Mmmm... scottish...

Thank you Glasgow. You have given us so much, and while you might not be Manchester, Brooklyn, London, you’re still like a big music scene cities’ almost as cool little brother. Franz Ferdinand, Glasvegas, Snow Patrol, and of course Camera Obscura, all burst forth from your loins. The latter of course just birthing their fourth record, My Maudlin Career.

While there is nothing self pitying their new album, Camera Obscura could be seen as sentimental to their own career. The album celebrates all the best points of their sound that they have delicately crafted over the last decade. They aren’t necessarily breaking the mold, but they also refuse to simply sit back and re-write the old stuff. They know what works, and it ain’t broke, so there is no fixing required.

Now when you think of Glasgow you may not exactly think sunny bright eyed music, well neither does Camera Obscura. They are Scots who clearly are sitting on piles of 60′s pop records. The tracks bounce between slow gorgeous tracks of heartbreak to bubbly girl group poppers. Opening track (and first single) “French Navy” falls in the second category, all snappy drums and a big fat chorus. Meanwhile “James” is a lement on lost love so pretty you can’t imagine why anyone would ever leave this woman. The star of the show is Traceyanne Campbell’s voice. In the heartbreakers, she’s never sounds scourned, just hurt, but strong. In the dancers, she sounds so positively lovely and delighted, you suspect you might be the one she’s in love with. When she’s sad (which she doesn’t want to be again, as stated in “My Maudlin Career”), you wanna punch the guy for hurting her, and when she’s seemingly happy (like in “The Sweetest Thing”), you want to be the guy playing guitar in a canoe while she sings holding a parasol and bobbing her head. There’s even tracks like ”You Told A Lie” which could be snuck onto a She & Him album almost effortlessly.

This album might now be a revolution, but it sure is nice. It’s like if every Stars song was sung by Amy Millan and they had a hardcore fascination with the late fifties and sixties. Beautiful indie pop for kids just as sad as me that the Organ broke up (and always wondered what would happen if they had a mutant lovechild with the Pipettes and Belle & Sebastian).

Don’t Be Caught Without:

“French Navy”, “The Sweetest Thing”, “Other Towns And Cities”

We're Uncomfortably British.

Maybe I have A.D.D. or maybe I’m in too sour a mood, but either way, I’m fairly sure this album would end up putting me to sleep no matter what my frame of mind happened to be. It Hugs Back are a three-piece group hailing from Kent, England putting forth their debut album, Inside Your Guitar. As far as the whole dream pop genre goes, this band definitely sticks to the basics by delivering lighthearted yet melancholy songs that pretty much all sound the same. Picture a less-interesting version of Mike Kinsella’s now defunct project, American Football, substituting the sad trumpets with muted keyboards. With vocals that barely reach beyond a faint whisper and monotonous acoustic guitar parts that drone on for days, this album has little to offer besides a sleep-inducing stupor.

Okay, maybe that was a little harsh… there are a few songs that combine artfully crafted lyrics and pretty melodies, but there’s nothing too groundbreaking to be found within the eleven tracks.

And... now we're cool...

“Q” sets the tone for the album by offering soft, airy vocals backed by a soothing guitar and mid-tempo percussion. “Work Day” is buoyant and upbeat, yet it still makes me thankful I don’t have a nine-to-five job (yet). A few tracks later comes “Soon”, and at this point, I’m starting to get a little frustrated. If these guys could just break into something with a little VOLUME, I’d be satisfied; be it a catchy chorus or raucous guitar solo… really, anything at this point would be a welcome reprieve from the shoegaze-y doldrums. If for some reason every pharmacy in the region runs out of Ni-Quil, pop this track on and you’ll be comatose within a matter of thirty seconds. “Back Down” brings a little life to the album, but not enough to pique any real interest.

In the end, Inside Your Guitar is good background music while you’re studying, reading, writing, what have you; but if you’re trying to find something that will grab your attention (or at least keep you semi-conscious) this might not be your first choice.

Anyone up for a little bump ‘n grind? ‘Cause Project Jenny, Project Jan will have you off your ass in a matter of seconds. This juicy collaboration album is busting at the seams with skilled artists who clearly know their shit. PJPJ give an off-the-wall, ultra-danceable slice of heaven on the new EP, The Colours, which will be released on April 14^th. These guys (and no, they aren’t actually ladies like their name might have you thinking) handpick a crop of diverse artists ranging from Fuiya & Miyagi to Mixel Pixel to spice things up on their newest venture. The Brooklyn duo, Jeremy Haines and Sammy Rubin, provide some pretty tasty ear candy, but only three of the five tracks truly standout as something special. Emerging in 2005, PJPJ released a self-titled EP, and followed up in 2007 with the full-length, XOXOXOXOXO. That same year the pair joined the stage with the likes of Chairlift and Vampire Weekend. If their latest sample of five songs isn’t enough for you, fear not, because a sophmore full-length album is planned to drop later this year.

The Colours is a somewhat inconsistent, genre-bending mix of sassy, poppy, electronic dance grooves that as a whole, make the album hard to sum up in one way or another. Each song brings a different feel, from bubbly pop punk to tracks with elaborate sound effects and a little rapping thrown in. Each song is quite different from the next and even though the tracks don’t exactly mesh, the album manages to bop along with enough gusto to intrigue any dance-hungry listener.

The journey begins with “Pins and Needles” featuring Fuiya & Miyagi, and it is by far the crown jewel: bust this one out at your next party and see if anyone is still sitting down by the time the song is over. My bet is that everyone will be shakin’ their ass off to this impossibly catchy song. The rhythm is simple and upbeat, with funky keyboard undertones and sounds, ranging from glitchy electronic buzzes to the gentle tinkering of chimes.

“You Said” begins with a chorus of vocals that at times resemble an eerie chant, matched with a backdrop of tribal-sounding instruments and handclaps. So Percussion join the boys on this track, and offer up a nice change of pace with a calmer, laid back feel. “Rainbows” featuring Mixel Pixel is dark but at the same time quite danceable, providing some satisfying yet sinister synth pop. “Caller I.D.” (with guest artist Adam Matta) has an appealing enough beat, but the oddly rapped lyrics seem a bit out of place, making this the least memorable track on the album. Dramatic keyboards and beatboxing create some enchanting background noise that make me wish the vocals were altogether omitted.

“Junk” kicks off with some promise as funky beats and jittery electronics meld together and are (once again) accompanied by bizarrely humorous lyrics. But as the downright obnoxious chorus hits, I find myself wanting the song to just end already.

This assorted mish-mosh of songs doesn’t consistently hit the right notes, but the ones that do will have you singing along and shakin’ your ass all over town.

Super Furry Animals is one of those bands that music reviewers just love to praise and glorify, and I’m not going to lie, I’m kind of drooling a little bit over their latest treasure, Dark Days / Light Years. It being their ninth studio length album and all, you’d think the material would be a little stale and recycled, but SFA have managed to reinvigorate all their best qualities, adhering them into a cohesive piece that undoubtedly deserves to be listened to all the way through, from start to finish. Taking their prog-rock roots and fine-tuning them to a perfect pitch, the Welsh fivesome adds a dash of enchanting pop and a bit of psychedelic funk to perfect the mixture.

The album first launches into “Crazy Naked Girls”, a funky, solid song that is oddly upbeat despite the lyrics: “Don’t slit the wrist, just work those lips, sink the ship” (who knew suicide could be so cheerful?). The tempo swings up and down throughout the track, and overall has a classic ‘70s feel, with a sense of humor… these guys definitely don’t take themselves too seriously. “Mt.” is another notable piece, beginning with the strum of a folky acoustic, followed by fat guitar riffs that punctuate absurdly comical lyrics about climbing “a big fuckin’ mountain”. “Moped Eyes” follows with a soulful guitar and bleepy keyboard medley, creating a splendid cocktail of juicy glam rock and funk perfection. “Inaugural Trams” is a personal favorite, loaded with heavy electronics and a mid-song cameo by Franz Ferdinand’s Nick McCarthy getting German on everyone’s ass with a short and sweet robotic “rap”. “Cardiff In The Sun” is quite epic, starting off with an eerie, trippy sonic hum that quickly progresses into a relaxed melody of overlapping pop vocals. “Cardiff” is expertly crafted and chock-full of whirling riffs that create the centerpiece of the album, and the feedback-drenched outro will echo in your head as the guitar parts melt dreamily over one another. “The Very Best Of Neil Diamond” has a fantastically exotic Indian-inspired flavor, which is quite unexpected, yet funky and delicious nonetheless. “Helium Hearts” employs sublime synths and bubbly percussion, and the strings that emerge halfway through add a romantic touch. “White Socks / Flip Flops” includes lots of background singing that adds depth and richness to the chorus, topped off by plenty of airy electronica. Although I know this track is meant to be ironic, I still can’t get the image of a white-socked flip-flopped foot out of my head (as if flip-flops aren’t bad enough on their own… thanks SFA). “Where Do You Wanna Go” has a Beatles meets the Beach Boys type of California-sun-soaked melody that makes it impossible not to bop around and hum along to.

After their past two lackluster albums, it’s safe to say that the Furries Dark Days / Light Years makes up for past missteps by packing an eccentric yet endearing punch.

Without those tragic little war torn tots, the world would be missing what I’m saying is already one of the best albums of 2009 (yeah I am staking that claim only 3 months in). War Child: Heroes does something almost no other Various Artist album has pulled off: IT DOESN’T SUCK! Let’s face it, compilations, and charity albums have maybe 3 good songs usually. The rest: filler, and flavor of the month poptarts or flash in the pan douchebag generic rock (see Instant Karma: The Amnesty International…. John Lennon tribute).

So what the hell makes this one so special? The concept. The idea was simple: a legendary musician picks something out of their catalog, and then chooses a current artist that they trust to cover it. Yep, you heard me, legends picking new kids to rework their tracks. By it being in their hands you avoid cliche chart toppers, and crap bands buying in (you think Dylan really would called Panic at the Disco, or the Clash call the Fray? screw that).

Beck starts by covering “Leopard-Skin Pill-Box Hat” by Bob Dylan (imagine that phone call). The stomping scuzzy version across one of Bobby’s first electric era makes you happy you bought the album even if every other track after it sucks. Then the Kooks kick the Kinks’ “Victoria”. Presumably picked since it’s mad fun to say “Kooks doing the Kinks”, but deliver a solid, bubbly chunk of brit.mod.pop. Then the Hold Steady, get the other name you can’t read a review of them without seeing: Springsteen. Seems too obvious a choice (perhaps Bruce called the Gaslight Anthem and they were busy), but the Hold Steady syre live up to and earn the constant comparison. Hot Chip swoops in and works their nerdy magic for Joy Division’s “Transmission”. The Clash choose late frontman Joe Strummer’s god daughter Lily Allen to work out a beautiful “Straight to Hell”. Could seem nepotistic, but Lily’s best efforts are happy fun pop with the edge of sassy/darker lyrics, so perfect fit. Perhaps the most perfect ‘new/legend’ match comes from the Yeah Yeah Yeahs making sweet sweet love to the Ramones “Sheena Is A Punk Rocker”. Fairly straightforward version, but who other than Karen O has the balls to make it not sound like a cover (and clever enough to leave in the “what is she Johnny?” line). In the spirit of ‘let’s change the lead singer’s gender for the remake”, Franz Ferdinand injects super sexy brilliance into Blondie’s “Call Me”. Then two very new girls take two very big boy’s tracks. First: Duffy, beautiful sultry completely souled out reworking of Paul McCartney’s “Live and Let Die”. Estelle then funks Stevie Wonder’s “Superstition”, even with no Kanye in sight. Rufus Wainwright does a nice medley from Brian Wilson’s album Smile, while the Scissor Sisters super gay disco the Roxy Music cut “Do The Strand”, who better to make it impossible not to dance to a song about a dance than the SS? Next super highlight comes in Peaches plus the Iggy and the Stooges classic “Search & Destroy”. Her androgyny and attitude matching Iggy’s own punkness], and “seriously what the hell am I looking at” appearance wrapped into a sweet electrorocker. Then the only skippable track (all Spanish Leonard Cohen cover by Adam Cohen) makes way to Elbow’s effectively minimalistic “Running To Stand Still” (U2), that could count reverb as it’s own instrument. Elvis Costello gets the prize for picking least recognizable current act. The Like can stand tall next to more famous peers by rockin a little girly punky pop magic on “You Belong To Me”, while adding new depth to a track about not wanting to be possessed by someone else. Wrapping things majestically is an inspiried version of Bowie’s “Heroes” courtesy of TV On The Radio. The reworking is classic slow building multi level greatness, only question is why “Heroes”? There’s already been at least 2 high profile covers David. Why not getTOTR to throw their weight behind “Golden Age”, “Modern Love”, maybe “Let’s Dance”? Man that woulda been sweet. Long story short this record is easily the best, most positive thing to ever emerge from the ashes of war.

Wow… where, oh, where to begin. Mica Levi, you have left me utterly speechless. All I can say is, I’m pretty much head over heels. At first I couldn’t tell whether Jewellery was a piece of sheer brilliance or an in-cohesive, noisy mess, but halfway through the album, the proverbial light bulb went off in my head when I realized “Damn… I’m in love with this band”. Levi and her two Shapes, Raisa Kahn and Mark Pell, reveal a whole new world of blissful, avant-garde, poppy sound that will make you want to dance around your bedroom and break out the Hoover (yes, they use an actual vacuum as a background instrument). Straight out of Surrey, England, Mica Levi is a 21-year-old musician with quite the extensive musical upbringing: her mother is a full-time cello instructor and her father a professor specializing in Music and the Third Reich, while Mica herself studied at Guildhall School of Music and Drama (composing a piece for the London Philharmonic at the ripe age of twenty, no less). Despite her intimidating classical background, Micachu and the Shapes manage to create a palatable yet off the wall conception of captivating synth-pop blending with the ultimately bizarre trappings of English grime that will take any initial listener by surprise. “Eat Your Heart” encapsulates the perfect blend of catchy pop and experimental abstraction that any avid music fan could hope for. “Curly Teeth” comprises a tone of ear-piercing electronica that mingles perfectly with sincerely delivered vocals. “Golden Phone” is the standout track of Jewellery, whose contagious bass line alone will have you hooked to your Ipod for weeks. After “Ships”, a choppy, grime tune with obscure, toy-like electronic influences, comes “Floor”. You know those “guitars” that you constructed in kindergarten that were made of tissue boxes, rubber bands, and a paper towel roll? Well, this appears to be the main influence for “Floor”, which includes a fantastic assortment of mumbled lyrics and hazy drumbeats that encompass low-fi leanings at their most disheveled, yet greatest. Upon hearing “Calculator” I could have sworn I was listening to The Champs’ “Tequila”, which the song bears a scary (but radiant) resemblance to. The album wraps up with a delicious dessert of vacuums, wistful keyboards, and soothing dancehall beats that will definitely leave a good taste in your mouth. All in all, Micachu and the Shapes are bound to be the new loves of your life, so brace yourself for the sweet, sweet sound of homemade guitars and CD rack inventions, because Mica Levi will definitely steal your heart (along with any other object that could possibly yield musical value).

The 1990′s are not without their charm. Surly little Scots who come complete with the Alex Kaprano’s (Franz Ferdinand frontman) seal of approval. Kicks is the boy’s second album, and keeps things a trio, despite a little member shuffle. It also finds them still “boys”. On their debut (Cookies) they packed in the promise. They had tight, fun as hell riffs, and some clever lyrics to match. The licks are in check, catchy riffs at every turn, leaving the lyrics trying desperately to keep up. Not for a lack of trying. “Kickstrasse” even contains one of sexiest 9/11 pick up lines to date (“come crash your plane into my building”), it’s too silly to be offensive, and not offensive enough to be truly offensive. It’s like high school, the first album was freshmen year, a little scary, but brighteyed and full of potential. Now they’re sophmores, they think they’re cooler than they are, trying way to hard to get attention, and could benefit from mainlining a little Ridalin. Once you set aside the forced, oh-so-original lines about Scientology, and they sing about what all bands are best at (ladies), you could check “pleasure to have in class” on the report card.
There are tight tunes littered with beautiful doo-woopy harmonies, and plenty of la-la-la’s, and ooohhhsss to make their jittery euro.garage.power.punk.pop a little special. “59″ is a pretty little thing that you might think is an obscure 80′s track you never heard. “Vondelpark” is a driving tune that Supergrass or the Kooks are jealous they didn’t write. “Sparks” and “Giddy Up” both bounce between pretty harmony and jumpy tight guitar lines, and a swaggering vocal.The 1990′s probably won’t be you’re favorite new band, but sure are not a terrible addition to anyone’s iTunes. When they think things through they prove they’re gonna graduate, but you just don’t know how many years it’ll take.