Pre-Screening: Usher's Raymond v. Raymond

Album: Raymond v. Raymond

Artist: Usher

Label: LaFace

Rating: 5.5

Raymond v. Raymond, Usher's latest studio album, shows an artist at a serious crossroads both personally and professionally. As he recovers from his divorce with Tameka Foster, not only must he decide how he wants to cope with the situation behind closed doors, but also in his music (if at all). Herein lies the focus of Raymond v. Raymond, billed as an introspective and emotional album describing Usher's struggles and recovery. As a central concept of an R&B album, this would work perfectly, if executed properly. Unfortunately for Usher though, he is unable to channel his emotions into an entire record, so instead, we are left with two separate records for two separate moods-- with both jockeying for position inside Usher's head, and throughout the entirety of Raymond v. Raymond as well.

What's most surprising about the album is Usher's struggle for relevance, and his appearance of being out of place. In 2005, he was a worldwide superstar, fresh off of the platinum-selling Confessions. Whether laying down heartfelt R&B tunes, or energetic radio hits like "Yeah!" it appeared he could do no wrong. But here, that same artist can hardly find his bearings. Tracks like "So Many Girls" and "OMG" are supposed to be club bangers on par with the best of his past work, yet they fail miserably due to schizophrenic switches in subject matter (depressed, to player and back) and overly cliched lyrics. The worst case of this can be found on "She Don't Know," a track which is already forced and awkward enough before Ludacris's unfortunate appearance. Like everything else Luda touches, the song seems like it's stuck in 2004, and that effect begins to rub off on Usher and the rest of the album, too.

Beyond these major missteps, there are some bright spots as well. "Pro Lover" is one of the collection's best pieces, juxtaposing Usher's smooth vocals over a beat that sounds slightly borrowed from Dr. Dre's "Still D.R.E." (but all for the better). It's unfortunate that it takes until the eighth track for Usher to appear completely natural and honest, but the break from the cheesy womanizer we saw earlier is most welcome. Continuing in the more toned-down, heartfelt theme, "Foolin' Around" scores this album's version of "Burn" as Usher further opens up about his feelings surrounding the divorce. Between those two tracks, and 2009 single "Papers," it's obvious that this album could have ran completely on more unforced and honest R&B. The question is why didn't it?

As mentioned earlier, by the end of Raymond v. Raymond, we're really not sure which Usher we're getting a glimpse at-- the crux of the record's difficulties. One minute he's full of remorse, the next he's setting up threesomes at the club (the actual theme of the Nicki Minaj-featured "Lil Freak"). Perhaps if these two personalities had been broken down into two halves (i.e. Beyonce's I Am... Sasha Fierce), the message would have been more workable for listeners. But, instead we see a bipolar artist, still unsure of who he is and how he should deal with his life or career. For all of our sakes, we should hope he gets ahold of both soon. Music would hate to see someone this talented just fall off the map.

Best Track: "Pro Lover"

[Previously on Animal Noises: Most Prolific Artists of the Decade: #11-20]

Pre-Screening: She & Him's Volume Two

Album: Volume Two

Artist: She & Him

Label: Merge

Rating: 7.5

It's probable that She & Him will fail to ever break new ground. The M. Ward/Zooey Deschanel project will never test any other sound, mood or subject matter. Nor are they likely to release a record unless they’ve got some good material to work with. For better or for worse, you know exactly what you’re getting from them-- no more, no less. It can be comforting at times, especially in a sea of artists who change their stripes so often.

And yet, this seems to work perfectly for the duo. So long as Deschanel continues to lend her sultry, classic voice to Ward's instrumental stylings, this cycle could conceivably continue going on forever. Or at least for now, until the conclusion of their second album Volume Two.

There is very little difference from their previous effort when you first begin exploring Volume Two. What more can be accomplished with the aforementioned pieces? Still, the duo have actually managed to extrapolate their seemingly closed and confined sound into something even more polished and sentimental than the last record. Deschanel’s voice frolics with the hopes of young love. Her gushing persona as a young girl musing about boys is simply irresistible, from the bopping opener “Thieves,” to closer “If You Can’t Sleep.” The ladder of which may very well borrow most of its premise from Bing Crosby’s “Count Your Blessings (Instead of Sheep),” but in a project like this, sometimes borrowing from classic tunes can be helpful and even encouraged in bits and pieces.

It’s that glowing charm that really carries Volume Two, even more so than its mostly-cheery predecessor. Of course, while increasingly extensive orchestration by Ward also lends to a much more grown-up and solid sound, one can’t help but notice Deschanel’s newfound fifth gear in the radiance department-- see "Lingering Still," amongst others for examples.

Amidst the breezy, open paths and winding, romantic roads we travel here, one problem does occur however. Repetition. For a large majority of the album, the two employ a pretty standard verse-chorus setup and three-minute runtime, with echoing Motown-style backing vocals for good measure. “Me and You,” “Sing,” “In the Sun”– you name it, the song will have those same elements. Besides some slight breaks such as “Home” and the aforementioned closer, many tracks can end up merging together. Since this wasn't the case on Volume One, we see it as the slightly unfortunate side effect to better production and maturity.

Still, it’s hard to fault She & Him for their songs appearing too similar to one another. Ward and Deschanel have never strived to be more than just a pleasant little pet project that (at times) resembled the 1960s, and that’s what Volume Two presented itself as. Such execution, even of their modest goals, can be appreciated and in this case, moderately celebrated. She & Him never try too hard, and it shows in how easy and pleasant an experience it is to listen to their music. Just take it for what it is, and chances are you'll enjoy what you hear.

Best Track: "Thieves" (via Pitchfork)

[Previously on Animal Noises: John's Track of the Week: She & Him's "Thieves"]

Pre-Screening: Broken Bells' Broken Bells

Album: Broken Bells

Artist: Broken Bells

Label: Sony

Rating: 7.0

Like most acts associated with the "supergroup" label, Broken Bells faced a daunting task as they prepared their first full-length album. The Shins' James Mercer and Gnarls Barkley's Brian Burton (aka Danger Mouse) are from highly different musical backgrounds, and obviously play to very different and distinct ends of the popular music spectrum. However, because of their collective admiration for each others respective work, this project-- a collaboration between bluesy electronic production and The Shins' light-hearted indie rock-- took place. The results, as can be surmised in most cases like this one, are mixed.

Broken Bells starts out on a collective roll, so to speak. First single, "The High Road" displays just how well Mercer's vocals can play off of Danger Mouse's soulful tones that echo away in the backdrop. In this track, the project appears as the perfect marriage. Both sides work together coherently in the shared space, and the track avoids doing too much. Next, "Vaporize" is more bluesy, but since it is more rock-based, it lends more toward The Shins' usual vibe. For the most part, it comes off as either a Shins b-side, or some highly adventurous demo. Either way, the song's relaxing, yet active mood is engaging, and encouraging for what follows, the breezy "Your Head Is On Fire." Electronic-based, and full of something resembling flower power, it goes from a floating beginning, to a shuffling and determined finish without much effort.

Unfortunately, however, the album just fails to deliver many other moments that compare to these opening track. Instead of the interesting, out-going songs we see in the onset, most of the remainder of the album is some of the same juxtapositions of indie sensibilities and electronic sounds. Simple verse-chorus-verse melodies plague slowed-down tracks like "Trap Doors," while closer "The Mall and Misery" attempts to use effects and minor chords to create some air of mystery around the whole project. By that point though, there is nothing left to be solved. You've already found out that this collaboration, like most in this vein, has its limitations.

Still, one can't get through the album without taking in Burton's lush soundscapes, which range from ambient to delicate and flighty, and beyond. "Mongrel Heart" is all about a quick-paced percussion part and hurried presence of auxiliary instrumentation, in a piece that possesses some surprising staying-power. The beginning of "October" seems to recreate the month in song, before falling into disinterest at Mercer's entrance. "Sailing to Nowhere" gives the apt feeling of sailing, as the strings- and piano-filled ballad breaks up the album at its midpoint, and pushes back the moment you begin to lose faith for at least another few minutes. If we must point out Broken Bells' weaknesses, Burton would not be the first place to look.

But if the project is to be considered for what it is-- a joint venture between Burton and Mercer-- then the whole, not just its parts must be knocked. The artists just seem to have too much faith in this sound. It's like when that whole rap-rock thing started in the 90s. A lot of people thought that it would be a cool collaboration of sounds, but didn't account for factors like tiring of the same overwrought breakdowns and subject matter, and of course, the limitations of the artists themselves (in that case, they were inhibited mightily by their lack of talent to begin with, unlike this group-- but I digress). So in that respect, maybe Broken Bells just saw too far into the future, and extrapolated the blues/electronic/indie collaboration out further than it could naturally go. It doesn't do much wrong in the model they presented, but beyond the first few tracks of the record, it really doesn't do much to keep you there either. Unfortunate, but true, nonetheless.

Best Track: "The High Road"

Pre-Screening: Holly Miranda's Magician's Private Library

Album: Magician's Private Library

Artist: Holly Miranda

Label: XL Recordings

Rating: 8.0

The album art for Holly Miranda's solo debut Magician's Private Library may only seem appropriate for about the first 30 seconds of opening track "Forest Green Oh Forest Green." Still though, the image of the slumbering young girl lingers. For as many times as the collection bursts into majestic shows of emotion-- either through Miranda's dusky voice or the bevy of instrumentation brought in by producer Dave Sitek (of TV on the Radio)-- you're never expecting it. But that's what carries this album. Surprises-- from the unexpectedness of the effort's strong showing, to the hints at TVotR's influence and Miranda's ability to keep a dreamy pop record engaging for listeners.

Emotionally, Miranda maintains a stoic resolve of sorts. Her voice never wavers, never stresses in her most intense moments and even her happily sentimental selections ("Sleep On Fire") appear only with reserved reverence. Yet, the point is still conveyed effectively. In this regard, at least some of the credit goes out to Sitek. Miranda's looks and voice may speak for themselves, but what she needed to really set her act apart was an expert arranger, and stunning production. The Regina Spektors, Leslie Feists and Jenny Lewises of the world are immensely talented vocally, which is why all comparisons for indie-type female artists fall to them. However, in Miranda's case, her strong vocals become a compliment to the even stronger horns and orchestration. Sometimes she soars above the sounds around her, while at others, the instrumentation arrives at the front. But regardless of where it's located, you get most of your cues as to subject matter and mood from her accompaniment. They're the guide to the whole piece of work, and to focus more closely on lyrical content might be to ignore the most important part.

That being said, it doesn't necessarily mean that Magician's Private Library lacks popular appeal. While lead single "Forest Green Oh Forest Green" may only serve to display the full range of the album's talents prior to its release, tracks like "Waves" and "Sweet Dreams" also play off of some popular norms. Part of this comes from her time with The Jealous Girlfriends, who've found themselves on Grey's Anatomy twice. So she's no stranger to what creates or maintains pop appeal. But here, there's more of an unassuming air about it. Cascading horns and cooing echoes make it seem like the songs don't want to be hits outside of the construct of the album. Rather, these songs are more interested in simply existing in the confines of it all. It's a conflict that forms on any record with even a remotely broad appeal really-- there are always those tracks which seemed destined for radio play, or whatever the case may be. Due to a lack of music sales over the past decade, and listener's increasing tolerance for track licensing though, how an artist deals with these potential hits has become less of a hot topic for fans. Nonetheless, you usually know whether a song was meant to be a single, or an album track.

The album's dreamy nature comes from various sources. Miranda's dusky voice does a nice job of evoking nighttime imagery right off the bat. Plus, there are also the three tracks named for sleep in some way ("Sweet Dreams," "Everytime I Go to Sleep" and "Sleep on Fire"). And of course, the intricacies of the underlying keyboard, auxiliary percussion and appearance of soothing strings factor in as well. Mixing them all together, what results is Miranda's narration of either her life or another, through sleep. You see bouts with idealism, realization, and settling with oneself the things you want and need most. Parts may seem like a nightmare ("No One Just Is"), while "Sleep On Fire" seems to walk us out of the scene, either propelling us forward, or bringing us back to the start. I guess in hindsight, it ends up that the album cover is appropriate for the collection's entirety. The girl sleeps soundly amidst danger, but the arrows all miss her, and thus she remains safe-- a perfect symbol for the underlying narrative.

Miranda's Magician's Private Library floats, shimmers and at times, even cascades through its motions. The waves in which it moves range from delicate to turbulent, much like life, yet in the end, our narrator comes out all the better, and maybe with more perspective, too. One could definitely see why Kanye West enjoyed her music so much last year, as he himself usually tries to learn more through music (see 808s and Heartbreak). For those looking for a soothing and fresh artist, who strikes a near-perfect balance between reservedness and ambition, Holly Miranda may be your new obsession.

Best Track: "Forest Green Oh Forest Green" (via Beggar's Group)

[Previously on Animal Noises: John's Track of the Week: Holly Miranda's "Forest Green Oh Forest Green"]

Pre-Screening: Lightspeed Champion's Life Is Sweet! Nice to Meet You

Album: Life Is Sweet! Nice to Meet You

Artist: Lightspeed Champion

Label: Domino Records

Rating: 8.0

For long-time listeners of Lightspeed Champion, the artist may not necessarily be recognizable when you first hear Life Is Sweet! Nice to Meet You. Refined, focused and precise, Dev Hynes abandons his more raw, damaged persona for a new direction entirely on his latest release. Not only does he nearly eliminate his former penchant for rampant profanity, but any less-than-pristine arrangements from his previous efforts seem to be gone as well. For all intents and purposes, Hynes appears to be a new man, and a new artist here. And yet, even with all of that change, he couldn't have put together an album much better than this one.

What's most striking is the immediate sense of depth one gets within seconds of the first track "Dead Head Blues." The song is filled with layered emotions and instrumentation, as Hynes has seemingly found his voice within his music. Though he still manages to amble off into his hokey storyteller mode at times, he has learned how to better choose his spots by this point. For most of Life Is Sweet!, he allows the music to tell the story for him, only interjecting when necessary. This shift is mostly made possible by the superior musical arrangements Hynes places on all 15 songs, whether entirely instrumental or not. From a more extensive strings section, to expert keyboard sounds or the more polished vocal pipes Hynes sports, the sound has somehow matured by leaps and bounds in a short amount of time.

One of the album's other strengths happens to be its sense for the dramatic. No, you won't hear an overcooked solo, or some half-baked attempt at falsetto crooning. However, as far as theatrical approaches go, when Hynes makes an effort here, it's dead-on. "Faculty of Fears" is about as poppy a song as he's ever put together, the track motoring along on the legs of driving guitar riffs and strong group of strings. Songs like "The Big Guns of Highsmith" and "Middle of the Dark" actually end up leaning on the most subtle homages to bands such as Queen, who thrived on theatrical presentation. Though you won't hear Hynes attempt to imitate Freddie Mercury any time soon, the comparison in the musical composition, specifically when employing the likes of all-male choruses, or some spiraling (yet appropriate) guitar solo.

On the more conventional side, Hynes displays his talents for musical composition without the assistance of words as well. Both intermission tracks are just showcases for some light experimentation with guitar and keyboard, yet they come off as so much more than that. He even tries his hand at a classical piano number, and succeeds with startling positive results on "Etude Op. 3 'Goodnight Michalek'." Experimenting with electronic effects and the like, "Smooth Day (At the Library)" acts as a soft jazz number, then an electronic ballad of steady lament. There's even a track for doo-wop fans, as "I Don't Want to Wake Up Alone" discusses loneliness with more of a tidied up Motown vibe. Though this author certainly wasn't averse to his previously crass approach, the cleaner lyrical content does allow for a much tidier sound overall, and helps speak to the true maturity of this record.

The strides taken by Lightspeed Champion on Life Is Sweet! Nice to Meet You can be overwhelming to longtime fans. Many knew that he had always had something like this in him. Hell, if you listened to any portion of the 10-minute epic "Midnight Surprise" from Falling Off the Lavender Bridge, you'd be well aware of this fact. But, still, this album manages to catch us off guard. It's not as if he's refined just one portion of his skill set. Everything is different, and thus, it's almost like we're listening to a different artist. And Hynes actually ends up being better off for it. As much as we'll miss the downtrodden heartbreak of tracks like "Galaxy of the Lost," the harnessing of all of the potential contained within it is a fair trade off. If he continues making music up to this standard, there's no telling how many accolades he'll eventually receive.

Best Track: "Faculty of Fears"

[Previously on Animal Noises: Tuesday's Release (2/16): Now Streaming]

Pre-Screening: Local Natives' Gorilla Manor

Album: Gorilla Manor

Artist: Local Natives

Label: Frenchkiss

Rating: 7.5

Local Natives' Gorilla Manor is everything you could possibly want in a debut. It's memorable, distinctive and at times, catchy. Possessing an incredible knack for superior percussion parts, the indie rock outfit is an atypical entity in today's music world-- being driven by their percussion section. Yet, mixing that auxiliary section with elegant piano and the offsetting vocals of Taylor Rice and Kelcey Ayer, the results are overwhelmingly positive more often than not. Their shortcomings, however, lie more in their youth, rather than a lack of skill. The lengthy 12-song set begins to wear on listeners, if only because it seems that they've explored all their current sound has to offer by the end of the ninth track.

As mentioned, the album starts well enough, introducing the audience to a broad array of tracks, from the more reserved introduction "Wide Eyes," to the aggressive, "Sun Hands." While "Wide Eyes" does fail to really display the range of the collection, it does serve as a worthwhile starting point, and one of the many displays of how well the percussion truly drives the effort as a whole. In comparison, "Airplanes" and the aforementioned "Sun Hands" begin to tap in to the band's uninhibited energy and colorful instrumental backgrounds. Switching off from bright to hauntingly sentimental, the intensity quickly ratchets up and down on these tracks to create a more active and intriguing listen. Even the inclusion of revivalist group vocals on multiple tracks don't seem to slow it down, regardless of how cliche they might appear on the surface. The band restrains themselves in that regard, though they unfortunately fail to do the same during an out-of-place solo during "Sun Hands."

Towards the middle of the album, many of the songs follow a similar pattern of progression. Starting slow, hitting a crescendo, and then breaking down for a minute or so before resolution, one would think that it could grow stale rather quickly. And come the last few tracks, it clearly does. Yet here, the formula functions more as a natural progression. Bright and catchy pop single "Camera Talk" soars, along with "Shape Shifter," as testaments to the strength of both their keyboard selections and vocal prowess. Similarly, "Warning Sign" begins quietly and unassuming, before hitting its virtuoso peak as it blares a gratuitous pop vibe. If not for the lackluster "Cards & Quarters," whose only interesting attribute is some sort of pseudo-hip hop beat ambling in the backdrop, the entire midsection could easily carry the entire record.

If most listeners had their way, Gorilla Manor would end with the sentimental, yet active orchestration of "Who Knows Who Cares." Even following the same progression as most of the songs before it, the intensely gorgeous backdrop creates an emotional, heartfelt ballad that's worth the price of admission. To a first time onlooker, it would appear to be the final stunning moment for the album-- a summation of the collection overall. Sadly though, this is not the case. Though "Cubism Dream," "Stranger Things" and "Sticky Thread" are all very listenable, pleasant songs in their own rights, none can match "Who Knows Who Cares" in terms of resolve. The repetition of a similar formula finally gets to the listener, and, if you've ventured into tracks 10 through 12, you're almost discontent to have continued.

Gorilla Manor is not a bad album. On the contrary, it is a very good album, especially for a debut. If not for that final sticking point, its overall evaluation would jump tenfold-- it's hard to ignore as the album continues for over 50 minutes. More than anything though, it's for a lack of experience, rather than talent. Local Natives are obviously proficient at what they do, specifically in terms of percussion and harmonic elements, to name a few. As soon as the other pieces fall into place, they'll be sure to go from very good, to great. From what we've heard here, it's almost assured.

Best Track: "Camera Talk" (Download via Pitchfork)

[Previously on Animal Noises: Music Video Monday: Local Natives' "Airplanes"]

Pre-Screening: Yeasayer's Odd Blood

Album: Odd Blood

Artist: Yeasayer

Label: Secretly Canadian

Rating: 8.0

An exciting and eccentric collection of tracks, Yeasayer's sophomore effort Odd Blood is as imposing as it is dance-able. With a surplus of highs, and very few lows, the album seemingly flies from song to song. Its bursts of energy stop and start quickly amidst a series of cavernous sonic explosions. And lest the listener forget the continuing internal conflict that lead singer Chris Keating creates-- a bitter struggle to accept the results of decisions, and to find the ability to move on. Even in the band's youth though, these pieces all fit together seamlessly to create a thrilling audible adventure.

As alluded to earlier, Odd Blood thrives on its continuous and unrelenting energy. Though every track effectively employs its own stark and unique brand of psychedelic pop, the strongest segments come (unsurprisingly) from singles "Ambling Alp" and "O.N.E." The former sets the tone earlier, as an active and upbeat bonanza, wild and untamed through a continuous barrage of sound. At times resembling some of TV on the Radio's more daring moments, it plays off of a spiraling, contentious chorus line, always teetering on the edge of collapse. Its colorful and unique blend of sounds, however, keep it locked in place just enough, while still maintaining a certain amount of goofy flair. This carefree approach is also what keeps "O.N.E" so on point, as synths cohesively clash with 1980s pop norms to create a dance-oriented, yet introspective piece of work.

And this introspection should not get lost beneath the blaring trumpets, overpowering synths and Keating's acrobatic falsetto. "I Remember" is a floating testament to lost love, as the track's somber subject matter pits itself directly against spinning and majestic instrumental pieces. Similarly, the aforementioned "O.N.E," and "Love Me Girl" set up this emotional tossing and turning, to juxtapose it with a more entertaining and enthusiastic backing. In the latter, we see this most vividly, as the full and fast-paced song just continues to press the brilliant dance of the internal struggle for acceptance and peace. Contained in the middle of the record, the three songs fail to pitch a final verdict, but instead paint a picture of regret, the same emotion that teems through much of Odd Blood.

Beyond that, a lot of Odd Blood is spent setting and testing the boundaries of what Yesayer can accomplish. Songs can go from more methodical and deliberate ("The Children"), to wacky and mysterious ("Rome") in the blink of an eye, as experimentation seemingly runs wild. The album's final three tracks seemingly split into three separate directions, throwing listeners off the scent of what could potentially come next. While "Strange Reunions" leaps into Middle Eastern-influenced psych-rock, "Mondegreen" employs a funky, disjointed repetition that haunts as much as it soothes. In comparison, closer "Grizelda" is as subdued as Odd Blood will get, though still incessant with its chanting falsetto and rushed crescendo come the very end.

From start to finish, Yeasayer's Odd Blood gives listeners a chance to really explore their brand of experimental pop. Spontaneous and at times, mesmerizing, the collection's best moments may rank with some of the year's most outstanding forays come December. On just their second album, the group has not only established a style that works cohesively, but succeeds mightily in distinguishing it from the ever-crowded pack of indie pop groups out there. Even keeping similarities with TVOTR in mind, the band still encroaches upon their own unique sense of genre-- a humble, yet exuberant mix of electronic pop, world sounds and psychedelia yet to be effectively duplicated or imitated.

Best Track: "Ambling Alp" (via Stereogum)

[Previously on Animal Noises: New Yeasayer, "O.N.E"]

Pre-Screening: Lil' Wayne's Rebirth

Album: Rebirth

Artist: Lil' Wayne

Label: Cash Money/Universal/Young Money

Rating: 3.0

When artists achieve a great amount of success, some like to start experimenting with their style and formula, even if for just a short time. Their peers' and audience's praise have given them confidence in their abilities, so why not? However, unfortunately, this can also be met with criticism when their apparent "genius" strays too far form its roots, and into uncharted, unfamiliar territory. This is where we stand with Lil' Wayne's Rebirth. Pushed back ten months from its original release date in 2009, the project was slated to be Wayne's popular foray into the rock genre. As one might have guessed, there's a reason his record execs were nervous about the public hearing this.

Fundamentally, Rebirth has more problems than positives-- by a long shot. Surprisingly, enlisting a never-was like Fall Out Boy's Pete Wentz to help may end up being the least of them. At its core, the project fails from the start. Lil' Wayne, the rapper, is supposed to be able to turn himself into Lil' Wayne, the rock frontman? The issues with that concept are numerous. Wayne can't sing without the help of auto-tune, as exemplified on tracks like "Paradice." Even with that assistance, it's still barely tolerable, as his drawl-filled delivery gets blurred and buried by an undying barrage of over-the-top guitar solos.

The cliches are endless. Yes, we know that Lil' Wayne lives his life as a rock star in the most classic sense-- sex, drugs, money and alcohol being the main themes of his existence-- and that's fine. In the context of a hip-hop album, not only does it work, but works well, since the message is delivered over superior sampling and production. But here, the message is seemingly on repeat as Wayne rarely raps, and belittles his lyrical abilities to simple rhymes and the same few sound bites about love and sex. There's even an entire song ("Ground Zero") just about being really high. Either he just assembled his most random thoughts and threw them up onto the canvas that became this album, or this is Wayne's perception on rock. Regardless, the semblance of order and believability is continually challenged as he attempts everything from the sunny beach pop of "Get A Life" to "Da Da Da"'s mention of a "funky monkey," to the "hurrah" gang cheers on "One Way Trip." Equal parts poorly executed and ill advised, the overwhelming majority of Rebirth warrants no more than a few seconds of listening to understand its purely ridiculous presentation.

All that being said, the album does contain a couple tolerable moments and one would be amiss to deny their presence. "On Fire," in comparison to everything that surrounds it, is surprisingly honest and locked-in. Wayne tells us it's about sex upfront, and throughout its mashed up elements of 1980s pop and mainstream rock, it remains true to that ideal. The other favorable outcome could be the appearance of Young Money up-and-comer Shanell, who, oddly enough can sing extremely well. The problem is that she plays second-fiddle to Lil' Wayne (as anyone else would on this album) throughout her numerous appearances--most notably "Runnin"-- and anytime she does get the chance to sing, her voice is adorned with some sloppy nu metal backdrop. If you take anything good away from Rebirth, perhaps she's it.

Maybe Rebirth was doomed to fail from the start. Or perhaps every successful artist needs an effort such as this one (even The Beatles had one dud in them) to get themselves refocused on what made them great in the first place. The fact of the matter is that Rebirth ends not only being bad, but downright putrid. Based on the positive reaction to recent mixtape No Ceilings, it' s not as if Wayne has lost it. He just needed to see that he couldn't make a good rock album, to know for sure that it was true. Any other artist, and maybe this would be blasted even further, or (more likely) it never gets recorded in the first place. But now that it's all over, let's just agree that it was an unparalleled failure, and move on. Tha Carter IV can't come soon enough.

Best Track: "On Fire"

[Previously on Animal Noises: New Lil' Wayne Video, "On Fire"]

Pre-Screening: Beach House's Teen Dream

Album: Teen Dream

Artist: Beach House

Label: Sub Pop

Rating: 9.0

It doesn't take one long to realize how truly special Beach House's Teen Dream is. Be it in the scope of their career, as an ambassador to a new decade of music or as the result of 2009's status as the landmark year for indie rock, Teen Dream's appeal stretches far and wide. Blending styles, and capturing a theme like few have done recently, the album is a testament to where the band, as well the genre have come over the past few years. Pulsing with moving, heartfelt sounds, its adaptation of the group's signature dream pop to the post-Veckatimest and Merriweather Post Pavillion music scene is executed with impeccable, mesmerizing efficiency. How fitting almost one year to the day of MPP's official 2009 release.

Teen Dream is, for all intents and purposes, sonically stunning. Failing to exist simply in the dream pop realm as they may have chosen in the past, Beach House follows the lead of their once-existential brethren, and personal pals Grizzly Bear, in adapting a chamber pop vibe to carry the finished product. However, though no track will show to have the commercial viability that a "Two Weeks" might have had, it doesn't take away from what the collection accomplishes. Using the haunting choruses and steady melodies most associated with chamber pop, Beach House weaves a long and winding road through love, desire and the eventual coping with what is meant to be. As each song completes itself, the full picture also becomes clearer, a quality that only serves to enhance its ultimate ability to relate with listeners real emotions, past or present.

In segments, Teen Dream is divided three-fold. These three parts serve to create the dream, in all its honest, raw emotions, and the actions associated with them. The onset, featuring tracks like the lazy, tropical "Silver Soul" and first single "Norway" attempt to get the point across in the simplest musical means possible. Though providing some details toward the issue at hand, the songs are relaxed and easy-going enough to hide the underlying wants and desires harbored within. This is where the middle portion comes in. Where the earlier tracks were a bit more ethereal, these songs become much more accessible and straightforward. "Used To Be," "Lover Of Mine" and "Better Times" act as three slightly different approaches to the same problem-- a lost love. While the first acts as a lamenting, yet glowing requiem, the second expands upon these emotions with bursting emotional overtones. Originally coming off like 80s pop, its overall presentation explores the largest depths and heights of the album's emotional breadth. What's more, "Better Times" comes off as sympathetic pop, conveying its point effectively, yet still effectively, even with as little instrumental or vocal change as possible.

The final part of this raw, unmanufactured Teen Dream that is so effectively maintained throughout is the coping stage, which takes a very real and unabashedly honest front seat here, come the album's completion. "Real Love" plays with the theme unlike any other track, nervous and uneasy, but not terrified of the outcome it faces. It's reflective and lonely, while desperate in others. Its honesty is, at this point, undeniably youthful-- naive not by choice, but by default. From there, "Take Care" concludes all thought processes as the gradual progression to the end. It's both a figurative and literal awakening, and an acceptance of what has become of love in this case. The closure, just like the emotions which precede it here, are as real as they come.

With Teen Dream, Beach House arrives at center stage of a new decade of interesting, experimental indie music. There are few rules, besides making something which sounds original to a listening public increasingly immune to work which only comes off as "experimental" in theory, yet not in practice. With the example set forth by Grizzly Bear and others in 2009 in mind however, it appears that Beach House has adapted quickly, and put themselves on the map for similar, genre-bending success. After witnessing the stark beauty of this album only once, it's evident that there's just no other option. Beach House, your entry for best album of 2010 has been received.

Best Track: "Norway" (via Pitchfork)

[Previously on Animal Noises: New Beach House, "Norway"]