Quick N' Dirty Reviews

Andrew Bird/ Armchair Apocrypha
For those who lack patience, albums that don’t reveal themselves immediately can be incredibly frustrating. As a society, we’ve become so conditioned to expect everything now, now, now that we’re unable to exhibit the stamina that it takes to fully enjoy something that requires any devotion of time. Andrew Bird’s latest, Armchair Apocrypha, falls into this category. I’ll fully admit to being guilty of this lack of patience myself, even when it comes to Andrew Bird. Despite considerable press for his last offering, Andrew Bird And The Mysterious Production Of Eggs, it never really captured my interest. And at an initial listen, Armchair Apocrypha comes off as very stark in its own right, with nothing that immediately grabs the listener and screams, “Take notice!” However, after a few listens it begins to slowly open up like the petals of a flower. One petal reveals the Jeff Buckley-esque vocals on “Armchairs;” the next, the haunting synths of “Simple X;” another, the gentle finger-plucked violin on “Imitosis;” and still another the ethereal whistle and serene harmonies of Haley Bonar on “Spare-Ohs.” Lyrically, Bird is at the top of his game, laying claim to his status as one of the most literary-minded artists in rock today. Songs such as “Scythian Empires” and “Darkmatter” are prime examples. In essence, the spare production and intelligent lyrics serve to lend gravity to Bird’s music – even the instrumental tracks serve their purpose and aren’t the filler that they could have been on a lesser record. Armchair Apocrypha, while eclectic in its nature never feels like Bird is straining to sound like his influences – only that they’re revealing themselves organically in his work.

Dirty Rating: 86/100

Andrew Bird On MySpace Music
Andrew Bird's Official Site


Albert Hammond, Jr./ Yours To Keep
The musical landscape is littered with side projects by members of various bands that failed for one reason or another. Sometimes it’s hubris; sometimes it’s that those artists are better off as part of a whole; and sometimes… those artists just flat out suck. Albert Hammond, Jr. (better known as the rhythm guitarist for The Strokes) does not fit into any of the above categories, at least not on the basis of his solo debut, Yours To Keep. After the atrocity that was The Strokes last release, First Impressions Of Earth, it’s fair to say that Yours To Keep comes as a pleasant surprise. Hammond has an appealing vocal style – to say “singing voice” would probably be a stretch – as he shares more than a little in common vocally with bandmate Julian Casablancas, with the major difference being that he doesn’t possess the cigarette stained yelp that’s present in Casablancas’s voice. Musically, it’s clear that Hammond is a classic rock fan as hints of The Beach Boys and The Who pop up from time to time, and he also proves himself more than capable as a lead guitarist. Note to the rest of The Strokes (particularly you, Casablancas): It might be a good idea to cede some of your songwriting and/or vocals to Hammond in the future. The strength of tracks like “Everyone Gets A Star,” “In Transit,” “Holiday,” and stellar second single “101,” all of which would feel right at home on a Strokes record, demonstrates this fact. Ultimately, Yours To Keep is what First Impressions Of Earth could have been and it serves as an announcement that The Strokes are (and should be) more than a one-man show.

Dirty Rating: 76/100

Albert Hammond, Jr. On MySpace Music
The Strokes' Official Site


Youth Group/ Casino Twilight Dogs
When a band gets its foot in the door in the music industry on the basis of a cover, it’s only natural to be wary of their talent. Anyone can record a song that’s already been done. That’s why we have drunken karaoke and the abomination known as American Idol. Hell, the band down at your local bar does the same thing every night – and that doesn’t make them good or worthwhile. There’s even more reason to be skeptical when the cover in question is a really bad song like Alphaville’s “Forever Young,” but when you’re able to take a crap nugget like that and turn it into a beautifully compelling pop ballad you’re gonna gain people’s attention, which is what Youth Group has done with Casino Twilight Dogs. After their “Forever Young” cover was featured prominently in FOX’s television series The OC, Youth Group began garnering some press and although Casino Twilight Dogs was released in 2006 in their native Australia, it only received a US release earlier this year largely on the strength of “Forever Young.” Luckily for fans of indie pop there’s more here than just that one track. “Daisychains,” “On A String,” and “Catching & Killing” are all top-shelf indie pop offerings, somewhat bringing to mind a poppier Stereophonics. Where their previous record, Skeleton Jar, was sketchy – a few tracks here and there, but not enough to sustain an entire album – Casino Twilight Dogs is solid from beginning to end. A few more albums like this an there’s a pretty good chance that you’ll hear Youth Group being covered by bar bands around the country.

Dirty Rating: 81/100

Youth Group On MySpace Music
Youth Group's Official Site