All the Saints

All the Saints

Fire on Corridor X

Touch & Go, 2009

www.myspace.com/allthesaints

www.tgrec.com

Seriously. I have found my new favorite band. For the moment. I first heard this band on a split with These Arms are Snakes and thought, "Hmmm...maybeee..". Then I bought Corridor X. Well played, sir. It's dark and slightly scary, but not in a nerdy way. It's more like if Washington Irving or Flannery O'Connor had played in a f***ing rad rock band. Okay so maybe that's not the best argument against being nerdy. But it's true, and holy s**t, it works. It's got a touch of American Gothic to it (or maybe that's just because I was driving through bumf**k Virginia when I first listened to it). They bill themselves as psychedelic rock, but don't let that fool you. This reminds me slightly of TAAS, but a bit more laid back and just straight forward rock. It's really impossible to explain so I'm just going to stop now. This is killer.

Kid Sister

Kid Sister

Ultraviolet

Downtown, 2009

http://www.kidsistermusic.com/

http://www.downtownmusic.com/

This is what Amanda Blank's I Love You should have sounded like. This record falls into the category of music that is self-indulgent, fun and should never be taken seriously. Kind of like Annie was back in 2005 and Gucci Mane now.

Every conceivable studio trick known was tossed onto this album and it totally works. I even like the Kanye song "Pro Nails". The record is a mix of club beats and old school hip hop and KS pulls off the MC work pretty well. Nothing fancy, but totally addictive.

Dinosaur Jr.

Dinosaur Jr.

Farm

Jagjaguwar, 2009

www.dinosaurjr.com

www.jagjaguwar.com

I never really listened to Dinosaur Jr. growing up. I was too young to to be turned on to them when they were at their peak, and when I did really get into music I never really payed them much attention. I understood how influential they were on other very influential bands, but that was about it. At one point when I was in middle school I bought Without a Sound because I liked the Spike Jonze video for "Feel the Pain." Yes, that was back when music videos were an art form. I wasn't impressed with the rest of the record and figured this Dinosaur Jr. band wasn't for me.

It wasn't until I was older that I began to fully appreciate the band, their members, and the music. If I had heard Farm when I was younger, I would have hated it. Probably because it doesn't sound like Fugazi. But now that I'm older and questionably wiser, I take great satisfaction in listening to this. This is truly "alternative" rock in all the best ways possible.

Mascis' guitar work is as on point as ever and the record seems to be kind of a throwback to their heavier sound (which I love). Pretty much all of the songs are winners to me, but "Said the People" stands out. It's got a Built to Spill feel but has a chorus that would make even Doug Martsch envious.

All in all, I like this record a lot. If only I could go back in time and buy You're Living All Over Me instead..

Ace & Edo

Ace & Edo

Arts & Entertainment

Traffic (The Orchard), 2009

http://www.mastaace.com/

Look, I'm a huge Masta Ace fan. SlaughtaHouse and Disposable Arts are absolutely classic hip hop records. He's worked with the best of the best in hip hop, was a member of Juice Crew and has influenced countless MC's including none other than Eminem. I would even argue that he's one of the greatest MC's of all time. Edo G is a legend in his own right as well. So, that being said, why is this record absolute s**t?

Where do I begin. How about the skits. Yes, the pitfall of all hip hop records is in full effect here with countless, unnecessary, unfunny skits. Making it worse are the nature of the skits. The premise is that a black couple are watching TV and comment in between the songs on the songs. Not such a bad idea in and of itself, except for the fact that the "characters" are so self-stereotyping that they make "Tyler Perry's House of Payne" seem like Amistad.

Then there's the songs. They're far below average for these guys. With the exception of "Little Young" these songs are all throwaways. And that brings us to "Dancing Like a W.G." aka "Dancing Like a White Girl." Set to a house beat, the song describes the inability of intoxicated white girls to dance. For like four minutes. I get it. It's a joke. I understand what's being described and I can relate. But no need for an entire full-length track.

It's always depressing when an artist you respect puts out total garbage, but this is mortifying. It's definitely disposable but hardly art.

P.O.S

P.O.S

Never Better

Rhymesayers, 2009

www.myspace.com/pos

www.rhymesayers.com

This record sort of took me by surprise. At first I didn't really like it. I thought that unfortunately some of the songs sounded more like P.O.D. But after a few listens, I was a fan. P.O.S aka Stefan Alexander, started his musical career in a punk band before switching to hip hop. I guess that kind of explains the distorted guitars and feedback present in a lot of the songs here. The beats are hit or miss, sometimes just drum rolls and other times they're more traditional. However, it's the more experimental ones that work the best here.

P.O.S is a decent MC and this is worth picking up if you're looking for something a little different.

Camera Obscura

Camera Obscura

My Maudlin Career

4AD, 2009

www.camera-obscura.net

www.4ad.com

I've never heard a Glasgow band that I really liked a lot. A lot of good music comes from Glasgow, but I'm never really blown away. Camera Obscura is no different. This is a good album and I think as far as indie pop goes, it's better than most. I've always thought that Tracyanne Campbell sounds like Neko Case (or maybe it's the other way around). Either way, I like Neko Case way better. I've also always felt that this band has received more praise than they deserve. But that's beside the point. So, is this a good record? It's okay. Well I listen to it a lot? Probably not.

Moka Only

Moka Only

Lowdown Suite 2: The Box

Feelin' Music, 2009

www.myspace.com/mokaonly

http://www.feelinmusic.ch/

Daniel Denton, aka Moka Only, probably best known for his on again/off again relationship with Swollen Members, sounds like MF Doom to me. Not in the voice or anything, but his rhyme style. But that doesn't bother me. In fact, I like his laid-back, nonchalant style. It sounds like he could be making a sandwich or reading a magazine while he flows. Not a bad thing, it's just his style. This style carries over into his beats. They are at the same time minimal and atmospheric. At times there's even a hint of J Dilla in there, who Moka collabed with in the past. He's a prolific and well-respected artist for good reason. This is an addictive album and one of his best. It's a perfect summertime record too. Oh, and the ladies love it.

The Pains of Being Pure at Heart

The Pains of Being Pure at Heart

The Pains of Being Pure at Heart

Slumberland, 2009

www.thepainsofbeingpureatheart.com

www.slumberlandrecords.com

I like this music. But then again, I liked it when The Cure and Joy Division did it. Then I liked it when The Jesus and Mary Chain and My Bloody Valentine did it. But I'm not going to complain that this band is totally unoriginal and sound like countless 80's and early 90's college radio bands. This is legitimately good. It's one of those records where you anticipate every chord change ahead of time, because they go with the obvious catchy progressions. But I'm a sucker for a catchy song. And this is nothing if not catchy. I give it a "C" for catchy, in fact. Nice album art too. Way better than Wild Nothing..

Fashawn

Fashawn
Boy Meets World
One Records, 2009
http://www.fashawn.net/

Here at mxmcty, we love hip hop. When people say "Real hip hop is dead", it makes us sad. If hip hop is dead, then I guarantee you Gucci Mane killed it and its decomposing carcass is buried in his basement. But of course, hip hop isn't dead. You just have to know where to find it. It's obviously not on BET or your local "Hip Hop and R&B" station. Sure, maybe a legit artist like Talib Kweli or Atmosphere will bubble up in the mainstream for a minute, but most of the time we have to deal with garbage. But if you like real hip hop, do you listen to the radio anyway? If you like real rock or any other genre for that matter, do you turn to MTV or the radio? Of course not.

You can say that Fashawn is "saving" hip hop or "bringing it back", but it never went anywhere. If anything, he'll bring it to the general masses and then possibly sell out like countless other talented MC's (come on EM, Recovery?). But who knows. What is glaringly apparent at the moment though is that this kid is crazy talented. He raps with the same hunger that Nas did on Illmatic and he slays every single track. Right from the intro you know this is going to be good.

Combine that with some of the best production I've heard in years, compliments of Exile, and you have a really good record. Exile is one of those producers who doesn't make beats, he makes songs. Anyone with a computer or MPC can make beats these days. There's way too many cooks in the kitchen. Not everyone can make a real song. Each track stands on it's own. I could listen to the rhymes accapella, but I could also just listen to the instrumentals and not get bored. This was a perfect collaboration. This is honestly the best hip hop record I've heard in years, and definitely the best of 2009.

Fashawn is only 21, and with this kind of talent he's going to be f***ing huge. Whether he will remain to be a credible artist or become just another product being relentlessly pushed by the commercial media is anyone's guess. But for right now, I recommend you do what he says on his intro. "Watch me."

Tanya Morgan

Tanya Morgan
Brooklynati
Interdependent Media, 2009
www.tanyamorgan.brooklynati.com

If you had asked me if I knew who Tanya Morgan was before I had listened to this record, I would have said, "Yeah totally. I sat next to her in Psychology during my freshman year. I heard she's waiting tables at the Applebee's in North Raleigh now." You would be forgiven for having a similiar reaction if you had never heard of these guys either. I have no idea where their name came from, but I do know that this Tanya Morgan is a hip hop group that's bringing back the 90's hip hop sound. All the comparisons that are heaped upon Little Brother (De La Soul, Tribe) which I honestly don't understand, are actually applicable here.
The first thing that struck me about this record is that it reminds me of The Black Eyed Peas' Behind the Front. You know, when they still had their souls and their integrity. And before Fergie and her self-inflicted, onstage golden showers.
Brooklynati definitely takes me back to 1996. It's packed with funk and jazz samples and the breakbeats that made 90's hip hop great. Plus, these guys don't hesitate to toss around Onyx and ODB references like an Aerobie.
However, one hip hop trap that they fall into is the whole skit thing. Yep. Skits that are given an entire track all to themselves. Or sometimes tracks that begin or end with skits. Like almost every other hip hop artist, they will find a way to pack in as many skits as possible. I've always hated that. It pisses me off to this day that I have to fast forward through over a minute of nonsense just to listen to Biggie's "Kick in the Door." And don't even get me started on Raekwon's Only Built 4 Cuban Linx.
All of that aside, this is a good record. There's definitely some misses here, but I just appreciate the fact that this is a refreshing break from the stagnant state of mainstream hip hop.
Still, I swear I know a Tanya Morgan.. Did she figure skate?

Son Volt

Son Volt
American Central Dust
Rounder/Umgd, 2009
www.sonvolt.net
www.rounder.com

I hate the term "alt-country". It's just a catch-all genre for anything that's not quite traditional rock, but not quite squeeky-clean enough to be peddled as "new country" to the majority of Americans . To me, bands that are considered "alt-country", such as Rodney Crowell, Son Volt, Dwight Yoakam, Jason Isbell, Tift Merritt, Steve Earle, Scott Miller, Old 97's, Hayes Carll and, of course, Lucinda Williams, are the rightful inheritants of the true country music of Cash, Jones, Cline, Haggard, Jennings, Lynn and Coe.
The bile that's spewed from Nashville these days is hardly "country". It's more like brain-dead-pop music for people who don't like music to begin with. I myself would have to be about a case-deep in Milwaukee's Best Ice with an ice pick firmly inserted in my frontal lobe in order to even attempt to make it through a Rascal Flatts or Trace Adkins record. Even then, I would probably question it's authenticity.
Son Volt is one of those bands that I love, then I forget about, then rediscover all over again. Their 1995 album Trace was truly a classic "alt-country" (vomit) record, and these guys have rarely let me down since.
My only hangup (there's always one) is that Jay Farrar's voice is a bit monotone, and sometimes I think it holds the band back a bit. I always liked Volt's music more than Wilco, but I like Jeff Tweedy's vocals more than Farrar's. If only they could join up to form another band sans the Uncle Tupelo sound. I despised that band. But the chance of that happening is about the same as me ever putting money on the Celtics to win another championship game.
A highlight here is "Cocaine & Ashes". Farrar is able to sing a song about Keith Richards' infamous drug-fueled salute to his dad, true or not, in which he snorted a line of coke cut with his father's ashes. The thing is, Farrar is able to make it sound endearing. In fact, it's down right touching.
Now if that's not country, I don't know what is. Great album.

A Place to Bury Strangers

A Place to Bury Strangers
Exploding Head
Mute, 2009
http://www.aplacetoburystrangers.com/
http://www.mute.com/

It's taken me a while to come to a verdict on this one. Had I been forced to give my opinion on this band after one listen, I would have said, "Thanks but no thanks, A Place to Bury Strangers. I'm not interested." Aside from their magnificent name, they didn't do much for me initially. And I think I know why.
This sounds like vampire music.
"Now wait just a minute," you say. "Vampires are so totally in right now. Shouldn't that work to their advantage?" To that I would say, "No. Remember when Jurassic Park came out and all of a sudden everyone was suddenly interested in paleontology? Same deal. Hollywood gets people into some really nerdy s**t."
This isn't vampire-ish in a tweeny-bopper, Twilight Saga kind of way. This sounds more like something straight off of The Lost Boys soundtrack, but better. This record has a distinct 80's throwback sound and reminds me of The Jesus and Mary Chain, but with random sonic blasts of god-knows-what that probably register at the same decibel level as a nitrous-fueled jet engine.
That in and of itself is not a bad thing. It's just the whole vampire sound that gets me. And maybe that's not even a fair description. They don't sing about vampires, or even look like them. It's just the first thing that popped into my head. I picture some jackass with a chin piercing, a ruffled shirt and fake fangs totally digging this.
But the more I listen, the more I'm able to set my vampire-prejudice aside. It's a decent album. A very loud album, but decent. It's growing on me like a flesh-eating bacteria and I'm strangely okay with that.
If you're into The Jesus and Mary Chain and white noise, this is something you can really sink your teeth into.
Yeah, I just said that. What.

Superchunk

Superchunk
Leaves in the Gutter EP
Merge, 2009
http://www.superchunk.com/
http://www.mergerecords.com/

My first encounter with indie rock came when I was in the 8th grade. I was at the local used CD store and took a chance on an album by a band named Superchunk called "Incidental Music: 1991-1995". Sometimes taking chances is bad and it doesn't pay off. Like NBA players putting out hip hop records (Shaq, Ron Artest). Or choosing a career as a killer whale "trainer" at Sea World. They didn't earn that name by being friendly. However, on that day back in 1995, the chance that I took with my hardly-earned money paid off in spades, and I would love to thank the scrub who probably traded that CD for a Veruca Salt record.
To me, Superchunk along with Pavement are the quintessential indie rock bands. Superchunk is by far the best and most important band to ever come out of North Carolina and I don't foresee anyone taking that title from them anytime soon. If you disagree, feel free to email your argument and/or opinion to me at blahblahblah@noisenoisenoise.com. I will only view submissions that follow official MLA guidelines. And please, include proper citation.

This EP features a few new songs as well as "Misfits & Mistakes". All the songs are fantastic, but I can take or leave the acoustic version of "Learned to Surf." I guess it's cool to hear what a song sounds like without everything that makes it great... Leaves in the Gutter also shows that this band has only become better with age. Therefore, I am now replacing the metaphorical "wine" with "Superchunk". For example: "Wine is like Superchunk. It only gets better with age." Or even: "Johnny Depp is very much unlike Superchunk. His choice in roles as of late has transformed him into an unlikeable, living cartoon. He's kind of like Judge Doom in the 1988 cinematic masterpiece Who Framed Roger Rabbit, and I can't believe this is the same guy who made What's Eating Gilbert Grape and The Libertine." Responses to that one can be forwarded to the same email address listed above.
But getting back on topic. Leaves in the Gutter reminds me of the Superchunk that I discovered and immediately loved when I was young, and they've managed to stay more than merely relevant. As far as EP's go, this is totally worth your money and proves again why Superchunk is such an important and influential band.

Pick up Superchunk's new album Majesty Shredding on 9/14.

The xx

The xx

xx

XL, 2009

http://thexx.info/

www.xlrecordings.com

Man, this is a love-making record. That's the first thing I thought when I heard this album. I don't know if that's what they were aiming for, but that's what this is. It's not the kind of music that's overtly sexual or even intended to be so. Such as D'Angelo. Or Danzig. And it's not sexy in a creepy, slightly unsettling way like Portishead or Massive Attack either. It's just.. sexy.

I like xx because it's a "less is more" record. Many similiar bands that use programmed drums and sequencers make the mistake of going overboard with it. You give them Reason or Sound Forge and all of a sudden they think they're James Murphy. The xx seem to understand the simple effectiveness of a few well-placed kick drums or hand claps and the occasional breakbeat. On top of that, the vocals are great and Croft and Sims have the sullen, nonchalant, British croon down.

Unfortunately, I can see why network TV and corporations have picked up on The xx and used their songs. This album is loaded with accessible singles and it's got major mainstream appeal. But hey, good music is good music.

Between the reverb-soaked guitar, sparse drums, low bass hum and sultry vocals, this is a bedroom winner for sure. Seriously, if you can't make babies to this then you may quite possibly be dead. Or maybe the other person is.

Gross.

Violet Vector and the Lovely Lovelies

Violet Vector and the Lovely Lovelies

EP II

Colorwheel, 2009

www.myspace.com/violetvectorandthelovelylovelies

http://www.colorwheelrecords.com/

Remember years ago when the music critics were saying that Chapel Hill could be the next Seattle? Yeah, that was funny. I don't think that we could even touch Athens or Denver at this point and we're light years behind Austin, Portland and Brooklyn. Not to say that we don't have great bands or anything, we have a few. But I feel like we're kind of the underachievers. There's no lack of talent here in the Triangle, it just doesn't make it out. It's like another infamous geographical triangle. Music just can't escape it.

VV (as I will call them from now on because their name is way too long) was a good band. I usually loathe any kind of 60's throwback music, but this is more 60's pop-inspired, so it's okay.

It's sugary and sweet and some of the songs sound like they could play in Saturday morning cartoons. You know, the one's from the seventies, like Josie and the Pussycats or Jabberjaw (any band who's drummer is a Great White Shark is gonna shred). What I'm trying to say, in a positive way and failing at, is that this doesn't sound like a whole lot of other stuff coming from our area right now, which is a very good thing. I remember hearing "Grass Is Growing" on our local college radio station last year and thinking, "Hmm. That's pretty good." That doesn't happen very often.

They had their own sound and they stuck to it. There are too many indie bands these days that sound alike. Hell, there are too many indie bands in general. Anyone with a computer and a microphone can call themselves a band. But that's an article for a later time.

I wouldn't say that this is my type of music, but I think that VV were what Chapel Hill needed. Their sound immediately separated them from the legions of other bands out there sucking up and down Franklin Street. They came with originality that brought some cred back to Tobacco Road. I would have liked to have seen this band evolve more, because I heard their unreleased material was actually their best. But oh well.

The Horrors

The Horrors

Primary Colours

XL, 2009

http://www.thehorrors.co.uk

http://www.xlrecordings.com

I slept on these guys at first. I remember hearing a song or two from their 2007 album Strange House and not being very impressed. Then I gave them another chance last year when Primary Colours was released. They sounded like a completely different band. I had to admit, this s**t is brilliant.

They're a punk band that's not afraid to utilize all technology at their disposal. The freakish sounds that Tom Cowan and Joshua Hayward get out of their synths and guitar are at the same time terrifying and beautiful. They worked with three separate producers on this album, including Geoff Barrow of Portishead and Chris Cunningham (yes, THAT Chris Cunningham). That should give you a basic idea of the sort of wonderfully menacing tunes that await you. This album sounds like it was recorded in some godforsaken and long forgotten portion of the London Tube or something. Creepy.

This was my favorite album from last year and I still listen to it constantly. Primary Colours is an ablum that will totally intimidate you and have you tapping your foot at the same time. Excellent.

Pearl Jam

Pearl Jam

Backspacer
Universal, 2009
http://www.pearljam.com/

I'll preface this by saying that I've always loved Pearl Jam. If you don't like Pearl Jam, there's nothing on this record that will make you change your mind. And if you do like Pearl Jam, well, there's nothing on this record that will make you change your mind.
I've been a Pearl Jam fan ever since I spent my weekly allowance to buy Ten on cassette. I remember being absolutely fascinated and horrified by the "Jeremy" video. For a ten-year-old growing up in the rural suburbs of North Carolina, that was some heavy s**t.

I'll be the first to admit I listen to them to this day largely for sentimental reasons and for a certain sense of nostalgia. They, along with Soundgarden and Melvins, remind me of being a kid and discovering music. Listening to them evokes very pleasant memories of a wonderful time I would never, ever want to live through again. But I also listen to them because I enjoy their music and I think they're one of the most prolific American bands of all time.

I will always remember the 90's as the best decade for music because that's when I grew up. It's like how baby boomers glorify the 60's. I myself would promptly close the garage door and crank up the Chevy if my musical options were either reckless, hedonistic jam bands or self-important, hedonistic jam bands. But it's all relative.
Backspacer gives the impression that these guys are happy with where they're at. It's reflected in the abnormally positive lyrics and the overall tempo of the album. There is no attempt to push the boundaries or explore new sounds. They've done that, sometimes with success and other times with total failure. Now they just want to play rock songs and they're very good at doing so. As with most of their records there are the anthems that will become classics, the acoustic songs, the "yeah, I guess" songs and the throw-aways.

Like I said above, this is not groundbreaking stuff. It's a record for people that liked them to begin with. They aren't reinventing the wheel or anything, and Pearl Jam is perfectly comfortable with that.

E says: I can't not like these guys. It's my pleasure and my burden...

L says: Oh, you have to respect Pearl Jam. I don't wish to get more involved than that.

Weinland

Weinland

Breaks in the Sun

Badman Recording Co., 2009

www.badmanrecordingco.com

www.weinlandmusic.com

I first came across Weinland back in 2008 when I bought their album Demersville on CD Baby. I became borderline obsessed with it and picked up their second album, La Lamentor, about twenty minutes later. Both of those albums are amazing and I would absolutely recommend them to anyone who enjoys the occasional sleepy, melodic folk song. You know, something to put on the iPod when you're driving through the New Mexico desert at night, as so often happens. "What do they sound like, this Weinland", you ask? How about Okkervil River's Sleep and Wake-Up Songs, but with a healthy dose of Neil Young. They're the perfect example of folk music done well which is something few bands these days can accomplish.

With Breaks in the Sun, Weinland have decided to pick up the pace a bit. There's even a..uhh..dance beat? Besides the sudden Rapture influence, the songs on this album all kind of blend together and I kept waiting for one to really catch my attention. No dice.

I'll be honest, I'm not crazy about this record. However, I think that's because I have such a high regard for this band and I just expect a lot. I know, it's selfish.

Weinland set the bar extremely high with their lyrical, musical and overall songwriting skills and I feel like this record just doesn't hold up to their previous ones.

Of course other people will love this record and I can understand why. They're a really good band. But I would urge them to pick up Demersville and La Lamentor as well. Seriously.

E says: Do yourself a favor and buy/steal their first two CD's before you jump on this.

L says: I like "Young and Smart". (Which is not on this CD)

Amanda Blank

Amanda Blank
I Love You
Downtown, 2009
www.downtownmusic.com
www.amandablank.com

This is hard for me. When I first heard Amanda Blank on Spank Rock's single "Bump" back in 2006, I had no idea who she was. But I did know that she owned it and that my ears liked it. She was definitely the highlight of that track and pretty much every other track she appeared on. So with her solo debut, I waited with anticipation to discover what kind of lyrical gymnastics and debauchery she would drop next.
What I heard as I listened to the first track of I Love You was the song featured in a recent McDonald's commercial. Ouch. After that, it was something like being subjected to the tracks that Santigold passed on. That's right. Not good enough for Santigold.
That should tell you something. The beats are predictable and dated (thanks Diplo) and there's hardly any actual rapping. Most of it is back-tracking over ground already ravaged by M.I.A. and Peaches six or more years ago. The obvious low point here is a whole song about make-up, with shout outs to eyeliner nonetheless (isn't this a Vanity 6 song?).
For anyone who didn't know already, this is a pop record and that's apparently what she was aiming for. All the qualities that made her so refreshing in the past are noticeably absent. If you're familiar with her at all, you know she can be pretty raunchy. Raunchy in a good way. Sexuality is a big part of her image so naturally that's what I expected to hear. Not quite. The dirtiest it gets is the occasional "get up in it", blah blah blah, "let's sleep together", yadda yadda yadda. It wouldn't make even the most insecure middle-schooler blush.
Amanda Blank is a MC. A talented MC. To be fair, there are a couple (literally) of good songs here. The problem is that she admittedly went in a different direction. People do it all the time. But sometimes that "different" direction is a bad one. A very bad one. Like when Jordan tried baseball. Leave radio pop-rock to Katy Perry and stick with what you know. Especially if you're good at it.

E says: Download "Something Bigger, Something Better" and call it a day.

L says: Disappointing and I don't like songs about make-up or love. I still play it in the car though.

Gringo Star

Gringo Star
All Yall
Gringo Star, 2009
www.gringostar.net

Wow, what a horrible name. Seriously. It's wretched. It sounds like a pun your dad would come up with or something. But if you're able to swallow that spoonful of awfulness down and get to the music, it's probably worth it. I know some people compare them to The Animals and garage bands of the past, and I think that's valid. They definitely have a quirky retro sound. However, they're way too musical and versatile to be thrown in with other more straightforward garage acts like fellow Atlanta band Black Lips. First of all, they're better than Black Lips. Not that it's a huge achievement to be better than a band that's mediocre on their best day or anything. Gringo Star sound more like The Brian Jonestown Massacre minus the heroin and if Anton Newcombe had been listening to Sweetheart of the Rodeo and The Shins. I promise I mean that in a good way.
It's definitely catchy, poppy stuff but there's enough songwriting talent here to make these guys legit. I don't know many people who don't like this band (except L) and it's easy to see why. There's not a whole lot of depth there. It's just good energetic stuff. But the name..

E says: Good in small doses.

L says: Mmm, not really.