their successful debut in 2008, and the follow-up effort, The Orchard dropped in late August. "We both had doubts, / We're both in doubt," croons lead singer Wes Miles on the opening track. Welp, that makes three of us. My first few listens sensed a sonic sophomore slump, but after spinning the album a dozen times, I became convinced that it wasn't a slump so much as failure to match or eclipse the debut.
Thursday, December 16, 2010
Tuesday, December 14, 2010
The Suburbs, then try displacing the rock under which you've been living. This album debuted at #1 on the Billboard 200, which, to my recollection, may be the first time an indie album has debuted (or even reached) number one on the charts. There have certainly been plenty of deserving records that never reached that mark, but this album has earned its success.
Friday, December 10, 2010
Wednesday, December 8, 2010
by a blog, who then put out their original mixtape (and their follow-up mixtape), and somewhere in there the kids from Drexel scored a record deal from EMI/Virgin, eventually putting out The Preview. Niiice.
Tuesday, December 7, 2010
Phosphorescent, one of the many, many bands to emerge from Athens, Georgia, didn't register on my radar until last year, when they put out an album of Willie Nelson covers. I'm not particularly a fan of the bearded, bandaned, pot-smoking Texan, so Phosphoresent's 2010 effort, Here's to Taking It Easy, wasn't one of the albums I marked on my calendar before its release in May (possibly the year's best month, musically speaking, with one - two - three - four - five - six -- and now seven -- good albums)... but it should have been.
Friday, December 3, 2010
Thursday, December 2, 2010
The posse from Portland produced one of 2008's best albums, so I was amped for Destroyer of the Void, released back at the start of June. At first listen, I was disappointed with Void, but I continued to spin the record and it grew on me.
Perhaps what threw me off my [listening] game was the album's title track -- its opening track. In a Plants-and-Animals vein, the song contains three (or four) separate song melded into one:
After getting over the fact that it struck me as a non-Blitzen-Trapper-type song, I was able to appreciate it. Overall, Void strikes a balance between the helter-skelter compositions of Wild Mountain Nation and -- a bit to my chagrin -- the head-bangable tunes of Furr.