When reviewing I'm Having Fun Now, it's important to state what it is not. It is not another Jenny Lewis solo album with Johnathan Rice on backing vocals and guitar. It does not continue where Lewis left off on Acid Tongue, her finest work and an album that was one of the greatest of 2008.
As Band of Horses strays farther from the sound of their debut, undoubtedly some fans of their earlier material are going to feel let down. Grandiose rock anthems like “The Funeral” are nowhere to be found here. Instead, their third effort sets a mood of subdued melancholy. Infinite Arms is an album whose sound is a better fit on the front porch of a country home than in an arena.
She & Him’s detractors were few and with the release of Volume Two, they are probably still unconvinced. Of the album’s 13 songs, 11 were penned by Deschanel but it still has that vintage feel, as though you expect to hear a needle occasionally scratching the old record only to remember that this is a CD from 2010.
In their full-length debut, Worth the Weight, the Fling flesh out their blues rock sound and explore greater depths than on their EP, ranging from the Led Zeppelin-style riffs of “Only So Far” to the breezy waltz of “Worth the Wait.” There is a momentum that drives each song, keeping even the lighter tracks from boring. “Reclusion” starts mellow but gains intensity as the song progresses, from the first humming bassline to a sustained vocal harmony that outlasts overdriven guitars.
In an era where technologically savvy producers can make even the likes of Katy Perry sound decent on CD, it’s always refreshing when an artist’s performance outshines their album. Such was the case with Jenny Lewis.
Can music be cute? And if so, can it be a good thing? If Anya Marina is any indication, the answer to both questions is yes.
Subtle sonic beauty is the core of Speck Mountain’s second LP. At times haunting, at times warm and breezy, there is a dream-like ambiance that permeates the collection. Marie-Claire Balabanian’s soulful vocals are strong without ever over-singing (pop divas should take note). Instead, her vocals, like the swelling organ, well-placed tambourine, and fuzzed guitars, are one of many sounds mixed together to comprise a complete auditory picture. While nothing ever stands out, repeated listens reveal an intricacy to the song-craft. The throbbing baseline of “Angela” would be nothing without the harmonized vocals; the guitar arpeggio at the root of “Shame on the Soul” is complimented perfectly by a minimalist percussion, including reverb-drenched tambourine. Because of the emphasis of ambiance over hooks some of the songs have a hard time distinguishing themselves, but if there ever was a good drone, this is the one.
Don’t be fooled by honeyhoney’s moniker. The debut album from this duo, composed of Suzanne Santo and Ben Jaffe, is anything but saccharine and repetitive. It begins with Santo’s beautiful voice singing slow a cappella, usually an indication of a soulful ballad, before the band jumps in and turns the song (“Black Birds”) into a mid-tempo jazzy tune. It is the first of many pleasant surprises.
At the end of the night, though no one would consider Jason Mraz the Bob Dylan of our generation, it was clear that Mraz’s concerts are a lot like his albums: cheesy but fun.
On their Hyena Records debut, Backyard Tire Fire stray a bit from their roots, with more piano-based songs than rockers.
