When great bands break up, the results usually aren’t this much fun.

From the ashes of The Matches came Maniac, igniting like a wildfire of creativity. (Yay, wordplay!)

When I drove from LA to San Francisco for The Matches’ final concert at the Fillmore in August 2009, it was not without a heavy heart. I spent more hours then I can remember listening to the band’s infectiously quirky alternative-pop-punk music since around 2002. I had seen them play in tiny, sweat-soaked community centers in suburbia and on various Warped Tour stages. I frequented their semi-routine L3 (Live, Loud & Local) shows at now-defunct iMusicast (r.i.p.) in Oakland, where teens of all ages and appearances gathered and tore the roof off the place. The band grew from local East Bay suburban punks inspired by the likes of Green Day and Rancid to a globe-trotting band on Epitaph Records.

After their energetic and infectious debut album E. Von Dahl Killed the Locals (released in 2004 on Epitaph), they experienced some success on various national (and international) tours and released their follow-up album Decomposer in 2006. That album didn’t seem to make them as popular as it should have, and its follow-up A Band in Hope was released with even less fanfare in 2008.

Personally, I blame Epitaph for not doing enough to push the band on the masses, and as a result their edgy, super-creative music that was a breath of fresh air to me and many other fans wasn’t appreciated as it should. They went on official “hiatus” in 2008 after that Fillmore show, and it is undecided if they’ll ever do a reunion gig.

Since that time, lead singer Shawn Harris and lead guitarist Jon Devoto have embarked on new projects: Devoto with his own band Bird by Bird, and Harris with Maniac, a two-piece thing featuring himself and Australian musician Jake Grigg (of the band Something with Numbers). Before releasing their new EP, Harris and Grigg maintained (and still maintain) a video blog where they cover current Billboard hits, indie-style. Sweet.

When I first saw the promo pictures for Maniac, I was frightened: the colors and oddness somewhat looked like a MGMT-ish experiment, and I failed to purchase their debut EP Extended Play until this week.

And damn, I’m glad I finally got around to it.

The future's so colorful they gotta wear shades

Die Rad is an offbeat, horn-filled number that opens the collection, and it has a sleazy swagger that makes the duo’s presence known. There’s a lot of noisy orchestration and vocal hooks going on at the same time, and it all adds up to a raucous introduction to the musical stylings of Harris & Grigg. Check out the song’s music video here to get a taste.

Always is a Promise has more conventional song structure, beginning with some strings and guitar strumming that is similar to the kinds of chords the Matches tended to use on their recordings. It sounds like both Harris and Grigg split singing duties, sometimes accentuating each other’s voices. This song sounds tailor-made for an indie romantic comedy-type movie, but definitely one that is chock full of quirk. Think something like (500) Days of Summer. We’re talking some Zooey Deschanel-like quirk, including the googly eyes and contorted deadpan facial expressions.

Hey Love throws more styles into the mix, led by a piano rhythm and some loud group vocals by what sounds like a large chorus of voices. The refrain of “hey love, take what you want…don’t make a stranger of meee” repeated over and over makes it quite infectious, that’s for damn sure.

Still MORE infectious is Fill the Lens. The song, which begins with what sounds like a campfire singalong, is the kind of song we all want to make but can’t because we’re not good at music. Maniac doesn’t have that problem. There’s some scattered chattering and laughter going on before the voices start chant-singing, until a folky guitar riff jacks things up and the real ear candy takes over. Another group singalong, this time “fill the lens with all your friends oh – now is foreverrrr” has been in my head for the last three days straight. I’ve found myself humming the tune, singing it in my head, and just generally heard it everywhere I’ve gone. If my ears could smile, they’d have already tired out their ear-face muscles with excessive smilage. That’s how awesome this tune is, and that’s BEFORE the xylophone solo in the middle. The chorus repeats a few times until the song finally comes to an end, but don’t be surprised if you find yourself clicking “back” on your MP3 player of choice, as I have frequently already.

The final track, Crowded Lonely World, is yet another change of pace. It sounds like a barber shop quartet, with echoing vocals acapella style. It’s just voices and finger snaps and a great Beach Boys vibe. I thought Maniac had maxed out all the possible melodies ever on the first few tracks on the EP, but this one uses even more delicious harmonies. By the time it ended, I was sad there were only 5 tracks on this.

Simply put, I was blown away by this EP. I honestly wasn’t expecting much from the post-Matches bands, as I had always thought their best stuff came from their group efforts…but after hearing this EP I’m convinced Shawn and Jake have a great future for the group. I hope this continues and they release more music, as this 5-song teaser is just incredibly creative and quirky, all qualities I enjoy in my music.

I’ll be reviewing the Bird by Bird EP Albatross, which was also released this past week, soon.

Give Maniac a listen if you ever saw and liked the Matches on Warped Tour, or any of their great music videos or songs.

The music world could use more cool stuff like this.

This is not exactly a revelation, but the indie rock community is god damned ridiculous. Nathan Williams’ third album under the Wavves moniker has been referred to many, many times over as his comeback album – despite the fact that his last album was released a year and a half ago, and his critically acclaimed debut was released not even six months before that. So why? Because, presumably, of a drug-induced breakdown at a show in Spain. Which admittedly, yes, was quite messy. But really now, the logic here escapes me. A guy jumps on the lo-fi bandwagon as it’s getting started. In between writing vaguely self loathing songs, he writes other songs about how bored he is with everything, and how stupid everything around him is. Basically, he is an asshole. So after putting out two records full of songs like this, he goes to play a show in Barcelona, and acts like an asshole. People are shocked by this.

Hehe the cat's fucked up

In any case, while I am a bit confused as to how this all adds up to Wavves’ latest, King of the Beach, being heralded as a comeback album of sorts, the music itself has indeed undergone quite an overhaul. And by overhaul, I mean it doesn’t sound like noise being blasted from a shitty cassette deck in a sputtering, near-death car. Which is not to suggest that his early material is unlistenable by any means, but seeing as his second release started to show a bit stronger songwriting (particularly on No Hope Kids and Weed Demon), it’s nice to see that take the forefront rather than trying to appeal to the lo-fi trend. King of the Beach is treated to a far more polished production; nothing too fancy, as the songs still retain a very raw element, but everything is much cleaner, and the hooks are able to stand out much better. Right from the opening title track, the clearer production does wonders for Williams’ melodies, with the song feeling more likable than nearly anything else in his catalogue. What’s more is that Williams is able to try more with his sound than simply making noisy interludes, such as the catchy doo-wop backing melodies throughout, or the full-on embracing of psychedelic pop in places (Williams and co. almost sound like Animal Collective on Post Acid and Convertible Balloon).

King of the Beach is unquestionably a step forward for Wavves, but ultimately it does nothing to escape being pigeon-holed as yet another band in the lo-fi craze. Take the Dum Dum Girls for example. What made their full-length debut so appealing was its genuine soul searching quality and how well it captured not just the feeling of Summer (which is clearly what bands like these are trying to do), but the memories that come with it. Here, Williams is more interested in talking about how things don’t mean shit, how he doesn’t give a shit, and how nobody else should give a fuck. What is there to take from that? This renders even the sweeter sentiments, like Post Acid‘s chorus of “I’m just having fun, with YOOOOOOUUUUUUUUUUUU” as empty. He seems to forget that after a public blowout, and regaining critical and fan support, it’s customary to not come across as an asshole anymore.

Smoke break

There are some very fun moments here, and King of the Beach is far from a bad album. But it does so little to stand out other than fall back on the same persona that Williams has been touting for the last two years, and frankly it’s gotten old. With the way his songwriting continues to mature, it’s entirely possible that he could become the king of the beach before the genre dies out. It’s just not working right now, though – he’s not bringing enough to the table, and the beach is just too damn crowded.

Given that we’re at the transition from one decade to the next, it shouldn’t surprise anyone that what is arguably the most popular genre of rock music at present is slowly but surely dying out. Indie heroes have slowly but surely fallen to the wayside, while others rise to take their place and, sadly, don’t always quite measure up. The Strokes, Interpol, the Shins, even the Arcade Fire (with a great single in The Suburbs but three other not-so-great ones), all hugely influential artists, have succumbed to irrelevance. And with flash-in-the-pan subgenres like lo-fi surf rock or chillwave dissipating as quickly as they arrive, it’s not terribly difficult to lose faith in indie music altogether. Which is precisely why a band like the National is so important – they’re one of the few acts around who have not only have retained their relevancy, but have continually progressed in every regard to a remarkable degree, particularly since ultimately very little has changed. It’s a staggering achievement, considering the stature of 2007′s Boxer, but the Brooklyn collective’s latest, High Violet, is their best album yet.

Sorry guys, my kids got a hold of the cover photo..

The National’s latest serves as the logical progression from their last record; where Boxer was occupied with the loss of youth and reluctantly accepting adulthood, High Violet tackles making it through that adulthood. The songs still have that high relatability, but the group manages to sound even sadder this time around than they have in the past. The crumbling relationships (Little Faith, Runaway) described sound more hopeless, the anxiety (Sorrow, Afraid of Everyone) sounds more pressing, but all expressed with a subdued and reflective sadness, almost as if feeling too defeated to protest. Lead single Bloodbuzz Ohio absolutely nails the sharp feeling of guilt and debt, while Lemonworld falls somewhere in the middle, embracing guilt, longing, and loss.

A chief reason for how well all this is expressed is Matt Berninger’s intensely emotive baritone. Sometimes it’s not even the lyrics so much as the way he sings it; in songs like England, for example, many lines prove tremendously difficult to decipher. For many bands, this would be an irritating handicap, and the vocal delivery would be written off as tiresome mumbling. There’s so much more to it though – Berninger’s voice gives off such a great deal of emotion, and the melody in his vocal pattern along with the progressively intense strings and horn (which lead to a stunning climax) provides all the feeling that the song could possibly need. Which brings me to the growth the group has shown in the musical composition as well; brothers Aaron and Bryce Dessner provide not only more distinct guitar here than on previous efforts, but blend in horns, strings, and piano to a near-cinematic yet tasteful extent. They also provide some downright haunting vocal harmonizing, most prevalent on Anyone’s Ghost and Conversation 16.

They couldn't agree before the shoot whether they should look cheery or sad

High Violet proves to be not only well worth the wait, but a more than worthy follow up to the highly regarded Boxer. The emotion is intense, the musicianship outstanding, and while the album in its entirety isn’t quite as easy to sink into as Boxer was, it may actually be more rewarding. The National isn’t just a gem in a dying genre, they’re a unique band who belong to a rare breed of musicans who can continually evolve without fail.

Few bands have the skill and musicianship to be able to make listeners feel their melodrama. Even fewer bands have what it takes to make a career out of doing so. Since 2000, Canada’s Stars have been one of those few. After listening to the 2005 masterpiece, Set Yourself on Fire, it was clear to me that I was listening to a unique and special band. The kind of band that has the power to make beautiful, majestic and lush anthems, all while trying their hardest to break your heart (which they often succeeded in doing).

On each of their previous releases, Stars have used their exaggerated emotions and brilliance in storytelling to convey a feeling that most artists can’t do nearly as well. Horns, shoegazed guitars, vibrant synths and larger-than-life strings helped intimate the amount of sentiment felt in the process of writing each song. Also, without the sometimes playful and sometimes painful interactions of Torquil Campbell’s hammy voice and Amy Millan’s breathy, sweet elegance, the band might not have turned as many heads as they have. Every talent of every member of the band is vital to their success.

Unfortunately though, Stars fifth studio release, The Five Ghosts, sounds somewhat insincere and slightly lost. The first thing that was notably different was the length of the album. The 11 tracks that pass by in just 38 minutes doesn’t quite lend itself to the large scale epics and heart wrenching tales that fans are used to from the Canadian outfit. The songs seem rushed, running to a destination that is never made clear to the listener. The effectiveness of the melodrama is thwarted when the songs fit the form of just another indie pop band. Not surprisingly though, one big positive of the album is Millan’s delicate vocals, which fit perfectly amidst the upbeat pop filling the album.

"And the award for the most melodramatic album cover goes to..."

Now, I realize that this review is making The Five Ghosts sound really, really bad. It isn’t. There are a few tracks scattered about that are worth listening to more than a few times. “We Don’t Want Your Body” is a mix between a pop gem straight from the late 90’s and  “new-new-wave.” Heavy synths play background to Millan and Campbell as they make it clear they aren’t easy to get in the sack.

Similarly, “Changes” lends itself to simple synth-led pop while Millan does most of the heavy lifting. Her voice is so tender, sweet and broken; she makes it hard to not feel a bit bummed by the end. Though different from other Stars singles, the tracks mood most closely resembles their previous work.

When it comes right down to it though, The Five Ghosts is not on par with other Stars releases. If they were most other bands, this album would probably be highly touted. Such is the case though; more is expected out of a band that has proven their genius through almost their entire musical career. One can only hope this is just a slight misstep in a career that still has many more wonderful moments to come.

The band that emerged from Seattle in 2006 to release the gorgeously grandiose Everything All the Time, have since changed locations, and with it they have subtly shifted their sound to something slightly more tangible. Now, with the 3^rd release, Infinite Arms, from Band of Horses, the group seems to have taken to heart their current home of South Carolina.

When listening to Infinite Arms, there are traces of the massive landscapes, painted by crashing percussion and soaring guitars, which made Band of Horses an instant indie favorite a few years ago. For the first time though, the band has worked collectively to craft 12 ear pleasing tracks. This can be heard in the use of harmonies and perfectly placed backing vocals throughout the album. The bands newest release celebrates heavy folk roots with their knack for creating compelling indie rock.

“Factory,” the opening track of the album, evokes old memories of Everything… by creating a larger than life sound, inviting a strings arrangement to carry the song from start to finish. Ben Bridwell, lead singer and only remaining original member of the band, evokes sentimental tenderness with echoing vocals reminiscent of Jim James of My Morning Jacket. Horns only add to the enthralling orchestration of a song that doesn’t quite match up to “The First Song,” though it does deserve a runner-up award for the group’s strongest album opener to date.

Once again, the band shows glimpses of their immense talent for blending Americana and indie on the albums single, “Laredo.” The guitars triumph through the speakers as Bridwell soothes the listener into an entrancing and inviting chorus. Fans who prefer the debut, Everything… over the bands 2^nd effort, Cease To Begin, will most likely swoon over this track, which could sit comfortably in the middle of the bands first release.

The beautifully somber “Evening Kitchen” highlights Infinite Arms most heart wrenching song. Bridwell and backup vocalists emote frailty as they painfully muster lyrics, “For me, this bottle of wine/Is to slow down my mind/And forget the things I knew.” I mean really, who hasn’t felt like this at one point or another??

Other tracks such as “Blue Beard” and “Older” show off their love of folk and country, sounding a lot like The Band, rather than Band of Horses. “Dilly,” is an incredibly catchy piece of indie pop. Happy keys and harmonies accentuate the albums most clear-cut pop gem.

Bridwell derives much of his talent from his beard. True fact.

Ultimately, Infinite Arms has something to offer all listeners. Remnants of the band that gave us huge arrangements such as “The Funeral” can still be found, while at the same time heading more in the direction of straightforward indie folk. Of course, the reason Band of Horses is so successful in their changes in sound and tone is that Bridwell and company are extremely gifted songwriters. Even when writing a song that any other band might make sound average, the group is unique in the scope and heart that they can bring to the table. Simply put, Band of Horses can pretty much travel in any musical direction they please. They are just that good.

Seattle’s own Minus the Bear released their new album, Omni, on Dangerbird Records last week. Minus the Bear is a band that I slept on for far too long, despite a bunch of my friends recommending them to me for years. For whatever reason, it took me until 2009 to finally give them a listen, and I was instantly enthralled with the band’s challenging time signatures and lush, layered melodies that made albums such as Menos el Oso (my fave album) and Highly Refined Pirates absolute gems. I’m frequently drawn to bands with unique time signatures and fiercely creative songwriting, hence my newfound love for Minus the Bear.

Omni, though, is a bit different from the band’s previous output. It’s different in that this time around, the songs are a bit more straightforward and, well, more accessible. I read that unlike their previous albums, the band recorded this one in the style of a live show, that is, playing straight through each track instead of recording each song piece by piece. I hadn’t known they used that method on the other records, but it makes sense since the songs change tempo and rhythm so much.

However, with Omni, the music they created this time around is a bit less challenging and can appeal to more people, so I’m sure long time Minus the Bear fans are up in arms over the stylistic change. I, however, applaud the decision, as Omni is still filled with the same delectable melodies and instrumental precision that the band has always used.

My Time opens the disc with purpose, starting out with a drum beat before exploding into a keyboard-heavy, danceable track that sets the tone for the album perfectly.

Summer Angel starts out noisily as well, and has a pretty poppy overall sound, not that that’s a bad thing. The instrumental break about halfway through is absolutely delicious, and the way the verse structure matches the catchy music makes the song very addictive. I had the phrase my summer angel keeps me on the run in my head for a while after hearing the tune the first time.

Secret Country, the third track, is definitely one of the album’s best songs. Its driving rhythm and verses fit very well with the feel of the song; it’s more straightforward (read: less quirky) but still one of the album’s highlights. Lyrically, it brings up concepts of water and lakes, with lead singer Jake Snider delivering lines such as Now I’m reading into your intention/and I’m falling through your depth/you pull me to the water’s edge/and vanish in the black/you’re on my mind/swim through my time/as I float out to you/ I dream of your caress. I don’t usually pay much attention to lyrics, but this one seemed cool to me.

They obviously derive their talent from the beard

Hold Me Down is a bit of a letdown after the awesome beginning to the record of the first three tracks, but it’s still relatively solid.

Excuses has a nice keyboard squeal in the background that plays off the soothing vocal melody and guitar chords very nicely. The song has a very relaxing, calming quality to it, almost putting me in a trance and making me hallucinate that I’m in a forest somewhere with a bunch of cuddly angelic woodland critters.

Old-school Minus the Bear fans might label The Thief as their favorite track on Omni. Beginning with a characteristic Minus the Bear guitar riff and quirky beat, it evolves into a song that is more of the old sound (offbeat time signature, noodly guitars). It has a tasty instrumental jam halfway through, too. It’s definitely a highlight of the record.

Into the Mirror is solid, and it was one of the album’s first samples released to the Internet. The song bleeds right into Animal Backwards, with feedback-y guitar fuzz acting as the bridge between the two tracks. The song has a lot going on, keyboard smashes, fuzzy guitars, cascading vocals, and an overall noisy yet calm feeling. Another solid cut.

The album comes to a close with Fooled by the Night, a slower, atmospheric track that starts out quietly and builds a bit as it goes on, capping off a pretty remarkable album in fine fashion.

Overall, Omni is a strong, layered album, probably one of my favorites so far in 2010. However, it does betray the band’s former sound a bit, so super fans are probably a bit pissed about the change. While I do admit I like the older sound better, the progression the band has gone through did not result in a decrease in the quality of the music. Omni is still a collection of very solid indie pop with tinges of ambience and experimental sounds.

Considering this was the band’s first album with new label Dangerbird, some change should have been expected. While Minus the Bear did alter their sound a bit with Omni, they still managed to prove that they are truly one of the most creative and talented indie/pop/ambient/insert genre name here bands out there today. Pick up this record if you like anything they’ve done in the past, or just if you like good indie music.

Bloom Cheek, the second full-length album from the Phoenix based-band, What Laura Says, offers lush pop gems that are often hard to categorize within a single genre. Ranging influences that include psychedelia, country, blues and indie rock, give pause to conventional wisdom that says you’re better off sticking to one style.

Throughout Bloom Cheek, one thing is remarkably clear: these guys really know what they are doing with those instruments in their hands. All five members of What Laura Says make a crucial impact on almost every song, conveying a sense of true musicianship. The rhythm section flourishes on opener “Training,” creating a groove that hardly subsides for the rest of the album. What are left are punchy piano and guitar riffs to fill in the cracks. The sound created is complete, confident and cool.

Though certainly a pop record, it might take a few listens to properly digest what is heard. Bloom Cheek plays much like a jerky roller coaster ride. The fourth track of the album, “Lines and Colours,” is easily the most accessible to listeners looking for a straightforward indie rock song. Lighthearted, sunny, upbeat piano pop punctuates the song, giving it a slight Rogue Wave feel. The vocals echo and create atmosphere, seemingly improvised, not wanting to show up the vibrant sounds being created by the music, choosing to match it and work with it instead.

Then the roller coaster jerks you sideways without much warning.

What follows this unfettered accessibility is two minutes of piano, nothing behind it, serving as an interlude into the next track, “Gardener of Wonders”, a full-on Americana jam that is still enjoyable, if not completely unexpected. Folky plucking of the guitar and vocals that you might swear couldn’t belong to the same band emphasize the change of genre. Everything about the song exudes feel-good vibes and an improvisation that appears to be a staple of the group.

One of the most welcomed surprises of Bloom Cheek comes in the form of a fully planned psychedelic “jam” session titled “Grocery List.” The percussion (including hand claps, shaker and vibraslaps), builds the tension until the 70’s style shredding takes over the speakers and invites the listener on a brilliantly executed ride to the past.

If there is a problem with the album, it surprisingly has nothing to do with the almost too vast amount of terrain that is covered musically. Even with the unannounced switching of musical styles, the album is consistent in delivering strong pieces of work. The problem lies within the use of interludes in between more than a few of the songs. Fighting an uphill battle already (as far as creating a flow goes), it is puzzling that the group would choose to slow things down with these unnecessary pauses in action.

Nevertheless, it is a small price to pay for such a solid release from a band that has been together for just four years. The ambitiousness of an album that draws from so many different genres cannot be understated, but What Laura Says make a great case for themselves. Each song is held together with tight, unorthodox percussion, grooving bass, punchy lyrics, guitar and vocals. Clearly demonstrating the fact that they have an extensive grasp in the concept of rhythm and timing, the Phoenix based quintet makes it a point to show off all of their skills, which they do quite successfully on Bloom Cheek.

It’s somewhat difficult to give a review to the Irrepressibles’ debut, Mirror Mirror, without pointing out a few things. Firstly, this is not an indie release – despite its categorization here on the site. In fact, it’s incredibly difficult to give this band a specific genre. On Mirror Mirror, the Irrepressibles embrace Broadway in such a shameless fashion that it feels original in that right alone. Everything is incredibly over the top, from vocalist Jamie McDermott’s incessant (but effective, given the obvious aims) vibrato, the extreme scales, and most obviously, the presentation, which would put the drama and excess of any average operetta to shame. Hell, with the chamber pop-meets-cabaret template used on Mirror Mirror, it genuinely feels like an operetta, from the flow of the songs to the structure of the very tracks themselves.

Well I don't want to look TOO fruity... better fade the make-up a little bit

“My friend Jo is a crazy bitch,” McDermott blithely declares on the opening My Friend Jo, and so begins Mirror Mirror, letting you know right away just what kind of album it is – somewhat effeminate and intensely flamboyant. McDermott’s vocals employ heavy emphasis on falsetto and vibrato are a huge part of this, at times resembling Antony Hegarty’s quirky delivery. Interestingly, he also resembles Danny Elfman to an extent, particularly when his soaring vocal switches gears into a controlled shout, or his more breathy moments; Jo and Knife Song being perfect examples of the former, Anvil of the latter, and Nuclear Skies of both. Another tie to more operatic singing is McDermott’s constant use of scales for vocal melodies. As far as notes go, his voice rarely stays in the same place, and it always feels as if he’s making some sort of progression. It’s not difficult to see how it could be a bit much for some, but with as well as he does it and as good as his voice is, one could get lost in it quite easily.

The thing about the band’s style is that like an operetta’s soundtrack, there are no real traditional hooks or melodies, with dramatic musical flourishes and traveling up and down scales taking precedence. Splish! Splash! Sploo! is a great example of the structure these songs follow; it begins with McDermott singing over an acoustic guitar, and with the exception of his voice’s excessive quiver as he Moulin Rouge-ingly quotes I Can’t Help (Falling in Love with You), it sounds fairly traditional. After about forty seconds of this, in bursts a fit of cymbals, contrasting violins and cellos, and McDermott’s wildly flailing voice, with background vocals bouncing off of his lead. The melody is very brief and rests more of the lush beauty of the arrangement (which truthfully is quite beautiful) than anything else, and that’s more or less what passes for a chorus. Additionally, from that point onward no earlier point of the song is entirely revisited, again underlining the music’s emphasis on the texture of the instrumentation rather than simple hooks.

Mirror Mirror’s flow is also highly operatic, particularly the middle section. Forget the Past, Knife Song, and My Witness blend into each other so well that it would be forgivable to think that they were all part of the same song upon first listen. The whole album does a stellar job of maintaining the same mood, but that’s not to say that it’s without its dynamics. While the theme of lost love is almost constantly present, the lush music runs the gamut from somberness to congeniality in such a smooth fashion that they fit incredibly well together. The build ups are a huge standout as well, as frequent as they are expertly crafted, and they do a fantastic job of keeping things from getting too monotonous.

I can't tell whether I'm reminded more of the Little Mermaid or 300

Mirror Mirror is definitely not going to appeal to most; the extremely theatrical nature alone will drive most away. The Irrepressibles’ sound is definitely one crafted for appreciators of opera as well as chamber pop, which narrows their potential audience considerably but makes their music no less satisfying for those who can enjoy it. Given the somewhat polarizing style, this isn’t an album that is likely to grow on anyone – either you like this kind of thing or you don’t. If you don’t, McDermott’s voice and the musical flourishes will probably just irritate you. If you do, however, you’re in for a treat – the band embraces these dramatic traits very convincingly and skillfully, and while it’s certainly excessive, neither the band nor their fans would have it any other way.

Few reviews of The Radio Dept.’s latest have shied away from the fact that Clinging to a Scheme has been nearly four years in the making, initially promised to see the light of day back in September of 2008. Setback after setback has, as is only natural, furthered a great deal of anticipation among fans, and it ultimately works to the album’s detriment. Clinging to a Scheme has got everything a Radio Dept. fan is looking for: sweet, dreamy melodies, gentle, floating atmosphere, and a masterful blend of electronics and guitars. However, this is precisely what keeps it from excelling – it’s just another Radio Dept. album, which does still make for a pleasant listen, but hardly merits the long wait.

Endorsement or not, it sure worked on me.

The softened edges of the group’s last full-length, 2006′s Pet Grief, are the only thing that seems to have changed, as they’re even softer this time around. As a result, the songs feel more of the same body than they ever have before, and for better and for worse, the tracks blend into each other seamlessly here. Perhaps the clearest example comes with the songs between two of the very few standouts on Clinging to a Scheme, Heaven’s on Fire and The Video Dept. Heaven starts out with a clip of Thurston Moore lashing out at the music industry before easing into what is probably one of the band’s best melodies yet, utilizing their excellent knack for broad instrumentation. A synth hops pleasantly over a somewhat somber guitar, and a lively piano leads in to a great horn outro. Video follows this formula with similarly successful results, beginning with a bluesy, twang-inflected guitar, and then getting topped off by a lo-fi distortion and vocalist Johan Duncanson’s distant voice, crooning a soft, almost shoegaze reminiscent melody. Unfortunately, the three songs in between have none of these standout qualities, and thus simply hover in between these two, keeping the listener company after Heaven wows them until Video arrives.

This is not to say that these songs are bad, mind you – they just hide inside the album’s atmosphere far too well. This Time Around starts off great, with upbeat percussion that make the song seem as if it’s going to stand out, but past the dual guitar presentation, not a whole lot happens, and the song goes on for nearly four minutes on the strength of that and random minor tweaks. Memory Loss has a bit of a dub flavor to it, but again, this isn’t really explored, and the song goes nowhere. Clinging to a Scheme finishes strong, however, starting with the single David, which has a very energetic, almost funky beat that gets pianos and synths piled on to spectacular effect. The closing You Stopped Making Sense puts the band’s melodic and layering skills to far better use than seen on the majority of the tracks simply by giving each instrument more to do, and letting each melody breathe and progress alongside each other, rather than make them harmonize together to the point of monotony.

Ahh, wisdom

Clinging to a Scheme is quite good, to be sure – those who fell in love with Pet Grief will most likely not be disappointed. The only real issue is the sameness among the tracks, not only on this album, but how similar they are to those on the last album as well. This is particularly frustrating when taking into account just how good the standout cuts here really are. Clinging to a Scheme seems appropriately titled, as it sees The Radio Dept. slipping into a contentedness with their sound. It’s not necessarily a bad thing, as they’re still quite good at what they do, but it doesn’t make for a very interesting future.

Taking into consideration that the Morning Benders’ first album, 2008′s Talking Through Tin Cans, was largely a generic indie pop affair, it’s startling just how good their second album is. Big Echoes ditches a lot of the Shins referencing and bland indie folk attempts in exchange for something that is far more rich and compelling for a number of reasons, one being that the Morning Benders take on an incredibly tired indie subgenre and give it their own spin. With very few exceptions, indie surf rock has rather run its course, and without even having been around for terribly long, it’s become a damning aspect to a band’s style. Not with the Morning Benders’ latest, however; the sunshine pop and wishy washy guitar bits are used to tremendous effect, being woven into a bright, impressively full sound, which is undoubtedly partly the work of Grizzly Bear’s Chris Taylor, who handles production duties with head Morning Bender Chris Chu.

I can't help but expect Jaws to pop up and snag one of those kids

Like the best Beach Boys songs (a clear touchstone), the harmonization throughout Big Echoes is very well done. Their bright melodies soar wonderfully against the psychedelic backdrop, making for a warm, inviting feel that blurs the line between cheerful and melancholic. It’s used very tastefully as well, dominating the hooks in the outstanding opener Excuses and Wet Cement, while creeping into choruses and bridges on songs like Promises and the initially sparse Cold War (Nice Clean Fight). A lot of it just overwhelms with its prettiness; Stitches is absolutely gorgeous, with a dream pop haziness to it that resembles Beach House to an extent, and the closing, echo heavy Sleepin’ In has a sort of plod to it that is easy to follow on account of its smooth melody, vocals, and atmosphere.

The only real issue with Big Echoes is the lack of variation on their sound. Big Echoes does have a great sound, to be sure, but it loses its impact soon after the halfway mark on account of the ability most songs have (a notable exclusion being All Day Day Light) to blend together. As a result, Big Echoes comes across as more a collection of really good songs than a solid album. A massive progression has been made from their debut, but a bit more diversity would’ve really made this album stand out. Being that as it may, however, the weaker tracks aren’t really weak per se, as they can all still stand on their own quite well. It’s the album’s monotony that brings them down, not their own level of quality. And besides, for only a sophomore effort, Big Echoes has got a huge sound with impressive style to boot, redundancy or no.

Ah yes, but which of us is the REAL band, and not merely an illusion?

The Morning Benders have shown tremendous growth, and under Taylor’s guidance they have filled out their sound considerably, stepping out of the shadows of their influences and striking out with something that is their own. The band has a ways to go before they reach their true potential, but Big Echoes is a pleasant listen all the same, boasting some extremely strong songs, and hints at a band with a great future.