[ALBUM REVIEW] SAM ROBERTS BAND - LO-FANTASY

After agreeing to write this review, I hesitated.  Being a fan of Sam Roberts Band for years now (and having previously praised them on this very blog), I was convinced that this would be difficult to write… worried that I would only be able to describe the album as "Sam Roberts-y". Luckily for new listeners and old fans alike, the band has given us a new experience. The opening number, "Shapeshifters", is an upbeat dance track unfurling a gateway of musical exploration that is Lo-Fantasy. It gives listeners a fresh taste for what the rest of the record holds. Experimentation with 80's synth fills the intro to "Metal Skin" and leads us to the most addicting song on the album with an upbeat, sunny California beat. The 80's influence appears once again later, and much heavier, on "Chasing the Light". This Tears For Fears inspired track sets a perfect scene for your John Hughes prom-scene fantasies. We all have those, right? Not to say they steer too far from their traditional sound… Anthems such as "The Hands of Love" and "We're All In This Together" (which premiered on opening night of this past NHL season) remind us that the band has not forgotten their classic rock roots: A pinch of psychedelica and a dash of rock n roll mixed together to create their magic. Guitar riffs that grab your interest, and Roberts' lyrics that capture and keep your attention. With songs already being selected as Best New Songs of the Week most recently on Esquire Magazine, perhaps this is the record that will break in America and give them the recognition they so deserve. Listen to the opening track Shapeshifters in it's entirety below. Lo-Fantasy is set for release Feb 11th on Paperbag Records HERE. Catch them on their upcoming US tour HERE

By Natalie Burris

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[ALBUM REVIEW] NEKO CASE - THE WORSE THINGS GET...

At first I thought it was going to be difficult to write an objective review of Neko Case’s new record titled The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You, because although I am a big fan, I was in a crabby mood, and I was ready to tell you all about how it sounds exactly like her old records (which isn’t necessarily a bad thing), but I was annoyed and lately I’ve been craving something different. And then something funny happened. I purchased the record, and 2 songs in, she serenaded the bad mood right the fuck out of me. I don’t know if it was the lyrics -“If I puked up some sonnets, would you call me a miracle?”-, or the twanged out treble on her guitar that always seems to hypnotize me if I’m not paying too much attention. She is no longer going for the straight up pop song like she did before, no real catchy hooks here that were present on her previous records. But in this maturity she manages to still really rope you in, and I’m not quite sure how she does it. It’s a curve ball that works so well it might strike out anyone who gives this record a chance. She’s in top form on this album, pure Neko Case, and I can honestly say it’s her best effort since Fox Confessor Brings The Flood. Do yourself a favor and pick it up.

By; Randy Nieto 

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[SINGLE REVIEW] LORDE - ROYALS

“We crave a different kind of buzz” croons Lorde in her debut single for Royals. We indeed receive a different kind of buzz from Lorde. The music and vocals are incredibly simple, yet indicative of what some pop music has been producing these days. (ie. Robin Thicke’s Blurred Lines) Just a simple bass kick and snap are the backbone of the song, and pulsating synthy bass manages to sneak in during the chorus and hang around for the rest of the song. However, it’s Lorde’s vocals that carry the whole damn thing. It might as well have been a cappella, and I think I would still like it. It’s a little sing songy, but I have to admit, it’s a really catchy melody. The actual lyrics are societal commentary on the Rich vs Poor (a topic that’s been around for ages), but at least she’s singing about something with real meaning and passion (I’m looking at you Miley). I might add that Lorde is only 16, but I really don’t want that to affect your opinion, so pretend I didn’t say anything. Check it out, let it get through the first chorus, and you’ll see what I’m talking about. Her album drops September 30th more info HERE

By; Randy Nieto 

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[ALBUM REVIEW] DEANNA DEVORE - X NUMBER OF DAYS

Coming right up and lovingly smacking 2013 right on the ass to start it off is Deanna Devore’s new record “X Number of Days”. You know when a friend is playing a song you really dig and you’re like “Who is this?” and they say, “Oh, it’s just this new record from so and so.” Well, so and so is Deanna Devore. The first track “I Tried” gets right down to business with a repetitive, haunting electronic melody.  Waves of keyboard sounds keep the rhythm with the drums, while Deanna’s voice carefully surfs those rad waves. The record mostly sticks to a dark, electro feel, although she strays into some pop territory in “Where Went Your Heart”. What strikes me most about this record is her soothing voice and how it compliments the drums. They’re quite well written, with a jazz/house influence that doesn’t overtake the rest of the music, but somehow manages to sneak in front with her vocals. If you like soothing female voices over dark clubby music, this album was made for you. Deanna Devore is playing her record release show January 10^th at Chicago's legendary Schubas. Now is the time to check her out while this record is hot off the presses.

By; Randy Nieto January 3, 2013

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[ALBUM REVIEW] SIC ALPS - SIC ALPS

Sic Alps have always managed to maintain a wonderful garage sound, and with their new self-titled album out now on Drag City, they only continue to get stronger. Vocals have more clarity and songs gravitate toward a junkyard Big Star style… producing a satisfying combination of 60's noise and 70's pop-rock. Strings and piano are weaved throughout the tracks adding an extra punch to intros and interludes. Opening number, "Glyphs", opens with violin- and later, mixes both violin and cello with lovely grungy noise, making me wish I had spare change to give to this talented hobo band. (Sorry, They aren't real hobos. They probably live in decent apartments and can afford to shop at Whole Foods.) Most of their songs, past and present, follow a mellow path, so when a track like "Moviehead" plays, I'm always giddy. This happy-go-lucky song has a psychedelic riff paired with a bubblegum beat that could easily fit in with any Nuggets compilation, which isn't the first song they've ever written to do so and I am not complaining. There are slower times on the album, "Lazee Son" sounds just as lazy as the title, but the length of the songs remain short and then it's back on the right track. At times I wonder if they will ever head in a new direction musically, but let's not jinx it and ruin a good thing.

By; Natalie Burris November 3, 2012

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[ALBUM REVIEW] DEERHOOF - BREAKUP SONG

In junior high, I was lucky enough to see Deerhoof perform. My parents brought me along to Earlham College, where we watched the performance on a small, square stage on a huge open field. I remember the show being enjoyable with Satomi Matsuzaki doing cute little dance moves and the extremely tall Greg Saunier crouching down on a milk crate to play his tiny percussion set-up. (My father grabbed a setlist that had only cute drawings for titles.) Today, Deerhoof is on their 14th release Breakup Song and have grown musically yet keep their garage noise and voice …which isn't hard when the voice sounds like a sweet, happy woman-child.

With each album comes a different experience and this one moves into another new direction using more jazzy grooves and consistent 80's/90's electronic influence. Unlike earlier songs ("Come See The Duck"), a few of these tracks have the chance of getting played by a DJ--despite how short in length most are. "Mothball the Fleet", the fifth track, begins with a Vampire Weekend type of guitar riff and continues to carry a dreamy quality that would be ideal to hear on a road trip with the windows down… AKA perfect for an Urban Outfitters playlist. But fear not, my friend, for at least it will bring you bragging rights and something to bop along to while your buddy is shopping for overpriced flannel and novelty iPhone cases. This one song is proof of the poppy course the group has taken. "Zero Seconds Pause" and "To Fly or Not to Fly" open with electronic intros and carry an 80's vibe, but "To Fly or Not to Fly" goes back and forth between an upbeat Prince-ish song and a fighting guitar riff that and although very short (1:45), the two parts seem to join hands and run off together instead of ending in disaster. Which is probably what Matsuzaki would prefer. Her delicate voice combined with cutesy titles such as "Flower" is a perfect balance to all the racket happening around her. She creates a sense of harmony with the music. With the ending of the album just as solid as the opening, this is definitely an album I will never want to Breakup with.

By; Natalie Burris October 15, 2012

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[ALBUM REVIEW] TWIN SHADOW - CONFESS

A delightful piece of 1980s nostalgia, lyrical longing and lush electronic layers combine to create the mood of Twin Shadow's 2012 album Confess.  Synth, guitar, good beats and George Lewis Jr.'s emotional and powerful voice generate a sonic landscape that stays just below the surface.  Enough of a beat to keep you going without rioting into a full fledged dance party.  The subtlety of Confess is what grabs the listener and will guarantee a place in many 2012 best albums lists.  Album standouts include "Golden Light" a track that builds slowly and arcs with a catchy hook, "Five Seconds" a song that has dance-like-no-one-is-looking moments and "Run My Heart" is a tune meant for a Brat Pack movie that was never made.

By; Megan Timmons October 11, 2012

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[ALBUM REVIEW] RYE RYE - GO! POP! BANG!

In 2007, I saw a pipsqueak of a girl come on stage to perform alongside M.I.A. With her childish voice and tomboy attitude, I was an instant fan. Due to several delays and a baby, it took three years for her debut album, "Go! Pop! Bang!" to be released. Unfortunately, it may not have been worth the wait. Her three popular songs "Sunshine", "Never Will Be Mine" (ft. Robyn), and "Bang" have already been heard for at least a year. "Bang", my personal favorite, is even a part of her album title, but yet only featured on the deluxe version. Blaqstarr also produced the song as he has helped with many of her previous raps available on YouTube. Although the first song, "Drop" is pretty strong and true to her quick and high speech talents, the rest of the album falls into a bland pop category. "DNA" and "Crazy Bitch" (ft. Akon) have catchy dance pop choruses that could easily blend in with the rest of Nicki Minaj's latest hits--(And I don't mean Miss Minaj's "Black Barbie" days. I'm talking about the bland stuff that she has been performing this year on Good Morning America.) She did manage to catch my ear with "Anything You Can Do" (ft. M.I.A.), which samples Annie Get Your Gun. With all my disappointment, this review could be a completely different story after a couple drinks in Boystown and Rye Rye playing on the dance floor.

By; Natalie Burris June 19, 2012

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[ALBUM REVIEW] THE WALKMEN - HEAVEN

Longtime fans of The Walkmen might be tempted to brush this album aside. For well over ten years, these five New Yorkers have been the yeoman voice of good kids behaving badly. With their sixth full length of new material, Heaven, there is an unmistakable shift towards social rehabilitation. These East Coast dilettantes are no longer opening their records by getting kicked out of bars (see Bows and Arrows). Instead, they open with a statement of slowing down: "I was the pony express, but I ran out of gas." It's not even the confession of exhaustion that is the most startling thing you'll first notice about Heaven but it's the way it's communicated: calmly, without detachment, and in tune. Long gone are the days of clanky speakeasy pianos, of bass lines played off time, of a singer so far past last call that all he can do is slur his lyrics or screech them so loudly that you can hear the veins in his forehead bulging.

Credit the encroachment of adulthood or credit producer Phil Ek (Fleet Foxes' Helplessness Blues), because the entitled, misbehaved, and emotionally detached prep boys of The Walkmen have finally straightened their ties, tuned their instruments, sobered up, and delivered a record that reflects their decade long commitment to songwriting. Heaven is a beautiful, well structured, and--in a most un-Walkmen way--calm record. As it rolls forward through country-tinged ditties like "We Can't be Beat", delicate acoustic numbers like "Southern Heart" and "Line by Line" and deliberately paced upbeat tunes like "Song for Leigh", one keeps waiting for the inevitable emotional dam burst that never comes. We've become so accustomed to vocalist Hamilton Leithauser temporarily losing his shit, taking a breather, combing his hair, and tucking his shirt back in that we take it for granted this will happen every time he gets in the studio. Songs like "The Rat", "All Hands and the Cook", "In the New Year", and "Angela Surf City" were all unexpected, unchecked geysers spewing from a repressed id. Heaven's geyser never comes. When the fast paced "The Love You Love" barrels through your speakers, you might mistakenly think they've left their therapy for the end of the record. Then he sings "Baby it's the love you love, not me." I don't think he would have cared before, as this is the same guy who recently said "You're with someone else tomorrow night, doesn't matter to me. Cuz as the sun dies into the hill, you've got all I need."

Nevertheless, Heaven is something special and it will most likely grow on you. For longtime Walkmen fans, it will take several listens for its charms to grab you. Whether it be the humid, sleepwalking vibes of "No One Ever Sleeps" or the early U2 guitar lines of title track "Heaven", there will be an entry point where you realize that this record deserves multiple listens. The Walkmen are still a great rock and roll band; as they've become parents, they've oddly began to sound like their parents' rock and roll bands. Like that unwanted shock of grey hair that's shot across your previously flawless black mane, you should embrace the change with dignity. The Walkmen have.

By Philip Stone; May 30, 2012

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[ALBUM REVIEW] BEACH HOUSE - BLOOM

Fans of Beach House, listen up. Their new album dropped and it sounds just like their last album. This is great news because when a band hits its stride the way Beach House has, you don't want them to change a thing. Teen Dream was the aural equivalent of being day drunk on wine, dutifully holding the dull of reality slightly at bay for its full running time. If you are like us, you wore Teen Dream's record grooves down to a smooth sheen from overuse and are ready for some new material capable of sending you on those short journeys of emotional detachment. Bloom gives us that. These ten songs take us to the same place and uses the same tools to get us there: slowly oscillating guitar lines, droning synth waves, tinny electro drum beats, and Victoria Le Grand's plummy, androgynous voice. Even when sticking so close to the original palette, Bloom manages to somehow sound more colorful than its predecessors, like it's painted on a larger canvas.

Opener "Myth" reaches ridiculous heights of glorious melancholy. How are they doing that? The guitar is only playing four notes over and over and it sounds like they brought in some bro to hit a crash cymbal in the back of the room every eight beats. Same as with most good music, the songs here are greater than the sum or their parts. "Wishes" is another example of this phenomenon. Its pace is so deliberate and unhurried, the vocals so swollen and restrained that its slow burning power sneaks up on you.

In a way, these are perfect summer songs. They're not sunny pop jams like most typical summer songs. These songs inhabit quieter summer moments, effectively grabbing the hands on your clock and bringing them to a temporary halt, stretching out the notoriously short season for a few fleeting moments.

By Philip Stone; May, 14 2012

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[ALBUM REVIEW] MINIATURE TIGERS - MIA PHARAOH

Miniature Tigers released "MIA PHARAOH" at the end of March following their 2010's "Fortress". Unlike the previous album full of folky-pop tracks, their third attempt seems much more experimental featuring 80's synth throughout the most of the album as well as added disco beats to add a little more punch. The record opens with "Sex On The Regular" and "Female Doctor," both possessing R. Kelly lyrics that would make the perfect soundtrack for your next red bikini-wearing Phoebe Cates fantasy. Poppy choruses are prominent in almost every song, so get ready to have the "Easy As All That" chorus ("Baby, you make me crazy…") in your head for the next week. And not only did they stick to just pop choruses, "Pleasure Princess" even dives into a very Drake use of auto tuning. All the mixtures in genres create something entertaining yet slightly confusing. Luckily, some tracks such as "Hologram Girl" stay true the band's original sound. Looking forward to seeing which direction their next album will lead  them.

By Natalie Burris; April 18, 2012

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[ALBUM REVIEW] NITE JEWEL - ONE SECOND OF LOVE

 “I’m a broke record, you have heard this before” is how Nite Jewel, aka, Ramona Gonzalez starts off her latest album. Yes, heavy 80’s synthesizers are back with a vengeance, and the resurgence of minimal wave has made itself known throughout many a used record store in North America. She’s not the only artist taking this approach, but let me tell you folks, she does it extremely well. If Madonna and Lady Gaga went through a gothic phase and had an obsession with analogue synthesizers, I imagine their music would sound something like this.  On “One Second of Love”, Ramona hits arpeggio and never looks back, while quipping ‘One second of love, one second of love!’ throughout the song. “Mind and Eyes” is another poppy gem reminiscent of Hall ‘n Oates. Her voice soars beautifully on this record quite often, but she also manages to throw in little slide guitar licks, which keeps the songs grounded and poignant. This is the Siouxsie Sioux come back record you’ve always pined for. Strap on your Doc Martens, paint those nails black, and throw on this record before you hit the club. 

By Randy Nieto; April 20, 2012

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[ALBUM REVIEW] CHROMATICS - KILL FOR LOVE

The very first thing you hear when you put on a Chromatics record (regardless if it’s an mp3 or not) is the crackle of vinyl, which pretty much fits in perfectly with the band’s aesthetic. On the new album “Kill for Love”, the Chromatics have not strayed far from their 70’s disco trance pop roots. Although the opening cover of Neil Young’s Into the Black didn’t really transfer quite well to their neo-disco sound, the rest of the record sounds like a true Chromatics album. If you don’t really know what that means, it sort of like being transplanted back to a local disco in the late 70’s where the DJ accidentally slowed down the record player from 45 to a 33 RPM because he took too many Quaaludes and couldn’t tell what speed it should be. A persistent bass line and echo-y drums are prominent through the record, and manage to sound melodic without too much drone. Keyboards still play a big role, but the band does a good job of mixing live instruments without relying too much on the synthesized sounds. Keep in mind, this IS a mellow record. But it, truly is, the best kind of mellow.

By Randy Nieto; April 5, 2012

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[ALBUM REVIEW] RAMBOS - ROCK AND ROLL MONSTERS

If a band could be an amusement park, they would be Rambos. It is pretty evident from the very beginning of the opening track “Terrorize”, where the ride takes off with barely enough time for you to put on your seat belt, that Rambos is going to take you on every single ride in the goddamn park. They have all the fun of a punk band without the any of the angst. Straight up: this is a band for people who love rock and roll. There isn’t a single track on this record that doesn’t have a catchy lyric that pervades throughout the entire song. The vocals are often backed by a female harmony, which adds a light and almost group feel to the pounding drums and high energy guitar changes. Let me put it this way, I’ve actually had the chance to see Rambo’s live, and I was bummed when my friend from out of town couldn’t make it. If you like to dance around your apartment to rock music, pick up this record.

By Randy Nieto; April 4, 2012

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[ALBUM REVIEW] EZRA FURMAN - YEAR OF NO RETURNING

Three months into 2012 and this already feels like the album of the year. Packing up his knapsack of tricks, Ezra Furman temporarily parted ways with his band, The Harpoons, and headed toward the ol' americana highway to venture a solo voyage- but not before stopping by his two favorite uncles Tom and Alex (Waits and Chilton), who passed down to him their secret roadmap. Ezra followed the path, and with little pitstops of his own, returned with the greatest road-trip souvenir this side of a Highway 61 road sign, "The Year of No Returning". The album begins with "Dr. Jekyl & Mr. Hyde", taking instrumental influence from Swordfishtrombones-era Waits. I await Wes Anderson to pick-up this song for his next slow motion scene. From the beginning, surprising instrumentation chimes in at the perfect moments and continues throughout the entire record. "That's When It Hit Me" has a fifties rock n roll sound, while "Lay In The Sun" is like a Big Star version of a fifties doo-wop classic. "Bad Man" captures the best parts of a Daniel Johnston song with whispers that slightly haunt you--in the friendly ghost way, of course. "Cruel, Cruel World" stays true to an early Dylan sound while, "American Soil" is a protest song in the best Dylan tradition, preachy (even says he's going to write us a Bible!)-but amazingly doesn't come off as sanctimonious. This is definitely the breakthrough album for Mr. Furman. What began as a musical adventure turned out to be a vision quest. Let's hope he continues to bring us mementos of this scale from his further musical explorations.

*The Year Of No Returning has been deemed a "BFF" meaning Burris Family Favorite. This term had not existed preceding the album. Thanks, Mom.

By Natalie Burris; March; 6, 2012

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[ALBUM REVIEW] SUMMER TWINS - SUMMER TWINS

Back in the heyday of Myspace, I became friends with a "Chelsea Brown". She was a California cutie…in a band. As a band-less girl in the middle of nowhere, I'll admit that I was a wee bit jealous. Later on, along with her sister, Justine, the two formed Summer Twins. Their new, self-titled album (released through Burger Records) is a lo-fi, surf rock romp. Like unwrapping a lovely homemade gift tied with a pretty lace bow, tracks such as "I Will Love You" open up the the dreamy sound world of the classic 60's girl groups. The songs make me think about hanging out with the Summer Twins, drinking coke out of bottles, talking about cute boys we hate, and riding bikes through a graveyard. Summer Twins will be at the Empty Bottle, March 25th supporting Peter Case & Paul Collins.

By Natalie Burris; February 21, 2012

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[ALBUM REVIEW] PRETTY GOOD DANCE MOVES - LIMO

I could not keep myself from thinking of video games while listening to the new album from Pretty Good Dance Moves which features vocals from Sabina Sciubba. It would be the perfect soundtrack for a quest; prancing through mystical forests, trying to rescue princesses or smashing psychedelic fruits with over-sized hammers.There are new discoveries with each play as if I am starting the game over again in search of hidden gems. Their electronic sound, drawing from elements such as Bjork's "Homogenic" as well as dashes of Krafterwerk and Cluster, is augmented by 70's horns and a French/European influence. Give Limo a listen and choose your own adventure --no cheat code required.

By Natalie Burris; February; 6, 2012

Limo is available for now on Vinyl via Insound HERE

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[ALBUM REVIEW] THE HOLIDAY CROWD - OVER THE BLUFFS

For those of you waiting for a Smiths reunion, wait no longer! The Smiths have been reunited in the form of The Holiday Crowd. Listen, this record sounds SO much like The Smiths, I looked up the songs on YouTube to make sure they weren’t Smiths songs mislabeled. So, this can swing you one of either two ways: You could be one of those people who say “Yeah, I love The Smiths, and a new band that sounds like them would be awesome!” Or you could say “That band The Holiday Crowd is a just rip off and completely lacks originality.” One thing that can’t be denied is that a good amount of the songs on the record are pretty catchy, rip off or not. (And keep in mind, it does NOT sound like solo Morrissey). However, not every song has trademark Moz vocals. The song "Painted Like a Forest" has a dancey bass line that charges on behind a a nice little Jonny Marr style arpeggiated riff, however the vocals are little more reminiscent of Robert Smith or Ian McCulloch. Let me put it this way, if you played this record for someone who has never heard The Smiths but you think would probably like them, they would probably love Over the Bluffs. I give it 4 out of 5 pompadours.  

By Randy Nieto; February 2, 2012

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[ALBUM REVIEW] LANA DEL REY - BORN TO DIE

Despite all the internet hype, Lana Del Rey is just a gif on your tumblr dashboard. She's like a pretty actress who woke up one day deciding to make a pop album (Scarlett Johansson, anyone?), and it would be more enjoyable had the record belonged to such a genre of wannabes. The production is well done with beats and string arrangements that make tracks such as "Diet Mountain Dew" and "Radio" worth a listen. Unfortunately, Miss Rey doesn't take any risks and with little connection to the music, leaves us dragging along--almost wanting to help her create something better in the future. Until then, I plan to ignore her wallpaper music the next time I'm eating a Panera bread bowl.

By Natalie Burris; January 31, 2012





Born To Die on VINYL is available for Pre-Order from Insound via Interscope HERE

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[ALBUM REVIEW] BON IVER - BON IVER

This isn't a scoop; you've heard about Bon Iver from Bon Iver. By now, you may have also heard about the mythology of his previous album, how dude's relationship with his boo went sour, dude got mono and went on a Ted Kaczynski journey of rural Midwestern self discovery and came back with For Emma, Forever Ago. You've heard about how Kanye flew this awkward Midwestern kid out to California to lay down vocal tracks for the largest hip-hop album of the Obama era.  You've heard about his crazy falsetto vocal style, and how parts of this new album, Bon Iver, sounds like Peter Cetera or Bruce Hornsby or Michael McDonald or some kind of Yacht Rock from the '80s, but much better.  You've probably seen him on Fallon covering Bonnie Raitt, or seen that tweet from ?uestlove of the Roots saying Bon Iver played the most beautiful music he's seen on late night TV.  You guys are using the internet, so you obviously know all of that and more by now.

We at TMB simply want to give Bon Iver a high five as he takes his victory lap.  It's been a month and this record is still burning up our mp3 players.  That moment one minute into "Calgary" when the synth drops for a second, then resurfaces in synch with the drum machines still gives us chills.  The dueling drum parts panned to opposite speakers in "Holocene" still cause’s goose bumps.  The deep power of Vernon's surprising non-falsetto voice in "Minnesota, WI" still feels like a gut shot.  This is real music, the type you listen to with your whole body.  Its music we're proud of, but not because we had anything to do with it; Bon Iver sounds like it belongs to us because it's too strange to belong to any single music scene.  This doesn't sound like the folk of For Emma.  It is still sad and weird and beautiful, but now it feels like a colorful work of a collage artist working with the memories of a Midwest childhood in the '80s. At times it's bleak and gray, lonely and vacant, but still lively and lush.  This is a four season album.  This is a benchmark being made right before our eyes, music that sounds better on the 15th listen than it did on the 14th.  We, the voices of the internet, have already lost this artist to Starbucks, Jimmy Fallon, and Kanye West. Nevertheless, as voices of the Midwest, we salute Justin Vernon and company for creating something this important.

By Philip Stone; July 19, 2011

New album Bon Iver is available now via Jagjaguwar Records HERE

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