Chemical Brothers, Jason Isbell, Sublime With Rome and More Music Reviews

— -- intro: There's a lot to cover: the Chemical Brothers release their ninth album, Jason Isbell sings some thought-provoking country music, Sublime lose another key member but still re-team with Rome Ramirez as Sublime With Rome, Tame Impala loses most of the guitars and heads toward more synth-driven pastures, British singer Flo Morrissey makes her debut, the members of Wilco drop a very experimental record as a free download and singer Inara George and producer Greg Kurstin reunite as The Bird And The Bee. It is yet another, exciting week of new releases.

quicklist: 1title: The Chemical Brothers’ “Born In The Echoes” (Deluxe Edition) ****text: The Chemical Brothers’ ninth album comes 20 years after their debut, “Exit Planet Dust,” and Ed Simons and Tom Rowlands show no signs of slowing down or giving up their status as two of the most forward-thinking minds working in electronic music today. In fact, “Born In The Echoes” builds off the same kind of peak energy that they gave off on 2010’s excellent “Further” and their 2011 score for the movie “Hanna.”

This is an album thick with club-land psychedelia. “I’ll See You There” for instance stands out because it seems to echo their 1997 collaboration with Noel Gallagher, “Setting Sun” with its “Tomorrow Never Knows” brand of sonic assault. At the same time, “EML Ritual” and “Just Bang” offer up some surprisingly hard techno, although the latter has some fun break-beat influence as well.

As always, with just about every Chemical Brothers album, the guest vocalists add a great deal. Considering both “Further” and “Hanna” lacked high-profile guests, “Born In The Echoes” returns the Brothers to their typical pattern. Q-Tip re-teams with them for the big single “Go.” Tip rapped on their 2005 hit, “Galvanize.” (This second collaboration puts him in an exclusive club Noel Gallagher, Beth Orton and Tim Burgess as one of the few celebrity vocalists to collaborate with the Brothers more than once.)

Elsewhere on “Born In The Echoes,” Beck delivers a serene vocal performance on “Wide Open,” while St. Vincent (Annie Clark) serves up some tweaked acid-funk on “Under Neon Lights.” Welsh singer Cate Le Bon also delivers a star-worthy performance on the marching title track.

The deluxe edition of the album features four bonus tracks, including extended mixes of both the previously-mentioned “Go” and the album cut “Reflexion.” The other two bonus tracks are the “Let Us Build A City,” which sounds like a little like a sequel to “Block Rockin’ Beats” and the profoundly trippy “Wo Ha.”

In all, “Born In The Echoes,” like much of the rest of the Chemical Brothers’ discography shows a commanding sense of purpose. This is a dance record of the highest order. It is equally suited for the club as it is for contemplative home listening. With this release, the Chemical Brothers’ incredibly impressive discography continues to grow.

Focus Tracks:

“Wide Open" (Featuring Beck) This is a lush piece filled with a mellow, euphoric energy. Even though it is an upbeat dance cut, it builds nicely off of Beck’s recent work on the Grammy-winning “Morning Phase.” It feels like an electronic offshoot of that record in some ways. Beck once again proves he fits in any and every sonic environment.

“Go” (Featuring Q-Tip) This single may have the biggest pop potential of not only any Chemical Brothers track, but also of any Q-Tip track. It’s a really fun dance song and Q-Tip shows his versatility as well. This feels far different from his work with A Tribe Called Quest and yet, this doesn’t seem as far removed from solo hits like “Breathe And Stop” or “Vivrant Thing.”

“Born In The Echoes” (Feature Cate Le Bon) This song comes through with an alien stomp with Le Bon singing in a cool, deadpan manner. This is track should cause her star to rise considerably, which is good because she deserves more attention.

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quicklist: 2title: Jason Isbell’s “Something More Than Free” ****text: Former Drive-By Truckers member Jason Isbell made a big impact on 2013’s “Southeastern” and that growth continues on his latest album, “Something More Than Free.” This is another album that is destined to get the “alt-country” label, when in truth this is an old-school country record with some strong pop edges.

“24 Frames” could easily match up with Ryan Adams’ best work, with a determined and captivating quality that you wish mainstream country radio would embrace. The same goes for the folky “Flagship” which easily draws the listeners in with its thought-provoking words.

With each record, Isbell seems to be coming further into his own and getting more comfortable in his skin. This is a record designed for close listening and intense dissection, as Isbell casts himself as a woeful troubadour possessing an immeasurable level of depth.

Throughout, Adams comes off as a strong comparison point. No doubt, if Isbell is looking for someone’s example to follow, Ryan Adams is an excellent pick. This album is Isbell’s equivalent to Adams’ “Love Is Hell” and yet while that album was very New York-centric, Isbell’s world has more of a Southern Gothic feel. “Children Of Children” brings its listeners images of sepia-coated farmland and a God-fearing teenage mother giving birth. This is rootsy material, but it should have an incredibly wide appeal.

“Something More Than Free” should up Jason Isbell’s star-status considerably. It is a confident, deeply affecting record full of considerable homespun grit. Each word Isbell utters here sounds like the work of an earnest poet. And yet, in the end, he makes this whole exercise look appealingly effortless.

Focus Tracks:

“24 Frames” This is the album’s most immediate track and has a great deal of airplay and licensing potential.

“Children Of Children” As mentioned above, this song paints a very vivid picture, almost as if Isbell is crafting a six-minute short story.

“Speed Trap Town” Again, this is another effective dose of country-tinged folk. The song is given extra urgency from its production. You can hear the echo of the room in Isbell’s voice, making it play like a live performance. His tale of a fallen state-trooper resonates as it is told richly from his son’s point of view.

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quicklist: 3title: Sublime With Rome’s “Sirens” ***text: Sublime With Rome made their debut in 2011 with the excellent “Yours Truly.” Truth be told, there were people in Sublime’s fan-base who were against the whole existence of Sublime With Rome, since they originally consisted of the two surviving members of the ska-punk band with new singer Rome Ramirez replacing singer and guitarist Bradley Nowell. Nowell died of a drug-overdose in 1996, just before the band released their now classic self-titled third record, which also sadly served as their big break. Some fans thought replacing Nowell and moving on was a mistake, but on “Yours Truly,” the band fittingly paid tribute to Nowell and the band’s legacy while heading further forward.

“Sirens” is a slightly different story. For one, the band is now a little less authentically Sublime. After the first record, drummer Bud Gaugh had second thoughts and exited. He was replaced by well-known session-drummer Josh Freese. This means that only one member is actually making this “Sublime” and it is bass-player Eric Wilson. Freese is an excellent player, but from the start of the title-track, he’s attacking the kit with a kind of ferocity that doesn’t sound like it is playing off Gaugh’s original template. He is banging hard like John Bonham and it is over-powering. Plus, on that track, guests the Dirty Heads bring a kind of energy that doesn’t mesh well with Sublime.

This album actually has more of a reggae feeling than a ska vibe. In places, it actually recalls the Police, which is interesting considering Freese’s past work with Sting. Ramirez still sounds very much like Nowell without the dread-filled lyrics associated with addiction, so if this does sound vaguely like Sublime, it is a muted, albeit happier version.

At 33:57, too, this record comes off as a rather slight exercise. Still, it has enough gravitas to sometimes be on the winning side, showcasing some of the original Sublime’s eclectic quality. “Wherever You Go” sounds like a polished radio single, while “Run And Hide” is a commanding dose of metallic, hardcore punk that clocks in at a minute and change. “Gasoline” is perhaps a bit too bright for this band. This sounds like Sublime being hijacked and re-branded for the pop crowd. It’s a kind of weakness that wasn’t found on “Yours Truly.” This time the band sounds more like Sublime brand instead of an offshoot of the original. Considering the strength of “Yours Truly,” “Sirens” plays like a minor speed-bump. Even the presence behind the boards of Paul Leary, who helmed part of that self-titled album, can’t help but making this feel slightly watered-down. The band can recover, though. Odds are they are still finding their footing with this new lineup. I still am happy that the band is soldiering on. They dedicated this record to Nowell and it is clear that his legacy is the reason why they are still moving forward. Even with all the above complaints, this album has enough high points to earn a qualified recommendation.

Focus Tracks:

“Wherever You Go” Ramirez is more of a pop-singer than Nowell was, and while they both share very clear, pretty much pitch-perfect voices, this song aims for the pop charts more than the original line-up ever did. But it is a winner and it deserves to get airplay.

“Skankin” This is actually a cover of the Fishbone classic “Skankin’ To The Beat.” (If you want to hear the original, the best version can be found on the “Say Anything…” soundtrack.) The mutual admiration between the Sublime and Fishbone camps has been well established. Fishbone covered Sublime of their tribute album and now it has been reciprocated. Fishbone have always been a strong influence on Sublime’s work.

“Been Losing Sleep” Like “Wherever You Go,” this is another strong slice of reggae-influenced pop and it has big potential.

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quicklist: 4title: Tame Impala’s “Currents” **1/2text: With his fourth Tame Impala record, Kevin Parker turns down the indie-rock spark that fueled his last effort, “Lonerism.” That album had an appealing garage-rock-like haze that made it stand out and sound endlessly inventive. “Currents,” Parker’s latest record, is much more polished. In fact, it seems like Parker’s work on Mark Ronson’s “Uptown Special” earlier this year had a profound effect on him. Compared to his previous work, this is glitchy, downright polished pop and the unique touches don’t hit with the same force as they did before. The skipping beat for instance on opening track, “Let It Happen” just makes it sound like there is something going wrong on the track, when it should sound like a feat of sonic invention. “Lonerism” sounded like the work of a sonic mad scientist left alone in the lab, whereas this album sounds noticeably more streamlined.

Weirdly, while this album doesn’t come anywhere close to the impact of its predecessor, I predict this record will essentially become Tame Impala’s most successful album, since it is his most polished. But the polish mutes what made Parker’s music appealing in the first place. His music often had a very open feel in the past, as if it were prone for sudden left-hand turns. There was a ragged, almost random, experimental one-man-band quality which while it still feels kind of like it still is hiding somewhere in the mix, it is buried is relative gloss. It’s as if Parker went from fusing the sounds from the “Nuggets” boxed-sets with more modern indie and synth-rock touches to delivering eighties-infused repetitive elevator music R&B. The psychedelic edges are sanded off and in their place is a lot of toned down synth-work.

Is this album still worth a listen? I suppose. Is it interesting to hear Parker change things up from album to album? To some extent, certainly. But “Currents” too often feels a touch too streamlined. It’s a merely OK record, while in comparison “Lonerism” was a great record. This record still has a creative spark hidden in its depths, say in the beat-work on “Eventually” or the bizarre pitch-shifted vocal work on “Past Life,”, but it doesn’t have anything anywhere near as appealing as the “Lonerism” hit, “It Feels Like We Only Go Backwards.” Still, because it takes fewer chances, this album will open up Tame Impala undoubtedly to a wider audience. But it will also leave some of the previous fans shaking their heads.

Focus Tracks:

“Eventually” This is probably the closest to the territory explored on “Lonerism,” but at its core it really is a pop/R&B ballad about a break-up. It is definitely the album’s strongest track.

“Cause I’m A Man” Prince is probably a huge influence on this album. You can hear his influence in Parker’s falsetto, as he declares, “I’m a man, Woman.” Again, this is another song with potential.

“The Less I Know The Better” This track is some bluesy disco funk-pop, anchored by a slightly fuzzy bass-line.

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quicklist: 5title: Flo Morrissey’s “Tomorrow Will Be Beautiful” ***1/2text: If you combined Lana Del Rey’s ethereal quality with the folkiness of Fleet Foxes, you might come close to what Flo Morrissey delivers on her debut, “Tomorrow Will Be Beautiful.” This British singer has a knack for dramatic flourishes and a frequently present operatic lilt in her voice. She’s an impressive and unique vocalist. At the same time, her sound may not be for everyone. Opener, “Show Me” puts her in similar company with singers like Lia Ices and Hannah Cohen, while single “Pages Of Gold” shows some of the same appealing qualities often present on Sharon Van Etten’s albums.

The whole album has an airy, earthy feeling. It doesn’t win you over right away and Morrissey’s particular approach as a performer may take a few spins to get used to, but that isn’t a bad thing. She’s got her own style and this debut shows a great deal of promise.

Reverb and dashes of echo add weight to these musical arrangements. “Sleeplessly Dreaming” and “Wildflower” both sound like Morrissey could be singing them while frolicking through a deserted meadow surrounded by woodland creatures. And I don’t mean that in the sunniest sense. There is an element of mysticism at work here throughout this set.

“Tomorrow Will Be Beautiful” as an album comes off as a delicate exercise in careful orchestration and even at its most sweeping and meandering, it makes you wonder where Morrissey will go from here. This is interesting music designed for lush chill-out sessions on dew-drenched summer mornings.

Focus Tracks:

“Pages Of Gold” This single is the perfect gauge to determine if this album will be for you and as a song, it gets better with each successive listen.

“If You Can’t Love This All Goes Away” Morrissey starts off this song like a heartbroken cabaret singer, but during its chorus, this turns into a well-orchestrated bit of light pop. This album and Natalie Prass’ self-titled album from earlier this year might go well together. (And as a side-note, I think this track’s name needs a comma.)

“I Only Like His Hat, Not Him” This is one of the funniest song titles of the year so far as Morrissey sings about an unusual dilemma with operatic grace.

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quicklist: 6title: Wilco’s “Star Wars” ****text: Dropped as a surprise free download on their website last Thursday night, Wilco’s latest album is a bizarre, experimental offering called “Star Wars.” Seeing an iconic name like “Star Wars” paired with an absurd drawing of a white cat makes for a good laugh. The album itself is equally quirky, finding Jeff Tweedy and company delivering their loosest set in years. It might even be their loosest set ever. If you are looking for the alt-country that Wilco made years ago, you won’t find it here. This is some really sludgy, distortion-heavy noise-rock delivered in brief D.I.Y. sonic slabs.

I’m sure there will be some Wilco fans puzzled by this often messy, somewhat brief offering, but the set also feels liberated from any sort of industry-imposed expectations. (Perhaps that is why the band chose to release the album initially for free.) But in contrast with the Tame Impala’s “Currents,” this record feels constantly fresh and wonderfully strange. A song like “The Joke Explained” could have been delivered as straight country/blues, but instead Tweedy and company decided to coat the track in layers of excess sound.

This is anything but a safe record and it is more rewarding because of the risks it takes. You can hear the hum of the amps as the layers build on “You Satellite,” and there is a sense of euphoria throughout the entire set. This is a bold, brash statement of an established rock band letting their freak-flag fly as they reestablish boundaries.

“Star Wars” finds Wilco definitely exploring new territory and it is easily one of the most unpredictable high marks in their discography. The album will be released in hard-copy next month, but if any album playfully extols the joys of liberation in a poignant and tangible way it is this one. With “Star Wars,” Jeff Tweedy has opened up a new chapter in the history of Wilco.

Focus Tracks:

“You Satellite” This song builds in such a way that it is downright hypnotic. It is among the best tracks this band has made to date.

“Random Name Generator” A few years ago I could imagine this track showing up in less chaotic form maybe on “A Ghost Is Born.” It sounds very much like Wilco, but the layers of distortion add a refreshingly unhinged quality.

“More…” The overall feel of this sounds like the electric cuts Beck used to deliver in his lo-fi days. Believe me when I say that is a compliment.

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quicklist: 6title: The Bird And The Bee’s “Recreational Love” ****text: The electro duo of Inara George and Greg Kurstin return with their first album as The Bird And The Bee after a five year hiatus. When we last heard from them, they were delivering an album-long tribute to Hall & Oates, so actually this is the duo’s first collection of originals since 2008’s uneven “Ray Guns Are Not Just The Future.” Thankfully, “Recreational Love” does not disappoint, offering up an updated version of the electronic lounge-pop found on their 2007 debut. Inara George is the daughter of the late Lowell George of Little Feat fame and Kurstin is a celebrated producer who has worked with Lily Allen, Sia and more. George has a very clear voice which is well-matched for dance-pop numbers like “Runaway” and the gloriously roller-rink-ready jam, “Will You Dance?” In typical form, Kurstin pairs her with some very appealing sounds.

This record is a dance album at its core, but it has a chilled undercurrent that gives it a sensual vibe. “Please Take Me Home,” for example brings to mind soft lighting and smooth-loving. There has always been this soft, sexually-charged energy present in some form on The Bird And The Bee’s records, but this album is quite upfront. Of course, as I’ve stated, if you re-listen to their first major song, “Again & Again,” this really shouldn’t be a surprise.

“Recreational Love” is a neon-lit love-letter to early '80s pop with disco undertones and yet it sounds forward-thinking and futuristic in places as well. George and Kurstin have made a soundtrack for laid-back summer nights. This album is brief, but it offers many subtle pop delights.

Focus Tracks:

“Will You Dance?” This main single has a wonderfully enveloping texture and yet it sounds like a really strong hit. It is the kind of song pop radio should really grasp.

“Los Angeles” This serves as an anthem for flirting your way through L.A. night-life and it is given extra heft by its anchoring keyboard-line which sounds like it could have scored a tense scene in Sofia Coppola’s “The Bling Ring.”

“Please Take Me Home” As mentioned above, this song has some erotically-fueled appeal, but it begins as a slightly jazzy plea to be saved perhaps from a very lame and vapid party.

Next Week: New releases from Jill Scott, Eleni Mandell and more.

Missed last week's? Get the latest from Veruca Salt, Ghostface Killah, Four Tet and more.

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