Hangin' Out In 100b

Oopsy, I’m just just a teeny bit late with our run-down of March’s new releases, aren’t I? Nevermind, these albums are still worth mentioning even if it should’ve been, ahem, almost 2 weeks ago.

So let’s start with the new 1990′s release, Kicks. I’m afraid I’m not hearing any big anthem-y numbers like “You Made Me Like It” (one of the very best singles of whatever year that was), or any Modern Lovers-esque masterpieces like “Arcade Precinct”, but the 1990′s have still got that poppy thing that makes them so much fun. “59″ and “Balthazar” especially got me humming along on the first listen. Oh, “Everybody Please Relax” has an excellent hair-band ending, which is worth the admission price alone.

Next up is The Rakes third LP, Klang. Now anyone who’s read any of this blog, or has ever listened to me talk about music at all, knows that I love The Rakes – crazy undying love (only without the potential stalker connotation, I’m not *that* kind of crazy). I’m not sure why, but ever since I heard the opening lines of “22 Grand Job”, my fandom has been unstoppable. So you should understand why it’s really hard for me to say that I really wasn’t that impressed with Klang on the first listen. I just didn’t hear those things that made me love The Rakes in the first place – the catchy-ness, the humor, the dance-ablity. It was with a heavy heart that I popped it in for a second listen to take notes for this here post. And, wait a minute, it started to grow on me. I started noticing more good stuff in there, specific songs stood out (“That’s The Reason”, “Bitchin’ In The Kitchen”). So I’m not yet completely convinced one way or another, but that second spin definitely gave me reason to investigate further.

The Decemberists’ The Hazards Of Love never gave me any reason to doubt their powers. I honestly can’t imagine a world where The Decemberists could disappoint me, if for no other reason than what they do will always be interesting. In this case, The Hazards Of Love is everything I want in a Decemberists album: captivating stories and beautiful music. A band using the phrase ‘rock opera’ would usually strike fear in the hearts of their fans, but The Decemberists definitely suit the format. I love how everything they do is always a little bit different, they try new things, but it always sounds like them. This album brings back some of the harder prog-ish sounds we heard on “The Tain” and The Crane Wife, which I adore – it gives them a sinister, more menacing aspect that suits them so well. The kids singing on “The Hazards Of Love 3 (Revenge!)” are cheerful but totally creepy, and “The Rake’s Song” is just badass. I’ve loved everything The Decemberists have done and The Hazards Of Love is no exception.

Somewhat simpler, though no less excellent, is The Boy Least Likely To’s long-awaited second album, The Laws Of The Playground. It’s funny that two the bands I get extra-geeky about (The Boy Least Likely To and The Rakes) should both release albums in one month. Where The Rakes’ music confirms all my cynical feelings about the world, The Boy Least Likely To has the opposite effect. They remind me to be hopeful and playful sometimes, to daydream and take a walk in the sun. Not that it’s all fun and games – The Boy Least Likely To write children’s songs about grown-up things; there’s a lot of wisdom and commentary hidden underneath the playground singalongs. The Law Of The Playground is exactly what it should be: lovely, every single minute of it.

If I was going to pick an album of the month, which I’m not really, it would have to be Peter Bjorn and John’s Living Thing. I don’t know the specifics, but I have heard that not everyone loves this album. Those people are, well, wrong. No, there’s no “Young Folks” repeat, but why should there be? Did you not like the other 90% of Writer’s Block? If you actually like Peter Bjorn and John (and not just “Young Folks”), this album should definitely keep you happy. To be honest, my gut reaction is that Living Thing is actually better than Writer’s Block, though that’s still one of my favorite albums. They’ve ventured out into even more atypical beats for indie pop (especially on “It Don’t Move Me”, which sounds almost Michael Jackson-like in the verses), which contrasts so beautifully with their soothing vocals and poppy melodies, and brought in some of the experimental sounds they played with on Seaside Rock (steel drums, echo effects). The truth is that I love this album so much, I don’t even know what to say – don’t listen to the haters and grab yourself a copy, you won’t be sorry.