Even though the Echo stops running from the end of June until the end of summer, I’ve been hard at work, listening to music, studying other reviews and writing. Part of the pleasure of music to me is writing about it. So I figured, rather than post online material throughout the summer, I could just put my opinions on all the music I’ve been listening to this summer into a couple very long articles. Part two will come at the beginning of the school year.
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Ceramic Dog: “Your Turn” (Northern Spy) Initially, this seemed like a case of awful lyricism and vocals puncturing an impressive guitar album. Then, I realized that this is a damn impressive guitar album and that only six of the thirteen tracks even have lyrics (and, in the words of Lester Bangs, “You can always ignore the lyrics if you want”). Eventually, the lyrics and vocals didn’t seem so bad. The instrumentals are still the standout moments, though, and I can’t bring myself to forget that the guitar-playing is what encouraged me to keep listening. Guitars speak louder than words. With Marc Ribot, even more so. Grade: A MINUS
Deerhunter: “Monomania” (4AD) Five really good songs, none of them extraordinary, and six forgettable ones. The fact that, for one day, this sounded like a masterpiece tells me that there’s probably something here. The fact that it was the day I got broken up with tells me that it’s mere noisy angst. Grade: B PLUS
Jonny Fritz: “Dad Country” (ATO) Fritz’s unique voice—too weird for country, too true to the genre for alt-country—turns a lot of people off, and it’s not hard to see why. You don’t often hear music this straightforward topped off with vocals this unfiltered. But the voice fits the songs, which are mostly great, and it catches your attention before the songs about Hollywood and suicide can even get to it. Grade: A MINUS
Gogol Bordello: “Pura Vida Conspiracy” (ATO) While its songwriting saved 2010’s “Trans-Continental Hustle” from mediocrity, Rick Rubin’s production still removed much of this band’s power. With Andrew Scheps now handling production, this album restores that power. “Malandrino,” “Amen” and “Gypsy Auto Pilot” are among their best songs, and the recordings do them plenty of justice. And while the final track is a bit dull, it appears to just be hiding the real show: “Jealous Sister,” a hidden song that is the album’s main highlight. Grade: A
Jay Z: “Magna Carta… Holy Grail” (Roc Nation/Roc-A-Fella) A big disappointment, or at least it would be if anyone actually expected anything out of it. The production is mostly hot, but the guest appearances often seem to be hiding how lazy Jay’s raps really are. His annoying method of playing it safe is especially evident when he follows a Rick Ross feature with a Frank Ocean feature, making it’s clear that he’s trying too hard to appeal to everyone. Unsurprisingly, he’s at his best on the tracks with no guest appearances at all. Maybe if he used his connections less and his talent more, his last great album wouldn’t be ten years old. Grade: B MINUS
Kitty: “D.A.I.S.Y. Rage” (self-released) Given recent disturbing events in Kathryn Beckwith’s life (which resulted in her writing this year’s finest piece of music journalism, titled “My Thoughts on This Whole Danny Brown Oral Sex Thing”), it’s easy to admire her as a feminist icon, a personality and a person. More difficult, though, is her music, which I’ve been struggling with since I first heard “Okay Cupid” last year. Grade: B
The Knife: “Shaking the Habitual” (Rabid) If you’re in need of good nauseating music, you can do better—try no wave music, or tUnE-yArDs, or The Fall. You can also do worse, however, and this is worth hearing for many reasons. It’s unique, keeps your attention and features one of this year’s essential lyric sheets (“Let’s talk about gender, baby.” Yes, let’s.) Still, I doubt that I’ll play it often in the future. Grade: B
Bassekou Kouyate & Ngoni ba: “Jama Ko” (Out Here) Fans of American music should have no trouble relating to these 13 songs on a musical level—they rock as hard as any recent American songs, swing like jazz and the notes are chosen with care and precision. So, it’s just a case of overcoming the language barrier. While the politics behind the album are fascinating and worth researching, the music stands well on its own, especially with so many talented voices involved. Along with Kouyate’s occasional singing, there are also guest appearances from Khaira Arby, Kassé-Mady Diabaté and Taj Mahal. Rightfully at the front, however, is Kouyate’s wife, Amy Sacko, a vocal talent who I hope releases more records under her own name. Her husband can still handle ngoni duties, though. Grade: A MINUS
The Jeffrey Lewis & Peter Stampfel Band: “Hey Hey, it’s…” (self-released) Outsiders from different generations, 37-year-old Lewis and 74-year-old Stampfel are a very fun duo. They make that apparent right away with the opening track, “More Fun Than Anyone.” Then, they follow that up with a spectacular ditty in which they sing: “I’ll help you up/You help me up/And we will feel less bluer than yesterday.” The emotional moments—“All the Time in the World” and “Moscow Nights” in particular—are powerful indeed. But the humorous moments like “Do You Know Who I Am?! I’m %$&*?in’ Snooki!!” and “Indie Bands on Tour” make fun of pop culture without seeming overly cynical, a difficult feat. Even more laudable is the final track which, at eight minutes long, never lags. Grade: A MINUS
Lil Wayne: “I Am Not a Human Being II” (Cash Money/Universal Motown) His jokes have gotten boring and his flows lazy, but even worse is the production, which renders this as dull and repetitive as a Rick Ross album. Then there’s “Love Me,” described by Robert Christgau as “pro-sex.” As much as I want to believe that to be an accurate description, the fellatio-focus and lines like “Can’t treat these hoes like ladies” somehow gets in the way. Becoming a caricature of all things abysmal in hip-hop might be working out for him, but I can’t help but hope that he calls his next album “Tha Human Being.” Grade: C PLUS
The Lonely Island: “The Wack Album” (Universal Republic) Musically, The Lonely Island’s third album is an improvement, with better production and hooks that sound fit for radio. This should have worked in their favor, since parodying hip-hop is easier when you can properly emulate it. But this group’s sense of humor has always walked the line between clever satire and trying too hard, and now it seems that they’ve gone over it. It’s fun for a listen or two, but only “I F—ked My Aunt,” “3-Way (The Golden Rule)” and “Spring Break Anthem” survive repeated listens as well as the key tracks on their first two albums. Meanwhile, the unfunny songs (notably “I Don’t Give a Honk,” “We Need Love” and especially “I’m a Hustler”) are unbearable. Grade: B
Laura Marling: “Once I Was an Eagle” (Virgin) In 2009, Bill Callahan released “Sometimes I Wish We Were an Eagle.” Now, here’s Laura Marling with “Once I Was an Eagle.” I’m starting to think that “an eagle” is some kind of indie-folk slang for “interesting.” Grade: C
Mostly Other People Do the Killing: “Slippery Rock!” (Hot Cup) From the silly album cover to song titles like “Can’t Tell Shipp from Shohola,” this jazz quartet is the funniest non-lyrical band in the world. Obviously, that form of humor doesn’t mean Shipp if the content is bad. Luckily, the music is gripping. The real star is Kevin Shea, whose drumming holds everything together while constantly appearing to be on the edge of falling apart. The whole band is dynamic, though, handling both the tender and the abrasive impressively well. Strangest of all, even when they approach free jazz, they’re a lot of fun. Grade: A MINUS
Kate Nash: “Girl Talk” (Have 10p) You have to commend Nash for recording a true riot grrrl album in a year where feminism has been more prevalent in country music than rock. But sadly, this isn’t a great riot grrrl album. A lot of the songs are forgettable, memorable hooks are too often ruined by execution and it goes on much longer than it should. It does house a couple gems, though: the punky anthem “Rap for Rejection” and the gorgeous anti-folk track “You’re So Cool, I’m So Freaky.” Grade: B
Paramore: “Paramore” (Fueled By Ramen) Already Fueled By Ramen’s most dynamic star, as well as somewhat of an ambassador to the pop-punk genre, Hayley Williams finally goes full pop and winds up with the greatest album ever released on the label. For a pop album, it rocks awfully hard and the power of the music suggests that Paramore could never have made material this good if the Farro brothers hadn’t left the band. This doesn’t seem too farfetched. Lyrically, it’s an hour long “good riddance.” Grade: A MINUS
Pistol Annies: “Annie Up” (RCA) The Annies can be forgiven for the punny title, simply because it’s accurate. Twelve minutes longer than their 2011 debut “Hell on Heels” and featuring more polished production, they do certainly up the ante here. This has its perks—“Hush Hush” works better as a single than any track on the first album, while the production really brings out the choruses in tracks like “Trading One Heartbreak for Another” and “Damn Thing.” Still, the charming sparsity of “Hell on Heels” is definitely missed. The songs are consistently enjoyable, though, ensuring that this is at least on par with the average Miranda Lambert album, although not Ashley Monroe’s “Like a Rose.” As for Angaleena Presley, let’s hope she’s saving her best material for a solo album. Grade: A MINUS
Savages: “Silence Yourself” (Matador) These women handle their attempts to be Joy Division better than the average group of men who want to be Joy Division. And if all you’re looking for is a bass album as good as “Unknown Pleasures,” look no further—bassist Ayes Hassan is on par with Peter Hook. If you expect a little something more with your basslines—melodies, say—skip it and hope that singer Jehnny Beth eventually gets her Ian Curtis down. Grade: B
Serengeti: “Kenny Dennis LP” (Anticon) Ever since he introduced him on his 2006 album “Dennehy,” Serengeti has been developing his Kenny Dennis character, making him more intriguing—not to mention hilarious—with every new appearance. Last year, “Kenny Dennis EP” (the first disc based entirely around the character) added six songs to Kenny’s repertoire. His LP only adds seven, with extra space being filled by four stories about Kenny from Anders “Ders” Holm of “Workaholics” fame (voicing a fictionalized version of himself). This doesn’t drag the album down, though, and these skits are about as enjoyable as the actual songs. What can you say about a character so likable and fascinating that four tracks of mere character development are actually fun to listen to? To quote Ders, “That’s Kenny, you know? Kenny’s that guy.” Grade: A MINUS
Serengeti: “Saal” (Graveface) Dark and moody, “Saal” is unlike anything Serengeti has ever released. I’m glad it exists. I also hope he never records anything like it again. Grade: B
Speedy Ortiz: “Major Arcana” (Carpark) Anyone who excitedly bought tickets to see the reunited Pavement or flipped out when the Pixies released their first song in nearly ten years will be pleased to know that Speedy Ortiz is the finest ‘90s indie band to form since the ‘90s ended. It’s not just that they recreate the sound well, either—it’s Sadie Dupuis, who has the voice and tunefulness of an angel sent down from Matador Records. Nothing on “Major Arcana” is as brilliant as their debut single “Taylor Swift,” but the tragic “No Below” has more meaning and “Plough” is almost as catchy. The seven-minute closing track is a bit overly ambitious, but this is still a band truly worth getting excited over. Grade: A MINUS
Rachid Taha: “Zoom” (Wrasse) Taha’s understanding of what makes for a powerful hook, along with his diverse list of influences, appealed to me before I ever made a serious effort to explore world music. That all shines on what is easily among his finest efforts. From the folky opener “Wesh (N’Amal)” to the electronic “Jamila,” he shuffles through different sounds, making this one of the year’s most diverse albums. When he’s helped out by a guest, the results are wondrous. Jeanne Added’s gorgeous voice assists in making his “It’s Now or Never” cover superior to Elvis’ original, Mick Jones handles the chorus on “Algerian Tango” and Brian Eno helps close the album. When he’s on his own, however, Taha is marvelous as well. The majority of these songs are immediate. The rest grow on you fast. Grade: A
Tyler, The Creator: “Wolf” (Odd Future) Initially, this feels like an improvement on “Goblin.” The production is cleaner, there’s actual variety in sound and his flows are better. But, it’s not an album that inspires you to care about it. Like it or not, “Goblin” has a chance at being culturally relevant years from now. “Wolf” is a giant “so what?”—and an overlong one at that. The Eminem comparisons are overstated, but accurate. Tyler and Em both suffer from the same demons, but when Eminem attacks the father who was never there for him, it’s effective. When Tyler does the same thing on “Answer,” he just doesn’t spark the same emotional reaction. And while single “Domo 23” is catchy enough, the lyrics are more of the same. Two great songs near the beginning, “Cowboy” and “Awkward,” make him seem talented and sympathetic, respectively. Put them on a three-song EP with “Yonkers.” Call it “All You’ll Ever Need.” Grade: B MINUS
Waxahatchee: “Cerulean Salt” (Don Giovani) Since I never got Katie Crutchfield’s previous band, P.S. Eliot, I didn’t get around to listening to the first album from her solo project. Now that this follow-up has finally brought her a significant amount of critical attention, though, I’m pleased to say that it’s the most I’ve ever liked her, albeit with reservations. Sound-wise, it’s good stuff—it kind of brings the Cranberries’ “Everybody Else is Doing It, So Why Can’t We?” to mind. The difference is that I can actually tell the Cranberries’ songs apart. Grade: B PLUS
Kanye West: “Yeezus” (Def Jam) After listening to this over and over again, there’s still so little to say about it, which indicates it’s not as interesting as it seems. An album with an 85 percent rating on Metacritic isn’t truly a bizarre attempted commercial suicide—even Radiohead’s supposed masterpiece “Kid A” only originally received 80 percent. Instead, this is fine music that manages to be different enough to seem challenging. Let’s hope that’s all it is, anyway. If this really is challenging, then that means that Kanye can get away with anything, and he’s too important for that to be true. So instead, listen to “808s & Heartbreak” for uniqueness, and turn this on when you want to hear another satisfying album from a man who has never released a bad one. Grade: A MINUS
Yeah Yeah Yeahs: “Mosquito” (Interscope) As someone who prefers “Fever to Tell” to “It’s Blitz,” I’m not dwelling on the lack of synths here. The lack of hooks is more distracting, anyway. Whereas the unmemorable “Show Your Bones” previously seemed like a slight misstep, it now seems like the first misstep for a band that continuously switches between greatness and mediocrity. That, along with the huge gap between albums, makes Yeah Yeah Yeahs an incredibly difficult band, especially since they’re so likable. Grade: B
