Blitzen Trapper - Destroyer Of The Void

Written and produced by frontman Eric Earley, Destroyer Of The Void is the fifth offering from the Portland band and sees the convergence of 60s folk, 70s country, 80s prog and contemporary indie. To illustrate this, the title track leaps from polite, mid-tempo country-folk to piano balladry through stomping indie rock and vocal harmonies within its six minutes. It may show the increased ambition on this album, but it's hardly the Bohemian Rhapsody it perhaps hopes to be.

The truth is that Blitzen Trapper are actually best when keeping things simple. THe Man Who Would Speak True proves this, with just acoustic guitar and howling harmonica accompanying this old-fashioned country yarn. "On a drunken night with a stolen gun/I show my lover as she made to run," Earley sings, and it's clear this man is a fine storyteller. "The judge sent me away/And they buried my Grace, yeah, the very next day."

Heaven And Earth is similarly simple with piano and strings allowing the song to breathe and The Tree - a lovely folk duet with Alela Diane - further illustrates this is a band that doesn't need to throw the kitchen sink at songs.

It seems a waste then - considering how mich heart this record has - that the six-piece litters it with unmemorable and fairly bland outings like Love And Hate. Alluding the arena rock, there is nothing specifically wrong with it, but it demonstrates the unnecessarily overblown nature of much of Destroyer Of The Void. In this case, less would most certainly have been more.

Deez Nuts - This One's For You

When I Killed The Prom Queen called it a day, drummer JJ Peters formed hardcore outfit Deez Nuts, and not only does he handle all of the drumming and vocal duties on their second album, The One's For You, but also a vast majority of guitars. Peters has called it some mates to add guest vocals, most notably Ollie Sykes from Bring Me The Horizon on the angst-driven If You Don't Know, Now You Know, aiding the record's collective and inclusive nature.

Deez Nuts tread the line between the guitar-driven simplicity of hardcore and hip hop-inspired vocals that are riddled with common themes of self-expression and pure, unabashed anger. The music has common themes as well, the tracks have driving rhythm sections and simple guitar lines. The Deez Nuts project is about creating an atmosphere and a mood, with less emphasis on musical technicality and a stronger focus on conveying their mood of being pissed off into the world.

Opening track Don't Call It A Comeback has an old school punk ethic at its core, whilst title track This One's For You is dedicated to the downtrodden, blue-collar worker and is, surprisingly, an endearing song - a prime example of the Deez Nuts vibe. On the other hand, the ode to his party crew DTD is simply about getting drunk and enjoying the ride. The same goes for Party Song, which takes a less subtle tack in inciting excessiveness. Peters provides the atmosphere for yoy to shake the working week off and forces you to enjoy the little things in life, music, your mates and good times.

Teenage Fanclub - Shadows

Bandwagonesque (1991) and Grand Prix (1995): two albums, both by Glaswegians Teenage Fanclub, which together constitute an epochal moment in joyous pop music. That no other album quite matches the glory of these two is of little consequence. Grand Prix alone is almost perfect. The band's meticulous fusion of My Bloody Valentine's noise, Neil Young's guitar work and Big Star's sunshine pop remains a watershed moment in songwriting history.

Shadows is the first Teenage Fanclub album in five years and happily, it wipes the floor with its predecessor, 2005's Man Made. In keeping with the Fannie's protocol, it is a balanced mix of songs by Norman Blake, Raymond McGinley and Gerard Love, and as always, Blake's songs shine just that little bit brighter. Here it's in Baby Lee, another rolled-gold TFC hit: a little bit cheeky, just earnest enough to be meaningful and catchy as all hell. And Dark Clouds is playful enough to warrant its too-cute, fiddle-heavy production. Yet the Bowie-esque The Past loses its momentum within its polish, and Shock And Awe flounders without distinction. That said, When I Still Have Thee overcomes its pretentious title by being impossibly nice. The folk-waltz of Live With The Seasons is also impeccable, and the almost Beach House sunshine of Sweet Days Waiting and The Back Of My Mind actually work. It's not the Fannies' best - since toning down the Neil Young and the MBV, the band was become one-sided - but it's a nice side to keep.

New Releases - Week of July 13 2010

Admiral Radley - I Heart California
Autechre - Move Of Ten
Calibro 35 - Ritornano Quellidi
Crowded House - Intriguer
Danger Mouse And Sparklehorse - Dark Night Of The Soul
Fat Joe - The Darkside Vol.1
Innocence Mission - My Room In The Trees
Korn - Korn III: Remember Who You Are
Tony Lucca - Rendezvous With The Angels
The Maine - Black & White
M.I.A. - MAYA
New Politics - New Politics
Panda Bear - Tomboy
School Of Seven Bells - Disconnect From Desire
Chris Shiflett & The Dead Pheasants - Chris Shiflett & The Dead Pheasants
Sting - Symphonicities
Sun Kil Moon - Admiral Fell Promises
Paul Wall - Heart Of A Champion
Zoroaster - Matador