Washed Out – Paracosm

Ernest Greene, the man who would be Washed Out, is probably a pretty mellow dude. He’s right out there with Toro Y Moi at the frontier of the chillwave music, and both his albums still really live up to that name. Paracosm‘s sound is more of the slow, sensory sort that made Washed Out’s first album so perfectly relaxing. In fact, it might be even more so, going as far as to utilize bird sounds on the very first track. Birds, I tell you! I don’t always listen to somewhat psychedelic, ambient, electronic pop music, but when I do, I listen to Paracosm. At least, that’s what the most interesting man in the world told me to say. Is that guy still around? Those commercials were cool, but I feel like if they’re still going on, it’s kind of sad. Like, how cool could he really be if he’s just been sitting around doing commercials and drinking beer for years?

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Wavves – Afraid of Heights

I first heard “Demon to Lean On” on college radio, so automatically it must be cool. I’d heard the name Wavves before their fourth and most recent studio album but could never put it to a sound. Now I get it. Wavves is slacker garage rock led by the warbling monotone of frontman Nathan Williams. Don’t get me wrong, when I say “warbling monotone” that’s not necessarily a bad thing. Much in the style of Liam Gallagher, Williams sings long drawn out vocal phrases with few acrobatics and sometimes that really works. His wandering, slightly Britpop drone is what defines this San Diego foursome and that’s just as prevalent as ever on Afraid of Heights.

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Arcade Fire – Reflektor

The latest Arcade Fire album received the highest score from Pitchfork they’ve gotten since their first. Reflektor‘s acclaim is significant and widespread. But, like a beloved premium cable show or a foreign best picture nominee, it’s really hard to get into. It’s a double album that feels like it shouldn’t be, with some songs too long and others feeling like complete filler. It has cameos from the likes of David Bowie and late night talk show host Jonathan Ross that feel perfunctory. The songs sound like interesting commentaries and also are hard to relate to and lack the emotion that made Funeral special. I want to like it so much, but I just don’t feel it.

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