Music Video Monday: Ch-Check It Out

Track: Ch-Check It Out

Artist: Beastie Boys

Album: To the 5 Boroughs

Year: 2004

Re-watching this music video this morning, it was just as funny, if not more so, than it was back in 2004. The Beastie Boys' "Ch-Check It Out" was the standout off of To the 5 Boroughs, their tribute to New York City after the September 11th attacks. It was also the producing debut for the trio, an interesting fact considering how long they've been at the game. Though not necessarily ground-breaking by any means, To the 5 Boroughs was a different type of album. The group's age was seemingly non-existent, as were any effects of their international success. It was a refreshing blend of youthful naivety and innocence. The album operated without fear or pretense, and for that reason alone, it's something to appreciate.

The video itself functioned similarly. In typical Beastie Boys fashion, the visual representation was more of a gag reel than anything else, showing fights around every corner with the most random of characters. Among the assailants, people at a bistro, a doctor, a runner and alligators, among others. It's what they do best, and for that, I give them credit, as being one of the few artists remaining who never take themselves too seriously. On a more somber note, however, we do wish Adam Yauch luck in his battle with cancer, and hope for a speedy recovery. If all goes well, and he says it will, we should see their latest effort, Hot Sauce Committee, Pt. 1 sometime before the end of the year.

Pre-Screening: Jay-Z

Album: The Blueprint 3

Artist: Jay-Z

Label: RocNation

Due Out: September 8th

In a last-minute switcheroo, Jay-Z has decided that rather than releasing the highly-anticipated Blueprint 3 on September 11th as originally planned, he'll be a conformist and send the album to stores on Tuesday like everybody else. Due to the original release date, we did not have a review this past Friday, but, with the sudden change, we now feel it is necessary to have it up before the new official date. This would be that review. As mixed as feelings may be about the album, it is difficult to deny the importance of any offering by Hova, the CEO of hip-hop. Even with the "hip-hop" aspect waning a bit as of late, the man still knows music better than most, and is rarely out of the public consciousness. We begin--

Critics have been marveling for months about the guest list on this album, and rightfully so. It kicks off with Luke Steele of Empire of the Sun on "What We Talkin' About." If the first track is any indication to listeners, this is much less a hip-hop album like those of Jay's early days, and more of a pop album with rap influences. For some, that can be a make-or-break detail, but give him the benefit of the doubt-- he knows what he's doing. "Thank You," like many of the tracks here, refreshingly relies on effects and brass, rather than the usual club bass. However, no Jay-Z album is without the usual preening for the camera and self-glorification, as positive or negative as that may be, and this is one of those moments. Continuing in such a state of mind, "D.O.A. (Death of Auto-Tune)," one of my favorite tracks of the summer, lambasts the use of auto-tune in hip-hop, while utilizing a funky club beat and more of the aforementioned brass. Entertainingly enough, Mr. Auto-tune himself, Kanye West, is actually involved in the production of the track, just to add to some backstory unintentional comedy.

Another track fans heard earlier this summer, "Run This Town," was hailed as Rihanna's comeback from the unfortunate domestic violence issues with Chris Brown. Though that maybe be true, focusing on that aspect alone may cloud your view of the fuller picture that begins to unfold here. Through four tracks, The Blueprint 3 has shown that Jay-Z has seemingly mastered pop, both in theory and practice. Yes, there's plenty of rap, but, there is no denying that the pop is the driving force here, and yet, it is delivered with a fair amount of success. Soon after though, the hip-hop aspects make a triumphant comeback, yet still infused with the earlier pop sounds. "Empire State of Mind," which features Alicia Keys, reminds me of some of Jay's earlier material, and also screams single, as it combines a great beat with a fantastically bouncy piano part surely provided by Ms. Keys. More actual rap is in the cards on "Real As It Gets" as well, as Young Jeezy (and surprise, brass!) and Hova submit one of the album's stronger (and rare) rap-oriented tracks. Next, "On to the Next One," featuring Swizz Beatz is one likely to be skipped over and over. Most rap albums of this length (15 tracks) have that one unnecessary filler, and for The Blueprint 3, this is it.

As if you were surprised by this fact, Drake is featured on "Off That." The quick, fast-rapping number is a party joint sure to be heard at a house party near you very soon. Everyone's new favorite rapper, Drake, puts in a decent effort here, but I think the track's biggest asset is actually the beat, an active and engaging surround sound adventure. From there, we come back to pop. "A Star Is Born," featuring J. Cole, once again employs brass, and piano in a name-drop bonanza that references most of the rappers Jay's ever been associated with, and as always, recaps his entire career. Next, "Venus Vs. Mars" is another placeholder of sorts, accomplishing very little in terms of the album's overall themes and goals, but is not necessarily a bad track (just sort of useless). The party anthems return on the next track though, as Kid Cudi enters on "Already Home." With a great backing track (borrowed from Gladdy's Allstars' "Mad Mad Ivy") and a strong flow, it's sure to be the next "Day 'n 'Nite" at some point this fall.

A warning before listening to "Hate"-- it features Kanye West, and sounds like it's the lost track off of 808s. In it, our narrators unsurprisingly recap their careers (again) and talk about embracing haters, and actually appreciating them. Once again, not a terrible track, but nothing to get excited too nuts about either. Same goes for "Reminder," which also talks about how much cred Jay has, and how great his career has been. If there's one thing we could use a little bit less of on this album, that aspect is definitely it. Luckily, the last two tracks stray away from that. Pharrell, who seemingly disappears for years at a time, shows up on "So Ambitious," and gets production credits too for the relaxed track which actually sounds more like an N*E*R*D track than something of Jay-Z's creation. The finale too, is a bit uncharacteristic, but not necessarily unwelcome either. Mr. Hudson gains a prominent role in "Young Forever," which samples Alphaville's "Forever Young." Jay is shockingly sentimental and introspective. It's a strange life reflection in music for an artist of his caliber, and as good as it is (it's pretty good), some may become slightly confused.

As I stated in the onset, Jay-Z's put together a pop album the likes of which we don't even see from Kanye. There are plenty of rap aspects, but to me, it was glaringly obvious that pop was the main influence, reinforced by Jay's recent public embrace of indie rock/pop. So what is The Blueprint 3? It sounds like an ending, but I sincerely doubt it. Is it some sort of revelation? Perhaps. Of course, we've been down this road before with him (Linkin Park mash-up, anyone?) so for all we know, it could just be nothing. Still, maybe this ends up being the first step in a long foray into pop/rock. I'll support it, but I can definitely do without the filler, and the self-indulgence. We know. You're really successful. You had great rhymes back in the late-90s and early 2000s. No need to remind us again. You have been since The Black Album. For those who need (doubtful), similarities include Kanye West, Fabolous and T.I.

Rating: 7.5/10

Best Track: "Already Home"

Pre-Screening: Circulatory System

Album: Signal Morning

Artist: Circulatory System

Label: Cloud Recordings

Due Out: September 8th

Well, it sure has been awhile, hasn't it? Eight years removed from their last record, one of the Elephant Six Collective's most prominent acts returns to the music scene as if they've never left. Circulatory System, for those not acquainted already, is the remnants of The Olivia Tremor Control, making the same type of music, under the direction of Will Cullen Hart. When I heard about Signal Morning, I was intrigued. What would it sound like? Was everyone back? Would we see a return appearance from Jeff Mangum? Is eight years far too long? The answers: similar, almost, no and once again, no.

"Woodpecker Greeting Worker Ant" is as welcome an introduction as any, seemingly picking up exactly where the band left off, but of course, reinforced with some positive growth. As much as Signal Morning continues to lean on lo-fi psychadelia, these tracks are definitely more produced than in the past, with emphasis on bass and electronics adding to their original sound. Next, "Rocks and Stones" gives us the best view ever conceived of what Kid A would have been like if recorded on acid. Containing the album's first lyrical contributions, it creeps along, immersed in the surprisingly effective electronic experimentation. One can't help but wonder, with an effort like this, what could have been if Elephant Six had come around now, rather than the 1990s. Their experimental and free approach towards recording would be a welcome addition to today's scene, and perhaps would be guiding the indie rock genre today. "This Morning (We Remembered Everything)" further captures this spirit with a festival-type approach complete with the group vocals fans have become so accustomed to. Same goes for "Tiny Concerts," a dead ringer for The Beatles' "Tomorrow Never Knows," and a disjointed, random jaunt into the auxiliary percussion section.

As is the case with any Collective-oriented release, you'll find several short instrumental interludes here, one of which is "Pelican Trust," a short and concise microcosm of the sounds experienced thus far. It leads us into first single, "Overjoyed," which varies from slow instrumental to frantic psychadelic march to metal refrain. Though it may not be the album's best, it does do a fair job of summing up the overall cluster of sounds and influences you're sure to experience on the effort. Exiting it, we enter "The Breathing Universe," a relaxed and spacious acoustic number that seemingly floats in mid air, followed minute ukulele number, "News From the Heavenly Loom." Without warning, the album shifts towards a mainstream rock sound with "The Spinning Continous." Once again, Beatles similarities are uncanny here, but feature even more experimentation than can be found on Magical Mystery Tour. If this had been made the single, you could almost guarantee superstardom for the band, but not surprisingly, they don't operate that way.

Calming down, the album proceeds to side 2, and "I You We," which functions as a brief and mellow introduction to the second half of the album. Next, "Blasting Through" gives us what ends up being the best glimpse into the band's old work. For the first minute or so, it's as if you're listening to "The Lovely Universe" part two, before more shifts into Led Zeppelin-esque refrains mixed with euro-pop (an odd, yet cohesive partnership to say the least). "Solid Forms Dissolving" provides the album with one ballad (questionably), a woodwind-littered stroll, then romp that may or may not dole out some sentimental value. In the same vein, "Gold Will Stay" is somewhat of a lullaby, quietly pecking along with the help of subtle horns and a xylophone, as well as the later, muffled guitar part which guides the second half.

In a complete 180-degree turn, "The Frozen Lake/The Symmetry" brings the album's electronic elements roaring back with a high-pitched and segmented furor. The song actually comes off as more of a march than anything, but a triumphant one at that. "Until Moon Medium Hears the Message" then reverses us right back, bobbing about as a pop-orchestra piece which hints at psychadelia. Obviously, by this point, the end is near. If you weren't convinced, "(Drifts)" should seal it, as it, appropriately drifts off into a dreamlike state, transitioning us into the finale, the title track, "Signal Morning." It's a subdued, yet joyous pop number that sends us off on the right foot. Rather than the experimentation we saw earlier, it's one of the more straightforward songs on the record, and comes off as celebratory, if nothing else.

Is this the beginning of an renaissance for the Elephant Six Collective? Unlikely. However, it is nice to see them back, as evidenced by this and last year's tour dates. As influential as they have been to so many acts of today's music scene, I still feel as if many of Elephant Six's acts could do so much towards orchestral experimentation and the reintroduction of good psychadelia. Circulatory System goes above and beyond the call of duty in this regard by both re-establishing their sound for all, as well as adapting it to the ever-changing, and more-demanding music scene of today. Hopefully, this isn't just the start of another eight year layoff. Similarities include The Olivia Tremor Control, Woods and The Mamas & the Papas.

Rating: 8.0/10

Best Track: "The Spinning Continuous" (not available, but you can grab first single, "Overjoyed" via Stereogum)

Pre-Screening: Sondre Lerche

Album: Heartbeat Radio

Artist: Sondre Lerche

Label: Rounder Records

Due Out: September 8th

As I said the last time we spoke about Sondre Lerche in this space, Dan In Real Life will not be a topic of discussion at any point. Lerche, throughout his eight years in the music industry, has done more than enough to warrant his own discussion, and I don't feel that bringing up that soundtrack is necessary. Whether you like or dislike the movie, his work was appropriate for the film's mood, and was a great touch to the overall aesthetic. Anyway--

Back for the first time since 2007, Lerche has finally combined his different personas into one coherent, and natural iteration. His separate musical personalities, floating between aspects of jazz and mainstream pop-rock, have finally come together under an umbrella all its own. Though one may be quick to compare it all to his non-Faces Down work, as Heartbeat Radiogrows, you'll see that the expertly-infused jazz aspects play a major role as well. Hopefully, it's a welcome and inviting experience for fans of both Lerche brands.

We start with "Good Luck," a bright and budding, yet easy listen. It builds slowly amidst the rock and jazz background, guiding you quietly into what I immediately knew was a special effort. What makes this track, maybe the poster child for the overall sound, so attractive is probably the fact that it never over-commits to one sound or another. You know where the song's going, but I can't say you're ever overwhelmed by a melody which leans on one genre too much over another. As will be the theme here, the jazz and pop-rock aspects marry themselves perfectly throughout, for moments both emotional and sentimental. Next, lead single, "Heartbeat Radio" bops in for a a back-and-forth game between acoustic guitar and strings. The female vocals also do a lot towards magnifying Lerche's smooth, smoky voice, completing the aforementioned balancing act which never falls off throughout. "I Cannot Let You Go" seemingly slows us down a bit, before hopping right back into the up-tempo scenery established at the album's onset. Though Lerche's songs are always touched with a bit of heartache, this is one of the most outward appearance here, yet by his standards, is still fairly subtle.

Lerche throws in his first ballad of sorts, with "Like Lazenby." It's a lazy waltz, as his words dance off the expertly-executed orchestration, and he puts on display the full range of his voice, much to the listener's advantage. Immediately after though, one might be a bit surprised. "If Only" plays on the type of hip-hop influenced pop which Jason Mraz has perfected over the years, employing electronics amid its jovial, and experimental four minutes or so. There's also some kid vocals, which I suddenly can't get enough of in music today (the last words you read of this before leaving, I'm sure). And then we're shifted abruptly once more. "Pioneer" is slow, short and to the point-- a sort of sad, romantic ode to love and sorrow meant to provide respite from the rest of the fast-moving songs around it. "Easy to Persuade" picks us right back up, trading quick vocals and percussion off with surprisingly spacious guitar melodies. It's tracks like this one that have me so impressed with Heartbeat Radio. Lerche openly embraces sounds outside of his usual comfort zone, and the results are some successful experimentation, and a lot of enjoyable heartfelt sentiment in the mold of most of his material. It's a flawless combination.

"Words & Music," with a little more edge, could probably be confused with anything by Spoon. Of all the love-oriented pieces Lerche has put together, this is easily the most playful, and most nostalgic. For some reason, it's got me thinking of 1950s Hollywood movie musicals, and by the end, you'll probably feel similarly. "I Guess It's Gonna Rain Today" is another slower number, as his choice of instrumentation lends to the theme perfectly, conveying an image of a dreary street, and a mind full of thoughts. Next, "Almighty Moon" deceptively sounds like the end, but rather, is simply the begin of that same finale. What starts a bit moody turns sarcastically bright, as Lerche croons over increasingly-daring backing parts. "Don't Look Now," instead of continuing in this vein, evolves into a different animal altogether, as a herky-jerky pop number alluding to mind games and casual criticisms. This brings us to the only way he could possibly bring Heartbeat Radio to a true close, "Goodnight." Lerche always reminds me of a guy constantly on some sort of romantic evening while trying to impress a woman, so it works. Maybe it's a final plea for love as said woman walks away, but he succeeds in conveying desire while not seeming desperate; a tough task, but effective nonetheless.

Heartbeat Radio could very well end up being the landmark release for Lerche's career, or maybe it's just the beginning of an evolution in his sound. Either way though, it's importance has been noted. Lerche doesn't necessarily do anything new for music. We've seen jazz and pop-rock infused at various points throughout indie rock/alternative, but he's evolved his own sound, which can always score you points in my book. The tracks exude a confidence lacking on previous releases, and the perfect marriage of genres he's created further enhance this image. No longer can he file himself away in the contemporary crowd, Lerche has now brought himself into the forefront of singer-songwriter indie rock. Though more sentimental than his peers, I think it works to his advantage, and hopefully others take notice as well. For similarities, check out the aforementioned Spoon, Andrew Bird and Stars.

Rating: 8.0/10

Best Track: "Heartbeat Radio"

New Sam Means, "Yeah Yeah"

Not too long after the release of former cohort, Nate Ruess' first solo effort, we happen upon Sam Means' first single. "Yeah Yeah," which was recorded for the film, The Sinking of Santa Isabel (never heard of it) is surprisingly folksy and upbeat. Throughout The Format's life span we heard plenty of Sam's more downtrodden voice, but not like this. Means is relaxed, comfortable and seemingly pleased in his new recording direction. Sound familiar, fun. fans? Anyway, check it out below if you're as excited as I am for Sam. I hope we'll be hearing a full album soon. Also, if you'd like to download for yourself, you can get the track FREE for the price of an e-mail address (see link attached to player).

Matt's Track of the Week: "Little Bit (Feat. Lykke Li)"

Song: Little Bit (Feat. Lykke Li)

Artist: Drake

Album: So Far Gone (Mixtape)

Year: 2009

Cross-over collaborations and remixes between hip-hop and alternative artists have always seemed a little forced to me. Maybe I've been weary about it up until recently because I unfortunately lived through a period of time where rap-metal was seen as an innovation. Maybe it was just never done right. Whatever the case may be, I have been enjoying the resurgence of this trend as of late. Kid Cudi alone has multiple Ratatat produced tracks on his upcoming debut, one even featuring MGMT as well. With the steady rise of more electronic-based indie groups, we'll hopefully continue to see this even more frequently.

What makes this one unique in particular is its intimacy, as well as how Drake makes it his own. He takes down the "I don't fall in love" wall that most rappers put up, and gives us a look at his more emotional side. Going back and forth with Lykke Li, he adds a cool duet effect, giving a whole new feel to the swedish singer's already jaw-dropping tune. It's only one of the many reasons why Drake's So Far Gone is one of the best mixtapes in recent history. Check it out below.

Weekly Top 10: Best Songs Named for Geographic Locations

For this week's list, we decided, for no apparent reason, that it would be fun to pick out songs named for either a city/town, state or country. We tried to avoid the obvious cliche tracks, except one, and unfortunately, two of the songs we originally wanted were not available. So, just so everyone's aware, The Beatles' "Back in the U.S.S.R." and Neutral Milk Hotel's "Holland, 1945" should have been here. Still, I think it's a pretty worthwhile list, as we tried to create variation in locations where possible. Enjoy.

Top 10 Songs Named After Countries/Cities

John's Track of the Week: "Chillin'" (Feat. Lady Gaga)

Song: Chillin'

Artist: Wale

Album: Attention: Deficit

Year: 2009

I've noticed a considerable lack of hip-hop coverage here at the site all year, in terms of fairly current stuff, so this is my attempt at changing that. Not to take all the blame, the first half of the year in rap was okay at best. But luckily, the second half has hope (lots of it). Among the albums expected from now until the end of the year are new collections by Jay-Z, Raekwon, Drake, Kid Cudi and today's artist, Wale. Of the three big up-and-comers, it's debatable that Wale is the least-hyped, compared to Cudi and Drake, but perhaps that's about to change. Wale's been recording since 2006, becoming a fixture in the D.C.-Maryland hip-hop scene and putting out three separate mixtapes. Unlike his previously-mentioned peers, his raps focus more on meaningful thought, and have a more underground feel. This has led to comparisons to Mos Def and Talib Kweli, but I'll leave that judgment until his debut drops later this year.

On "Chillin'," Wale's first national-exposure single, he features Lady Gaga and a myriad of D.C. local references to put together his most club-oriented track yet. References to everything from football to Superbad, and homages to Steam's "Na Na Hey Hey Kiss Him Goodbye" and Audio Two's "Top Billin'," not only make it topical, but show Wale's consciousness of the pop culture and music scenes around, and before him. That's probably one of the big draws of Wale, epitomized not here, but actually on his last compilation, The Mixtape About Nothing. Wale draws from Seinfeld, of all places as inspiration, and even gets Julia Louis-Dreyfus (Elaine Benes) to do a skit on the album. For those looking for Attention: Deficit, it's out via Allido Records/Interscope on October 20th.

Jay-Z's Blueprint 3 Now Streaming

That's right. Possibly the most highly-anticipated hip-hop album of the year (maybe edged only by anything Lil' Wayne puts out) is now over at MTV.com for everybody to stream at their leisure. I've always endorsed this as a good way to combat leaks, but hey, what do I know right? Thank you Jay-Z and RocNation for responding in a way suitable to the times we live in. For those interested (many, I'm sure), go listen to The Blueprint 3 NOW!

Tuesday's Releases (9/1): Now Streaming

Welcome to September, everyone. And with the start of this month also comes more consistency in terms of releases, so hopefully this section stays quite full for the remainder of the year. Today, Spinner has provided us with a pretty varied collection of albums, from hip-hop to a kids album to your standard indie rock and alternative, so hopefully you'll all enjoy. As always, credit for the original idea goes out to LargeHeartedBoy.

• Curse Your Branches, David Bazan
• #1 Hits Explosion, The Apples in Stereo
• Oof!, Blue Scholars
• Break Up, Scarlett Johansson & Pete Yorn
• Here Comes Science, They Might Be Giants
• The Fine Print, Drive-By Truckers
• Red, Datarock

And as a bonus, the re-released versions of Radiohead's Kid A, Amnesiac and Hail to the Thief.