Apparently I'm interested enough in these guys to want to bone up. Hey, they're distinctly listenable, and a welcome reprieve from all the dense rap and arty rock I've been listening to lately.
Let's give it up for following through on an album. With the inanity of the opener and the banality of the next few tracks, I was already writing my review in my head, something along the lines of: "well, I guess that's where I got the idea these guys were a cut-rate STP, this album shows none of Songs for the Deaf's promise". Those first four songs are really uninspiring. But then things open up, get angular, arty, agressive, surprisingly unpredictable. The bass lines get lopy, the vocals get menacing, and the song structures get wily: from the short rock burst of The Quick and the Pointless, to the legitimately proggy closer. Even the party line 90's rock stuff (see: In the Fade) is unusually good.
What a curious experience. Did I just need to get in the mood for this band, or was this the result of a misguided attempt to frontload the album, putting all the shit I didn't like in the beginning? I guess that's the folly of the first-listen approach, I'm just not sure at the time of this wirting. In any case, I can see why this band garnered so much buzz and scored Dave Grohl the way they did: its distinctly 90's sludgy rock, and not much more, but it is done well, with just enough adventurousness and edge to be a big fish in that pond.
As an album-oriented guy though, until I change my mind about the first entire third of the album, I'm being generous with 3.5/5
Saturday, August 28, 2010
#161 Desert Sessions - Volumes 7 and 8
Researching the QotSA guys reveals they had a project where they went out into the California desert and played for friends via lugged-out generators. Which is rad. They recorded a series of albums that were somehow related to this endeavor, so I checked one out.
The easiest way to describe this is that its a more spare 90's stoner version of Queens of the Stone Age (see Alice in Chains, earlier STP), mixed with Ween. Its the off-kilter energy of the latter (without the nigh unlistenability of most actual Ween songs) that keeps things interesting. The mix is much more varied and open here than on Songs for the Deaf, which is liberating, inspiring the desert setting in some intangible way. And maybe most importantly, it sounds like they're having fun. It passes the "is this a band I'd want to be in" test in a way Songs for the Deaf doesn't.
The first half is fairly straightforward, with some driving riffage to it. The second half is where it gets Ween-ey. First there's the nonsensical Interpretive Reading, which pairs horn runs to nowhere, childrens singing, piano runs to nowhere, and the titular reading. Then its sleazy slow jams, bent folk chants, and a pair of curiously brilliant closing tracks, each of which delivers exactly what its title promises. This falls into the category of being listenable, neat, and glad-I-heard-it-inspiring, without instilling any real need to hear it again any time soon, leaving it at a respectable 3.5/5
The easiest way to describe this is that its a more spare 90's stoner version of Queens of the Stone Age (see Alice in Chains, earlier STP), mixed with Ween. Its the off-kilter energy of the latter (without the nigh unlistenability of most actual Ween songs) that keeps things interesting. The mix is much more varied and open here than on Songs for the Deaf, which is liberating, inspiring the desert setting in some intangible way. And maybe most importantly, it sounds like they're having fun. It passes the "is this a band I'd want to be in" test in a way Songs for the Deaf doesn't.
The first half is fairly straightforward, with some driving riffage to it. The second half is where it gets Ween-ey. First there's the nonsensical Interpretive Reading, which pairs horn runs to nowhere, childrens singing, piano runs to nowhere, and the titular reading. Then its sleazy slow jams, bent folk chants, and a pair of curiously brilliant closing tracks, each of which delivers exactly what its title promises. This falls into the category of being listenable, neat, and glad-I-heard-it-inspiring, without instilling any real need to hear it again any time soon, leaving it at a respectable 3.5/5
#160 Queens of the Stone Age - Songs for the Deaf
One David gave me at IBM that I just now found time for.
I think I let Dave Grohl's association with this band, not to mention the distinctly Weilandian quality of the singers voice, lead me to peg this band as a middle-of-the-road stoner hard rock band. I don't think I ever really gave them much of a chance, just assuming they weren't "respectable". Does this make sense? Surely you've done this to a band before.
So what do I think now? Let's say this, if these guys are a middle-of-the-road stoner hard rock band, they're kind of the best one ever. The guitar sound is excellent, the drums propulsive and strong, and the riffs are solid, if not overly inventive. Overall, the band does remind me a lot of the Stone Temple Pilots, and I mean that in a good way. They are good at what they do, with just enough artfulness to keep it interesting.
On the downside, it is a punishing album. The allmusic review makes a good point, that the mix is pushed all the way to the top at all times, with much of the character of the sounds pulled out. It is sort of tiring. But I'd say that its tiring in a rewarding way. I actually think its best listened to as an album, as an endurance test of kinds; the result is cathartic somehow. My main real, actual complaint is the little radio station interludes, which are distracting and annoying, not unlike the skits that pepper hip hop albums. Maybe the whole thing would be unlistenably constant in its volume without them, maybe they're a necessary evil, but I don't love them. Overall, this is a solid album with some good full-leg-foot-tap moments, the epitome of a 4/5
I think I let Dave Grohl's association with this band, not to mention the distinctly Weilandian quality of the singers voice, lead me to peg this band as a middle-of-the-road stoner hard rock band. I don't think I ever really gave them much of a chance, just assuming they weren't "respectable". Does this make sense? Surely you've done this to a band before.
So what do I think now? Let's say this, if these guys are a middle-of-the-road stoner hard rock band, they're kind of the best one ever. The guitar sound is excellent, the drums propulsive and strong, and the riffs are solid, if not overly inventive. Overall, the band does remind me a lot of the Stone Temple Pilots, and I mean that in a good way. They are good at what they do, with just enough artfulness to keep it interesting.
On the downside, it is a punishing album. The allmusic review makes a good point, that the mix is pushed all the way to the top at all times, with much of the character of the sounds pulled out. It is sort of tiring. But I'd say that its tiring in a rewarding way. I actually think its best listened to as an album, as an endurance test of kinds; the result is cathartic somehow. My main real, actual complaint is the little radio station interludes, which are distracting and annoying, not unlike the skits that pepper hip hop albums. Maybe the whole thing would be unlistenably constant in its volume without them, maybe they're a necessary evil, but I don't love them. Overall, this is a solid album with some good full-leg-foot-tap moments, the epitome of a 4/5
Friday, August 27, 2010
#159 Klaxons - Surfing the Void
I liked their first one, it had a bent, elastic kind of energy to it. Also, once again, man, I have had no time for music lately.
For whatever reason this one doesn't move me like the last one. The vocals come across whinier, the hooks not quite as hooky, the album as a whole just not as assertive, and coming across less powerful for it. Also, the tales of psychedelic space adventures just come across limp in the lyrics department. Its enjoyable, if unspectacular, the best bits being textured synth lines of the kind I'm always oh so fond of 3/5
For whatever reason this one doesn't move me like the last one. The vocals come across whinier, the hooks not quite as hooky, the album as a whole just not as assertive, and coming across less powerful for it. Also, the tales of psychedelic space adventures just come across limp in the lyrics department. Its enjoyable, if unspectacular, the best bits being textured synth lines of the kind I'm always oh so fond of 3/5
Monday, August 23, 2010
#158 Binary Star - Waterworld
These guys put out two albums: this one, and then Masters of the Universe, the latter of which was basically just a remixed re-release of the former. Still, I was curious to hear what the progression was.
There are a few differences here:
1) This was apparently recorded on a crazy low budget, and I read all the raps were done in one take. That would explain why MottU sounded so good: these guys put in the time to learn these songs and to do them right. That effort shows. The delivery here is a bit rougher, which lends it some credibility, but at the cost of the percussive perfection that marked the later versions.
2) There is a completely different version of Conquistadors, which appears to be delivered live on the radio. The rapping is incredible, but I did miss the great production on the second version; call it a wash.
3) There are a couple tracks that weren't on MottU, none of which are all that special.
4) The track order is mixed up, with the worst tracks still at the end, but the best tracks less clustered at the very front. The pacing front to back seems a little better.
5) There seem to be less intros, though maybe they're just not split off of the tracks in the same way here.
6) MottU standout Solar Powered wasn't on this album, which is a bummer.
The end result is an album that's about as good as its descendant. Its a bit rougher and misses some of Master of the Universe's highest highs, but is probably more solid front to back. I see no reason to stray from 4.5/5
There are a few differences here:
1) This was apparently recorded on a crazy low budget, and I read all the raps were done in one take. That would explain why MottU sounded so good: these guys put in the time to learn these songs and to do them right. That effort shows. The delivery here is a bit rougher, which lends it some credibility, but at the cost of the percussive perfection that marked the later versions.
2) There is a completely different version of Conquistadors, which appears to be delivered live on the radio. The rapping is incredible, but I did miss the great production on the second version; call it a wash.
3) There are a couple tracks that weren't on MottU, none of which are all that special.
4) The track order is mixed up, with the worst tracks still at the end, but the best tracks less clustered at the very front. The pacing front to back seems a little better.
5) There seem to be less intros, though maybe they're just not split off of the tracks in the same way here.
6) MottU standout Solar Powered wasn't on this album, which is a bummer.
The end result is an album that's about as good as its descendant. Its a bit rougher and misses some of Master of the Universe's highest highs, but is probably more solid front to back. I see no reason to stray from 4.5/5
#157 Danger Mouse and Jemini - Ghetto Pop Life
Kicked around as a good "underground" rap album.
I used to have mixed feelings about Danger Mouse. The Grey Album is goddamned terrible, and everything after Crazy on the Gnarls Barkley album is middling at best. On the other hand, his album with MF Doom was good-to-great, and his work with Jamer Mercer and The Black Keys proved that he can provide whatever a collaboration needs; his touch on the latter was surprisingly subtle. This album might tip the scales for me.
Some rap production aims to stay out of the way of the MC, just providing some scaffolding to rhyme over. The production here is elaborate and assertive; it distinctly does not stay out of the way. It wields the rapping as a part of the mix, not necessarily putting it on a pedestal. This isn't to say the vocals are marginalized, but they're integreated in a way that makes the rapper just one of the tracks. This is maybe an affront to hip hop purists, but just as music? It works, its exciting, well-paced (thought still super long) and complex. As for the actual rapping, its deft, complex, and confident without being obnoxious - all the stuff I like.
It doesn't quite move me as a rap album though, what with all the overproduction it just doesn't have enough personality. And its too busy and noisy to work as anything background music-y. Its good head bobbing, and generally I like it, but for whatever reason it only feels like it should be a 4/5
I used to have mixed feelings about Danger Mouse. The Grey Album is goddamned terrible, and everything after Crazy on the Gnarls Barkley album is middling at best. On the other hand, his album with MF Doom was good-to-great, and his work with Jamer Mercer and The Black Keys proved that he can provide whatever a collaboration needs; his touch on the latter was surprisingly subtle. This album might tip the scales for me.
Some rap production aims to stay out of the way of the MC, just providing some scaffolding to rhyme over. The production here is elaborate and assertive; it distinctly does not stay out of the way. It wields the rapping as a part of the mix, not necessarily putting it on a pedestal. This isn't to say the vocals are marginalized, but they're integreated in a way that makes the rapper just one of the tracks. This is maybe an affront to hip hop purists, but just as music? It works, its exciting, well-paced (thought still super long) and complex. As for the actual rapping, its deft, complex, and confident without being obnoxious - all the stuff I like.
It doesn't quite move me as a rap album though, what with all the overproduction it just doesn't have enough personality. And its too busy and noisy to work as anything background music-y. Its good head bobbing, and generally I like it, but for whatever reason it only feels like it should be a 4/5
#156 Seu Jorge and Almaz - Seu Jorge and Almaz
Reviewed on Dusted. I've been hitting the dissertation writing really hard lately, which just doesn't leave a lot of time for listening to music, so I'm finally slipping from my one-a-day pace. Will keep updating as I can.
The main draw here is Jorge's voice, which is deep, resonant and powerful. The actual music is tropicalia-tinged, but sounds more broadly like 60's rock; more like American psychadelic music from the era than the writhing, horn-laden stuff from Brazil. Most songs are build around a single driving hook, and proceed persistently, its methodical and cool. It almost reminds me of the Velvet Underground, though you won't hear anything that sounds overtly like them here.
Its a pleasant listen, good background music at the right party, but ultimately its pretty unspectacular 3/5
The main draw here is Jorge's voice, which is deep, resonant and powerful. The actual music is tropicalia-tinged, but sounds more broadly like 60's rock; more like American psychadelic music from the era than the writhing, horn-laden stuff from Brazil. Most songs are build around a single driving hook, and proceed persistently, its methodical and cool. It almost reminds me of the Velvet Underground, though you won't hear anything that sounds overtly like them here.
Its a pleasant listen, good background music at the right party, but ultimately its pretty unspectacular 3/5
Friday, August 20, 2010
#155 Cunninlynguists - Southernunderground
Another one that inspired several mentions on 'best underground rap album' lists.
On paper, this should be a front to back winner. The rhyming is complex, and the production's melodic and hooky. The subject matter is only occasionally violent, and the instrumental tracks in particular are groove-laden and well-paced. The spazzy, offbeat production on Falling Down is probably worth a half-point score bump all on its own.
But there's just something intangible I didn't love here. There's something insincere about it, a bit too polished, a bit too scattered in its sentiment. And the delivery just doesn't pop, it sounds like its being read of lyrics sheets without being felt.
Have I earned the right to criticize nuances on such a subtle level? Maybe not, but the fact remains this didn't quite work for me in practice; it lacks energy, lacks truth. Plus, man that's a bad name for a group. With those problems on one hand, and the on-paper-strengths on the other, I feel like its both too generous and too harsh that I end up at 3/5
On paper, this should be a front to back winner. The rhyming is complex, and the production's melodic and hooky. The subject matter is only occasionally violent, and the instrumental tracks in particular are groove-laden and well-paced. The spazzy, offbeat production on Falling Down is probably worth a half-point score bump all on its own.
But there's just something intangible I didn't love here. There's something insincere about it, a bit too polished, a bit too scattered in its sentiment. And the delivery just doesn't pop, it sounds like its being read of lyrics sheets without being felt.
Have I earned the right to criticize nuances on such a subtle level? Maybe not, but the fact remains this didn't quite work for me in practice; it lacks energy, lacks truth. Plus, man that's a bad name for a group. With those problems on one hand, and the on-paper-strengths on the other, I feel like its both too generous and too harsh that I end up at 3/5
Thursday, August 19, 2010
#154 Curren$y - Pilot Talk
Recommended on Pitchfork - I haven't actually gotten one from them in a while!
Another example of the value of this full-album project. The first 4 songs on this album just do nothing for me, the production is spare, the subject matter aimlessly self-aggrandizing. Normally, I probably would have just given up, but then at track 5 it just turns into a whole different album and runs strong the rest of the way through. The production turns very madlib, lots of bent soft jazz and steely-dan smoothness that works strangely well alongside the laid-back rapping about drinking, smoking, playing video games, chilling out and general everyday occurrences. Its relateable without being gimmicky. The actual rapping is simultaneously tight and swung, and it largely works.
Does it blow me away? Nah, there's nothing altogether groundbreaking here, but its enjoyable, listenable and interesting enough for 4/5
Another example of the value of this full-album project. The first 4 songs on this album just do nothing for me, the production is spare, the subject matter aimlessly self-aggrandizing. Normally, I probably would have just given up, but then at track 5 it just turns into a whole different album and runs strong the rest of the way through. The production turns very madlib, lots of bent soft jazz and steely-dan smoothness that works strangely well alongside the laid-back rapping about drinking, smoking, playing video games, chilling out and general everyday occurrences. Its relateable without being gimmicky. The actual rapping is simultaneously tight and swung, and it largely works.
Does it blow me away? Nah, there's nothing altogether groundbreaking here, but its enjoyable, listenable and interesting enough for 4/5
Saturday, August 14, 2010
#153 Gun Outfit - Possession Sound
Reviewed on Dusted.
I think the only reason I made it all the way through this is I was playing Minecraft while I listened to it. It is insanely boring. These guys sound like Pavement, with all the tuneless singing and none of the seething rage and hooky guitars. Alternately, like Sonic youth, with all the tuneless singing and repetitive arty-chord strumming, but none of the actual artfulness and textured force. The drumming is enjoyable at times, and there are some good guitar tricks, but this guy simply doesn't pull off the post-punk (this time I mean it the real way! I think!) disinterested thing for me. Maybe I didn't give this the proper attention, maybe I shouldn't try to do new listens while I play that (strangely engaging) game. Consider that a grain of salt to take be taken with my 2/5
I think the only reason I made it all the way through this is I was playing Minecraft while I listened to it. It is insanely boring. These guys sound like Pavement, with all the tuneless singing and none of the seething rage and hooky guitars. Alternately, like Sonic youth, with all the tuneless singing and repetitive arty-chord strumming, but none of the actual artfulness and textured force. The drumming is enjoyable at times, and there are some good guitar tricks, but this guy simply doesn't pull off the post-punk (this time I mean it the real way! I think!) disinterested thing for me. Maybe I didn't give this the proper attention, maybe I shouldn't try to do new listens while I play that (strangely engaging) game. Consider that a grain of salt to take be taken with my 2/5
#152 The Go-Betweens - 16 Lovers Lane
Another band from the latest Believer, this time in interview form. It bears mentioning this was the music issue, so it inspired more bands than usual.
This just isn't for me. Its kind of late 80's indie-esque rock, sweet, occaisionally pretty, but ultimately watery and uninteresting. It sounds like a bit like REM, Belle and Sebastien, u2's ballady stuff, and The Smiths, but sort of watery, uninteresting versions of each. I'm not going to make this more complicated than it needs to be: there's some nice lines here and there, some pleasant melodies, but this is at its core strummy, slow paced lovestruck pop that I don't have much use for 2/5
This just isn't for me. Its kind of late 80's indie-esque rock, sweet, occaisionally pretty, but ultimately watery and uninteresting. It sounds like a bit like REM, Belle and Sebastien, u2's ballady stuff, and The Smiths, but sort of watery, uninteresting versions of each. I'm not going to make this more complicated than it needs to be: there's some nice lines here and there, some pleasant melodies, but this is at its core strummy, slow paced lovestruck pop that I don't have much use for 2/5
Wednesday, August 11, 2010
#151 Grasscut - 1 Inch / 1/2 Mile
Read about this on Dusted, listened to the sample track about 3 times, was intrigued, was looking forward to hearing this.
This album kind of blows me away. It's electronic pop, but it's more accurately super brokedown, truly experimental, utterly otherworldly, occasionally gorgeous barely-pop. Some of the more rock-oriented songs sound like Menomena, and toy with beats and patterns in a similar ways. But other songs sound more like glitch, or fine-grained cut-and-paste composition on the order of The Books. And I know I use M83 as a reference point far too often, but some of these songs evoke that band's bigger-than-the-sky grandeur. Actually, the songs all sound very different from eachother, but there's still a thread running through them; it's like tripping through different dimensions with the same partner. In that way, it kind reminds me of The Olivia Tremor Control's psychedelic masterpieces of place.
Grasscut is apparently a collaboration between a film and television composer and his bass player buddy, which explains 1 Inch / 1/2 Mile's evocative expertise, but there's enough catchy pop moments to keep it give it form, and to keep it from being background music. It's a contradiction of strangeness and listenability.
Its other contradiction is the fact that this sounds very modern, in the sense that it is highly experimental and electronic, but it also sounds impossibly old. Tracks like 1946 and the crushing closer In Her Pride crack with tape hiss, croak with aged voices, creak with accents from old worlds, and are filled with rushing sound like time itself. The Tin Man gives me a chill, listen to it with headphones. Really, listen to all these songs with headphones.
This is an exciting album that I can barely get my head around. I'm excited about it the way I was when I first heard Who Will Cut our Hair When We're Gone, Kid A and Night Ripper, and those are 3 of my 4 favorite albums of the last decade. Now, it won't live up to those credentials, and maybe it won't hold up at all to repeated listens, but it sounds so original, so not-quite-like-anything-I've-ever-heard, and I feel like that never happens to me anymore. On a blog dedicated to first impressions, this is an easy 5/5
This album kind of blows me away. It's electronic pop, but it's more accurately super brokedown, truly experimental, utterly otherworldly, occasionally gorgeous barely-pop. Some of the more rock-oriented songs sound like Menomena, and toy with beats and patterns in a similar ways. But other songs sound more like glitch, or fine-grained cut-and-paste composition on the order of The Books. And I know I use M83 as a reference point far too often, but some of these songs evoke that band's bigger-than-the-sky grandeur. Actually, the songs all sound very different from eachother, but there's still a thread running through them; it's like tripping through different dimensions with the same partner. In that way, it kind reminds me of The Olivia Tremor Control's psychedelic masterpieces of place.
Grasscut is apparently a collaboration between a film and television composer and his bass player buddy, which explains 1 Inch / 1/2 Mile's evocative expertise, but there's enough catchy pop moments to keep it give it form, and to keep it from being background music. It's a contradiction of strangeness and listenability.
Its other contradiction is the fact that this sounds very modern, in the sense that it is highly experimental and electronic, but it also sounds impossibly old. Tracks like 1946 and the crushing closer In Her Pride crack with tape hiss, croak with aged voices, creak with accents from old worlds, and are filled with rushing sound like time itself. The Tin Man gives me a chill, listen to it with headphones. Really, listen to all these songs with headphones.
This is an exciting album that I can barely get my head around. I'm excited about it the way I was when I first heard Who Will Cut our Hair When We're Gone, Kid A and Night Ripper, and those are 3 of my 4 favorite albums of the last decade. Now, it won't live up to those credentials, and maybe it won't hold up at all to repeated listens, but it sounds so original, so not-quite-like-anything-I've-ever-heard, and I feel like that never happens to me anymore. On a blog dedicated to first impressions, this is an easy 5/5
#150 Rjd2 - Deadringer
Once again, part of my underground hip-hop list-scouring.
I think I had Rjd2 recommended to me back in the day, but a) I don't think my tastes were up for this then; and b) this was back when I was getting my music a track at a time, and I only heard a couple songs. This works far better as an album.
There's 3 kinds of songs on here:
There was something hacky about this that I couldn't put my finger on though. It felt a bit slick on my first listen. Maybe it's because its approach to mining old soul, blues and pre-blues for samples reminds me of Moby's Play - which in turn evokes that album's overslickness*. That seems a little ridiculous now that I write it out, but hey, that's what came to mind. Maybe I'll get over it and accept that this was a thoroughly enjoyable listen. Certainly good enough for a 4/5
* For the record, despite its overslickness, I still like Play.
I think I had Rjd2 recommended to me back in the day, but a) I don't think my tastes were up for this then; and b) this was back when I was getting my music a track at a time, and I only heard a couple songs. This works far better as an album.
There's 3 kinds of songs on here:
- Atmospheric Endtroducing-esque tracks. I'd be shocked if this album wasn't influenced by DJ Shadow, it has a similar approaches to beats, to lurking strings, to vocal samples, to mood and atmosphere.
- Full-on rap tracks, which are decent.
- Fatboy Sliim-esque sample-composed pop songs, which are actually some of the highlights here. There's good energy.
There was something hacky about this that I couldn't put my finger on though. It felt a bit slick on my first listen. Maybe it's because its approach to mining old soul, blues and pre-blues for samples reminds me of Moby's Play - which in turn evokes that album's overslickness*. That seems a little ridiculous now that I write it out, but hey, that's what came to mind. Maybe I'll get over it and accept that this was a thoroughly enjoyable listen. Certainly good enough for a 4/5
* For the record, despite its overslickness, I still like Play.
Monday, August 9, 2010
#149 Boards of Canada - The Campfire Headphase
Again, I'm not sure what inspired this, I think someoneeranother recommended it. Anyway, its the only Boards of Canada album I haven't heard (though I'm only really familiar with Geogaddi).
Firstly, yes, this sounds like a BoC album, in that it has otherworldly synths whispering under the surface, and a curious aliveness and frailty to it. As an illustration, I had a small pang of regret, as if snuffing out a life, when deleting a class from my Eclipse workspace while I listened to this.
There are three big changes: 1) a move to guitars (picked at, no chords, just as something to provide a different texture than synth arpeggios); 2) a lack of the warped vocals that peppered Geogaddi; and 3) a move to more repetitive songs, less aggressively broken up, more honed for meditative listenability. It actually sounds at times less like IDM, and more like krautrock/post-rock. I love when these little synergies pop up. The repetition, experimentalism, and time-stretching it evokes actually remind me of Can at times.
That said, the comparison only really applies relative to other Boards of Canada stuff. It is still very swirly, subtle and somehow organic despite being, say, as a wild guess, 85% electronic. Its just more listener friendly, less adventurous, and less bent on proving how adventurous it is than their previous stuff. I have to admit, I never listen to Geogaddi. Its brilliant in some ways, but its not a pleasant listen, and The Campfire Headphase's hypnotic quality actually makes it more likely to find its way back into my headphones 3.5/5
Firstly, yes, this sounds like a BoC album, in that it has otherworldly synths whispering under the surface, and a curious aliveness and frailty to it. As an illustration, I had a small pang of regret, as if snuffing out a life, when deleting a class from my Eclipse workspace while I listened to this.
There are three big changes: 1) a move to guitars (picked at, no chords, just as something to provide a different texture than synth arpeggios); 2) a lack of the warped vocals that peppered Geogaddi; and 3) a move to more repetitive songs, less aggressively broken up, more honed for meditative listenability. It actually sounds at times less like IDM, and more like krautrock/post-rock. I love when these little synergies pop up. The repetition, experimentalism, and time-stretching it evokes actually remind me of Can at times.
That said, the comparison only really applies relative to other Boards of Canada stuff. It is still very swirly, subtle and somehow organic despite being, say, as a wild guess, 85% electronic. Its just more listener friendly, less adventurous, and less bent on proving how adventurous it is than their previous stuff. I have to admit, I never listen to Geogaddi. Its brilliant in some ways, but its not a pleasant listen, and The Campfire Headphase's hypnotic quality actually makes it more likely to find its way back into my headphones 3.5/5
#148 Soulwax - Nite Versions
Might have heard about this on the same boards that mentioned the recent hip hop albums, but that seems unlikely. I'm not sure where this came from.
I kind of like this, but I kind of think its crap. Its all maximalist techno, with big, big buzzy synth loops, crisp, simple beats and the occasional rhythmically shouted declaration of purpose. It sounds like a trashier, less focused Justice, but with more of a party flavor, more of a Girl-Talkian shamelessness in attacking your pleasure centers. Does it work? Sometimes. Its at its best when it breaks the synths open rather than just letting them loop, highlights include the overloaded rising buzz of Miserable Girl and the DFA cracks in I Love Techno. I'm also a sucker for the reference-listing of Teachers (in the spirit of Losing my Edge and Fumbling Over Words that Rhyme, just need 7 or so more and I can make a whole mix that's nothing but the names of bands).
Too many songs are just too straightforward though, and the vocal samples are so cheesy as to almost be parody. I'm a bit torn. But my gut is that while I like moments of this, I don't love it better than 3/5
I kind of like this, but I kind of think its crap. Its all maximalist techno, with big, big buzzy synth loops, crisp, simple beats and the occasional rhythmically shouted declaration of purpose. It sounds like a trashier, less focused Justice, but with more of a party flavor, more of a Girl-Talkian shamelessness in attacking your pleasure centers. Does it work? Sometimes. Its at its best when it breaks the synths open rather than just letting them loop, highlights include the overloaded rising buzz of Miserable Girl and the DFA cracks in I Love Techno. I'm also a sucker for the reference-listing of Teachers (in the spirit of Losing my Edge and Fumbling Over Words that Rhyme, just need 7 or so more and I can make a whole mix that's nothing but the names of bands).
Too many songs are just too straightforward though, and the vocal samples are so cheesy as to almost be parody. I'm a bit torn. But my gut is that while I like moments of this, I don't love it better than 3/5
Sunday, August 8, 2010
#147 Daedelus - Exquisite Corpse
Another well regarded "underground" hip hop album, plus I liked his work with Busdriver and Radioinactive, and he's down with monome, so I'm down with that.
Background: Exquisite Corpse is a drawing game where each player, in turn, draws a part of a person/animal/monster without being able to see the other players' parts. The result is a dadaist, absurd mishmash, and its a choice title for a leftfield, sample-heavy album like this one. The samples bend, buzz, break erratically. Different tracks use different tricks in different combinations. There's groove here and there, but it's burbling about, gasping to the surface of a chaotic mix.
Like a drawing created by committee, its not overly cohesive. Its unknowable, hard to take in. But there's so many flourishes here and there, strokes in foreign hands, that it demands a closer look, and there seem to be hidden patterns around every corner.
The highlights are collaborations, including an uncharacteristically fast couple of verses from the usually-laconic Doom, a Jogger remix, and a Prefuse 73 collab that makes you immediately go "this kind of sounds like Prefuse". This doesn't have the sharpness of Prefuse across the board, and is mixed a bit cottoney (not unlike the Deltron 3030 album, see below), but still I'm intrigued. I suspect that all the twists and turns will help it grow on me, its an album that you can listen to in the background but that rewards your full attention. It reminds me of Endtroducing a bit; it won't reach that album's inexplicable heights, but its a good sign 4/5
Background: Exquisite Corpse is a drawing game where each player, in turn, draws a part of a person/animal/monster without being able to see the other players' parts. The result is a dadaist, absurd mishmash, and its a choice title for a leftfield, sample-heavy album like this one. The samples bend, buzz, break erratically. Different tracks use different tricks in different combinations. There's groove here and there, but it's burbling about, gasping to the surface of a chaotic mix.
Like a drawing created by committee, its not overly cohesive. Its unknowable, hard to take in. But there's so many flourishes here and there, strokes in foreign hands, that it demands a closer look, and there seem to be hidden patterns around every corner.
The highlights are collaborations, including an uncharacteristically fast couple of verses from the usually-laconic Doom, a Jogger remix, and a Prefuse 73 collab that makes you immediately go "this kind of sounds like Prefuse". This doesn't have the sharpness of Prefuse across the board, and is mixed a bit cottoney (not unlike the Deltron 3030 album, see below), but still I'm intrigued. I suspect that all the twists and turns will help it grow on me, its an album that you can listen to in the background but that rewards your full attention. It reminds me of Endtroducing a bit; it won't reach that album's inexplicable heights, but its a good sign 4/5
#146 Neu! - Neu! '75
The other widely-well-regarded Neu! album.
This is a lot less experimental than their first one, more bouncily propulsive in its Motorik aesthetic, sounding more like instrumental Velvet Undergound and less like something that took that blueprint in exciting new directions. There's also some vocals here, which sometimes doesn't work (Hero) and sometimes kind of does (proto-Primal Scream raveup closer After Eight).
The one thing this one has going for it is that it actually does sound (in the Motorik style) like it would be great long drive music. I must not forget this fact the next time I go on such a drive. If I end up having to move my shit to a new job soon, this album will surely be brought along. But barring that, its not interesting enough compared to their debut or, say, Tago Mago to get a lot of those listening time, nor is it propulsive enough for work music. Its actually a bit forgettable, almost ambient. Maybe I'm already jaded the style. One exception is Leb Wohl, whose atmospherics are enchanting in a Yo La Tengo sort of way. Until the day this blows me away on some long drive, this is relegated to 2nd tier Krautrock, which is still good for 3/5
This is a lot less experimental than their first one, more bouncily propulsive in its Motorik aesthetic, sounding more like instrumental Velvet Undergound and less like something that took that blueprint in exciting new directions. There's also some vocals here, which sometimes doesn't work (Hero) and sometimes kind of does (proto-Primal Scream raveup closer After Eight).
The one thing this one has going for it is that it actually does sound (in the Motorik style) like it would be great long drive music. I must not forget this fact the next time I go on such a drive. If I end up having to move my shit to a new job soon, this album will surely be brought along. But barring that, its not interesting enough compared to their debut or, say, Tago Mago to get a lot of those listening time, nor is it propulsive enough for work music. Its actually a bit forgettable, almost ambient. Maybe I'm already jaded the style. One exception is Leb Wohl, whose atmospherics are enchanting in a Yo La Tengo sort of way. Until the day this blows me away on some long drive, this is relegated to 2nd tier Krautrock, which is still good for 3/5
#145 Pursuit Grooves - Fox Trot Mannerisms
Reviewed on dusted.
I have a soft spot for chopped up samples, like those crafted by Mouse on Mars, Jason Forrest and (especially!) Prefuse 73. These 7 tracks take the basic principle of harshly cut loops in a variety of directions, evoking IDM, electro, instrumental hip hop and more experimental, Books-esque soundscapes in turn. The result never quite settles into anything head-bobbing, never ends up quite mindblowing in its experimentalism, but its a totally worthwhile once-through listen, interesting without being unpleasant. Its actually a blessing that this is so short, I feel like what is intriguing at half an hour would have been grating at an hour. Highlights include the warped grooves of Cosy, the start-stop piano riffs of Pressure, and DJ Shadow-esque Pumpkins-obscurity-Cupid-de-Locke-sampling Whisper 3.5/5
I have a soft spot for chopped up samples, like those crafted by Mouse on Mars, Jason Forrest and (especially!) Prefuse 73. These 7 tracks take the basic principle of harshly cut loops in a variety of directions, evoking IDM, electro, instrumental hip hop and more experimental, Books-esque soundscapes in turn. The result never quite settles into anything head-bobbing, never ends up quite mindblowing in its experimentalism, but its a totally worthwhile once-through listen, interesting without being unpleasant. Its actually a blessing that this is so short, I feel like what is intriguing at half an hour would have been grating at an hour. Highlights include the warped grooves of Cosy, the start-stop piano riffs of Pressure, and DJ Shadow-esque Pumpkins-obscurity-Cupid-de-Locke-sampling Whisper 3.5/5
Saturday, August 7, 2010
#144 Deltron 3030 - Deltron 3030
Again, from the "underground" best-of lists.
For reference, the rapper is the guy who would later be in Gorillaz (and then, later still, barely be in Gorillaz at all) and the first thing I noticed is that he works better in small doses. His lurching, low-frequency-oscillator approach makes for a great interlude, but going on for an hour or so, it gets old.
There's also something just vaguely off about this album. Something about the way its mixed is stuffy and claustrophobic. Maybe there's not enough variation in the volume because the production is so dense, and Del's lumbering rapping doesn't give you any room to breathe.
Speaking of which, I don't mean to be a rap snob, but the whole thing smells of punch-ins. There's no natural eb and flow to the rapping, it sounds like verses cut and pasted together, even on a fine level. Del raps and raps tirelessly, but it doesn't feel earned somehow. Its like Episode 1, with its characters from different takes talking to each other across composited borders, you can't point out what's wrong with it, on paper everything is in order, but it feels funny, soulless somehow.
That said, weirdly, I started to like the last 40% or so better. The turning point is Meet Cleofis Fandolph The Patriarch, which I think is maybe supposed to be humorously bad, but is an awesome, mad Busdriver-esque lilting rant, which leads into the Damon-featuring Time Keeps on Slipping, which shows why Gorillaz was always meant to be. Then Battlesong, and its slippery rap-as-combat metaphysics, is actually a lot of fun. I think that's the key, the album finally starts having fun with itself instead of being so bleak and heavy-handed about its dystopian distant future. Maybe I was just finally getting the feel for the album, and will like the whole of it better next time? We'll see, for now, those last two acts at least earn it 3/5
For reference, the rapper is the guy who would later be in Gorillaz (and then, later still, barely be in Gorillaz at all) and the first thing I noticed is that he works better in small doses. His lurching, low-frequency-oscillator approach makes for a great interlude, but going on for an hour or so, it gets old.
There's also something just vaguely off about this album. Something about the way its mixed is stuffy and claustrophobic. Maybe there's not enough variation in the volume because the production is so dense, and Del's lumbering rapping doesn't give you any room to breathe.
Speaking of which, I don't mean to be a rap snob, but the whole thing smells of punch-ins. There's no natural eb and flow to the rapping, it sounds like verses cut and pasted together, even on a fine level. Del raps and raps tirelessly, but it doesn't feel earned somehow. Its like Episode 1, with its characters from different takes talking to each other across composited borders, you can't point out what's wrong with it, on paper everything is in order, but it feels funny, soulless somehow.
That said, weirdly, I started to like the last 40% or so better. The turning point is Meet Cleofis Fandolph The Patriarch, which I think is maybe supposed to be humorously bad, but is an awesome, mad Busdriver-esque lilting rant, which leads into the Damon-featuring Time Keeps on Slipping, which shows why Gorillaz was always meant to be. Then Battlesong, and its slippery rap-as-combat metaphysics, is actually a lot of fun. I think that's the key, the album finally starts having fun with itself instead of being so bleak and heavy-handed about its dystopian distant future. Maybe I was just finally getting the feel for the album, and will like the whole of it better next time? We'll see, for now, those last two acts at least earn it 3/5
#143 Binary Star - Masters of the Universe
I've pretty much heard all the consensus top 20 rap albums of all time by now, so I did some searches for some people's lists of "underground" rap albums; this was one that came up more than once.
The first 6 tracks on this album are unbelievable; this is the strongest-starting rap album I've ever heard. I must have thought to myself "this is everything I want from rap" at least once during each of the 4 non-interlude tracks that make up those first 6. The rhyming is dexterous and fluid and complex and effortless. One of the two MC's has a knack for delivering vowels utterly percussively, giving vowel-oriented rhymes a whip-snap staccato most people need consonants for. It changes the whole approach. The words themselves are clever and unpredictable, featuring a dozen witty similes a song, while the delivery is assertive, bordering on aggressive, without tipping into violence. Finally, the production is hooky, head bobbing, and atmospheric, worthy of instrumental hip hop. There are choruses, but they're only used twice per track, and they're surprisingly good. I've gone back to those tracks 3 times each before I even had time to write this. Really good.
As you might have guessed, the album doesn't quite live up to that level for its duration. Tracks 7 to 11 get more repetitive, with more party rap choruses, which I don't love. And then Indy 500 is a manifesto that falls flat, and Evolution of Man's 6 minute "intro" is aimless and weird. Though, as a pacing move, it does provide a nice aside on this long album. The rest falls somewhere in the middle, a bit longwinded, less propulsive, but featuring some great rapping and production.
Where does that leave us? Well, at worst its 4 great songs, followed by a decent album. If the rest of that album ends up growing on me (and it will have that chance), this will be the kind of album I keep spring-loaded to recommend to people. I'm very tempted to 5 it, but I think I'm just too seduced by that opening salvo. As an album, its still good for 4.5/5
The first 6 tracks on this album are unbelievable; this is the strongest-starting rap album I've ever heard. I must have thought to myself "this is everything I want from rap" at least once during each of the 4 non-interlude tracks that make up those first 6. The rhyming is dexterous and fluid and complex and effortless. One of the two MC's has a knack for delivering vowels utterly percussively, giving vowel-oriented rhymes a whip-snap staccato most people need consonants for. It changes the whole approach. The words themselves are clever and unpredictable, featuring a dozen witty similes a song, while the delivery is assertive, bordering on aggressive, without tipping into violence. Finally, the production is hooky, head bobbing, and atmospheric, worthy of instrumental hip hop. There are choruses, but they're only used twice per track, and they're surprisingly good. I've gone back to those tracks 3 times each before I even had time to write this. Really good.
As you might have guessed, the album doesn't quite live up to that level for its duration. Tracks 7 to 11 get more repetitive, with more party rap choruses, which I don't love. And then Indy 500 is a manifesto that falls flat, and Evolution of Man's 6 minute "intro" is aimless and weird. Though, as a pacing move, it does provide a nice aside on this long album. The rest falls somewhere in the middle, a bit longwinded, less propulsive, but featuring some great rapping and production.
Where does that leave us? Well, at worst its 4 great songs, followed by a decent album. If the rest of that album ends up growing on me (and it will have that chance), this will be the kind of album I keep spring-loaded to recommend to people. I'm very tempted to 5 it, but I think I'm just too seduced by that opening salvo. As an album, its still good for 4.5/5
Wednesday, August 4, 2010
#142 Arcade Fire - The Suburbs
Its the new Arcade Fire, so that was an easy choice.
Man, what an epic monolith of an album. Its as sprawling, daunting and unknowable as the suburbs at 3 am, driven through aimlessly in the fits of a mild existential crisis. Clocking in at 16 tracks and well over an hour, with two 2-part songs and a [trackname](continued) track, its a daunting beast, and its all desperation, resignation, raging, regret, acceptance and bursting joy.
The opener absolutely rips the doors off, with some of the best production I've heard in years, and the energy, texture, melodrama and hooks are abundant thereafter. I remained enthralled for the first third, though then a little exhausted into the second third. I finished the last third in a separate session, and wasn't quite sure how to feel about it without the listening momentum behind me, though those last two songs undeniably close with soul-crush to spare.
I think its definitely going to be a full-album-listen kind of album, but as I've hinted, that's not going to be an easy listen, certainly not as easy as, say, Funeral, OK Computer, or Apologies to the Queen Mary*. It also reminds reminds me of The Glow Pt. 2 in some ways: a tough, existential, potentially rewarding one to push though, though a much, much easier go than The Glow Pt. 2. That thing's a legend in the best and worst ways.
I think this one will either get its hooks in me or not, and it will either be a top 3 album of the year, or not make the list at all. For now, I'm going to hedge a bit with a 4/5
* I have a theory that once you get past 10 tracks, every track you add adds to the endurance needed non-linearly, but that's for another day.
Man, what an epic monolith of an album. Its as sprawling, daunting and unknowable as the suburbs at 3 am, driven through aimlessly in the fits of a mild existential crisis. Clocking in at 16 tracks and well over an hour, with two 2-part songs and a [trackname](continued) track, its a daunting beast, and its all desperation, resignation, raging, regret, acceptance and bursting joy.
The opener absolutely rips the doors off, with some of the best production I've heard in years, and the energy, texture, melodrama and hooks are abundant thereafter. I remained enthralled for the first third, though then a little exhausted into the second third. I finished the last third in a separate session, and wasn't quite sure how to feel about it without the listening momentum behind me, though those last two songs undeniably close with soul-crush to spare.
I think its definitely going to be a full-album-listen kind of album, but as I've hinted, that's not going to be an easy listen, certainly not as easy as, say, Funeral, OK Computer, or Apologies to the Queen Mary*. It also reminds reminds me of The Glow Pt. 2 in some ways: a tough, existential, potentially rewarding one to push though, though a much, much easier go than The Glow Pt. 2. That thing's a legend in the best and worst ways.
I think this one will either get its hooks in me or not, and it will either be a top 3 album of the year, or not make the list at all. For now, I'm going to hedge a bit with a 4/5
* I have a theory that once you get past 10 tracks, every track you add adds to the endurance needed non-linearly, but that's for another day.
Tuesday, August 3, 2010
#141 Nostalgia 77 - Everything Under the Sun
Indirectly recommended by Nicole via facebook.
A quick spot of research reveals that people are comparing this to a whole variety of musical styles and genres, but I don't see any need to complicate things all that much. To me it sounds like jazz, like The Budos Band or Soul Coughing would sound if they made a jazz album. I can't tell if that makes my point or undermines it. Maybe its just a rock album with horn solos and jazz instrumentation.
Regardless. The main draw here, for me, is the bass sound. That meaty, driving upright bass sound that singlehandedly makes me namedrop Soul Coughing. The singing mostly doesn't move me, though the herky-jerky lyrics on Stop to Make a Change are sort of awesome. The horns don't move me because, well, for the most part, horns don't tend to move me unless they're used in the Rock Way. Its really that bass that keeps me interested at all. That and I really like the Bromst-esque piano runs on the title track.
I think to really love this album you need to get sucked in by the singer, and I'm just not. In absence of that, I don't see this being a repeat listen for me, though Wildflower, Everything Under the Sun and Aurora intrigue me enough for 3/5
A quick spot of research reveals that people are comparing this to a whole variety of musical styles and genres, but I don't see any need to complicate things all that much. To me it sounds like jazz, like The Budos Band or Soul Coughing would sound if they made a jazz album. I can't tell if that makes my point or undermines it. Maybe its just a rock album with horn solos and jazz instrumentation.
Regardless. The main draw here, for me, is the bass sound. That meaty, driving upright bass sound that singlehandedly makes me namedrop Soul Coughing. The singing mostly doesn't move me, though the herky-jerky lyrics on Stop to Make a Change are sort of awesome. The horns don't move me because, well, for the most part, horns don't tend to move me unless they're used in the Rock Way. Its really that bass that keeps me interested at all. That and I really like the Bromst-esque piano runs on the title track.
I think to really love this album you need to get sucked in by the singer, and I'm just not. In absence of that, I don't see this being a repeat listen for me, though Wildflower, Everything Under the Sun and Aurora intrigue me enough for 3/5
Sunday, August 1, 2010
#140 Can - Tago Mago
Continuing on something of a Krautrock kick. I first heard of Can via an (excellenct) cover Radiohead did at a show at the shoreline, and while I know I've heard Ege Bamyasi, I have little memory of it.
This more or less fits what I've come to expect from Krautrock, very long songs, sparse instrumentation, a general sense of space, built up over time through ambient tones and repetitive jamming. What's harder to put my finger on is why its so good. I can certainly see the influence on Radiohead and Liars, two bands with no small degree of mastery over making a song work via the details between the notes.
The weird thing about it is (though I'm sure plenty of people would disagree with me on this) it doesn't come across as pretentious. The songs are long, there's disregard for pop appeal, the singing descends into chanting, and songs ascend into tribal raveups. But somehow I didn't get the impression that it was trying to impress me with how arty it is; it just is what it is. It seems outside of music in ways the best Radiohead and Beatles songs do. It is patient, occasionally catchy, and it is alive in subtle ways. I don't know if I'm just getting swept up in the hype around this band, which is much acclaimed in certain circles, but I found that the 77 or so minutes of music went down surprisingly easily, and left me excited instead of bored 4.5/5
This more or less fits what I've come to expect from Krautrock, very long songs, sparse instrumentation, a general sense of space, built up over time through ambient tones and repetitive jamming. What's harder to put my finger on is why its so good. I can certainly see the influence on Radiohead and Liars, two bands with no small degree of mastery over making a song work via the details between the notes.
The weird thing about it is (though I'm sure plenty of people would disagree with me on this) it doesn't come across as pretentious. The songs are long, there's disregard for pop appeal, the singing descends into chanting, and songs ascend into tribal raveups. But somehow I didn't get the impression that it was trying to impress me with how arty it is; it just is what it is. It seems outside of music in ways the best Radiohead and Beatles songs do. It is patient, occasionally catchy, and it is alive in subtle ways. I don't know if I'm just getting swept up in the hype around this band, which is much acclaimed in certain circles, but I found that the 77 or so minutes of music went down surprisingly easily, and left me excited instead of bored 4.5/5
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