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Nightspring - The Winter House (Album Review)

Combining sounds reminiscent of M83, Daft Punk and Coldplay, Utah artist Nightspring released his full debut album, The Winter House. Encompassing a wide variety of sounds ranging from rhythmic electronic dance to catchy pop songs to mellow ballads, The Winter House features a good balance of sound and style. The album’s title offers a thematic framework to making the music album oriented. The use of atmospheric sounds and synths put the listener into an environment that although is cold and wintery, has a celebratory and joyous quality, giving a nice contrast to the typical deadness of the winter. Opening the album up with “The Winter House” the listener is thrown into a party, perhaps as the second track “Housewarming Party” suggests. Being rhythmically heavy with grooving basslines and electronic dance beats, these songs are easy to like, making you want to dance along and join said party. One track that stands out as being an easy favorite is “To Denver”, a rhythmic heavy song, which is well arranged and has a strong bassline. The track has a cold atmosphere to it that the ambient background sounds and footsteps bring the listener into the depth of winter; but as the bass and drums enter, the song becomes grounded. The drums and bass stop in the middle of the song, leaving wintery electronic piano and new-wave synths, which are soon after reunited with the drums and bass again, tying the song together nicely. As the album continues we dive into more pop sounding songs that show the influence of Coldplay with songs like “New Horizons” and “North Star”, and also M83 influenced songs like “The Beauty Void” and “Rocky Mountain Moonlight”. The songs are sonically accessible however the delicate vocals combined with the popish instrumentation, make moments in the songs sound slightly cheesy at times, yet it still continues in being celebratory and positive.

Thematically wise, up until this point of the album, the general mood of The Winter House has been upbeat, joyous and dance-filled, bringing lightness to the dead of winter. Unfortunately as the album slowly comes to an end it seems that Nighspring has succumbed to the cold, dark and dreariness often associated with the winter. Such change in mood begins with “Cabin Fever”, a song beginning with a single piano that as it slowly mixes in layer upon later, adds more tension, thus bringing the of feeling helplessness. As the song climaxes and reaches the end of its downward spiral we are brought to the song “Balm”, which is the most introspective and honest song off the album. The simplicity of the piano combined with the harmonized vocals brings out the trueness of the song, giving perspective into the mind of Nightspring. Despite being so positive throughout The Winter House it seems that “Balm” gives a needed balance providing the yin to the album’s yang. By being so introspective in having “hindrances that would not make sense to you” and being haunted by “time (which) is so unforgiving”, it’s a moment we can all relate to; reflecting and subsequently striving for something more deep and fulfilling in life. To finish off The Winter House, it seems that making the effort to change has been realized in knowing “why I’m here” and “why I’m not there”. Having this realization fits perfectly alongside the album closer “Spring Thaw”, signifying a sense rebirth and starting a new. With a sense of cleansing and the subsequent blooming of life from the sounds of chirping birds and flowing streams of water, the album comes to a full circle and is brought to a close.

The Winter House is not only easy to like from its melodic vocal melodies and rhythmic heavy basslines, but also is arranged well, and has meaningful lyrics that are very relatable. All of this combined together keeps the listener involved and interested throughout its duration and for a debut album it is a solid release, worthy of listening to again.

You can listen to The Winter House here: http://nightspring.bandcamp.com/album/the-winter-house-2 or on Spotify.

Favorite songs: To Denver, Cabin Fever, Balm

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Other Lives - Mind the Gap (EP Review)

During the lull from their extensive touring for their 2011 album, Tamer Animals, you would expect Oklahoma band Other Lives to be exhausted and ready to take a break. However, this is far from the truth with the band releasing a 4-song EP titled Mind the Gap, which differentiates itself from previous releases, by breaking away from their quintessential alternative-folk genre and moving into the experimental realm. Opening the EP with “Take Us Alive”, we begin to see this evolution of sound through the inclusion of a more expansive variety of sound that manipulates the mood from triumphant to eerie. Between the vocals, strings, drums, and piano, the song clearly has so many layers going on, yet retains a perfect balance as to not overwhelm the listener. One can think of “Take Us Alive” as being a stepping stone in maintaining their sound, yet slowly adding new directions and ideas to evolve as a band. As we move to the next song, “Dead Can”, the sonic changes become blatant. The inclusion of subtle electronic beats in tandem with analog synths, makes this song quite possibly one of Other Lives most unique songs yet. Amid new electronic elements combined with the echoed guitar and haunting organ, “Dead Can” takes the listener to a dark place that one might typically be weary of entering.

After spending a large portion of this past year opening for Radiohead, Other Lives seem to have been inspired by Radiohead’s sound. They have become more experimental, yet have still retained a level of complexity to their arrangement as they have always had. As almost homage to Radiohead’s influence, the EP includes a remix of “Tamer Animals” from Thom Yorke’s side project, Atoms for Peace. The remix is typical of Yorke’s previous works in being rhythmically heavy, yet atmospherically vast. Initially, although the music sounds well crafted, the vocals of Jesse Tabish sound detached, almost as if they were slapped on at the last minute. Perhaps Jesse Tabish’s vocals seem disconnected because Other Lives have only begun to dabble into electronic music. To shake this feeling off and bring back clarity, we come to the closing track of the EP, “Dust Bowl”. In this track they return to a more familiar sound, resembling the arrangements of Tamer Animals, with a concentrated focus on guitar and vocals, while also placing emphasis on strings making it one of the best orchestrated songs by Other Lives. Between this gem of a song on Mind the Gap, and an even better song, “Dust Bowl III” off of Tamer Animals, it makes one wonder is there a “Dust Bowl II”?

As they have been gaining more attention, Other Lives has been evolving over the years with their eloquent and advanced sound. As with their other releases, this EP is a perfect example of all that Other Lives has to offer to the world of music. From their recent progression in sound with their EP Mind the Gap, it is incredibly exciting to see where the band will go from here.

Favorite song: Take Us Alive

You might like this artist if you like: Radiohead, Arcade Fire, Fleet Foxes

You can listen to Mind the Gap below via Spotify:

http://open.spotify.com/album/34PpfloVajBX4JQfSQF1zR

Other Lives have a little over a dozen tour dates left of their tour, check out dates here: http://otherlives.com/tour

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Atoms for Peace – What the Eyeballs Did (Song Review) + Album News

                           It’s been quite the week in news for Thom Yorke’s side project band, Atoms for Peace. Just the other day, on Mary Anne Hobbs’ XFM radio station, the b-side to the debut single “Default” premiered. The song “What the Eyeballs Did” is what you might expect from Atoms for Peace due to Thom Yorke’s quintessential electronic beats. Unlike “Default”, “What the Eyeballs Did” is more of a full band effort from the very beginning with a bassline Mary Anne Hobbs describes as being “punishing”. Though the vocals are seemingly incomprehensible during the verses, the grooving rhythm section sonically engages and invests the listener. The lively brass section reinforces the song’s groove, feeling very reminiscent of Radiohead’s “Bloom”. Fitting in perfectly with the live arrangements of songs during the 2010 tour, “What the Eyeballs Did” is a rhythmic beast of a song that makes sitting still nearly impossible. Between this song, “Default”, and songs played during the DJ set at MoMA in September, the new Atoms for Peace album is definitely something to look forward to.

You can listen to “What the Eyeballs Did” here:

http://www.youtube.com/watch?v=gdc02AGKWpo

On that note Atoms for Peace is set to release their debut album titled AMOK on February 18th. The tracklisting is:

Before Your Very Eyes…

Default

Ingenue

Dropped

Unless

Stuck Together Pieces

Judge, Jury and Executioner

Reverse Running

Amok

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Ultraista/Zammuto live (10/24/12) [Concert Review]

Last Wednesday night, Ultraista played their first show in New York City at Le Poisson Rouge to a crowd of just a few hundred people. Consisting of producer Nigel Godrich, Joey Waronker and Laura Bettison, Ultraista performed songs from their debut self-titled album. The performance was very synth heavy, with all three members playing some sort of synthesized keyboard or instrument at one point during the performance. The perpetual use of these synthesized tones made the songs sound almost too monotonous at times. However, the variety of rhythms coupled with melodic vocals were sonically engaging and provided anticipation for the seemingly endless layers that made up the song. These countless layers were created by Nigel Godrich who played bass while using a synth, Joey Waronker who kept a steady beat while simultaneously using a synthesizer and Laura Bettison who looped her voice. The band impressively tackled an arrangement which would usually be suited for more people. Ultraista concocted a buildup of sounds to begin their songs, differentiating themselves as artists and initiating the excitement from the audience. The finest example of this was “Smalltalk”, which initially sounded nothing like the song, with Laura Bettison adding loop upon loop of background vocals. It was satisfying to see the buildup and transition at the beginning of the song to when it finally broke into the recognizable first verse. Although their music has danceable grooves and rhythms, one of the most disappointing aspects of the show was the crowd interaction. The audience acted almost zombie like, having no desire to physically engage themselves to the beat. Regardless, it did not stop Ultraista’s enthusiasm to be playing in New York, which for Laura Bettison was her first time in the city. Though they only played for about 45 minutes, Ultraista put on a solid show, replicating many of the same sounds that they were able to achieve on their album. They are set to play additional shows in Europe this year.

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Opening bands can often be a hit or miss opportunity to grab your attention and keep you interested enough to want to invest more time into listening to a band. In the case of Ultraista’s opener Zammuto it was quite a surprise to listen to an opening band so carefully put together and well versed in their instruments. The rhythms of the songs were the most impressive part of the performance, seeing the raw energy that the bassist was feeding off to the drummer who was feeding off to the two guitarists. All of this energy together was amplified along with the projected videos ranging from zebra butts, to cheesy product commercials to home video to disperse a set of songs that made you want to dance along. Though comical most of the time, the videos added to Zammuto’s set, bringing not only a sense of the bands personality and humor to the show, but showing a unique set of imagery that might not normally be thought of as a soundtrack to video. From hearing of and seeing the band live for the first time they were excellent, not only from their musicianship, but their sound and variety of arrangement, making me want to see them again live.

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Grizzly Bear - Shields (Album Review)

                                 Daniel Rossen’s refrain, “But I can’t help myself,” on the opening track “Sleeping Ute,” speaks loudly to Grizzly Bear’s trajectory over the years, as the band can’t help but consistently grow and push themselves upwards towards greater musical complexity and achievement with each subsequent album. Following a three year gap since the critically acclaimed 2009 release, Veckatimest, the four piece Brooklyn band have truly ventured into uncharted territory with Shields. With each new record, Grizzly Bear has the ability to maintain their signature sound, while redefining themselves through experimentation. Sonically mesmerizing and exhilarating, the album is chock full of synthesizers, horns, and strings, in addition to Grizzly Bear’s standard lineup of guitars, bass, drums and shimmering harmonies. Shields is delectable in the way it gracefully presents the enticing songwriting dynamic between Ed Droste and Daniel Rossen. Maintaining a sense of symmetry on this cohesive ten-track record, the first five tracks are clearly delineated as either Droste’s or Rossen’s, (depending on who sings lead), while the second half perfectly marries both songwriters’ style and tone in a Lennon-McCartney-esque fashion. On the piano-driven “A Simple Answer,” Rossen delivers his impassioned, soulful vocals and rough, intricately woven guitar arpeggios, while Droste’s airy voice soars in harmony. Immensely talented drummer Christopher Bear is given a much deserved spotlight, as Shields is a very drum-heavy composition. More so than on any other record, the band embraces a controlled sense of chaos with a sharper edge, like the busy coda on “Half Gate”. With Grizzly Bear, the joy and satisfaction come from hearing how each elaborate layer of instrumentation interacts with each other.

3 Favorite songs: A Simple Answer, What’s Wrong, Sun in Your Eyes

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Austin City Limits

Season 38 starts tonight on PBS with Radiohead! Be sure to tune in!

http://austincitylimits.com/

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Jack White

The big music news of the day is that Jack White last night ended his show after 45 minutes because he didn't like the sound and also was disappointed with crowd interaction. To my followers I want to hear your thoughts on this? Clearly people were angered about the show and him playing do you feel that he should give a formal apology or perhaps refund people who bought tickets?

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Default – Atoms for Peace (Song Review)

                            When not working as the frontman for Radiohead, Thom Yorke is quite a busy man, tackling a variety of projects ranging from DJing to being an activist for the environment. Not limiting himself to the confines of Radiohead, recently Yorke posted a link to a song by his side band Atoms for Peace. Along with producer Nigel Godrich, Red Hot Chili Pepper’s bassist Flea, Joey Waronker and Mauro Refosco, Atoms for Peace played a handful of shows in 2010, and is set to release an album next year.

The new song called “Default” picks up where The Eraser left off, evoking a similar dark and mysterious mood to the 2006 album, yet lyrically feels more positive. By being “completely free” and “laugh(ing) now”, it seems that Yorke has moved past the depression and fear that haunted his music for a while. At the same time he makes it clear that his journey has not been an easy one and that his “will is strong, but flesh is weak”.

In terms of arrangement, “Default” sounds more like solo song with minimal or nonexistent contributions from other band members. One feels almost cheated with this being labeled an Atoms for Peace release since the larger variety of instruments and arrangements that appeared at the live shows in 2010 are missing. However after seeing the transformation of the songs from The Eraser, it is exciting to imagine how “Default” will sound in a live setting, once the other members are playing.

Overall “Default” may not be the most groundbreaking song Yorke has written, but like all of his songs it shows his strength and consistency in writing rhythmic, melodic and lyrical songs. From listening to “Default” as well as other songs Yorke has shown in his DJ sets, the new Atoms for Peace album is something to get excited about for next year.

You can listen to "Default" here: http://www.youtube.com/watch?v=yxWBd840E9g

“Default” is available to download off of iTunes, and buy on vinyl here: http://shopusa.xlrecordings.com/featured-xl-homepage/default

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Metric-Youth Without Youth

                                 After three years since their last album, Metric is back with a new single “Youth Without Youth”, taken from their upcoming album “Synthetica”. Being driven by bass and drums, the punk sounding arrangement of the song works well alongside the rebellious lyrics that discuss losing your innocence and youth while growing up. “Youth Without Youth” is a very straightforward song, having little to no changes within the melody or arrangement, leaving few reasons to return for a second listen. In trying to understand and digest the song, after a few listens it becomes a bit boring and slightly annoying, with the melody of the verses sounding like some childish taunt. As the excitement was built up for a new Metric song over the past few days, listening to this mediocre track left has me a bit disappointed and under whelmed. As a stand alone single I don’t feel that “Youth Without Youth” was a good choice in signaling the return of Metric, however in the context of “Synthetica” perhaps the song will make more sense when the album is released.

You can listen to “Youth Without Youth” below:

Youth Without Youth

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Record Store Day

I hope all of you got a chance to get out and support some small local music stores today! If you did what did you buy?

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The Shins-Port of Morrow (Album Review)

With a synthesized drone and other electronic noises turning on, The Shins return, further pushing their sound into new directions. Lyrically and musically, The Shins sound a shade darker on the driving opener, “The Rifle’s Spiral.” The guitars and drums have an entrancing depth and heaviness to them, Mercer’s iconic vocals sound quite serious, and lyrics like “Dead land’s collided / You pour your life down the rifle’s spiral,” loom large on an opening track. Each instrument here has a compelling, discernable sound, while they all work together to pulse the song along with intensity. Synthesizers weave in and out as a perfect counterpoint, opening and closing the track. It is a flawless opener, as it tugs at you with anticipation for what is to come.

In 2009, former Shins members Marty Crandall and Jesse Sandoval exited the band, and front man James Mercer replaced them with a slew of new members. As well, in 2011, Mercer released a self-titled album for the side project, Broken Bells, with acclaimed producer/musician Danger Mouse. On Port of Morrow, Mercer and these new Shins channel some of Broken Bells’ tone, with a spacier, more grandiose sound. Although The Shins sound different with the new members, based on the evolution of their sound and following 2007’s Wincing the Night Away, the progression feels natural.

The second track and the album’s first single “Simple Song” pulses with rock pop joyfulness. If listeners were afraid that The Shins’ iconic sound had disappeared, they need only to wait until the chorus as Mercer passionately wails, “I know that things can really get rough, when you go it alone.” Mercer’s remarkably high range jumps up and down with such Shins-y familiarity, one can’t help but be taken by its charm. The mix is littered with frenetic guitar riffs, sweeping harmonies and punchy drums, which all make “Simple Song” the perfect response to the grandeur of “The Rifle’s Spiral.”

Clocking in around 40 minutes, 10 songs in total, Port of Morrow is paced well, like previous Shins records. “Bait and Switch” grooves along, with a catchy little chorus and guitar solos that hearken back to early Shins material. “September” wonderfully pulls back, driven by Mercer’s acoustic guitar and vocals; it is reminiscent of “Young Pilgrims” off 2003’s Chutes Too Narrow, though the lush harmonies and reverb-rich guitars give it a much fuller sound.

In terms of production, The Shins sound particularly clean and crisp. The vocals, guitars and drums are all very polished, more so than on any other Shins record. Although, this doesn’t always work in their favor, as tracks like “No Way Down,” bounces along unoriginally, sounding a little too clean. The first half of the album is stronger than the latter; though Port of Morrow’s title track closes the album effectively with a slow psychedelic jam, as Mercer’s vocals evoke a bit of Thom Yorke and David Bowie.

Despite the weak moments on the album, it is really Mercer’s ability as a songwriter and vocalist that makes the material exciting and re-listenable. Mercer really is the sound of The Shins and he maintains that familiar Shins sound on this record, while finding new melodies and a colorful musical landscape to explore them.

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Beck-I Only Have Eyes for You (The Flamingos Cover)

                                   Song covers are typically a make or break scenario, either making the cover their own or staying close to the original. Recently Beck did a cover of “I Only Have Eyes For You”, made most famous by The Flamingos. From the arrangement and trademark “she-bop, she-bop”, Beck stays true to The Flamingos version making it feel as though he was transported back into the late 1950′s. His voice fits well into the song, ranging from being delicate  and soft to dire and pleading, giving light Beck’s psyche and personality. Being a sucker for vocal harmonies, the ones during the chorus are perfect with their warm tone, channeling harmonies from Franki Valli & the Four Seasons or The Beach Boys. The cover of “I Only Have Eyes for You” by Beck is an excellent tribute to The Flamingos version, and after listening to it, it makes you nostalgic to visit the 50′s where life seemed much more simpler.

You can listen to Beck’s cover of “I Only Have Eyes for You” here:

http://www.youtube.com/watch?v=2dCX00k5i5U

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Beach House-Lazuli (Song review)

Being a newly celebrated event, Record Store Day is a way to pay homage to all the small independant record stores around the world. To push people to visit these stores artists will typically release an exclusive single in their support. This year Beach House is one of the artists participating in Record Store Day with the release of the single “Lazuli”. Being the generous people they are, “Lazuli” was posted on their youtube channel, giving fans a chance to listen to the song a few days before the official release.

As with many Beach House songs “Lazuli” is filled with melodic hooks making it very easy to like. The song starts off sounding like music to a videogame or childs toy, but soon changes when the it opens up revealing the airy and spacious vocals of Victoria Legrand. The arrangement and mood is very typical of Beach House; being very laid back with the openness of sounds, yet active enough to make you want to dance along. From listening to “Myth” and “Lazuli” it seems that “Bloom” will use the same tricks of arrangement and mood as previous material. What feels different is the songs have more layers (especially vocally), making you want to you dive back in to listen for a second time. With that said bring on the release of “Bloom”!

You can listen to “Lazuli” below:

http://www.youtube.com/watch?v=Uvwl7INZykc

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Metric-”Synththetica” Album Details

Following up to their 2008 album “Fantasies”, Metric is set to release their 5th album “Synthetica” (release date June 12th). In building the excitement for the new release the band posted a total of 11 videos on their website (http://ilovemetric.com/) of the band recording the new album, along with some audio. Though you only hear isolated synths in those videos, it is fitting considering what the album title is.

“Synthetica” Tracklisting: 1. Artificial Nocturne 2. Youth Without Youth 3. Speed The Collapse 4. Breathing Underwater 5. Dreams So Real 6. Lost Kitten 7. The Void 8. Synthetica 9. Clone 10. The Wanderlust 11. Nothing But Time

http://vimeo.com/40499014

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Hanetration-Tenth Oar EP

Ambient music is a very generic term describing a background noise quality to music that can range from orchestral works to electronic music. In the case of UK artist Hanetration, their music is more on the lines of droning electronic ambient music. The most recent release “Tenth Oar EP” has a dark mood throughout, with deep and echoey sounds that seem to drift far into the depths of the unknown.

The first song “Rex” initially starts off a bit confused in where it wants to go with random noises. As the song progresses the song comes together with the drums keeping everything stable, sounding sampled or something similar to Panda Bear’s album Person Pitch. What throws me off from the song are the dry vocals, which feel out of place compared to the more spacey instruments.

The second song “Alarm” is a dark and mechanical sounding song that is arranged well. The deep atmospheric synths along with a repetitive piano note gives a sense of uneasiness, yet calmness at the same time. Though there isn’t much of a change in melody or arrangement, I find the song to be enjoyable and relaxing.

The third song on the EP is called “Rufus”. If there is one word to describe “Rufus” it is droning, especially with the synths. They seem to continue forever, but it is Thom Yorke-esque sounding drum beats that keep the song together. Once again there is a sense of apprehension with a dissonant violin synth that almost sounds as if it’s out of key. After listening to the song the thing I wish was different that the drums would progress a bit more, adding have more layers.

The last song on the EP is “Wreck”, having is a fitting title with the dark and disturbed mood to the song. I can imagine this song being used in some sort of horror film, with the way it sluggishly carries along, as if you are being chased by some demented zombie. For an ambient EP it was enjoyable. Although at times it made me feel unsettled from its mood, it kept me relaxed for the most part which is what I enjoy most about ambient music. You can listen to Hanetration’s EP here: http://hanetration.bandcamp.com/

Favorite song: Alarm You might like this artist if you listen to: Oneohtrix Point Never

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Brains/Propagation/Hours-Lower Dens (Single Review)

Prepping for their upcoming album “Nootropics”, Lower Dens have a 3-track single for the song “Brains”.

Having already reviewed “Brains” you can read that review here

Compared to “Brains” the second track “Propagation” is different in it’s overall drive, being much slower and laid back, while still maintaining Lower Dens’s shoegaze sound. It is the chorus of the song that stands out most to me with melding of the vocals and distorted guitar, which displays a well crafted arrangement. Although laid back, “Propogation” is a catchy song and I think a good choice as a b-side for “Brains”.

In the overall picture of the three song single, the last track, “Hours”, is probably the black-sheep. The song is enjoyable, but in the context of the single it feels out of place; the track is being upbeat and happy, while the other songs are more mysterious and dark. The song is light with it’s sunny sounding synths, making a short, yet catchy song when combined with the drums and vocals. The Brains/Propagation/Hours single is enjoyable, and although each song is different from the next, whether it be it’s tempo, arrangement or mood, it still retains a shoegaze sound that makes it easy to distinguish it as Lower Dens. Favorite song from the single: Brains You might like this single if you listen to: Deerhunter, Atlas Sound, Beach House

You can listen to Brains/Propagation/Hours here http://lowerdens.com/ or on Spotify

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Lucius-Lucius (EP Review)

A few weeks ago I had the opportunity to see Brooklyn band Lucius live at the Bowery Ballroom. Their performance was so enjoyable that I could not help but seek their music out after the show. Recently they released their debut, 4-song, self titled EP that I got a chance to listen to.

The EP begins with the sound of a solo acoustic guitar followed by the delicate and pure vocals on “Don’t Just Sit There”. As more instruments are added the song builds up to the chorus where the vocals really shine. “Don’t Just Sit There” is incredibly catchy with the melody and backing arrangement. It is a standard indie rock-pop song, with small hints of country influence through the use of pedal steel guitar. I think this is a song that will draw in new listeners to Lucius.

The second song “Turn it Around” starts with two vocals that sound reminiscent of fellow New York band Cults. The song uses a rhodes keyboard, but it is the percussion of the song that really stands out, counter balancing the vocals. As with “Don’t Just Sit There”, “Turn it Around” is catchy with its vocal melody and harmonies. The only weakness I found from the song was the distorted vocals, to which I would have preffered to be cleaner.

After two energetic songs the Lucius mellows out a bit with the country influenced song “Go Home”. What stands out most in this song are the vocal harmonies and how well they work together. The verses are fairly tame and relaxed in their mood throughout the whole song. As the song comes to the chorus however, this changes when the vocalists put their heart and soul when they belt “I don’t need you anyway, I don’t need you… go home!”.

The last song of the EP “Genevieve”, is similar to “Don’t Just Sit There” and “Turn it Around”, with an indie pop-rock sound to it. “Genevieve” relies a lot on rhythm from the heavy drums and the fuzz bass. As with all the previous songs the vocal melody and harmonies are very strong, which makes it easy to latch on to. The debut EP by Lucius is very strong, having little to no weak moments or songs in it. The combination of vocals with other instruments is a perfect balance, where not one overpowers the other. Filled with so many hooks, Lucius’s first EP is a great success for a debut release. Although they are fairly unknown so far, I think that if more people catch on they will be extremely popular. From seeing Lucius live and listening to this EP I am excited to follow the band and see where they go from here!

Favorite song: Don’t Just Sit There Best Vocal Performance: Go Home You might like this artist if you like: Cults

Listen to their full EP here: http://www.rdio.com/#/artist/Lucius/album/Lucius_EP/

Listen and watch the music video for “Go Home” here:

http://www.youtube.com/watch?v=AwoqKaXF7GI