Ingrid Michaelson - "Human Again" (2012)

You can usually tell when a musician grew up with both parents being artistic as well. The child grows up writing in a diary and someday turns those poems into songs. This is the case for our lovely Ingrid Michaelson, as she continues through the music world as another "indie pop girl-who-escaped-to-New York-to-make-it-big".

Her latest effort showcases the singer/songwriter's rawest emotion yet, especially with the somber whimper of I'm Through. Within the ballad, Michaelson tells us of a lost love, but with no remorse. I'll always know you were the one/ To rip me from the ground/ It's all because of you that I'm through, she cries with the assorted orchestra backing her. And with no sort of transition, the next story off the album, Blood Brothers, preaches that we're all the same. The uplifting feel the progression of this song has, makes this one stand out as a casual "go-to" track for those looking for that anti-world-depression drug.

The lead single, Ghost, has Michaelson desperately wanting to express that she is a lost soul, and may not be able to find herself again. With fancy vocal embellishments and innocent attitude, there isn't a whole lot else that makes the music very interesting to listen to. Perhaps the sweetest track off Human Again could be Keep Warm. This track could be the staple for any Hollywood romantic cult-classic movie. Here we have a soothing melody that actually warms your heart, as well as enchanting additions from the backing orchestra, much like what Ray Charles' "Georgia on my Mind" did for our hearts. However, Michaelson has a long way to go before we can consider her as soulful as she has the potential to be.

Without any sort of consistency, the album as a whole lacks a certain flow. Going from a reluctant heartbreak to a cherished one so quickly can be hard on our conscious; as humans, we need time to heal. Keep in mind that although the songs are well constructed, Ms. Michaelson may have to work a bit harder to differentiate her vocal demeaner. We want her to really show us that at the end of the world, we can still find someone to leave this place together.

RATING: 5/10

Blink 182 - "Flyswatter" Demo (1992)

You probably have a favorite band, who you know the lyrics to every song and even b-sides or unreleased tracks. Perhaps you've backtracked your favorite band all the way to their very first recordings and fell in love with every sounds that emitted through your speakers. However, there are certain recordings that stayed unreleased and unprofessionally recorded because they are, for better or for worse, irrelevant.

At some point in your life, you've probably heard a Blink 182 song, whether you realize who the band is or not. If you listen chronologically to the band's music, there is a definite maturity time-line that is follows. At the beginning, Blink were not a whole lot different from other bands at the time, such as NOFX, Screeching Weasel, or even Green Day. Really, what made this band stand out and what eventually got them signed was their work-ethic and potty-humor filled stage shows.

What Flyswatter provides for any Blink fan brave enough to survive it's less-than-mediocre sound quality, (the lyrics are unpronounceable), are decent attempts of a band trying out songs that would impress few. Mark Hoppus on bass demonstrates that he is a natural at finding harmonies in the right places, and Tom Delonge consistently plays riffs that subtly differentiate from each other. Ex-drummer, Scott Raynor's job, was simply to keep up and play fast.

Honestly, the only difference between this demo tape and your buddy's from down the street, is that Blink knew what they wanted to sound like; a lyrically-ridiculous punk band who wanted to play loud, fast, and get people to notice them. But hey, it worked, didn't it? If you for some reason feel like digging this forgotten demo-tape from the vast internet, don't judge them based off being immature... (Wait... Oh yeah.)

RATING: 3/10

The Dead Weather - "Sea of Cowards" (2010)

When you think of the term super-group, who comes to mind? Technically, the term is defined by several members who have already gained fame from previous bands, collaborating into a new band. The Dead Weather is nothing short of super, and their sound combines the most excellent elements from each members background. Within the sophomore efforts opening two tracks, the White-Stripes-esq stomping drums can be still recognized, as well as Jack White's screeching guitars playing hooks so unique, that every track is as interesting as the next. The track I'm Mad showcases the group's freaky streak, not just portraying anger, but mental instability as the fuzzy bass and electronics come howling out. To slow the train down a bit, I Can't Hear You grooves the listeners body just subtly enough to create and anxious and uncomfortable atmosphere; as if you're walking alone through an alley and you don't know who (or what) is around the corner. To add to the insanity of the instrumentation on Sea of Cowards, front-woman Alison Mosshart's vocals from the viewpoint of certain characters who are assertive, but simultaneously apprehensive. This is illustrated in the song Looking at the Invisible Man with the lyrics "You're lookin' at me like you know what you're talking about/Ain't nothing to see here, you can't hit me". This seems to be a theme throughout the album, as Mosshart stands up at the mic, yelling things at you like a bully...A very sexy, dangerous bully.

RATING: 7/10

Ray LaMontagne - "Gossip in the Grain" (2008)

Album Review

If you have ever wanted to experience a perfect day no matter what the weather, opening track "You Are the Best Thing" will make you smile with it's subdued stomp groove and rounded horn section. He continues his honest lyrics that reach out past his romantic melodies and instrumentation in the tunes that follow. "Sarah", a tune that seems to frolic between your ears, takes the listener on a journey into the innocent past of LaMontagne, and then poses the question, "is it ever going to be the same?" There is no doubt that LaMontagne is a skilled musician, as he maintains our attention and our interest with several contrasting tunes, utilizing different techniques ranging from a simple banjo riff for an old-time country feel, to creating a semi-manic narration with impatient drums and screaming harmonicas. Such a song would be the hectic romp "Henry Nearly Killed Me (It's a Shame)". What this album contains are modern day pop songs with an extra helping of raw emotion; something this generation seems to be in low supply of. A master at creating unique harmonies crossing over all instruments, LaMontagne has no trouble creating not just a scene, but a whole story for the listener to fall into and reminisce on lost loves and lost passions.