadbeat Summer”. I try not to let the oh-so prevalent “ooohh’s” and “ahhhh’s” of many a song’s hooks or choruses get to me but “Deadbeat Summer” holds one of the most enticing back beat and vocal “ahhhh”-ing to grace my ears in some time. Not to mention I can’t go a single day without it popping up in my head and leading to awkward situation in the library (I guess I’m a loud hummer?) This 4-minute track will remind you of how “deadbeat” your summer truly was for not listening to this while playing bocce ball in your local golf course’s fairway. Tracks like “Laughing Gas”, “(If I knew, I’d Tell You)”, and “7000 (Reprise)” provide short, mostly sub-minute fills for the album but leave you craving for more. Another highlight is “Should Have Taken Acid With You” which was written in about 20 minutes after Palomo had to cancell his plans one evening to help produce a track for a friend. This led Palomo to a decision that likely held quite the hand in determining Psychic Chasms. The decision was that each song that would be the record could not take more than a day to write. And so began the epic, awe-inspiring creation of one of the best albums of this year.

Every single track on this album is a gem, a piece of the past wrapped up in so many 8-bit samples and new school lo-fi funk that you’ll make a a point to listen to it, to really listen and find the serenity in laying on a lawn chair outside with your coppertone within reach…and Psychic Chasms in your boom-box.

Filed Under: Album Reviews Tagged With: , , ,
« Older Posts