Category: New Album Review

The newest albums, EPs and singles on the air at WKNC 88.1 FM HD-1/HD-2

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New Album Review

Alex Winston delivers charming sound

88.1 WKNC’s Pick of the Week 3/16
By Alexandra Adams, WKNC DJ Alex

Alex Winston’s new album, Sister Wife, is characterized by Winston’s fresh pop sound, clever lyrics and unbeatable hooks that you’ll be humming after the first listen.

In 2009, she released Basement Covers, an album featuring covers of Mumford & Sons, The Rolling Stones and three others. It was literally recorded in her basement with Winston playing every instrument, and caused record labels to start paying attention. Her latest, Sister Wife, at just over 21 minutes long, is a perfect primer in Winston’s unique style that has her poised to become an indie darling.

The 23-year-old Detroit native and classically trained opera singer wrote all of the album’s songs, in addition to playing all of the instruments on the recordings.

Most of Winston’s songs stay in her signature high-pitched, almost girlish tone. Her Joanna Newsome-esque sound may seem like it could be unappealing to some, but she does it all so well that it’s incredibly charming and highly addictive.

“Locomotive” starts off the album with a driving beat and Winston’s characteristic undeniable hook that gets in your head and stays there. It features a slight twinge of electro-pop while still avoiding an over-produced sound.

Next, the title track, “Sister Wife,” is an irresistibly catchy song and a twist from the usual “love gone wrong” theme of many songs. Her play on the term “sister wife” is  easily understood by the listener and is like a cultural time capsule of America’s current fascination with the members of the Fundamentalist Church of Jesus Christ of Latter Day Saints who have a bunch of wives.

She hilariously declares with gumption, “Hey there, Sister Wife / Get the Hell out, it’s my night / You don’t know the way to his heart like I do.” The song shines as one of Winston’s best.

“Sweet James” is reminiscent of She & Him’s 60s girl group-influenced love songs. It’s a bouncy tune similar to Zooey Deschanel’s cheery, clever songwriting.

“Sweet James” is a modern cousin to the Motown-style tunes about innocent affection between girl and boy, complete with Winston’s endearing “ooh oohs” and loving declarations that this James fellow is “nice as nice can be” and “true blue.”

The one blunder of the album is “Don’t Care About Anything.” It seems to be meant as an emotional, stripped-down change of pace from the rest of the album. However, the track mostly comes off as strangely saccharine wailing until the relief of a somewhat redeeming chorus and violin solo.

“Choice Notes” is the album’s second single and is upbeat with great production that isn’t too over-the-top. Its fresh sound and happy beat has helped the track get grabbed up for some commercials in the UK, where Winston already has a dedicated following.

Sister Wife is a strong release full of charm, originality and authentic talent. From the strong songwriting and the fact that she plays every instrument on the album herself, Winston has quickly proven that she is a talent to look out for.

It is obvious that as she heads this week to perform at the South By Southwest (SXSW) Festival in the music mecca of Austin, Sister Wife is only the beginning for Alex Winston.

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

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New Album Review

“Dye It Blonde” both familiar and new

88.1 WKNC’s Pick of the Week 3/2
By WKNC DJ Margot

Musically, my parents and I do not agree on much. They raised me on ABBA, Moody Blues and everything 70s. By high school, I had dropped everything oldies for the indie music that is so prevalent in our generation.

But, after giving them a good listen of the Smith Westerns new album, Dye It Blonde, I had the whole family agree on a band that didn’t hit their peak in 1978. And if you haven’t been listening to indie music, the Smith Westerns provide a great starting point.

The band doesn’t throw you through the hoops of obscurity that many people feel indie music is, but reminds fans of the early rock they grew up listening to as kids.

Dye It Blonde is the second album that the band has produced and was just released in mid-January. Their 60s-inspired Beatlesque sound is both familiar and new, compelling listeners to keep listening through the end of the album.

Their lyrics are honest and simple, and complement  their traditional yet somehow experimental instrumentation well. Expect strong electric guitar, pop keys and soft vocals that are oddly mesmerizing. Also expect a lot – and I mean a lot – of electric guitar solos.

The band hails from the Windy City and consists of vocalist Cullen Omori, guitarist Max Kakacek and bassist Cameron Omori. Before this album release, they toured with some of the big names in the business – MGMT, Florence and the Machine, Belle and Sebastian and Passion Pit. The band was named band of the week by Rolling Stone Magazine after their release of Dye it Blonde on Jan. 18.

For a first listen, check out the tracks “Fallen In Love” and “Only One.” These two songs are both different, but are connected by minor chords and melancholy rock that makes you want to take a road trip – just in time for Spring Break. So, grab a copy of Dye It Blonde, get in the car with some friends and book it.

If you are already a fan of the Smith Westerns or didn’t like them the first time you heard them, expect cleaner, softer sounds and clearer vocals – an overall improvement from their self-titled first album in 2009.

Dye It Blonde is the band’s graduation album, from teenage garage sound to a more polished, grown-up sound. The band leaves behind the harsh, quick vocals for slow melodic echoes.

Check out the song “Smile” for something clearer and dreamier than their original sound. The song features a chorus that is unexpected compared to the rest of the album, making the song stand out compared to the rest of the tracks.

Dye It Blonde provides a great transition, both for the band and for the 60s sound that seems to be coming back in great demand. I would recommend the album to anyone who’s been looking for a Beatles rebirth or is a fan of the Dum Dum Girls. Imagine a masculine, louder Dum Dum Girls and you have the Smith Westerns.

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

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New Album Review

‘Limbs’ starts off slow, makes a promising finish

88.1 WKNC’s Pick of the Week 2/23
By Seth White, WKNC DJ Goof

Since their  2003 release Hail to the Thief and their departure from Capitol Records, Radiohead has broken away from the typical formalities of releasing an album.

Radiohead doesn’t release singles, and rarely mention that they have anything near completion. Then one day they say they have a new album coming out, and four days later you have it in your lap.

The King of Limbs is Radiohead’s eighth full-length album, and finds them once again polishing off the direction they have been heading in since the release of 2000’s Kid A.

In Kid A, they wiped away the guitar-driven rock band persona they developed in their first two albums for something much more abstract. They experimented with scattered percussion segments, looped vocals and ambient noises that can easily leave the listener lost at first, but rewarded in the long run.

Limbs starts out much the same way with “Bloom.” The song skips and buckles with spattered drum beats and an off-kilter bass line that slowly grows. Finally, Thom’s reverberating vocals reel you into the bigger picture.

Although “Bloom” is entertaining, it is nothing the band has not tried before on Kid A or Amnesiac, and is probably the lowlight of the album. “Morning Mr. Magpie” is the same. It’s better than the first track, but lacks the excitement expected when one hears Radiohead.

Limbs really starts to pick up speed in the third track. “Little by Little” is an energetic number that recovers from the dullness of its predecessors.

“Feral” is the most outlandish track on the album. It is an instrumental piece comprised of fast-paced, high-pitched drums, consumed by overwhelming bass and synth notes. Much like the rest of the album, it has a constrained, claustrophobic sense of urgency.

“Lotus Flower” is the album’s dominant force. It is catchy, beautiful and reminiscent of the 90s band Massive Attack. “Codex,” the following song on the album, is an elegant slow-burner that  quickly diminishes this excitement. The band seems to take a page out of Bon Iver’s playbook for “Give Up The Ghost”. Thom’s vocals are at their prime here. They are haunting and calm, soothing and fearful – a brilliant dichotomy that truly makes Radiohead the world-renowned band they are.

The album ends on a high note with “Separator.” This song is much less controlled than the rest of the tracks and is riddled with perfectly-placed overlapping vocals. Unlike the restless feeling given off by most of the previous tracks, “Separator” comes across as much more optimistic.

Although Limbs starts off slow, it gains speed and makes a promising finish. As with most Radiohead albums, it needs countless listens to be fully understood. It takes time to appreciate it for what it is.

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

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New Album Review

Self-titled debut shows heart and determination

88.1 WKNC’s Pick of the Week 1/31

The world of distorted rock is one that many bands dare to succeed at doing well, but ultimately fail at when it comes to executing at an album level.

It is a highly fickle sound that some attempt to manage, but fail to pick up an audience that becomes significant at a larger level. Even with all the disadvantages of taking a path that does not frequently lead to success, Yuck has embarked on this task.

As their debut album proves, they have all the potential of being a band that proves to be at the front of rock fans. Receiving accolades from the likes of the BBC Sound of 2011, Yuck had a lot to live up to, and their debut holds up astoundingly.

Yuck wastes no time when giving the audience a direct message about what they have come to accomplish. The first track, “Get Away,” kicks into gear with little hesitation. The punch from the guitars has a raw and rhythmic tone with a subtle screech that makes the track accessible and instantly likeable.

Starting off on a good foot, Yuck follows one of the best tracks on the album with another that tops the list. Changing up the overall feel of their lo-fi sound, Yuck shows a lot of heart and determination. Their guitar riffs are soaring and contribute to the momentum of the tracks rather than serving primarily as a placeholder.

The brilliant thing about the young group’s album is not that they deliver one hard-nosed track after another, but that they have a precise understanding of pacing and are willing to venture outside of their comfort zone.

Instead of over-saturating the listener with several songs in succession with the same tone and grittiness, Yuck strategically places tracks that are much slower, easier on the listener and expose an additional depth to the band not previously seen.

Pacing and changing up the tone of songs come to a pinnacle when placed perfectly into the middle of the album with the track “Georgia.” Nostalgic, poppy and high-energy, “Georgia” becomes a standout that demonstrates the raw talent of such a young group. Adding their female member’s vocal talent to the track demonstrate how they are able to diversify their overall sound.

For the lovers of 90s rock of a similar likeness, it is hard not to pin down the influences of 90s lo-fi acts within many of the songs. “Operation” quickly becomes one of those tracks that highlight the magnificence of artists before them, while demonstrating the band’s enormous amount of heart.

Yuck provides for a sound that is easy to compare to other lo-fi artists, yet unique overall. It’s simple, direct, distorted rock at its finest.

Ending off a fantastic album the right way, Yuck delivers the spectacular seven-minute journey “Rubber.” Full of anxiety and the scruff that overwhelmingly defines their sound, “Rubber” becomes an excellent finale to what is a magnificent debut. If anything, Yuck is supremely appetizing to anybody that wants to listen to rock as loudly as possible.

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

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New Album Review

The Decemberists release “The King is Dead”

88.1 WKNC’s Pick of the Week 1/26
By Sarah Hager, WKNC DJ

The Decemberists celebrated their decade of making music together with the Jan. 18 release of their sixth full-length album, The King is Dead.

The Portland, Ore. natives are known for their mix of indie, folk and rock music all packaged under the chilling yet soothing voice of Colin Meloy. The new album offers another genre blend that wasn’t prominent on former albums. The influences of Americana and blues are unmistakable during each new track.

The six-piece band plays an array of over 14 instruments, including Hammond organ, piano, violin and harmonica. In addition to the band members, guests Peter Buck of R.E.M. and indie folk star Gillian Welch also appear on the new album. Despite the mass amount of instruments and bodies, each song has deep layers of music without any part of it sounding odd or random.

“Don’t Carry It All” starts off the album with a blast from Meloy’s harmonica to immediately set the mood of The King is Dead. All the instruments complement one another. Sara Watkins harmonizes with Meloy on the choruses, which turn out to be a common tool throughout the album.

The second track picks up the tempo and adds interesting lyrics, which are an aspect of The Decemberists that any fan immediately recognizes. Their lyrics consist of clever rhymes and vocabulary-building words virtually every time.

“Down By The Water” and “Rox in Box” are truer to older Decemberists music. The first features harder cymbals, harmonies in all the right places and musical build-ups to engage the listener. This is the one you’ll sing along to first. The latter is also catchy, but has an older feel to it, laced with sharp guitar licks and accordion.

“January Hymn” reminds me of Dave Matthews Band. It’s slower with heavy reliance on acoustic guitar and voice. Lyrics like “April, all an ocean away, is this the better way to spend the day/Keeping the winter at bay” paint a scene of someone deep in thought, retracing their choices. With a shaker acting as the only percussion, the listener focuses on the lyrics and gets lost in thought.

“This Is Why We Fight” is a track that has more rock than country. The lyrics are choppier and repetitive, making a point and getting straight to it. “Come the war/come hell” paired with a chorus containing “and when we die/we will die/with our arms unbound” has a political air to it. The last 45 seconds of the song feel like listening to someone playing guitar from another room.

Overall, this album was not what I was expecting, but I enjoyed it. They embrace their Americana roots and run with it. This is right up the alley of fans of Bob Dylan and Neil Young. The vocals, wide range of instrumentation, lyrics and genre variation will reach a wide listener range. Although it strays from the rockier center of traditional Decemberists music, The King is Dead is definitely worth a listen.

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

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New Album Review

Folk group debuts sophomore album

4/26 WKNC Pick of the Week

written by DJ Ones, WKNC Daytime deejay

Following the immense success of 2008’s debut self-titled album, Fleet Foxes took three years of touring, recording and reflecting before their sophomore release, Helplessness Blues.

The delay, although difficult for early fans, may have done just what it needed to calm some of the hype for their second full-length. It also allowed time for Fleet Foxes to grow, experiment and hone their skills as proper folk artists.

Fleet Foxes, while holding onto their abilities to create folk tracks with large amounts of grandeur, allowed themselves to experiment, reflect and refresh what could have been an attempt to repeat the sounds present on their debut. Quite simply, Fleet Foxes did everything that was necessary for a proper sophomore album.

Getting an early insight into the majestic, nostalgic mind of lead singer Robin Pecknold, the album starts with an intimate beginnings as he reflects, “Oh man what I used to be!” As the harmonies of the band echo in the background, Pecknold carries along with hopeful yet observant sentiments on what could happen and what already has happened, a proper opening for an excellent second album.

Helplessness Blues keeps the audience captivated as they experiment with new techniques for song writing.

On two different occasions the band combines two songs, which create some of the most peculiar moments on the album. In “The Plains/Bitter Dancer,” Fleet Foxes start with a light, yet long instrumental opening that merges into a track that is less traditional Fleet Foxes, and instead calls back to the older folk generations that influenced their music.

Some of the most stripped down moments throughout the album allow for some of the most powerful moments.

In the title track, Fleet Foxes hone this surging folk sound dominated by multiple acoustic guitars, the range of Pecknold and the ability to progress tracks from within to climax.

Pecknold and company have the capability to bring in beautiful lullabies to calm down and change it up. In “Blue Spotted Tail” they utilize only the smooth harmonies of Pecknold’s voice and a guitar, which proves to be both soothing and dreamy.

However, Fleet Foxes is able to deliver one of their greatest tracks with the conclusion of Helplessness Blues.

“Grown Ocean,” a soaring dream of Pecknold’s creation, carries alongside an optimistic, grand collaboration of all elements, old and new.

Hearkening to some of the vast musical mixtures of their first album, Fleet Foxes is also able to create layers with incredible precision. As flutes penetrate the epic collision of instruments that guide us along the dreamy atmosphere of Pecknold’s lyrics, Fleet Foxes conclude their excellent album with one of the greatest folk tracks of the past decade.

Through a combination of experimenting with new musical elements, utilizing their previous combinations of folk music and writing meaningful lyrics, Fleet Foxes delivers one of the best albums of the year.

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

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New Album Review

‘Just Another Thing’ isn’t just another thing…

While The Grayces aren’t well known here on the east coast, in the Music City, they’re music news.  Since the release of their 7" EP last year, they’ve been playing all over Nashville and touring the Midwest including venues in Chicago. And all those shows have earned them some real street cred. This year they’ve been asked to play the “Nobody’s Vault But Mine” Festival at Nashville’s Mercy Lounge, May 28-30. The festival is a Third Man Records fan appreciation event and will also include music from big names like Dan Sartain, PUJOL, Dex Romweber Du0, and The Ettes.

This morning, April 14, The Grayces gave a teaser of what’s to come for them besides their appearance at “Nobody’s Vault But Mine.”  They debuted their first official music video for their new single, “Just Another Thing.” With their association with Third Man Records acts you might expect the raw garage rock sound which assaults your ears as soon as the video begins, but what you might not expect is the perfect convergence of influences that make The Grayces so unique. Like a journey back in time, 80s pop-punk, 70s art rock, and the sarcasm of 60s British punk blend together in a simple mixture of head-banging rock that’s not nearly as simple as it seems. Lead singer Iz Stone’s ability to go from Pat Benatar to Grace Slick to Joe Strummer and back again in under 3 minutes is astounding and might be exhausting if it weren’t for the band’s keen understanding of when to let loose and when to pull back.

Sound amazing? I think it is. Granted, this isn’t for fans of moody alt rock, synthy dance music, or the folk-mania that’s been sweeping indie music, but if you like rock’n’roll, give your ears a treat and check out the brand new music video for “Just Another Thing” below.

“Just Another Thing”

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New Album Review

“The Age of Adz” deviates from norm

88.1 WKNC’s Pick of the Week 10/28
By WKNC DJ Margot

Sufjan Stevens has been silent for the last five years. His last album, Illinoise, was released early in the summer of 2005 and consisted of his usual, brilliantly haunting pop that is anything but normal.

The Age of Adz, released in early October of this year, follows a different path for Stevens. Instead of the orchestral arrangements we have come to know and love from his older albums, Age of Adz is brimming with electronic sounds and synthesizers.

For many Stevens followers, such as myself, this album instilled shock and anger. Stevens already took the originality that we loved and threw it to the ground. Everything has changed.

Stevens is no longer following his quest to create an album for each of the 50 states. Shocked fans discovered that the states mission was only an advertising scheme.

Listening to the new album, there is hardly a hint of Stevens’s famous banjo. This news hurts.

But, by giving The Age of Adz a chance and a good listen, fans are able to see Stevens as the artist he represents. He is no longer a one-sound musician, but a genuine talent who has more to offer the world.

For those who have not experienced any music by Stevens, this is the time. Stevens covers a full spectrum of sound. The Age of Adz gives listeners a taste of the future for music.

Brass instruments mixed with electronic, constant beeps followed by trills and Stevens’s known harmonies alongside auto-tuned tracks – this combination of sounds, both old and new, shows the expanse and brilliance of the artist that is Sufjan Stevens.

For fans who are like me, take a deep breath, plug-in and listen to The Age of Adz with an open mind. Stevens is still there, under all of that new sound. We first fell in love with him for his originality. Now we can fall in love with him all over again.

Instead of following Stevens through the past and present of Michigan and Illinoise, let him guide you into the future with The Age of Adz.

We expected great things and he followed through with something greater than we could have imagined.

If you are still looking for the old Stevens, listen to the first track, “Futile Devices,” which falls closely in line with Stevens’s 2004 album, Seven Swans. The best example of his combination of sounds is, “I Want to Be Well,” which is featured toward the end of the album.

With Stevens, nothing can go wrong.

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

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New Album Review

Blind Guardian sails to the edge of time

88.1 WKNC’s Pick of the Week 10/22
By Jonathan Newman, WKNC Chainsaw Music Director

How does one define epic? I believe, in my humble opinion, that if you were to look up the word epic in the dictionary you would see a picture of Blind Guardian’s latest magnum opus, At The Edge of Time.

This album is pure magic. From the opening strings and orchestra, to the closing guitar riff, this album is absolutely flawless. All of the songs on the album are based off of fantasy stories, and it really shines through in the lyrics.

The opening song, “Sacred Worlds,” was originally in the video game Sacred 2, where you had to find the band’s instruments in a quest. They extended the song with a full orchestra intro and outro, adding more depth and character to the song. This song immediately sets the tone for the whole album and gives you an idea for what you have in store.

The next song on the album that really shines is “Tanelorn (Into The Void),” based off the series of books Eternal Champion. The song is fast, having more speed metal akin to their earlier work. The guitars drive you forward, leading you to a catchy chorus you can’t help but sing along to.

One of my personal favorites, “Curse My Name,” is based off of John Milton’s novel, The Tenure of Kings and Magistrate, where a king is killed for not fulfilling his duties. It is an epic ballad where you will sing along to every word, and even raise your fist in the air, screaming the chorus at the top of your lungs. It is one of the best tracks on the album and quite possibly the best out of their entire 20 year discography, ranking second only to “The Bard’s Song (In The Forest)”, a crowd favorite.

Another stand out track, released as a single earlier this year, was “A Voice In The Dark.” This song is a combination of all things that makes Blind Guardian special. It is a fast, speed metal type song with a catchy chorus that cannot help but make you smile as you listen to it. Try as you might to resist, you will have trouble not singing along to the chorus every time it rolls around.

The last song to make mention of is “Wheel of Time,” based off of the Wheel of Time fantasy series written by Robert Jordan. This song is very much akin to the band’s last epic song, “And Then There Was Silence.” It is bombastic with its huge chorus where the lead vocalist, Hansi Kursch, vocals are layered upon each other.

It is a fantastic way to close an album, and one that will force you to play the CD again, and again.

All of the songs on here are beautiful and composed perfectly. The orchestra added to the songs con-tribute depth that one rarely finds in CDs these days.

This band has been together for over twenty years and have grown immensely; evolving from a speed metal band, to something that defies genres. I recommend this album for anyone who loves power metal, prog metal or even just music in general.

It is a fantastic album and one I think that will be very hard to top. I will be listening to this album until I reach the edge of time.

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

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New Album Review

‘Doombound’ from the Shire to Gorgoroth

WKNC Pick of the Week, February 11, 2011 by Jonathan Newman, WKNC deejay


Musically, this album is more akin to the bands earlier works Where The Shadows Lie and Sword’s Song with the driving guitars and blast beats. They blend the male and female vocals seamlessly over the keyboards and guitars, giving the songs a more earthy, yet powerful tone.

The male vocals have improved dramatically. The vocalist has seemed to have found the perfect line between growling and singing to add a voice that blends both a uruk-hai and a man. The female’s vocals sound like the elves Arwen and Galadriel combined, forming a light sound that compliments the male’s harsh vocals. Together with the lyrics, the music creates a powerful effect that sucks you in, leaving you wanting more.

While all the songs on the album are special in their own right, there are a few songs that one should take notice of, with the first of these songs being “Bow and Helm.”

The song immediately kicks in with dual guitars and a pounding drum beat before filling your ears with the horns of Gondor. The male vocalist speaks softly to us about the land of bow and helm, before the voice of the orc breaks in screaming over galloping guitars about the rise of the dragon. Then it slows down, letting the elf and man sing quietly, before quickly returning to the orc attack of guitars and drums.

“Kärmessurma” is one of the more unique songs on the album, utilizing both male and orc vocals over a driving guitar. Yet what makes it special is the whole song is sung in elvish, making us feel as if we are watching a shouting match between a man and orc, before the female comes in and calms everything down.

The second-to-last song on the album is worth noting. “Doombound” is the last song to use vocals, and it uses them to such an extent that when mixed with the keyboards and guitars, you truly feel the pain that Túrin felt in his last moments. With a catchy hook and painful roars, the song plows on, dragging you down, before lifting you back up with a piano interlude filled with the serene voice of the elf, giving you peace despite the fact that you are doom-bound.

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