"Break Up"- Pete Yorn and Scarlett Johansson

9.0

"Break Up" is a bright, peppy, poppy, infectuous, lo-fi at times, pristine at times, album. Ignore the negative connotations of break ups when you read the album title; this record's potentially (and stereotypically) somber tones are masked with simplistic, acoustic laced, electric guitar crunched melodies. "Break Up", is a sensible pop record with the same amorous innocence as The Beatles, full of toe tapping, whistling wonder.

Considering that it's a break up album, it has the potential to be incredible. If anything, this record is a vehicle for Pete Yorn to show his musical prowess. None of the 28 minutes (9 songs) feels wasted. They fill every second with a hook, an cute boy/girl duet, a punchy chorus, slick electric guitar lines, or some other aural must for a record of this caliber. Being that it's only 28 minutes, after you listen to the whole record, you feel like it's missing something, but I feel that it would get redundant if they would've expanded it to a 11 or 12 track album.

Although there are only 9 tracks, there is a definitive side 1/side 2 difference. From the opener to "Blackie's Dead", the tracks are peppy, confident, and triumphant. From the distant guitars, dark side of the break up of "I am the Cosmos" to the closer, the songs are thoughtful, slower, and a little less conventional, which shows their strength by pulling off steel guitars, wah-wahs, and fuzzy basses. A credit to the production.

"Relator", is a confident, quick, and upbeat opener. Pete Yorn and Scarlett Johansson's amorous back and forth is met with a choir of overdriven guitar licks, and strings. Yorn's flowing, spacey acoustic guitar is a constant throughout the mix, and I feel that it adds to the lo-fi meets magnificent arrangements take on this album. The Rickenbacker bass acts like a heartbeat for the romantic second guessing of "I Dunno What to Do". The banjo and piano flirt amidst chamber strings in the triumphant climax of the song. A shift in tone, "Blackie's Dead" has a little bit of alt-country steel guitar. This gives them a sort of Johnny and June edge. A drum machine reminiscent of The Strokes' "Is This It?" is present in "Shampoo", accompanied by a fuzzy bass. "Clean" and "Someday" are the desire for the clarity or closure that you'll never get out of a break up, but have fun wah wah-ing.

Fuzzy bass lines ride along strings, banjos flirt with pianos, there's a lot of great instrumentation on this album. Pete Yorn's guitar licks range from Joe Satriani-esque to John Mayer on "Continuum", and puts Yorn with the best of them. Pete Yorn's voice is indifferent, cool, and sly; whereas Scarlett's is sweet, passionate, and endearing.

Key Tracks: "Wear and Tear", "I Don't Know what to Do"

"the Monsters of Folk"-

8.2

I'm sure you've already heard all about how this is the "Traveling Willbury's" of our age, so I'm not going to go on about how this is four brilliantly talented musicians who have their respective (and respected) projects.

First off, I'd like to say that the album cover gives good insight to the sound and feel of the album; rustic, folky, earthen (at times), and epic (at others). From the trip hop swagger of the opening track, the acoustic ballads, the spot on production, the spot off (when necessary) production, this album is many great things. I think it's also necessary to note that Conor Oberst (of Bright Eyes) is the weakest member; however, this does not mean that his contributions are weak, it just means that Jim James and M. Ward are that amazing.

Now...

"Dear God" is mysterious, sly, trip hop-esque, but clearly thoughtful hence the title. Just by reading the song titles, you can get a grasp of the themes of the album. These are God, war, Central America, the Wild West, and love. "Say Please" reveals the first slice of M. Ward, and boy is it good. This track is Crosby, Stills, and Nash vocally, but the Beatles musically. Although not a vocal frontrunner, Mike Mogis acts as producer for most of it, and his touch is evident in every song. "Whole Lotta Losin'" adds Americana and heartbreak to the mix of theme-ridden tunes. What I love about this song is how the first verse gives that American feel, but when the synth shows up in the 2nd verse, it gives a rushing, poppy sound that I feel is a great addition. This little mix up shows their stylistic versatility. Oh, and M.Ward dropped the Portland reference. "Temazcal" is the first time for Oberst to shine, and the first truly outstanding track. Folky, mysterious, and complete with Oberst's rusty vocal chords, the chorus harmonies are pristine, and give me the first reason to call this one of the best of 2009. "The Right Place" is worthy of being dubbed a "Workingman's Dead" outtake. Jim James is just as much Jerry Garcia as he is Robin Pecknold.

Conor Oberst is present in both the weakest ("Man Named Truth") and strongest ("Temazcal") points. Jim James seems to chime in at the perfect times for that pumping jam ("Losin' Yo Head") and the soft soothing folk songs ("Slow Down Jo"), and M. Ward seems to act as the father figure, as it feels like everytime he opens his mouth, he has the listener's attention. What I love about M.O.F. as opposed to most super groups is that each member brings their own experience and their own bag of tricks and adds it to the cauldron of indie rock in the center. There is no M. Ward song or Jim James song, they are all M.O.F. songs. Very cohesive. "Ahead of the Curve" keeps the group young, but shows their lyrical strength. "Losin' Yo Head" is by the far the most fast pace, loud jam on the album, and I think one of the strongest. For whatever reason it makes me imagine the group playing/practicing in a big mansion with a bunch of ghosts digging it. The last 3 songs on the album wind things down perfectly. I feel like "His Master's Voice" is a really meaningful song to have close the album. It includes many of the themes of the album, has a little bit of epic in it, a little bit of folk, and a little bit of everything great about the album.

This album is immediately great. It's not the kind that takes a couple listens to appreciate. The things they're singing about, the sounds they're creating, aren't anything too complex to grasp, and I feel like there is a great homey feeling to this album, probably because I love Indie so much. But this album doesn't need a genre label; it shines, it's great, and nothing else matters.

Key tracks: "Temazcal", "Say Please", "Losin' Yo Head"
Listen if you like: My Morning Jacket, Blitzen Trapper, CSNY