Ariel Pink's Haunted Graffiti, Mature Themes, Aug. 21 2012

Critics can't agree on the mishmosh that is Ariel Pink. Mature Themes has been labeled both Ariel Pink's Haunted Graffiti's most-likely-to-weed-out-the-die-hard-fans, as well as their greatest cross over album. So which is it? When Pitchfork described the album as grittier then the previous, I'm not sure what they were taking about. To me, this album seriously lacks the grit that I originally loved about Ariel Pink. NPR's First Listen review seems to have the opposite, more accurate take - that this is the album that win over the masses. But I think it's actually neither. I don't think this album will appeal to die hards, nor your average Joe.

When my favorite indie artists achieve mainstream status, it's usually because they lose their creative edge in favor of something more generically appealing. Mature Themes is supposed to be a great work, if you get into the musical intricacies of it. But to me the album is only mature in the sense of old and boring.

Few songs stand out; It seems like a rehash of old themes. Without the edge of the previous albums, Ariel Pink is not mesmerizing me, as his music never really spoke to me on a deeper level- I just liked him for his signature 80's warbly mixed tape sound. Speaking of vintage, there is one song, which when I listening to it on shuffle with other artists, I thought it was an old Doo Wop song. "Baby" is a beautiful song, perfect for a dreamy mix for the one you love.

Maybe I'm being a bit harsh about this album. It's good in many ways, but with only one song that struck me, it's hard for me to be excited. The rest of the album sounds like the band America writing dreamy pop folk tunes for commercials about wiener schnitzels.

In the end, Mature Themes is my least favorite Ariel Pink album. I can see how music nerds could appreciate the music technically speaking, but maybe they are the only die-hards anyway.

Cat Power, SUN, September 5th 2012

I didn't have high expectations for a new Cat Power album. Not even when I read NPR's review, touting it as her best album to date. It's no surprise to me that the NPR reviewer doesn't deeply love her early albums such as Myra Lee and What Would the Community Think? That kind of young female angst is not something that everyone understands, and especially if they don't have an appreciation for dark music.

There is so much raw, creative talent in Cat Power's earlier albums, words can hardly describe it. None of her albums since have come close to making an impact on me the way that those first ones did. Her sound has become increasingly happier, which is nice because we have grown out of our angst together. However, the creative edge has not been as strong, perhaps no longer freed by the booze.

I listened to SUN apprehensively. The first song "Cherokee" was disappointing. Trite rhymes, "Cherokee, kiss me" are not only heard in this track, but also on other tracks such as "3,6,9." The eagle call on "Cherokee" is just, well, trendy.

The rest of the album is quite good. "Manhattan" is a great tune. "Nothin' But Time" is a long, beautiful song, written for her ex-partner's daughter. It also features the deep voice of Iggy Pop - deep voices make for complimentary backgrounds with Chan's dreamsicle voice, as heard on You Are Free in 2003 with Eddie Vedder. "Human Being" is another good track, with a nice message.

While not my favorite Cat Power album, SUN is still a good one, that I enjoyed washing dishes to and in the office. I am glad Chan Marshall is finally back in my good graces, although hopefully she can redeem herself more on her next album.

Band of Horses, Mirage Rock, Sept 18th 2012

Mirage Rock's first song kicks in with a rockin' beat, as not yet heard by Band of Horses. While their last album Infinite Arms (2010) was their most upbeat at the time of its release, Mirage Rock has it, well, beat. However, Mirage Rock has a more natural feel to it, and comes off as the better, and happier album. It would seem that indie rock is catching up with the happy times of its counter part - indie pop.

While the influence may have been there on previous albums, it is on Mirage Rock that I notice lead singer Benjamin Bridwell channeling Neil Young the way Christian Slater channeled Nicholas Cage; on some songs I caught myself wondering if I was indeed actually was listening to Neil Young, circa Harvest Moon. This is a good thing, in my opinion. Song "Dumpster World" particularly conjurs up images of Harvest Moon crooner, until it breaks out into a Band of Horses-esque rock out chorus.

Other notable songs:
"Electric Music" has a great American rock feel, both with twang and lyrical imagery about the open road. 
"Heartbreak on the 101" has an altogether different musical feel, distinctly different from all other Band of Horses tracks, yet still fits in with the tone and theme of the album.
"Ego Nightmare" sounds like a quintessential upbeat Band of Horses song, with a slight Beach Boys influence.

Overall, a good album I think I'll be listening to more. Definitely worth checking it out.