Last night I went to Modest Mouse at SJSU’s Event Center. I liked it a lot. They are a good band, man. Marcia wrote about it here, and I concur. I would also add that Modest Mouse is one of those bands that is better on CD than in person, but they are still worth seeing live.

I am listening to new albums right now. Here’s some mini-reviews:

Bright Eyes — Cassadaga– My problem with Conor Oberst is that he tends to be melodramatic. When he’s not melodramatic, I like him. On this album, he’s exploring new age-y stuff like psychics and energies and other things that make me barf, so you would think I would hate it. But I don’t. It’s a good album. Everything on it is broad and ladened, from the long poems disguised as lyrics to the layerings of many musical instruments. Still, the melodies are fully formed, and although Oberst is treading on much-treaded territory, his spin on it is somehow fresh, and sad without being maudlin (for once).

Tori Amos — American Doll Posse– I haven’t liked Tori’s last few albums. This album is better–no songs about her daughter running with ribbons flying and women carrying parasols this time around. She even gets a little early-Patti-Smith-sounding in parts. Still, this album bores me. I turn it on expecting to listen to it, forget about it, and next thing I know, it’s over. Oh Tori. I think the adorable weirdo is gone forever. (This interview reminded me why I loved Tori Amos when she first came out.)

Arctic Monkeys — Favourite Worst Nightmare — Wow! I was so surprised by how good this album is. It’s tougher, harder, and more varied than their first album, Whatever People Say I Am, That’s What I’m Not. It significantly raised this band’s esteem in my mind. It’s good rock and makes you want to move.

Bjork — Volta – At some point, Bjork became too esoteric for me and I didn’t get her anymore. So I was happy to see her coming back to earth in Volta, especially in songs like Earth Invaders and Declare Independence. She’s still exploring cool sounds and beats, but in a way that holds together as something that can be called a song. This album is more focused on the outside–the audience, the world, whatever–and less on Bjork’s own inner realms, and that makes all the difference in how much more enjoyable it is to listen to.

Willy Mason — If the Ocean Gets Rough – There’s something I like about Willy Mason. Maybe it’s his voice, which sounds more mature and deep than his age (23?). Maybe it’s that his songs seem to get at an authentic emotional landscape that most folk songs pretend to get at, but don’t. I don’t think this album is perfect–I don’t like the plunking keyboard in “I Can’t Sleep,” I find “Save Myself” repetitive, etc.–but there’s just something I really like about it anyway.

Amy Winehouse — Back To Black – From everything I can tell by the gossip magazines, Amy Winehouse is a Peter-Doherty-style mess, but at least she can really sing. I love the retro soul-singer sound of this album, and I love Winehouse’s deep voice, the kind of voice that fills the breadth of sound waves to bursting. Not all the songs are good–some are so bad they feel like filler (If My Man Were Fighting an Unholy War? Huh?) and others are over-produced–but she effortlessly brings a sense of style and soul to the better songs.

I could go on, but I won’t. Let me know if you agree or not.