Grammys Aftermath: The Four Must-Have Artists

Somehow, the Grammys weren't absolute shit this year! Yes, this post may be a week (or two) late, but the biggest night for the music industry was actually something to remember for once - surprising underdog wins, electric performances, Gaga in an egg, Cee-Lo and Gwyneth Paltrow proving (again) to be an unstoppably giddy duo, Ricky Martin wearing scary silver pants, Christinia Aguilera falling down, etc. With lots of post-telecast Arcade Fire buzz (including the creation of this hilarious blog), I decided it was time to scream and shout about my favorite band, as well as others that hit the mark.

For starters, Arcade Fire probably had the worst performance of the night... unless you're a big fan of having a seizure while riding a bicycle. With a camera on your head. I mean, really, Arcade Fire? You might be Canadian, but that shit doesn't fly on American television. I was disappointed with this madcap performance - turn down those damn strobe lights and rock out. "Month of May" is also the most superficial track on The Suburbs ("We Used to Wait" would have been a better choice), but at least the band got to put out a confident "Ready to Start" as the credits rolled.

If you don't own The Suburbs, go buy it. Right now. While Funeral is still my favorite album from the band, they're an incredibly smart group of incredibly talented musicians that still remember the art of putting together a fully realized album; all of their stuff presents a theme, and works through its nuanced layers. I couldn't have been happier with their big win, and hope the new exposure works wonders.

Three other performers proved why you should be downloading - Florence + the Machine, Mumford & Sons, and the Avett Brothers. While Esperanza Spalding won Best New Artist (and was the most searched name on Google the next day, as no one had a fucking clue what was going on), Flo and Mumford & Sons should have been vying for the award; I've gushed about Lungs on the blog before, while Mumford & Sons' Sigh No More is one of my most played albums. The Avett Brothers have been around for a long time (their first full album was released in 2000), but paired with Mumford & Sons and Bob Dylan (who has definitely sold his soul to the Devil), they showed why they're still worth the buzz they've slowly built up through the years. Meanwhile, Flo's part in the opening Aretha Franklin tribute proved to everyone that this fire-haired Brit can sing the roof off (did I make up that expression...?). All three of these bands present different facets of what's truly hitting the mark in the more folky scene right now.

Next year, get ready for some heavy competition from the likes of Kanye West and Adele; My Beautiful Dark Twisted Fantasy is hands down the best "hip-hop" album in years, and proves the genius behind Kanye's outrageous public antics... while Adele's 21 (which is posied to debut at #1 on Billboard this week) is one of the most beautifully emotive albums ever put together, let alone by a 21-year-old woman.

Album Review: Rihanna's 'Loud'

I'm trying out something different here? Bear with me...

After releasing commercial failure Rated R almost exactly a year ago, Rihanna has returned to her brand of danceable pop on Loud. While the album is packed with undeniable smash hits, the entire set feels a little hollow. Rihanna is back in high spirits, paired with that flaming red mane, but the twelve tracks on Loud fail to meld together into a cohesive album. It's a tighter, more controlled edition of what she delivered on Good Girl Gone Bad. Rihanna has become much more sonically mature, and Loud is an effortless, well-crafted pop gem; unfortunately, she's also not departing too far from her regular shtick.

The album kick off with its hottest track, and allegedly the album's third single, "S&M." Unabashedly sexualized, with shocking schoolyard recess wordplay and an extremely hooky chorus, the track is soaked in lurid sex appeal; it's a near-perfect pop jam, a modern twist on the best stuff from the 80s. Rihanna also wows with "Cheers (Drink To That)," using an obscure Avril Lavigne sample to craft a sing-a-long anthem. Rihanna in known for taking the best elements of modern radio and crafting flawless earworms, and Loud is far and above the strongest her usually thin voice has ever sounded. However, unlike fellow radio diva Lady Gaga, Rihanna is never a step ahead of current trends; "Cheers" shows that maybe there is a smarter and more imaginative album in Rihanna's future.

The rest of the album strives to reach the pop splendor of those two standout tracks, as well as the album's fun and flirty first two singles, "Only Girl (In The World)" and "What's My Name?" featuring Drake. "Complicated" shows that Rihanna has been working on her belt, and is certainly the album's strongest mid-tempo track; the rest of the quasi-ballads are forgettable and uninspired. "Raining Men" wastes the skills of guest rapper Nicki Minaj with clunky production, and the island flavor of "Man Down" is a searingly hot but awkwardly squeezed in amongst the rest of the tracks. Regardless, it is wonderful to hear a rock-tinge smattered throughout Loud, including the boiling guitar riffs found throughout Rated R.

Ultimately, Loud doesn't completely work because Rihanna was at the height of her artistic talents on Rated R. Many dismissed the album for being too dark and depressing, too much of a departure of the singer. However, while many moments of Loud feel empty, Rated R blazed with raw aggression and passion. Each of the thirteen songs on Rated R showed a new facet of a woman dealing with unbearable tragedy; it was a true album, sonically electrifying and visceral, endlessly interesting and entertaining. Rihanna might be pleasing a much larger audience with Loud, but turning up the volume doesn't necessarily mean she has more to say. The album's final track, a beautiful acoustic cut of "Love The Way You Lie (Part II)," just Rihanna and a piano, shows the songstress at her most vulnerable, stripped and broken but still standing. It's the sort of emotion Loud could have used more of. B

Concert Review: Robyn's Body Talk Tour, Terminal 5

Robyn's biggest moment crossover moment in the United States was her ubiquitous 1997 radio hit, "Show Me Love." Thirteen years later, and with three "albums" released in 2010 (Body Talk Pt. 1, Body Talk Pt. 2, and the full Body Talk), Robyn is on top of her game. After reaching superstar status in Europe with her 2005 release Robyn, Robyn has yet to make the huge impact in the States she so desperately deserves. Robyn certainly proved that she was worth the attention at her sold-out Terminal 5 show on Wednesday night, a Swedish pop genius that should be a name on everyone's lips.

Robyn's pop music is infused with an electro-80s flair, while still sounding irresistibly modern and insanely catchy. With a penchant for writing sad love songs over dance-happy synths, Robyn creates some of the most deeply engaging strictly pop tunes out there. Her vocal range might not be the widest in the business, but she packs every word with honest emotion and lyrical grace; her voice has a distinct quality and strong presence that draws you in. Live, her voice sounded flawless, and Robyn hit every single note on the mark. Robyn's dance moves are straight out of the 80s, rife with glitchy arm movements and dramatic hip gyrations. Matched with her short clip of bleach-blonde hair, Robyn pulls of an androgynous look that toes the line between sexy and adorable. She's always effortlessly cool.

Opening with "Fembot", which segued directly into "Cry When You Get Older" and her cover of the Teddybears' "Cobrastyle," Robyn had the packed, dancing crowd at a near riot from the very moment she stepped on stage. I was expecting the energy level to die down at some point, but Robyn kept giving each tune her everything, and the crowd responded with equal verve. Every song was a sing-a-long, and Terminal 5's general admission floor looked like an overwhelmed nightclub; Body Talk singles "Dancing On My Own," "Hang With Me," and "Indestructible" became scream-a-longs, transforming misery-tinged lyrics of lost love into empowering anthems. While I would have enjoyed some Robyn's beautiful acoustic reworkings in the middle of the set, Robyn's show glided along at a blazing clip, sexy and vibrant.

This by far was the loudest and most relentlessly enthusiastic crowd I have ever been a part of, and the sheer joy on Robyn's face between numbers showed that she was soaking up every moment. Packing her set with a double encore, Robyn gave her audience everything she had. With a killer band, live arrangements that added extra edge to her appeal, and boundless energy and passion, Robyn commanded the stage like a fearless icon. When started her second encore with "Dancehall Queen," which slowed down to a minimalist beat for a brief cover of ABBA's "Dancing Queen" before shifting into "Show Me Love," the accompanying screams cemented Robyn's status as pop superstar. Or rather, the United States' biggest undiscovered pop superstar.

Body Talk Tour Set List, 11/10/10
Fembot, Cry When You Get Older, Cobrastyle, Dancing On My Own, We Dance to the Beat/Don't Fucking Tell Me What to Do, Love Kills, The Girl and the Robot, Indestructible, Dream On, With Every Heartbeat; [encore #1] U Should Know Better, Konichiwa Bitches, Hang With Me, Be Mine; [encore #2] Dancehall Queen, Dancing Queen/Show Me Love

Concert Review: Florence + the Machine's Cosmic Love Tour, Terminal 5

Florence + the Machine has been making giant waves in the music world in the past year, slowly getting the giant recognition that is more than rightly deserved. The band (Florence Welch as the fiery redhead chanteuse, with the Machine as her backing band) released their debut album Lungs stateside in the summer of 2009; the album's singular sound and etherial faerie goddess have been gaining momentum ever since. Recently, Florence + the Machine performed "Dog Days Are Over" at the VMAs (arguably the best performance of the evening), while the single's video was nominated for Video of the Year.

I was blown away by Florence's previous appearance in New York in last April, so I just had to see her again when I found out she was playing two nights (November 1st and 2nd) at New York's Terminal 5. Florence returned with equal abandon, turning her gorgeous music into a rollicking live show. One of the greatest attributes of Florence's show is the translation of tunes, giving her studio arrangements more room to breathe when performed on stage, letting her untouchable voice command the melody. One of the best examples of this is "Drumming Song", which explodes on stage with equal parts energetic abandon and soft romanticism. It's just one of the bright instances where Florence turns her perfectly balanced slice of indie-folk-forest-Renaissance-magic album (a single label would do her flawless work a disservice) into something resembling a rock show.

One noticeable different found in last night's performance was Florence's confident and overwhelming stage presence. While Florence had a few quick moments of obvious nerves during her show last April, Florence has truly transformed into a mystical queen; she floated across the stage with uninhibited grace, bellowed with deep passion, and flirted with sensuous dance moves. When speaking to the audience, Florence was sweet and soft-spoken; when belting out her songs, she morphed into a different woman.

Florence's voice is unbelievable, and it is almost impossible to comprehend when heard live. Florence reaches her highest notes with ease, gorgeously whistling airy tones. However, just as quickly, her voice shifts into a hard, emotional belt, imbuing her notes with power and majesty. Florence perfectly executed this play between the two registers of her voice on the brand new song "Strangeness and Charm", a gorgeous and epically structured track that shows promising signs for the upcoming second album. Further, "I'm Not Calling You A Liar" showcased the soaring quality of Florence's voice, while "Kiss With A Fist," which become an energetic call-and-response with the audience, showed her brute force. Beautiful doesn't even begin.

When Florence finally played her biggest hit, "Dog Days Are Over", the crowd absolutely exploded. Florence's giant smile was infections, as were her demands to have the entire space jump and clap to the final chorus. Surrounded by her band, including her own free-standing drum and a giant harp, wearing a detailed leotard with flowing cape, Florence was on top of the world. If you ever have the opportunity to see this woman live, do not miss the chance. She is above and beyond the best vocalist I have ever heard in concert. Lungs is one of the deepest and most instantaneously engaging albums recently released, and Florence + the Machine's live show intensifies that feeling. This woman and her band will bring tears to your eyes, a pounding in your heart, and an indescribable joy to your heart.

Cosmic Love Tour Set List, 11/2/10
Cosmic Love; My Boy Builds Coffins; Hurricane Drunk; Drumming Song; Blinding; I'm Not Calling You A Liar; Between Two Lungs; Howl; Strangeness and Charm; Rabbit Heart (Raise It Up); [encore] Heavy In Your Arms, Kiss With A Fist, Dog Days Are Over

Concert Review: Arcade Fire

Canadian indie rock superstars Arcade Fire took Madison Square Garden by storm last night, playing the iconic arena for the first time (their show on August 5th will broadcast live on YouTube at 10:00pm, directed by Terry Gilliam; a national tour should be announced soon). And they played. Arcade Fire arrived ready to rock. With the band's third album The Suburbs released on August 3rd, Arcade Fire had 16 breathtaking new tracks to bolster their set. While Arcade Fire's previous two albums (Funeral and Neon Bible) dealt with heady themes throughout, The Suburbs might be the band's first true concept album - each song encompasses a specific mood, culminating in a fully-realized arch. The new album also fits the band's atmospheric sound, morphing with each album while still grandiose and moody in tone.

Before the main event, Spoon, critical darlings for their minimalist and unpredictable rock sound, opened the show. Unfortunately, Spoon was plagued by jarring technical difficulties and an indifferent crowd. Regardless, their sound did not seem weak or lost in the din of The Garden, a true feat for a small band - "I Turn My Camera On" was a set highlight, and the one-two finale punch of "Got Nuffin" and "Black Like Me" delivered.

Before Arcade Fire came on stage, their setup made an impression. The backdrop depicted a highway overpass, photographed in similar style to The Suburbs album art, while a video screen styled like an exit sign stood in front; projections and video ran over both, creating an impressive visual motif. The stage, littered with every musical instrument imaginable for the band's nine members, came alive as soon as Win Butler & Co. arrived, opening with one of the strongest tracks from the new album, "Ready to Start." While The Suburbs is a stunning album, none of the tracks feature the bombastic stadium anthems found on the previous two albums; this album is quieter, more contemplative. "Sprawl II (Mountains Beyond Mountains)" is the closest thing to a Suburbs anthem, and certainly received the most enthusiastic response of the new material (also spurred on by Régine Chassagne's spirited ribbon dance).

While the new songs didn't hit as hard as old favorites, it was invigorating to hear the band play brand-new material. I would have chosen a few different tracks from The Suburbs (i.e. replacing "Rococo" with "Modern Man" or "Suburban War"), but that's merely nitpicking the near-perfect performance. The set was a wonderful mix from all three albums. Win Butler's voice was even better live - raw and deeply emotional, stretching from his passionate warble to empowering scream. Régine Chassagne's (also married to Butler) Björk-like voice was ethereal and haunting; both Win and Régine showed remarkable vocal range, and their harmonies were glorious.

Arcade Fire reached sheer brilliance on their biggest songs, cuts with a sweeping scope meant to fill giant venues; songs from Funeral (the band's best album) were the most invigorating of the night. "Neighborhood #3 (Power Out)," one of the band's hardest songs, reached a cacophony before seamlessly morphing into the opening chords of "Rebellion (Lies);" the crowd went absolutely nuts. Coming early in the set, "No Cars Go" was emotional and overwhelming, one of the night's best moments; at one point, Win handed the mic to a fan in the front pit, playing the guitar while leaning over the crowd as he sang. "Neighborhood #1 (Tunnels)," one of my favorites, was perfectly energetic and zealous as the last song before the encore.

Hearing 19,000 fans chanting to Arcade Fire is truly a moving experience. Nothing compared to the show closer "Wake Up," arguably the band's most famous song (recently used in the trailers for Where The Wild Things Are). The song's chorus is a wordless chant; hearing all of Madison Square Garden scream that melody together with hands in the air gave me goosebumps and brought tears to my eyes; it currently stands as the greatest live performance I've experienced. My favorite band certainly did not disappoint. Arcade Fire turned The Garden into a church, and I experienced a truly religious experience. A few decades ago, Arcade Fire wouldn't have been "indie" rock at all, but rather pure, unabashed rock 'n' roll. They certainly put on a true rock concert, a tight group of insanely talented and beautiful musicians. Arcade Fire has just begun taking over the world. We may still be stuck in suburban angst, but there's no need to worry - our musical savior has arrived.

Arcade Fire's Madison Square Garden Set List, 8/4/10
Ready to Start, Neighborhood #2 (Laika), No Cars Go, Haiti, Half Light II (No Celebration), Rococo, The Suburbs, Crown of Love, Intervention, We Used to Wait, Neighborhood #3 (Power Out), Rebellion (Lies), Month of May, Neighborhood #1 (Tunnels); [encore] Keep the Car Running, Sprawl II (Mountains Beyond Mountains), Wake Up

Concert Review: Lady Gaga's Monster Ball 2.0

She's taken the music industry by storm, redefined pop star fashion, has the most viewed video on YouTube, and just today set the digital album downloads record for The Fame. Now, Lady Gaga has finally achieved her childhood dream - headlining at Madison Square Garden. The Monster Ball 2.0 (the Ball's first incarnation swept through the United States early 2010) is a true eye-popping, theatrical spectacle; the concert's loose narrative is told in four acts, as Gaga and her dancers trek through a dangerous cartoon version of New York to reach the Monster Ball, the "greatest party on the planet" in the heart of Central Park. Outrageous costumes (a lampshade-birdcage creation during "Monster," the animatronic Living Dress from "So Happy I Could Die), campy call-and-response banter with the audience, artistic video interludes, and elaborate sets were abound.

Gaga opened with "Dance In The Dark," posing on a make-shift fire escape, backlit by colored lights behind a white screen. The sound in the Garden reached a high when the curtain was finally pulled away, and Gaga strutted down onto the stage. She rocketed through her two albums, stopping often to interact with the crowd. At times, she looked truly overcome with emotion, close to breaking down in tears from the deafening screams. One touching moment came early in the show, when she recounted her memories of sitting in the nosebleed seats, watching her idols (Madonna, Cher, the Rolling Stones) and dreaming that one day she'd be on stage.

With inspirations including New York, Broadway, The Wizard of Oz, The Rocky Horror Picture Show, and even black-and-white monster movies, Gaga infused her show with an array of awe-inspiring visuals. She also proved her raw, powerful talent; when she sat down at her deconstructed piano for "Speechless" (for her Dad, in the audience) and the Elton John-tinged "You and I" (off of her third album, to be released early 2011), Lady Gaga's scorching voice reigned supreme. When she played big hits like "Just Dance," "Poker Face," "Telephone" (with Gaga's delivery, everyone thought Beyonce was about to jump on stage for a few seconds), and show-closer "Bad Romance," the energy was unbelievable - the entire stadium was screaming, dancing along with the superb choreography (give Laurie Ann Gibson a raise!), and simply having the time of their lives.

Seeing Gaga at Madison Square Garden was an interesting experience after seeing her at Radio City in January - some of the banter and imagery were recycled, she opened both shows with "Dance In The Dark," etc. Radio City was more intimate, with Gaga performing on a legitimate stage; MSG had a size and roar that infused the arena with remarkable energy, and her work as a performer has matured. Sometimes I felt like the scattered "plot" of the MSG show took away from the strength of Gaga's vocal talents and brilliant hooks, a feeling never experienced during the more stripped-down Radio City show. Both concerts where incredible, and probably the two greatest shows I've seen; it's still hard to compare the two. The sheer magnitude of show Gaga put on at MSG rivaled the work of Madonna.

Gaga's live show proves she's here to stay, and has become an irreplaceable part of the industry. Gaga is no flash-in-the-pan, trashy starlet. She is pure unbridled talent, a true star who will do anything for her fans and her art. Seeing her live also shows that beneath the insane performance art attitude, Gaga is still a 24-year-old girl, with dreams and passions like all of us... It just happens she also owns a mechanical bra that shoots sparks. Gaga ended the show saying, "We made it to Madison Square Garden. Thank you for making my dream come true. I love you so much." As she walked off stage, the two-hour-plus spell this young woman had cast on 18,000 Little Monsters still lingered in the air. The night was electric, magical, and empowering. Isn't that how every show should end? Rah rah. Paws up.

The Monster Ball 2.0 Set List, 7/6/10

Dance In The Dark; Glitter and Grease (unreleased); Just Dance; Beautiful, Dirty, Rich; Vanity (unreleased); The Fame; LoveGame; Boys Boys Boys; Money Honey; Telephone; Speechless; You and I (unreleased); So Happy I Could Die; Monster; Teeth; Alejandro; Poker Face; Paparazzi; Bad Romance (encore)

Who Is Jo Calderone?

Mysterious pictures of "male model" Jo Calderone have surfaced on the internet over the past few days. New outtakes from the men's fashion shoot for Vogue Hommes Japan have been posted online every day over the past week at Show Studio. Search for the model Jo Calderone - nothing, no previous work, no big ad campaigns. Regardless, this petite male model is causing quite a storm of buzz. Take a close look at the model's jaw line, that nose, the lips, eyes... Notice anything familiar?

Yep, Jo Calderone has been all but confirmed as the one and only Lady Gaga. Rumor has it she takes the male alter-ego name from her own middle name (Stefani Joanne Angelina Germanotta). Another clue, beyond Jo's striking resemblance to Gaga, is that the shoot was styled by Gaga's renowned stylist Nicola Formichetti. Nick Knight is the photographer, known for his experimental style and over-the-top editorials; Gaga has also worked with Knight multiple times, and his famous London-based Show Studio was home to a long and intimate interview with Lady Gaga just a month ago.

Gaga has always been one to play with her image, along with the well-circulated rumors (and yes, they are just rumors) that she is a hermaphrodite. In one interview, she said "I love the rumor I have a penis, I'm fascinated by it." She also stirred the pot while posing topless and wearing provocative gloves on the cover of Britain's Q magazine, saying "We all know [the hermaphrodite rumor was] one of the biggest talking points this year... so why not give them what they want?" Gaga has never been one to shy away from shocking performances, a controversial quip, or simply baring her soul to uncover a new layer of her art. Her intoxicating mixture of catchy pop music and high performance art seems to be adding drag to its arsenal of bold, brilliant imagery. Watch out for the official images when the Japanese magazine is released in September. Gaga continues to amaze, and elevate the music industry with every new jaw-dropping move.

New Gaga Song

Gaga premiered the new song "You and I" at the Eltonball this weekend, a giant AIDS fundraiser in the UK put on by her friend Elton John. Who knows if this track will be on her third album (allegedly she has all of the demos recorded, and the record will be released early 2011), but enjoy this wonderful and personal high-energy ballad from the Lady, which sounds a lot like the stuff she was writing before The Fame. Also, check out her stellar and candid interview in this week's double summer issue of Rolling Stone.

The original video at Elton John's concert was removed from YouTube; here is Gaga singing the tune at her Monster Ball show in Montreal.

RIP MJ

Thank you.
I vividly remember June 25th, 2009. We'd spent the day mourning Farrah Fawcett's passing, when suddenly the surprise death of Michael Jackson hit. I was going out to dinner with my mom, brother, and good friend Maddy. I remember checking my Facebook right before leaving the house, stumbling upon a blurb on TMZ about MJ being rushed to the hospital in critical condition. I thought it was an internet hoax, and headed over to the restaurant. Still, the shock of the story (TMZ being known for its reliable celebrity news) stuck in the back of my mind. When it was officially announced (our restaurant had numerous televisions) that MJ had indeed left us, a shock ran through the restaurant - everyone there was suddenly a group of friends coming together to mourn a legend. It was surreal, having emotional conversations with strangers about Michael Jackson, what he meant to each person there. Even in death, MJ was bringing people together, just like he did his entire life through his music. I can't drive past the Big Fish Restaurant in Crofton, MD without putting some Michael Jackson on (my personal favorites? P.Y.T., Wanna Be Startin' Somethin', and Bad). And in that sense, the Michael we know and love is still with us today. Shamone.

Music: British Lady Love

I have a weird obsession with British female vocalists, and these three ladies bring it like no other. Their albums were some of my favorite music from 2009, and are still in heavy rotation on my iPod. Buy these albums - not a single track is filler. Seriously. I've imbedded a bunch of YouTube videos throughout the post, check 'em out.

FLORENCE + THE MACHINE - LUNGS

Florence Welch has the most incredible voice I have ever heard live, full of raw power and emotion; her live vocals add a boil beneath her songs that could never be captured on a record. She also made a rock concert out of an indie-soul-folk album, and returns to Terminal 5 in New York on November 1st & 2nd. On Lungs, Florence is a soulful faerie queen leading you through her magical forest; listen to her music, and that crazy description will make perfect sense. Her songs make your heart sit in your throat and your brain feel drunk: the overwhelming build of "Dog Days Are Over,"the medieval power of "Rabbit Heart (Raise It Up)," the primal rage in "Howl," the sweep of "Between Two Lungs," the overwhelming passion of "Cosmic Love," the pure joy in "You've Got the Love." Her track "Heavy In Your Arms" is also featured on exclusively on the Eclipse soundtrack, and the deluxe version of Lungs features some killer bonus tracks. Sorry if I'm flooding you with links; every song this woman touches is pure breathtaking gold. My words could never do her justice. This is my favorite album from the past year, hands down.

NOISETTES - WILD YOUNG HEARTS
I also have a thing for black girls fronting rock bands; they bring a dimension and edge that you don't often find in the genre. Front-woman (and bassist!) Shingai Shoniwa has a raspy growl of a voice, a unique and sultry vibe. The Noisettes were, well, noisier on their first album What's The Time Mr. Wolf?. Over time, Shoniwa's voice matured, and the group found a more consistent, smoother sound on their follow-up, Wild Young Hearts. The lead single "Don't Upset the Rhythm (Go Baby Go)" was a huge hit in the UK; it's rock disguised as dance music, and builds to a grinding howl. From the album's haunting opener, "Sometimes," to the finale burner "Cheap Kicks," Shoniwa torches through one wonderful cut after another. "Atticus" is a stunning ballad, while "Never Forget You" is a rollicking break-up tune. And the title track? Unstoppable. This is an album you jump around to alone in your room. Also, Shoniwa does a brilliant cover of The Killer's "When You Were Young."


BAT FOR LASHES - TWO SUNS
Natasha Khan has the voice of an angel... or maybe a ghost. Both of her albums (Fur and Gold came first) were nominated for the Mercury Award, UK's biggest honor for indie artists. Two Suns is a haunting, mystical, and etherial dream of a journey. Two Suns was conceived as an album, and should not be picked apart, but the video for "Daniel" (written about the boy from... Karate Kid?) is beautiful and frightening. "Moon and Moon" is pure poetry, "Pearl's Dream" (Pearl is Natasha's alter ego on stage; think Sasha Fierce for the indie set!) bangs around in your head, and "Siren Song" is one of my favorite tracks of all time - it's a stunning, transportive song that reaches into your soul and grabs something deep. Maybe all this sounds insane, but Khan writes music that feels like falling through space. It's powerful, mesmerizing stuff. She also has an obsession with wolves, which is pretty cool.