Review: Retribution Gospel Choir, 2

Retribution Gospel Choir

2

B

Retribution Gospel Choir really likes crescendos. In virtually every track off their sophomore album 2, they start off composed and constrained before exploding into a loud, experimental, guitar-driven climax around halfway through. The band executes this tactic both successfully and cleverly, as it boosts songs that are otherwise lackluster, repetitive, and lyrically uninteresting into powerful and anthemic pieces of (loud) rock. Unfortunately, when used on eight of the album’s ten tracks (the other two being under-a-minute instrumental interludes), the crescendo loses some of its intended potency. After you get through the eight minutes of “Guitar Riff”, the album’s ninth track and supposed pinnacle, you’re ready for something that remains static just to break the monotony.
-- Leigh Finnegan
Host, "Facts and Tracks," Wednesdays at 10 a.m. and Fridays at 2 p.m. on WGTB

Review: The Album Leaf, A Chorus of Storytellers

The Album Leaf

A Chorus of Storytellers

A-

I have always been an avid fan of Jimmy LaValle’s work with The Album Leaf. A Chorus of Storytellers is his most recent effort, and I would say that The Album Leaf has done it again. Their dreamy/futuristic sound is relaxing and mellow while keeping it interesting. You can relax without getting bored. Both their instrumental tracks and the ones with vocal performances are incredible. “We Are”, “There Is A Wind”, “Summer Fog”, “Blank Pages”, “Until The Last” and “Within Dreams” are standout tracks. This album has no “Always For You” or “Wherever I’ll Go” from their album Into The Blue Again, but nonetheless The Album Leaf’s new effort has the same dreamy effect on the listener as his previous efforts. It is an exciting but relaxing album that I am highly recommending to anyone looking for anything in this genre. The Album Leaf is yet to underperform. This is another album that meets my high expectations for them.
-- Enrique Lemus
Host, "Moose Tracks," Mondays 10-12 pm on WGTB

Review: Have Gun, Will Travel Postcards from the Friendly City

Have Gun, Will Travel

Postcards From The Friendly City

B-

Postcards From The Friendly City contains a glimmer of bluesy folk charm, but this sliver of hope for a return to the folk music roots is all too quickly swallowed up by a an all too familiar 90’s style of songwriting leaving most of the tracks on this album sounding decidedly generic and unremarkable. The tracks “Wolf In Shepherd’s Clothes” and “Land of the Living” offer some hope, however, that this group has some talent and perhaps the potential to say something new on another album. At the end of the day Postcards From The Friendly City is probably not worth the cost of the album, but is worth at least one listen and makes Have Gun, Will Travel a group worth looking out for in future.

-- Jonas Briedis

Host, "Good Music," Midnight-2am Tuesday morning on WGTB

WWYC of the Week

So, I'm confused. Dylan here says that this was requested. This implies that somebody wanted to hear that. That implies that someone gets some sort of joy out of those noises. That implies that some things which should be, aren't. And, if those things are which ought not to be, such as this said thing, then I am not the man I thought I was, and this is not the world I imagined it to be. I would say I grieve for Metro Station, or whoever wrote the song...but to be fair this isn't that much of a deviation from the original. So, I guess in that sense its an OK cover.

I don't know if I am more offended by his singing or by what seems to be his impersonation of a person with a mental disability. In any case, I salute you, Dylan Bral, for this week's most unbearable Youtube cover. Feel free to check out all of his covers...I have.



My request? Stop hurting the world.

Review: Fucked Up, Couple Tracks: Singles 2002-2009

Fucked Up

Couple Tracks: Singles 2002-2009

B+

Fucked up’s Couple Tracks: Singles 2002-2009 is a solid compilation of singles that can serve as the perfect description of a band’s growth. As an album, it doesn’t really flow, due to its nature as a compilation. However, any fan of this sort of aggressive and raw music must listen to this compilation. There are no dull moments in this collection. “Anorak City”, “Toronto FC” and “Black Hats” are standout tracks primarily due to the raw and aggressive sound in Pink Eyes’ vocals. If you are a fan of anything fast and loud, it is a collection of singles worth having. They maintain what has made Fucked Up as appealing as they are for the hipster crowds. Growling vocals, fast distorted guitars, but somehow maintain a poppy edge to their songs, where you can find some melodic catchy hooks while staying true to a more “hardcore” sound while avoiding the repetitive drumming patterns in typical punk bands. They have kept the energy, but avoided the potential boringness that can come along with this music. A must have for people anyone interested in the genre or looking into it. One of the most exciting right now.
 -- Enrique Lemus
Host, "Moose Tracks," Mondays 10-12 PM on WGTB

Review: Spoon, Transference

 

Spoon

Transference

B+

            Spoon is a band that has always stuck pretty close to its roots. Although their sound had evolved from the garage-rock tones of A Series of Sneaks, by 2007’s Ga Ga Ga Ga Ga, everyone knew what a “Spoon” record would sound like. To some degree, Transference doesn’t interfere or change many of our expectations of what this band does. Their characteristic alt-rock sound that has been present for years is still here, in the form of tracks like “Got Nuffin” and “Written in Reverse.” What Transference is significant for is the change in approach to production that must have occurred. It seems that they chose to pursue “addition by subtraction.” Transference’s sound is minimal. The record testifies to the importance of silence, when making music. The most memorable tracks, like “Mystery Zone,” “Out Go the Lights,” and “Is Love Forever” are those that seem to split up the band’s sound. No vocals, guitar parts, or drum lines seem to exist to fill a void. This results in a very purposeful, deliberate sound, where nothing unnecessary is crammed into the ears of the listener. On Ga Ga Ga Ga Ga’s “Don’t You Evah,” Britt Daniel says: “record that, Jim,” in the midst of studio banter. Transference leaves out such noisiness, choosing instead to revel in silence.

Key Tracks: Written in Reverse, Out Go the Lights, Mystery Zone, Got Nuffin’

-- Josh Smith
Host, "Artists in Exile," Sundays 2-4 PM on WGTB

 

Review: The Magnetic Fields, Realism

 The Magnetic Fields

Realism

A-

From the early influence of my parents’ record collection, featuring 60s folk-rock acts like Peter, Paul and Mary, Simon & Garfunkel and Dylan, to my later discovery of British folk revivalists and numerous modern folk artists, folk music has always been a musical staple of mine. Judging by The Magnetic Fields’ most recent album, Realism, it is a musical staple of frontman Stephin Merritt as well. Following the Jesus and Mary Chain-inspired Distortion, Realism trades feedback and fuzz boxes for more traditional folk orchestration, making use of instruments as varied as mandolins, dulcimers, banjos, accordions, sitars, flugelhorns and tubas. Musically, the album is full of retro charm and a survey of folk music across styles and eras, but in typical Merritt style, Realism is a concept album of sorts, thematically exploring—or perhaps skewering—the conventional view of folk’s lyrical sincerity.