Happy to You

Miike Snow

Swedish indie pop trio Miike Snow bombarded the music scene in 2009 with one catchy single right after the next, the highlight of which being “Animal”. I’ve listened to that song hundreds of times and it still has not worn out its welcome. Three years later, Miike Snow return with their second studio album Happy to You. For their second go-around, Christian Karlsson, Pontus Winnberg, and Andrew Wyatt try to branch out from their hook-heavy debut and focus more expanding their sound and crafting something more ambitious.

Happy to You reminds me of Congratulations, MGMT’s sophomore album: hard to digest at first, especially with the lack of a monster single, but you can appreciate it for what it is after a few listens. The first few songs are kind of just their and aren’t anything to really brag about, but once “God Help This Divorce” rolls around, its soulful beat had me hooked. Round it off with some powerful piano lines and you’ve got one of the album’s best songs. The album really finds its groove as it then dives into the catchy and synthy “Bavarian #1 (Say You Will)” (think The Cure’s “Close to Me”) and Archipelago has a very solid, albeit brief, piano riff after each chorus that adds so much to the track’s already upbeat melody, yet depressing lyrics. On the album’s longest (and slowest) track “Black Tin Box”, Lykke Li shows up for a guest verse that should have gone one a bit longer, but the pattering drums and masterful synth work make up for that. The album then closes with first single “Paddling Out”, which is by far the catchiest track on the album and has me dancing and singing along to it more and more with each listen.

Though not as approachable as their debut, Happy to You is a decent effort by Miike Snow. Though they might be a little disappointed after one listen, but there is enough here to satisfy superfans of their work to date. This record wouldn’t be nearly as good if Karlsson and Winnberg weren’t such talented producers. As long as they are still producing their own albums, I’m more than willing to give whatever they record a shot.

Recommended Tracks: “God Help This Divorce”, “Archipelago”, “Paddling Out”

Port of Morrow

The Shins

I feel that calling this a Shins album is misleading. Though Port of Morrow is still technically the fourth album released by The Shins, bassist Dave Hernandez, keyboardist Marty Crandall, and drummer Jesse Sandoval were relieved of duty by singer/guitarist James Mercer prior to recording the album and hired a plethora of musicians to help record the songs. Incidentally the album is also the “band’s” first record on Aural Apothecary, Mercer’s record label. So yeah, big changes and a fresh start here.

Produced by Greg Kurstin and Mercer himself, Port of Morrow features an expansion of their previously humble sound for The Shins in favor of a more electronic sound that Mercer established with side-project Broken Bells two years ago. This decision does pay off on certain songs, like on opening number “The Rifle’s Spiral” which contains some solid keyboard interludes accompanied by a drumbeat that keeps the listener intrigued. If there’s one thing that Mercer has always retained, it’s his ability to craft a well-written song. His falsetto voice would have you think that this is a feel-good track, but his lyrics suggest otherwise with references to a man with a death wish not just for himself, but for others. This theme of beauty mingled with darkness has always been present in The Shins’ songs and thankfully remains present here.

Love is another inspiration for Mercer on Port of Morrow, especially on lead single “Simple Song” which he has gone on record that it was inspired both by his recent marriage and the departure of former bandmates Sandoval and Crandall. One of the album’s best tracks, “Fall of ’82”, serves as a letter of thanks to someone who helped the singer conquer depression during his youth, yet still ends on a somber note when not all is healed. Beauty mingled with darkness at work again.

In what might be the most well written song on the album in “No Way Down”, Mercer takes perspective from both sides in the Occupy movement and suggests that maybe not all of the 1% are money-grubbers, but rather they are worried about what is happening in the lyrics “Is there no way down from this peak to solid ground/without having our gold teeth pulled from our mouths?” and even takes an apologetic tone when he utters “Get used to dust in your lungs” to the sick and the young.

Though not every track is a gem on The Shins’ fourth album, this isn’t necessarily a bad collection of songs. Port of Morrow is a far cry from what we’ve grown used to from the indie rockers, but I suppose that has to do with change in both the band’s lineup and the direction that James Mercer is moving in as a musician. Thankfully, he is still able to write brilliant songs to keep fans appeased.

*Notice I went this whole review without mentioning Garden State.

Recommended tracks: “Simple Song”, “No Way Down”, “Fall of ’82”

The OF Tape Vol. 2

Odd Future

I listen to the Kevin and Bean Show on KROQ every day. I haven’t missed a show in years. In the time that I’ve been a listener they’ve had some really great interviews and some extremely poor ones. Earlier this week, they boldly scheduled Odd Future front man Tyler, the Creator and “idea man” L-Boy to be on the show to promote their new album The OF Tape Vol. 2 and tv show “Loiter Squad”. It was honestly one of the worst interviews I’ve heard, not just on Kevin & Bean, but in the history of life. And it was in no way Bean’s fault (Kevin was on vacation last week). He asked all the right questions that any good radio show host would ask a guest. Tyler and L-Boy just didn’t give a shit. They gave short, vague, and shitty answers to every question, showed very little enthusiasm and clearly had no interest in promoting neither their album nor their tv show.

But that is the very nature of Odd Future in a nutshell. They don’t care what anyone thinks or who they offend. They make the music they want to make and tell everyone else to fuck off. If anything, you can’t blame Odd Future for being inconsistent because this nonchalance is evident in The OF Tape Vol. 2, in which Tyler, the Creator serves as executive producer. This collective has been together for about 5 years. In that span, they’ve released hundreds of tracks individually and three mixtapes. Though this is their first official album, it feels more like another mixtape that is typical of what they’ve previously released.

That’s not to say this is a great record, but more of a consistent record. It starts off with “Bitches” with Hodgy Beats and Domo Genesis spitting rhymes and proving they have better chemistry than any of Odd Future’s other collaborators.  Match that with an extremely catchy/synthy beat and you get one of the album’s highlights. From there, we get a plethora of different songs including “Ya Know” and “White”, the former featuring the electro inspired The Internet and the former being a soulful R&B interlude by Frank Ocean. These two tracks stand out from the rest of anything anyone else puts out in Odd Future because they are the only members of the collective that really transcend the genre of rap music. They feel very out of place, but are better songs than others on the album like “50”, “Lean” and “We Got Bitches”, though the latter song is anything you’d come to expect from the obnoxious side of Odd Future.

Where this album really shines is when they (especially Tyler) tackle pop culture headlines, like Sean Kingston’s jet skiing accident or Casey Anthony in “P” or graphically paint an image of Kermit the Frog and Miss Piggy having sex in “Hcapd”. The outro for the latter basically confirms my intro of what Odd Future stands for (side note: I watched “The Muppets” literally right before I decided to listen to this album. This song scarred my childhood). “Forest Green” is another great track that surprisingly appears here because it was released as a Mike G single a year ago, but still holds up with the album’s best chorus. But, no track shines brighter than “Oldie”, which features most of the Odd Future collective passing the mic one at a time, laying down their own verse. Toward the 7-minute mark of this 10-minute epic, we get a welcome surprise return from Earl Sweatshirt, the youngest member of Odd Future who was shipped off to boarding school in Samoa over a year ago. This is the only track on the album that captures the camaraderie of Odd Future and is further illustrated by the track’s video.

Though they pull no punches here, The OF Tape Vol. 2 delivers what you’d expect from Odd Future: brash, juvenile, yet oddly intriguing lyrics. A lot of this album seems like filler and could have been left out. And some songs are so brainless it sounds like a 13 year-old aspiring rapper wrote them. But, when the album shines, it does so on a level that shows how clever and talented these guys can really be. As Odd Future emerges from the underground and into the album-release game (they’ll never be considered mainstream - you win this one hipsters), one wonders how much longer their novelty will last.

Recommended Tracks: “Bitches”, “Forest Green”, “P”, “Hcapd”, “Oldie”

Concert Review: Of Monsters and Men

Ok so this isn't going to be a very long review, seeing how I completely fawned over these guys in my most recent album review. I've been to many, many concerts over the years, yet last night was my first time ever going to the Troubadour. For those who've never been, it's a very intimate venue. Basically just a bar with a stage and a small upper floor with a few tables and a balcony. I would imagine no more than a few hundred people could fit inside. This adds so much more to the concert-going experience and it feels like the band is actually performing for you, rather than you paying to see them perform.

When Of Monsters and Men took the stage, they immediately broke into album opener "Dirty Paws" and the uplifting "From Finner". From there they treated their audience to a few new songs that would be featured on the U.S. album release as bonus tracks. All three were enjoyable, but the third new song titled "Mountain Sound" was my favorite with its very upbeat and catchy chorus. After that the band proceeded to play most of the songs from their debut album My Head is an Animal. The highlight of the night had to be "Little Talks", which had the whole crowd dancing, chanting, and singing along with the band as they belted their hit single.

This being their first North American tour, I was skeptical that they wouldn't have perfected their live sound quite yet. However, the band eased my skepticism quickly as every song sounded as good as it does on the album. In between songs, the band would banter with the crowd and were constantly thanking and expressing how excited they were to be in the U.S. The crowd in turn was equally excited to be in their presence. Most people knew the titles and lyrics to every song, despite that the album has yet to be released stateside. It added to the experience that these people liked Of Monsters and Men as much I do. One thing they could work on though was their preparedness. It seemed like they forgot their setlist at times and had to remind each other which songs were next. And for their encore it was clear they hadn't decided which song to play when they took the stage and ended up asking the crowd. Naturally, everyone requested both songs to which the band graciously obliged. This is a very small qualm though and after a few shows I'm sure they'll fix it.

My Head is an Animal

Of Monsters and Men

Forming in 2009, Icelandic indie folk band Of Monsters and Men have endured a long build up for their first LP. Hard work and patience has definitely paid off for this indie folk sextet. In 2010, the band entered Músíktilraunir (Iceland’s version of battle of the bands) and won the competition. They would eventually sign with Record Records in 2011 to work on the release of their debut album. By September 2011, Of Monsters and Men finally released My Head is an Animal in Iceland. It quickly topped the album and singles charts with lead single “Little Talks.” The aforementioned single even gained airplay in Philadelphia, received an immensely positive response, and has quickly been gaining momentum on various other radio stations across the U.S.

After signing with Universal and releasing an EP in December, Of Monsters and Men will finally release My Head is an Animal worldwide on April 3^rd. Fortunately, I was able to get a copy of the record about a month ago. After first hearing (and immediately enjoying) “Little Talks” last fall, these guys have been on my radar as an up and coming band. I’ll admit that before listening to their debut album, I was very nervous that they wouldn’t live up to the hype and that I was putting them on way too big of a pedestal. Having listened to My Head is an Animal many, many times, I can honestly say that this is one of the best albums to be released in a long time.

The core of what makes this album so beautiful is the vocal duality of singers Nanna Bryndís Hilmarsdóttir and Ragnar þórhallsson (don’t ask me how to pronounce their names). They compliment each other so well and nail every harmony on every song. Neither one of them tries to outperform the other, but rather focus on singing to each, which gives the whole album a very intimate feel. Album opener “Dirty Paws” highlights this perfectly with a slow build up followed up by chants, cymbal crashes, and snare drums. The following song, “King and Lionheart” is a potential single with its catchy chorus, thudding kickdrums, and masterful accordion work. “Numb Bears” will have you whistling along with its chants and even catchier accordion hooks. We get an acoustic break with “Sloom” that further highlights the harmony between the lead singers. Afterward, we finally break into “Little Talks”, which is still my favorite song on the album. The lyrics hint at a failed relationship, the chorus is unforgettable, and every instrument works together to create a nearly flawless song. If this track doesn’t hook you from the start, then there’s no hope in salvaging the rest of the album for you.

 “From Finner” is a modern day immigrant song, celebrating life in a new home. Surely this will apply to their future world tours and warm reception they have received these last few months. “Six Weeks” finds the band more in touch with their mythical side, singing of fighting off animals and sharing a meal with a wolf. “Love Love Love” provides a nice interlude with a strong lullaby-esque ballad about unreciprocated love with Nanna flying solo on vocals (for the first time on the album). As she belts out lyrics like “‘Cause you, love, love, love when you know I can’t love”, you can’t help but sympathize with whomever she’s singing about. “Your Bones” pulls another solo showcase (save for one final harmony toward the end), this time focusing on Ragnar. He is accompanied by a marching combo of snare/kickdrums. The lighter-waving worthy chorus reminds me of something you’d hear at the end of an old conquistador film. “Lakehouse” is an all out belter featuring the whole band in harmony and all instruments at their most proficient that builds up until slowing down toward the end. This transitions well into “Yellow Light” which brings the album back down into the lullaby-esque rhythm previously heard on “Love Love Love.” As it fades out, hidden acoustic track “The Sinking Man” takes it home on a mellow note that is a perfect ending to the album.

Though their sound may not be all that original (think the musicianship and dual vocalists of Arcade Fire combined with the festivity and bliss of Edward Sharpe and the Magnetic Zeros), Of Monsters and Men are able to craft a nearly flawless album that only gets better with each listen. Though they have yet to release My Head is an Animal worldwide, I’m already looking forward to seeing what they will follow it up with. Do yourself a favor and listen to this album as soon as you can. It will definitely be on my best of the year.

Recommended tracks: “Dirty Paws”, “King and Lionheart”, “Numb Bears”, “Little Talks”, “Love Love Love”, “Your Bones”

LA Concert Update

Another big week for LA concert ticket sales! First I'm gonna quickly list some shows that still have tickets available and are coming up soon.

• Andrew W.K. @ The Glass House on Saturday, March 10 ($25)
• Super Mash Bros. @ The Music Box on Saturday, April 7 ($33.15)
• Nipsey Hussle @ Club Nokia on Friday, May 4 ($21.50-$31.50)
• Washed Out @ The Music Box on Saturday, May 5 ($30.60)

Let's dive right into on sales this week:

Indie rockers Clap Your Hands Say Yeah will be playing a show at the El Rey Theatre on Saturday, May 19. Tickets went on sale today and are going for $22.

Chevelle will be performing at Club Nokia on Wednesday, April 25. Tickets go on sale 3/9 and range from $26-31.25.

Curren$y will be playing at The Music Box on Tuesday, May 1 as part of the Jet Life 2012 Tour. Opening acts include THE JETS, Smoke DZA, Fiend 4 Da Money, Corner Boy P, Trademark, and Young Roddy. If you've never heard of any of them it probably sounds like I just made all those names up, but I promise you I didn't. Tickets go on sale 3/9.

German heavy metal band Scorpions are gonna rock Staples Center like a hurricane on Friday, June 22. Hard to believe these guys have been around since 1965! This may be your final time to see them though as they plan on retiring when their current tour ends next year. Tickets go on sale 3/9 and will cost $49.50-$99.50.

British indie rockers The Wombats are taking their tour to the El Rey Theatre on Thursday, May 8. Tickets go on sale 3/10 for a mere $22.

For those on a budget, Cass McCombs is coming to the El Rey Theatre on Saturday, June 2. Tickets go on sale 3/10 for a meager $18.

For fans of americana, Justin Townes Earle will be playing the El Rey Theatre on Thursday, June 28. Tickets go on sale 3/10 and will cost $20.

After playing at the Grammy's and then announcing that they'll be headlining Bonnaroo this year, The Beach Boys would be disavowed if they went without performing in southern California this year. They'll be taking their talents to the Verizon Wireless Amphitheater in Irvine on Sunday, June 3. Tickets go on sale 3/12 and will cost $19.50-$89.50.

Indie pop duo Best Coast will be playing the Wiltern on Friday, May 18. Tickets go on sale 3/9 and will cost $17.50-$22.50.











And finally, for those of you who were unable to score Coachella tickets, a bit of luck may be coming your way. In the past, bands playing Coachella were bound by contract to not play any shows in the Los Angeles area 3 months before or after the festival. However, since Coachella has expanded to 2 weekends consisting of the same lineup this year, Goldenvoice has apparently relented and allowed the its performers to play sideshow gigs in the area so it doesn't affect their touring profits! Since it'd take too long to post each individual show, I'll just re-post a nifty calendar that Goldenvoice created and you can look up ticket prices yourselves. THESE SHOWS WILL SELL OUT FAST!

Break It Yourself

Andrew Bird

It’s been a while since I’ve positively reviewed an album. Sorry to have been such a downer lately, but nothing I had chosen to review really impressed me. When I decided to review Andrew Bird’s new album this week, I was eagerly hoping things would turn around because I really enjoy listening to Bird’s music. Thankfully, I wasn’t disappointed.

Break It Yourself is a typical Andrew Bird album. You get exactly what you’d expect from the singer/songwriter”: playful laidback melodies, philosophical lyrics, and whistling (it wouldn’t be an Andrew Bird album without the latter). And that’s very much a good thing. This is Bird’s sixth solo album, so why mess with what’s working. He’s not at the point in his career where he needs to switch up his formula that’s worked since the mid-90s. Though I was pleasantly surprised to see that on Break It Yourself Bird returned instrumental focus back to the violin, whereas on 2007’s Armchair Apocrypha and 2009’s chart topper Noble Beast he switched to guitar as his primary instrument. He shows just how sharp a violinist he is on one of the album’s standout tracks “Orpheo Looks Back”, which features a thrilling and remarkable violin solo midway through.

Break It Yourself is a strong album throughout from “Desperation Breeds…” all the way through the extremely lengthy “Hole in the Ocean Floor”, which oddly never feels like it’s meandering too much considering it clocks in at over eight minutes. The album’s closer “Belles” feels like as proper an ending to any Andrew Bird album with its lush and soothing xylophone chimes and crickets chirping in the background. Songs like “Give It Away”, “Sifters”, and “Fatal Shore” (not a Chili Peppers cover, though that would be just as intriguing) display Bird’s signature lyrics that are so much deeper after multiple listens, whether he’s musing about society and our reliance on currency or love and how it changes as we get older.

This album truly shines though when it really tries to grab the listener. “Danse Caribe” could easily have been a garbled mess, but Bird somehow manages to blend his signature folk sound with a little bit of Celtic and still deliver a track that makes me want to dance. “Eyeoneye” is the album’s catchiest track by far and delivers the biggest the hook, easily winning me over. It features the perfect blend of guitar, whistling (what else?), and introspective lyrics.

Overall, I’m very pleased to say that Break It Yourself is another solid album from Andrew Bird. It’s not revolutionary or game changing, and it doesn’t need to be. It’s the perfect album to usher in the spring season and can be enjoyed in various atmospheres, whether you’re relaxing on a lazy Sunday, trying to provide some good mood music on a date, or taking a long drive through the desert.

Recommended Tracks: “Danse Caribe”, “Eyeoneye”, “Orpheo Looks Back”

Hollowed Out Tree

Tracy Heartfelt Starr

by guest contributer Michael L.

This review is biased. Being from the same old town as Tracey Heartfelt Starr, I admit that I am already down for his lyrical products, whether they are greatness or madness. So, yes, I will vouch for him. However, I listened to his new album Hollowed Out Tree in its entirety (which was the first time I had made time for such activity in a long time) and was pleasantly surprised by its quality and realness.


Honestly, I took a leave of absence from listening to hip-hop, but after listening to Heartfelt’s new album for free on SoundCloud (http://soundcloud.com/heartfelt-1/tracks) I foresee a return. I am an undeservingly picky bastard when it comes to music, and thanks to some early schooling from the artist Heartfelt I have always been even more so with my hip-hop. Fortunately, this is hiphop; so it’s not so much about how many artists you like but which ones you can actually feel. This, like the many other characterizations and generalizations that may seem so fitting for hip-hop and the work of hip-hop artists, are not so suitable for Heartfelt’s work. Every time one tries to narrow down his style it seems to shift with each track, as if constantly staying one step ahead just to elude those of us who find comfort in categorizing the world around us; but I if I really had to summarize his style in one word, I would simply say “heartfelt” (in its literal meaning).


However, in order to convey a more tangible thought about the sounds Heartfelt makes, I will start with the usual—name dropping. However, in each case the comparison falls short in some way (but usually in a good way). For instance, his style parallels a younger and less stable Atmosphere, but not in any “cover band” sort of way; it is more like Heartfelt’s headphones and equipment are literally stained by years of listening to Slug’s beats, so he can be heard in the background like some kind of audio ghost. This is most prevalent in the beats of the gloomiest of tracks, particularly in “Dead Star” where the faint sound of Atmosphere beats can be heard in the background at the end of the song. His lyrical style also reminds one of a smarter-West Coast version of Eminem, but for all the right reasons! His honesty is similarly pure enough that people stop to listen and relate to the words that they themselves wish they could get off their chests; Heartfelt therefore speaks to our inner self and subs for our inner mouth piece.


His lyrics and dialect are also noticeably distinct from many other white hip-hop artists, whom are mostly either exaggerating in stereotypical white goofiness or are significantly influenced by urban styles (yea, I said it). Instead, Heartfelt strikes a pleasant and very genuine stance that he makes his own. This seems to position himself more as an everyday person and even a hip-hop outsider at first, but his lyrics dissect and diagnose hip-hop in songs like “Natural Selection” with such lethal accuracy that anyone can relate, whether they are an expert “insider” or someone just looking in who feels it. However, in other tracks about hip-hop it seems he does not set out to make it the main focus of the track, and his reflective critiques do not sound like passing digressions from his main message; he still raps about his life, but it just so happens that his life is hip-hop. This leaves the listener begging for the fresh air that is Heartfelt’s critical focus and honesty to touch many other things in our lives as well as to extend his worries of the future, such as with the track “Smokers Cough” which speaks truth to the ills of cigarettes.


Heartfelt therefore lives up to the literal meaning of his performer name (and his real middle name) “Heartfelt” through his lyrics. He also has a salient passion to live up to the symbolic meaning of his last name, which is pronounced the same as “star”, through his passionate performances. Despite the degree to which Heartfelt went from being a young fan in the crowd at hip-hop shows to actually performing on stage next to his idols (such as Sage Francis), he refuses to grant himself any breathing room until he considers himself a star. This is certainly something we are all made insiders to with his new album Hollowed Out Tree.

Favorite tracks: “Natural Selection, “A Soldier’s Retreat”

LA Concert Update

We've got quite a plethora of acts who have announced tours recently. Here are some show's coming to the Los Angeles area in the near future:

First up we have Irvine's very own Thrice playing at Club Nokia on Saturday, June 16th. Tickets are currently on sale and range from $21.49-$31.50 + fees.

R&B singer Lalah Hathaway will also be playing at Club Nokia on Friday, April 6th. She is currently touring in support of her 6th studio album Where It All Begins, which was released back in October. Tickets go on sale Friday 3/2 and cost between $21.50 and $36 +fees.

And now something for the electronic music fans. British dubstep duo Nero will be playing a dj set at 4th and B in San Diego on Tuesday, April 17th. I know it's not an L.A. show like the headline would imply, but I thought I'd include it because they won't be playing a local show due to contract commitments with Coachella. Tickets go on sale Friday 3/2 and will cost $41.75-$58.80.

Hardcore punk band Off! will be playing an intimate hometown show at the Whiskey A Go Go on Tuesday, May 8th. The band plan on releasing a new album later this year at an unannounced time, but the fact that they will be playing for audiences means that they will likely be debuting some fresh material. Tickets go on sale Friday 3/2 and will cost $21.

On Monday, May 14th indie rockers The Drums will be performing at the El Rey Theatre in support of their sophomore album Portamento, which was released back in September. Tickets go on sale Friday 3/2 for $20.

Indie pop act Destroyer will also be coming to the El Rey Theatre on Wednesday, June 6th. Tickets go on sale Friday 3/2 and will run for a cheap $25.

Brooklyn noise pop duo Sleigh Bells (whose new album I recently reviewed) will be performing at the Fox Theater in Pomona on Wednesday April 4th. Though I am not the biggest fan of their new album, it has been received pretty well by most critics. Tickets go on sale Saturday 3/3 for $33.15.

Fear not, country music fans. I've got you covered. Billboard chart topping Zac Brown Band will be taking their act to the big stage at the Verizon Wireless Amphitheater on Sunday, April 15th. Tickets go on sale Saturday 3/3 and range from $40-$112.25

LMFAO will be taking their annoying ass Party Rocking Tour to the Staples Center on Saturday, June 5th. For anyone that wants to lose a few IQ points, tickets go on sale Saturday 3/3 and will range from $29.50-$69.50.

Old school metalheads rejoice! Iron Maiden is touring once again and will be playing the Verizon Wireless Amphitheater in Irvine on Thursday, August 9th. Tickets go on sale Friday 3/2 and will range from $40-$156.50.

And finally, recent Rock and Roll Hall of Fame inductees Guns n' Roses have just announced a trio of Los Angeles shows. Unfortunately, this will be the current empty shell of a GnR lineup and not the classic lineup that is likely to appear at the HoF ceremony. Nevertheless, Axl Rose and crew will be playing the Hollywood Palladium on Friday, March 9th, then play the Wiltern on Sunday, March 10th, and wrap up the string of shows with a performance at the House of Blues Sunset on Monday, March 11th. Tickets for each show go on sale Friday 3/2 and will cost a whopping $97.05, $101.70-$171, and $144 respectively. While the ticket prices are unreasonably expensive, keep in mind that these are pretty intimate shows for such a big band.

WZRD

WZRD

It’s been a while since we’ve last heard from Kid Cudi. After taking some time off after Man on the Moon II: The Legend of Mr. Rager and getting sober, Cudi returns in 2012 for what he hopes to be a big year. His first release of the year is under the name WZRD, a psych-rock collaboration between himself and producer Dot Da Genius (who also co-produced Kid Cudi’s first two Man on the Moon albums).

There’s no sugarcoating it: this is a pretty bad album. Which it is. Cudi even admitted that he suffered from writer’s block for 5 months before he started writing for WZRD. That struggle is evident in the corny lyrics delivered in the first few songs, “High Off Life” and “The Dream Machine.” Gone are the days of the lonely stoner. These songs celebrate Cudi’s sobriety as he realizes that he can make it without marijuana in his life, which is fine. But, the lyrics here seem so weak and cliché that it really drags down the album, which is especially perilous for a new band on their first album.

As the album meanders onward, the first decent song comes in the form of “Teleport 2 Me, Jamie” with it’s catchy hook and sampling of “Under Your Spell” by Desire. After that, Cudi delivers a patchy and impossible-to-live-up-to cover of “Where Did You Sleep Last Night?” by Lead Belly. Nirvana should’ve been the last band to cover that song, seeing as how they even outdid the original.

All this wouldn’t even be that bad if the instrumentals were halfway tolerable. Which they weren’t. Every song on Kid Cudi’s Man on the Moon: The End of Day had an incredibly catchy beat and was much more different than any other mainstream hip-hop artist. That’s what made his album so great (and the fact that it was a clever concept album, which I’m a sucker for). Unfortunately, Cudi can’t translate that unique sound into alternative rock. None of the tracks wee able to stand out in a good way here. Every track sounds half-baked (pun intended) and unmemorable.

I’ll never knock a guy for going to rehab to fix an addiction. In fact, I commend Kid Cudi for taking control of his life and realizing that he needed to change his habit. It’s just too bad his songwriting muse had to hit the road with the marijuana. But who knows, maybe Cudi has since found his groove and will be able to redeem himself with Man on the Moon III later this year.

Recommended Tracks: “Teleport 2 Me, Jamie”

Reign of Terror

Sleigh Bells

After receiving very positive reception with their 2010 debut Treats, Sleigh Bells return with their sophomore effort Reign of Terror. The duo of Derek Miller and Alexis Krauss had stated prior to its release that Reign of Terror would draw from metal influences. Sure enough, you can feel that influence from the get go.

We get a decent opener in “True Shred Guitar” with its crowd-buffering guitar riffs. We then dive into “Born to Lose” where the subject matter takes a dark turn toward suicide accompanied by pounding bass pedals intermittently. Very metal.

The album is at its best with arena thumpers “Crush and “End of the Line”, the latter of which is more of a traditional pop song than anything else on Reign of Terror. Kind of like what “Rill Rill” was on Treats. Sadly, this is the peak of the album’s greatness. Make no mistake, Sleigh Bells delivered on their promise of metal influences. It’s very evident in most of the songs, especially on the second half of the album. From the dark songs about death and suicide (“You Lost Me”) to the powerful guitar riffs and thudding kick drums (“Demons”) the Brooklyn duo really made sure to cover the basics of metal-inspired tunes. Sadly, the album just fell flat. Like the thud of a kick drum. The least three songs on the album all blended together for me and were not very memorable.

I’ll admit that I wasn’t that big a fan of Treats. It had its few good songs, but as a whole the album sounded like a garbled bunch of noise. However, as I was listening to Reign of Terror I wanted to go back to Treats and if I do, I’ll probably appreciate it more. Sleigh Bells did try to do something different with their sound here and I applaud the effort from Miller and Krauss. I never got the feeling they were phoning it in by any means. This album just suffers from too much repetitiveness in its beats and ultimately can’t redeem itself.

Recommended Tracks: “Crush”, “End of the Line”

Born to Die

Lana Del Rey

I can’t remember an artist in my lifetime who’s been as polarizing as Lana Del Rey. You can’t get a performing gig on SNL without attaining a big fan base (especially without even having put out a record at the time). Alas, haters love to hate her. I mean they REALLY love to hate her. So many blogs and forums have made it their mission in life to tear her apart, even though Del Rey (a.k.a. Lizzy Grant) only released a handful of tunes under her current moniker. And after Del Rey completely tanked on SNL, it seemed the haters had won the battle.

I wanted to listen to this album with a very open mind. Truth be told, I really wanted this album to be good just to put an end to the unfair backlash she's received over the past few months. Most of it had to do with her “fake” image and her stage name. It’s ridiculous how many people fake their image in music, so why does Lana Del Rey get so much shit for it? I don’t for one minute believe that Lady Gaga has always exhibited the weird and outlandish behavior does, yet she got nowhere near the amount flack Del Rey’s received when she broke out with "Just Dance". Speaking of which, Lady Gaga is not her real name. Neither is Prince. Nor Jay-Z, Bob Dylan, or Common. So why can’t Lizzy Grant perform under the name “Lana Del Rey”? But, I digress…

This review isn’t about any of that. It’s about Lana Del Rey’s first LP Born to Die and whether or not she can back up the hype that’s surrounded her since last summer.

Her debut album focuses mostly on problems with men. I use “men” very loosely because many of the songs give off a very teenage vibe. But, I’d feel so lame if I said “boy problems.”

I had already heard the title track “Born to Die” and “Video Games” prior to the album’s release and I honestly like them. I still stand by them now as both being good songs. Especially the latter, which offers an honest perspective of what it’s like to love someone so much and feel like something isn’t being reciprocated.

Unfortunately, I can’t speak so highly of the rest of the album. All of the songs are so one-note and don’t measure up to par with the aforementioned tracks. Born to Die is an album almost exclusively about love and boys and wanting to feel loved by boys. This is fine as a topic for a few songs, but honestly ends up falling flat because none of the songs are really memorable at all. They have the same slow, lusting rhythm without much variation. I’m guessing the idea was to focus more on the lyrics and sultry seduction in Del Rey’s voice rather than crafting a synthy pop beat. This is good in theory (like communism), but doesn’t work at all and completely backfires (like communism). The result is an album of boring and forgettable tracks.

It’s not that Del Rey doesn’t have a good voice. She just doesn’t exhibit much vocal range on any of the songs on this album. Then again, maybe she doesn’t have a good voice at all and the production crew did a great job of mixing and perfecting the vocals. Either way, by the time “Million Dollar Man” rolled around, I was so tired of hearing the same song about how fickle boys can be that I had given up hope that it would redeem itself lyrically. And it didn’t. The album hit a complete thud with such drivel as “This is What Makes Us Girls” and “Without You”, the latter of which contains the lyrics “Summertime is nice and hot / My life is sweet like vanilla is”. “Lolita” might be the worst of the bunch. It’s basically what you’d get if Ke$ha’s and Katy Perry’s songwriters collaborated.

I’m sorry to say it, but the haters have been vindicated. At least for now.

Recommended Tracks: “Born to Die”, “Video Games”

Given to the Wild

The Maccabees

Before finally listening to Given to the Wild, a lot of hype was being built around The Maccabees’ third album. London’s own indie rock sextet has become one of the hottest bands in the U.K. over the past 5 years. But let’s face it: there are so many buzz bands that have great debuts, pretty solid follow-ups, and then fizzle into obscurity by the time their third album is released. Naturally, I was wary of what I was about to listen to.

I needn’t have worried. The Maccabees have released what is the first truly great album of 2012 in Given to the Wild. Here, we are treated to a splendid, yet heartbreaking album about loss of innocence and coping with heartbreak. Singer Orlando Weeks really knows how to evoke all the proper emotions out of the listener when he tackles each of these themes with his soft and solemn tone.

The opening title track is a perfect segway into “Child”, the album’s second song which tackles the loss of innocence head on. Songs like “Feel to Follow” and “Go” show how truly in sync the band is from an instrumental perspective. The former is just pure bliss with dueling guitars and light drum battering that builds up to the finale of the song, while the latter has its own distinct beat and soaring guitar solo that builds up until only to slow down at the halfway mark. From there it’s lather, rinse, repeat for the second half of “Go.” Lead single “Pelican” is one of the faster songs on the album that focuses on taking what you can from life and enjoying it before our time is up. And the cycle repeats itself over and over.

The album really shines when it deals with heartbreak on one of the album’s best tracks “Forever I’ve Known”, where Week’s sings of knowing a relationship is over, but begs his lover “couldn’t you still try?” After one listen, I was hooked and it’s one of my favorite breakup songs to be released in the past couple years. On “Went Away” he revisits the same theme of love lost and clings onto the shambles of a broken relationship. And when it feels like all hope is lost on “Slowly One” the album slips into a nearly two-minute breakdown that sees the light at the end of the tunnel.

Though this is a fantastic album, it does not come without its flaws. The sound on many of the tracks feels very similar to each other, making it hard to distinguish between them. Fortunately, it’s a very relaxed and focused sound with shimmering guitars and steady bass lines that allow the album to be enjoyed anywhere and at any time. One listen may not be enough to hook you on Given to the Wild, but after a few plays it becomes hard to resist. Unfortunately it has yet to be distributed in the U.S., but will hopefully be available stateside in the not-too distant future.

Recommended Tracks: “Feel to Follow”, “Forever I’ve Known”, “Pelican”, “Slowly One”

Most Anticipated Albums of 2012

"Given to the Wild" - The Maccabees (Released January 6th)

Ok, so technically this album has already been released and I just haven't reviewed it yet. I know, I suck. It's been getting a lot of hype lately and I'll be sure to review it soon. From what I've listened to so far, I have a feeling I won't be disappointed. 

"Born to Die" - Lana Del Rey (Expected January 30th)

Whether you love her or hate her, you can't deny that the girl's got a great voice. And with Youtube hits in "Video Games" and "Born to Die" the major label debut of Lana Del Rey is one of the year's most built up albums. It's boom or bust on this one.

"Reign of Terror" - Sleigh Bells (Expected February 21st)

While I didn't particularly care for their first album, I dug a few songs so I'm willing to give the noise-pop duo of Derek Miller and Alexis Krauss a second chance. 

"Sounds From Nowheresville" - The Ting Tings (Expected February 27th)

I seriously almost forgot these guys were still making music. That's how long it's been since Katie White and Jules de Martino released their first album, "We Started Nothing." They're not so concerned about making a hit pop record as they are doing whatever the feel like, which I admire in a band. Especially considering today's pop hits.

"The Odd Future Tape, Vol. 2" - OFWGKTA (Expected March 20th)

One of hip-hop's most controversial collectives is about to have a big year, starting with the release of their newest mixtape followed by solo albums by group members Tyler, the Creator and MellowHype. Oh and their debuting their own sketch comedy show on Adult Swim also.

"Port of Morrow" - The Shins (Expected March 20th)

After collaborating with Danger Mouse as Broken Bells (which was better than any other Shins album!),  James Mercer has returned to The Shins to release their first new music since 2007. Their new single "Simple Song" is currently available for download.

"3" - Silversun Pickups (Expected in spring)

Though that's only the tentative title, I'm eagerly awaiting the third album by the L.A. indie rockers. They're just one of those bands that always sound good no matter what your mood is.

Untitled 6th album - Soundgarden (Expected in spring)

Since they reformed in 2010, much talk of a new album soon followed. Can one of grunge's top bands deliver a rare success on a reunion album? I really hope so.

Untitled 2nd album - The xx (Expected in summer)

Jamie Smith had a nice 2011 while releasing some solo tracks, but the focus for 2012 is on his band and their new record and tour. While their debut had a chill, ethereal vibe, The xx's second outing is said to be inspired by club music and will no doubt appeal to a wider demographic. 

Untitled 2nd album - Two Door Cinema Club (Expected in summer)

Tourist History was a nice surprise in 2010 and their popularity grew astronomically in 2011. I mean the crowd was overflowing at their tent during their Coachella performance last year. Needless to say, many are looking forward to what the band is calling a hip hop-inspired sophomore effort. Which is only fitting from an indie rock band that uses a drum machine.

Untitled 3rd album - Crystal Castles (Expected in summer)


After putting out two successful self-titled albums, the Canadian duo are heading back to the studio to record their 3rd album (what's the over-under on it being called Crystal Castles?). Both their albums are fantastic and should be mandatory listening for anyone that enjoys electronic music. Hopefully they stick to their signature electro-goth sound for this go around.

Untitled 3rd album - Vampire Weekend (Expected in summer)

Their first two albums have become modern classics, delivering incredibly catchy songs with their signature Afrobeat experimentation. Here's hoping they haven't lost their touch.

Untitled 4th album - The Killers (Expected in summer)

Tentatively titled "Battle Born" (after their recording studio), the Las Vegas rockers have said that their next album will put a greater emphasis on guitars. Hopefully their hiatus has given them enough time to come back with a bang.

"MGMT" - MGMT (Expected in summer)

Haters of their second album will be happy to hear that MGMT's self-titled 3rd outing will be more similar to their Oracular Spectacular debut. Personally, I enjoyed both albums so I'm game for whatever these guys do next.

Untitled 6th album - Muse (Expected in October)

The best live act today is heading back to the studio in what promises to be a new direction for the band. Hopefully this doesn't affect the output of arena jams these guys never fail to crank out. 

Untitled 3rd album - The Stone Roses (Expected in fall)

It's really sad when a band this great has only released two albums. Since 1989. In case you're not keeping count, Justin Bieber has matched that total since 2010. Thankfully, Ian Brown and friends have reunited for at least a 2012 tour. Rumors of a new album soon followed their reunion, but I think it's a stretch we'll see one by the end of the year. Still...

Untitled 6th album - Queens of the Stone Age (Expected in fall)

Since Era Vulgaris in 2007, frontman Josh Homme has been keeping active whether it was forming supergroup Them Crooked Vultures or producing for Arctic Monkeys. Now the king of desert rock returns to his band for another go around. What to expect? No one knows (zing!)

Untitled 2nd album - The Joy Formidable (Expected in fall)

After their terrific debut The Big Roar, the Welsh shoegazing trio are looking to expand their sound on their sophomore effort.

Untitled 6th album - The National (Expected late 2012)

The brothers and the baritone (as I like to call them) are coming off a very successful past couple of years. They deserve a break, but the band has already begun writing new songs so it's not too much to hope for a new album by year's end right?

Untitled 2nd album - Mumford & Sons

After completely blowing up the americana scene, Marcus Mumford and crew are writing for what is said to be a "doom folk" second album. Aside from singles "Little Lion Man" and "The Cave", 2009's Sigh No More was a pretty boring album so I'm hoping Mumford & Sons can improve with their second effort.

Untitled 2nd album - Warpaint (Expected late 2012)

Rumor has it the all-female psych rock band are thinking about ditching the tie dye for some heavier beats and synths. It's a bold move Cotton, let's see if how it plays out for them.

Untitled 4th album - Bloc Party (TBD 2012)

After taking some time off to pursue a solo record (and thankfully not breaking up the band), frontman Kele Okereke and co. have gone on record saying they will release a 4th album this year.

Untitled 6th album - No Doubt (TBD 2012)

At this point it's getting ridiculous. After reuniting and touring in 2009, No Doubt have been working on album #6 for the past 2 years. It has to be almost complete, right? Did they learn nothing from Guns n' Roses' Chinese Democracy?!?!

Untitled 9th album - The Offspring (TBD 2012)

These guys haven't put out a good album since 1998, but they have such a catchy (albeit overplayed) collection of singles that I can't help but be a little bit curious about what they have left to offer.

Untitled 8th album - Nine Inch Nails (TBD 2012)

I know he's done touring under the NIN moniker, but that doesn't mean Trent Reznor still can't record under Nine Inch Nails. He's gone on record saying that he's writing with Nine Inch Nails in mind. This could mean a single or hopefully a new album!

Untitled 5th album - Phoenix (TBD 2012)

Though 2009's Wolfgang Amadeus Phoenix broke them into the mainstream, the French indie rockers have stated their moving into more experimental territory for their next album.

Untitled 1st album - Of Monsters and Men (Early 2012)

Probably my most anticipated album of the year. Technically this indie folk sextet already released their debut record in Iceland back in September, but it has yet to drop stateside (though they do have an EP available for download). I like to think of them as Iceland's Arcade Fire. And I love me some Arcade Fire. I've been following them for the past few months and I'm really looking forward to their debut album, My Head Is an Animal. Their single "Little Talks" is currently my favorite song and is infinitely listenable.  

Untitled 5th album - Linkin Park (TBD 2012)

Ugh I'm anticipating and dreading this one. I grew up with Hybrid Theory and Meteora so I'll always love those albums. Minutes to Midnight was definitely an acquired taste. A Thousand Suns, 2010's awful fourth album by Linkin Park, made me want to throw up. The way I see it, they can't get any worse. I'll be keeping my hopes low and a paper bag nearby.

Untitled 4th album - Paramore (TBD 2012)

After the Farro brothers' ugly exit, I'll be very cautious with this one. Now more than ever, Paramore seems like a completely manufactured studio band. Hopefully, the band can move forward gracefully and retain their too-catchy-for-their-own-good sound.

Untitled 9th album - Green Day (TBD 2012)

No band has had a hotter streak in the past 8 years than Green Day. American Idiot revitalized the band and gave them a huge new fanbase and led to Broadway success with a theater adaptation of the album, which will be coming to Los Angeles this year. 2009's follow-up, 21st Century Breakdown, was every bit as good as its predecessor. Here's hoping for another fantastic album from the Berkeley natives (if they have the time for it).

Untitled 4th album - The Gaslight Anthem (TBD 2012)

The Springsteen-goes-punk band from New Brunswick have recently taken to Twitter saying that they're in the recording process for their follow-up to American Slang. No timetable has been given for a release date, but Brian Fallon's nostalgic and big-dreamer lyrics are worth the wait!

Well, that's my list (in no particular order). Did I miss anything? Get it right? Completely blow it? Sound off in the comments!