Goff's Pick of the Week- More Lights by Primal Scream

There is nothing that impresses me more in music then a band that can put out good records continually. In a world of internet upstarts and overnight explosions in popularity that fizzle out as quickly as they came; bands like Spiritualized, Sonic Youth, Destroyer, and Belle & Sebastian prove to be slow burns that deliver untold listening pleasure. Primal Scream is also one of those bands.  For the most part it is the lifelong dedication to music that harbors the most rewarding of musical experiences for the fans, and fans of the 1991 breakout classic Screamadelica have no doubt continued to find things in Primal Scream’s discography that have kept them coming back for more and more. More Light is no exception. It is, if nothing else a continuation of the party that Primal Scream started twenty two years ago, and while other bands have released classics and then have been unable to find that same magic again (I am looking at you Guided by Voices) Primal Scream proves that they still deserve to occupy some of your headspace.

The appropriately titled first song on More Light is called 2013, and in case you were wondering what Primal Scream might sound like if they were to release an album twenty two years after Screamadelica More Light is a very good place to start. Everything about that track is obvious, its name and its sound. Of course Primal Scream were never really known for their subtlety.  To me More Light sounds like something that a fan could have thought up and wrote, that is not to say that it is a bad album, not at all. The record just feels far more like extrapolation as opposed to innovation. Where fans of Loveless would have an impossible time imagining what m b v would sound like, Primal Scream fans would have a less difficult time of it. But really that’s okay. There is nothing wrong with a band delivering what the audience expects, and while surprises on More Light are few and far between, there is enough ingenuity and really strong songwriting to keep pretty much any audience satisfied. And while an opening track called 2013 is a little obvious they can get away with it, because after all they are Primal Scream. 

 

One thing I love about bands like Primal Scream, bands that have their fingers to the pulses of American music and hover on the edge of genres outside of their own, mainly electronic music, is that after making music for nearly twenty five years you can clearly follow the development of said electronic music over time. Where Screamadelica was written for the children of the rave, More Light is undoubtedly an album for our generation, made to be listened to at whatever it is dance parties are called these days. And while I can’t really see any of the tracks on More Light actually getting playtime at any run of the mill bar and/or dance establishment, a few of the tracks feel like they come close and you can certainly feel the influence of dance music and modern production techniques on the record. Having such influence on a record really shows that the band is trying, as opposed to say U2 who haven’t changed their sound since Joshua Tree. Call it a reinterpretation a reconstruction or whatever you will, Primal Scream know what they are doing.

On More Light most of the innovation comes in the form of unique drum beats, interesting electronic noises, distorted horn sections and of course the lyrics. Highlights from the album prove to be the tracks with the most things going on. And while that type of album makes me feel like if the band had only taken their sound a bit further it would have resulted in music that was that much better, the music is satisfying enough that any listener could hardly ask for more without coming across as greedy or ungrateful. Overall More Light is a very solid release, certainly one that adds something to the Primal Scream discography. While it may not pop up on many end of the year lists, it certainly was worth listening to. Oh and if you haven’t heard Screamadelica, you are wasting your time reading this. Go do that right now. Right now. Go.

New Jersey White Boy's Rap of the Week: "Control" by Kendri...I mean Big Sean featuring Kendrick Lamar and Jay Electronica

So, I was writing another article, and I decided put it on pause, because I got “Control” on repeat. I know what you’re saying “Eric, you hate Big Sean. How could you love one of his songs?” And to that I say, you clearly missed the part where the title said “featuring Kendrick Lamar”. Now, I was planning on skipping this song – Kdot has done features, all of which have been solid, but generally not too notable. Plus, as someone who’s not too fond of BS, as Mr. Strawman pointed out earlier, I wasn’t too excited. Yes, Jay Electronica’s on it, but I don’t really care about him. He’s just not my thing.

But then I finally sat down and heard the song.

Holy fuck I’m never ever going to sleep on a Lamar feature ever again. He could be on a Solja Boy track, and I’ll sit through it. It could be 33 chapters of incoherent, outlandish storytelling, and I’ll sit through it all, just to hear Kendrick Lamar rap at the very end of it. I’ll shoot a bootlegger, that’s how good I feel about this shit.

Kendrick Lamar owns this track. Big Sean has an okay verse, starting off good, falling off, then getting average again. Like usual. Jay Electronica puts down a solid verse, like he always does, and it’s interesting and deep, and whatever. I don’t care. No one wants to hear about this shit, and I don’t want to talk about it.

I defy you to find a single rapper who’s hungrier than Kdot on this track. He starts off gentle, calmly explaining his verse’s thesis; that rappers today suck, and he’ll (figuratively) murder you with his verses. Ironically, he murdered Big Sean and Jay Electronica with the subsequent verse, and showed just how average Big Sean is to his fans.

Then his verse starts. My god does his verse start. Kendrick comes out swinging, aggressively growling out every line, which is impressive enough, until you realize that it’s over 3 straight minutes of that. That’s the longest verse on the track, and one of the longest I’ve ever heard. And to be able to keep that aggression and stick to the lyrical theme for that long is above reproach, particularly for a non-brag rap.

But just beyond his hungry delivery, beyond the great lyrics, is the theme. The message that he’s delivering with this verse. Most obviously is the call out on modern rap music. It’s been a line that Kdot has been towing for years, trying to get mainstream rap away from the weed, the bragging, the money, clothes, cars and hos, and now the club rapping about molly. He wants rappers to stop all that bullshit and start rapping about real things. Real issues facing both them, their community, and society as a whole. There are too many 2 Chainz’s and not enough Tupac’s, and Kendrick wants to turn that around.

Which brings him to his next point – calling out the pussy ass ho niggas, and claiming he’s the best. He leads off by comparing himself to Jay-Z, Nas, Eminem, and Andre 3000, saying his name should join the best rapper alive conversation. He also tells all of his contemporaries – "new niggas" like Drake, Joey Bada$$, Pusha T, etc. – to go fuck themselves if they think they can even try to enter that conversation. This is most simply stated by the Biggie influenced line, “What’s competition?” And while he may like the people he’s doing features with, he’s still going to try to beat them. Hell, he calls out Big Sean on his own track – a move that, as far as anyone can tell, is unprecedented. He also claims to not only be the King of West Coast Rap, but the King of New York too, which pissed off a lot of New York rappers. He puts out an open challenge to the entire industry, saying “come on, prove me wrong. Step up, put up 50 straight bars like I did, and do it better than me.”

Kendrick has finally arrived. This verse has stopped hip hop in its tracks, and made everyone sit back and think about this verse. Everyone is talking about it, throwing opinions out there and discussing the impact (definitely watch that link), writing and recording response tracks. As of this moment, Kendrick Lamar is at the top of the rap genre, and if you want to dethrone the King Kendrick, you can’t come at him with any weak verses. You can’t sit there and brag about the million dollar home you have, the Gucci you wear, the car you drive. You can’t talk about the drugs you do, the girls you bang, the albums you sell. You can’t even talk about the beats you get. Kendrick isn’t talking about any of that, and he doesn’t care about any of that. You want to come at him? Come at him with bars, delivery, lyrics. Come at him with substance. Elevate your game and do it better than him. And that’s his goal – to make the genre what it once was, and get that respect back. Get people to stop Instagramming and Tweeting, and starting writing and editing their lines. Make people look at rap as an art form that has substance. And I think he’ll succeed, for now at least.

“I'm tryna raise the bar high/Who tryna jump and get it?”

Mark’s Pick of the Week: Sunbather by Deafheaven

            If you just look at the album artwork of San-Francisco based black metal band Deafhaven’s sophomore effort you miss a lot of details.  First you miss the fact that it’s a black metal album.  The album artwork for other black metal bands are normally…well black.  This looks more like something Beach House might release.  The second thing you’ll miss is that it’s one of the biggest albums of the year.  Not necessarily big in commercial success or even critical acclaim (though it has been almost universally loved by critics) but shear scale of sound. 

            As John mentioned in his June rap-up, the basic structure of the album is 4 tracks that are about 10 minutes long sandwiched between 3 shorter instrumentals.  The songs have various parts that seem to follow the same life cycle as a star: they burn brighter and harder until they explode releasing the material that will eventually lead to the next one.  At first this might seem like a daunting and jarring experience, and I would have to agree with you.  In the same way that new technology opens up a realm of possibilities both good and bad these guys force you to look at the sound for what it is, and its equal parts scary and amazing.

            Not only does this LP not look like a black metal album, but it also doesn’t behave like one.  Certain elements of the genre like heavy distortion, screeching vocals, and rejection of conventional song structure are still there.  However, the album feels more like a post-rock and shoegaze record in many ways.  Instead of rigidly following the black metal archetype these guys have managed to make an album that is one of the better examples of black metal in songwriting and instrumentation.

            One of the cool things this album establishes is a range of sound.  Some metal bands will do a constant bombarding of sound trying to pack every second with intensity.  While this route is certainly…intense it can desensitize you to the sound and make it tedious.  When the piano part of “Irresistible” moves into the title track you are very, VERY aware of the journey they have just taken you through.

            Finally, and most importantly, the music is just really Damn good.  Everything on this album from the instrumentation, the vocals, the production, and the songwriting is just so tight.  It’s an album that you don’t have to know or even really be a fan of the genre to appreciate because the music is just that well done.  If you’re looking for an album to play while burning up in the atmosphere of some unexplored planet then look no further.  

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John's Albums of the Month: June 2013

Hello everyone,

I know, I know. I am ashamed. Pretty soon I'll be doing the July albums in September probably...but hey, at least the album dates never change! What really has kept me motivated was the slew of great albums that came out in June, to my delight. This was the toughest month for placing my albums for sure. I'm sure you know a few of the highly anticipated albums that came out, so stay tuned to see if they made it!

Honorable Mentions: Camera Obscura - Desire Lines (4AD), These New Puritans - Field of Reeds (Infectious), Austra - Olympia (Paper Bag), Run the Jewels - Run the Jewels (Fool's Gold), Jason Isbell - Southeastern (Relativity)

10. Jagwar Ma - Howlin' (Mom + Pop/Marathon Artists)

When Madchester staples Primal Scream released their rock-leaning “More Light” last month, one could easily reminisce about the psychedelia-dance fusion that they crafted so well in the early 90’s. Luckily, the Sydney, Australia trio Jagwar Ma is happy to remember those old days. Drummer/producer Jono Ma and bassist Jack Freeman lay down woozy beats for singer Gabriel Winterfield. More importantly, the band is able to go far beyond mere nostalgia. Play through “What Love” or “The Throw” and you’ll hear not only a great sound but a knack for structure; Winterfield’s poppy, soaring melodies are used then tastefully looped over Ma’s tight dance grooves. “Howlin'” is a stellar debut album and great legacy-builder for its genre.

Key Track: Uncertainty

9. Mavis Staples - One True Vine (Anti-)

Philadelphia-born singer Mavis Staples has been in the music business for over 60 years, becoming a Rock & Roll Hall of Famer as a member of 70's Stax greats The Staples Singers. That well has long since run dry, but the septuagenarian Staples has found arguably her longest sustained period of critical acclaim on the Anti- label, working with famed producers Ry Cooder and now Wilco frontman Jeff Tweedy (who wrote three songs on this one). Her 13th studio album "One True Vine" continues this trend, an intimate collection of gospel and blues as performed by a master. The Funkadelic cover "Can You Get to That" is an enjoyable group effort, while the Staple Singers cover "I Like the Things About Me" is equally empowering and sassy. No matter who's song she's singing, Staples reminds you why she's great with this well-crafted effort.

Key Track: I Like the Things About Me

8. Jon Hopkins - Immunity (Domino)

A Londoner from the Wimbledon district, producer and multi-instrumentalist Jon Hopkins has had a strange career trajectory, releasing two well-received studio albums before breaking to collaborate with artists from King Creosote to Coldplay. Now firmly back on the solo track with his 4th album "Immunity", Hopkins shows that he clearly deserves a spotlight of his own. His productions burst with angular, kinetic energy, a startling combination of bass-heavy claustrophobia and expansive piano-led musings. The drums are relentless and the hefty synth gargles are used expertly as tension and release, as on "Open Eye Signal". "Collider" is equally effective, starting as nervous skipping before building with ambient strings, clipped vocals and synth stabs. There are better electronic albums this year, but none may be as striking as "Immunity".

Key Track: Open Eye Signal

7. Thundercat - Apocalypse (Brainfeeder)

Virtuoso bassist Stephen Bruner (a.k.a. Thundercat) is not one to be pigeonholed. He has both been in Suicidal Tendencies and collaborated with Erykah Badu. Yet the most fruitful collaboration--left-field hip-hop artist Flying Lotus had him on his two latest albums--is also the slipperiest. FlyLo also has produced Bruner's albums, including his sophomore effort "Apocalypse", so the off-kilter, jazzy influence is alive and well. But what's so rewarding about this album is how Bruner is able to adapt his great bass/lovely falsetto blueprint into many forms. We get an ecstatic party ("Oh Sheit It's X"), a Stevie Wonder send-up ("Without You") and even an unabashed pop song ("Heartbreaks + Setbacks"). There's no question that Thundercat and his ample talent could go in many different directions, but for Bruner to harness that eclecticism so effectively makes for an even more impressive release.

Key Track: Oh Sheit It's X

6. Disclosure - Settle (Island)

Surrey, England born brothers Guy and Howard Lawrence are arguably the hottest band of the U.K. house/garage scene, despite their youth (22 and 19, respectively). But they've been releasing singles, E.P.'s and remixes for three years, so why now? Their debut album "Settle" is your answer, which includes their 2012 high-charting single "Latch" and thirteen more absolute bangers. Though it's obviously tailor-made for the dancefloor, the album is surprisingly deep and sophisticated. The syncopated, airtight drum machines always pop and the synths are as thick as molasses, their frequent modulations rarely getting dull. The synths are sometimes so good that they are the relentless driving force behind songs such as "Voices" and "When a Fire Starts to Burn". Top it off with several great vocal guest spots, from Sam Smith on "Latch" to Eliza Doolittle on "You & Me" and you get one of the most entertaining electronic albums you'll hear all year.

Key Track: You & Me (Feat. Eliza Doolittle)

5. Sigur Ros - Kveikur (XL)

After the Icelandic post-rock quarter Sigur Ros released their 6th album "Valtari" last year, it was easy to think that we knew where they would go from here: they would continue to make the beautiful yet passive, soundtrack-friendly music we've come to expect. But then, multi-instrumentalist (and primary arranger) Kjartan Sveinsson left the band, and everything changed. Just a year later, the now-three piece has come back quickly with "Kveikur", and Sigur Ros is surprisingly vicious and aggressive. The opener "Brennisteinn" ("brimstone" in Icelandic) starts not with cute strings, but a badly-mangled burst of distorted noise followed by pounding drums and biting bass notes. But through it all, that lofty falsetto of singer Jonsi Birgisson reminds us this is indeed Sigur Ros. It's just that he doesn't sound precious anymore, especially when fighting distorted waves and piercing guitar lines. Though not a complete reinvention, it never needed to be. Hearing the band tackle a different angle so successfully makes it worthy among the greats of their deep catalog.

Key Track: Brennisteinn

4. Deafheaven - Sunbather (Deathwish)

On the surface, black metal looked like a genre that was very set in its ways of extreme doom and gloom, and for the most part it still is. But one band who is bucking that trend is San Francisco quintet Deafheaven, who combined elements of post-rock and shoegaze with shrieking vocals and breakneck drumming until their music is almost blinding in its brightness. Their second album "Sunbather", a stunning collection of just four songs and three instrumentals, is their best distillation of that sound to date. Even the album's pacing is fascinating, with the cool-down, piano-featuring "Irresistible" caught between the two monsters of "Dream House" and the title track. And on those monsters, you surprisingly hear big guitar hooks over the substantial muscle of the rhythm section. The instrumentals are also vibrant in their own way. "Please Remember" slowly builds in a series of nauseous loops, peaks with deafening feedback before giving way to acoustic guitar strumming. I must say that I'm not a big metal fan, but "Sunbather" is as dynamic a metal album as they come.

Key Track: Sunbather

3. Boards of Canada - Tomorrow's Harvest (Warp)

When Scottish brothers Michael Sandison and Marcus Eoin (a.k.a. Boards of Canada) put forth a brilliant marketing campaign and then announced their first album in eight years, anticipation was certainly high. It's safe to say that they delivered with their 4th studio album, "Tomorrow's Harvest". With the tone set as soon as they released eerie Conet Project-esque snippets as clues, the album is arguably their darkest and most unsettling to date. Even de facto single "Reach for the Dead", which showcases their downtempo muscle, has foreboding synth arpeggios to create a pervasive sense of dread. "Jacquard Causeway" has a hip-hop backbone, but its darting, muted synths keep you guessing. Then there's "Telepath", an eerie yet somewhat soothing microphone check of a distorted voice oddly reminiscent of the campaign clues. But BoC still does nostalgia best on "Tomorrow's Harvest" (see "Nothing is Real"), drawing from 70's film soundtracks in a manner that is often as haunting as the ghostly city barely appearing on the cover.

Key Track: Nothing is Real

2. Queens of the Stone Age - ...Like Clockwork (Matador)

Singer/guitarist Josh Homme, frontman for Palm Desert, California quintet Queens of the Stone Age, is one of the preeminent heavy rockers of his generation, even without counting that he had a hand in Kyuss and Them Crooked Vultures. But QotSA had fallen off just a tad in the last eight years from their world-conquering first three albums. 6th album "...Like Clockwork" reestablishes the band's high stature and then some. With help from fill-in studio drummer Dave Grohl, it's a rock album of mythic proportions. "Keep Your Eyes Peeled" sets the tone excellently, plodding along dangerously before exploding in fits of distorted wah guitar. "If I Had a Tail" excels in its restrained intensity, with that beautifully dank guitar sound and Homme's crooning. Even more impressive are the little surprises in the second half, be it the delicate piano and synth bass opening "Kalopsia" or the vaguely funky "Smooth Sailing". Equally powerful and sophisticated, "...Like Clockwork" is a return to form for QotSA and a peerless rock album this year.

Key Track: If I Had a Tail

1. Kanye West - Yeezus (Def Jam)

There are a lot of things that have made the Chicago-based rapper Kanye West famous. His egotistical persona and the resulting antics are often bigger than the music itself. But there's only one thing that has made West consistently great: his willingness to adapt, regardless of whether the hip-hop climate demands it. He is the most influential force in hip-hop not only because he has forward-thinking ideas, but the talent and discipline to pull them off. After the masterpiece that was "My Beautiful Dark Twisted Fantasy", West was clearly at a musical crossroads. Only he could be so bold to go medieval on "Yeezus", an album with virtually no promotion, no album cover and that is the opposite of radio-friendly. Drawing heavily from electronic music (four songs were produced by Daft Punk) and even industrial rock, the album is jarring on principle by stripping down West's previous music to the bone. But as off-putting as it sounds, the result is exciting and immersive. We get a demented marching band ("Black Skinhead"), a blaring rave ("On Sight") and a demonic R&B slow jam ("I'm in It") with captivating quick cuts and tempo changes keeping everything on edge. Of course, West lets his ego show, extremely petty on "I Am a God" using civil rights imagery provocatively on "I'm in It", though at least he's charming on "Bound 2". But through this strange roller-coaster ride, what stays intact is West's underlying vision of hip-hop, completely shunning popular conventions. That groundbreaking potential is where the true power of "Yeezus" lies.

Key Track: Black Skinhead

Mark's Pick of Week: Jinx by Weekend

Sometimes ambient music seems to sit on its laurels.  If they managed to make themselves sound like they’re 20 miles away from the listener then they’ve done their job.  They mistake the listener’s detachment (or in some extreme cases boredom) as some sort of contentment.  Really, really great lo-fi music sounds like a secret.  It gets right up in your face and whispers and you’re just compelled to sit there and listen.  You might not be moving, but on the inside you’re shaking.  It’s invigorating.  So really good lo-fi is sometimes hard to find, but it’s certainly worth looking for.

            San Francisco based lo-fi band Weekend (not to be confused with Canadian producer The Weekend) Exploded onto the seen in 2010 with their fantastic release “Sports.”  It was a great mix of fuzzy, loud, post-punk that anyone who likes Joy Division, Jesus and Mary Chain and My Bloody Valentine could take to right away.  Since then they have been a bit light on their releases choosing to tour heavily and only releasing a 5 track EP “Red.”  A few days ago that all changed with the release of “Jinx.”  Despite the title of the LP these guys managed to make an album that was both on par with their first release, and a step forward in songwriting. 

Instead of just doing “Sports 2.0” these guys managed to move forward in their sound.  Like the album cover suggests they keep the bones, but striped away a lot of the flesh leaving something smooth and dark, but still leaving it just as sinister.  They also brought on a new bassist whose presence is definitely felt on some of the tracks.  Also, while the last album was blown out past the point of recognition, this album steps out from behind the veil a bit.  This allows the songs to feel even more intimate now that you don’t have to strain to hear what they’re singing about.  Speaking of singing, the lyrics of this album feel more involved then the first taking the actual song out of the background of the noise and giving the listener something to hold onto.

            This album does have a few problems with it.  Some of the tracks ease on the gas a bit, and seem to putter on a minute or two longer then necessary while others seem to be missing parts.  However, it is certainly a step in the right direction, and sends the message that these guys aren’t interested in being a one-album band.  “Sports” was a great shot, but “Jinx” burns with the intensity of a band that isn’t done growing, finding its sound, or making good music.  If this is the weaker of their two albums then that is certainly more of a compliment then an insult.  I’d definitely recommend them to anyone who has ever been to a concert where gazing at your shoes was encouraged.  You can order the LP from Slumberland Records or check out their facebook.

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Goff's Pick of the Week- Slow Focus by Fuck Buttons

It has been a great year for electronic music. Daft Punk, Boards of Canada, Jon Hopkins, Baths, Disclosure, The Haxan Cloak, Ryhe, and Autre Ne Vuet, Magical Clouds; all great bands with great albums. And with releases from bands like Four Tet still in the tubes, it shows no sign of stopping. That is why I am particularly excited about the new Fuck Buttons LP. In the world of electronic music, Fuck Buttons wield what is perhaps the most expansive sound in the business. Where other djs seek to make two minutes music for murky clubs, Fuck Buttons tunes beg to be played out on the world stage. Basically the John Williams of electronic acts, most of their songs are epic in scale, both in terms of their length and the physicality that the songs exude. 

So what of the new album? Fuck Buttons have shown a clear progression from one release to the next. Their first Street Horrrsing could almost be viewed as mixing straight electronic music with hardcore punk. The songs featured gargled screams that can commonly be heard in basements on college campuses, but rarely on successful records. Tarot Sport, its follow up ditched the distorted screaming and focused more on the electronics, a good move by all accounts. The record is cleaner, more professional, and just plain better.  The question on everyone’s mind then is whether or not Slow Focus is better, and while that is hard to say, it certainly is bigger.

              Fuck Buttons are not a band known for their subtlety, and that certainly persists on Slow Focus. This album is huge in every way; it is music that is as attention grabbing as the name Fuck Buttons is. It is so delightful to find an ambient electronic band that evokes an ambience other then the slow calm one that is the bread and butter of acts like Boards of Canada and Oneohtrix Point Never or the spooky one employed by oOoOO and the like. If you ask me that is what draws people to Fuck Buttons, and Slow Focus delivers. Considering the bands girth, their has always been a formula associated with Fuck Buttons; give their music x amount of attention and receive y amount of satisfaction. They will make you feel things if you give them the chance, and isn’t that the point of listening to music in the first place?

            The Fuck Buttons discography is a very well planned and succinct machine. The duo behind the music has done a very good job of making ten minute songs that don’t waste people’s time, and albums that don’t waste people’s money. What more could you really ask for? At the end of the day, Fuck Buttons feel more like artists then they do musicians; they are a band that deserves your dollar. And while Slow Focus may not be quite as great as Tarot Sport is, it is still a damn good record with plenty of appeal.

Dan's Pick of the Week: Circular Doorway by LAKE

      While my original plan was to review Edward Sharpe’s new album this week, I was interrupted with a surprise release by LAKE titled Circular Doorway. I previously reviewed Ashley Eriksson’s new solo album, which was dropped this past Wednesday. No one had expected something from the whole band as well, let alone an entire album. Self-released through Bandcamp, LAKE kept it on the hush, only to tell people of an upcoming release without revealing the date. Their fan page was blowing up that day, first unveiling Circular Doorway, then announcing another album, The World Is Real, that will be released in September. The members of LAKE have certainly been busy this year, so I guess they deserve this amount of attention for the time being.

     Two new albums in one year sounded great, but it seemed as if Circular Doorway stood alone among the band’s discography. It feels almost like they recorded a jam session, with much more percussion and catchy rifts than ever before. I then discovered that the band had only six days to collaborate and record these songs, so it makes much more sense for this album to sound more like a session of some sort. The second new release, The World Is Real, is described as a more clean cut album, as Eli Moore explains, “One record was on purpose and the other was by accident”. I did enjoy Circular Doorway, but I don’t think I could compare it to their bigger releases like Let’s Build A Roof and Giving & Receiving. Don’t get me wrong, I’m super glad that LAKE crafted these ten tracks and then promised more along the way. I definitely respect this group much more now. 

     Perhaps this was not the intended analogy, but Circular Doorway may in fact be a doorway into LAKE’s future sound, which is more digital and exotic. It is no surprise that they have been leaning over this way to appeal to a larger audience. The best part, however, is that LAKE still maintains its authenticity; the soft seventy’s style music with various vocals and jazzy elements. If anything, I might enjoy this broadened sound even more. 

     What better example is there than the title track which is the album’s opener. It starts out in a whimsical melody but eventually twists into an eerie instrumental. “What You See Is What You Get” carries on with a familiar blues progression, but there’s some catchy vocals and interesting percussion as well. “Don’t Hate Yourself” was one of my least favorite tracks, for I thought they could do without the hey hey’s, na na’s, la la’s, and dut du’s; however, the album does have nice variation in songs like “Crying Room”, where the saxophone and electric piano are played as if it were an old club scene. “Positive Warning” is probably one of the catchiest songs on the album, with quite engaging beat and vocals.

     The second half of Circular Doorway begins with the lovely tune, “No Wonder I”, the album's only single which also happens to be BMO’s favorite song. My favorite songs are “Torpedoes” and “Relief”, simply because they are cool, collected and really hard to get out of your head! Yawrood was a recorded instrumental that is played backwards (“Doorway” for those of you who didn't notice). It feels natural despite the rigid sound. “Alone”, the album closer, is no less as rhythmic and catchy as the rest of the album. 

     Although Circular Doorway is short and not as professionally made as the rest of their discography, LAKE managed to pull off an amazing ten tracks that contain some of the catchiest music the band has ever written. Kudos to LAKE for a great release. I was surprised indeed!