The BurgerBlog

fun.

There comes a time, as a critic, when you have to bow your head down to an album that has shattered the constraints of modern sound and introduced a new approach to music that works well. fun., in their debut album Aim and Ignite, has been able to do this through their fantastic sense of composition, variety, and sheer talent.

The band members are not new to show business; the musicians hail from former bands The Format, Steel Train, and Anathallo. As they are musical veterans, they are not afraid to dabble in the unknown. Mixing the sounds of Vampire Weekend, Queen, and an eccentric symphony composed of harpsichord twangs, oboes wails, accordion clangs, and the sweet sound of Belle and Sabastian-esque guitar.

fun. isn’t afraid of tempo changes, difficult vocals (Nate Reuss is the new Freddie Mercury), or not producing a single made-for-radio track. What they are afraid of is the “less is more” ideology. Amidst the chaos of brilliant composition, there is hardly space for air as the tracks build (almost every track starts with quiet vocals and then crescendos into a theatrical finale). There is more room for simplicity; sometimes, like in “At Least I’m Not As Sad (As I Used To Be,)” fun. can afford to tone down the musical genius to allow for Reuss’s vocals to shine above the complex wall of sound.

The standout track for this album is “Be Calm,” Aim and Ignite‘s opening track. Aside from the romantic Russian-influenced mindfuck, the lyrics and vocals make this ballad. “Be calm/ Take it from me, I’ve been there a thousand times/You hate your pulse because it thinks you’re still alive/and everything’s wrong/It just gets so hard sometimes/Be calm.” Obscure references litter the rest of the album as well. In soft-spoken “The Gambler.” Reuss croons, “I swear when I grow up, I won’t just buy you a rose/I will buy the flower shop, and you will never be lonely.” The ever-confident romantic, Reuss refuses to allow himself to become corny and overdramatic, yet he still allows for love to permeate his words.

Aim and Ignite is not only my pick for album of the year, but also of the decade. It is intelligent, well composed, and thoughtful. A thorough listen will prove that the album has little flash, games, or gimmicks; it is a pure composition of lyric genius and good ole fun.

Rating: A

Recommended Tracks: Buy this album

Rob Thomas

Rob Thomas produces high class music, and Cradlesong is a must-have for any music lover.

Though tempting to end the review there, Cradlesong, the most recent solo album from Matchbox Twenties’ lead singer, demands and deserves more attention than that. Thomas, with his honey baritone, catchy guitar hooks, and affinity for good music, has mastered what he tried to in his first album, Something To Be: mainstream pop rock genius that can appeal to all listeners, young, old, or otherwise.

From the touchy topic of terminal illness (“Her Diamonds”) to the difficulties of the “Real World 09″ to tribal cries to God (“Fire On The Mountain”), Thomas is able to harness the severity of his topics yet apply likable peppiness to each and every one of the tracks presented in Cradlesong.

Angst and sweetness envelop the album in a blanket of soulful lyrics. Geared more towards the adult listener, Thomas writes about being judgmental towards his wife in the track “Hard On You.” Please forgive me if I’m hard on you, Thomas pleads as the song closes. “Hard On You” fades, and a hard guitar preempts the torment of “Still Not Over You” (his wife for being too hard on her? Not sure where this fits into Thomas’ personal life), followed by the sexy Daughtry-ish tune “Natural.” There is not a track on this album that won’t appeal to a vast spread of listeners.

Overall, Cradlesong doesn’t have a bad track on it. As it’s listened to over and over, the details and nuances of this intelligently designed album (from the same think tank as Matchbox 20) will present itself in new ways: the clear lyrics hit from different directions, the power chords and tribal drum beats shake the listener’s foundations, and little riffs and hooks make themselves apparent that aren’t immediately obvious to the skimming listener. Cradlesong has the same longevity that Joshua Tree and Thriller have offered over the past two decades. The difference is, Cradlesong hasn’t had the time to reach the potential of its following.

In “Wonderful,” the third to last track on the album, Thomas proclaims, “I guess I’m past my prime/And now I’m overrated.” Rob, there is no “A” that I’m happier to award, and if you keep pumping out records like Cradlesong, you can someday “be cool” and hit your prime.

Rating: A

Recommended Songs: Buy this album

Frou Frou

Frou is the French term for the sound of rustling silk. The thought of the sound and texture is calming and warm, which is precisely the aim of the one-album band Frou Frou. Composed of Imogen Heap and Guy Sigsworth, Frou Frou has composed one of the best albums of the first decade of the 21^st century: Details.

Like a cool breeze on a mountain, Heap’s guiding voice holds this masterpiece together. In the first song, “Let Go,” Heap explores “the beauty in the breakdown,” or surviving a breakup. It was a perfect selection for Zach Braff’s movie Garden State, which is how most Frou Frou fans discovered the then disbanded group. The electronica feel and Heap’s breathy lyrics sets the tone for the rest of the album. “Breathe In” and “It’s Good To Be In Love” are both much poppier, using Heap’s prerecorded voice to back herself up. Three tracks in, and the listener is already wrapped in silk sheets.

The following three songs are similar to Imogen Heap’s current works, so if “Goodnight and Go” and “Speeding Cars” are inspiring for the listener, they will undoubtedly enjoy the rest of the album. “Shh” adds an upbeat urgency that is necessary to make this album complete. Imogen whispers,

“Don’t make a sound/Shh and listen/Keep your head down/We’re not safe yet/Don’t make a sound/And be good for me/’Cause I know they’re waiting somewhere out here”

The redundant synths aren’t too much, which would be the downfall of the song. Heap and Sigsworth keep it simple, which is the marvel of Details. “Shh” ends simply; Heap repeats “I feel good all over.” It does feel good all over.

The final song on the album is “The Dumbing Down of Love” is a soft ballad that, though a tad long, was created to be swanlike and beautiful. With drawn out synths holding long chords like lazy waves caressing a beach, brushed drums, and a gentle drum background, Heap holds her head high and showcases her astounding voice.

Details, the sole album of Frou Frou, is a work of art. Both Heap and Sigsworth have not made any promises about remaining split up, so one can only hope that they get back together and produce an album of equal, and if possible, better quality.

Rating: A

Recommended Songs: Buy this album

Dave Barnes

Brother, Bring the Sun rocked, and I waited impatiently for Chasing Mississippi, Dave Barnes’ sophomore album. The Nashville-based singer does it again. Chasing Mississippi does not have a bad track and can be listened to on repeat again and again…and again.

Unlike Brother, Bring the Sun, Chasing Mississippi sacrifices the appraised romance songs for a more upbeat feel. Fortunately for Barnes, his peppier songs are just as fun to listen to. In “Everybody But You” Barnes sings about a love interest who’s oblivious to his affections: “Everybody knows it here but you/I love you girl but you still ain’t got a clue.” The blues guitar with a Caribbean inspired rhythm section creates a playful feel, which is perfect for the content.

“Everybody But You” isn’t the only track where Barnes composes flawlessly for the accompanying lyrics. “Butterflies,” summed up by the catch “butterflies in my stomach/this just might be love,” can be skipped down the sidewalk to, with a ragtime piano solo in the middle that is reminiscent of finding love in the spring. Sound corny? It is. But corny, in this case, works.

Nashville obviously got to Barnes while he was writing this album. “Grey Hound” and “All That Noise” are slap and clap alongs, bound to appease listeners who want to get on their feet to a ragtime blues. They are masterfully woven into the overall album so as not to make the quicker beats sound hokey or overshadow the slower songs.

The romantic pieces, as mentioned in my review of Brother, Bring the Sun, are Dave Barnes’ strong suit. This remains true for Chasing Mississippi. “More Than a Man,” “Stay Away,” and “I Have and I Always Will” showcase Barnes’ fantastic vocal talent and bleeding heart. They all have guitar solos that are appropriately sweet and mellow as the song prescribes.

Well done, Dave. Chasing Mississippi is a wonderful addition to the repertoire.

Rating: A

Recommended Tracks: Buy this album

Dave Barnes

Dave Barnes is not a well-known artist, but he should be. I found Brother, Bring the Sun, Barnes’ debut album, several years ago on MySpace. The country, rock, and blues sound is made up of clear vocals, funk guitar, a groove that keeps this album moving.

“Crazyboutya,” the first track on the album, encompasses Dave Barnes’ sound. It has a pull and chug to it not unlike John Mayer that will appeal to every listener. However, “Until You,” the following track, overshadows the rest of the album. The upbeat rock ballad has the hooks and the beat that can be listened to over and over again. The lyrics are sweet, but not so much that they’re sappy: “Love was kept from me like a secret/And I swore that I was through/Until you.” I have been waiting for this song to appear on the radio for a while.

Barnes is also very good at tackling slower grooves. “Grace’s Amazing Hands” and “Nothing Fancy” illuminate Barnes’ strong vocals and has the perfect light feel for a romantic evening. “On A Night Like This” should be on every wedding repertoire. It’s slow and methodical, with well-placed strings and passionate vocals.

For those who don’t enjoy touchy-feely music, have no fear. “The L.A. Song,” “Prayers of the Saints,” and “What Am I Gonna Do” are fun, feel-good tracks that the listener can go for a long drive listening to. None of Barnes’ songs are get-up and dance tracks, but that’s not the point of his music. Brother, Bring the Sun intends to make its listener feel good. Barnes shoots: he scores. Brother, Bring the Sun should be in every music lover’s collection.

Rating: A

Recommended Tracks: Buy this album

Welcome to the BurgerBlog, a music review site for music lovers. This blog is apt to review anything, from U2 to Dave Barnes to Fergie, and will throw fastballs at the artists as they fight for the coveted A-grade Burger. The grading system is similar to that of high school; the bands who don’t try fail, those who are average get C’s, etc etc. Enjoy!