Hear Here: The Triangle Various Artists Flying Tiger Sound, Terpsikhore Records, and WKNC
Drew St. Claire

I’m going to level with you. We write these CD reviews to tell you if something’s good or bad. Whether the stuff in it works or it doesn’t work. Who it sounds like and who it doesn’t sound like. Yet this one, Hear Here: The Triangle, is a different animal. It’s quite literally my baby, our baby actually, seeing as you fund the student radio station that compiled it.

So how can I just pick this thing up with some stylized tweezers and plop it into a genre’s zip-lock bag? I can’t.
It’s too diverse and too unique to its creator. Like the old adage says- you never think your kid’s ugly. Well, I guess I’ll have to abandon the normal objectivity and just tell you how beautiful this kid is.

Fitting to geographic location, the album features three solid hip-hop artists. Kooley High’s track “Can’t Go Wrong” speaks for itself. With beats reminiscent of hip-hop’s golden age and smooth rhymes how could you go wrong?

I bet if you crank this up while cruising down Hillsborough Street you’ll enter a time warp back to L.A., circa 1993. Blount Harvey’s “the Three” is an ode to big, beautiful women accompanied by soulful female vocals and Inflowential’s contribution, “Sherriff”, is a rendition of Marley’s classic reggae hit.

Keeping things particularly intense on the hard rock front are Colossus and Static Minds. With guitar virtuosity that’s taken straight from the Valient Thorr playbook and vocal power that rivals the late Freddy Mercury, Colossus reminds you exactly why they have a copyright on such an epic band name.

Not to be left out is Static Minds. Essentially, they’re the best proto punk band you’ll ever hear, the only difference is they’re from 2009, not 1969.

Here’s a rundown of the other local talents. The Love Language combines the best aspects of I’m From Barcelona and the Beach Boys.

Never’s “Littlest Things” is a crooning acoustic ballad, like a modern version of the Beatles’ “Because”. Despite the grisly implications of Kingsbury Max’s “Custer’s Last Stand”, the song feels very bright and shimmery.
It’s almost like you’re taking a whimsical monorail made of sunlight through a happier version of Dark Side of the Moon. And although Americans in France may give a nod to European aesthetics with their band name, the fuzzy chaos of “No Love For a Prophet” is pure grunge-era Sonic Youth.

I racked my brain over how to typify the other bands, most notably the Rosebuds, Hammer No More the Fingers, and Birds of Avalon. But then, I came to a realization.

Would the Sex Pistols have been punks if they grew up in Topeka? Would Johnny Cash have been the man in black if he lived in Manhattan? Would the B.I.G. be Notorious if he came from the suburbs? No. The fact of the matter is that local bands are great because they are ours.

88.1 WKNC DJ Pick of the Week is published in every Tuesday print edition of the Technician, as well as online at technicianonline.com and wknc.org.

Engineers’ latest release a dull effort
Jon Gomes

Shoegaze, in a nutshell, is theme music for dreaming. In a semi-conscious drift, substance gives way to texture. Emotions are established rather than statements. The sound can bloom from a whisper into a wall of reverb-drenched guitars, awash with frothy vocals and crash cymbals. It’s difficult to take it all in, but shoegaze is meant to sweep you away. Sometimes the experience is breathtaking. Other times, it all seems like haphazard noise. The sophomore effort by the British post-rock group Engineers, Three Fact Fader, finds itself vacillating between these two extremes.

Four years have passed since the release of their stellar self-titled debut in 2005. Since then, Engineers have focused on further developing their sound: a meld of ambient post-rock, shoegaze, and psychedelic influences. Though still sonically distinct (especially with the pillow-soft vocals of lead singer Simon Phipps), the end result is a lukewarm album that lacks substance.

Three Fact Fader comes on strong but cannot sustain itself. The opener, “Clean Coloured Wire,” establishes a swirling, smoldering sound which harkens back to their previous album. The song’s latent energy makes it an excellent prelude for the next track.

The album climaxes all too soon with the glorious “Sometimes I Realise.” The first lyric captures the dreamy essence of the song: “Time works slower in red / Flowing back to the start.” The driving bass line of the verse escalates up to the chorus, an afternoon thunderstorm of distortion and drums — easily the best moment on this album.

The cloudburst excitement of “Sometimes I Realise” is quickly dissipated by the next track, melancholically titled “International Dirge.” Slightly somber and flavored with psychedelic flourishes, it’s a decent song but does not mesh well with the established sound of the album. Fader begins to wander at this point with two more slow and sedated tracks.

Thankfully, the energy begins to rise again with “Hang Your Head,” an upbeat number with an insistent beat and huge swaths of guitar chords. Engineers also achieve a similar sense of liveliness with the title track, “Three Fact Fader.” But the sound changes, for the worse yet again, from animated to anemic for the next song.

With the possible exception of the final track, the back half of Three Fact Fader consists of decent yet forgettable songs. There are a few successful moments here and there: the string orchestra section at the end of “Emergency Room,” or the sudden transition in “The Fear Has Gone” from calmness to calamity. Yet overall, these tracks fail to provoke any emotions. Despite the tidal waves of droning guitars and cascading drums, there’s no feeling of majesty that groups like M83 or Sigur Rós accomplish so well.

In the end, Three Fact Fader loses itself in the ennui of shoegaze. Tracks like “Sometimes I Realise” demonstrate what Engineers are capable of, but the album as a whole fails to reach its potential — a disappointment considering some of the excellent parts in some songs. Fader sounds like a dream but it never awakens from its comatose state.

88.1 WKNC DJ Pick of the Week is published in every Tuesday print edition of the Technician, as well as online at technicianonline.com and wknc.org.

Megafaun’s Gather, Form, & Fly Earns 5/5 Stars
Mike Alston

“I can read a painted picture;
Of life as it was in the past;
Why did I think it would last?
When all the colors keep on shifting.”

As Megafaun acknowledges in “Impressions of the Past,” the colors have certainly shifted since Wisconsin band DeYarmond Edison moved to North Carolina just a few years ago. They parted ways in 2006, and member Justin Vernon achieved national renown under the name Bon Iver. The three remaining members started a new band, calling themselves Megafaun.

Their first release—2008’s Bury the Square—was remarkable but also remarkably short, at just six tracks. So for a while, a Megafaun live show has been an experience in extrapolation, the band performing songs that are uniquely their style, but haven’t been available in recorded versions until now. And the word “style” is far more applicable in this context than “genre” would be. As has been explained in virtually every other piece written on Megafaun, they have no easily definable genre. Megafaun is ostensibly a folk band, sure, but saying their music is informed by folk music is akin to saying modern man is related to monkey. Somewhere along the line, we received opposable thumbs; somewhere along the line, “freak folk” was born.

“Freak folk” might best be explained anecdotally. Before I ever saw the band perform live, I saw banjo player Phil Cook perform Duke Ellington’s “The Single Petal of a Rose” on piano at an event in Chapel Hill. On the way home, I found out Megafaun was playing in downtown Raleigh and drove straight there to find Cook helping his band set up to perform and then bring the house down. The next time I saw them, guitarist Brad Cook played with the rest of the guys before handling bass duties for the Rosebuds in the very next set. Those nights spoke volumes in terms of the talent and dedication this band possesses. Their musical influences and tastes are all over the map, but they channel them to make ground-breaking music. They are so talented that writing and performing a verse-chorus-verse radio single would likely be mind-numbingly boring to them.

Anything but mind-numbing, however, are the unique and strangely beautiful touches on this album. All thirteen tracks bring something different to the table, including but not limited to the sounds of crickets chirping on one track and water dripping on another. Those along with beautiful harmonies and all sorts of musical exploration make Gather, Form, & Fly less a vehicle for a few songs and more a coherent (dare I say it) masterpiece. As with all of the best albums, the work should be experienced as a whole rather than as individual parts with an assigned track listing. Christy Smith of the Tender Fruit makes a guest appearance on “The Longest Day,” where her words ring true with respect to DeYarmond Edison’s split: “Cause I ain’t never seen a night that didn’t have a dawn.” The dawn has come for Megafaun, and what a bright dawn it is.

88.1 WKNC DJ Pick of the Week is published in every Tuesday print edition of the Technician, as well as online at technicianonline.com and wknc.org.

Every so often, music producers are able to make the transformation from behind the scenes to becoming a recording artist seamlessly. Such is the case with Ryan Leslie, who has emerged as a promising star in the R&B world, releasing what will be called one of the best R&B albums of 2009, the self-titled Ryan Leslie.

Leslie, a Harvard University graduate by age 19, was first signed to Universal Records, in 2003, and later released 2 singles, “Used to Be” and “The Way That U Move Girl”. The singles failed to chart, and the album, Just Right was shelved indefinitely. Without support from his record label, the singer, song- writer, multi-instrumentalist and engineer began to produce for acts including Cassie, Danity Kane, and Beyonce with the proceeds financing his own project.

Ryan Leslie, the long awaited debut entirely mixed, produced, written and arranged by Leslie and kicks this off with the up-tempo synth-induced retro R&B sounding “Diamond Girl”. On the albums lead single, Leslie sings of how he’s found the one that’s he’s ready to “put the rock on”. On “Diamond Girl” and throughout the album, Leslie does his fair share of rapping and it works.

Next up is the second single, “Addiction” featuring Bad Boy artist Cassie and Fabolous, where Leslie, explains his obsession with a lady love. The live multilayered arrangement makes it one of the albums best.

Following “Addiction” is “You’re Fly”, an ode to a woman Leslie feels is the pinnacle of beauty. The cut is reminiscent production-wise of legendary R&B group Frankie Beverly and Maze with its catchy melody and guitar riffs.

“Quicksand”,” Valentine” and the piano drive “I.R.I.N.A” are stand outs on the album. “Quicksand”, a funky groove which sounds like a Neptunes production, has Leslie telling how he is “emotional” falling deeply in an inescapable love, while the Keyboard-driven “Valentine” has Leslie professing his love to a prospective mate. The organ influenced I.R.I.NA, Leslie explains how love has no language barrier.

On “Wanna Be Good” and “Just Right”, Leslie tries out his falsetto invoking the spirit of Curtis Mayfield, while proclaiming how he lives to please the perfect woman for him.

The hard-hitting third single, ”How It Was Supposed To Be”, Leslie asks questions of what could’ve and should’ve been with a relationship gone awry, while the more melancholy while “Out of the Blue” and “Shouldn’t Have to Wait” have a more bluesy vibe and conjure of feelings of infidelity and commitment.

Closing out the album is the very appropriately titled “Gibberish”, seeing as you can only understand every 10th word. Vocoder and finger snaps in tow, Leslie expresses the moments of speechlessness that may occur when we meet that special someone.

Ryan Leslie overall is a mid-tempo feel good album with tales love and longing, featuring a combination of live instrumentation and heavily synthesized tracks. And although Leslie may not display the vocal acrobatics of Maxwell, his fresh approach, multi-faceted production and engaging lyrics make him one of the best chances R&B music has to survive, but only if he continues marching to the beat of his own drum.

Fearless

Released 9/23/08 on J Records

Many have said that “Hip-Hop is dead” and that R&B is on life support, waiting for the plug to be pulled. Turning on the radio, you are likely to hear a singer with elementary lyrics and minimal vocal talent, using auto-tune. Enter Jazmine Sullivan, a complete departure to the aforementioned, hoping to take R&B back to its roots of powerful vocals,meaningful lyrics and stand-out production with her debut album Fearless. Sullivan, at the relatively young age of 21, is proving that she can help R&B to breathe on its own.

Like many legendary R&B/soul artists before her, including Aretha Franklin, Whitney Houston and Marvin Gaye, Jazmine first began singing in the church choir at the tender age of 5. She later made her first television appearance on “Showtime at the Apollo” and at age 15 was signed to Jive Records. The stint at Jive didn’t last, but she did meet her mentor there. Missy Elliot, who executively produced Fearless, helped to create Sullivan’s style which encompasses elements of hip-hop, reggae, gospel and vintage soul.

Fearlessopens with the angry and embittered “Bust Your Windows”, a song that could have been written by Angela Bassett’s character, Bernadine from the movie “Waiting to Exhale”. It is the tale of the coming together of a broken heart, a crowbar and a nice car, which is never a good combination. Lyrically, it is what you would expect, but vocally Jazmine sings with such pain and conviction that you’ll want to pick up a crowbar and break someone’s windows.

Next up is the inspirational electro-pop synth-driven “Dream Big”, encouraging everyone to follow and take a chance on their dreams.  Following ”Dream Big”  is Jazmine’s number one debut single “Need U Bad” produced by Missy Elliot. The Caribbean/reggae-themed song and vocal arrangement brought many comparison to Lauryn Hill and could have easily been a bonus track from The Miseducation of Lauryn Hill. Though she writes and produces much of her music like Lauryn, this song is where the comparisons end.

“My Foolish Heart”, sampled from GZA of Wu-Tang Clan’s classic “Liquid Swords”, tells of the things one will do for love and brings a hip-hop element to the album. Next is the beautifully string-arranged “Lions, Tigers and Bears,” where Jazmine bears her soul and shows that that love is the one and only thing she fears.

This album wouldn’t be an R&B album without a song by production duo Stargate (“With You,” “Irreplaceable”) and Jazmine takes her turn with “Hurricane,” a song about the devastating effects love can have and the damage it often leaves behind.

The album does begin to wane a bit with “One Night Stand,” “Dream Big” and “Live a Lie.” Never fear, though, as morale begins to pick up as the album comes to a close with stand-outs including the piano driven “In Love with Another Man,” the truthful and honest “Fear” and whimsical “Switch.”

Ultimately, Fearlessis a solid start for a promising and gifted vocalist with a bright future ahead. Jazmine is a much needed departure from what has been polluting the airwaves. The 5 time Grammy nominee may be one of the few artists who can achieve longevity in the fickle music industry, but only if she continues to remain “Fearless.”

Find out more about Jazmine at www.jazminesullivanmusic.com

Jazmine Sullivan was featured as the 88.1 WKNC Pick of the Week on 10/7/08.

88.1 WKNC DJ Pick of the Week is published in every Tuesday print edition of the Technician, as well as online at technicianonline.com and wknc.org.

‘Love at the End of the World’ is bland in the end
Drew St. Claire

As the tag on this album informed me, “Sam Roberts is from Canada.” Now, I have no problems with our neighbors to the north–I’m a huge fan of hockey and I’ve always adored their delicious syrups. But, I have to concede that Love at the End of the World falls just a bit short of American quality.

The album starts off with its title track, and showcases a lot of the positive aspects Mr. Roberts has going for him and his version of indie rock. The intro has a folksy Western pulse to it, and after Sam’s vocals come in, it melts into a rock beat that is reminiscent of the Raconteurs or JET, but a little bit more subdued. His voice is interesting and similar in timbre to John Lennon or Liam Gallagher from Oasis, but with accents of Steely Dan.

“Stripmall Religion” opens up exactly like something from the Coldplay catalogue, but Roberts’ voice works well in lieu of Chris Martin. The song then transitions into a simple Pinback-style rhythm and some decent lyrics about isolation and disillusionment in modern American, or I’d suppose Canadian society.

One of Roberts’ last good stands on the album is “Them Kids.” Opening with a Minus the Bear-type vibe and breaking into a happy danceable tune about nostalgia for a day when kids knew how to rock n’ roll, “Them Kids” is an example of where the Canadian’s music shines. But, with the small exception of tracks like “Fixed to Ruin” and “Oh Maria”, the album doesn’t offer much of anything new.

It just sort of fades into the background with a steady melody, only reminding me of its presence ever so often with a jolt from one of the more lively tracks. The softer parts don’t have enough to say to make me want listen closer, and most of the louder parts don’t offer more than a tempo for clicking my tongue.

If you’re very involved with the indie rock scene, you’ve probably already bought this album or you know there is no way you would ever buy it. If you are not quite that knowledgeable, I’d recommend a stepping stone or two before you decide on this one. Your money might best be spent on something guaranteed to please, like Pinback or Arcade Fire. Better yet, you could try checking out some of the local bands, like Red Collar and Birds of Avalon.

In short, Love at the End of the World is like the maple syrup they make in Sam Roberts’ homeland — sweet and flavorful at first, but after a while it just gets bland.

88.1 WKNC DJ Pick of the Week is published in every Tuesday print edition of the Technician, as well as online at technicianonline.com and wknc.org.

‘Homesick’ bridges gap for fans
Brian Dimsdale

A Day to Remember has been around for a while. The band, whose humble beginnings date back to 2003, has put out three albums, including the band’s latest, Homesick. They have toured relentlessly, creating a major following and making them a heavy contender in the alternative music scene. Over the years ADTR has tweaked their sound in order to combine catchy guitar riffs and an overall pop-punk sound with the signature metalcore voice of lead singer Jeremy McKinnon. Homesick proves that ADTR have finally reached the pinnacle of the pop-punk/hardcore sound that they have been striving for.

From the get go, Homesick grabs hold of your eardrums and doesn’t let go. Consisting of amazing vocals, heart throbbing beats and a number of vocal guests including Mike Hranica from The Devil Wears Prada and Sierra Kusterbeck from Versa Emerge, this album keeps you hooked throughout the entire 40 minutes. The first track, “The Downfall of us All”, sets the overall mood for this album with gang vocals followed by McKinnon screaming “Let’s go!”‚ and a guitar riff that gets your blood flowing and adrenaline pumping. From that moment on, the album takes you through twelve tracks dealing with the band’s inner turmoil of life on the road while missing their loved ones and the town they grew up in.

The album presses on with melodic tracks that have a catchy and pop-punk sound, such as “My Life for Hire”‚ and “I’m Made of Wax, Larry, What Are You Made of?”, all the while intermingling McKinnon’s powerful voice and the ear-busting guitar riffs that the band is known for. From there the album transitions straight into the track “Mr. Highway’s Thinking About the End”, which has a sound reminiscent to the likes of Underoath’s Define The Great Line.

Midway through Homesick, the track “Have Faith in Me”, a song about never wanting to leave a loved one, starts off to a beautiful guitar solo helping to slow down the tempo. McKinnon’s soothing voice helps to bring the listener back out of the trance as the beat picks up with the lyrics “I said I’d never let you go, and I never did/I said I’d never let you fall, and I always meant it.” Just as you think the album is going in one direction, the next track “Welcome to My Family” hits you like a ton of bricks. It wakes you up and shows that ADTR has gotten transitioning from pop-punk to metalcore down to a science.

Homesick is A Day to Remember’s best album to date, intermingling what normally would be considered conflicting sounds into an alternative rock masterpiece. The band has bridged the gap for listeners on either side of the music spectrum and will continue to rule the pop-punk/hardcore scene, until they truly do become homesick, which hopefully won’t be any time soon.

88.1 WKNC DJ Pick of the Week is published in every Tuesday print edition of the Technician, as well as online at technicianonline.com and wknc.org.

The Decemberists present the ‘complete’ album with ‘The Hazards of Love’
Seth White

The Decemberists have given me hope that the concept of an album is still alive. On their latest, The Hazards of Love, Colin Meloy and crew tell the dark story of two lovers, William and Margaret, and the two antagonists that attempt to foil their plans, the Queen and the Rake. The album’s seventeen songs are perfectly crafted and woven together with common themes and solid transitions. In an interview with Paste Magazine, Meloy commented that Hazards was initially set to be a musical but then reinvented as a rock opera.

An instrumental prelude slowly starts off the album and blends into part one of the title track, there are four altogether. “The Hazards of Love 1″ resembles their earlier works complete with acoustic picking, rich upright bass and well-read Meloy’s lyrics circling about “lithesome maidens.” This formula is immediately shed on the following song, “A Bower Scene.” Here, distorted electric guitars thump power chords reminiscent of “Ziggy Stardust” or The Wall. What surprises me the most about this new sound is how well it actually works for the Decemberists, the changes from folk to rock are pulled off effortlessly here.

After an instrumental interlude about halfway through the album, “The Rake’s Song” kicks in. An eerie song featuring thick drums about a widower murdering his children, he pays for that at the end of the album. Following this is “The Abduction of Margaret” — here, the band revisits the sounds of “A Bower Scene” and pushes them to new boundaries.

Shara Morden of My Brightest Diamond is brought in to do the vocals of the Queen. Here, her voice is emotionally empowering and downright evil especially over prog-rock guitars on “The Queens Rebuke” and “The Wanting Comes in Waves.” Along with Morden, the Decemberists brought in My Morning Jacket’s front man, Jim James, to help out with background vocals on various tracks.

The last track, “The Hazards of Love 4,” brings the album to its tragic close as William and Margaret are swept off and drowned by the river. The song is a gentle finale with a wonderful steel guitar solo sandwiched in between the last duet by the two lovers.

There are drawbacks some might see to this take-it-or-leave it concept album. Each song flows right into the next leaving no real breaks — great for an album but causes it to lack the singles of its predecessor, The Crane Wife. But for what it’s worth, they aren’t missed here. As a whole, The Hazards of Love is a conceptual masterpiece from start to finish that Decemberists fans will cherish on their first listen.

88.1 WKNC DJ Pick of the Week is published in every Tuesday print edition of the Technician, as well as online at technicianonline.com and wknc.org.

NFG wins the “Fight” by TKO
Alex Hofford

For the last decade or so, New Found Glory has been one of the staples of the “pop-punk” genre and continues to influence numerous bands that spring onto the musical scene. Their latest album, Not Without A Fight, makes the statement that they aren’t going anywhere and accurately showcases why they won’t be the next band to fizzle out in an ever-evolving musical landscape.

New Found Glory has successfully combined the “sounds” from their previous ventures into one sonically cohesive album. The introductory track, “Right Where We Left Off,” hooks you from the opening guitar riff and assures the listener New Found Glory is back to doing what they do best: creating fist-pounding, roll-the-window-down songs that will grab anyone’s attention. Songs like “Don’t Let Her Pull You Down” and the first single, “Listen To Your Friends” have the spirit of their self-titled release with cautionary tales of girls with bad intentions and infectious choruses that will have you singing along word for word.

Other songs like “I’ll Never Love Again” and “Such A Mess” resemble last year’s hardcore-influenced Tip Of The Iceberg EP with hard-crunching guitars and drum beats that hit you square in the chest and leave you breathless. Even when New Found Glory wants to slow down the pace of the album with more melodic songs like “Reasons” and “Heartless At Best,” they don’t ruin the flow of the album and allow a welcome reprieve before the next track picks the speed back up.

Lyrically, the LP is a bit cheesy at times. The track “47″ details one failed phone call attempt after another, and lines like “Maybe our intentions were wrong from the start/So answer me so we don’t fall apart‚” may be cringe-inducing to some. However, New Found Glory has never been one to write poetically intricate lyrics with some deeper, more profound meaning. Their words are simple, get straight to the point, and are honest enough for anyone to be able to relate to them.

The album’s producer, Mark Hoppus (of Blink-182 fame), has created an album that isn’t over-produced yet still allows every instrument to shine on each track. With so many of the band’s styles culminating onto one disc, it could have been a daunting task to blend all of them into one consistent record without each song feeling drastically different. However, he pulls it off gracefully, and New Found Glory sounds the best they have in years.

Not Without A Fight is a paradigm of the pop-punk craze from earlier in the decade. With the mantra “if it isn’t broke, don’t fix it,” New Found Glory have recorded an album old fans and new listeners will enjoy. This album is one “fight” you shouldn’t miss.

88.1 WKNC DJ Pick of the Week is published in every Tuesday print edition of the Technician, as well as online at technicianonline.com and wknc.org.

Emerging R&B artist transitions from producing to recording
Miriam Tolbert

Every so often, music producers are able to make the transformation from behind the scenes to becoming a recording artist seamlessly. Such is the case with Ryan Leslie, who has emerged as a promising star in the R&B world, releasing what will be called one of the best R&B albums of 2009, the self-titled Ryan Leslie.

Leslie, a Harvard University graduate by age 19, was first signed to Universal Records in 2003 and later released two singles, “Used to Be” and “The Way That U Move Girl.” The singles failed to chart, and the album, Just Right was shelved indefinitely. Without support from his record label, the singer, song-writer, multi-instrumentalist and engineer began to produce for acts including Cassie, Danity Kane, and Beyoncé with the proceeds financing his own project.

Ryan Leslie, the long awaited debut entirely mixed, produced, written and arranged by Leslie kicks off with the up-tempo retro R&B sounding “Diamond Girl”. On the albums lead single, Leslie sings of how he’s found the one that’s he’s ready to “put the rock on.” On “Diamond Girl” and throughout the album, Leslie does his fair share of rapping and it works.

Next up is the second single, “Addiction,” featuring Bad Boy artist Cassie and Fabolous, where Leslie explains his obsession with a lady love. The live multilayered arrangement makes it one of the albums best.

Following “Addiction” is “You’re Fly,” an ode to a woman Leslie feels is the pinnacle of beauty. The cut is reminiscent production-wise of legendary R&B group Frankie Beverly and Maze with its catchy melody and guitar riffs.

“Quicksand”‚ “Valentine” and the piano drive “I.R.I.N.A.” are stand outs on the album. “Quicksand”, a funky groove which sounds like a Neptunes production, has Leslie telling how he is “emotional” falling deeply in an inescapable love, while the Keyboard-driven “Valentine” has Leslie professing his love to a prospective mate.

On “Wanna Be Good” and “Just Right”, Leslie tries out his falsetto invoking the spirit of Curtis Mayfield, while proclaiming how he lives to please the perfect woman for him.

The hard-hitting third single, “How It Was Supposed To Be”, featuring rapper Jadakiss, asks questions of what could’ve and should’ve been with a relationship gone awry, while the more melancholy while “Out of the Blue” and “Shouldn’t Have to Wait” conjure of feelings if infidelity.

Closing out the album is the very appropriately titled “Gibberish”, seeing as you can only understand every 10th word. Vocoder and finger snaps in tow, Leslie expresses the moments of speechlessness that may occur when we meet that special someone.

Ryan Leslie overall is a mid-tempo feel good album with tales love and longing, featuring a combination of live instrumentation and heavily synthesized tracks. And although Leslie may not display the vocal acrobatics of Maxwell, his fresh approach, multi-faceted production and engaging lyrics make him one of the best chances R&B music has to survive, but only if he continues marching to the beat of his own drum.

88.1 WKNC DJ Pick of the Week is published in every Tuesday print edition of the Technician, as well as online at technicianonline.com and wknc.org.

Matt Ward is worth the time
Susannah Brinkley

Matt Ward is a musical time traveler.

Known for his old-fashioned songwriting, his prodigious guitar talent and his deep, raspy voice, the tunes on Ward’s new album Hold Time offer a nostalgic look back to folk, rock ’n’ roll and Americana roots. The Oregonian’s sixth full-length album is a true step back in time.

At first listen, Hold Time sounds a lot like its predecessor, Post War. The tracks offer the same crooning voice and wistful, poignant lyrics that can be heard on Ward’s other albums from the last decade. While Ward has focused on themes like love and wartime in his previous albums, this time he’s focusing on God, mortality and mainstream Western religion.

The songs seem to run together, though, and only a few seem to stand out, but not by much. “Jailbird” is classic Ward, which is full of his trademark guitar playing. “For Beginners (AKA Mt. Zion)” and “Epistemology” both have foot-tapping beats reminiscent of those on Post-War and Volume One, Ward’s delicious, 70s-esque collaboration with actress Zooey Deschanel as the charming duo She & Him.

However, Hold Time brings in some new talent for the mix. Ward is known for his covers and collaborations, and it is welcoming to hear guests Lucinda Williams, The Decemberists’ Rachel Blumberg, Grandaddy’s Jason Lytle and DeVotchKa’s Tom Hagerman in addition to Deschanel.

The charming “Never Had Nobody Like You,” featuring Deschanel, evokes the saccharine sounds of She & Him, making one’s mouth water for a Volume Two. On “Lonesome,” Ward pairs with Williams for a very long and awkward tune. Deschanel drops in once more for a lush cover of Buddy Holly’s “Rave On,” and Lytle steps in for “To Save Me,” whose fast pace seems out of place among Ward’s more quintessential melodies.

Though it’s been almost three years since Matt Ward put out a solo album, he’s still been quite the busy guy. After the release of the esteemed Post-War in 2006, Ward toured the States. Then, in 2007, he teamed up with Deschanel to record and release Volume One, with which he (and Deschanel) followed another tour.

And the release of his new album Hold Time last month coincided with the launch of yet another tour, which unfortunately won’t be coming to North Carolina like the previous ones.

But that shouldn’t prevent anyone from listening to Ward’s latest. Whether you’re a sucker for old-time melodies or just looking for something different, Hold Time is worth the time travel.

88.1 WKNC DJ Pick of the Week is published in every Tuesday print edition of the Technician, as well as online at technicianonline.com and wknc.org.

Matt & Kim aims for the sweet spot with ‘Grand‘
Jon Gomes

Matt & Kim, in all its lackadaisical glory, is an indulgence. The bubbly Brooklyn duo is the musical equivalent of Cinnamon Toast Crunch–sweet, sugary and perfect for those late Saturday mornings after you’ve slept for ten hours.

Just spin its self-titled debut from 2006 and listen for yourself. The album has the haphazard energy of a second grader after a bag of Sour Patch Kids. There’s an air of excitement and mild chaos, but the music isn’t in your face. On their latest release Grand, Matt and Kim have maintained their pop sensibilities while exploring new dynamics.

The opener, “Daylight,” encapsulates the album’s carefree mood. A triumphant piano riff cascades over a jaunty marching rhythm while synthesizers drone and wail in the background. The carpe diem lyrics evoke memories of summer, with lines like “Open hydrant, rolled down windows / This car might make a good old boat / And float down Grand Street in daylight.” The track is the perfect anthem for sunny afternoons and captures the positive vibes of Grand.

The album’s upbeat energy is channeled into the next track, “Cutdown.” A buzzing bassline underlies gentle synth strings that launch into a beautiful, drum-heavy crescendo at the end of the track. As quickly as it built up, the momentum slows down a bit with the wistful and slow “Good Ol Fashioned Nightmare.” This shift in dynamics makes Grand sound more varied and mature than its predecessor. Matt & Kim delve into slower, more relaxed moods throughout the album in tracks like “Turn This Boat Around” and the outro remix of “Daylight.”

Of note is the impressive production quality–clean and loud. In particular, the drums have a powerful presence that lends itself to the album’s energy. The rhythms on Grand sound huge, especially in “I Wanna” and “Don’t Slow Down.” Both are unrelentingly upbeat tracks driven by Kim’s lively percussion and Matt’s frenetic synth work. As with The Black Keys or Death From Above 1979, it is hard to believe that all the music comes from only two people.

The drums drop out completely for “Turn This Boat Around,” which is carried completely on vocals and simple keyboard parts. The calmness quickly turns into madness with “Cinders,” a short instrumental that spirals upward into synth-and-drums euphoria. Grand closes with an interesting, stripped-down mix of “Daylight,” which nicely ties back to the beginning of the album. The entire album is only a scant 29 minutes long–just like the weekend, because you’ll wish it lasted longer.

Full of energy and free of care, Grand revels in its youthfulness. Pop music is meant to be fun music, and this album convincingly validates that claim. The next time you find yourself in the middle of a bright, sunny Saturday afternoon, put this record on. You won’t regret it.

88.1 WKNC DJ Pick of the Week is published in every Tuesday print edition of the Technician, as well as online at technicianonline.com and wknc.org.

‘Onmyradio’ Fails to Disappoint
Mir.I.am

When Musiq Soulchild stepped on the scene in 2000 with his classic debut album Aijustwanaseing, he carried on the tradition of Neo-Soul music started by artist including Erykah Badu and D’angelo. From “Just Friends” and “Love” to “Don’t Change” and “B.U.D.D.Y.”, Musiq has remained a consistent force in the realm of Neo-Soul for almost a decade. With his latest release “Onmyradio”, the 30 year old Philly native fails to disappoint.

For Musiq fans, the release of the first single from “Onmyradio”, “Radio” was a confusing. The crunk track does nothing to compliment Musiq as an artist or appease his fan base and failed to chart. With the state of R&B as it is, the watered down production, uninspired vocals and no originally, one would wonder why Musiq, would try and conform. Thankfully, the poor choice of a lead single is in no way indicative of the remainder of the album.

“OnMyRadio” opens with the up-tempo, hard hitting, bass driven “Backagain”, where Musiq explains how he thought he was over a break-up, until they came back.

“Until”, reminiscent lyrically of Stevie Wonder’s classic “Always”, tells of how he’ll love his significant other until the end of time. It is one of the albums stand-out tracks.

The second single, “IfULeave”, a duet with the Queen of Hip/Hop R&B Soul, Mary J. Blige is a well balanced duet of back and forth banter between a couple on the verge of a break-up. Production-wise, it is similar to”Teachme”, a gem released from Musiq’s last album, “Luvanmusiq”.

Momentum comes to a stand still with “Special” and “Deserveyoumore” On “Special” the melody and beat are competing with each other and “Deserveyoumore” sounds like a 70’s bland love song by an all male vocal quartet.

The piano driven “Dearjohn” is a letter explaining how Musiq, lacking the courage to break up in person instead opts for a pen and piece of paper. The sadness in Musiq’s voice, remorseful lyrics, vocal arrangement, harmonies and production make this the best track on the album.

Next, “Loveofmylife”, is equally endearing and gross as Musiq sings how he “can loose a car, even body parts”, but could never live without the love of his life. Feeling the recession, “Moneyright”, an up-tempo electro-pop groove has Musiq pledging to give his love all they desire once he gets his funds together. In terms of production, where as John Legend has “Green Light”, Musiq has “Moneyright”, minus Andre 3000.

On “Someone” Musiq delivers what he does best. Love ballads. The dulcet melody and beautiful words express how we all want someone to love us despite our imperfections.

The only other feature on the album, “Iwannabe” featuring Damian Marley infuses a bit of Reggae and Caribbean vibe on a song surely to make you want to move.

“Sobeautiful” is another moving love ballad where Musiq displays how his vocal prowess has matured in the past 8 years trying out his falsetto.

Albums are often judged by their first single, but there are exceptions to every rule, “Onmyradio” being one. Musiq, although with a few missteps, has stayed true to who he is as an artist while remaining relevant. Although “Onmyradio” may not be Musiq’s best, it is a solid effort and a solid effort from Musiq is still better than what’s currently playing—on the radio.

88.1 WKNC DJ Pick of the Week is published in every Tuesday print edition of the Technician, as well as online at technicianonline.com and wknc.org.