Summer Album Reviews

Summer’s emphasis on outdoor concerts and catchy radio tracks means that new albums tend to fall by the wayside. However, the WSN music staff is on the scene, bringing reviews of some of the best albums you may have missed while you were at the beach.


The Game, LAX

These days the mainstream rap game is ruled by the ringtone rappers, digital voice processors, West and Wayne. The Game’s game, however, is ruled by Compton, respect for rap’s martyrs and collaborations. With “LAX,” the former Jayceon Taylor proves he can help carry Cali to its former glory. The album begins with DMX giving a sermon-like intro over beautiful piano before the hard-hitting “LAX Files” calls out Scarface (Pacino, that is) for not being a true gangster. “Ya Heard” starts with Game shouting out to various locales throughout the country, and includes genius lyrics by Ludacris. “Letter to the King” is produced by DJ Hi-Tek (of Black Star and Reflection Eternal fame) and is the best song on the album, with incredible politically-influenced verses from both The Game and Nas. “LAX” concludes just as it began, with DMX speaking over gospel music: “We thank you again for the power of the spoken word.” Amen.

— Strider Mervine  


Chris Letcher, Harmonium EP

On his new EP “Harmonium,” Chris Letcher balances the lightness of falsetto vocals with the heavy, rhythmic drumming he picked up growing up in South Africa. The six songs sound as if a more lighthearted Coldplay met the electronic scores of Radiohead’s “In Rainbows.” Restricting himself to simple, amiable melodies and airy chord patterns, Letcher captivates with layers of vocals, instruments and samples. “Milk” draws the listener in with floor tom-drum accents and ends with a sea of noisy, cacophonous horns. Dramatic instrumental build-ups pulse through “I Was Awake” and taper to the end, reminiscent of Bon Iver’s “For Emma, Forever Ago.” Woven through the whole of the album are Letcher’s dreamy, dark lyrics delivered in a calming voice with impressive range. It’s a chilled out, intelligent and intriguing EP. 

— Rachel Weishoff


The Cool Kids, The Bake Sale 

For Chicago rap duo The Cool Kids, being cool is an art form. Comprised of Antoine “Mikey Rocks” Reed and Evan “Chuck Inglish” Ingersoll, The Cool Kids’ first record “The Bake Sale” brings a refreshing blend of stripped down, heavy bass beats and smooth, creative rhymes reminiscent of EPMD and Run-DMC. “Black Mags” is a wonderfully crafted ode to BMX bikes set over a throbbing, hypnotic synth-bass. In “What Up Man” and “One Two,” Chuck and Mikey establish themselves as two of the best lyricists around with smart and witty rhymes, declaring themselves “the new black version of the Beastie Boys.” It’s on the excellent “88” however, that The Cool Kids solidifies its reputation as one of best new acts in music, recalling the glory days of East Coast rap both musically and lyrically, simultaneously ushering in the future of hip-hop straight from the streets of Chi-Town.

— Jon Blistein 

 

Shwayze, Shwayze

Some might be wary of a band with its own MTV reality show, but the newfangled patchwork of smooth California flow and soft rock of Shwayze’s self-titled debut speaks for itself. The album exudes sandy Malibu beaches and stirring downtown LA streets: “Baby, will you be my mellow little lady, marijuana sunshine soul-mate make crazy.” And though a number of the tracks may seem worth queuing up in iTunes for your next beach bonfire, a few gems like “Polaroid” and “Flashlight” (a nice little poetic track featuring Dave Navarro of all people) would light up any indoor college party. The relaxed feel would inspire all the right bends and twists from either audience.  

 — Josh Becker

 
Good Old War, Only Way To Be Alone

While albums meant to be listened to with groups of people appear almost daily, albums that force self-reflection are becoming scarce. The aptly titled “Only Way to be Alone,” Good Old War’s first release falls into that latter category. The easy, gentle rhythm and unpretentious lyrics of “Coney Island” work together to create a sweetly nostalgic tune. Later, in “Weak Man,” vocalists Keith Goodwin and Dan Schwartz’s voices meld together over twelve-string guitars and a synth bass to create a compromise using the best elements of country and folk. Halfway through the album, “No Time,” with its faster-paced verses, jingly chords and intermittent ooh-ah-oohs, is a well-timed break from otherwise folk-tinged songs. And while this incredible collection of songs is perfect for contemplation, “Stand By My Side” will remind listeners of what, and who, is important in their lives.

— Kacey Byczek


Slipknot, All Hope Is Gone

On 2004’s “Vol. 3,” Slipknot branched from their nu-metal roots into the realm of catchy hooks and acoustic weepies. That experimental vibe is still present on “All Hope Is Gone,” but the band doesn’t really build off of it. Instead, it opts for all-out attack, using its new tricks as building blocks. With repeated forays into ballads, singer Corey Taylor unleashes a true weapon: his animal roar. Few frontmen can be so gutturally genuine, and when the band lets him loose on “Psychosocial,” you can practically hear the walls come down around him. He even gets in one great acoustic song (“Snuff”) and a political rant (“Gematria”). Taylor tops it off by declaring a new world order on the title track. While this album won’t take him there, you can’t help but want to believe him.

— Anthony Benigno