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.

May 15 Releases

By: Colin Roose, News Editor

Hm. A rather threatening vibe emanates from the list of this week's new album releases. Just looking at the list right now, I see Bloody Knives, Fearless Vampire Killers, The Grotesquery -- I bet their mothers are proud. What happened to the peaceful names of yore like Love or The Pretty Things? Or Bananarama?

Anywho, the new records this week. Looming large on the list is Bloom by Beach House, everyone's favorite teen-dream-pop duo. Though you might have heard it already, as it was leaked way early. I started seeing reviews for it a couple of months ago. Take a listen here.

The musical descendants of Brian Wilson's fantasy lands, Victoria Legrand and Alex Scally, have created another 50 minutes of synthy bliss, reverb-laden vocals, and one-word song titles. Not quite rock, not quite electronica, the songs flow together in a waterfall of keyboards and Legrand's celestial singing. The only thing keeping the tracks from having any sense of time is the presence of "psht-psht" percussion, as I've heard one reviewer call it.

Lo-fi tendencies aside, your mileage of this album will really depend on how mellow you're willing to go with your indie. Programmed and carefully planned atmospheres resonate with me, but if you prefer organic, have a look at this week's other fine wares. 

Like the always earthy Willie Nelson! It's a landmark in itself to still be releasing albums at age 79, but the real reason to pick up his new release Heroes is to hear Snoop Dogg attempting a country drawl on the single "Roll Me Up and Smoke Me When I Die." Reminds me of a certain other unlikely cross-genre collaboration with a major R & B star.

Not being familiar with his back catalog, I can only add my two cents by saying that his voice is in alarmingly fine form considering his age. It has a certain everyman quality that, in my humble opinion, many other country acts overdo with their exaggerated accents. As with B. B. King, the fact that he's still at it is enough reason to check out his new efforts.

I also have to admit that Garbage is not very familiar to my ears. But being something of a production buff and Nirvana fan, the fact that it features Nevermind producer Butch Vig is a pedigree I can't really pass up.

The lead single of Not Your Kind of People, "Blood for Poppies," at least sounds like it is straight out of '90s MTV - crashing drums and distorted guitars, but with a somewhat modern rap-tinged feel. I wouldn't really know though, Sam Boyer could tell you more about that than me. But if you can't stand Victoria Legrand's straight-from-heaven vocalizations, Shirley Manson's tougher pipes will be a much better fit for you this week.

The last album I'd like to point out is by a guitarist dear to my heart, but one you may never have heard of. Trevor Rabin is best known for being the guitarist for Yes in the '80s, the favorite band of yours truly. If you ever fell in love with the irresistible poppy riff from "Owner of a Lonely Heart," you have this man to thank.

His new solo album Jacaranda is apparently all over the map, with classical, rock, and jazz being primary genres. I haven't found a stream to give it a listen yet, but it's worth a mention in this week's roundup because the guy has languished in obscurity since leaving the best band in the world, doing fittingly obscure soundtrack work. Do a Yes man a favor and give him a listen.

Check out the corresponding reviews this week on ACRN for more detailed overviews. And don't forget to skip the processed Glee banality newly thrown onto the racks.

May 8 Releases, 2012

By: Cassie Whitt, Blogs Editor

It has all come full-circle, folks. This is my final "Drop It Like It's Hot" post as Blogs Editor for my beloved ACRN. I would get all sentimental, but there's a coincidence here cooler than anything mopey I could say to make you guys cry.

The first time I wrote an entry for this blog, I  gushed about the then latest release from Amanda Palmer. Much like that first time, I am writing about Palmer again because I can, for continuity's sake and for the sake of bringing finality to this segment of my life.

Of course, the record doesn't actually come out until September and, as (former) Blogs Editor, I know that's not the point of this blog, but--well--the Kickstarter project for it debuted last week, and it's pretty revolutionary. Seriously, check it out:

This is the future of music. Brilliant, AFP.

Now, onto the albums that are actually coming out on May 8, 2012.

Also a beautiful coincidence for my final entry: one of my favorite artists (second only to My Chemical Romance), Matt Skiba debuts his newest project Matt Skiba and the Sekrets with Babylon.

In my head, Skiba, 1/3 of Alkaline Trio and an outstanding solo artist, can do no wrong (see my ACRN review of his rough-cut 2010 Demos for evidence.) His Sekrets project does not change my mind about that, at least not from what I have heard, and considering 4 of the tracks are refined Demos songs ("Haven't You," "Olivia" [Formerly "Nausea (Cruel and Unusual)"], "How The Hell Did We Get Here?" and "Angel of Deaf"), I have complete faith in the album.

Check out track 1, "Voices," below.




All the more reason to expect great things: Matt Skiba and the Sekrets also includes Hunter Burgan from AFI and Jarrod Alexander formerly of A Static Lullaby (though he's often credited as being a member of MCR--that's just not true. MCR does not currently have a permanent drummer and have said many times that they do not see themselves acquiring one any time soon, funfact kthnx and get it straight, please.)

Also releasing this week: Neck of the Woods by Silversun Pickups. I chose to look into this album particularly because I wanted to rip on mediocrity.

My disdain radar for the complacency with unremarkable music of late beeped wildly when I saw the name "Silversun Pickups;" as, I leveled them with that Kings of Leon crowd who have been putting out the same song for the past few years, getting huge from it and consequently pissing off the hip kids who used to be their fans.

However, I was pleasantly surprised by the album and even revisited their "Lazy Eye" song that bothered me senseless a few years ago.

Neck of the Woods has the rising intensity and vague creepiness I crave in music. You win this round, Silversun Pickups. I was wrong.

For a change of pace: OFF!'s OFF! --- Ooohhh, yes. The longest song on this throwback hardcore-punk album is 1:36, which translates to: "it's perfect." Plus, it sounds like it was recorded in 1979. Black Flag fans, Keith Morris' latest will not disappoint you.

Not bad, May 8. Not bad at all...

And, with that, I conclude my final "Drop It Like It's Hot" post.
Never let them take you alive,
c.

April 24 Releases, 2012

By: Scott Smith, Reviews Editor

Well, I guess this is it--my last contribution to Drop It Like It's Hot. I’d take some time to reflect on my time as an ACRN editor, but this is not time for sentimentality and nostalgia. No, I’d rather stick to what this blog is about: new music, because it’s something I’m truly passionate about.

I’m also an avid film fan, in particular documentaries, and in this week’s music releases those two worlds are colliding for me. Two of the bigger releases this week were artists I discovered through two of my absolute favorite music documentaries.

The first would be the manic-depressive, schizophrenic singer-songwriter from Austin, Texas known as Daniel Johnston. The film The Devil and Daniel Johnston documents the artist's early life and career and also serves as an incredible insight into both. It’s hard not to be charmed and astonished by his whimsical lyrics, simple yet effective song structures and boyish vocals. His talent is undeniable and to see him perform, even on a movie screen, is captivating.

His newest album (I’ve lost count how many he has; dude is prolific) is titled Space Ducks: Soundtrack, and as usual, Johnston designed the album cover himself. The album features contributions from a number of new and emerging artists. I’d start listing off some of those bands, because some of them I quite like, but I fear if I do that I’ll be condoning this abomination of a collaboration.

You see, Daniel Johnston is at his most effective when he’s making bare-boned melodies at the piano or on an acoustic guitar. He’s a classic example of less is more (and I’m not the only one who thinks so). So all these bands working with Johnston, while coming at the project with the best intentions, can only harm the final product.

The Dandy Warhols, on the other hand, are a band of little consequence to me. They were a group that got big in Europe for a little while in the ‘90s and have been able to somehow continue making music today. The band was the subject of half of the documentary Dig!, which featured both them and the exponentially more bat-shit crazy band The Brian Jonestown Massacre.

The Dandys served to show the dark side of success as it relates to big record labels and their treatment of bands while BJM was the “musical genius who can’t get over heroin to take his band to new and exciting heights” side of the story. Over seven years of documentation, we see The Dandys go from unknown to overnight success to a washed-up, burnt-out, over-worked band on the verge of completely falling apart. That was eight years ago, so to see The Dandy Warhols still pumping out music is nothing short of remarkable, and a little terrifying to think about.

Diamond Rugs do not have a film about them, mostly because they are a newly-constructed “supergroup.” Compiled of two members of Deer Tick and one member of the Black Lips, this is one of the more peculiar and inexplicable supergroups in recent memory. I’ve seen both Deer Tick and the Black Lips live and I don’t really find much that relates the two. I also feel like the kind of music the other band makes will make the fans of one put off by the idea of the two groups working together; folkies aren’t much for punk and punks think folk is too slow and soft. I guess that’s part of a supergroup; it doesn’t have to make sense to work.

Last, but never, ever least, I always try to include some hip-hop in these entries. This week we get the newest entry from Sacramento noise rap group Death Grips. The Money Store is the first release on L.A. Reid's record label Epic Records. L.A. Reid is that guy on Simon Cowell’s "The Voice."  So I’m supposed to believe that in between judging the vocal range of 16-year-old teeny boppers, he’s bumping the group’s 2011 mixtape Exmilitary and decides that these guys were perfect for his label? Confused doesn’t begin to describe where my head's at right now.

It’s not like Death Grips couldn’t get signed anywhere. In fact, there was a time when their Zach Hill-produced, grimy, borderline frightening beats and punch-you-in-the-mouth lyrical spit was the going trend in hip-hop. But it’s not 1990 anymore and Flava Flav and Ice Cube are too busy contradicting everything they stood for back then to make a comeback for this genre to seem feasible.

But here we are, with Death Grips signed to Epic. I don’t think this is the massive revival of gangsta rap. Death Grips is making music unlike anyone else within a culture that is relying on 3D gimmicks to make their shows enjoyable at this point.

February 15 Releases, 2012

By: Kevin Rutherford, Editorial Director

After a relatively slow start, we're finally starting to get some buzzworthy album releases for the new year. Let us waste no time in discussing this week's.

Worth first mention is a Texas band that has roots in our area.

Heartless Bastards are headed by Erika Wennerstrom, who formed the band in Cincinnati. The bluesy, garage-y rock quartet releases their fourth studio album on Tuesday, giving it the title Arrow. Spoon drummer Jim Eno is the album's producer, and given his own band's recent stab at mainstream success, it isn't much of a stretch to see the Bastards do the same. That said, this will be the band's first release on indie label Partisan Records. It's tough, therefore, to predict what kind of success Arrow might achieve.

English rockers Band of Skulls return this week with Sweet Sour, the band's first LP since 2009's acclaimed Baby Darling Doll Face Honey. The album's lead single, "The Devil Takes Care of His Own," has already reached No. 20 on the Canadian charts, and seems poised to break in both native England and in America.

Montreal's Islands return for the band's third release on ANTI- Records, and its first since 2009. A Sleep & a Forgetting is its name, and bandleader Nick Thorburn calls it "far more personal than any I’ve made before.” Exciting! Keep an eye out on ACRN.com for an interview with Islands, to be posted this weekend.

Punch Brothers are a progressive bluegrass act that I love very, very much. The band's style is not specifically bluegrass, having roots in classical music, which accentuates the quintet's quirkiness. Also setting the act apart from more conventional bluegrass bands is the vocal from mandolin player Chris Thile, whose voice is far departed from what one might expect from the genre. Check out the band's new record Who's Feeling Young Now? and enjoy the five-piece's unconventional take on rootsy Americana.

Last, but certainly not least, let's mention The Explorers Club. The six-man South Carolina band releases its second album, Grand Hotel, which is its first LP since 2008. Check out this band if you're into pop-rock and surf rock slightly in the vein of The Beach Boys -- which, I promise you, is not a poor comparison. At least, frequent Beach Boys collaborator Mark Linett doesn't think so -- he mixed Grand Hotel.

There's plenty more dropping next week, including new releases from Sleigh Bells, Cheap Girls, the Chieftains and more. Keep it locked to ACRN.com's Drop It Like It's Hot, and perhaps we'll talk a bit about them next week.

January 31 Releases, 2012

By: Scott Smith, Album Reviews Editor

It’s the first big week in music releases, but apparently no one told me. January is typically the slowest month for new albums—nobody wants to be forgotten about at the end of the year when it’s time for the Grammy nominations and end of the year picks and lists—but this last Tuesday of the month marks the first set of releases anticipated by more than just the band’s parents. Thing is, from a personal standpoint, I’ve either missed the bus, was never exposed to, or simply don’t care about any of these supposed “big releases” this week. So I figured I would delve deeper into what these releases really are, why I don’t know about them and if I really should.

The best place to start would be the artist I seem to have the most knowledge on, and because I get most of my information these days on the internet like most of you, that artist is of course Lana Del Rey and her much anticipated major label debut Born to Die.

Lana hit the internet last year with her single “Video Games” which can be found on the album along with the new single “Born to Die.” She’s been in the news recently for stinking it up on Saturday Night Live, but we’re concerned with her album here, not how much she can’t sing live (or really, to her defense, how poor the sound equipment at Saturday Night Live is.)

Lana is a new persona of Elizabeth Grant who released some material to little fanfare in previous years, went into hiding, and re-emerged with a new marketing strategy and possibly some new lips.

Her songs rely pretty heavily on nostalgia, something that can bore me, quite frankly, when not handled appropriately. Her songs feature lush instrumentation and strings with Lana singing a sort of half-seductive half-hazy middle register, sort of like a more traditional version of Victoria Legrand of Beach House. Unfortunately, unlike Beach House, Lana’s songs tend to float around for three or four minutes without going anywhere before quietly fading back out of existence. There’s such a lack of presence that a song could be over for 10 or 15 minutes without you evening noticing.

From the trendiest, trend-setting, trending thing on Twitter to the oldest of old-school songwriters still pumping out material, we move to Leonard Cohen. 2012 marks the 45th year that the man has been recording music, a feat very few people will ever achieve, and the fact that his music has remained relevant to some sort of fan-base the whole time is nothing short of astonishing. Old Ideas marks his twelfth studio album, and you can find the entire thing streaming over at NPR right now if you’d like.

This is one of those guys I missed out on. Music from the ‘60s and ‘70s are easy to miss out on primarily because most of the music we hear from this era comes from our parents, and Leonard Cohen wasn’t in the Zeppelin, or Floyd categories dad was into nor the Beatles or Bowie of my mother.

Leonard is different from all these in that he’s a singular artist and lyrical content is without a shred of doubt the most important aspect of his music much like a James Taylor or Paul Simon. It’s a style that came right out of Bob Dylan and the folk movement of the late ‘60s, and while it’s not a style I’m well-versed in (I prefer Dylan after he went electric and got a full band), it’s nevertheless an important and meaningful way to make art and music to share with the world.

Next is the new import from overseas, Gotye. Don’t ask me how to pronounce his name, I go with “got-ya,” completely disregarding my knowledge of the English language. Anyway, this guy seems to be gaining steam with his duet “Somebody That I Used To Know” featuring Kimbra, and by gaining steam I mean it has over 57 million hits on YouTube. Okay, so this guy is more-or-less an internet sensation, but what’s his music about? And more importantly, should I care?

Well his lyrics are rather ambiguous and his melodies soft and beautiful. It’s music that can definitely take one on an introspective journey through their own subconscious, which is good if you’re asking me. It might even be labeled as music to fall asleep to, which to me really isn’t a bad thing, there’s a place and a time for music like that, and it just so happens to be when you’re trying to fall asleep (go figure). I think of all the releases, Gotye’s is the most polarizing. He has the least to lose (Lana by comparison, has the most) and the most to gain (what more can Leonard Cohen really achieve?). Safe to say we should keep our eyes on the Belgian-Australian multi-instrumentalist; his path looks to be the most intriguing.

Finally, Ringo Starr is putting out a solo record this week. Some of you are now finding out that Ringo Starr has a solo career, seeing as how he’s never been known for being a songwriter with The Beatles (he wasn’t even known as the best drummer in The Beatles), this can most likely be chalked up to Ringo Starr being bored with retirement and wanting to jam, and no one's having the nuts to tell a Beatle “no.”

January 10 Releases, 2012

By: Hannah Cook, Managing Editor

Excuse me and the ACRN editors in how long it's been since the last Drop it Like It's Hot post. Forgive me even more for the lifeless, uninformed update about to come from me. It's a slow week in music, which isn't weird for January, and so I don't recognize a lot of the albums that came out, which isn't weird for me.

Is there a bandwagon out there that I keep missing? I feel like every time I've done one of these, I don't know anything I'm talking about. Maybe I'll discover a new band to love in this process. Let us hope so.

Anyway, here goes nothing.

Keepaway, from Brooklyn, NY (Everyone is from Brooklyn, so it seems) released their first full-length titled Black Flute. I've never heard this band, so what I envisioned was some sort of morose, theatrical, indie sound, but that is not what I got when I listened to their single "Cake." Take Animal Collective, hip-hop and Prussia and you've got yourself Keepaway. And so, naturally, I like them a lot. No other songs were legally available on the web, from what I could find, but I might just like this band enough already to buy (maybe "borrow" from the Internet) the album.

And for the cutest name in country history, The Little Willies (dawwwwww!!) released For the Good Times, seven years after their first release. The songs are as classic country as they come, no less honky-tonk than Willie Nelson or Dolly Parton.

The band, which includes the lovely Norah Jones, implements harmonies that are both delightful and sad. Jones sounds so unlike her "easy listening" self that I didn't even realize it was her until after some research. Though there's nothing extraordinary about The Little Willies and their newest feat, they've still got a flare that comes few and far between in country these days.

Athens locals Mind Fish apparently came out with an album called Watch Out! Staff Writer Matt Bemer had some pretty silly things to say about it, both positive and negative. Check it out his review.

Other names that came out this week include Snow Patrol (I didn't know they were from Ireland!), Charlie Haden and Hank Jones (I don't know).

Like I said, a slow week, and a lack of knowledge.

Keep an eye and ear out for albums released in weeks to come, though, brought to you by the one and only ACRN.