Reviews

France’s Celeste have been busy in the business of uneasy tension. Their third full-length album in 3 years, Morte(s) Nee(s) continues in the tried-and-true tradition of harsh, melancholic, and brooding music. In 2010, Celeste reveals themselves to be more than simply a mirror of their French screamo counterparts Sed Non Satiata or Amanda Woodward. A tinge of black metal can certainly be felt here or there, but Celeste is really a screamo band at heart – and it fully embraces this quality on Morte(s) Nee(s). Heavy and dissonant, Celeste craft a distinct sound that’s sure to turn many away. The brooding atmosphere gets tiring, sure, but it never feels redundant or overused throughout the album’s 42-minutes.

Released in early March, the newest album from Groove Armada entitled Black Light reveals a darker side of the electronic duo.  This time around, the group collaborated with vocalists featuring Nick Littlemore and SaintSaviour.  What makes this album unique is that there are no purely instrumental tracks, and there seems to be a theme that flows through each song.  This theme radiates a feeling of love lost in tracks like “Cards to Your Heart” and “Not Forgotten,” both featuring vocals by Nick Littlemore.

Besides a really cool design on their album cover, Queens Club rocks out with some great tunes.  The band assembled in 2008 and is composed of the ex-members of the metal band The Chariot.  Their new CD, Young Giant, was recently released on Tooth and Nail Records, which has signed similar popular bands like Anberlin.  As I listened to the album, I was struck by the catchy guitar riffs and the energy that this group generates.  This CD is packed with a number of great songs that are all worth listening to.

A Philly jam-band with an energetic live show, The Disco Biscuits transcend the live setting surprisingly well on Planet Anthem. The album is an interesting fusion of electronic and rock music overflowing with effects and a two-sided atmosphere. Rather than centering Planet Anthem around single material, Disco Biscuits choose an interesting concept for their sound- an album that works together as a whole. Ultimately, it’s this decision that makes Planet Anthem worth a listen and perhaps a little more likable than it should be. While listen one and listen two might have you expressing some surprise over how enjoyable you find Planet Anthem, it’s not until multiple listens that the Disco Biscuits’ latest really reveals itself. As Shrek would say, Disco Biscuits are “like an onion.” They have layers. They may be a little stinky at some points, but Planet Anthem is a surprising success if only for the fact that it’s better than your first judgements may indicate.

After a five-year period following the release of “Demon Days” in 2005, let me say: “Welcome to the World of the Plastic Beach.” The Gorillaz, everyone’s favorite virtual band, has finally created a new album that has been highly anticipated. The album is packed with sixteen tracks that incorporate the usual range of genres from Hip Hop to Electronica and Alternative/Pop Rock. One aspect of the Gorillaz that catches listeners’ attention is the various artists featured on each song. For instance, the song “White Flag” features two rappers and the National Orchestra for Arabic Music, all on top of a simple electronic piano loop. What is interesting to me is that somehow all of those parts fit together to make a very unique song. Meanwhile, the song “Welcome to the World of the Plastic Beach” features Snoop Dogg and Hypnotic Brass Ensemble presenting this new realm that the Gorillaz have created. The album art effectively brings the listener into another world, especially with the cover.

No matter how extensively I listen to purely instrumental music, I don’t think I’ll ever stop being surprised at how resonating an effect wordless music has on me. I’ve always been a sucker for lyrics. They often make matters simple, providing a context for me to spill my reactions and feelings. To say that instrumental music provides a little more freedom would be an understatement. Elephant is the proof. Upon constructing a musical soundscape both devoid of and teeming with life and energy at disparate points, La Verite have proven themselves to be surprising masters of their domain, providing the first not-so-subtle post-rock behemoth of 2010.

As much as it pains me to admit it, my music of choice lately, as a whole, has its restrictions. Based on chaotic energy, dynamic guitars, overwhelming emotions and the like, “screamo” tends to be a bit off-putting because of the sheer tenacity and overwhelming nature of the music. It’s a large generalization, of course, but it’s fairly accurate when judging the music known for its ravenous screams. Enter Suis La Lune’s Heir EP. A mere quartet of songs, the Heir EP claws and digs its way into the ranks of the lofty, holy classics of the genre.