Review: Franz Ferdinand - 'Right Thoughts, Right Words, Right Actions'

Franz Ferdinand do what they do best

 

 

“Right Thoughts, Right Words, Right Actions” finds Franz Ferdinand right where they belong. Somewhere between pop, rock and dance, Alex Kapranos and company cheerfully bounce their way through this collection of pleasantly infectious songs. Franz Ferdinand are veteran musicians and their expertise shines with ease throughout “RTRWRA.”

It's been four years since Franz Ferdinand released their last album, but that doesn't mean that the Scottish quartet have been relaxing. With coveted spots at Coachella in 2013 and Lollapalooza in 2012, Franz Ferdinand have been bringing their energy to live performances across the country and they were able to evoke that enthusiasm in “RTRWRA.” The album begins with “Right Action,” a melodic song with a funky bass line, compliments of Robert Hardy, that sets the mood for the rest of the album. Kapranos cleverly inserts humor into his lyrics as he sings, “This time, same as before/I'll love you forever.”

The album skips on, showing Franz Ferdinand's versatility with softer tracks like “The Universe Expanded” and “Treason! Animals,” but the band is at their best when incorporating clever metaphors over disco beats. “Stand on the Horizon” is a stellar track, taking its time to build into what is sure to become a dance anthem. Alex Kapranos masterfully controls his vocals manipulating them between powerful and at times wispy.

“RTRWRA” is exactly the kind of album you want from a band that has been rocking our worlds for the last ten years. It surprises us with new examples of patience and maturity, but consistently rocks for all of the reasons that we have grown to love Franz Ferdinand. “RTRWRA” is lively, toe tapping rock 'n' roll... plain and simple.

R. Kelly performs at Pitchfork Music Festival

It was a “grown man's sexy show"

 

R. Kelly @ Pitchfork Music Festival

  

R. Kelly treated a hometown Chicago crowd to a sexy hit filled dance party at the Pitchfork Music Festival on Sunday night. The set began with a brief interlude before Kellz got the party started, dropping "Ignition (Remix)" on the the sold out crowd. Fans went wild singing and dancing as the Pied Piper of R & B, backed by a live band, DJ and gospel choir, proceeded to play hit after hit. R. Kelly flawlessly navigated his way through his massive catalog of chart toppers including “Fiesta”, “You Remind Me of My Jeep”, and “Bump N' Grind”. Kelly's vocals were strong and his stage presence magnetic. It was all eyes on Kellz from start to finish.

Perhaps the most entertaining segments of the show were when R. Kelly would address the crowd, sing-talking in a way that only he can manage. Kelly complained about promoters telling him not to curse or make the show too sexual, he pleads to the crowd, “How the fuck do you expect me to do my motherfuckin’ show then? I thought this was a grown man’s sexy show”. As a cool rain poured down, Kellz kept things hot by going into smooth jams like “Down Low”, “Feelin' On Yo Booty” and “Strip for You”. Love was definitely in the air.

R. Kelly @ Pitchfork Music Festival

“Happy People” and “Step In the Name of Love” made for a funky dance interlude, after which Kelly bragged that he didn't need to take a break during the set because he is in shape. This led to R. Kelly leading the crowd in a chorus of “No Break/No Break/ No Break”, “In Shape/In Shape/In Shape” as he improvised detailed lyrics, impressing himself and the audience. “We didn't even rehearse that”, he exclaimed over the cheers of a captivated audience.

The end drew near as Kellz performed an impressive and triumphant version of the “Love Letter” show stopper “When A Woman Loves” into the 2007 hit “I'm a Flirt”. There was only one song that could close out the set and after one verse of “I Believe I Can Fly” the crowd took over the singing duties as R. Kelly stood on stage, basking in his lyrics being sung by 15,000 voices. As he began singing verse two, a flock of helium filled bird balloons were released into the night sky. It was the perfect end to a fantastic show.

video by AllShowsGo!

Edward Sharpe & The Magnetic Zeros - Review

They do what they do best on their self titled 3^rd album

 

In an interview with Billboard earlier this year, Alex Ebert, the mastermind and founder of Edward Sharpe & The Magnetic Zeros (ESMZ), said “We're starting to mature in a weird way, a bit late in the game, but it's a good feeling.” The band's upcoming release demonstrates an intricacy and patience that can only come with maturity. There isn't a blockbuster track like the 2009 hit “Home”, but the album is much more consistent than their previous efforts. ESMZ still explore the sounds and enthusiasm of the early sixties, but in a way that feels fresh and current.

The album starts off strong with “Better Days”, a sweet love song with a full sound. You can practically see young love blossom as Ebert sings, “Just know that every time I look in your eye/I see better, I see better, better days”. “Let's Get High” is a pothead's anthem in the winking way of Bob Dylan's “Rainy Day Women”, never officially endorsing drug use while celebrating the freedom of getting high on life and love. The sixties aren't the only reference point from which influence is drawn. “If I Were Free” has an eighties island vibe that would be perfect background music for Tom Cruise as he falls in love with Elizabeth Shue in “Cocktail” where as Motown and soul infiltrate the traveling song “Country Calling”. 

Edward Sharpe & The Magnetic Zeros - Coachella 2010

ESMZ are in danger of falling into the Rusted Root effect of adding a lot of odd instruments to fill out their sound and stage. The richness of the organ and percussion is nice, but the slide whistle borders on ridiculous. The horns on “Life Is Hard” are arranged at strange intervals that become unpleasant to the ears, perhaps that's the intention to emphasize the difficulties one encounters in life, but ultimately it made the track a skipper.

 

The production on this album is astounding and if I didn't know any better, I would think that it was released in the sixties. It sounds like real analog music, before everything became digitized and flawless. Every song isn't a hit, but what is an album without the deeper cuts. Alex Ebert and his band of merry musician's have written a complex album that fans (and festival goers) will love.

Mayer Hawthorne - Where Does This Door Go - Review

A talented artist is buried beneath his influences

Songwriter, Mayer Hawthorne, is a competent musician who knows how to write catchy pop music. On “Where Does This Door Go”, Hawthorne uses his influences liberally, drawing from geniuses like Michael Jackson and Steely Dan. Where as Michael Jackson touches people's hearts and souls, Hawthorne keeps things at a purely surface level. “Where Does This Door Go” is harmless fun music, but it is overly reminiscent of other artists and gets dull quickly.

Mayer Hawthorne spends most of the album channeling other artists. The jazzy track “Back Seat Lover”, is a sexy throwback jam that sounds like Chromeo with extra cheese. Hawthorne does his version of Bob Marley's “Mr. Jones” with the Rasta rhythm love song, “Allie Jones”.  “The Only One” is pop writing 101 and would fit right in on a Maroon 5 album. The most egregious example of imitation comes in the form of the Steely Dan rip off track “Reach Out Richard”. This track is so reminiscent of the Steely Dan song, “Peg” off their classic album “Aja”, that Hawthorn even changes his singing style to emulate that of Donald Fagen.

 

Hawthorne enlists the help of his friends throughout the album. Three songs on “Where Does This Door Go” are produced by N.E.R.D. mastermind and hit maker Pharrell Williams. All three tracks sound like quintessential Williams, with his musical voice shining brighter than Hawthorne's. Kendrick Lamar drops a verse on “Crime” that is a welcome change of pace, although his negative, gnarly vocals don't really fit in on this squeaky clean album.

What is going on with music today? First we had American Idol alum, Phillip Phillips blasting up the charts by doing his best Dave Matthews impression and now we have Mayer Hawthorne exploring multiple personalities by exploiting the styles of great artists that came before him. Taking influence is one thing, but copying another artist and selling it to a new audience as your own is just wrong. Hawthorne is a talented artist and he would do himself well to discover his own true voice. Listeners finally get a chance to meet the real Mayor Hawthorne on the closing track “All Better”. This beautifully simple song is genuine and true, revealing the talent that lies beneath the layers of influence.

Review - Dave Matthews Band @ Alpine Valley 7/6/13

Dave Matthews Band play Alpine Vally Music Theatre

DMB may have been playing in East Troy, Wisconsin, but their setlist was all over the map

July 6, 2013 was a beautiful summer night in East Troy, Wisconsin. A perfect night for an outdoor concert, especially when Dave Matthews Band are about to take the stage. The opener for the night, the beautiful and talented Grace Potter with her band the Nocturnals, warmed up the stage with their infectious brand of dance rock. As Potter announced, “It's approaching the witching hour”, the sun was about to set and the band broke into their closing number, the catchy sing-a-long “Medicine”.

A mere thirty minutes later, DaveMatthews Band walk onto the stage and start their set with the slow building track, “Squirm”, off their 2009 album “Big Whisky and the GrooGrux King”. The crowd cheered and sang along as DMB transitioned into their 1991 classic “One Sweet World”. The night would continue on like this with the band playing great songs from all eras of their twenty plus year career. It was impossible to predict where the band would go next from song to song, but rabid fans were just as likely to sing along with new songs, like “Kill the Preacher”, a song the band first began improvising last year, as they were the to sing the classics like “Jimi Thing”. The band further kept fans on their toes by playing covers of Tom Petty's “Runnin' Down a Dream” and more predictably Bob Dylan's “All Along the Watchtower”, which has been a staple to a DMB setlist since the early nineties.

Fans were treated to a blues guitar mash-up made in heaven as jazz guitarist, Stanley Jordan, improvised a song with Dave Matthews Band's lead guitarist, Tim Reynolds. Jordan remained on stage and played “Grace is Gone” with the entire band, turning the beautifully sad love song into an emotional eight minute jam. Each member of DMB got an opportunity to solo throughout the night. Boyd Tinsley, the hardest working violinist in rock and roll, absolutely nailed his solo in “#41”. Bassist Stefen Lessard used his moment to tease the classic “#34” and drummer Carter Beauford took ownership over the set closer, “Two Step”. The horn section comprised of Jeff Coffin and Rashawn Ross filled out the group with talent and versatility that a synthesizer could never emulate (I'm talking to you Paul McCartney).   Even the presence of late saxophonist LeRoi Moore was felt when Dave played the tribute track “Why I Am”.

It's been over twenty years since Dave Matthews danced his way into the mainstream music scene and it's easy to see why DMB has one of the most successful tours year after year. The band is full of extremely talented musicians and Dave Matthews is still writing great music. They have evolved with the times while keeping their roots, allowing them to retain their core group of fans and picking up new ones along the way. A Dave Matthews Band live show is a great scene that everyone should experience at least once in their lifetime, but if you are like most DMB fans you will find that one show could never be enough.

Smith Westerns - Soft Will - Review

The Chicago trio channel the California Coast

Smith Westerns, record the quintessential summertime album with their new record “Soft Will”. The Chicago band, somehow create a coastal vibe, while integrating the best aspects of early eighties new wave and the thoughtful poppiness of the British invasion. The songs are simple, in the best possible way, encouraging listeners to roll their windows down, put their hand out into the breeze, and just enjoy the moment.

Smith Westerns aren't charting any new territory, with lyrics about growing up and summer love over simple, single note guitar riffs and steady rhythms, but there is something so refreshing about the way they don't over think things. The opening track “3am Spiritual”, sets the tone for the whole album's "young love” feel as lead singer Cullen Omori sings, “Please keep close to me/I don't want to let you off my arm”. You can practically see the mini movies unfold with track after track. The 6/8 time tune “Cheer Up” conjures images of a couple reuniting for one last dance at their senior prom. “Best Friend” could sub in for Lynyrd Skynyrd's “Tuesdays Gone” as the party closer in the cult hit “Dazed and Confused”.

Silence plays a key role in the musical make up of most of the tracks, as if it is an instrument of it's own. “White Oath” is airy and deep, with the band showing great patience as they let the music build. “XXIII”, the album's sole instrumental track is wistful and sounds like a breeze making it's way peacefully through the trees. The production by Chris Coady, who has previously worked with the Yeah Yeah Yeahs and Tv On The Radio, is near perfection. Each element is given equal ear time, making it slightly more difficult to hear the vocals yet somehow making them better for it.

“Soft Will” won't change your life, but it will remind listeners of the innocence of youth and all of the emotions that entails. It's a good album, released at the perfect time, and shows that Smith Westerns will be an important band in the years to come. 

Sigur Rós 'Kveikur' - Review

Sigur Rós explore their dark side with new album

Icelandic ambient/alternative band Sigur Rós are exploring aggression on their new album “Kveikur”. Jónsi's vocals remain airy and light, but musically they are much more experimental... and loud. Percussion is more prevalent than ever as they play around with what sounds good to the ear, challenging us out of our comfort zone. For one of the most beautiful bands in the world, they have produced a very unsettling album.

The album begins with the statement piece, “Brennisteinn”, letting listeners know that this isn't your traditional Sigur Rós album. The track opens with a noise that is somewhere between thunder and fingernails on a chalkboard followed by a wall of sound that sounds more like The Prodigy than Sigur Rós . The voice of Jónsi comes in, comforting us as we get acclimated to the new sounds. “Kveikur” is another heavier track, very loud, aggressive and full throughout, ending with a minute of haunting sounds. “Hrafntinna” is a study in insanity with horns and bells bumping into each other and bouncing in our minds.

The album isn't all doom and gloom. “Rafstraumur” is a traditional verse chorus verse pop song as is the beautiful track, “Ísjaki” which would fit in on Jónsi's break out solo album, the pop masterpiece “Go”. “Bláþráður” and “ Var” are Sigur Ros at their most traditional and perhaps their best with ambient sounds beautifully intertwining, until the listener is full of emotion.

“Kveikur” seems to be a transition album. The band is experimenting with new sounds and deciding where Sigur Rós will go with the next phase of their career. It's fun to hear familiar artists experiment with their sound, but ultimately “Kveikur” is a bit too jumbled. Perhaps the next Sigur Rós album will be a masterpiece, fusing the old with the new, but unfortunately they aren't quite there yet.

Black Sabbath '13': Review

It's not bad, but does that make it good

 

“13”, the new album from godfather's of metal, Black Sabbath, features something old; traditional Sabbath guitar riffs along with lyrics that contemplate the afterlife, something new; Rage Against the Machine drummer Brad Wilk, and great production from Rick Rubin. Black Sabbath aren't chartering any new territory with “13”, but fans will welcome new material from one of the world's biggest rock bands.

The album begins with a guitar riff very reminicant of the diabolus in musica interval used at the beginning of “Black Sabbath” off their debut album of the same name. This sets the tone for “13”. Black Sabbath are reminding us how they used to rock by doing more of the same. Musically, Tony Iommi, Geezer Butler and Ozzy Osbourne can still pack a punch and Brad Wilk is the perfect substitute for Bill Ward, who decided to sit this one out due a contractual dispute. Ozzy Osbourne's vocal's aren't what they used to be, but Rubin expertly layers and manipulates them to hide the imperfections. Lyrics, written by Geezer Butler, primarily explore the meaning of life and the existance of God, but ultimately they feel a bit too forced.  In the eight minute epic “God is Dead”, Ozzy wails “I emphasize with enemies until the time is right/When god and Satan at my side from darkness will come light”.

Everyone is at their best on “Age of Reason”, making it the highlight of the album. Brad Wilk is inspired on drums as Tony Iommi's wails a massive guitar solo. Ozzy explores the meaning of life singing “ These times are heavy and you're all alone”. “Damaged Soul” is a good jam and features a refreshing harmonica solo from Ozzy.

Black Sabbath are a timeless band and “13” sounds like it could have been released in the seventies. The double edged sword is that being timeless, doesn't make it exciting. It's kind of like season 4 of “Arrested Development”. It's nice for fans to get to see their old friends again, but unfortunately the magic is gone.

Queens of the Stone Age: '...Like Clockwork" - Review

Queens of the Stone Age show us what it means to rock 

 

Queens of the Stone Age are back and darker than ever with their sixth studio album. “...Like Clockwork” is whiskey soaked, sex filled rock & roll. In other words, it is a breath of fresh air in a time when most “rock” bands are focusing on fashion and celebrity while they sell us watered down crap. Josh Homme is better than ever and this time he brought some friends along for the ride. Dave Grohl, who has previously worked with QOTSA on “Songs for the Deaf” and with Homme and John Paul Jones in the supergroup, Them Crooked Vultures, provides the drumming on the bulk of the album with Trent Reznor, Elton John and many more lending a hand on various tracks.

“...Like Clockwork” explores the idea that humans are animalistic, with dark instincts that lead to chaos, darkness, and a dangerous variety of fun. In the heavy hitting, relentless track “My God is the Sun”, Homme howls, “I don’t know what time it was/I don't wear a watch/So good to be an ant who crawls /Atop a spinning rock”. “If I Had a Tail” is dark and menacing with a sexy shuffle beat reminicent of the “Era Vulgaris” track “Make It Wit Chu”, while Homme ponders all of the deeds he would do if only he had a tail.

The relationship between highs and lows are explored throughout the entire album. Beautiful piano pieces like “The Vampyre of Time and Memory” and “...Like Clockwork”, a track that could easily fit in on a Radiohead album, are intertwined with gritty, loud guitar heavy tracks like “Keep Your Eyes Peeled” and “Kalapsia”. Elton John and Trent Reznor collaborated with QOTSA on the track “Fairweather Friends” and they are able to enhance the song without stealing the show.

The video for Kalapsia, animated by British artist Boneface, begins with the text “ Kalopsia is a condition wherein things appear more beautiful than they are”. Most of us seem to have this condition when it comes to our view of the world. We look through rose colored glasses rather than actually taking action. On “...Like Clockwork” Queens of the Stone Age remind us that we can change the negative entrapments of society, by removing ourselves from the unspoken rules that we all follow. Maybe I'm over thinking it and the overall message is that being bad feels so good. Either way, “...Like Clockwork”, is the best rock album that has come out in years.

The National - Trouble Will Find Me

The National hit one good note on "Trouble Will Find Me"



“Trouble Will Find Me”, the eighth studio album from the Brooklyn based The National, is beautiful and melancholy. Fans of the band will love the trademark sounds of Matt Berninger's baritone vocals over the somber sounds of the Dessner and Devendorf brothers. The flip side is that “Trouble Will Find Me” isn't going to win over any skeptical listeners.

Matt Berninger knows how to portray universal emotions, primarily through his poetic lyrics. “Sea of Love” the first single off of “Trouble Will Find Me” feels personal and true as Berninger sings, “I see you rushing now/Tell me how to reach you/I see you rushing now/What'd Harvard teach you?”. The theme that you have to live life, rather than read about it, is present throughout the album especially on the bitter track “Graceless” and the timeless “Fireproof”. “Don't Swallow the Cap”, the album's most memorable track, offers an upbeat and defiant tone, as Berninger proclaims “If you want to see me cry/play “Let It Be” or “Nevermind”.

The difference between “Trouble Will Find Me” and an album like Nirvana's “Nevermind” is range. “Nevermind” has range of emotion, range of tone and most importantly musical range. The National strike one chord and they stick to it. This would be a great album if you have just ended a relationship or someone close to you has died, but for listeners who are getting ready for sunshine and summertime, it feels long and exhausting.

The National are good at what they do, writing sorrowful songs that can bring emotion out of the coldest of hearts. “Trouble Will Find Me” is skillful and stylish making it perfect for a raining day but it's the sunny, happier times where you might want put it away and to listen to some Daft Punk instead.

Laura Marling - Once I Was An Angel

Laura Marling Proves that She is Wise Beyond Her Years

This is a powerful album full of complexity and beauty.  Read my full review at www.examiner.com

Photo by Karl Walter/Getty Images for Coachella

Daft Punk - Random Access Memories

Everyone's Favorite Robots Make the Best Album of the Year

It's been eight years since Daft Punk released the electronic heavy, powerhouse “Human After All”, and in that time the duo of Thomas Bangalter and Guy-Manuel de Homem-Christo have gotten back to their disco funk roots. “Random Access Memories” reminds us that they are just as comfortable with percussion and guitars as they are with synthesizers and drum machines. Song after song is interesting and catchy, making “Random Access Memories” the best album so far this year.

Daft Punk didn't work alone on this one. Pharrell Williams brings his soulful voice and hit making ability to the already classic “Get Lucky” and the inherently cool “Loose Yourself to Dance”. “Instant Crush” features Julian Casablancas, who manages to get his trademark vocals to shine through the use of a vocoder. The piano provided by Chilly Gonzales is intricate and beautiful in “Within” which will blend nicely with the “Discovery” track “Face to Face” in a live setting. Perhaps the best collaboration comes from Paul Williams on the spacey yet ragtime influenced track “Touch”. Williams, who previously worked with The Muppets on “Rainbow Connection”, has a knack for making audiences empathize with inhuman characters, like puppets or in this case robots. The result is beautiful and tragic and provoke feelings reminiscent to watching David, the child robot, stare at his potential savior The Blue Fairy in the film "A.I."

Daft Punk - Lollapalooza 2007

References to Stanley Kubrick, who wrote "A.I.", are also apparent in the interstellar track “Motherboard” which conjures the unsettling sounds of a nearby monolith. It seems the robots were very influenced by space on “Random Access Memories” with the tracks “ Beyond” and “Contact” evoking the wonder of the galaxy. Daft Punk come back down to earth with the fun, funky, disco tracks “Give Life Back to Music”, “Fragments of Time” and “Doin' It Right”. The inspiration of Chic guitarist Nile Rogers, who is featured on “Get Lucky”, is loud and clear.

In “Get Lucky”, Pharrell sings “Like the legend of the phoenix/all ends with beginnings”. It seems that Daft Punk are at a new beginning of their own. They are more popular now than ever, consistently in everyone's wish list to appear at musical festivals, and “Get Lucky” has become their highest charting hit in the U.S. “Random Access Memories” is a triumph in every sense of the word and as eager fans dive into the album, we can't help but imagine how amazing these tracks will sound live.

video by AllShowsGo!

Vampire Weekend – Modern Vampires of the City

Vampire Weekend show their maturity and musical chops with third studio album.

Vampire Weekend are an intelligent band, there's no doubt about it, and with their third studio album they highlight their brains without the showy wordplay of their previous efforts. These mature vampires explore personal topics like love and God in a way that is very relatable to fans of all ages. "Modern Vampires of the City" is beautifully constructed from it's overall feel and track list, to each song in and of itself.

In “Step” Ezra Koening sings “ Wisdoms a gift/But you'd trade it for youth/Age is an honor/It's still not the truth”. You can feel this very youthful band struggling with their quickly approaching thirties, but aging suits them well. They practice a beautiful restraint that produces seemingly effortless melodies over their trademark shuffle rhythms and background of Rostam Batmaglij's synths. 

Vampire Weekend have perfected an upbeat modern rockabilly with songs like “Finger Back” and “Diane Young”. The rhythm section of Chris Baio on bass and Chris Tomson on drums create infections cadences that make you want to dance. The use of auto-tune could be questionable on “Step” and “Diane Young” but the songs are so good that it just feels like nitpicking. They explore their softer side with “Unbelievers”, “Everlasting Arms" and “Worship You”. Three thoughtful songs that remain fun, a very difficult thing to accomplish.

"Modern Vampires of the City" feels very now, very 2013 in a world where we are all connected. There are influences from the past (Paul Simon) and global influences (African rhythms), but presented in a fresh new way. This feeling is represented in “Diane Young” as Ezra sings “Live my life in self-defense/You know I love the past cuz I hate suspense /If Diane Young won’t change your mind/ Baby, baby, baby, baby right on time”.

Okay, so the boys still have a bit of fun with wordplay but that's part of the reason that we love them. And if Vampire Weekend can keep creating albums as rich as "Modern Vampires of the City", we will continue to love them for years to come.

Yeah Yeah Yeahs - Mosquito - Review

Everyone's Favorite Indie Art Punks Show Their Multiple Personalities on “Mosquito”

 

The Yeah Yeah Yeah's open their fourth studio album, “Mosquito”, with a bang. On “Sacrilege”, they explore the absolution of religion in a fun and theatrical way. Karen O sounds both powerful and vulnerable when she sings “and I plead and I pray” as Nick Zinner channels Johnny Marr with his perfectly light and simple guitar riffs weaved throughout. The song reaches it's climax as The Broadway Inspirational Voices Choir takes over singing “It's sacrilege, you say”. There's no doubt about it, this song is powerful, but the rest of the album does not live up to the promise of “Sacrilege”. It's still a good album, just a bit uneven.

Where “Mosquito” runs into trouble is when the band tries to channel their punk roots. “Area 52” and the track “Mosquito” could have easily fit in on the YYY's - EP, in a bad way. The Yeah Yeah Yeah's have grown so much as a band that it is disappointing to hear songs that are obvious on a musical and lyrical level. You would think that the combination of the Yeah Yeah Yeahs and James Murphy would be the stuff of legends but “Buried Alive”, produced by Murphy, is just okay and begins to border on strange after a completely out of place verse from Kool Keith's alter ego Dr. Octagon.

The other high points of “Mosquito” are the soft sensitive songs. “Subway” is lonely and feels very New York as Karen's voice fades into a background of train noises and an aura of synths. Drummer Brian Chase explores some interesting rhythm and percussion elements in the mysterious and supernatural “Under the Earth”. And just like with their 2003 debut “Fever To Tell”, “Mosquito” ends with three gorgeous love songs.

2009's “It's Blitz!” was a masterpiece, fuzing Karen's love for fun and synths with Nick's seriousness and rock and roll. That's a tough act to follow. The Yeah Yeah Yeahs did a good job, but it could have been great.

Mosquito – 4/5 Stars