Breakup Song - Deerhoof (Polyvinyl, 2012)
Due to the quick turnaround from 2011's Deerhoof Vs. Evil, I'm not surprised that this great band's latest, Breakup Song, is under 30 minutes. I'm into it, especially when an album is as scatterbrained as this. I can't take it for too long. Anyway, something is off with Deerhoof here. I don't know. I'd say Breakup Song is probably a fresh update on their sound: more polished, more keyboards. However, it is not nearly as immediate as their last two albums, and while maybe there are more pop hooks, they are not as memorable. But, this is a double-edged sword, as the complexity and zaniness on Breakup Song keeps you on your toes a little bit more than those last few albums, which is interesting, because you often don't know what to expect from this wonderful band. There are great songs here (especially the doozy of a closer, "Fete d'Adieu"), but the lack of those interwoven, classic rock guitars leaves a gaping hole. And Greg Saunier's drumming isn't as wanky or impressive as I usually prefer. That's another complaint. Don't get me wrong. Breakup Song is a serviceable if not downright good Deerhoof record, I'm just not as into this more futuristic path they're headed down.
Broad Shoulders - Dikembe (Tiny Engines, 2012)
2012 has been a fantastic year for the emo revival. Instead of the east coast, Dikembe are from Gainesville, FL, and are on the wussier side of the punk scene there that is headed by No Idea records. Basically, they are noodly emo that is a little bit more groove-oriented and not so difficult structurally as, say, Algernon Cadwallader or especially Glocca Morra. The vocals and vocal melodies are nothing to write home about (they get a bit monotonous), but otherwise, Dikembe are top notch players. Excellent musicianship, and the production quality on this debut LP, Broad Shoulders, is pretty much pro. To mine ears, these dudes are a little bit more like Braid and The Promise Ring than Cap'n Jazz. I'm pretty much all-in on the emo revival, and Dikembe are another excellent discovery. Broad Shoulders is not the best emo record of 2012, but it is a damn good one.
I Bet on Sky - Dinosaur Jr. (Jagjaguwar, 2012)
I Bet on Sky is the third Dinosaur Jr. album after reuniting, and it is the least memorable, obviously meaning, that it is disappointing, also meaning that it is the worst. Not, like, THE WORST. Not in that way. It's just a solid Dinosaur Jr. album that just is, riding along with no lows but no real highs either. Sorta jangly, mid-tempo opener "Don't Pretend You Didn't Know" is a nice surprise, as it is relatively subtle with no real guitar wailing. "Almost Fare," "Pierce the Morning Rain," and "What Was That" are jams, but nothing here comes close to touching an "Almost Ready" or a "Back to Your Heart" or any of their great classics. Still, this is Dinosaur Jr. we're talking about, and I Bet on Sky is better than a lot of albums that came out in 2012. I'll take this over Grimes any day.
Everyone Everywhere - Everyone Everywhere (self-released, 2012)
Everyone Everywhere are another cog in the emo revival machine from Philadelphia, and Everyone Everywhere is not only their sophomore LP, but it is their SECOND SELF-TITLED LP. Believe it. I got into this around the same time as Broad Shoulders, so I think I will associate the two together for forever, even though they are a bit different. The former is a bit spacier and showcases a more "beautiful" sound, I guess, where the latter is more jagged and more punk, I guess? I'm not sure if Everyone Everywhere's pretty vocals and heart-wrenchingly simple and honest lyrics are annoying or just a non-factor, and the melodies are sort of whatever, but, the music is big and gorgeous, and their are some nice touches like aux percussion and horns that keep things fresh. "Queen Mary II" is a true jam. Good to great stuff.
Long Slow Dance - The Fresh & Onlys (Mexican Summer, 2012)
Once a straight-up lo-fi psych pop band, The Fresh & Onlys continue to broaden their palette and improve upon their fidelity with each release. I have spent time with all of them, and I haven't liked anything by them as much as I do Long Slow Dance since their 2008 self-titled debut. Well, aside from Play It Strange's (2010) opener, "Summer of Love," which is without question their best song to date. While Long Slow Dance still hints at the 60s psych thing, I feel that it has more of an 80s thing going for it, mostly in the production, and also in the way that Tim Cohen's vocals here bring to mind Ian McCulloch of Echo & the Bunnymen. The sounds are pretty varied on Long Slow Dance, combining crisp 60s psych pop with some 80s post-punk drama (like E&tB, albeit subtly), but it feels pretty focused. Prettay good album all in all, and "Presence of Mind" = JAM.
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