As requested, Mr. Robinson - an analysis
For some reason, I thought the two albums were recorded around the same time. Maybe it's the songlist, then, or the sequencing, but it sounds like a progression. The Demon-Haunted World is more cohesive, and the songs sound better, on an individual basis, too (though there's great stuff on the first one, too). You should be proud.
Song-by-song (Forgive me if I name stuff by other artists that comes to mind - it's not an attempt to play "name the influence" - just a means to keep a diverse collection straight)
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The Flame and the Skies - a nice, primarily one-riff rock tune. Has a Queens of the Stone Age stomp to it, although the vocals at the beginning remind me of, of all things, Lou Reed. It might be the way they're mixed. I like the contrast of the floaty backup vocals and that fuzzed out guitar (and bass?).
Fine Living - One of my favorites on initial listen. The drum track, bass, and guitar line at the beginning remind me of OMD, but, when the vocals kick in, it's got a big time, 90s-era Bowie vibe. Great transitions, great singing. This sounds like the vocal style that you're at most at home with. Really like the strangulated guitar solo at the end, too.
September Social Scene - This one hasn't made as much of an impression yet, but it's nice. A little repetitive, but it works well for the style. Of course, it's overshadowed by the two tracks surrounding it.
The Royale - Damn. This is really impressive. I don't think I'm presuming too much when I say it's a Beach Boys homage of sorts (though more ominous)? This is your best track right here. Great massed vocals (how many are there, exactly?), the drum and cymbal samples are pretty seamless and sound live. It's also got that neo-Beach Boys production a la Flaming Lips or even the more atmospheric, echoey Shins stuff.
Vitamins - Doesn't do that much for me, but it's a good palate cleanser after the epic-ness of the last track. It's kind of filler-y, but it's short, so not obtrusive.
Forward Motion - I like this lots. This is the most traditionally "soul" of all your stuff I've heard, and it's quite good. Your falsetto works great for this, and the lower register brings to mind some of Sly and the Family Stone's slower tunes. Also, the backing vocals on the chorus actually sound like different people. Did anyone else contribute?
Inside My Screams - This one hasn't grabbed me that much on initial listens. I like the percussive guitar effect, though.
Drift of Pigs, Sounder of Swine - A really nice rocker - this would benefit the most out of any of them from a live band, but it's cool as-is, too. The guitar sound is great. One small criticism - the distortion on the vocals is a little too much at times. The effect works fine most of the time, but a few times, it made the whole recording crackle in a distracting way.
Beautiful Pictures - I like the atmosphere lots, but it takes a long time to get to where it's going (the chorus - which is lovely). Those are just my tastes, though.
All the Way to Heaven - This is the only one I really don't care for. This might be some bias I have against instrumental tracks appearing on albums without some thematic rationale (or is there one I'm missing?). It seems like it's on here as a testament to your versatility and instrumental ability, but those are things that are proven throughout the album without its help. It's kind of new age-y. It might work on the soundtrack stuff you do, but it sounds out of place on this album.
11:11 - When this first started, I thought it was another track like the last and was afraid the album was going to end on a weak note. Not so, though. It's a great mood piece that does take its time to get to where it's going, but it earns it. A great finish.
Again, you should be proud.
One technical comment - it seems like some of the songs could use a little more space after them. Sometimes, it works when the tracks plow right into each other, but it's jarring in a few places (the last drum hit on "The Royale" practically gets cut off), and doesn't allow the song to make it's last notes known in others (that great, abrupt ending on "Drift of Pigs" sounds less abrupt when "Beautiful Pictures" starts too quickly after it).
