Have been reading the old Allmusic guide to rock, finding some albums that are well-regarded that I've never heard. This is noted as something of a folk rock classic, and members of the band kept finding their way into other bands' entries, so lets get caught up.
On paper, I might not like this. The lyrical content is a bit disconnected from the days of now, the singer's not my cup of tea, and the pacing is slow at times. But somehow it actually does come together for me, for two main reasons. One is that the playing is really exemplary: the is guitar work deft and nuanced, and the solos and jams are energetic and well-performed (Matty Groves in particular is a perfect folk rockinstomper). The other reason is the details in the production, with just enough reverb and atmosphere, sounding like it surely must have inspired acts like Slint, Talk Talk and earlier Smashing Pumpkins (Reynardine in particular is a dead ringer for Starla or Window Paine).
I don't know that I'll listen to this a lot more, but it was decidedly worth hearing once, and is excellent for what it is. It caught me at a good moment, and I was struck upon hearing it, earning it a short-term but deserved 4.5/5
Thursday, December 30, 2010
#263 The Smashing Pumpkins - Teagarden by Kaleidyscope Vol. 1
I liked these guys a lot back in high school, and while I thought Zeitgeist was crap, I figured I'd give this newfangled thing a chance.
Man, that title tells you everything you need to know. Billy has just gone off the deep end, getting too wrapped up in his own bullshit, and I just don't get the idea that he has any idea how to step back from what he's doing to see if its any good. Maybe they were always this full of themselves and I was just too close to see it, but this is not good. The songs are repetitive and largely uninventive, tarted up with little production tricks that mostly don't do anything to help. Mostly. The fuzz on Astral Planes kind of works, and that song's got a nice solo that harkens back to the good days, and the acoustic chug of Stitch in Time is kind of nice.
But at the heart its Billy chanting anthems like "everyone gather on your soul, everyone gather on your soul, everyone! everyone!" and "you're everywhere at once and you can't catch me! watch out!" over and over, and the whole thing comes across as out of touch and self-indulgent. Its a shame, he's really got a knack for a hook, and can put together a lush production with the best of them, but I just can't get past how ridiculous it sounds. But the kicker is the songs just aren't interesting enough. It seems to think its being hypnotic, but its mostly just boring, Stitch in Time the only exception. Trying to hold out hope for Volume 2, but maybe this band and I have just grown apart 2.5/5
Man, that title tells you everything you need to know. Billy has just gone off the deep end, getting too wrapped up in his own bullshit, and I just don't get the idea that he has any idea how to step back from what he's doing to see if its any good. Maybe they were always this full of themselves and I was just too close to see it, but this is not good. The songs are repetitive and largely uninventive, tarted up with little production tricks that mostly don't do anything to help. Mostly. The fuzz on Astral Planes kind of works, and that song's got a nice solo that harkens back to the good days, and the acoustic chug of Stitch in Time is kind of nice.
But at the heart its Billy chanting anthems like "everyone gather on your soul, everyone gather on your soul, everyone! everyone!" and "you're everywhere at once and you can't catch me! watch out!" over and over, and the whole thing comes across as out of touch and self-indulgent. Its a shame, he's really got a knack for a hook, and can put together a lush production with the best of them, but I just can't get past how ridiculous it sounds. But the kicker is the songs just aren't interesting enough. It seems to think its being hypnotic, but its mostly just boring, Stitch in Time the only exception. Trying to hold out hope for Volume 2, but maybe this band and I have just grown apart 2.5/5
Wednesday, December 22, 2010
#262 Toro y Moi - Causers of This
Pitchlist'd.
Man, suddenly distorted vocals are in, each person with their own trick. Here, you have some fairly straightforward electronic songs that sound like someone put them on a tape and then constantly messed with the speed, making for these little surges and dips and distortions, everything speeding up and slowing down in carefully measured spans. The effect isn't more adventurous, its just more annoying. Maybe on some intellectual level I appreciate this, but its unpleasant to listen to, and even on an intellectual level, the effect wears pretty thin by the end 2/5
Man, suddenly distorted vocals are in, each person with their own trick. Here, you have some fairly straightforward electronic songs that sound like someone put them on a tape and then constantly messed with the speed, making for these little surges and dips and distortions, everything speeding up and slowing down in carefully measured spans. The effect isn't more adventurous, its just more annoying. Maybe on some intellectual level I appreciate this, but its unpleasant to listen to, and even on an intellectual level, the effect wears pretty thin by the end 2/5
#261 Women - Public Strain
Pitchlist'd.
Man, you want to talk about muddled production, these guys are really neck deep in it. For the most part, I just find it makes this album largely unpleasant and largely unlistenable. There's some highlights in the first half, with the deerhoof angularisms of Heat Distraction and the ambient bends of Bells, leading into a nice ringy bass thump on China Steps, but it really gets into muddled, repeated chiming guitars, sounding like interpol B-sides. Just don't see myself having a lot of use for it 2.5/5
Man, you want to talk about muddled production, these guys are really neck deep in it. For the most part, I just find it makes this album largely unpleasant and largely unlistenable. There's some highlights in the first half, with the deerhoof angularisms of Heat Distraction and the ambient bends of Bells, leading into a nice ringy bass thump on China Steps, but it really gets into muddled, repeated chiming guitars, sounding like interpol B-sides. Just don't see myself having a lot of use for it 2.5/5
#260 Fresh and Onlys - Play it Strange
Missed off the pitchlist.
This is vaguely surfey rock and roll, with lots of rolling drums and slithery up-and-down basslines, which I'm into. There's a good gallop to a lot of these songs, sounding a bit Smiths, a bit like a mellower version of The Exploding Hearts, in terms of their particular retro angle. That said, and maybe my hearing is going, because I keep saying this, but there's something muddled about the production, the vocals a bit swamped in the mix, the drums kind of running together. I don't know that I'll listen to this a lot more, but on the strength of those basslines its at least good for 3/5
This is vaguely surfey rock and roll, with lots of rolling drums and slithery up-and-down basslines, which I'm into. There's a good gallop to a lot of these songs, sounding a bit Smiths, a bit like a mellower version of The Exploding Hearts, in terms of their particular retro angle. That said, and maybe my hearing is going, because I keep saying this, but there's something muddled about the production, the vocals a bit swamped in the mix, the drums kind of running together. I don't know that I'll listen to this a lot more, but on the strength of those basslines its at least good for 3/5
#259 Woods - At Echo Lake
Hitting everything I missed on Pitchfork's top albums list. Say what you like about them, but they tend to recommend stuff that's at least worth hearing once.
This, in particular, is probably my favorite of this upcoming batch. Its often very spare, Microphonesey acoustics and twang, at other times shimmering electrics come in, a vague, mournful Shinsey bounce interewaves. On top there's this cracked falsetto, spouting sentimental sentiments that somehow crack my recent immunity to lyrics. The overall effect is engaging, haunting, well-paced, slipping through late nights and other moments of darkness with ease. Time Fading Lines and closer Till the Sun Rips are standouts. Even the titles exemplify the album, stretched through time, tinged with regret, but with a flourish of poetry that glimmers 4.5/5
This, in particular, is probably my favorite of this upcoming batch. Its often very spare, Microphonesey acoustics and twang, at other times shimmering electrics come in, a vague, mournful Shinsey bounce interewaves. On top there's this cracked falsetto, spouting sentimental sentiments that somehow crack my recent immunity to lyrics. The overall effect is engaging, haunting, well-paced, slipping through late nights and other moments of darkness with ease. Time Fading Lines and closer Till the Sun Rips are standouts. Even the titles exemplify the album, stretched through time, tinged with regret, but with a flourish of poetry that glimmers 4.5/5
#258 Chavez - Gone Glimmering
Still trying to find 90's albums I missed. I'd only heard of these guys in passing because their drummer later was in the smashing pumpkins for a while.
This is really the essence of 90's prot0-indie/slightly undergrunge rock. I'm done with my dissertation and enjoying the freedom of inventing words for no reason. That means its all a bit flat to me, the vocals shouty, the guitars largely mushy and overblown. The drums are actually pretty good, and there's the good hook here and there, but something about the production or the pacing doesn't move me, and I really can't keep myself focused on the lyrics, so it ends up being kind of forgettable. It reminds me of Emergency and I, which I similarly can't seem to get to live up to the hype when I listen to it. This is perfectly good, just doesn't really move me, maybe not in the right mood 2.5/5
This is really the essence of 90's prot0-indie/slightly undergrunge rock. I'm done with my dissertation and enjoying the freedom of inventing words for no reason. That means its all a bit flat to me, the vocals shouty, the guitars largely mushy and overblown. The drums are actually pretty good, and there's the good hook here and there, but something about the production or the pacing doesn't move me, and I really can't keep myself focused on the lyrics, so it ends up being kind of forgettable. It reminds me of Emergency and I, which I similarly can't seem to get to live up to the hype when I listen to it. This is perfectly good, just doesn't really move me, maybe not in the right mood 2.5/5
Saturday, December 18, 2010
#257 Ty Segall - Melted
I was interested in this when I saw it reviewed back in the day, but couldn't rummage up a copy. Its appearance on Pitchfork's list caused me to renew my search. Success!
I remember thinking when I read about this that it sounded right up my alley, and for the most part it is. Fuzzy, crunchy guitar rock, all stuff I like. Overloaded bass, backing acoustic strums, scuzzy production, but still totally tuneful, well paced and catchy. And short songs, I'm a fan of that. I wish it was a bit brighter at times, the scuzz gets a little daunting sometimes, but I guess I admire them for not pulling any punches. Just enough little twists and turns to keep me excited, and to get me into the territory around 4/5
I remember thinking when I read about this that it sounded right up my alley, and for the most part it is. Fuzzy, crunchy guitar rock, all stuff I like. Overloaded bass, backing acoustic strums, scuzzy production, but still totally tuneful, well paced and catchy. And short songs, I'm a fan of that. I wish it was a bit brighter at times, the scuzz gets a little daunting sometimes, but I guess I admire them for not pulling any punches. Just enough little twists and turns to keep me excited, and to get me into the territory around 4/5
#256 James Blake - Klavierwerke
3rd of 3 EPs!
The process running through these 3 is interesting. Its clearly the same guy, using the same basic spare beats, the asymetrical structures, the spatial evolution, the stirred vocals, but finding slightly different places and feelings to evoke. Here, things are bit more human somehow, with some of the noises seeming far and frail, distorted, but as if by distance and loss than by digital means. Tell her Safe and I Only Know are both quietly heartbreaking, finding secret routes into hearts that are hard to track and hard to block. Even the closer, for all its minimal beeps and boops is earwormier than the rest of his work. Or maybe it just benefited from the setup from the other EPs. Either way, I'm much happier to have these as EPs instead of one album, each has its own personality, and I think the standout tracks would have been lost in the surges if I'd perceived them as part of an 11 track opus 4/5
The process running through these 3 is interesting. Its clearly the same guy, using the same basic spare beats, the asymetrical structures, the spatial evolution, the stirred vocals, but finding slightly different places and feelings to evoke. Here, things are bit more human somehow, with some of the noises seeming far and frail, distorted, but as if by distance and loss than by digital means. Tell her Safe and I Only Know are both quietly heartbreaking, finding secret routes into hearts that are hard to track and hard to block. Even the closer, for all its minimal beeps and boops is earwormier than the rest of his work. Or maybe it just benefited from the setup from the other EPs. Either way, I'm much happier to have these as EPs instead of one album, each has its own personality, and I think the standout tracks would have been lost in the surges if I'd perceived them as part of an 11 track opus 4/5
#255 James Blake - The Bells Sketch
Dangit, I tried to listen to these chronologically, but misread the dates. Well, I guess this was the first? Anyway, heard second.
It makes sense in retrospect, the technique seems less refined here. The opener just doesn't work for me, is too weird and graceless in its voice stirring. Buzzard and Kestrel, once again, track 2, is the real highlight here though, bending the voices into usable chunks and beyond recognition, mixing them with light, evershifting whisps of strings, electronic melody and beyond sounds. Its strangely moving, actually. The big swoop ins of Give a Man a Rod are exciting, but a bit unlistenable.
I don't think I actually like this guy's core sound. His approach to vocal manipulation isn't quite what I'm looking for, and he's experimental without being quite listenable a bit too often. But at least once per EP (including his 3rd one, up next), he does something I really like. Someone to keep an eye on. It reminds me a bit of Unstoppable era Girl Talk, not quite at the point of using his tools for good, but showing off an impressive set of skills that exude potential and hope 3/5
It makes sense in retrospect, the technique seems less refined here. The opener just doesn't work for me, is too weird and graceless in its voice stirring. Buzzard and Kestrel, once again, track 2, is the real highlight here though, bending the voices into usable chunks and beyond recognition, mixing them with light, evershifting whisps of strings, electronic melody and beyond sounds. Its strangely moving, actually. The big swoop ins of Give a Man a Rod are exciting, but a bit unlistenable.
I don't think I actually like this guy's core sound. His approach to vocal manipulation isn't quite what I'm looking for, and he's experimental without being quite listenable a bit too often. But at least once per EP (including his 3rd one, up next), he does something I really like. Someone to keep an eye on. It reminds me a bit of Unstoppable era Girl Talk, not quite at the point of using his tools for good, but showing off an impressive set of skills that exude potential and hope 3/5
#254 James Blake - CMYK
One of the few "albums" I hadn't heard on Pitchfork's top albums list was this set of 3 EPs.
I've always liked chopped vocals, and the title track starts off with a mission statement on the matter, not so much chopping the vocals as stirring them. One gets the impression of the voice as a viscous mass, with a stick stuck in, pulled up and around, pink taffy. Meanwhile skittery beats dance around, forming the baseline that would form the rest of this 3 ep series. The real highlight here is Footnotes, which has a great sense of stereo space, and this delicious buzzy synth part that seems incredibly alive, arriving, looking around, and fleeing. Its got more personality than a synthesizer ever should, seemingly existing as a sputtering electric pink faceless snake, like the Abyss snake made of electricity and sound. Its an impressive bit of evocation, something that really helps set this release apart from all those other "background music might revisit" electronic albums of this year. The last two tracks try to be a bit more airy, a bit more uprock, and it doesn't quite work for me. Still, mostly on the promise of the overall sound, and the strength of that one track's trick, its good for 3.5/5
I've always liked chopped vocals, and the title track starts off with a mission statement on the matter, not so much chopping the vocals as stirring them. One gets the impression of the voice as a viscous mass, with a stick stuck in, pulled up and around, pink taffy. Meanwhile skittery beats dance around, forming the baseline that would form the rest of this 3 ep series. The real highlight here is Footnotes, which has a great sense of stereo space, and this delicious buzzy synth part that seems incredibly alive, arriving, looking around, and fleeing. Its got more personality than a synthesizer ever should, seemingly existing as a sputtering electric pink faceless snake, like the Abyss snake made of electricity and sound. Its an impressive bit of evocation, something that really helps set this release apart from all those other "background music might revisit" electronic albums of this year. The last two tracks try to be a bit more airy, a bit more uprock, and it doesn't quite work for me. Still, mostly on the promise of the overall sound, and the strength of that one track's trick, its good for 3.5/5
#253 VA - No New York
This is something of a touchstone I hear.
I also hear its pretty unlistenable, and it is, sounding like early Gang of Four if they wanted to be more annoying and even less tuneful. The four "no wave" bands Brian Eno put on display here aren't talentless, but rather focus their talents on being almost as unlistenable as the Shaggs. Its all shouting, sheetmetal guitars, swerving pacing, layers of noise; the result is wholly unpleasant, confronationally, aggressively dissonant stuff - I kind of admire it, and I'm a little fascinated by it, but i need to find some time when I don't mind getting a migraine to listen to it again. I hated the Shaggs album, but admired it. I hated this album, but admired the guys making it, which is probably a step up. In any case, this also probably falls into that 'glad I heard it so I can never hear it again' category, though at least I'm tempted to work up the nerve 3/5
I also hear its pretty unlistenable, and it is, sounding like early Gang of Four if they wanted to be more annoying and even less tuneful. The four "no wave" bands Brian Eno put on display here aren't talentless, but rather focus their talents on being almost as unlistenable as the Shaggs. Its all shouting, sheetmetal guitars, swerving pacing, layers of noise; the result is wholly unpleasant, confronationally, aggressively dissonant stuff - I kind of admire it, and I'm a little fascinated by it, but i need to find some time when I don't mind getting a migraine to listen to it again. I hated the Shaggs album, but admired it. I hated this album, but admired the guys making it, which is probably a step up. In any case, this also probably falls into that 'glad I heard it so I can never hear it again' category, though at least I'm tempted to work up the nerve 3/5
#252 The Shaggs - Philosophy of the World
Back! Was plumbing some 90's lists and came across this.
Backstory: teenage girls get coerced into recording an album by their father. They can't play for crap. This is possibly one of the most talentless albums I've ever heard, it makes the sex pistols sound like rush. And the result is mostly unlistenable: poorly sung, lyrics a parody of simplicity, everything slightly off rhythm. It sounds like what it is. I will never listen to this again, is my guess.
That said, it was totally worth having heard once. There is something unique about it, something slightly charming in its utter naivete. All the roundabout postmodern praise I could give has already been given, and is the only kind of praise you can give this, so lets keep it quick. If you're feeling patient, brace yourself and hear it once. Believe it or not, I'm being generous with 2.5/5
Backstory: teenage girls get coerced into recording an album by their father. They can't play for crap. This is possibly one of the most talentless albums I've ever heard, it makes the sex pistols sound like rush. And the result is mostly unlistenable: poorly sung, lyrics a parody of simplicity, everything slightly off rhythm. It sounds like what it is. I will never listen to this again, is my guess.
That said, it was totally worth having heard once. There is something unique about it, something slightly charming in its utter naivete. All the roundabout postmodern praise I could give has already been given, and is the only kind of praise you can give this, so lets keep it quick. If you're feeling patient, brace yourself and hear it once. Believe it or not, I'm being generous with 2.5/5
Monday, December 6, 2010
#251 Mouse On Mars - Iaora Tahiti
Again, floating around in 90's lists. I really liked Actionist Respoke, but found the rest of Idiology fairly boring. Lets see what else there is.
Well , this is kind of what I heard from them before. Mildly complex, but generally sparse beats, with little woops and woos and cheeps and buzzes surging in and out. Its a little more minimal than a lot of stuff I've been hearing, but Again, I don't know why I even bother with electronic music, it all ends up sounding largely the same to me, or at very least I lack the vocabulary to talk about it competently, and I always end up commenting that its decent, and that it makes good work music, and that its a little interesting and/or atmospheric, and maybe I'll return to it and then I give it something like a 3/5
Well , this is kind of what I heard from them before. Mildly complex, but generally sparse beats, with little woops and woos and cheeps and buzzes surging in and out. Its a little more minimal than a lot of stuff I've been hearing, but Again, I don't know why I even bother with electronic music, it all ends up sounding largely the same to me, or at very least I lack the vocabulary to talk about it competently, and I always end up commenting that its decent, and that it makes good work music, and that its a little interesting and/or atmospheric, and maybe I'll return to it and then I give it something like a 3/5
#250 Brainiac - Bonsai Superstar
I liked Enon back in the day, and I flirted with checking these guys out, but never got around to it. Until now!
The ancestry of Enon is not sublte, with a similar overall sound: general spazziness, an electronic edge, swerves of structure, and the same yowled singing, sounding a bit like a more mellow Polysics. Its pretty cool; complex, interesting, energetic and only slightly unlistenable. Its a bit much to take in, and I kind of feel like the sweet spot in my life for this kind of music has passed, but good enough for 3.5/5
The ancestry of Enon is not sublte, with a similar overall sound: general spazziness, an electronic edge, swerves of structure, and the same yowled singing, sounding a bit like a more mellow Polysics. Its pretty cool; complex, interesting, energetic and only slightly unlistenable. Its a bit much to take in, and I kind of feel like the sweet spot in my life for this kind of music has passed, but good enough for 3.5/5
#249 Wilco - Summerteeth
Further catching up on the holes in my older indie rock experience.
I was wary of this, having found Yankee Hotel Foxtrot good, but a bit overlong and overblown. This, by comparison, is much more ramshackle, much faster paced, much more immediate, and just maybe better. My theme today is blaspheming against sacred indie cows. Tune in later when I take a huge shit on In the Aeroplane over the Sea.
I really find this to have much better energy though, benefiting from less ego, less perfectionism, and a generally tighter sense of pacing. Plus I love all the grungy synths and mellotrons. Man, I like me some mellotron. Somewhere in the middle of this indie kick I longed for some older pumpkins b-sides, and that mellotron totally nails what I was secretly longing for, that frail, gasping surge of epic meaning, that doomed grasp at greatness.
YHF is still there when I need to feel blighted and epic and empty and generally evoke the bleak expanses of just-post-9-11 American malaise. But as far as actual listenable twangy Tweedy? Its a real nice one 4.5/5
I was wary of this, having found Yankee Hotel Foxtrot good, but a bit overlong and overblown. This, by comparison, is much more ramshackle, much faster paced, much more immediate, and just maybe better. My theme today is blaspheming against sacred indie cows. Tune in later when I take a huge shit on In the Aeroplane over the Sea.
I really find this to have much better energy though, benefiting from less ego, less perfectionism, and a generally tighter sense of pacing. Plus I love all the grungy synths and mellotrons. Man, I like me some mellotron. Somewhere in the middle of this indie kick I longed for some older pumpkins b-sides, and that mellotron totally nails what I was secretly longing for, that frail, gasping surge of epic meaning, that doomed grasp at greatness.
YHF is still there when I need to feel blighted and epic and empty and generally evoke the bleak expanses of just-post-9-11 American malaise. But as far as actual listenable twangy Tweedy? Its a real nice one 4.5/5
#248 Sebedoh - III
Its kind of insane, in retrospect, that I've never heard this. Also on a list of good indie rock.
This is more like it, with a great combination of aggressive punk, the occasional weird experiment, and lots of hooky constructions, sounding not unlike fellow indie flagbearers Pavement. Except I think I actually (blasphemy alert) like this better than Slanted and Enchanted. At least at first listen; I found Pavement a bit inaccessible, and still don't like them as much as everyone else seems to. I don't think hard-line indie rock is actually something that really resonates with me quite right, something about the razor thin sheet metal chords and half-tuneless singing.
Anyway, we'll see how this holds up, but I found this to really nail the combination of ferocity, hookiness, artiness and fun, even if its in a style I don't quite get 4/5
This is more like it, with a great combination of aggressive punk, the occasional weird experiment, and lots of hooky constructions, sounding not unlike fellow indie flagbearers Pavement. Except I think I actually (blasphemy alert) like this better than Slanted and Enchanted. At least at first listen; I found Pavement a bit inaccessible, and still don't like them as much as everyone else seems to. I don't think hard-line indie rock is actually something that really resonates with me quite right, something about the razor thin sheet metal chords and half-tuneless singing.
Anyway, we'll see how this holds up, but I found this to really nail the combination of ferocity, hookiness, artiness and fun, even if its in a style I don't quite get 4/5
#247 The Vaselines - The Way of the Vaselines
Got back into regular ole indie rock, some list (and kurt cobain, famously) said these guys were good.
Meh, sing songey, kind noisy pop, very pre-90's indie in a way that reminds me obliquely of REM and doesn't move me. The main problem is the female singer's voice, which I find a bit unlistenable. It also has the kind of sassiness that I just don't think has aged well, with song titles like Bitch, Monsterpussy, and Sex Sux. Its pleasant at times, unpleasant (not in a good way) in others, not any better than 2.5/5
Meh, sing songey, kind noisy pop, very pre-90's indie in a way that reminds me obliquely of REM and doesn't move me. The main problem is the female singer's voice, which I find a bit unlistenable. It also has the kind of sassiness that I just don't think has aged well, with song titles like Bitch, Monsterpussy, and Sex Sux. Its pleasant at times, unpleasant (not in a good way) in others, not any better than 2.5/5
Saturday, December 4, 2010
#246 Wu Tang Clan - The W
I liked 36 chambers good enough, but never really felt like I got these guys. Word is this is another good one.
Pretty good, the production's more spare than I normally like, but the rapping is diverse (unsurprisingly) and generally solid. The gunshot-sample-quotient is higher than I'd like, but its at least not constant murder fantasies.
I think I'd like these guys better if I learned to tell who was who and could start to get a sense of their styles, which might be more work than I'm likely to get around to. As it is, its a bit scattered. I don't see a reason to listen to this instead of 36 chambers, it'll be in line if I eventually decide to put in the work 3/5
Pretty good, the production's more spare than I normally like, but the rapping is diverse (unsurprisingly) and generally solid. The gunshot-sample-quotient is higher than I'd like, but its at least not constant murder fantasies.
I think I'd like these guys better if I learned to tell who was who and could start to get a sense of their styles, which might be more work than I'm likely to get around to. As it is, its a bit scattered. I don't see a reason to listen to this instead of 36 chambers, it'll be in line if I eventually decide to put in the work 3/5
#245 Orange Juice - The Glasgow School
Have been hearing buzz about these guys for a while, recently read some review that spurred getting this, a compilation, but maybe their best album, from what I hear.
I dig. Good groovin bass, leading to a Minutemen-esque democracy among the instruments, with an interesting mix of catchy, noisy motion. I hear they're post punk, which makes me want to give up on that term forever. Its a bit arty, a bit old school, kind of like the new Girls album, which this is a nice counterpoint to. The album experience is a little bit funny, with some songs that seem to be variant versions of eachother, so themes keep coming back in an around, in a way thats distracting. I like it, its fun 3.5/5
I dig. Good groovin bass, leading to a Minutemen-esque democracy among the instruments, with an interesting mix of catchy, noisy motion. I hear they're post punk, which makes me want to give up on that term forever. Its a bit arty, a bit old school, kind of like the new Girls album, which this is a nice counterpoint to. The album experience is a little bit funny, with some songs that seem to be variant versions of eachother, so themes keep coming back in an around, in a way thats distracting. I like it, its fun 3.5/5
#244 The Fugees - The Score
Dave was shocked I hadn't heard this, so I did. I was wary of this. I didn't like Killing Me Softly at all, and my impression of these guys was that they would be too positive for me.
In practice, its better than I expected. I still don't like the singles, but Lauren Hills is better rapper than I realized; the rapping is tighter than I expected across the board, and the jazzy elements are more subdued than I feared. I think this represents the far end of positivity/jazziness that I am able to tolerate in rap, it toes the line and just barely stops short, putting up a novel kind of groove without totally going soft. I feel like on another day I might not like this, but maybe it got lucky. First impression? 3.5/5
In practice, its better than I expected. I still don't like the singles, but Lauren Hills is better rapper than I realized; the rapping is tighter than I expected across the board, and the jazzy elements are more subdued than I feared. I think this represents the far end of positivity/jazziness that I am able to tolerate in rap, it toes the line and just barely stops short, putting up a novel kind of groove without totally going soft. I feel like on another day I might not like this, but maybe it got lucky. First impression? 3.5/5
#243 Purling Hiss - Hissteria
Might as well pick up the 3rd one at this point.
I hate when I read something that steals my thunder. Some review described this as evoking the stooges circa funhouse, and that nails it. Here's a much sludgier, more menacing version of their debut, much more lumbering and methodical and tinny, with shades of A Place to Bury Strangers. I don't really have a lot of use for this sound, this lacks the excitement of the debut, and lumbering menace is something I've heard done better 2.5/5
I hate when I read something that steals my thunder. Some review described this as evoking the stooges circa funhouse, and that nails it. Here's a much sludgier, more menacing version of their debut, much more lumbering and methodical and tinny, with shades of A Place to Bury Strangers. I don't really have a lot of use for this sound, this lacks the excitement of the debut, and lumbering menace is something I've heard done better 2.5/5
#242 Purling Hiss - Public Service Announcement
This is the one Dusted actually reviewed. The intersection of their debut and the sample track on dusted seemed impossible, so lets see.
There are bare vestiges of the jam band found on the last album here, this sounds more like a more aggressive Guided by Voices. Yes, there's some jamming, but the songs are much shorter, sound like they were recorded live in a living room (Run From the City could be right off Bee Thousand if it was shorter by a third), and they're downright catchy at times. Contrary to the dusted claim, this is the one I actually like the best, there's a diverse, creative, immediate sound on display here 4/5
There are bare vestiges of the jam band found on the last album here, this sounds more like a more aggressive Guided by Voices. Yes, there's some jamming, but the songs are much shorter, sound like they were recorded live in a living room (Run From the City could be right off Bee Thousand if it was shorter by a third), and they're downright catchy at times. Contrary to the dusted claim, this is the one I actually like the best, there's a diverse, creative, immediate sound on display here 4/5
#241 Purling Hiss - Purling Hiss
Get ready for some short ones: doing cites means lots of listening time, but still not that much time to write em up. Read about their new one on dusted, which said to check out their other ones instead. K.
Here's noisy, jammy rock, with a roughly velvets level disinterest in the listener's approval. There's the underlying groove, which repeats largely unchanged for 5 minutes at a time, and then some shreddy soloing on top, but the overall sound is just rough, ferocious and live raw enough to make it interesting. There is the feel of a live band going out there and thrashing ass, rather than some guys in a studio trying to make something good, with just enough organic shifts in structure to keep you on your toes. Kinda unlistenable, nonetheless, though 3.5/5
Here's noisy, jammy rock, with a roughly velvets level disinterest in the listener's approval. There's the underlying groove, which repeats largely unchanged for 5 minutes at a time, and then some shreddy soloing on top, but the overall sound is just rough, ferocious and live raw enough to make it interesting. There is the feel of a live band going out there and thrashing ass, rather than some guys in a studio trying to make something good, with just enough organic shifts in structure to keep you on your toes. Kinda unlistenable, nonetheless, though 3.5/5
Tuesday, November 30, 2010
#240 Girls - Broken Dreams Club EP
Have been keeping these short, and I haven't been getting to as many albums, cause man I am getting crushed by finishing this dissertation. This one was from all the usual sources, these guys certainly qualify as darlings by now.
What an unexpected album, sincerely leaping into a variety of young love pop genres from the last 60 years, sounding a bit like Tom Petty or Elvis Costello (or a toned-down Exploding Hearts) in their general simpler-times retroism, but they actually manage to put their own stamp on the sound. The album evokes styles without aping them, and puts all the parts together to make a pretty nice mood piece on nostalgic love from times that never were. Its moving in a curious, roundabout way, and compelling in its old/new/other swirl. I'm not even sure I liked it, but I'm compelled. Carolina in particular is a masterpiece, overtly evoking beach boys era wistfulness, all sandwiched a in Pumpkinsey shimmering intro and a stompy climax. I'm tempted to go silver, but I think I'm just enthralled, lets keep it to a more accurate 3.5/5
What an unexpected album, sincerely leaping into a variety of young love pop genres from the last 60 years, sounding a bit like Tom Petty or Elvis Costello (or a toned-down Exploding Hearts) in their general simpler-times retroism, but they actually manage to put their own stamp on the sound. The album evokes styles without aping them, and puts all the parts together to make a pretty nice mood piece on nostalgic love from times that never were. Its moving in a curious, roundabout way, and compelling in its old/new/other swirl. I'm not even sure I liked it, but I'm compelled. Carolina in particular is a masterpiece, overtly evoking beach boys era wistfulness, all sandwiched a in Pumpkinsey shimmering intro and a stompy climax. I'm tempted to go silver, but I think I'm just enthralled, lets keep it to a more accurate 3.5/5
#239 Mumford and Sons - Sigh no More
Third and last one from the Dave batch.
This time going into plucked, lush, anthemic country, sounding a bit like late-era Blitzen Trapper, Mountain Goats, Okkervil River or Dan Mangan. Which is not a bad thing, its actually generally listenable, powerful and well-paced. The main knock on it is that man, this album is tortured. This guy obviously went through some kind of breakup, because it is all epic pain, regret, resentment and loss. It's a good album to have around if you're going through that kind of stuff, and a better than decent one regardless 3.5/5
This time going into plucked, lush, anthemic country, sounding a bit like late-era Blitzen Trapper, Mountain Goats, Okkervil River or Dan Mangan. Which is not a bad thing, its actually generally listenable, powerful and well-paced. The main knock on it is that man, this album is tortured. This guy obviously went through some kind of breakup, because it is all epic pain, regret, resentment and loss. It's a good album to have around if you're going through that kind of stuff, and a better than decent one regardless 3.5/5
#238 Beats Antique - Collide
Also from Dave.
This is a lot more interesting to me, vaguely middle eastern themed downbeat instrumental hip hop, with lots of rough corners and glitchy jags in it. The beats are sometimes simple, sometimes oddly off-kilter, sometimes a bit of both, and the production is lush with diverse instrumentation. The problem is really the pacing though, after half an hour of this, it all starts to blend together, and starts to get a little annoying, and you've still got half an hour left. Sweet Demure is a highlight that helps though, slowing the pace down into an (again!) Ratatatesque surger, but still, as an album its a tough listen. Certainly worth hearing once, its a unique thing, it just isn't quite listenable enough for me to go higher than 3/5
This is a lot more interesting to me, vaguely middle eastern themed downbeat instrumental hip hop, with lots of rough corners and glitchy jags in it. The beats are sometimes simple, sometimes oddly off-kilter, sometimes a bit of both, and the production is lush with diverse instrumentation. The problem is really the pacing though, after half an hour of this, it all starts to blend together, and starts to get a little annoying, and you've still got half an hour left. Sweet Demure is a highlight that helps though, slowing the pace down into an (again!) Ratatatesque surger, but still, as an album its a tough listen. Certainly worth hearing once, its a unique thing, it just isn't quite listenable enough for me to go higher than 3/5
#237 Little People - Mickey Mouse Operation
Some hip hop flavored stuff I got from Dave.
This is some kinda groovy, instrumental hip hop stuff, sounding a bit like DJ shadow, but generally sounding more composed, a bit more classical, and a lot less sample driven. And not as good. I mean, c'mon. It actually reminds me of Ratatat a bit, having a similar repetitiveness and production sheen. Totally listenable stuff, especially Eitheror and Start Shootin, which have some nice beats and propulsive energy, nothing on here that totally blows me away though 3/5
This is some kinda groovy, instrumental hip hop stuff, sounding a bit like DJ shadow, but generally sounding more composed, a bit more classical, and a lot less sample driven. And not as good. I mean, c'mon. It actually reminds me of Ratatat a bit, having a similar repetitiveness and production sheen. Totally listenable stuff, especially Eitheror and Start Shootin, which have some nice beats and propulsive energy, nothing on here that totally blows me away though 3/5
Saturday, November 27, 2010
#236 Kanye West - My Beautiful Dark Twisted Fantasy
Everyone's going nuts on this album. Guess I better check it out.
Pitchfork in particular went all 10 on this, and usually when they like a rap album, I'm not into it (see also Clipse, Tha Carter III). And I don't really like Kanye all that much, finding him to be a bit too self aware, a bit too concerned about being a good rapper and not concerned enough with just fucking rapping.
Here though, I have to admit, he turns some kind of corner. For one thing, his self awareness goes over the top and around the horn, becoming neurotic, erratic and bracingly personal, somehow. For another, while I'm still not too into his rapping, the production and structure is the star here. Its like I said about early Busdriver, you're better off thinking of it is a really weird art rock album that just happens to have a rapper at the helm. Here too, this is barely a hip hop album in any traditional sense, the track lengths run long, the sentiment is all over the place, the structure is wildly inventive, the approaches to production busting themselves in half everywhere. There are bizarre, fractured outros, going on for a minute, two minutes, three minutes on half the songs, following no particular method. Runaway ends on a fuzzy, strangely heartbreaking vocals-distorted-to-pure-synth solo that runs three minutes thirty! Who does that on a hip hop album?
I want to call this a prog-hip-hop album. Influences from genres far outside the co-hyphenated genre? Check. Long songs? Guitars? Check, check. Complexity in structure on a micro and macro level? Check. A general sense of indulgence, in the service of an attempt to be something "more important" than the genre normally demands? Double check. Heck, it even samples King Crimson's 1969 masterpiece 21st Century Schizoid Man; if that's not a wink I don't know what is. So as a rap album, its not what I'm looking for in rap. As an album in general? If I just take this in terms of what I want from music? Very yes. For the most part, he actually pulls it off.
So Appalled and Devil in a New Dress break up the flow pretty badly, each is momentum-killingly repetitive and generally a miss, but the rest is compelling, and even a bit heartbreaking, adding up to two pretty excellent half-albums on either side of that too-slow core. In my book, that's a solid 4.5/5
Pitchfork in particular went all 10 on this, and usually when they like a rap album, I'm not into it (see also Clipse, Tha Carter III). And I don't really like Kanye all that much, finding him to be a bit too self aware, a bit too concerned about being a good rapper and not concerned enough with just fucking rapping.
Here though, I have to admit, he turns some kind of corner. For one thing, his self awareness goes over the top and around the horn, becoming neurotic, erratic and bracingly personal, somehow. For another, while I'm still not too into his rapping, the production and structure is the star here. Its like I said about early Busdriver, you're better off thinking of it is a really weird art rock album that just happens to have a rapper at the helm. Here too, this is barely a hip hop album in any traditional sense, the track lengths run long, the sentiment is all over the place, the structure is wildly inventive, the approaches to production busting themselves in half everywhere. There are bizarre, fractured outros, going on for a minute, two minutes, three minutes on half the songs, following no particular method. Runaway ends on a fuzzy, strangely heartbreaking vocals-distorted-to-pure-synth solo that runs three minutes thirty! Who does that on a hip hop album?
I want to call this a prog-hip-hop album. Influences from genres far outside the co-hyphenated genre? Check. Long songs? Guitars? Check, check. Complexity in structure on a micro and macro level? Check. A general sense of indulgence, in the service of an attempt to be something "more important" than the genre normally demands? Double check. Heck, it even samples King Crimson's 1969 masterpiece 21st Century Schizoid Man; if that's not a wink I don't know what is. So as a rap album, its not what I'm looking for in rap. As an album in general? If I just take this in terms of what I want from music? Very yes. For the most part, he actually pulls it off.
So Appalled and Devil in a New Dress break up the flow pretty badly, each is momentum-killingly repetitive and generally a miss, but the rest is compelling, and even a bit heartbreaking, adding up to two pretty excellent half-albums on either side of that too-slow core. In my book, that's a solid 4.5/5
#235 Jatoma - Jatoma
I think this is a leftover vestige of the minimal technoey kinda dusted kick I went on a while back.
I have a terrible time trying to review electronic music, I just don't quite know how to tune into what its trying to do. I've come to believe that part of the appeal of rock music is, on some subconscious level, feeling like you're in the band, feeling the excitement you imagine would be felt playing that music. Which is why background matters, why attitude matters, while subtle details that aren't quite the actual music matters, even though it shouldn't. That gets short circuited in electronic music, where there is no band, and I can only guess at the process.
This album is fairly standard, loop based, texture driven stuff, just complex enough to be interesting, just organic and wobbly enough to not sound like all the rest. Its generally well-paced, balancing its hypnotic qualities with a bit of narrative, and its generally effective at evoking space, though it doesn't strike me as overly adventurous. Its pretty good working music, I'll probably return to it if I manage to differentiate the half dozen albums I've heard in the last year that fit this same basic description 3.5/5
I have a terrible time trying to review electronic music, I just don't quite know how to tune into what its trying to do. I've come to believe that part of the appeal of rock music is, on some subconscious level, feeling like you're in the band, feeling the excitement you imagine would be felt playing that music. Which is why background matters, why attitude matters, while subtle details that aren't quite the actual music matters, even though it shouldn't. That gets short circuited in electronic music, where there is no band, and I can only guess at the process.
This album is fairly standard, loop based, texture driven stuff, just complex enough to be interesting, just organic and wobbly enough to not sound like all the rest. Its generally well-paced, balancing its hypnotic qualities with a bit of narrative, and its generally effective at evoking space, though it doesn't strike me as overly adventurous. Its pretty good working music, I'll probably return to it if I manage to differentiate the half dozen albums I've heard in the last year that fit this same basic description 3.5/5
#234 KC Accidental - Anthems for Could've Bin Pills
The other half of the band's twin albums, see #233.
I don't know if its because I listened to this after CAfaEB, but man, this one is a lot slower, a lot more minimal, and I just find it kind of boring. Four songs cross the 7 minute mark, and most of them just don't justify it.
I have long thought that You Forgot it in People had a day half and a night half, and this feels like the night half to CAfaEB's day half. But here the difference is too extreme, where the previous album felt alive and pulsing, this feels like half-dead noodling, music played during the comedown, with no sense of its own pacing. It just meanders, and doesn't even seem interested in itself. Its a striking difference; I can't see revisiting this one any time soon. I'm just glad they were nice enough to split it up, otherwise finding a single rating for the two would be grueling 2/5
I don't know if its because I listened to this after CAfaEB, but man, this one is a lot slower, a lot more minimal, and I just find it kind of boring. Four songs cross the 7 minute mark, and most of them just don't justify it.
I have long thought that You Forgot it in People had a day half and a night half, and this feels like the night half to CAfaEB's day half. But here the difference is too extreme, where the previous album felt alive and pulsing, this feels like half-dead noodling, music played during the comedown, with no sense of its own pacing. It just meanders, and doesn't even seem interested in itself. Its a striking difference; I can't see revisiting this one any time soon. I'm just glad they were nice enough to split it up, otherwise finding a single rating for the two would be grueling 2/5
#233 KC Accidental - Captured Anthems for an Empty Bathtub
Saw this reviewed on Pitchfork, I always liked the early Broken Social Scene stuff, and this is kind of its prequel, featuring many of the same members. This was recently released with #234 as a single disc, but I have different feelings about the two, and they were originally separate, so:
This is the good one of the two. Its all propulsive beats, repetitive guitar lines, hints of experimentation and tons of fuzz, like The Microphones go Krautrock. It left me grinning, tapping my foot, with an eye through time. It has that BSS ability to evoke something bigger and mysterious and half-remembered, which makes the songs seem to stretch beyond themselves. Its not an everytime kind of album, dark and paced with priorities all its own, and it loses some momentum on the second half, but I will certainly revisit it. If nothing else, BSS diggers should hit this up just as an interesting big of lineage 4/5
This is the good one of the two. Its all propulsive beats, repetitive guitar lines, hints of experimentation and tons of fuzz, like The Microphones go Krautrock. It left me grinning, tapping my foot, with an eye through time. It has that BSS ability to evoke something bigger and mysterious and half-remembered, which makes the songs seem to stretch beyond themselves. Its not an everytime kind of album, dark and paced with priorities all its own, and it loses some momentum on the second half, but I will certainly revisit it. If nothing else, BSS diggers should hit this up just as an interesting big of lineage 4/5
Monday, November 22, 2010
#232 The Naked and the Famous - Passive Me, Aggressive You
Heard these guys on NPR and it spurred the mini kiwi kick I'm on now. They're from New Zealand. Kiwi. Natch.
I try not to be a an ass / lazy reviewer by deconstructing an album into its influences and sounds-likes, but sometimes that's just how I perceive an album. Sometimes, if you sound enough like things I've heard before, I can't stop hearing those songs too, while I'm trying to listen to your album. This kinda ruined the Clues album for me. Here, the overriding point of reference is singles-off-oracular-spectacular MGMT: the male singer sounds like them, the guitar buzz sounds like them, the song structures sound like them, the big gated/synth snares on the 2's and 4's sound like them. This is especially on tracks 13, 2 (which sounds goddamn exactly like Kids for most of its duration) and 7 (which also more or less cops the main vocal riff from Passion Pit's Sleepyhead for good measure). I'm not trying to be a wiseass, honestly. But I keep getting aggressively reminded of these bands while I'm trying to listen.
Track 9 sounds like YYY's annual maps-alike, track 5 sounds like Trent Reznor remixing Everything in its Right Place (down to the cadence of the vocal delivery and the same organ sound), and track 10 seemingly cops the exact same background guitar chug from TVotR's Staring at the Sun (like, exactly) along with the TVotR-trademarked oooo's at the end, almost as a wink. Are these guys taking the piss? I'll assume not. Track 6 spends its first minute sounding (a lot) like an M83 cover, and track 1 sounds like Los Campesinos covering All My Friends.
And look, I like those songs, and I like those sounds. And if I had never heard of those bands, I would probably love this. And some tracks survive. I like the breakdown in the opening track a lot, and track 9 has a nice off-kilter energy to it, evoking my love of Zooropa rather than drowning me in sounding exactly like a specific song.
The other issue, though, is the production, the most interesting bits seem added in post, and don't feel well-integrated with the tunes themselves. It sounds like someone recorded some fairly straightforward tracks, and then pulled out every trick they knew to buff them, rip them, and generally try to inject interest. The result is like pre-weathered jeans in album form.
I kind of want to like this album; its always the albums I'm most conflicted about that I write the longest posts for, as I try to justify to myself the position I've settled into. And maybe these songs will supplant those they're impersonating in my mind. But for now its just too derivative to enjoy, it feels like someone had Gregg Gillis remix all of their favorite indie rock songs, tweaked the notes a bit, and rerecorded it as new songs.
Maybe its an honest set of coincidences, maybe its calculated appropriation performed to create a salable product, maybe its just homage gone too far, maybe I'm reading too much into it. And, heck, if you have no idea what I'm talking about with all those references, go buy this album! Or, check those reference points out and tell me I'm wrong. But for me, its like watching A Thin Red Line, so many recognizable cameos I can't get immersed in the plot 2.5/5
I try not to be a an ass / lazy reviewer by deconstructing an album into its influences and sounds-likes, but sometimes that's just how I perceive an album. Sometimes, if you sound enough like things I've heard before, I can't stop hearing those songs too, while I'm trying to listen to your album. This kinda ruined the Clues album for me. Here, the overriding point of reference is singles-off-oracular-spectacular MGMT: the male singer sounds like them, the guitar buzz sounds like them, the song structures sound like them, the big gated/synth snares on the 2's and 4's sound like them. This is especially on tracks 13, 2 (which sounds goddamn exactly like Kids for most of its duration) and 7 (which also more or less cops the main vocal riff from Passion Pit's Sleepyhead for good measure). I'm not trying to be a wiseass, honestly. But I keep getting aggressively reminded of these bands while I'm trying to listen.
Track 9 sounds like YYY's annual maps-alike, track 5 sounds like Trent Reznor remixing Everything in its Right Place (down to the cadence of the vocal delivery and the same organ sound), and track 10 seemingly cops the exact same background guitar chug from TVotR's Staring at the Sun (like, exactly) along with the TVotR-trademarked oooo's at the end, almost as a wink. Are these guys taking the piss? I'll assume not. Track 6 spends its first minute sounding (a lot) like an M83 cover, and track 1 sounds like Los Campesinos covering All My Friends.
And look, I like those songs, and I like those sounds. And if I had never heard of those bands, I would probably love this. And some tracks survive. I like the breakdown in the opening track a lot, and track 9 has a nice off-kilter energy to it, evoking my love of Zooropa rather than drowning me in sounding exactly like a specific song.
The other issue, though, is the production, the most interesting bits seem added in post, and don't feel well-integrated with the tunes themselves. It sounds like someone recorded some fairly straightforward tracks, and then pulled out every trick they knew to buff them, rip them, and generally try to inject interest. The result is like pre-weathered jeans in album form.
I kind of want to like this album; its always the albums I'm most conflicted about that I write the longest posts for, as I try to justify to myself the position I've settled into. And maybe these songs will supplant those they're impersonating in my mind. But for now its just too derivative to enjoy, it feels like someone had Gregg Gillis remix all of their favorite indie rock songs, tweaked the notes a bit, and rerecorded it as new songs.
Maybe its an honest set of coincidences, maybe its calculated appropriation performed to create a salable product, maybe its just homage gone too far, maybe I'm reading too much into it. And, heck, if you have no idea what I'm talking about with all those references, go buy this album! Or, check those reference points out and tell me I'm wrong. But for me, its like watching A Thin Red Line, so many recognizable cameos I can't get immersed in the plot 2.5/5
Thursday, November 18, 2010
#231 The Clean - Boodle Boodle Boodle EP
Been hearing a lot of buzz out of New Zealand lately, so I wanted to check out an early release from one of the original New Zealand bands. Might as well start at the beginning if you're gonna go on a kick.
This sounds sort of derivative until you realize that it came out in 1981. It sounds vaguely Kinks inspired, but it also has a Pavement/GBV/Smiths thing going, while predating all those bands. Heck, this came out the same year as Radio Free Europe, putting these guys at the very forefront of a sound that was just burbling up. Its funny what difference timing makes.
[Edit: apparently Pavement cited them as an inspiration. Well there you go.]
As for the actual music, its pretty good, vaguely garagey, fairly hooky, brisk pop-tinged rock, with an abundance of jangly acoustic guitars. It's strangely charming, just off-kilter and lo-fi enough, with just enough structural turns to keep things interesting. The longer, Krautrockey closer kind of comes out of nowhere, but is enjoyable enough. I'm curious as heck to see what these guys did next 3.5/5
This sounds sort of derivative until you realize that it came out in 1981. It sounds vaguely Kinks inspired, but it also has a Pavement/GBV/Smiths thing going, while predating all those bands. Heck, this came out the same year as Radio Free Europe, putting these guys at the very forefront of a sound that was just burbling up. Its funny what difference timing makes.
[Edit: apparently Pavement cited them as an inspiration. Well there you go.]
As for the actual music, its pretty good, vaguely garagey, fairly hooky, brisk pop-tinged rock, with an abundance of jangly acoustic guitars. It's strangely charming, just off-kilter and lo-fi enough, with just enough structural turns to keep things interesting. The longer, Krautrockey closer kind of comes out of nowhere, but is enjoyable enough. I'm curious as heck to see what these guys did next 3.5/5
Wednesday, November 17, 2010
#230 Busdriver - Computer Cooties
For some reason I went to see if Busdriver was touring, found out he put out a free mixtape. All kinds of free stuff by my old fav's coming out lately!
I've cooled on Busdriver a bit over the last 10 or so years; some of it's my taste in rap shifting, some of it's his style of rap shifting. The production kept getting glossier, the albums got less adventurous, and the emphasis on choruses kept growing. This is a pretty nice return to form though, sounding more exciting than anything he's done since Cosmic Cleavage (also C.C., coincidence?), with some nasty production, some curious song structure twists, and some good cross-album variety. Also, its going to take some time to take it all in, but my sense is also that there's a higher-than-usual density of clever turns of phrase to unpack in future listens.
If nothing else, I sure got that Girl Talk-style recognition-adrenaline rush going when Busdriver started rapping over Crystal Castles' Doe Deer (off an album I liked), Holy Fuck's SHT MTN (off an album I liked), and Wolf Parade's You are a Runner and I am my Father's Son (off and album I really liked, at #8 here). Those are some noisy ass songs to try to rhyme over, and to a strange degree, it works. Busdriver has always been at his best when he's rapping over something you don't normally rap over, and this gets me excited about his upcoming collaboration. Which, I guess was probably part of the reason for the timing of this mixtape. Well done then 4/5
I've cooled on Busdriver a bit over the last 10 or so years; some of it's my taste in rap shifting, some of it's his style of rap shifting. The production kept getting glossier, the albums got less adventurous, and the emphasis on choruses kept growing. This is a pretty nice return to form though, sounding more exciting than anything he's done since Cosmic Cleavage (also C.C., coincidence?), with some nasty production, some curious song structure twists, and some good cross-album variety. Also, its going to take some time to take it all in, but my sense is also that there's a higher-than-usual density of clever turns of phrase to unpack in future listens.
If nothing else, I sure got that Girl Talk-style recognition-adrenaline rush going when Busdriver started rapping over Crystal Castles' Doe Deer (off an album I liked), Holy Fuck's SHT MTN (off an album I liked), and Wolf Parade's You are a Runner and I am my Father's Son (off and album I really liked, at #8 here). Those are some noisy ass songs to try to rhyme over, and to a strange degree, it works. Busdriver has always been at his best when he's rapping over something you don't normally rap over, and this gets me excited about his upcoming collaboration. Which, I guess was probably part of the reason for the timing of this mixtape. Well done then 4/5
Tuesday, November 16, 2010
#229 Girl Talk - All Day
For reasons obvious to anyone who knows me, I wasted no time putting this on when it dropped from nowhere yesterday.
I'm not going to bother summing up the sound - its a Girl Talk album, its all been said, I love it. The basic formula is generally unchanged, but there are far more holy-shit moments on here than on his last two albums combined. From a pure head bob standpoint, this is almost certainly his best album yet; he's taken his signature sound and honed it into something unstoppably sleek. The only shortcoming I see so far is that it seems to have less of that subtle, emotional thread that was weaved through the last two. Also, some of the best bits on this album are almost too good, distracting from the overall flow they're so transcendental. But that's kind of a stupid complaint.
I suspect that with repeated listens the feel will smooth out, and the themes will burble up. Even more so than Night Ripper and Feed the Animals, this is a dense, long, complex thing to take in, but I have no doubt that it will live up to 5/5
I'm not going to bother summing up the sound - its a Girl Talk album, its all been said, I love it. The basic formula is generally unchanged, but there are far more holy-shit moments on here than on his last two albums combined. From a pure head bob standpoint, this is almost certainly his best album yet; he's taken his signature sound and honed it into something unstoppably sleek. The only shortcoming I see so far is that it seems to have less of that subtle, emotional thread that was weaved through the last two. Also, some of the best bits on this album are almost too good, distracting from the overall flow they're so transcendental. But that's kind of a stupid complaint.
I suspect that with repeated listens the feel will smooth out, and the themes will burble up. Even more so than Night Ripper and Feed the Animals, this is a dense, long, complex thing to take in, but I have no doubt that it will live up to 5/5
Sunday, November 14, 2010
#228 Tyvek - Nothing Fits
Dusted!
Smashy, metalic punk rock, with enough melody and rah-rah shouting to rouse the senses and keep you interested, sounding like a mellower, less virtuoso bad brains, if I had to pick a punk touchstone. That's a pretty good thing, and this is one of the better punk albums I've heard this year, with just enough purpose and theme to set it apart. That said, its pretty tough to get a super high score as a punk band on this blog. I'm all about originality and hooks and interesting structure, and if you're doing a lot of that kind of stuff, you probably are doing punk wrong. Highlights like Underwater 2 and the title track are still good for 3.5/5
Smashy, metalic punk rock, with enough melody and rah-rah shouting to rouse the senses and keep you interested, sounding like a mellower, less virtuoso bad brains, if I had to pick a punk touchstone. That's a pretty good thing, and this is one of the better punk albums I've heard this year, with just enough purpose and theme to set it apart. That said, its pretty tough to get a super high score as a punk band on this blog. I'm all about originality and hooks and interesting structure, and if you're doing a lot of that kind of stuff, you probably are doing punk wrong. Highlights like Underwater 2 and the title track are still good for 3.5/5
#227 Morgan Packard - Moment Again Elsewhere
Dusted pickup runthough cont'd.
Its easy to bang out a bunch of reviews a month and think that you're a pretty good music reviewer. I'd never make that mistake; this is all castoff halfassed impressioneering that I only even bother to tart up a bit when it suits me, but sometimes I flirt with that dangerous piece of delusion. Albums like this are good humblers though, since I really like it, but I am largely at a loss to explain why.
Its very repetitive, working its way through oblong, overlapping loops. It's electronic I suppose, but in a glitch way (without the unpleasantness that implies), and in a very textured, analog Books-ey way (though it is far more traditional in structure than that implied). It's minimal, maybe ambient, but it doesn't really evoke spaces the way ambient often does. If feels like you're moving slowly past things that are whirring, like you're lying on a conveyor through a half-real machine, complex beyond comprehension, drug-addled to the point of finding melody in whirs, engines, drafts and echoes. In the background, seven chambers away, a horn player plays 4/5
Its easy to bang out a bunch of reviews a month and think that you're a pretty good music reviewer. I'd never make that mistake; this is all castoff halfassed impressioneering that I only even bother to tart up a bit when it suits me, but sometimes I flirt with that dangerous piece of delusion. Albums like this are good humblers though, since I really like it, but I am largely at a loss to explain why.
Its very repetitive, working its way through oblong, overlapping loops. It's electronic I suppose, but in a glitch way (without the unpleasantness that implies), and in a very textured, analog Books-ey way (though it is far more traditional in structure than that implied). It's minimal, maybe ambient, but it doesn't really evoke spaces the way ambient often does. If feels like you're moving slowly past things that are whirring, like you're lying on a conveyor through a half-real machine, complex beyond comprehension, drug-addled to the point of finding melody in whirs, engines, drafts and echoes. In the background, seven chambers away, a horn player plays 4/5
#226 Weekend - Sports
Pitchfork said nice things about it. Its weird I got nothing off the big sites for a while, and then suddenly I'm back on the kick. I guess I just need stuff that's agreeable right now.
From the 1:30 mark, you'll go, oh hello Jesus and Mary Chain! What do you mean this isn't a Jesus and Mary Chain album? Weekend who? And you'll be saying that that for the duration of the album. Now, I like Jesus and Mary Chain, but as I mulled my curiously lukewarm feelings about this album, I came across the Dusted review. They, unsurprisingly, echoed my lack of surprise about this album's sound, but they also totally nailed the problem: this is well-plumbed territory, and there is simply nothing memorable about this. The whole thing washed right through me, and left nary a stain on my mind.
So, its fine. Its not what I'd call catchy, but its, fine. I feel like there's a little bit of disaffected frustration back in there that's appealing, but I can't justify better than 3/5
From the 1:30 mark, you'll go, oh hello Jesus and Mary Chain! What do you mean this isn't a Jesus and Mary Chain album? Weekend who? And you'll be saying that that for the duration of the album. Now, I like Jesus and Mary Chain, but as I mulled my curiously lukewarm feelings about this album, I came across the Dusted review. They, unsurprisingly, echoed my lack of surprise about this album's sound, but they also totally nailed the problem: this is well-plumbed territory, and there is simply nothing memorable about this. The whole thing washed right through me, and left nary a stain on my mind.
So, its fine. Its not what I'd call catchy, but its, fine. I feel like there's a little bit of disaffected frustration back in there that's appealing, but I can't justify better than 3/5
Wednesday, November 10, 2010
#225 Sun City Girls - Kaliflower
Pitchfork and Dusted both reviewed these guys' latest and theoretically last album. The pitchfork guy said that this was one of two albums that span their sound, and that newcomes should start with. Ok.
Well. These guys are arty. Fine. Velvet dissonance and disinterest, lots of clashy guitars, no real sense of pacing, no real interest in being especially pleasant to listen to. X + Y = Fuck You is a kind of brilliant, madcap stream of consciousness that should be heard once, and Dead Chick in the River is an ok art jam, but nothing I haven't heard before. But by then though my patience was wearing a little thin, and track 3 is goddamned unbearable, just sounding sloppy, lazy, and goddamned annoying, making the same shrill, skillless racket for 7 minutes without progress of any kind. I won't call much shit, but that song is album-ruiningly shit.
Zappa, Velvets, Beefheart, Boredoms, etc. They showed flashes of brilliant songwriting, and it justified their swerves and indulgences; judging by this album, Sun City Girls seem to think being weird is a substitute for actually writing any songs. The penultimate track is a 16 minute post-rocker that actually evolves and changes just enough, is just cohesive enough, and brings just enough riffage to work. It ends up being the highlight of the album, and the only song I'd be inclined to listen to again.
I'll probably check out their consensus best album, Torch of the Mystics, just to give the band a fair shake, but it's gonna be on a short leash 2/5
Well. These guys are arty. Fine. Velvet dissonance and disinterest, lots of clashy guitars, no real sense of pacing, no real interest in being especially pleasant to listen to. X + Y = Fuck You is a kind of brilliant, madcap stream of consciousness that should be heard once, and Dead Chick in the River is an ok art jam, but nothing I haven't heard before. But by then though my patience was wearing a little thin, and track 3 is goddamned unbearable, just sounding sloppy, lazy, and goddamned annoying, making the same shrill, skillless racket for 7 minutes without progress of any kind. I won't call much shit, but that song is album-ruiningly shit.
Zappa, Velvets, Beefheart, Boredoms, etc. They showed flashes of brilliant songwriting, and it justified their swerves and indulgences; judging by this album, Sun City Girls seem to think being weird is a substitute for actually writing any songs. The penultimate track is a 16 minute post-rocker that actually evolves and changes just enough, is just cohesive enough, and brings just enough riffage to work. It ends up being the highlight of the album, and the only song I'd be inclined to listen to again.
I'll probably check out their consensus best album, Torch of the Mystics, just to give the band a fair shake, but it's gonna be on a short leash 2/5
#224 Barn Owl - Ancestral Star
Part of the aforementioned ambientesque kick.
I listened to this right after the Maserati album, and I don't think that was wholly fair to this album. By then, I was a bit desensitized, and I sense that this album deserves to get a legitimate arc to itself. On some level its nothing I haven't heard before, vaguely doom-metalic in its pacing, instrumental growers and growlers, sounding like a crippled version of Explosions in the Sky. Where that band climaxes and crescendos every ten minutes, this album's movements are more subtle, lending themselves more to the creeping apocalypse we're all living through than the fiery, mythical apocalypse EitS sometimes evokes. See what this album did to me?
Even compensating for the post-Maserati post-rock-doubleup penalty, I don't have a lot of use for this. Its built mostly on emotion and space, and in this case, both are to bleak for me to want to summon them often 2.5/5
I listened to this right after the Maserati album, and I don't think that was wholly fair to this album. By then, I was a bit desensitized, and I sense that this album deserves to get a legitimate arc to itself. On some level its nothing I haven't heard before, vaguely doom-metalic in its pacing, instrumental growers and growlers, sounding like a crippled version of Explosions in the Sky. Where that band climaxes and crescendos every ten minutes, this album's movements are more subtle, lending themselves more to the creeping apocalypse we're all living through than the fiery, mythical apocalypse EitS sometimes evokes. See what this album did to me?
Even compensating for the post-Maserati post-rock-doubleup penalty, I don't have a lot of use for this. Its built mostly on emotion and space, and in this case, both are to bleak for me to want to summon them often 2.5/5
#223 Maserati - Inventions
Read dusted for the first time in a while, which lead to picking up a bunch of backgroundey ambeint kind of stuff that I was in the mood for, and that seemed like it would make decent work music.
This one is fine, I guess. Repetitive, semi-propulsive, vaguely-krautey post-rock. Its instrumental, with lots of looping guitar parts and bass, sounding like a rock band making vaguely low-key electronic music.
Maybe I just wasn't in the mood, but this just didn't pop for me. Its pacing wasn't in synch with what I wanted at the right times, it seemed to be building to reveals that weren't worth the build, and the builds themselves weren't interesting enough to be justified. I just am not a connoisseur of this kind of stuff, and when my interest in it next rears its head, there are a dozen albums I'll turn to before this one. It seems like it should be exciting; I like the guitar sound, and the band's careful blend of rocking out and minimalism, but it just never stirred my passion beyond 2/5
This one is fine, I guess. Repetitive, semi-propulsive, vaguely-krautey post-rock. Its instrumental, with lots of looping guitar parts and bass, sounding like a rock band making vaguely low-key electronic music.
Maybe I just wasn't in the mood, but this just didn't pop for me. Its pacing wasn't in synch with what I wanted at the right times, it seemed to be building to reveals that weren't worth the build, and the builds themselves weren't interesting enough to be justified. I just am not a connoisseur of this kind of stuff, and when my interest in it next rears its head, there are a dozen albums I'll turn to before this one. It seems like it should be exciting; I like the guitar sound, and the band's careful blend of rocking out and minimalism, but it just never stirred my passion beyond 2/5
Monday, November 8, 2010
#222 Screaming Females - Castle Talk
Ah, pitchfork review. Old school.
This band is not as screamy, nor as female, as you might guess based on their name. They're punk in places, but there's hardly any screaming at all, and only one of the band members is a girl. My theory is the lead guitar is, itself a girl. That would give them two females, and man does that thing scream.
This is kind of everything I want from rock. It's catchy, unpredictable, propulsive and talented front to back, as you keep going:
"man, this is a great bass album!"
"no, this is a great guitar album!"
"but that bass!"
Shhh. You're both right.
The result is a combination of rich texture, emotional swerves and raw rock power that sounds like Pretty Girls Make Graves meets The Smashing Pumpkins. In particular, I Don't Mind It is the first holy-shit-yes-again-again song I've heard in a long time, and it's right in the running for song of the year. Last year there were great songs, but no great albums. This year there's tons of great albums, but not a lot of standout songs. Weird. Well, here's a contender, and the album might make a list or two too when the time comes 4.5/5
This band is not as screamy, nor as female, as you might guess based on their name. They're punk in places, but there's hardly any screaming at all, and only one of the band members is a girl. My theory is the lead guitar is, itself a girl. That would give them two females, and man does that thing scream.
This is kind of everything I want from rock. It's catchy, unpredictable, propulsive and talented front to back, as you keep going:
"man, this is a great bass album!"
"no, this is a great guitar album!"
"but that bass!"
Shhh. You're both right.
The result is a combination of rich texture, emotional swerves and raw rock power that sounds like Pretty Girls Make Graves meets The Smashing Pumpkins. In particular, I Don't Mind It is the first holy-shit-yes-again-again song I've heard in a long time, and it's right in the running for song of the year. Last year there were great songs, but no great albums. This year there's tons of great albums, but not a lot of standout songs. Weird. Well, here's a contender, and the album might make a list or two too when the time comes 4.5/5
Friday, November 5, 2010
#221 Jel - Greenball
I got this a while ago as part of the instrumental hip hop kick and couldn't really get into it. Tried it again in the car recently, no go. Then put it on while I was doing dissertation diagrams today and it bored me at first, but then it clicked.
Its a repetitive thing, really milking each loop for a song's length without introducing a lot of movement. It just has a lot less initiative and propulsiveness and flow compared to, say, eternal benchmark Endtroducing. But if you can get past the slow start and let your body synchronize with what the album is doing, it's strangely compelling, really locking into your rhythms. It's patient. Maybe it just caught me at a good hippie ass moment, but I was into this stuff as it played on. It overstayed its welcome a bit, and I can't help but penalize its slow start a bit, and I'm wondering whether I'm just being swayed by good beer, but it was just about right for the right now. I'll give it a hopeful long-term keep-an-eye-onya and a generous, if provisional 4/5
Its a repetitive thing, really milking each loop for a song's length without introducing a lot of movement. It just has a lot less initiative and propulsiveness and flow compared to, say, eternal benchmark Endtroducing. But if you can get past the slow start and let your body synchronize with what the album is doing, it's strangely compelling, really locking into your rhythms. It's patient. Maybe it just caught me at a good hippie ass moment, but I was into this stuff as it played on. It overstayed its welcome a bit, and I can't help but penalize its slow start a bit, and I'm wondering whether I'm just being swayed by good beer, but it was just about right for the right now. I'll give it a hopeful long-term keep-an-eye-onya and a generous, if provisional 4/5
#220 White Denim - Workout Holiday
At that point with these guys where everything else I've heard is so good that I best just hear everything that came before.
Man. These guys are good as hell. Catchy, inventive, unpredictable, perfectly balancing driving, irresistible hookiness with proggy, spazzy, near-zappa swerves and stops and changes. The bass rattles and twists in every direction, the guitar swoons and funks as needed, and man, that drummer. Even back on this earlier album, he just kills it. Really into these guys, they're like the American Mint Chicks 4.5/5
Man. These guys are good as hell. Catchy, inventive, unpredictable, perfectly balancing driving, irresistible hookiness with proggy, spazzy, near-zappa swerves and stops and changes. The bass rattles and twists in every direction, the guitar swoons and funks as needed, and man, that drummer. Even back on this earlier album, he just kills it. Really into these guys, they're like the American Mint Chicks 4.5/5
#219 Super Wild Horses - Fifteen
Reviewed on Dusted.
Ok, boy/girl [edit: oops, 2 girls], drums / guitar, garage rock with the simplicity of days of yore, 50's via 60's via 90's via Exploding Hearts via Vivian Girls. In short, here's an album utterly without invention, not even reinventing things that haven't been re-re-invented before. Which is cool if you can weild all that simplicity and reference to do something really catchy. But this isn't that. Its fine it has its moments, but its too much the same, too simple, too boring, even over its short running length. The curiously sobering chappo fiasco notwithstanding, I will pull no punches - this didn't move me enough to want to listen to it again or give it better than 2.5/5
Ok, boy/girl [edit: oops, 2 girls], drums / guitar, garage rock with the simplicity of days of yore, 50's via 60's via 90's via Exploding Hearts via Vivian Girls. In short, here's an album utterly without invention, not even reinventing things that haven't been re-re-invented before. Which is cool if you can weild all that simplicity and reference to do something really catchy. But this isn't that. Its fine it has its moments, but its too much the same, too simple, too boring, even over its short running length. The curiously sobering chappo fiasco notwithstanding, I will pull no punches - this didn't move me enough to want to listen to it again or give it better than 2.5/5
Monday, November 1, 2010
#218 Beck - Golden Feelings
Inspired by the similar-sounding JSBE from the last entry, I checked out an extra-early Beck album I'd never actually heard.
If you take the well-honed scuzz of Odelay, track the trajectory back to the listenable-if-only-barely scuzz of Mellow Gold, and follow that trajectory into the depths, you get Golden Feelings. Its a strangely brilliant, occasionally unlistenably, totally original spaz out that I'm strangely fascinated by. Despite the outright unpleasantness of some of this, it is such a bold stroke that I'm sure I'll revisit it at least a couple more times, and its at least good enough for 4/5
If you take the well-honed scuzz of Odelay, track the trajectory back to the listenable-if-only-barely scuzz of Mellow Gold, and follow that trajectory into the depths, you get Golden Feelings. Its a strangely brilliant, occasionally unlistenably, totally original spaz out that I'm strangely fascinated by. Despite the outright unpleasantness of some of this, it is such a bold stroke that I'm sure I'll revisit it at least a couple more times, and its at least good enough for 4/5
#217 John Spencer Blues Explosion - Orange
I totally listened to this almost a week ago, so I'm pre-dating the post. I have been BUSY. I read a review of the reissue of this on pitchfork and realized I'd never really heard them, so let's check it.
I think I thought these guys were a lot more pop. Instead, they're downright scuzzy, sounding like early Beck (who I find out they toured with). And while I'm reluctant to compare everyone who sounds ramshackle and high and unpredictable and 90's to Ween... these guys sound like Ween. Or maybe Primus, or Beefheart, you know the type by now, but with a lot more riffage and general chops.
I don't know that I have a lot of use for this, its so aggressively weird without quite being Ween/Beefheart inspiring, nor Beck catchy, but it was totally worth hearing enough for 3.5/5
I think I thought these guys were a lot more pop. Instead, they're downright scuzzy, sounding like early Beck (who I find out they toured with). And while I'm reluctant to compare everyone who sounds ramshackle and high and unpredictable and 90's to Ween... these guys sound like Ween. Or maybe Primus, or Beefheart, you know the type by now, but with a lot more riffage and general chops.
I don't know that I have a lot of use for this, its so aggressively weird without quite being Ween/Beefheart inspiring, nor Beck catchy, but it was totally worth hearing enough for 3.5/5
Thursday, October 28, 2010
#216 Johnny Cash - Live at Folsom Prison
This was part of the Cash kick I went on back in the day, just recently got around to this one.
I'm not normally one for live albums, but because of its setting, this resonates in a way all its own. For one, the setlist choices carry bonus significance, and tales of imprisonment and freedom and execution abound. Plus, you get the experience of listening to the songs and imagining what it would be like to hear them as a prisoner, as opposed to, you know, as you, at some concert venue.
The setting also accounts for some of the brilliant tension in the first half of the album, the easy/uneasy banter, the ad libs and crackups, the unpredictable energy. The songs on the first half are the better of the lot too, climaxing with the rambling Orange Blossom Special and haunting Long Black Shawl; the latter putting the aging voice of Cash on full, gloriously rumbling display. The latter half seems to settle into more of a groove though, and loses some of its spark as a result. Maybe its the two Jack Clement-penned novelty clunkers, or the fact that two of the later songs came from a different performance than the rest, or simply the fact that the rush of the setting had worn off; for whatever reason, the second half didn't crackle for me. Still, the energy the album starts with is unmatched, and at least good enough for 3.5/5
I'm not normally one for live albums, but because of its setting, this resonates in a way all its own. For one, the setlist choices carry bonus significance, and tales of imprisonment and freedom and execution abound. Plus, you get the experience of listening to the songs and imagining what it would be like to hear them as a prisoner, as opposed to, you know, as you, at some concert venue.
The setting also accounts for some of the brilliant tension in the first half of the album, the easy/uneasy banter, the ad libs and crackups, the unpredictable energy. The songs on the first half are the better of the lot too, climaxing with the rambling Orange Blossom Special and haunting Long Black Shawl; the latter putting the aging voice of Cash on full, gloriously rumbling display. The latter half seems to settle into more of a groove though, and loses some of its spark as a result. Maybe its the two Jack Clement-penned novelty clunkers, or the fact that two of the later songs came from a different performance than the rest, or simply the fact that the rush of the setting had worn off; for whatever reason, the second half didn't crackle for me. Still, the energy the album starts with is unmatched, and at least good enough for 3.5/5
#215 White Denim - Last Day of Summer
I really liked Fits, and this is a free download of oddities. Sounds great!
And in practice, it is actually pretty great. These guys are all over the map. Here, they're bristly, fast, and actually kinda sunny, leaving behind the menace that wound through Fits, sounding like an actually-exciting Dr. Dog. Or maybe a double-speed, indie rock Steely Dan, which I don't actually mean in a bad way. Regardless, this collection serves as a reminder that these guys, wherever they are on the map, are super talented, mixing overall hookcraft, twangy authenticity, proggy intricacy (Incaviglia!), and straight up songwriting chops (Champ!) from here to I don't know where.
That said, this album falls into that old trap of not really having a role. Its probably too complex to be legitimate summery music, and it wants for an extra gear of rock a lot of the time. Still, a worthwhile listen, likely good for a long road trip some day, and if nothing else it serves as inspiration to check out these guys' back catalog and eagerly await whatever they make next. Could be a grower, too, I suspect... 4/5
And in practice, it is actually pretty great. These guys are all over the map. Here, they're bristly, fast, and actually kinda sunny, leaving behind the menace that wound through Fits, sounding like an actually-exciting Dr. Dog. Or maybe a double-speed, indie rock Steely Dan, which I don't actually mean in a bad way. Regardless, this collection serves as a reminder that these guys, wherever they are on the map, are super talented, mixing overall hookcraft, twangy authenticity, proggy intricacy (Incaviglia!), and straight up songwriting chops (Champ!) from here to I don't know where.
That said, this album falls into that old trap of not really having a role. Its probably too complex to be legitimate summery music, and it wants for an extra gear of rock a lot of the time. Still, a worthwhile listen, likely good for a long road trip some day, and if nothing else it serves as inspiration to check out these guys' back catalog and eagerly await whatever they make next. Could be a grower, too, I suspect... 4/5
#214 Chappo - Plastique Universe EP
I got this because I heard a song on an iphone commercial, I guess it happens to all of us eventually. Damn those guys with their ear for hooks!
What can I say, Come Home's catchy, fraught with jangle and bounce and late-Beck fuzz. And actually the next two songs on this EP are similarly promising, featuring hooks, great atmosphere and twisty song structures. Sweet Sigh's is a pleasant meanderer that does a pretty good impression of TV on the Radio on the vocal front, and Rouse it Up is glammy, neon Bloc Party jam.
But then it gets ridiculous. As in, is this a joke? Space Shoes offloads Rage Against the Machine riffage and "UH!!"s, and preposterous lyrics, climaxing with the chorus, shouted repeatedly and with much angst: "We've got to shapeshift! Why the attitude? Lay off my space shoes!" What? Similarly, closer Sci-Fi Bandits sounds like someone took Blitzen Trapper's Sci-Fi Kid and completely ruined it with Flaming Lips style overproduction and sub-Jamiroquai fake funk. Reference combo bonus!
Unfortunately, I'm guessing its not a joke. In retrospect, the clues are all over the first few tracks: these guys are actually trying way too hard to be spacey and weird and relevant and intense, and doing it in a really forced, plastic way. It's a shame, they're hooky and fun in between the dumbs. With any luck they won't be successful: whatever they do next will either be lo-fi and great or even more overproduced and completely unlistenable. One great song, two good songs, two bad songs 2.5/5
What can I say, Come Home's catchy, fraught with jangle and bounce and late-Beck fuzz. And actually the next two songs on this EP are similarly promising, featuring hooks, great atmosphere and twisty song structures. Sweet Sigh's is a pleasant meanderer that does a pretty good impression of TV on the Radio on the vocal front, and Rouse it Up is glammy, neon Bloc Party jam.
But then it gets ridiculous. As in, is this a joke? Space Shoes offloads Rage Against the Machine riffage and "UH!!"s, and preposterous lyrics, climaxing with the chorus, shouted repeatedly and with much angst: "We've got to shapeshift! Why the attitude? Lay off my space shoes!" What? Similarly, closer Sci-Fi Bandits sounds like someone took Blitzen Trapper's Sci-Fi Kid and completely ruined it with Flaming Lips style overproduction and sub-Jamiroquai fake funk. Reference combo bonus!
Unfortunately, I'm guessing its not a joke. In retrospect, the clues are all over the first few tracks: these guys are actually trying way too hard to be spacey and weird and relevant and intense, and doing it in a really forced, plastic way. It's a shame, they're hooky and fun in between the dumbs. With any luck they won't be successful: whatever they do next will either be lo-fi and great or even more overproduced and completely unlistenable. One great song, two good songs, two bad songs 2.5/5
Tuesday, October 26, 2010
#213 Dibiase - Up the Joystick
Another one from the lo-fi glitch hop thread, which seems to have a lot of stuff on it that I'm in the mood for lately.
This is a hip hop album that is built almost entirely on nintendo game samples. I didn't actually know that going in (though the song titles were an early tip), but that tells you most of what you need to know. Well, I guess the question is, is it any good? It doesn't start off promisingly, the instrumental opener's a little too "Lol this stuff's from nintendo", and track two is in the same vein, but starts mixing in hip hop shouts and samples from the Super Mario Brothers tv show (double lol). But then comes the actual rapping over the tinkling arpeggios of the Final Fantasy load screen, and you realize that those first two tracks were just an intro, not a declaration of purpose. This is a rap album, not an electronica album; its just taking its nintendo-themed gimmick really, really far.
Code of Life is the other highlight, thoroughly working dozens of NES-era references into a legitimate rap package.
I swear I didn't set this up in the last review just to use it here, but lets return to that checklist:
- Leverages pop culture familiarity to create emotional impact? Yep.
- Combines the best hooks of rock with the rhythms and impact of hip hop? Its video game music hooks, but yep.
- Expertly controls pace and flow on a record-long scale? Kinda.
2 and a half out of three aint bad; on paper, this is actually a lot more Girl Talk than Ample Mammal. That said, it doesn't quite blow up; its a little too slow paced, not quite ambitious enough, and its actually sort of boring at times. Still, its a gimmick done well, and totally worth hearing once 3.5/5
This is a hip hop album that is built almost entirely on nintendo game samples. I didn't actually know that going in (though the song titles were an early tip), but that tells you most of what you need to know. Well, I guess the question is, is it any good? It doesn't start off promisingly, the instrumental opener's a little too "Lol this stuff's from nintendo", and track two is in the same vein, but starts mixing in hip hop shouts and samples from the Super Mario Brothers tv show (double lol). But then comes the actual rapping over the tinkling arpeggios of the Final Fantasy load screen, and you realize that those first two tracks were just an intro, not a declaration of purpose. This is a rap album, not an electronica album; its just taking its nintendo-themed gimmick really, really far.
Code of Life is the other highlight, thoroughly working dozens of NES-era references into a legitimate rap package.
I swear I didn't set this up in the last review just to use it here, but lets return to that checklist:
- Leverages pop culture familiarity to create emotional impact? Yep.
- Combines the best hooks of rock with the rhythms and impact of hip hop? Its video game music hooks, but yep.
- Expertly controls pace and flow on a record-long scale? Kinda.
2 and a half out of three aint bad; on paper, this is actually a lot more Girl Talk than Ample Mammal. That said, it doesn't quite blow up; its a little too slow paced, not quite ambitious enough, and its actually sort of boring at times. Still, its a gimmick done well, and totally worth hearing once 3.5/5
#212 Ample Mammal - Mating Season
Someone on facebook liked or added or friended or whatever this guy, which caused his bio to come up. Something about "Ample Mammal is quickly becoming the West Coast, more sophisticated version of Girl Talk" but uses primarily original materials - I have some suspicions, but ok, I'll bite.
Having heard the album, I call bull shit on that. Whoever wrote that thing has no idea what they're talking about. First of all, saying you're kind of like Girl Talk, but you use original material is like like saying you're like Jackson Pollock, but instead you create meticulously detailed landscape paintings. Let's run down the checklist:
- Leverages pop culture familiarity to create emotional impact? Nope.
- Combines the best hooks of rock with the rhythms and impact of hip hop? Nope.
- Expertly controls pace and flow on a record-long scale? Nope.
I don't see it.
Ok, what is this then? On paper I should like it. Squonky synths, high-energy synths, and chopped vocals are all hot points for me. Chopped vocals especially, but this guy does it so hackily, using the same basic accelerating chop / pitch bend trick over and over again. See Mouse on Mars' Actionist Response or Prefuse 73's Plastic for this trick done right, his variation on it just gets one note and annoying, sticking out like a sore thumb on nearly every track.
One last difference with Girl Talk illustrates the problem with this album. Girl Talk knows exactly what he's trying to achieve, and crafts his music to accomplish it. All his tricks and samples and structures are just means to the end of rocking bodies. This guy seems to think that the tricks are the point, slathering tracks with samples, IDM burbles, midi arpeggios, and chopping things up seemingly just for the sake of it. I'll keep an eye on this guy, maybe he'll settle down and decide what he wants to do, and he'll do it. For now, this is too amateur to spend time on when there's so much better, similar stuff out there 2.5/5
Having heard the album, I call bull shit on that. Whoever wrote that thing has no idea what they're talking about. First of all, saying you're kind of like Girl Talk, but you use original material is like like saying you're like Jackson Pollock, but instead you create meticulously detailed landscape paintings. Let's run down the checklist:
- Leverages pop culture familiarity to create emotional impact? Nope.
- Combines the best hooks of rock with the rhythms and impact of hip hop? Nope.
- Expertly controls pace and flow on a record-long scale? Nope.
I don't see it.
Ok, what is this then? On paper I should like it. Squonky synths, high-energy synths, and chopped vocals are all hot points for me. Chopped vocals especially, but this guy does it so hackily, using the same basic accelerating chop / pitch bend trick over and over again. See Mouse on Mars' Actionist Response or Prefuse 73's Plastic for this trick done right, his variation on it just gets one note and annoying, sticking out like a sore thumb on nearly every track.
One last difference with Girl Talk illustrates the problem with this album. Girl Talk knows exactly what he's trying to achieve, and crafts his music to accomplish it. All his tricks and samples and structures are just means to the end of rocking bodies. This guy seems to think that the tricks are the point, slathering tracks with samples, IDM burbles, midi arpeggios, and chopping things up seemingly just for the sake of it. I'll keep an eye on this guy, maybe he'll settle down and decide what he wants to do, and he'll do it. For now, this is too amateur to spend time on when there's so much better, similar stuff out there 2.5/5
#211 Nasty Nasty - Puke Paint
Another one off the lo-fi glitch hop thread.
I kind of like this, but I can see why its an EP. There's a whumwhumwhummmmmm bass warping stutter sound that sounds awesome at first, but has gotten a little stale by the end of the first track, and has really gotten old by the time its been beaten to death on the 3rd track. I also am not to big on the hyper-pitch-bent approach to vocals - not that I'm against that trick in general, but I just don't like the way its done here, maybe its something about the underlying guy's voice or just the particular parameters. I've basically described the songs by now though, super warped bass sound, some warbled vocals, minimal stuttery beat, and some extra synth lines over top for complexity.
Sore Loser is the standout here, and listening to that will give you the idea. I'm intrigued enough to want to see what this guy does next, and I do like this on a one-song scale, but even for an EP, this is too one-note to warrant better than 2.5/5
I kind of like this, but I can see why its an EP. There's a whumwhumwhummmmmm bass warping stutter sound that sounds awesome at first, but has gotten a little stale by the end of the first track, and has really gotten old by the time its been beaten to death on the 3rd track. I also am not to big on the hyper-pitch-bent approach to vocals - not that I'm against that trick in general, but I just don't like the way its done here, maybe its something about the underlying guy's voice or just the particular parameters. I've basically described the songs by now though, super warped bass sound, some warbled vocals, minimal stuttery beat, and some extra synth lines over top for complexity.
Sore Loser is the standout here, and listening to that will give you the idea. I'm intrigued enough to want to see what this guy does next, and I do like this on a one-song scale, but even for an EP, this is too one-note to warrant better than 2.5/5
Thursday, October 21, 2010
#210 The Glitch Mob - Drink the Sea
I think Ivan recommended this to me the other night, and then I came across it on the same search for listenable glitch that lead me to the last one.
This isn't actually all that glitch (though I hear their earlier stuff was), what it is is a Ratatat / Justice esque exercise in texture and riffage. For the most part it works. There's just enough funky twists, interesting crannies, and propulsive energy to make the whole thing enjoyable in small doses, especially on late game standouts like We Swarm (great surprising synth break-in), and (cringworthily named, but pleasantly meditative) Starve the Ego, Feed the Soul. As an album, it drags a bit, and some of the live drums and clean bass moments sound kind of cheesy. Its much better when it embraces its buzzy future sound wholeheartedly.
I think it would be better if the whole thing was about 10 BPM faster, and a little less concerned with being epic, and a little more concerned with rocking asses. Still, 3.5/5
This isn't actually all that glitch (though I hear their earlier stuff was), what it is is a Ratatat / Justice esque exercise in texture and riffage. For the most part it works. There's just enough funky twists, interesting crannies, and propulsive energy to make the whole thing enjoyable in small doses, especially on late game standouts like We Swarm (great surprising synth break-in), and (cringworthily named, but pleasantly meditative) Starve the Ego, Feed the Soul. As an album, it drags a bit, and some of the live drums and clean bass moments sound kind of cheesy. Its much better when it embraces its buzzy future sound wholeheartedly.
I think it would be better if the whole thing was about 10 BPM faster, and a little less concerned with being epic, and a little more concerned with rocking asses. Still, 3.5/5
#209 Mr. Oizo - Analog Worms Attack
I was having a seizure from all this foreign psychedelia, so I went searching for some compelling, more listenable, more backgroundable music. I'm way into texture lately, so started by trying to rummage up some listenable glitch, and came across a thread looking for "lo-fi glitch hop", which lead to a guy who linked to Ozio's Monophonic Shit. I listened to it. Promising shit.
This is pretty simple techno on some level, a riff/groove/melodic synth line, but its buzzed, fuzzed, trashed out to hell, with the chips out of the snares and chunks out of the bass hits, and static sticking out of the seams. Which is rad.
I don't know why I like all this lo-fi, glitch stuff so much, but I sure do. It just is exciting in some basic way. It sounds dirty, physical, menacing. I actually wish this was more bent out of shape, and its oversimple at times, but its got a good enough groove to it that I will surely keep it around and blast it as needed, at least until I find something that does this better 4/5
This is pretty simple techno on some level, a riff/groove/melodic synth line, but its buzzed, fuzzed, trashed out to hell, with the chips out of the snares and chunks out of the bass hits, and static sticking out of the seams. Which is rad.
I don't know why I like all this lo-fi, glitch stuff so much, but I sure do. It just is exciting in some basic way. It sounds dirty, physical, menacing. I actually wish this was more bent out of shape, and its oversimple at times, but its got a good enough groove to it that I will surely keep it around and blast it as needed, at least until I find something that does this better 4/5
#208 VA - Shadow Music of Thailand
Another one from the Sublime Frequencies series, I happened across this one in particular more or less by chance.
Man, there was a whole lot of great music being made outside of Americain the 60's, I can't believe I'm just coming across it now. This is another good one, mostly instrumental, vaguely surfey, fairly lo-fi, super cool. This features the flourish-laden, head-bobbing repetition I've come to expect from the Sublime Frequencies series, but with a double dose of organ, and a slightly sloppier playing style. This is also more directly western-sounding than some of the other SF albums I've reviewed, but the occasional vocals, adventures in accompaniment, and subtly rhythm tricks keep it from sounding all that familiar.
On an album scale, the variety here isn't as vibrant as on the other recent SF albums I've listened to, and the overall energy level isn't quite as high, but there are also some real standouts, like the driving surge of Koisun Ching and Plaeng Yiepoun, the moonlit force of Lao Kratob Mai, and the seaside drift of Bangkok by Night. Not quite as virtuoso as the Peruvian stuff (see below), and not quite as unhinged as the Nigerian stuff (see below), but good enough for 3.5/5
Man, there was a whole lot of great music being made outside of Americain the 60's, I can't believe I'm just coming across it now. This is another good one, mostly instrumental, vaguely surfey, fairly lo-fi, super cool. This features the flourish-laden, head-bobbing repetition I've come to expect from the Sublime Frequencies series, but with a double dose of organ, and a slightly sloppier playing style. This is also more directly western-sounding than some of the other SF albums I've reviewed, but the occasional vocals, adventures in accompaniment, and subtly rhythm tricks keep it from sounding all that familiar.
On an album scale, the variety here isn't as vibrant as on the other recent SF albums I've listened to, and the overall energy level isn't quite as high, but there are also some real standouts, like the driving surge of Koisun Ching and Plaeng Yiepoun, the moonlit force of Lao Kratob Mai, and the seaside drift of Bangkok by Night. Not quite as virtuoso as the Peruvian stuff (see below), and not quite as unhinged as the Nigerian stuff (see below), but good enough for 3.5/5
Tuesday, October 19, 2010
#207 Group Inerane - Guitars from Agadez (Music of Niger)
Another Sublime Frequencies offering, I basically picked this one from the catalog of 40 or so because it has "guitar" in the name, which so far has been the key to my enjoyment of otherwise fairly inaccessible, non-English-language music from here and there.
Good gamble! This is a style hatched in the 90's and this particular album was recorded in 2004 and 2007, so its a lot more recent than the other stuff, but it mostly sounds outside of time. The songs are buzzy and lo-fi, built on texture and repetition first and foremost, sounding like The Velvet Underground at their jammiest, or occasionally like Deerhunter or No Age at their most meditative. A simple beat and guitar line lay the basis (sounding both like things I've recorded, and things my World's Largest Band app cooked up, actually), but then its lots of little guitar flourishes, subtle shifts in tone, and lots of singing, ululations and hissing (?) It's totally hypnotic, occasionally meditative, occasionally breaking out into madcap, furious energy - the overblown distortions of Nadan Al Kazawnin are particularly mindblowing.
Once again, though, the female vocals are kind of annoying - I'm not trying to be closed-minded, but the actual sound is unpleasant when you're singing that high, it just sounds tinny and shrill. That complaint aside, this is an interesting listen. It's utterly different, having almost nothing in common with Western music other than the electric guitar itself, but it's still totally accessible. The vocals will probably keep this from being a frequent listen, but this is easily good enough for a 4/5
Good gamble! This is a style hatched in the 90's and this particular album was recorded in 2004 and 2007, so its a lot more recent than the other stuff, but it mostly sounds outside of time. The songs are buzzy and lo-fi, built on texture and repetition first and foremost, sounding like The Velvet Underground at their jammiest, or occasionally like Deerhunter or No Age at their most meditative. A simple beat and guitar line lay the basis (sounding both like things I've recorded, and things my World's Largest Band app cooked up, actually), but then its lots of little guitar flourishes, subtle shifts in tone, and lots of singing, ululations and hissing (?) It's totally hypnotic, occasionally meditative, occasionally breaking out into madcap, furious energy - the overblown distortions of Nadan Al Kazawnin are particularly mindblowing.
Once again, though, the female vocals are kind of annoying - I'm not trying to be closed-minded, but the actual sound is unpleasant when you're singing that high, it just sounds tinny and shrill. That complaint aside, this is an interesting listen. It's utterly different, having almost nothing in common with Western music other than the electric guitar itself, but it's still totally accessible. The vocals will probably keep this from being a frequent listen, but this is easily good enough for a 4/5
#206 Mystikal - Let's Get Ready
Fighting back from the deficit! Staying on pace thanks to a long day of diagram-making. This guy was a rec from Kyle, if I'm not mistaken.
Want the gist? This guy sounds like a super angry Busta Rhymes. He is shouting constantly, and its kind of exhausting. This guy is super angry all the time, and rather than coolly boasting that he's going to shoot you, he is getting in your face and getting ready to kick your ass with his bare hands right now. So, yes, exhausting. You know, like someone shouting at you for an hour.
That said, there's some good stuff here. When I could actually understand the words, there were some legitimate gems ("you're like ten yards the way you're always first down" he taunts). And while I'm not a rap chorus guy, the hook on You Would if You Could is the cat's ass. That's a strong song. Towards the end, rather than petering out, the album branches out, trying on some less-aggressive angles. If nothing else the standard weed song provides a nice contrast in style, and the Outkast-featuring closer (not counting a couple bonus tracks) has a pretty damn smooth groove, even if the guest spots themselves sound like something of an afterthought.
I'll grant it this, its something new. Its not a style I've heard in hip hop before, and if the last two reviews didn't tip you off, I do like getting a new twist on an old theme. Despite the fact I don't see myself wanting to get shouted at like this often, the finer points earn it a 3.5/5
Want the gist? This guy sounds like a super angry Busta Rhymes. He is shouting constantly, and its kind of exhausting. This guy is super angry all the time, and rather than coolly boasting that he's going to shoot you, he is getting in your face and getting ready to kick your ass with his bare hands right now. So, yes, exhausting. You know, like someone shouting at you for an hour.
That said, there's some good stuff here. When I could actually understand the words, there were some legitimate gems ("you're like ten yards the way you're always first down" he taunts). And while I'm not a rap chorus guy, the hook on You Would if You Could is the cat's ass. That's a strong song. Towards the end, rather than petering out, the album branches out, trying on some less-aggressive angles. If nothing else the standard weed song provides a nice contrast in style, and the Outkast-featuring closer (not counting a couple bonus tracks) has a pretty damn smooth groove, even if the guest spots themselves sound like something of an afterthought.
I'll grant it this, its something new. Its not a style I've heard in hip hop before, and if the last two reviews didn't tip you off, I do like getting a new twist on an old theme. Despite the fact I don't see myself wanting to get shouted at like this often, the finer points earn it a 3.5/5
#205 VA - Cambodian Cassette Archives: Khmer Folk & Pop Music Vol. 1
I recently found, again indirectly via Dusted, a series called Sublime Frequencies that has a whole ton of music from all over the world, seemingly from a variety of eras. This album is from that series, and features Cambodian music that is largely from the 60's and 70's, but with some songs that pretty clearly seem to feature 80's-sounding synthesizers. Details on this album are delightfully difficult to come by - one theory is that the "unknown artist" tracks that make up the majority of the album are from the 60's and 70's, and that the eight named tracks are more recent. Regardless - impressions follow!
Once again, there is a garagey sound at the core here, with shuffling rhythms, guitars and horns in balances that I associate with Tropicalia. But this is different, far more otherworldly. It is a mysterious, intriguing album, with some serious musicianship on display. I am strangely fascinated by this. From the lack of information, to the subtle shifts in style, to the blending of the familiar and the foreign - I fear that I have stumbled upon some music nerd facet of my personality that I'm not wholly comfortable with, because I am into this stuff like Finn's into adventure.
I'm not even sure how to describe the actual music. Some of it sounds like 60's garage rock, again, with the lo-fi aesthetic and crunch guitars, but with some incredibly inventive twists here and there. The main downside is the nasal, twangy female vocals that come and go, which I associate with middle eastern music and older Asian music, and which I generally can't stand. But when you get past that, there's a lot to like, from the buzzy groove of track 15 ("Unknown") to the Tarantino-ready, strangely familiar, groove of track 6 ("Unknown (Intrumental)"). It sounds almost like a dub version of I Walk the Line. And then there's small details, like the maddeningly appealing distortion that wobbles out the bass groove at the end of Track 16 (again, marked simply Unknown).
I'd previously found my forays into far-flung cultures' music largely fruitless. I can deal with foreign-language music (there's not a lick of English on this disc), but I do like something I can hook into. This, seemingly based in emerging American rock and roll, provides a nice balance: mixing the rock crunch I love with a whole 'nother worldview. The role of horrifying oppression that underlies this music is more than I can get into here, but as music, it is another facet of the hidden creative explosion going on during this era that I'm slowly peeling back the veil on.
Despite some brilliant moments, I didn't find this to be nearly as enjoyable as #204, perhaps because of the vocals, and perhaps because its just not as even across the board. But its still good enough for the October special 4/5
Once again, there is a garagey sound at the core here, with shuffling rhythms, guitars and horns in balances that I associate with Tropicalia. But this is different, far more otherworldly. It is a mysterious, intriguing album, with some serious musicianship on display. I am strangely fascinated by this. From the lack of information, to the subtle shifts in style, to the blending of the familiar and the foreign - I fear that I have stumbled upon some music nerd facet of my personality that I'm not wholly comfortable with, because I am into this stuff like Finn's into adventure.
I'm not even sure how to describe the actual music. Some of it sounds like 60's garage rock, again, with the lo-fi aesthetic and crunch guitars, but with some incredibly inventive twists here and there. The main downside is the nasal, twangy female vocals that come and go, which I associate with middle eastern music and older Asian music, and which I generally can't stand. But when you get past that, there's a lot to like, from the buzzy groove of track 15 ("Unknown") to the Tarantino-ready, strangely familiar, groove of track 6 ("Unknown (Intrumental)"). It sounds almost like a dub version of I Walk the Line. And then there's small details, like the maddeningly appealing distortion that wobbles out the bass groove at the end of Track 16 (again, marked simply Unknown).
I'd previously found my forays into far-flung cultures' music largely fruitless. I can deal with foreign-language music (there's not a lick of English on this disc), but I do like something I can hook into. This, seemingly based in emerging American rock and roll, provides a nice balance: mixing the rock crunch I love with a whole 'nother worldview. The role of horrifying oppression that underlies this music is more than I can get into here, but as music, it is another facet of the hidden creative explosion going on during this era that I'm slowly peeling back the veil on.
Despite some brilliant moments, I didn't find this to be nearly as enjoyable as #204, perhaps because of the vocals, and perhaps because its just not as even across the board. But its still good enough for the October special 4/5
Monday, October 18, 2010
#204 VA - The Roots of Chicha (Psychedelic Cumbias from Peru)
Again, I read about the 2nd disc in this series on Dusted, but ended up listening to this one. October is apparently also the month of indirect recs from that site.
Given that this was made in the 60's and 70's, in South America, its no wonder that this sounds like Brazilian Tropicalia, which I'm so very fond of. Lots of Salsa/Samba-esque rhythms, guitar lines, shouted vocals, the occaisional horns, and an overall rough, high-energy, garagey sound. But this is a lot more guitar-driven, more intricate and surfey in its guitar lines, and a lot more organ-drenched, while being lighter on horns. The overall impression, relative to Tropicalia, is that this is less arty, more 50's-influenced, more down in the grit, and very nearly as awesome.
If you haven't heard any Tropicalia stuff, get you A Brazilian Revolution in Sound, and then listen to this, and then rest your ass, because you probably just rocked it off. Ok, ok, or don't. Relative to Nuggets-style 60's garage rock, this is more diverse, more intricate, more communal, and often better. If you haven't heard that either, it sounds like a rad bunch of guys making super inventive music, full of great guitars and organ textures and hooks and energy.
Expect to see the other album in this series reviewed here soon, since I'll be hitting that, plus finding out what other awesome shit was going on in the world in the 60's, since it totally rivals what was happening in America.
If you hadn't gathered, I liked this 4.5/5
Given that this was made in the 60's and 70's, in South America, its no wonder that this sounds like Brazilian Tropicalia, which I'm so very fond of. Lots of Salsa/Samba-esque rhythms, guitar lines, shouted vocals, the occaisional horns, and an overall rough, high-energy, garagey sound. But this is a lot more guitar-driven, more intricate and surfey in its guitar lines, and a lot more organ-drenched, while being lighter on horns. The overall impression, relative to Tropicalia, is that this is less arty, more 50's-influenced, more down in the grit, and very nearly as awesome.
If you haven't heard any Tropicalia stuff, get you A Brazilian Revolution in Sound, and then listen to this, and then rest your ass, because you probably just rocked it off. Ok, ok, or don't. Relative to Nuggets-style 60's garage rock, this is more diverse, more intricate, more communal, and often better. If you haven't heard that either, it sounds like a rad bunch of guys making super inventive music, full of great guitars and organ textures and hooks and energy.
Expect to see the other album in this series reviewed here soon, since I'll be hitting that, plus finding out what other awesome shit was going on in the world in the 60's, since it totally rivals what was happening in America.
If you hadn't gathered, I liked this 4.5/5
#203 Truckasaurus - Tea Parties, Guns and Valor
I randomly had this on my mp3 player, I think I got it a while back and never hit it. Lets see what it does.
"Video game music" is the first descriptor that comes to mind, but that comes with a bunch of cousin indicators that are vaguely related: glitchy beats, Nintendo references, an obsession with 80's culture (check the cover of the airwolf theme), and a formidably sense of irony. Its actually really entertaining in its technicolor, spazzy, buzzy kind of way.
Through the first 10 actual album tracks, its a pretty great album, even if I wished that the hip hop undertones came to the surface more often. Its complex and high-energy - and while its all game-boy-sequenced, these guys' willingness to use more advanced synthesizers helps keep it unpredictable. The dark side is the seemingly endless set of remixes that close the album. Some are decent, but listening to the album proper, followed by the remixes, is numbing. I'm going to take the liberty of rating the core 10 tracks as an experience, since that's how I'll listen to this in the future. By that standard, this gets my October-signature 4/5
"Video game music" is the first descriptor that comes to mind, but that comes with a bunch of cousin indicators that are vaguely related: glitchy beats, Nintendo references, an obsession with 80's culture (check the cover of the airwolf theme), and a formidably sense of irony. Its actually really entertaining in its technicolor, spazzy, buzzy kind of way.
Through the first 10 actual album tracks, its a pretty great album, even if I wished that the hip hop undertones came to the surface more often. Its complex and high-energy - and while its all game-boy-sequenced, these guys' willingness to use more advanced synthesizers helps keep it unpredictable. The dark side is the seemingly endless set of remixes that close the album. Some are decent, but listening to the album proper, followed by the remixes, is numbing. I'm going to take the liberty of rating the core 10 tracks as an experience, since that's how I'll listen to this in the future. By that standard, this gets my October-signature 4/5
#202 2562 - Aerial
Continuing my recent trend of albums that were mentioned as better than the album being reviewed, in a review, this was described as "sounding like the future". I like the sound of that.
Does this sound more like the future than your average IDM-dusted techno album? Actually, I hear this is a techno-dusted dubstep album, if that's a helpful reference point for you. Regardless of the genre/dusting pair, sure, it sounds a bit like the future, at least at first. Early on, it is bewildering and energetic, full of simple beats and synth lines that squonk out from under you just as you decide what to expect. Its a delightful balance of listenable and interesting, and its tricks are just subtle enough to sound natural, while sounding unnatural, like they are from a future where this is what music sounds like.
But then it all just gets kind of slow and sounds like Amon Tobin's most meandering soundscapes. Maybe its just the progression this guy was going for, but its weird how something that started off with such a distinct rhythmic/melodic spine running through it so quickly turns so aimless and indulgent. It kind of just sounds like he frontloaded the album with all his best ideas, and then had to stretch it out to masterpiece length. Or maybe I just started getting bored. Its an album that started off feeling like (yet another!) four, but that by the end I wasn't nearly as amused by 3/5
Does this sound more like the future than your average IDM-dusted techno album? Actually, I hear this is a techno-dusted dubstep album, if that's a helpful reference point for you. Regardless of the genre/dusting pair, sure, it sounds a bit like the future, at least at first. Early on, it is bewildering and energetic, full of simple beats and synth lines that squonk out from under you just as you decide what to expect. Its a delightful balance of listenable and interesting, and its tricks are just subtle enough to sound natural, while sounding unnatural, like they are from a future where this is what music sounds like.
But then it all just gets kind of slow and sounds like Amon Tobin's most meandering soundscapes. Maybe its just the progression this guy was going for, but its weird how something that started off with such a distinct rhythmic/melodic spine running through it so quickly turns so aimless and indulgent. It kind of just sounds like he frontloaded the album with all his best ideas, and then had to stretch it out to masterpiece length. Or maybe I just started getting bored. Its an album that started off feeling like (yet another!) four, but that by the end I wasn't nearly as amused by 3/5
#201 The Dead C - The White House
Once again, Dusted reviewed their new one, and said that it wasn't as good as their older ones. Ok, well lets start with the earlier, allegedly better, ones then. Plus, I've had a good track record with New Zealand bands.
This is noise rock, without a lot of the rock. The first fivetracks are muddy, tinny soundscapes that don't sound especially well-planned, and that don't have much of a sense of space, narrative, or emotion. Look, I like noisy stuff. I don't mind vocals and guitars warped to hell and back, but it needs to do something with all that noise, and most of this just sounds like lazy noodling to me. I kind of like the delay-time-dragging warble of Bitcher, but its a trick that doesn't justify the song's seven minutes.
Really, the draw here is the last track, which is a really great Pavement-from-hell shoegazey space to get lost in for seventeen minutes. I think I'll check out some of the rest of their (expansive!) discography, they sound experimental enough to be worth a second chance, but as far as this album? I don't like most of it much, but the last song singlehandedly knocks this up a point and a half or so to 3/5
This is noise rock, without a lot of the rock. The first fivetracks are muddy, tinny soundscapes that don't sound especially well-planned, and that don't have much of a sense of space, narrative, or emotion. Look, I like noisy stuff. I don't mind vocals and guitars warped to hell and back, but it needs to do something with all that noise, and most of this just sounds like lazy noodling to me. I kind of like the delay-time-dragging warble of Bitcher, but its a trick that doesn't justify the song's seven minutes.
Really, the draw here is the last track, which is a really great Pavement-from-hell shoegazey space to get lost in for seventeen minutes. I think I'll check out some of the rest of their (expansive!) discography, they sound experimental enough to be worth a second chance, but as far as this album? I don't like most of it much, but the last song singlehandedly knocks this up a point and a half or so to 3/5
#200 Demon's Claws - Satan's Little Pet Pig
Dusted reviewed their new one, but spoke highly of this one, so lets keep it chronological.
These guys put out some badly mixed, scuzzy, garagey noise that's still energetic, hooky and kinda fun. Not a bad mix, as they evoke The Mint Chicks, early Pixies, The Polysics, and occasionally Blitzen Trapper if they were playing down a hole halfway to hell. There's a great stomp to this, all churning metallic chords, overblown vocals, and rambling blues turned to 12. I suspect under all the clatter there's some more really catchy bits, looking forward to dislodging them 4/5
These guys put out some badly mixed, scuzzy, garagey noise that's still energetic, hooky and kinda fun. Not a bad mix, as they evoke The Mint Chicks, early Pixies, The Polysics, and occasionally Blitzen Trapper if they were playing down a hole halfway to hell. There's a great stomp to this, all churning metallic chords, overblown vocals, and rambling blues turned to 12. I suspect under all the clatter there's some more really catchy bits, looking forward to dislodging them 4/5
#199 Wally Badarou - Echoes
Another Miles rec from the night of many recs.
That was a fruitful night for albums that I ended up enjoying (or at least being glad that I'd heard), but this isn't a winner for me. It's some early synthesizer stuff, with some African or otherwise "world" rhythms mixed in, and I just don't know what I'm supposed to get out of it. It doesn't move me, doesn't make my heart beat faster, doesn't have any particular sense of attitude, of place, no particular soul that I can relate to. I think part of the problem is that it evokes 80's flirtations with synthesizers and African rhythms, most of which sucked so severely that I don't know if I can ever really truly be openminded about such things.
My suspicion is that this is kind of a muso album, for people who can appreciate its construction, and who can appreciate how technically impressive some of the synthesizer approaches on display here are. And I get the barest glimpse of that; there's some subtle tuning of the instrument, some efficient pitch bends, the occasional stroke of mathy perfection. But mostly it just sounds like In Your Eyes to me. It gets a bit of credit for some emotional resonance in Canyons and Rain, but it's largely a miss 1.5/5
That was a fruitful night for albums that I ended up enjoying (or at least being glad that I'd heard), but this isn't a winner for me. It's some early synthesizer stuff, with some African or otherwise "world" rhythms mixed in, and I just don't know what I'm supposed to get out of it. It doesn't move me, doesn't make my heart beat faster, doesn't have any particular sense of attitude, of place, no particular soul that I can relate to. I think part of the problem is that it evokes 80's flirtations with synthesizers and African rhythms, most of which sucked so severely that I don't know if I can ever really truly be openminded about such things.
My suspicion is that this is kind of a muso album, for people who can appreciate its construction, and who can appreciate how technically impressive some of the synthesizer approaches on display here are. And I get the barest glimpse of that; there's some subtle tuning of the instrument, some efficient pitch bends, the occasional stroke of mathy perfection. But mostly it just sounds like In Your Eyes to me. It gets a bit of credit for some emotional resonance in Canyons and Rain, but it's largely a miss 1.5/5
#198 There Thaemlitz - Soil
Back to a Miles rec from the night of many recs.
This is ambient, experiemental stuff, with some little samples mixed in here and there, ringing in from across the void, sounding like Music for Airports meets The Books. My instinct is to call it minimal, and it kind of is on the surface, but its also very detailed, with seemingly infinite little nooks to find when you listen closely. Everything is expertly mixed so that your focus shifts subtly from part to part beyond your conscious control (especially on Elevatorium), and the sounds are well-crafted and textured, fractally crannied.
Most of the samples aren't actually used all that Books-ly; I felt like they were repeated not to achieve rhythm or evoke place, but to allow imposition into your subconscious. It actually reminds me of The Books (especially Thought for Food) because of the way that it seeks to engage you emotionally in roundabout ways. Its a very psychological album, worming its way around in ways your brain doesn't understand, often to disturbing effect: see the heartbeat-skipping bass punches of Yer Ass is Grass, the menacing pulse of words through walls that thump through Trucker, and the outright narrative violence of Cycles.
Its an album I respected and liked more than I enjoyed; its a pretty harrowing trek through 6, long, often subtly troubling tracks. But it does fascinate me at least a bit. Despite my recent run of fours, I think I land once again at 4/5
This is ambient, experiemental stuff, with some little samples mixed in here and there, ringing in from across the void, sounding like Music for Airports meets The Books. My instinct is to call it minimal, and it kind of is on the surface, but its also very detailed, with seemingly infinite little nooks to find when you listen closely. Everything is expertly mixed so that your focus shifts subtly from part to part beyond your conscious control (especially on Elevatorium), and the sounds are well-crafted and textured, fractally crannied.
Most of the samples aren't actually used all that Books-ly; I felt like they were repeated not to achieve rhythm or evoke place, but to allow imposition into your subconscious. It actually reminds me of The Books (especially Thought for Food) because of the way that it seeks to engage you emotionally in roundabout ways. Its a very psychological album, worming its way around in ways your brain doesn't understand, often to disturbing effect: see the heartbeat-skipping bass punches of Yer Ass is Grass, the menacing pulse of words through walls that thump through Trucker, and the outright narrative violence of Cycles.
Its an album I respected and liked more than I enjoyed; its a pretty harrowing trek through 6, long, often subtly troubling tracks. But it does fascinate me at least a bit. Despite my recent run of fours, I think I land once again at 4/5
Thursday, October 14, 2010
#197 The Velvet Underground - 1969: The Velvet Underground Live (aka Live 1 / Live 2)
One of the last of my set of Kyle recommendations. I obviously dig The Velvet Underground, but had never heard any of their live stuff. The legend is, this is better than on the albums.
Largely, I'm inclined to agree. On the album, some of these songs come across as hollow, if fascinating gestures, but these recordings really bring out their ragged energy, their simple cores, and their basic, actual "rock and rollness".
The live setting is stark and awkward and weird, in a seemingly small, seemingly empty space, as each song is greeted by a barest smattering of applause. At first I thought it was how the crowd was micced, but eventually the character of the sound left me to think that these guys were being barely tolerated by a coffee-shop worth of folks. Its surreal, but kind of intimate and appealing.
I do have complaints about some of the songs though, especially on the first disc. At times, the playing is just messy and disconnected, and Lou sounds awfully flat in places (especially on the disappointing first-disc version of Heroin, luckily redeemed by the second-disc version). But the second disc is mega solid by comparison. I'm tempted to split the discs into two reviews, especially since they were later split on CD, but I'll stick with the original intent of the release, and give the whole thing a 4/5
Largely, I'm inclined to agree. On the album, some of these songs come across as hollow, if fascinating gestures, but these recordings really bring out their ragged energy, their simple cores, and their basic, actual "rock and rollness".
The live setting is stark and awkward and weird, in a seemingly small, seemingly empty space, as each song is greeted by a barest smattering of applause. At first I thought it was how the crowd was micced, but eventually the character of the sound left me to think that these guys were being barely tolerated by a coffee-shop worth of folks. Its surreal, but kind of intimate and appealing.
I do have complaints about some of the songs though, especially on the first disc. At times, the playing is just messy and disconnected, and Lou sounds awfully flat in places (especially on the disappointing first-disc version of Heroin, luckily redeemed by the second-disc version). But the second disc is mega solid by comparison. I'm tempted to split the discs into two reviews, especially since they were later split on CD, but I'll stick with the original intent of the release, and give the whole thing a 4/5
#196 Pharoahe Monch - Internal Affairs
Another Kyle rec - I liked his stuff with Organized Konfusion, and had heard mixed things about his solo stuff, but the rec pushed me over the edge.
This takes a much more hardcore turn than the O/K stuff would lead you to expect, with more violence, more dirty words, and a song called "Rape". Classy. That said, the rap is still complex, hard-edged, surprising and entertaining, with tons of off-kilter rhymes and entertaining turns of phrase, sounding at times like a harder-edged Busdriver, which is not a bad thing. Its dense enough that I feel like I need more time with it, but I suspect its only going to grow on me 4/5
This takes a much more hardcore turn than the O/K stuff would lead you to expect, with more violence, more dirty words, and a song called "Rape". Classy. That said, the rap is still complex, hard-edged, surprising and entertaining, with tons of off-kilter rhymes and entertaining turns of phrase, sounding at times like a harder-edged Busdriver, which is not a bad thing. Its dense enough that I feel like I need more time with it, but I suspect its only going to grow on me 4/5
#195 Twin Shadow - Forget
Saw a video of his that piqued my interest, and then he got a good Pitchfork review, so let's check it out.
This is kind of a cool album. Its all a bit discoey, kind of 80's revival, kind of mysterious, kind of catchy, kind of timeless, with its beats, harmonies and cushioney production. Its a hard one to pin down. The easiest reference point is Hot Chip, and it captures their mix of casiotone beats, slithery synths, and layered sentimental sentiments. I found it haunting, sensual and catchy at turns, keeping me on my toes every time I thought I had it figured out. Which is rad, and good enough for a 4/5
This is kind of a cool album. Its all a bit discoey, kind of 80's revival, kind of mysterious, kind of catchy, kind of timeless, with its beats, harmonies and cushioney production. Its a hard one to pin down. The easiest reference point is Hot Chip, and it captures their mix of casiotone beats, slithery synths, and layered sentimental sentiments. I found it haunting, sensual and catchy at turns, keeping me on my toes every time I thought I had it figured out. Which is rad, and good enough for a 4/5
#194 Pete Rock - Soul Survivor
Another Kyle rec, who assured me that his rap-filled stuff is better than his instrumental stuff (see #167).
I've started to feel the outlines of a gangta-to-positive scale in hip hop, where the gangta end is far simpler and less pretentious, and the positive end is concerned with being refined and is self-consciously "good", in every sense of the word. Gangta is confident in what it is the the point of obnoxiousness, while positive hip hop sometimes seems desperate for you to like it. I don't like anything that falls too far in either direction, and I simply have no patience for stuff that's too positive (see Digable Planets, esp #78).
I have a long rant about why attitude matters in rap, but in short, you need to think the guys you're listening to are awesome, or the rap listening experience just doesn't work. Some of the positive stuff just comes across as self-conscious, and that's a deal breaker.
This album has a lot of the elements of too-positive rap, the melodic samples, the slightly singsong rapping that comes and goes, the showiness of the rapping. Despite that, it actually largely works for me; there's just enough grittiness in the production, just enough variation, and the rapping is just complex enough. And I actually like its approach to aggrandizing the producer, which as the album itself points out, isn't usually the focus in rap. Its a new variation on the "these guys are awesome" cornerstone.
But my heart just isn't quite in it somehow. It just doesn't quite pull off convincing me it's awesome. Also, I do better when I have one rapper at the helm, I've never loved ensembles with more than two dudes. Maybe I've got the wrong attitude about this, but I ended up feeling like this is at best a 3/5
I've started to feel the outlines of a gangta-to-positive scale in hip hop, where the gangta end is far simpler and less pretentious, and the positive end is concerned with being refined and is self-consciously "good", in every sense of the word. Gangta is confident in what it is the the point of obnoxiousness, while positive hip hop sometimes seems desperate for you to like it. I don't like anything that falls too far in either direction, and I simply have no patience for stuff that's too positive (see Digable Planets, esp #78).
I have a long rant about why attitude matters in rap, but in short, you need to think the guys you're listening to are awesome, or the rap listening experience just doesn't work. Some of the positive stuff just comes across as self-conscious, and that's a deal breaker.
This album has a lot of the elements of too-positive rap, the melodic samples, the slightly singsong rapping that comes and goes, the showiness of the rapping. Despite that, it actually largely works for me; there's just enough grittiness in the production, just enough variation, and the rapping is just complex enough. And I actually like its approach to aggrandizing the producer, which as the album itself points out, isn't usually the focus in rap. Its a new variation on the "these guys are awesome" cornerstone.
But my heart just isn't quite in it somehow. It just doesn't quite pull off convincing me it's awesome. Also, I do better when I have one rapper at the helm, I've never loved ensembles with more than two dudes. Maybe I've got the wrong attitude about this, but I ended up feeling like this is at best a 3/5
#193 XTC - English Settlement
Man! Travel and an exploding computer hurt my progress good. I got 6 new ones that I've heard that need writing up, coming nowish, so brace yerselves. This one's Miles rec from the night of many recs. I had heard Skylarking before and liked it, but this one was new on me.
Its an intriguing one. In tone, it lands somewhere between Gang of Four and parklife-era Blur in the space of slightly off-kilter "modern life is rubbish" Brittish rock. Its not quite as angry as Gang of Four, not quite as snarky as Blur, lobbing a languid sneer that splits the difference. Musicwise, its pretty complex stuff for how poppy it is, combining repetetive stomp with intricate guitar noodles and structural swerves. Mix those last two bands, with a dash of the Kinks, and a touch of older Genesis (though maybe that's just the synth line on Ball and Chain talking).
The whole thing is a bit overlong, and some of the songs seem to think they're a lot smarter than they are; Melt the Guns as Miles pointed out, is really the best example, a go-nowhere sub-GoF ranting, limp raveup.
Its an interesting album though, abrassive but listenable, catchy but angular. I'm sure I'll put it on now and again, though it didn't blow me away enough for more than 3.5/5
Its an intriguing one. In tone, it lands somewhere between Gang of Four and parklife-era Blur in the space of slightly off-kilter "modern life is rubbish" Brittish rock. Its not quite as angry as Gang of Four, not quite as snarky as Blur, lobbing a languid sneer that splits the difference. Musicwise, its pretty complex stuff for how poppy it is, combining repetetive stomp with intricate guitar noodles and structural swerves. Mix those last two bands, with a dash of the Kinks, and a touch of older Genesis (though maybe that's just the synth line on Ball and Chain talking).
The whole thing is a bit overlong, and some of the songs seem to think they're a lot smarter than they are; Melt the Guns as Miles pointed out, is really the best example, a go-nowhere sub-GoF ranting, limp raveup.
Its an interesting album though, abrassive but listenable, catchy but angular. I'm sure I'll put it on now and again, though it didn't blow me away enough for more than 3.5/5
Thursday, October 7, 2010
#192 Sleep - Dopesmoker
Continuing the roll of stoner / doom metal classics recommended by Kyle.
While Dopethone was a masterpiece of texture on top of an insistent set of bass riffs, this is far simpler. For one, its one track. That goes on for an hour. That's the main thing you need to know here.
Within this song, there is a single bass riff, and half the time isn't a riff, just the same note "BRRROOOOAAAAMM..." over and over again. On top of that, we don't have finely balanced noise and texture, but rather far more distinct parts, guitar solos that come and go, vocals that come and go. The overall tone of the song ebbs and flows in subtle ways, the volume levels shift, the busyness nudges up and down, but eternally there is "BRRROOOOAAAAMM..." again and again. There are no tempo changes, nor style changes, an eastern flavored breakdown at the 40 or so minute mark being the only exception. This is more what I was expecting from the genre. It is unflinching and uninterested in entertaining you: it is interested in creating a space and thoroughly grinding it into your mind. Its like a six minute trance song slowed down to one tenth the speed, single-minded in its "BRRROOOOAAAAMM..."
So where does that leave it? The obvious comparison point to me is Metal Machine Music: both pieces are exercises in patience, whose main strength is the single-minded application of an idea so relentlessly that it becomes uniquely mind-altering. By comparison, this is downright listenable, but its still a slog, more interesting intellectually than it is enjoyable emotionally, more worth-having-heard than anything you want to hear again. And that's where I rest with it. I'm very glad I heard it. It echoed in my head as I went to sleep, and was still there in the morning, and shoot, that's worth something. But it is actually pretty boring, and I can't see revisiting it again any time soon. No score seems right, so I'll give it a "BRRROOOOAAAAMM..."
Ok, ok, fine 3/5
While Dopethone was a masterpiece of texture on top of an insistent set of bass riffs, this is far simpler. For one, its one track. That goes on for an hour. That's the main thing you need to know here.
Within this song, there is a single bass riff, and half the time isn't a riff, just the same note "BRRROOOOAAAAMM..." over and over again. On top of that, we don't have finely balanced noise and texture, but rather far more distinct parts, guitar solos that come and go, vocals that come and go. The overall tone of the song ebbs and flows in subtle ways, the volume levels shift, the busyness nudges up and down, but eternally there is "BRRROOOOAAAAMM..." again and again. There are no tempo changes, nor style changes, an eastern flavored breakdown at the 40 or so minute mark being the only exception. This is more what I was expecting from the genre. It is unflinching and uninterested in entertaining you: it is interested in creating a space and thoroughly grinding it into your mind. Its like a six minute trance song slowed down to one tenth the speed, single-minded in its "BRRROOOOAAAAMM..."
So where does that leave it? The obvious comparison point to me is Metal Machine Music: both pieces are exercises in patience, whose main strength is the single-minded application of an idea so relentlessly that it becomes uniquely mind-altering. By comparison, this is downright listenable, but its still a slog, more interesting intellectually than it is enjoyable emotionally, more worth-having-heard than anything you want to hear again. And that's where I rest with it. I'm very glad I heard it. It echoed in my head as I went to sleep, and was still there in the morning, and shoot, that's worth something. But it is actually pretty boring, and I can't see revisiting it again any time soon. No score seems right, so I'll give it a "BRRROOOOAAAAMM..."
Ok, ok, fine 3/5
#191 Electric Wizard - Dopethrone
Recommended by Kyle on the night of a thousand recommendations (or eight, still!)
Word is this is Stoner Metal / Doom Metal, and accordingly, I was actually expecting something a lot darker and gloomier and more insistent in its desolation. In practice, sure, its really repetitive, and the vocals are screamy, and the guitars heavy and jagged, but I didn't actually find it all /that/ unpleasant.
There's two main elements here: 1) the bass groove, which is clear, insistent, and ever-present; and 2) everything else. The everything-else is all distorted guitars, drones, noise and vocals, though crucially, the latter is low in the mix. In most metal, the music lays down a foundation and the vocals are at the fore on top of it. In this, the vocals are buried in the mix, gasping to the surface here and there, in perfect balance with everything else. Its more shoegaze with an eternal bass groove heart than it is metal, and the effect is strangely hypnotic. The obvious reference point here is Bosis's Pink, and I'm certainly fond of that album.
Sure, its pretty dark. And at least a little unpleasant. And its not an everyday album by any stretch. But I found myself grinning while it was on, and thinking about it afterwards, so I'm going to call that a win, and a 4.5/5
Word is this is Stoner Metal / Doom Metal, and accordingly, I was actually expecting something a lot darker and gloomier and more insistent in its desolation. In practice, sure, its really repetitive, and the vocals are screamy, and the guitars heavy and jagged, but I didn't actually find it all /that/ unpleasant.
There's two main elements here: 1) the bass groove, which is clear, insistent, and ever-present; and 2) everything else. The everything-else is all distorted guitars, drones, noise and vocals, though crucially, the latter is low in the mix. In most metal, the music lays down a foundation and the vocals are at the fore on top of it. In this, the vocals are buried in the mix, gasping to the surface here and there, in perfect balance with everything else. Its more shoegaze with an eternal bass groove heart than it is metal, and the effect is strangely hypnotic. The obvious reference point here is Bosis's Pink, and I'm certainly fond of that album.
Sure, its pretty dark. And at least a little unpleasant. And its not an everyday album by any stretch. But I found myself grinning while it was on, and thinking about it afterwards, so I'm going to call that a win, and a 4.5/5
Thursday, September 30, 2010
#190 Pissed Jeans - Hope for Men
I saw one of their recent videos and was intrigued somehow. Something about their aggressive disinterest and halfhearted hookiness got my attention - this is one of their older albums though.
It's kind of interesting as art: it's sludgy, banally unpleasant, shouty hardcore punk, with a matching scumbag persona at the frontman position. Matt Korvette comes across 1/3 furious at the world, and 1/3 disgusted with himself, and 1/3 relishing a revel in the resulting filth. Its like a Chuck Palahniuk book, with all of the early-middle-age drudgery and self-loathing and none of the humor or wit. This mood, if nothing else, is well realized.
Unfortunately, its at the cost of making anything particularly listenable. Its all repeated thumpy drums, thrumming baselines, squalls of guitar noise, and shouty shouty shouting. That's cool they made this. It's good at being what it is. But I don't think I need to hear it again 2.5/5
It's kind of interesting as art: it's sludgy, banally unpleasant, shouty hardcore punk, with a matching scumbag persona at the frontman position. Matt Korvette comes across 1/3 furious at the world, and 1/3 disgusted with himself, and 1/3 relishing a revel in the resulting filth. Its like a Chuck Palahniuk book, with all of the early-middle-age drudgery and self-loathing and none of the humor or wit. This mood, if nothing else, is well realized.
Unfortunately, its at the cost of making anything particularly listenable. Its all repeated thumpy drums, thrumming baselines, squalls of guitar noise, and shouty shouty shouting. That's cool they made this. It's good at being what it is. But I don't think I need to hear it again 2.5/5
#189 The Thermals - Personal Life
I've always liked The Thermals, though its been a slow but steady decline into less spazzy, less fun territory every since More Parts per Million.
Which this album continues, unfortunately. There's some hooks here, some swaying sentiment, but nothing nearly as propulsive as Pillar of Salt or No Culture Icons, which is undeniably a disappointment. It ends up sounding a bit late era midtempo green day, anthemic without being truly propulsive. Agreeable, pleasant, will probably find its way into my headphones once or twice more, but nothing more noteworthy than 3/5
Which this album continues, unfortunately. There's some hooks here, some swaying sentiment, but nothing nearly as propulsive as Pillar of Salt or No Culture Icons, which is undeniably a disappointment. It ends up sounding a bit late era midtempo green day, anthemic without being truly propulsive. Agreeable, pleasant, will probably find its way into my headphones once or twice more, but nothing more noteworthy than 3/5
#188 No Age - Everything in Between
Reviewed at Pitchfork, Dusted, Allmusic, everywhere. I've liked these guys' previous stuff pretty good (Nouns was my 7th favorite album of 2008!).
Deerhunter and No Age occupy a similar space in my mind, (similar noisy, textured sound, similar levels of hype, peaking around the same time a few years ago) so its a cute trick that their latest albums both came out around the same time.
This one doesn't really turn me on as much as Halcyon Digest though. I've always liked No Age's faster, hookier stuff, and here it sort of has the edges melted off. The album as a whole seems like a more conscious effort to be arty, lo-fi, texture oriented, sonic youth via pavement, etc, etc, etc, and its just not much fun. Its sludgy, seemingly consciously produced to be slightly off for its own sake. The main exception is Common Heat, which is great, propulsive mixtape fodder, but as of now this seems like a miss for me, and I'd be hard pressed to put it on before nouns next time I'm in the market for this kind of thing 2.5/5
Deerhunter and No Age occupy a similar space in my mind, (similar noisy, textured sound, similar levels of hype, peaking around the same time a few years ago) so its a cute trick that their latest albums both came out around the same time.
This one doesn't really turn me on as much as Halcyon Digest though. I've always liked No Age's faster, hookier stuff, and here it sort of has the edges melted off. The album as a whole seems like a more conscious effort to be arty, lo-fi, texture oriented, sonic youth via pavement, etc, etc, etc, and its just not much fun. Its sludgy, seemingly consciously produced to be slightly off for its own sake. The main exception is Common Heat, which is great, propulsive mixtape fodder, but as of now this seems like a miss for me, and I'd be hard pressed to put it on before nouns next time I'm in the market for this kind of thing 2.5/5
#187 Deerhunter - Halcyon Digest
Reviewed at Pitchfork, Dusted, Allmusic, everywhere. I've liked these guys' previous stuff pretty good (Nothing Ever Happened was my favorite song of 2008!) but usually more on a track level than an album level.
This is a hazy, complex, pretty, nostalgic album, befitting its title, evoking Olivia Tremor Control, Swervedriver and Brian Eno (check that Needles in the Camel's Eye guitar line in Desire Lines!) at turns. Its much more cohesive as an album, track bleeding into eachother, reverb-drenched notes bleeding into eachother, moment into memory. Its an enjoyable listen, if not mindblowing, but I find myself gravitating back to its fuzzy intricacies. Maybe it will be the first of theirs to really grab me on the whole 3.5/5
This is a hazy, complex, pretty, nostalgic album, befitting its title, evoking Olivia Tremor Control, Swervedriver and Brian Eno (check that Needles in the Camel's Eye guitar line in Desire Lines!) at turns. Its much more cohesive as an album, track bleeding into eachother, reverb-drenched notes bleeding into eachother, moment into memory. Its an enjoyable listen, if not mindblowing, but I find myself gravitating back to its fuzzy intricacies. Maybe it will be the first of theirs to really grab me on the whole 3.5/5
Wednesday, September 29, 2010
#186 Das Racist - Sit Down, Man
Pitckfork liked it, and I have to say that Combination Pizza Hut and Taco Bell made me suspect these guys aren't as dumb as that song might make you think.
I was not wrong. These guys are obnoxious, but they are not dumb. These guys are good god damn rappers and they might be the smartest guys in the room right now.
Normally I don't like the long rap album, and at 80 minutes or so, this borders on ridiculous. But if your main claim to fame consisted of 9 words worth of sassiness, maybe you'd feel pressure to spit complex, chorusless, stream-of-consciousness rhymes, constantly, for nearly an hour and a half, just to prove your point. These guys are painlessly self-aware, and painfully aware of everything around them, dumping verse after verse about everything modern, and everything we're currently nostalgic about. Which is everything.
The production is varied, but generally electronic, rough, and nasty, with line after line piled on top of it. It's exhausting at times, and the length is excessive, but somehow I feel like it might be some kind of hyperdense masterpiece 4.5/5
I was not wrong. These guys are obnoxious, but they are not dumb. These guys are good god damn rappers and they might be the smartest guys in the room right now.
Normally I don't like the long rap album, and at 80 minutes or so, this borders on ridiculous. But if your main claim to fame consisted of 9 words worth of sassiness, maybe you'd feel pressure to spit complex, chorusless, stream-of-consciousness rhymes, constantly, for nearly an hour and a half, just to prove your point. These guys are painlessly self-aware, and painfully aware of everything around them, dumping verse after verse about everything modern, and everything we're currently nostalgic about. Which is everything.
The production is varied, but generally electronic, rough, and nasty, with line after line piled on top of it. It's exhausting at times, and the length is excessive, but somehow I feel like it might be some kind of hyperdense masterpiece 4.5/5
#185 Mice Parade - What it Means to be Left Handed
Another one from Dusted, sounded compelling enough.
My first impression of this one was not all that strong. It sounds aaawfully twee, full of folksy turns, frail singing of frail sentiments, little awkward flourishes. But something about it, even in one listen, clued me in that there might be something more here, some heartfull of details that I might love if I let myself. Little snippets of the lyrics, as they trickled in though my half-paying-attention-to-the-lyrics, told me that they are trying to break my heart. This will require more listens. There is something here that will win me over or annoy me some day. It will be a big hit or miss someday. Today, lets say 4/5
My first impression of this one was not all that strong. It sounds aaawfully twee, full of folksy turns, frail singing of frail sentiments, little awkward flourishes. But something about it, even in one listen, clued me in that there might be something more here, some heartfull of details that I might love if I let myself. Little snippets of the lyrics, as they trickled in though my half-paying-attention-to-the-lyrics, told me that they are trying to break my heart. This will require more listens. There is something here that will win me over or annoy me some day. It will be a big hit or miss someday. Today, lets say 4/5
#184 Buke and Gase - Riposte
Reviewed on Dusted. Getting back to my roots.
Man and woman invent baritone ukulele (buke) and guitar/bass hybrid (gase). Also some improvised hybrid drums. Put on (I'm told) impressive live shows. Sound great on album too. What more do you need to know? Either that kind of conceptual thing turns you on or it doesn't.
Ok, ok, fine. The actual music. Its pretty great. Complex, propulsive, uncomfortable. Sounding not unlike a more acoustic, mellowed Deerhoof at times, sort of like Menomena in their subtly not-of-this-world sound, at others. The improvised instrument thing matters, damn it. The overall tone of this album is just different, and their background trying to perform these complex songs live as a duo has caused them to take some curious songwriting turns - restrictions breed creativity, after all. And the end result is compelling - if you like slightly off-kilter, experiential, but still totally listenable rock, give it a go 4.5/5
Man and woman invent baritone ukulele (buke) and guitar/bass hybrid (gase). Also some improvised hybrid drums. Put on (I'm told) impressive live shows. Sound great on album too. What more do you need to know? Either that kind of conceptual thing turns you on or it doesn't.
Ok, ok, fine. The actual music. Its pretty great. Complex, propulsive, uncomfortable. Sounding not unlike a more acoustic, mellowed Deerhoof at times, sort of like Menomena in their subtly not-of-this-world sound, at others. The improvised instrument thing matters, damn it. The overall tone of this album is just different, and their background trying to perform these complex songs live as a duo has caused them to take some curious songwriting turns - restrictions breed creativity, after all. And the end result is compelling - if you like slightly off-kilter, experiential, but still totally listenable rock, give it a go 4.5/5
Monday, September 27, 2010
#183 Flying Lotus - Pattern + Gird World
Got a good review on pitchfork - haven't listened to anything from them in ages! Cycle broken! Also, I didn't love Los Angeles, but it was intriguing enough to keep my ear to the ground.
The review on said site described this as being a more accessible Flying Lotus album, and that is downright accurate. For one, the pack of seven bite-sized songs is an easily digestible portion, whereas dense electronic music starts to wear me out in longer stretches. But the approach is more accessible too, and in my ears more enjoyable; I might even go so far to call this fun. Where his previous stuff was based more in texture and murk, here there are some honest to god melodies forming the skeleton, with the texture serving to rough up the edges, bend the angles, shuffle the rhythms and otherwise provide interest.
It undeniably evokes 8-bit video game music at times, with its buzzy, ringing tones and propulsive melodic pacing, but its a lot more interesting than that category usually implies - lots of subtle flourishes and twists underneath. Given that its not a genre I'm normally into, its more impressive than it sounds that I end up at the score I do - if you're into this kind of thing, add half a point 4/5
The review on said site described this as being a more accessible Flying Lotus album, and that is downright accurate. For one, the pack of seven bite-sized songs is an easily digestible portion, whereas dense electronic music starts to wear me out in longer stretches. But the approach is more accessible too, and in my ears more enjoyable; I might even go so far to call this fun. Where his previous stuff was based more in texture and murk, here there are some honest to god melodies forming the skeleton, with the texture serving to rough up the edges, bend the angles, shuffle the rhythms and otherwise provide interest.
It undeniably evokes 8-bit video game music at times, with its buzzy, ringing tones and propulsive melodic pacing, but its a lot more interesting than that category usually implies - lots of subtle flourishes and twists underneath. Given that its not a genre I'm normally into, its more impressive than it sounds that I end up at the score I do - if you're into this kind of thing, add half a point 4/5
Thursday, September 23, 2010
#182 The Mint Chicks - Anti-Tiger
Going back for the one thing by The Mint Chicks I've never heard: their second EP.
Man, these guys are just a creative, talented bunch. There's 2 more tracks of Octagon, Octagon, Octagon's Blood Brothers-esque thrashing here, but the band has mellowed a bit, sounding more like Gang of Four in places, having the patience to build tension and texture, and they have some downright experimental pieces to begin and end the record. It makes me wonder why these guys never got bigger, they're exactly the kind of thing the indie press is into these days. Before their time? Or maybe just too damn Southern Hemisphere.
Cool stuff, still really dig these guys 4/5
Man, these guys are just a creative, talented bunch. There's 2 more tracks of Octagon, Octagon, Octagon's Blood Brothers-esque thrashing here, but the band has mellowed a bit, sounding more like Gang of Four in places, having the patience to build tension and texture, and they have some downright experimental pieces to begin and end the record. It makes me wonder why these guys never got bigger, they're exactly the kind of thing the indie press is into these days. Before their time? Or maybe just too damn Southern Hemisphere.
Cool stuff, still really dig these guys 4/5
#181 Kate Bush - Hounds of Love
I had heard good things about this one, and while I was a bit skeptical, I eventually found myself with dishes to do, and nothing else new on my mp3 player. So!
The obvious reference points here are Bjork and Laurie Anderson, as Kate revels in bizarre dreamworlds, highly affected crooning, and icy, repetitive electronic structures. And actually, it kind of works. It is strangely haunting, the opener and Cloudbursting in particular building to spacious, spooky climaxes. The synths make it sound dated from time to time, but for the most part, it creates a world unto itself.
It gets a bit too experimental near the end, making gestures that don't really work, and that don't (at least by my ear today) break any particularly new ground. Under Ice isn't is scary as it wants to be, and the spooky whispering and Irish flavor of Jig of Life is exactly the kind of thing I was fearing from this album. It rang hokey to me.
I don't know that I have a whole lot of use for this, but it has aged surprisingly well - its no wonder that The Hold Steady make a prominent reference to the first song, and The Futureheads covered the second 3.5/5
The obvious reference points here are Bjork and Laurie Anderson, as Kate revels in bizarre dreamworlds, highly affected crooning, and icy, repetitive electronic structures. And actually, it kind of works. It is strangely haunting, the opener and Cloudbursting in particular building to spacious, spooky climaxes. The synths make it sound dated from time to time, but for the most part, it creates a world unto itself.
It gets a bit too experimental near the end, making gestures that don't really work, and that don't (at least by my ear today) break any particularly new ground. Under Ice isn't is scary as it wants to be, and the spooky whispering and Irish flavor of Jig of Life is exactly the kind of thing I was fearing from this album. It rang hokey to me.
I don't know that I have a whole lot of use for this, but it has aged surprisingly well - its no wonder that The Hold Steady make a prominent reference to the first song, and The Futureheads covered the second 3.5/5
#180 Lady Gaga - The Fame
Man, a weeklong trip to Seattle and a few days of furious dissertation writing have killed my pace. And this is what I come back with! I'd never knowingly heard a Lady Gaga song, and she just reached a certain level of mainstream acclaim that I felt like I should probably hear an album or two just for reference. Plus, who knows, maybe I'll actually like it (see: Justin Timberlake).
First the good. I really like some of the skwonky synths on this, and some of the songs actually have some heart to them. Poker Face makes emotion mysteriously crystallize when the backing noises hit each other, and even Boys Boys Boys is strangely affecting in its desperation, in a Boys in Girls in America kind of way. I'm sure I'm giving it too much credit, but I kind of like it. Brown Eyes is just a straight up good song, everything coming together nicely, gelling into a Self-esque pop gem.
But at the end of the day I can't get past the persona, which just seems too designed, and never really commits to an actual personality, point of view or feeling. There's an effort to be Peaches-nasty, but its really watered down. There's an effort to be Madonna-trashy, but even thats watered down. Its all forced, and half-heartedly, it's edgy enough to be titillating to teenage girls, but not so edgy it upsets their parents. Which is exactly the wrong amount of edgy.
Musicwise its thumpy and dancy, but actually a lot more interesting and a lot less predictable than you might expect (though it is, no surprise, hyper produced). The real problem is I just can't get past the sleekly-designed personality on display. I've heard that Lady Gaga simultaneously revels in the trappings of fame, while criticizing their superficiality. That must be on a later album, this one just meekly gestures in those directions for effect 2.5/5
First the good. I really like some of the skwonky synths on this, and some of the songs actually have some heart to them. Poker Face makes emotion mysteriously crystallize when the backing noises hit each other, and even Boys Boys Boys is strangely affecting in its desperation, in a Boys in Girls in America kind of way. I'm sure I'm giving it too much credit, but I kind of like it. Brown Eyes is just a straight up good song, everything coming together nicely, gelling into a Self-esque pop gem.
But at the end of the day I can't get past the persona, which just seems too designed, and never really commits to an actual personality, point of view or feeling. There's an effort to be Peaches-nasty, but its really watered down. There's an effort to be Madonna-trashy, but even thats watered down. Its all forced, and half-heartedly, it's edgy enough to be titillating to teenage girls, but not so edgy it upsets their parents. Which is exactly the wrong amount of edgy.
Musicwise its thumpy and dancy, but actually a lot more interesting and a lot less predictable than you might expect (though it is, no surprise, hyper produced). The real problem is I just can't get past the sleekly-designed personality on display. I've heard that Lady Gaga simultaneously revels in the trappings of fame, while criticizing their superficiality. That must be on a later album, this one just meekly gestures in those directions for effect 2.5/5
Sunday, September 12, 2010
#179 The Books - The Way Out
The last Books album I heard was good enough to also check out their even-newer one too.
Man, its albums like this that make this project tough. So, in case you're wondering, yeah, it still sounds roughly like a Books album. But it also has a really different feel than their other ones - I wonder if I am unfairly hard on them for sounding samey just because they sound so different than anyone else.
On this, their forth album, they focus on samples from a variety of self-help recordings: plenty of calm people providing you with metaphors for wholeness and oneness, promising you a better you. At times its really affecting, when all the synths and beats and cuts and chops really come together. Other times its all a bit gimmicky (lead single Cold Freezin' Night doesn't do anything for me). Sometimes its both: I Am Who I Am actually really rocks, and The Story of Hip Hop somehow transcends its "sampling a children's story about a rabbit that just happens to be named hip hop" gimmick to be one of the best songs on the album.
I'm torn. The way The Books use these samples, they're not quite mocking them, but they're not quite respecting them. At first its just background noise, the random chatter of any Books record, but then the themes return and return and work their way into you, and the effect isn't quite funny, and it isn't quite therapeutic. Its a collage of people's ways of dealing with their weakness, and none of them are right or wrong, though none of them sound like the answer, I'm left feeling hollow but connected.
Its kind of an unpleasant listen - it reminds me of a Paul Thomas Anderson movie, where its heavy or harrowing or otherwise difficult, and you're glad that you've experienced it, and glad it's over. I don't know how many more turns it will get, but with themes as complex as these, and some of the better, more experimental compositions the books have attempted, it seems appropriate to land at about a 4/5
Man, its albums like this that make this project tough. So, in case you're wondering, yeah, it still sounds roughly like a Books album. But it also has a really different feel than their other ones - I wonder if I am unfairly hard on them for sounding samey just because they sound so different than anyone else.
On this, their forth album, they focus on samples from a variety of self-help recordings: plenty of calm people providing you with metaphors for wholeness and oneness, promising you a better you. At times its really affecting, when all the synths and beats and cuts and chops really come together. Other times its all a bit gimmicky (lead single Cold Freezin' Night doesn't do anything for me). Sometimes its both: I Am Who I Am actually really rocks, and The Story of Hip Hop somehow transcends its "sampling a children's story about a rabbit that just happens to be named hip hop" gimmick to be one of the best songs on the album.
I'm torn. The way The Books use these samples, they're not quite mocking them, but they're not quite respecting them. At first its just background noise, the random chatter of any Books record, but then the themes return and return and work their way into you, and the effect isn't quite funny, and it isn't quite therapeutic. Its a collage of people's ways of dealing with their weakness, and none of them are right or wrong, though none of them sound like the answer, I'm left feeling hollow but connected.
Its kind of an unpleasant listen - it reminds me of a Paul Thomas Anderson movie, where its heavy or harrowing or otherwise difficult, and you're glad that you've experienced it, and glad it's over. I don't know how many more turns it will get, but with themes as complex as these, and some of the better, more experimental compositions the books have attempted, it seems appropriate to land at about a 4/5
#178 Frank Sinatra - Songs for Swingin' Lovers
Frankroll, goin go go, this is the next of his Capitol records concept albums, after #177.
You probably know the sound:
"hey here's a line..." [horns go bwabaap]
"and a second line..." [horns go bwababapap]
"and here's the punchline!" [horns go BWABAP! BA! BAP!]
I think you have to be in the right mood for this. Its easy for it to sound tinny and hokey, but if you manage to lower your irony and buy into it, it suddenly becomes pretty damn cool. The singing is obviously excellent, and subtly inflected, its all groove, all swagger. I happened to be in the right mood for this, and it made a nice counterpoint to the morose (but probably better, in the long run) In the Wee Small Hours 3.5/5
You probably know the sound:
"hey here's a line..." [horns go bwabaap]
"and a second line..." [horns go bwababapap]
"and here's the punchline!" [horns go BWABAP! BA! BAP!]
I think you have to be in the right mood for this. Its easy for it to sound tinny and hokey, but if you manage to lower your irony and buy into it, it suddenly becomes pretty damn cool. The singing is obviously excellent, and subtly inflected, its all groove, all swagger. I happened to be in the right mood for this, and it made a nice counterpoint to the morose (but probably better, in the long run) In the Wee Small Hours 3.5/5
Friday, September 10, 2010
#177 Frank Sinatra - In the Wee Small Hours
As I mentioned, I'm on an inexplicable kick to check out some earlier guys I've always liked, but whose albums I've never listened to. Lets start with a real early one.
Its the perfect title for an album full of slow, peaceful songs that echo off night skies. The opener sets sets the pace perfectly, and using a 2nd-person voice to really impart the heartbreak, and the sense of loss doesn't taper off much from there. These songs are present and interesting counterpoint to Johnny Cash's more lovelorn stuff: Johnny was flawed, so his girl left him. Frank never had the girl, he was born alone, with all the hurt built in, platonically heartbroken under infinite starlight. Never listen to this as a breakup album, it will sort of destroy you.
The production's good, and the singing's peerless for what it is. Heck, it even won me over, and I'm not a lyrics guy.
So, I mentioned things fitting perfectly. Perfect title, perfect opener. What I'm really saying is that that all the parts fit, the album's feel is consistent and whole, and it does not stray from it's path, which is its greatest strength and its greatest weakness. By the end, it gets to be a bit much, and Frank starts to lose his cool, sounding a little insufferable in his longing. After 16 tracks, it might be nice to see some progression, or at least some diversions. Still, it does what it does well, and with conviction, which is certainly good enough for 4/5
Its the perfect title for an album full of slow, peaceful songs that echo off night skies. The opener sets sets the pace perfectly, and using a 2nd-person voice to really impart the heartbreak, and the sense of loss doesn't taper off much from there. These songs are present and interesting counterpoint to Johnny Cash's more lovelorn stuff: Johnny was flawed, so his girl left him. Frank never had the girl, he was born alone, with all the hurt built in, platonically heartbroken under infinite starlight. Never listen to this as a breakup album, it will sort of destroy you.
The production's good, and the singing's peerless for what it is. Heck, it even won me over, and I'm not a lyrics guy.
So, I mentioned things fitting perfectly. Perfect title, perfect opener. What I'm really saying is that that all the parts fit, the album's feel is consistent and whole, and it does not stray from it's path, which is its greatest strength and its greatest weakness. By the end, it gets to be a bit much, and Frank starts to lose his cool, sounding a little insufferable in his longing. After 16 tracks, it might be nice to see some progression, or at least some diversions. Still, it does what it does well, and with conviction, which is certainly good enough for 4/5
Thursday, September 9, 2010
#176 Hot Chip - One Life Stand
Man, its amazing what some time off dissertation writing does for my music intake. I'm about to get back to it though, so the entries will likely drop right back off.
Anyway, Hot Chip has a remixes album out, I realized I'd never heard this one, despite really liking a few of their previous songs. They've never really put together an album, front to back, that I really got into though, will this be the one?
Hot Chip's music tempts one to coin compound genre descriptions to describe it, lying as it does somewhere in the overlap of electronic music and the indiest indie around. Indie House? Wimptronica? Technemo? But no! Resist! It is, though, for reference, beat heavy, spare music, drowning in small sentiments and big hearts. Well, maybe the "spare" part doesn't apply any more, cause on this album Hot Chip get busy. The mix is stuffed to the gills with synths, guitars, strings, and unidentifiable Radioheadisms and Enosities, sounding a lot dancier in the process.
It's totally agreeable work music, its busy-ness is all in lockstep grooves and perfectly engineered, but it only transcends that when the sentiment finds, exposes, and strikes nerves. Their previous albums had a couple of these nerve-strikers each (Boy from School, The Warning are standouts), and here we see two more in the form of Brothers and Alley Cats, though they don't quite crush as hard as their ancestors.
Across the board, this is likely to be my favorite Hot Chip album - I tend to prefer business to emptiness, and this album is more interesting front to back. That said, no, this is not finally the Hot Chip album that lives up to the promise of its standouts. I think I just happen to really like a very specific kind of Hot Chip song, and that's not the kind of song they tend to make very many of 3/5
Anyway, Hot Chip has a remixes album out, I realized I'd never heard this one, despite really liking a few of their previous songs. They've never really put together an album, front to back, that I really got into though, will this be the one?
Hot Chip's music tempts one to coin compound genre descriptions to describe it, lying as it does somewhere in the overlap of electronic music and the indiest indie around. Indie House? Wimptronica? Technemo? But no! Resist! It is, though, for reference, beat heavy, spare music, drowning in small sentiments and big hearts. Well, maybe the "spare" part doesn't apply any more, cause on this album Hot Chip get busy. The mix is stuffed to the gills with synths, guitars, strings, and unidentifiable Radioheadisms and Enosities, sounding a lot dancier in the process.
It's totally agreeable work music, its busy-ness is all in lockstep grooves and perfectly engineered, but it only transcends that when the sentiment finds, exposes, and strikes nerves. Their previous albums had a couple of these nerve-strikers each (Boy from School, The Warning are standouts), and here we see two more in the form of Brothers and Alley Cats, though they don't quite crush as hard as their ancestors.
Across the board, this is likely to be my favorite Hot Chip album - I tend to prefer business to emptiness, and this album is more interesting front to back. That said, no, this is not finally the Hot Chip album that lives up to the promise of its standouts. I think I just happen to really like a very specific kind of Hot Chip song, and that's not the kind of song they tend to make very many of 3/5
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