Articles by Jon Falcone
Jimi Hendrix, “Both Sides of the Sky”
The release offers a sense of exhilaration, but focuses on Jimi playing rather than Jimi composing, which will frustrate some and delight others.
Digable Planets, “Reachin’ (A New Refutation Of Time And Space)” [reissue]
With twenty-five years of hindsight, Digable Planets’ “Reachin’” manages to feel increasingly optimistic, perhaps an unintended consequence of darkening times.
Pearl Charles, “Sleepless Dreamer”
Pearl Charles has a deft ability to compose radio-friendly fodder, but her soft-handed approach is so pervasive that it (ironically) renders her elusive.
The Shins, “Heartworms”
The Shins’ fifth record exists in a weird, pleasing limbo between Ariel Pink and The Magnetic Fields.
Neil Young, “Peace Trail”
Perhaps it doesn’t rate as a classic, but in “Peace Trail” ol’ Neil has put forward an honest and open series of stories on the state of the day that, instead of inciting rage, offer a gentle listen encouraging self-reflection.
Descendents, “Hypercaffium Spazzinate”
The first new Descdendents album in twelve years might be the SoCal punks’s most consistent to date.
The Velvet Underground, “The Complete Matrix Tapes”
“The Complete Matrix Tapes” tries to take you as close to one of those shows as you can possibly be; it’s up to you to decide how long you want to stay.
Jeff Lynne’s ELO, “Alone in the Universe”
Each song has that inimitable middle-pace stroll through descending chords, altered harmonies, and catchy-as-hell melodies.
Beach Slang, “The Things We Do to Find People Who Feel Like Us”
This is an album of gems, and really, Beach Slang only need to move a little out of their own comfort zone (as abrasive and blissful as it is) to step into the realm of punk rock heroism.
The Fratellis, “Eyes Wide, Tongue Tied”
If you took everything that mid-2000s indie rock left behind and put it together in one disjointed package, you’d end up with this album.
Pavement, “The Secret History, Vol.1”
It’s always exciting to have anything new with Pavement’s name on it.
Neil Young + Promise of the Real, “The Monsanto Years”
Neil Young is at the head of his congregation once again.
For six years, Crocodiles have been regularly pumping out lo-fi psych-pop records to critical and fan acclaim.
Todd Rundgren/Emil Nikolaisen/Hans-Peter Lindstrøm, “Runddans”
This is a very strange album, but that’s to be expected when you look at “Runddans”’ key players.
The Wombats, “Glitterbug”
This is tosh. Well-produced tosh, but tosh nonetheless.
The Soft Moon, “Deeper”
Psychedelic noise-monger Luis Vasquez has an ability to write songs that are hard to listen to, yet somehow beguiling.
The Cribs, “For All My Sisters”
The Cribs are the boys with the perennially broken hearts, but we love to hear them ache every time.
The Amazing, “Picture You”
The LP cruises serenely, leaving one feeling as if they were floating over a glistening lake with fingers softly pressed into the water.
John Carpenter, “Lost Themes”
Whether or not it was the intention, John Carpenter’s “Lost Themes” is petrifying.
Until the Ribbon Breaks, “A Lesson Unlearnt”
“A Lesson Unlearnt” attempts to be sleek and seductive, but as a whole, this is a background album when it could have been front-and-center.
Sleater-Kinney, “No Cities to Love”
Want an exciting and raw indie punk-rock album to add to your collection? Get in line for Sleater-Kinney’s No Cities to Love. Don’t want the new Sleater-Kinney album? Fuck you.
Neil Young, “Storytone”
“Storytone” comes in two formats: a full orchestral album and its acoustic demos. These two versions band-aid each other’s weak points to make this one of Young’s best albums since 2005’s “Prairie Wind.”
Perhaps this is the definition of a modern pop record: sonically intriguing, clad in fashionable cloaks and curly locks, and melodically unwilling to move beyond the notion of a (mumbled) top-line hook.
Caribou, “Our Love”
Caribou Our Love MERGE 8/10 A review of Caribou‘s Our Love will be dominated by the sheer brilliance of its opening track “Can’t Do Without You”—a…
The Rentals, “Lost In Alphaville”
Lost in Alphaville is a tragic case of what could have been, which is disappointing considering the fifteen-year wait for the album. Matt Sharp’s lyrical whimsy and exploding synths are still here, but he chooses bombast over beauty.
Sarah Jaffe, “Don’t Disconnect”
For her third album, singer-songwriter Sarah Jaffe has decided to push her songwriting envelope. Instead of acoustic thrumming, a smorgasbord of instrumentation has been assembled by Midlake’s McKenzie Smith.
Spoon, “They Want My Soul”
They Want My Soul is a hit straight back to 2007’s Ga Ga Ga Ga Ga or even 2005’s Gimme Fiction, but with even more depth
Gamel is underpinned throughout by the clinking sound of the gamelan. As you’d expect with something so specific, the album has its moments, and its flaws.