I’ve been waiting for Bear Hands’ full-length debut to surface since their 2007 EP, ‘Golden’. Somehow, the release of ‘Burning Bush Supper Club’, a few moths back managed to escape my attention. Now that I’m up to speed with the album, I must say, it was worth the wait.

Bear Hands crafted a well rounded album by sticking to their strengths (“High Society”, “Belongings”, “Tablasaurus”) and exploring a slower, softer side (“Wicksey Boxing” & “Tall Trees”). They seem to be really good at creating music that’s easy to like (I think it has something to do with their subtle sense of humor). ‘Burning Bush Supper Club’ is a laid-back, mid-tempo album with a confident swagger.

‘Burning Bush Supper Club’ is available for download here or on iTunes.

I was recently introduced to the Wisconsin based band, Cougar, by way of their not so new album, ‘Patriot’ (released in 2009, Ninja Tune). I actually came across their music by mistake, which I of course don’t regret because I’ve been listening to ‘Patriot’ repeatedly ever since. I would say that their vocally void music style is a hybrid of experimental, electronica and rock…they pull comparisons to Four Tet and Fugazi.

I typically do not have the patience to enjoyably listen to a lyric-less album in its entirety, however this is not the case with ‘Patriot’. Cougar creates enough variation of melody and character with their instruments and samples that track distinctions are apparent, and appreciated. Also, I have to point out the track (one of my favorites), “Endings”; the first time I heard it, I kept thinking, why does this song sound so familiar…then it hit me, “Have A Little Faith In Me.” I was pretty impressed with the loose interpretation.

‘Patriot’ is both mellow and subtly explosive…two thumbs up.

Take A Listen: Stay Famous from Cougar  

Download: Stay Famous

‘Beachcomber’s Windowsill’ boasts a sense of maturity as well as a youthful playfulness. On one hand, Stornoway was able to create an ethereal atmosphere around their music through melodic arrangements and clever lyrics. And on the other hand, there’s a song about a big plastic bubble that’s used to roll people down hillsides (Zorbing). Yes, the album remains pretty even keeled throughout, with the exception of “Watching Birds”, but after a few listens the tracks start revealing their personalities.

Stornoway seamlessly infused a folk-ish presence into their pop based tunes without it feeling forced. While the band used a bevy of instruments to craft ‘Beachcomber’s Windowsill’, from strings to horns, they seem to understand the concept of moderation and simplicity. Usually, I don’t want songs to be longer than they are, but every time the two minute track, “Here Comes The Blackout”, comes to an end, I wish there was more…so do my stomping feet. Some other songs that tend to beckon for my ears are, “The Coldharbour Road”, “Fuel Up” and “We Are The Battery Human”. To be honest, this album ended up charming the knickers off of me, and Briggs’ naturally calming voice certainly played a big role.

Looks like 4AD has put out two of my favorite albums this year, ‘Beachcomber’s Windowsill’ and ‘High Violet’ from The National.

This year has certainly seen its fair share of album releases already, so many in fact, I undoubtedly missed some good stuff, but, two recent LPs have been burning up my ipod battery; The National’s, ‘High Violet’, and The Radio Dept.’s, ‘Clinging To A Scheme’. While I liked both albums right off the bat, time and attention was definitely needed to soak in the individual qualities of each compilation. I was relieved by ‘High Violet’ (my fingers were crossed) and pleasantly surprised by ‘Clinging To A Scheme’. If you haven’t already, I recommend checking them out.

Determined to spend some quality time with Broken Bells’ self-titled debut, I left my ipod behind and placed the CD in my car stereo. Now, after a few uninterrupted spins, I can confidently say that I’m really enjoying what James Mercer and Brian Burton put together. The ten track album is tight, smooth and superbly arranged…in fact, it seems almost effortless. Although, I can’t lie, after the first listen I thought to myself, “what, this is it, what a bummer.” This premature reaction was my fault because I unintentionally built up wonky expectations of what the album should sound like. In all fairness, it’s James Mercer and Danger Mouse, they both have well warranted reputations.

“The High Road”, album opener and first single, is a well crafted, electronically infused pop song that’s both melodic and instigating. After multiple listens, it still sounds refreshing; definitely an album highlight. I was ready to overlook, “Vaporized”, but then the last minute arrived and depleting drums ushered in Mercer’s voice softly confessing, “Doubtless, we’ve been through this, So if you want to follow me you should know, I was lost then and I am lost now, And I doubt I’ll ever know which way to go.”

I was instantly drawn to “The Ghost Inside”, mostly because Mercer switches to an uncommon (for him) falsetto and slyly grooves along with Burton’s funky beat and subtle quirks. It’s also the one track where I’m not consciously aware of the subconscious thoughts in my head regarding The Shins. The second half of the album is not as immediate as the first half, it requires more patience. For example, the track “Citizen”, which reminds me of AIR during the opening seconds, starts off slow and gloomy but the mood changes with a glimmer of hope inside a simple contemplation: “From the moment that were born, Till we’re old and tired out, Do we ever know?”

Broken Bells tip their hat and conclude the album with the infectious, “The Mall & Misery”, a track that opens with a soothing arrangement of strings and swiftly transitions into a catchy tune that’s topped off with a sharp guitar riff. The album is definitely a grower!

I’m not quite sure what to say about Titus Andronicus’ latest album, ‘The Monitor’, but I do know it deserves a nod. I was introduced to Titus Andronicus by way of their album ‘The Airing of Grievances’ in 2008, and while I wasn’t crazy about it, I was intrigued enough to check them out live. Seeing them live significantly increased my appreciation for their music, but the urge to revisit ‘Grievances’ after the show just wasn’t there.

My first impression of ‘The Monitor’: this is much more palatable than its predecessor, my second thought: man, some of these tracks are freakin long. Without liner notes and the inability to make out 60% of the lyrics, I only recently found out ‘The Monitor’ was a Civil War concept album… perhaps the track “Four Score And Seven” should have tipped me off. While I don’t have the attention span to listen to the album from start to finish, I’ve been enjoying it in small bits and pieces.

‘The Monitor’ hits stores tomorrow (March 9th) via XL.

‘Gorilla Manor’ has its fair share of standout tracks but it also works marvelously as a compilation. While the melodies and three-part harmonies had me at hello, I think it’s the multiple frontmen set up that keeps Local Natives sounding versatile and effervescent throughout the album. The percussions, whether subtle or blatant, also play a vital role in the alluring nature of the bands’ ethereal sound, as do the sporadic chants and howls.

“Wide Eyes” is a perfect introduction to ‘Gorilla Manor’ because it displays Local Natives‘ ability to work together as a band. You can clearly hear the separate elements building up and seamlessly melding together into one melodious arrangement. The track, “Sun Hands”, which was released as a single last year, is one of my favorite songs on the album, and according to Taylor Rice, the lyrics describe “that all too familiar feeling of wanting what you can’t have – especially when you once had it.”

Midway through ‘Gorilla Manor’ you’ll find the track, “Camera Talk”, which sounds a bit different than the rest of the album. During the initial moments I was fixated on the violin’s participation, then the chorus hit and the Local Natives drop into a ska-ish like rhythm, which was not expected but certainly welcomed. A couple tracks later and you end up at the Talking Heads’ cover, “Warning Sign”. “We’ve basically flipped the song on its head,” said Matt Frazier while explaining how they switched David Byrne’s original yelped vocals into a three-part harmony.

The album concludes on a strong note with the piano backed, hand clap invaded, “Stranger Things”. After repeated listens, I can safely say that ‘Gorilla Manor’ is one of my favorite albums this year, and that Frenchkiss Records has one of the best rosters around.

These New Puritans have a reputation for being somewhat clever, and there are definitely moments on ‘Hidden’ where it shows, even if ambiguously. For instance, the track “Three Thousand” starts off with the resonance of a sword being drawn, or a knife being sharpened, and is quickly followed by Barnett’s utterance of, “Three thousand thoughts in our minds / That’s when we’re slicing through time”. This sound will appear yet again on the rousing track, “Attack Music”, where it seems appropriately placed between hard hits and a haunting groan.

‘Hidden’ comes across as a well thought out album, with articulate execution. I think that the album’s industrial and ominous nature works in great compliment to the reoccurring theme of battle and altercation, as does the sparing use of lyrics.

The album has already been released in the UK, but expect ‘Hidden’ to officially be stateside on March 2nd via Domino.

If you were familiar with Beach House prior to ‘Teen Dream’, than the album probably sounds how you expected it to sound; there are no big surprises. The minimalistic and haunting nature of the organ/piano is still present, as are the old school drum machine beats. Although, their music does seem more accessible on this album, easier to spend time with. While ‘Teen Dream’ is by no means the most jubilant collection of songs, Legrand and Scally appear to have slightly lightened the mood on this album (compared to their debut). Victoria Legrand’s voice, whether pure or splashed with reverb, smoothly connects lyrics like, “The face that you saw in the door / Isn’t looking anymore / The name that you call in its place / Isn’t waiting for your embrace,” with Beach House’s signature, atmospheric sound.

Because Beach House sits in a noticeably defined comfort zone, their music can sound a bit redundant when listened to in large doses, which is why I tend to listen to them one or two tracks at a time. However, this time around song distinctions are much more obvious and most of the tracks on ‘Teen Dream’ have a clear personality. Currently my song of preference is “Real Love”; I’m drawn to the way it simply rests on Legrand’s voice and an organic piano…although it could have been a tad shorter in length. Some other standouts are: “Norway”, “Used To Be” (it deviates from the rest of the album), “Lover of Mine” and “10 Mile Stereo”.

On a side note, I was listening to ‘Teen Dream’ in my car while driving my nana to her canasta night, and she was totally tapping her fingers along to the music! The ability to garner appreciation across generations has to be a sign of quality music.

Out of the 10 tracks, I can see myself actively seeking out, “Madder Red”, “Ambling Amp” (yes, still), and “O.N.E”, while being satisfied if my ipod unintentionally shuffled onto,”The Children”, “Love Me Girl” and “Rome”. On the other hand, “Strange Reunions”, “Mondegreen” and “Grizelda”, currently invoke a strong, ’skip track’ urge. For those of you mathematicians (or people who can count to ten), yes, I only mentioned nine tracks above, and it’s because I’m still unsure about the track, “I Remember”. Keating’s rising and falling falsetto meshes really well with the slow moving tempo and the change of pace is more than welcome, but I get sort of bored with the repetition after two minutes.

All in all, ‘Odd Blood’ is a good pop album with some impressive standalone tracks that pleads a case for Yeasayer’s versatility. Whether you think Yeasayer has successfully evolved or gone down the crapper since ‘All Hour Cymbals’ , there is a clear shift in sound/style from their debut.