September 11 Releases, 2012

By: Hannah Cook, Editorial Director

First and foremost, welcome back to the unpredictable and spontaneously-updated Drop It Like It’s Hot. I realize we haven’t been holding up our end of the deal too well, but give us a break, would ya? It was summer, we had other engagements (like watching reruns of Reba and David Tutera’s My Fair Wedding). Our minds were basking elsewhere. It’s better late than never though, am I right?

Secondly, Hoobastank. You know, the guys who wrote “The Reason” (if you're too young to know, it's for the best), perhaps the most poorly constructed song in every sense ever to exist. Even a bajillion years ago when I still wore studded belts and American Eagle bell bottoms together (I was confused), that song sucked. Love and regret, the two most commonly and easily rendered themes in a song, absolutely lost in whiny voices and guitars. ANYWAY, they came out with a new album, Fight or Flight. From the looks of it, they’re trying to be more alternative and edgier. From the sounds of it, well. I don’t know because I can’t find the streaming of it and I don’t really care to try. But in the words of the most clever ACRN writer, Jacob Betzner, “Hoobastank’s newest album hooba-stanks.” Haha.

But onward and upward! Other than unsought reminiscing of rock radio in middle school, this week in music releases has a bright future.

To me, The xx always sound like they’re doin’ it  (like sex). Like, if I could imagine their music as the soundtrack to any kind of movie, it would be a sci-fi porno. Like Star Trek gone dirty — Spock-y style. That being said, I love it. I love the pillow talking-esque whispers and the chill beeps and buzzes. Their latest release, Coexist, lives up to all my expectations as a non-avid, but appreciating, listener.

It seems that The Avett Brothers were pretty quiet about this release.  That, or I just subconsciously counted myself out on being up to date with things. Still, they must be on to something big with The Carpenter since they played a snippet of “Live and Die” in a Gap commercial.  The album holds true to what the bros do best: pleasant acoustics and longing lyrics that make you feel like everything’s gonna be alright. But it’s nothing all too inspiring, just expected and easy to listen to. Except “Paul Newman vs. The Demons.” Who gave Scott (or Seth, I don’t know which one) an electric guitar and some balls? I’m kidding. Anyway, after all is said and done, no one can deny that The Avett Brothers put on a spectacular live show. My dad would agree.

David Byrne and St. Vincent go pretty well together in Love This Giant. Well, St. Vincent could go well with a chainsaw and Hoobastank singing “The Reason.” It’s a weird effort, and maybe even some age discrepancies glimmering here and there, but still a solid album.

In other releases, The Helio Sequence released Negotiations. I will be er…buying that, with little to no hesitation. I expect only great things from them. Unlike Hoobastank.

October 11 Album Releases, 2011

By: Scott Smith, Album Reviews Editor

A Radiohead release could be considered the biggest release of the year, let alone a given week. But TKOL Remixes 1234567, a series of reinterpretations of the band’s latest release, The King of Limbs. Ironically, the album that I personally criticized for being too short is packed with material from some of the electronic music worlds brightest rising stars including Caribou, and Jamie xx (of The XX.)

A similar endeavor was embarked upon for Caribou’s most recent album, Swim, and garnered fantastic results. Radiohead themselves seem to be overseeing, or at least, embracing the project as they always have in the past like their “Nude” remix contest from a few years back. This time their throwing a party featuring many of the DJ’s on the album and Thom Yorke himself will be spinning for the enjoyment of the lucky attendees.

The album is up and streaming right here and after listening to a few tracks, I can definitively say it’s a fun mix. Caribou made a boring song in “Little By Little” a raucous and bombastic track, but my favorite track was the remix of the new age Brazilian samba “Feral” by Lone, someone I’ve never heard of before this moment.

That’s the best part about these kind of releases: Discovering new artists--there are usually so many up and comers.

Strangely again, the second biggest release of the week might not even be a full-length album, but an EP. That may sound peculiar, especially if you aren’t familiar with the kind of work James Blake can produce on an extended play.

Blake, one of the biggest critical darlings of 2011, assaulted the web late last year with a three EPs, that revealed his large scope of abilities in recording techniques. Each EP was Blake in a specific mindset--a showcase of how well he could work within different genres to create something entirely his own. He’s now already being coined as the father of post-dubstep, a movement away from the grimy bass-rattling that has flooded our speakers over the past two years or so.

Blake’s newest EP, Enough Thunder, was met with the loftiest of expectations. Among the six tracks is a cover of Joni Mitchell’s “A Case of You.” Arguably Blake’s most quintessentially James Blake tune is his heartbreaking, drowning cover of Feist’s “Limit to Your Love,” so this only made the hype more unbearable. Luckily the beautiful piano ballad is a highlight.

To only up expectations and ‘indie cred’ of the work, Enough Thunder also includes “Fall Creek Boys Choir” featuring the only person critics are drooling over this year more than Blake: Bon Iver. Maybe I’m crazy, but Blake’s uninspired production on the track does nothing to aid Bon Iver’s layered, effectually smooth growling. Listen for yourself here, but I can only surmise this EP as a dud that got swallowed by its own hype.

Those are the biggies, but there are still some other releases that may tickle your fancy. The first release from Future Islands drops this week. They’ve received some buzz on the web recently, most likely because their name is Future Islands. Peter Gabriel still refuses to act like a normal human being, and that’s fine with me. The former Genesis front-man is releasing his own, orchestral, remix album of his own solo material.

Lastly though is a welcoming release from everyone’s favorite whistler, Andrew Bird. No it’s a not gorgeous homogeneous mixture of classical violin with contemporary music sensibilities (and of course, some whistling), it’s a soundtrack for the upcoming low budget black comedy/ drama Norman.

The film centers around Norman, a high school student who lost his mother and now must live with the reality of life's being just him and his stomach-cancer-ravaged father. Sounds like it’ll contain some of the great black, morbid humor I love (Louis C.K. is my hero) before switching to a heartfelt drama about growing up and living with what life deals you.

This sort of premise sounds tailor-made for Andrew Bird, a musician who can switch from the light and whimsical to dark and emotional as quick as a whistle (sorry for the pun, I’ve been trolling Reddit a lot lately.)

Thanks for reading and stay tuned for next week’s post, which should be spectacular with all the great albums coming out.