IT'S BLITZ!

I'm going to go ahead and skip over the fact that Soulja Boy Tell 'Em (official name)'s new album iSouljaBoyTellEm (could not make this up) and absurd new single "Kiss Me Thru the Phone" (yes, it's every bit as stupid as the title suggests) are racing up the charts, and begin my frenzied, ecstatic rant about the fact that Yeah Yeah Yeahs' third album, It's Blitz, has leaked...and is glorious. On account of the leak, the savvy YYYs have pushed forward the release date until March 10th, but obviously I'm impatient, so here's the review a week before it officially drops. I love Lady Gaga (as I have reiterated one too many times) as much as the next closeted hipster music fanatic, but if you want to name one woman currently recording who has most successfully dialed in on the magic ratio of subversiveness to artistry to good fucking music, there is none other than Karen O. That being said, and although I'm a big proponent of anything Yeah Yeah Yeahs, I must admit that I, like most, have always been very aware that while their live performances are, as one of my friends described, "like seeing jesus and having sex on e at the same time," their EPs tend to make promises of a sound revolution that their full lengths have not yet cashed. I say this tentatively, as Fever to Tell was nothing short of miraculous, and Show Your Bones wasn't half bad, but they were certainly not the cohesive, life-changing albums that many had hoped and prayed for after hearing The John Peel Sessions, per se. It is this very reality that has garnered Yeah Yeah Yeahs the incredible cult following they enjoy, but have kept them a few shy of Radiohead status, if you will (longevity excluded, evolution excluded, in retrospect...a very sketchy analogy, but you get the point).

Now, onto It's Blitz. For the first time their full length feels like an album. From start to finish, it sounds like a coherent artistic piece, and a prolific one at that. Each track not only functions well on its own, but complements its preceeding and proceeding tracks perfectly, keeping in mind the vision of the album as a whole. Though It's Blitz has got less of a basement session feel than their earlier stuff (Nick Zinner replaces crunchy guitars with a plethora of synth sounds expansive enough to make even the Pet Shop Boys raise an eyebrow), it's not overly-polished. Luckily, this time around the acoustic sound that only half-worked on Show Your Bones exists solely as bonus material on this album.

"Zero," the leadoff single, has a backbone of 150 bpm (or something in that ballpark...) and the heart of a lion. Karen O's snide signature yelping vocal snaps, "You're a zero. What's your name? Noone's gonna ask it." And then she bitchslapped the wanker with her mic stand.

"Heads Will Roll" is a catchy, dance hall anthem gold-plated and covered in glitter. It's what Kanye wishes he could have come up with on 808s. Nick Zinner is a musical genius. It's catchy. It's ethereal. It's 3 am on the Lower East Side. It's indie rock electronica at its absolute finest.

"Soft Shock" is about as close to "sweet" as the Yeah Yeah Yeahs are gonna let on. This haphazard tribute to the sadness and awkwardness of reuniting with an ex painted with their undeniable flair is as poignant as it is earnest. Over the lowlit synths, Karen O's vocals are like a suckerpunch to the heart.

"Skeletons" has a quality that I haven't heard in their music since "Maps." It's a stripped down, slow anthem. A snare drum marches in the background and crescendos slowly. Karen O's voice croons without any of its signature yelping strain, while Nick Zinners synth/guitar puts a quiet din upon which Karen O's vocals can soar. And soar they do. Haunting. Gorgeous.

"Dull and Life" and "Shame and Fortune" are a refreshing reminder that the early, hard-hitting,fuzz-guitar fiends are still alive and kicking. Though neither track presents an aspect of Yeah Yeah Yeahs we haven't seen before, they serve as a healthy reminder that these kids can conjure up their signature filthy rock sound on command just as well, if not better, than ever.

"Runaway" is the surprise track of the album, in a similar way that "Gold Lion" was. Though it's not as album-defining as "Gold Lion" was, it's the mark of yet another direction the Yeah Yeah Yeahs can veer into, and master. It's a haunting track that flirts with the border between alt. and pop . It begins with Karen O's voice accompanied simply by a piano and turns into a pleading ballad that is unmistakably Yeah Yeah Yeahs, but will take any die-hard fan a minute to adjust to - after which they, like anybody else, will have no choice but to, as Lennon might say, turn off your mind, relax, and float downstream. Oh no, it is not dying.

"Dragon Queen" deserves to be played in the sleaziest strip club in Chinatown among sordid people doing sordid things. It's creepy, it's weird, and makes you feel creepy and weird for liking it, which you will. You may even experience an aching desire to dance. With a pole. Surrounded only by the sleaziest of people. Do it. Karen O thinks that's cool.

"Hysteric" is another gorgeous slow track that whirls lazily until it stumbles upon it's stunning revelation of a chorus, which, though melodically indistinguishable, pierces like a light through the fog, "you suddenly complete me." Revel. Waver. Lull. It just feels right.

The album closes with "Little Shadow," which is a freak-show gem. It's like two midgets who fell in love at the carnival. It's bizarre. And adorable. And makes you feel warm and fuzzy inside. And then the smell of stale candy apples sets in. And you realize you don't belong in this crazy world where everything is fun and weird all the time. And it's time to go. But you'll be back. You always come back.

To say this is the best album I've heard this year is not doing it justice. It is one of the best albums I have ever heard. Maybe it's the fact that it's 4 am, or the fact that I have just spent the past 2 hours listening to Indian Ragas, Kecak Vocal Gamelans and Tuvan Throat Singers (studying for a World Music exam i.e. 2 minutes more of world "music" away from legitimately ripping out my ear drums), but with the help of savior Karen O and her incredible Yeah Yeah Yeahs, I think I'm in love. Learn it. Live it. Love it, too. Hard.

Zero - Yeah Yeah Yeahs

Heads Will Roll - Yeah Yeah Yeahs

Soft Shock - Yeah Yeah Yeahs

Skeletons - Yeah Yeah Yeah

Dull Life - Yeah Yeah Yeahs

Shame and Fortune - Yeah Yeah Yeahs

Runaway - Yeah Yeah Yeahs

Dragon Queen - Yeah Yeah Yeahs

Hysteric - Yeah Yeah Yeahs

Little Shadow - Yeah Yeah Yeahs

Acoustic versions of "Soft Shock," "Skeletons," Hysteric," and "Little Shadow" will be available on the 10th, along with the bonus track "Faces."

Crazo for Zaho

Born in Algeria, living in Montréal, and already a widely recognized R&B force on an international stage, Zaho came to me upon a recommendation of a friend (who happens to be Swedish...they're really taking over), and I could not be happier. She draws influence from Senegalese music, with gorgeous guitar lines à la Craig David running behind all her gorgeous melodies. Most notably, Zaho allows her northern African roots to infiltrate her music as her arrangement and melodies have unmistakably middle eastern tinges (think a less-douchy "arab money"). "A Nous" sounds like something straight of Imogen Heap's song list if M.I.A. were to throw her spin on it. "Kif'n'dir (Que vais-je faire?)" sounds a bit like a late-90s Brandy. Her beautiful "Je Te Promets," which is a quiet, unassuming ballad, places a simple guitar line to complement her gorgeous vocal. Zaho is a name worth committing to memory.

A Nous - Zaho

Kif'n'dir (Que vais-je faire?) - Zaho

Je Te Promets (live) - Zaho

So Fresh and SoCal

Johnson and Jonson are emcee Blu and under-the-radar producer Mainframe. They're also one of the greatest acts to hit the hip/hop scene in the past year. The youngsters from Long Beach, California released their self-titled debut last September and are bringing some seriously prolific stuff to the table. Mainframe's beats are easy and laid-back while Blu's flow is steady and determined. Blu's voice has a tone that's soft like Shwayze with lyrics worthy of comparisons to Cool Kids, and even to bigger guys like Common. "J&J" is a hard-hitting, lyrical introduction to J&J, while "Bout it Bout it" throws Blu's smooth lyrics over a spanish guitar, a trumpet, and a stripped down beat - an arrangement that needs to be heard to be understood. "Wow" is my personal favorite, featuring one of the coolest vocal samples harmonizing with old school guitar licks and a soft bongo drum. Assemble some good friends, a sunny day, a bowl packed to the brim (with um... Lucky Charms...or soup...or something), and enjoy J&J the way they're meant to be heard.

WOW - Johnson and Jonson

J&J - Johnson and Jonson

Bout it Bout it - Johnson and Jonson

Kelly Clarkson, A Month Premature...

As much as I hate to admit it, I got goosebumps of excitement when I heard that Kelly Clarkson's new album, All I Ever Wanted, had leaked. Through my magical powers that have absolutely nothing to do with illegal internet downloading (don't worry about it, Tufts), I have obtained the album and thankfully, it bears a much closer resembles to 2004's Breakaway than her shitfest of an album formally known as My December. Overall, it's pretty much what you'd expect from a solid Kelly release (we're on a first name basis). After a couple listens, "I Do Not Hook Up," originally recorded by Katy Perry, is a clear standout. Though I'm usually against faux femine empowerment songs that harp on about the virtues of prudity (lyrics include "I do not hook up up, I go slow...I fall deep"), it's so goddamn catchy that I'm willing to overlook it. "Don't Let Me Stop You" has a chorus as fantastic and catchy as its verses are awful, while the title track, "All I Ever Wanted" is, as a whole, underwhelming. I will note, however, how similar its guitar line is to that of Franz Ferdinand's "Take Me Out," and the melody of its chorus to the Backstreet Boys "As Long As You Love Me" (that last observation may or may not be true). "If I Can't Have You" proves that Clarkson's management was definitely taking notes from Britney's Circus album, while "Long Shot" could easily pass for Katy Perry at her best. The hidden gem of this album, "Ready," lets Kelly's flawless vocals float effortlessly above an arrangement that sits somewhere in between those of Sheryl Crow and Feist. For a good laugh, check out "Whyyawannabringmedown," Clarkson's hot mess of an attempt to pull off a song more aptly suited for the White Stripes or Be Your Own Pet. As a whole, I'll say that it's a solid release, and one that I can safely assume I will hate within two months of Z100 playing it 3-5 times every hour on the hour.

Diduntdidunts

Mark Ronson's collaboration with Saigon on "Diduntdidunt," is amazing for both its hilarity and overall goodness. The beat is typical Ronson - old school feel with yummy, new school beats. The lyrics are genius, as Saigon walks the listener through the tales of his encounter with various "diduntdidunts." Saigon warns, "I'll knock out your teeth, you'll be literally bumpin' your gums." Clap along, nod along, snap along - I can promise that as long as you're listening to "Didundtdidunt," everything feels right.

Diduntdidunt - Mark Ronson Feat. Saigon -

Below is a picture of what I imagine to be a diduntdidunt


Lookin' sharp.

Arr..

What exactly does a pirate's heart sound like? If Québécois up-and-comer Coeur de Pirate is any indication, warm summer days and an endless sunrise. Though she sings in french, no prior knowledge of the language is required to connect with her bubbly pop that sounds a bit like if you took Lily Allen, put her together with Feist, then fast-forwarded to give them a fun chipmunk voice. And I mean that in the best way. "Comme Des Enfants" recalls Edith Piaf with its stripped-down arrangement and beautiful melody. "Ensemble" is a bouncy single that makes you want to spend the afternoon skipping. In short, Coeur de Pirate is worth a listen...and then a hundred more .

Comme des enfants - Coeur de Pirate - mp3
Ensemble - Coeur de Pirate - mp3
C'était Salement Romantique - Coeur de Pirate- video

Chester French...on the mouth.

Chester French are just a couple of Harvard grads who decided to start a pop band. Typical stuff. This preppy duo counts Pharell Williams as a fan, who recently signed them to his Star Trak label. Their music was featured on Entourage, but something tells me these kids have got bigger things up their argyle sleeves than singing backup for Vinny Chase. "She Loves Everybody" is pop-rock at its sleaziest. "The Jimmy Choos" is the catchiest Monkees-esque thr-oh!-back since "That Thing You Do." Who doesn't like their rock n' roll with a popped collar?



She Loves Everybody - Chester French

The Jimmy Choos - Chester French


yum.