CIMS HANDPICKED: RYAN SHAW'S SOUL

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Two-time Grammy nominee and quiet stormer Ryan Shaw described this sophomore album to Essence as “A gumbo infused with soul, rock and two tablespoons of gospel.” If that’s translatable to a sound that is a little splash of Otis Redding and another of Al Green into what is his own breed of soul, then Shaw’s goods are the real deal. Too often, production is sacrificed for good songwriting, or the production is so slick that it’s too late when we notice how bad the lyrics are or how weak the performance is. Fortunately, Real Love seems to have each detail covered to bring together a great sophomore album of songs that are informed by the past but are rooted firmly in the present. The album launches off with the insistent declaration of the title track, setting the tone for the next eleven tracks to come. One of the highlight tracks is “Gone, Gone, Gone,” where Shaw sings “I shoulda put a ring on your finger, that’s what I shoulda done,” with soulful regret. In the swinging ballad “In Between,” Shaw recalls some of the greatest moments of Sam Cooke, whereas in “The Wrong Man,” he seems to be wholly himself.

CIMS HANDPICKED: EDWARD SHARPE AND THE MAGNETIC ZEROS' 'HERE'

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Ever since we first saw Edward Sharpe marching with his beardy band of gypsies (the Magnetic Zeros) across a field to serenade us “Home,” it’s been tempting to wonder if the guy could really be as sincere as he seems to try to come across. The follow up to its, at times, darkly wandering debut Up From Below, Here shies away from the darkness of a sophomore slump, yet maintains an introspective nature that is often inherent in second efforts. The interplay of Sharpe and co-singer Jade is still ever present, as in tracks like “That’s What’s Up,” a Woodstock-y throwback tune. Drifty afternoon stoniness blankets the middle portion of the album with “Mayla,” and “Dear Believer.” “One Love To Another” is one of the album’s more seductive listening moments, with subtly reggae undertones, which is followed by the swaying swagger of track “Fiya Wata.” It’s not the same persistent energy we heard on Up From Below, but Sharpe and his mates are proving their sincerity and commitment to the Magnetic Zeros sound.

CIMS HANDPICKED: SIGUR ROS 'VALTARI'

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Valtari is Sigur Rós’ first full length album in four years, and it signals a return to the gorgeous, alien moodiness that captured listeners from the start. Valtari moves with glacial grace, recalling images of large pastoral landscapes painted in muted watercolor, impressionist as ever. The tempo, if ever indicated, never drags, but moves with great breadth. Jónsi’s voice returns to the ether as well, eerily calling into the fog of music enveloping him. “Ekki múkk” creates immense, static stillness under his high warble, while “Varúð” moves and sways with a gentle yodel. The title track is perhaps the most cinematic and dynamic of the collection of songs, but all eight pieces included on Valtari are yielding aural landscapes for the imagination. And, wouldn’t you know, the band has plans for a film for Valtari as well. Titled “Mystery Film Experience,” the piece will be a collection of music videos for the album, each by a different filmmaker. The result is sure to be lovely, but even if nobody ever made a single film for Sigur Rós, the cinematic scope of their inventive music is too lovely to miss.

HANDPICKED: TRAMPLED BY TURTLES

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What’s in a name? Not much or else Trampled By Turtles would have never made it out of their garage (or whathaveyou) …

Trampled By Turtles claim to have sold-out 95% of all their shows in 2011 – not to mention their choice slots at big ass festivals like Coachella and Telluride. This was all while they were working their last album, Palomino, which the band happened to record on the road, trying different songs in different rooms with little regard to aural continuity.

For their new album, Stars and Satellites, Trampled By Turtles thought they would take the opposite approach, or so says the Turtles’ own Dave Simonette: “We took our songs, along with engineer Tom Herbers and his tape machine, to Soleil Pines, a log home outside of Duluth and within the gravitational pull of Lake Superior. We moved the furniture, set up some mics, worked, slept, and ate all in the same space…  I like to think Stars and Satellites is the result of us continuing the search for our own voice and a step in the growth of a band that, at the very least, still loves to play together.”

CIMS HANDPICKED: GIRLS' 'FATHER, SON, HOLY GHOST' – AVAILABLE ON CD & LP!

Girls
Father, Son, Holy Ghost

Two years after their debut (Album) and one year after the follow-up EP (Broken Dreams Club), Father, Son, Holy Ghost is the natural third entry in Girls‘ recorded trinity and features their most accomplished recordings to date.

Album was a sketch of the life Christopher Owens and Chet “JR” White lived in San Francisco — a messy bedroom broadcast to the world. Broken Dreams Club blasted their home-studio ideas into widescreen projection and served as a crucial stepping stone to newfound studio fidelity. For Father, Son, Holy Ghost, the band holed up in a basement recording studio located in San Francisco’s gritty Tenderloin district, deliberately choosing to avoid the sterile confines of a traditional studio.

Aided by a three-piece gospel choir, America’s best Britpop band is now taking its own trip down America’s mysterious back roads. These touches accentuate the band’s sweetly tortured soul, not to mention some occasionally fiery guitar work on songs like “Vomit” and “Die.” Whether it’s doo wop or death metal, Girls are focused on creating classics, and Father, Son, Holy Ghost proves they got what it takes. One of 2011’s best is still well worth your attention.