Carl Sandburg Visits Me In A Dream

Fresh out of the UK comes singer-songwriter Laura Marling with her debut Alas I Cannot Swim. Simultaneously moody and uplifting, Marling’s voice floats effortlessly through various ranges (impressive for a folk singer!). The lilting vocals over the string-coated sweetness of “Ghosts” provides a contrast to the melodic and prairie image-conjuring of “Tap At My Window”. With an album title like Alas I Cannot Swim, Marling seems to be connoting an ominous, pessimistic life-view, but each song seems to insinuate the very opposite. Each track is a proverbial wink from Ms. Marling, assuring us that in the end things really aren’t so bad.

Grab a copy of Alas I Cannot Swim.

Listen to “Tap At My Window” (4.9/5)

Listen to “Ghosts” (4.7/5)

Patrick and I most recently attended the Jose Gonzalez concert in Chicago (10/4), and perhaps there may be a review pending (but I feel that that just might be boring for you readers!).  Opening for Jose, though, was UK guitarist virtuoso James Blackshaw.  I noticed quite immediately that his instrumental guitar-playing didn’t match up with his seemingly boyish look or his nonchalance on stage.  Watching his blurring fingers, each one plucking the strings so effortlessly, quickly–as if each of his phalanges was operated by a different person.  And the sound produced by those nifty appendages was profoundly beautiful.

And so, as I prepare to go to sleep, I wanted to share a lullaby with you.  Sweet dreams.

James Blackshaw - “Running to the Ghost” (4.8/5)

Finally! It seems like I’ve been waiting for an album like Jamie Scott and the Town’s Park Bench Theories for a while now to pick me up from these end-of-summer blues. Class may be in session, but there’s far more important lesson to be taught here with Jamie Scott’s finely crafted debut. Fresh out of the UK (common theme these days), Scott combines his infectious pop sensibilities with funky jazz piano riffs and a powerful set of vocals to deliver an uptempo, thoroughly enjoyable effort that is sure to top out as one of the best albums of the year (’tis true, I don’t lie).

But let’s not mistake something as joyous as Park Bench Theories for that which lacks coherence or focus. Scott is a masterful troubadour, flirting with James Blunt comparisons but yet drawing comparisons to the dynamicism of an Elton John or-for a more recent reference-a Paolo Nutini. As the album title might suggest, Scott’s music listens more like a diary, the listener being let in on a collection of one singer-songwriter’s view on daily life. The lush arrangements certainly take the ordinary and turn them into interesting works of art, appealing to a wide range of generations and genres. “Two Men” is a Jamie Cullum-esque number that is so gentle and sweet, it’s hard not to fall in love with this track. Or the funky-fresh “Lady West” is a feel-good ditty that features a pretty mean horn solo. The slightly more urgent-sounding “London Town” is also excellently done, ripe with a fantastic piano accompaniment.

So, take my word for it. Go and check out Jamie Scott and the Town’s Park Bench Theories. For some more tracks, check out his myspace.

Listen to “Lady West” (4.9/5)

Listen to “London Town” (4.9/5)

Let’s be honest with ourselves. We (I’m speaking on behalf of everyone, here) all love the ‘Royal soldier becomes sensitive high-pitched troubadour’ story, but what about the music? I should confess that I have mixed feelings about Blunt’s music–I don’t find it dynamic or incredibly engaging. I do think he has a knack for melodies and harmonies, that he is quite masterful in the art of the soft-spoken ballad.

Back to Bedlam was a quality effort, but not exactly my cup of tea. I was hoping that the sophomore album All the Lost Souls–after hearing the lead single “1973″–would feature more complex arrangements, or at the very least, a maturity in Blunt’s sound. But for better or for worse, this album is a heavy dose of the same.

That’s not to say that there isn’t anything quality on All The Lost Souls. The lazy guitar on “Give Me Some Love” leads into a high-charged chorus that seems well-paired with the mysterious dark-aired “I Can’t Hear the Music”. The Lennonesque “Shine On” (not a cover) is another gem on the album, along with crooning ‘oohs’ on “Same Mistake”. Blunt’s world now certainly seems less chaotic than Bedlam, and it’s resulted in a relatively good album. But it seems that the album title has gotten to the heart of the problem with Blunt’s music–perhaps there’s too much emotion in these songs that the record’s soul seems lost.

Go and get your copy of All The Lost Souls (awesome album art).
Listen to “Give Me Some Love” (4.7/5)
Listen to “Same Mistake” (4.6/5)

Grab a jump-rope, some colorful tenniboppers and your outdated boombox (the one that only has room for a cassette, please) and don’t forget your copy of The Go! Team’s Proof Of Youth–there’s a party going down. The lo-fi sampling junkies from the UK bring more of their feel-good funkiness and energy to a slew an album that is indeed…youthful.

It seems that in an attempt to be unassuming in their approach to making music, The Go! Team has created another album that has a certain enjoyable flashiness and gaudiness to it that contributes to a feeling that might best be described as pure joy. This is cross-generational goodness jammed into a cut-and-paste package ready made to delight. The lead faux-rap single “Grip Like a Vice” has a certain urgency to it that makes it fresh, while tracks like “Doing it Right” illustrate the band’s knack for catchy rhythms and schoolyard chants. Anthems galore appear on this album as well (”Keys to the City” , “Titanic Vandalism”, among others) that make Proof of Youth more than a juvenile effort. Even more impressive may be the fact that The Go! Team crafted a marvelous sophomore effort in the face of their ever popular debut Thunder, Lightning, Strike. Indeed, lightning does strike twice.

Get yo’self a copy of Proof of Youth!
Listen to “Doing it Right” (4.8/5)
Listen to “Keys to the City” (4.74/5)

U.K.’s The Bees have slipped under the radar for some baffling reason–I guess coming from across the pond will do that to you. The Bees’ sophomore release Octopus is a collection of golden 70s AM radio tunes, complete with well-placed harmonies, funky fresh guitars and some Dylanesque piano riffs. Take one listen to “Who Cares What the Question Is?” and tell me you don’t hear the influences of Dylan’s “Isis”! But these guys aren’t simple copycats–queue up the dusty jazz “Got to Let Go” and partake in a delightful array of horns and the like. These busy bees even manage to pull off the reggae “Listening Man” while still successfully executing country ditties like “Love in the Harbor”. Octopus is a thoughtful, fun album that clearly has a lot of heart and earnestness to it. From that respect, it seems like that they’ve picked up a thing or two from the very era of music they’re recreating.

Go and get a copy of Octopus.
Listen to “Got to Let Go” (4.9/5)
Listen to “Who Cares What the Question Is?” (4.7/5)

It’s not an impossible venture to create moving, booty shakin’ indie power pop, but it is certainly no easy task. What The Rapture did with Pieces of the People We Love was an extraordinary accomplishment in some ways, in that they were able to put out a record that was both accessible to a large audience but was still edgy, interesting, and fun.

So how the hell does this relate to the New Young Pony Club? Well, in short, their debut release Fantastic Playroom (US release Aug. 28, UK release July 2) doesn’t quite succeed in being accessible or edgy. Save for a few songs, much of the album is just humdrum new wave that lacks a punch, that lacks a real attitude. And isn’t that what they’re supposed to be all about? To be fair, there are one or two fantastic tracks that show great promise for this young quintet. “Grey” is a classic party anthem that will surely please its listeners with its simple but quirky lyrics. But perhaps the best single is “The Get Go”, which features a great vocal set and also the best bassline on the album.

If you’re interested in NYPC, go buy Fantastic Playroom.
Listen to “The Get Go” (4.75/5)
Listen to “Grey” (4.6/5)

Straight out of Liverpool comes Candie Payne, who delivers surprisingly solid and incredibly catchy lo-fi indie pop. On her debut album I Wish I Could Have Loved You More, she flirts with a doo-wop sound here and there (see “Hey Goodbye”), but she also dabbles in some more eclectic rhythms (see “One More Chance”). Comparisons can be made to an upbeat version of Feist, or even a toned-down version of St. Vincent, but really Payne is simply borrowing the best of her own music influences. After several listens to her debut, I now see the coherence in the record–it’s subtle but unlike most “fusion” artists, she manages to pull it off in a dynamic way. The songs are not redundant or humdrum, nor are there any weak links on the album. If indeed this album is Payne’s figurative exploratory committee, she’s got my vote. Just sign me up and give me a friggin’ banner already.

Do yourself a favor and go and get I Wish I Could Have Loved You More.
Listen to “One More Chance” (4.9/5)
Listen to “All I Need To Hear” (4.7/5)

Maybe it’s just the spring weather and its radio-of-old feel, but I just can’t get out of this retro band genre. I’m talking about UK band The Clientele, and their new release God Save the Clientele. Full of the trippiness of CSNY, the exuberance of a child, and harmonies to be envied, God Save the Clientele is a finely crafted album. The vocals are simply delectable, as they skitter across the jangly guitars and the modest bass. I’m amazed by the quality of the album, despite the fact that it is 14 tracks long–a rarity for bands these days.

On GStC, The Clientele effortlessly move from track to track, as they touch on lullaby ballads to toned down versions of 60’s and 70’s folkpop. It seems as though the album was written from the hip, a stream of consciousness, but with each note carefully plucked. This delightful collection of songs is truly a seratonin riser. Every so often, I’ll fall in love with an album that is just so irresistible that it cannot be put down. Indeed, I’m in love.

Highlights from GStC, and there are many, include the wonderfully hoppy “Here Comes the Phantom”, a smart pop arrangement complete with strings. Have a listen to the more downtempo “The Queen of Seville” or the bass-filled upbeat “Carnival on 7th Street”–all are sure to please.

So go on and buy God Save the Clientele (out May 8th in US).
Listen to “Here Comes the Phantom” (4.89/5)
Listen to “Bookshop Cassanova” (4.6/5)

Lately, I’ve been chilling with my good ol’ buddies The High Llamas. No, not personally, but rather through the speakers of my computer.
The London-based hipsters are the creators behind some retro-tastic music that will have you imagining you’re on Route 66 back in the 50s. Not that I know what that’s like, but let’s assume I do.

Their newest album Can Cladders is an amalgam of songs that range from lounge revivalist to Bossa Nova. Despite borrowing from older styles and genres, what makes this album unique is the fact that it combines these in a manner that hasn’t been done before. shows a diverse musical palette on behalf of lead band member Sean O’Hagan, and the songs therein are simply a delight. Every song is a new adventure, a new trip to a psychadelic (yep, you read correctly) world of lillies and daisies–it’s almost comical to a certain point. Can Cladders doesn’t try to mask its fun nature by pretending to be something it is not. No false advertising.

Although The High Llamas are guilty of missing on some tracks of this album, there are certainly plenty of highlights to go around. “Clarion Union Hall” is a foot-tapping, head bobbing good ol’ time that could only be better if you could actually see the background singers bopping along themselves. Of take a listen to “Rollin”, which is certainly the most delightful song on the album, complete with one of the great choruses I’ve heard. The varied instruments are really my favorite part of the albums–at any one point, I may not be sure what I’m listening to, but I know it’s damn good. I’m sure you’ll feel the same way too.

So c’mon, and buy Can Cladders.
Listen to “Rollin” (4.78/5)
Listen to “Clarion Union Hall” (4.44/5)