Retroview – The Concordian

The Shins – Port of Morrow (Columbia/Aural Apothecary; 2012)

Frontman James Mercer, now an astonishing 41 years of age, has finally returned from a four-year-long hiatus during which he collaborated with Brian Burton in their tag-team project Broken Bells. Then, with much anticipation, Mercer released Port of Morrow’s first single, “Simple Song” and its B-side “September,” on Record Store Day. Fans knew immediately that the wait was worth it. The video for “September” featured the song’s lyrics scrolling whimsically across inanimate objects, remaining true to Mercer’s indie mastery. Fusing bossa nova rhythms, unidentifiable white noise, quivering guitar and a simple complexity, with quite possibly the most poetically romantic lyrics that have ever crossed Mercer’s lips, the B-side outshone its A-side. Featuring both new and old cast members, the entire album has got to be one of the best of 2012 with its multi-instrumentality, layers of acoustic and electric guitars, spot-lighted strings, low-fi snippets, and of course, Mercer’s emotionally-infused vocals.

Rating: 9.5/10

Trial track: “Port of Morrow”

– Allie Mason

The Ting Tings – Sounds from Nowheresville (Columbia; 2012)

UK duo The Ting Tings planned on releasing their second album in 2010, but scrapped most of their songs because they sounded like “everything else on the radio.” Two years later, they’ve released Sounds from Nowheresville, and despite comprising of only 10 songs—a total track time of less than 35 minutes—the album should satisfy fans who enjoyed their previous effort We Started Nothing (2008). The band says they took influence from Berlin’s electro-scene, which is obvious on songs like “Hands” and “One By One,” the former only appearing on the album’s deluxe edition. Vocalist Katie White shows her softer side on the song “Day to Day,” which brings a welcomed change from her usual in-your-face punchy singing style. Unfortunately, the album’s final three songs are its weakest, and leave us feeling very underwhelmed—too bad for an otherwise great album.

Rating: 8.5/10

Trial track: “Give It Back”

– Natasha Taggart

The Decemberists – We All Raise Our Voices to the Air (Live Songs 04.11-08.11) (Capitol; 2012)

Indie-folk stars The Decemberists have released their live album We All Raise Our Voices to the Air (Live Songs 04.11–08.11), available as a double-album or triple-vinyl set. Lead singer and songwriter Colin Meloy and his merry bandmates take listeners through hits such as “This is Why We Fight,” “The Bagman’s Gambit,” “Oceanside,” and “The Mariner’s Revenge Song,” recorded during their 2011 North American tour. What seems to lack the most on the album is something different. Usually, live albums, like concerts themselves, are supposed to add an extra dimension of awe-inspiring musicianship. Instead, the Portland, Ore. band seem to simply play their songs, and while they are not played poorly, they leave listeners wanting more. Nevertheless, the collection of fiddle, guitar, vocals and other instruments is sure to entertain.

Rating: 7.8/10

Trial track: “Down by the Water”

– Andre-Joseph Cordeiro

Art Blakey and The Jazz Messengers – Moanin’ (Blue Note; 1958)

Listen up, cool cats! Recorded in 1958, Moanin’ is an impeccable hard-bop classic by the legendary Art Blakey and The Jazz Messengers. This essential piece of musical history is easily one of Blakey’s most accessible and widely adored records, partly due to its fresh and melodic sound, and its all-star lineup. The sensational Lee Morgan delivers some stunning trumpet solos. Benny Golson not only plays a mean tenor saxophone, but is also responsible for composing the majority of the songs on this album. Bobby Timmons and Jymie Merritt keep the rhythm in check on the piano and bass, but who can ignore Art Blakey and his insane mastery of the drums (in my opinion, one of the greatest drummers of all time)? Moanin’ is the perfect introduction to anyone who has an interest in jazz music. This sophisticated, modern jazz record with a bluesy influence is essential to any music lover’s collection.

Trial track: “Moanin'”

– Paul Traunero

Memoryhouse – The Slideshow Effect (Sub Pop; 2012)

The opening line of Memoryhouse’s first single, “The Kids Were Wrong,” from their first full-length album, “Go to sleep / nothing’s changing,” is a ballsy lie. Composer Evan Abeele and vocalist Denise Nouvion have made massive strides from their hazy reverberated swells to much more vibrant acoustic endeavours. Nouvion’s voice is front and centre, confronting listeners like that of a lead singer rather than from behind the ambient gauze of The Years (2011). Music moving and shimmering like never before, the pair show that they are more than just another chillwave experiment. A confessed fan of composer Max Richter (who released his debut solo album Memoryhouse in 2002), Abeele brings the same haunted sounds of Richter’s nouveau classical. Lonely strings prowl the first song “Little Expressionless Animals” and most songs carry a sense of longing. The album isn’t perfect, yet it shows a maturity and mastery that can only mean better things from the band.

Rating: 8.0/10

Trial track: “Little Expressionless Animals”

– Patrick Case

Fanfarlo – Rooms Filled with Light (Canvasback Music/Atlantic Records; 2012)

Start teasing that mullet and slip into those skin-tight neon jeans, because the ‘80s are back—at least according to Fanfarlo.
This London-based folk-pop collective initially made their mark on the indie scene with their 2009 debut Reservoir. In a desperate attempt to distance themselves from becoming an Arcade Fire-esque copycat band, they have traded in their scruff for some new wave ‘80s glamour.
In no way do I condone such an overt gimmicky effort. Cashing in on the “retro” appeal of the 1980s is just tacky. Although, I will admit that Fanfarlo has managed to borrow from the past whilst remaining rooted in modernity with lush string sections, the inclusion of brass and a pocketful of irony that would make Urban Outfitters proud. This is a band that seems to be struggling with making sense of the modern world.

Rating: 6.0/10

Trial track: “Shiny Things”

– Paul Traunero

Anti-Flag – The General Strike (SideOneDummy Records; 2012)

Back with their eighth studio album, Pennsylvania’s Anti-Flag presents The General Strike, their second release on SideOneDummy Records.
The LP was recorded by the band at their home studio in Pittsburgh. Angry about United States bailouts and corporate injustice, and providing musical accompaniment to movements like Occupy Wall Street, the band produces some of their most hardcore and pissed off music to date.
At just 27 minutes and 16 seconds long, the album is short, but the record is sure to please punk-rock and anti-establishment fans alike. Its verses are well-written with catchy, infectious guitar riffs, convincing more conservative listeners to sing along. “Get up! Your voices are needed!” screams one of the vocalists. “This ain’t a fad / this ain’t a fashion / This is the world wide anthem,” declares another lyric.
Set for release on March 20, the album will provide an ample soundtrack to striking Concordia students.

Rating: 8.5/10

Trial track: “The Neoliberal Anthem”

– Andre-Joseph Cordeiro

The Church – Of Skins and Heart (EMI/Parlophone; 1981)

Emerging from Sydney, Australia’s rock scene, The Church first recorded a four-track demo, catching the attention of producer Chris Gilbey, who had cut his teeth with AC/DC a decade earlier. As part of his project to resurrect the Australian branch of record label Parlophone, Gilbey signed the band and co-produced Of Skins and Heart as an EMI/Parlophone release in 1981. Even though the album was not as commercially successful as later releases, it became the band’s most mainstream work, predicting the jangly, psychedelic rock of the mid- to late 1980s. The album itself is sonically diverse with post-punk, new wave and alternative rock inspirations. Opener “For a Moment We’re Strangers” is a dance rock gem, while “The Unguarded Moment” features soft/loud dynamics overlaid with singer Steve Kilbey’s coolly detached vocals. An unpretentious pop-rock album reminiscent of The Smiths and The Stone Roses, it paved the way for the later success of catchy alternative rock.

Trial track: “The Unguarded Moment”

– Cora Ballou