Today's featured shit

This could end up as my favorite album of 2009. “Orlando” has an early ’90s Book of Love feel. I wish it was released as a double single with eight remixes of it and “People in Pictures” so I could spend an hour consuming these tracks.
“Mobile” has a very sunny feel to it. I would prescribe doses of this song over antidepressants any day! Fans of Heavenly will like “Maul.”
“Fan Fiction” is another standout track. Fans of Manifold Splendour will indeed be chuffed to hear this continuation of the band’s style. There is also a bit of Julie Plug and Blake Babies here.
If you want something with male leads, “Fields” is the track for you. It’s also a good track and still has female backing vocals for those of you into that sort of thing.
This band’s personality shines from the album decor to the song titles. If they can make it out to California, I will call in every favor I can from everyone I know on Facebook and make them all attend the show. It’s truly one of the best albums I have heard in a long time.

Perhaps riding the coattails of Nous Non Plus’ success, Plastiscines visit us from the country that also brought us the Coneheads: France. It sounds exactly what a new modern rock record would sound like. Ferocious hooks and danceable oomph characterize this exhumation of Sahara Hotnights’ body. Sure, the furniture in the room has been modernized (backing harmonies on “Barcelona” are to die for), but it’s otherwise the same thing we’ve heard and loved before.
“Bitch” obviously will become the band’s anthem, which shortchanges them a bit, but such is life in the discerning music world. Music aficionados may hold themselves in high regard, but there is nothing glamorous about standing outside in the rain smoking a Camel Light and talking about how you’re going to spend Daddy’s money this month.
If you took a standard all-woman rock band and went in the Pipettes’ direction, you’d be on the opposite side of Plastiscines. Both succeed at their respective niches, but they are quite different. And while a pipe may bring water from the river to your house, plasticine makes you Gumby.
“You’re No Good” is a Linda Ronstadt cover. The passion that made the original so great is lacking in this version, which has about as much power as “T.K.O.” by Le Tigre. In other words, it’s a disappointment on an otherwise solid effort.
This band can’t spell, whether it’s the name of the band itself or songs such as “Runnaway.” To me, it all adds up to a band that looks good live, and who cares what they sound like? I hope they’re saving their money, or else they will go down the same path as Republica.

Why did I pick this album? There’s nothing wrong with it. They’re another indie rock band, this time from Detroit. The songs have good harmonies and musicianship. But nothing really stands out to me. We get 20 CDs like this in the mail every week. There’s no shortage of good man rock out there.
“Howl at the Moon” is a bit catchier than the rest. It’s the kind of stuff you can listen to with your girlfriend. The keyboards make it better. “It’s Going to Be O.K.” uses a ’70s-style organ. Maybe I have trouble getting into this because it reminds me of my parents, but my psychiatric review has already been written today.
“I Don’t Need Anything Except You” reminds me of “Singing in My Sleep” by Semisonic. It just moves along, the same way as the carpool lane moves during rush hour. It feels a lot faster than it really is. And after two minutes and 12 seconds, it’s over.
“Setting Sun” sounds like a Better Than Ezra song, but I guess they all do. “Time of My Life” is the last track and causes me to say “good riddance.” Really, it’s not that bad, and if this album were a beer, it would be Budweiser: predictable and secretly owned by a company in Europe.