That was a great two week vacation. Like every Holiday season, I spent a large chunk of that time reading year-end top ten lists and buying copious amounts of new music. Actually, I could not buy anything else for about 3 months and still have plenty of music to write about. That isn't going to happen though, since January brings us new albums by Bruce Springsteen (January 27), Franz Ferdinand (January 27), and Antony and the Johnsons (January 20). That's pretty amazing as far as January goes.
After seeing it show up on about a dozen year-end lists, I picked up the debut album by Santogold. I'm glad I bought it before I flew back home because it gave me a chance to give it a few listens before judging it. At first listen, its half M.I.A. ripoff and half Karen O ripoff. After several listens, that's still true, but at least the songs are catchy and memorable.
"L.E.S. Artistes" seems to be universally beloved, but it really isn't one of the high points here. The keyboard touches don't really vary it much from what the Yeah Yeah Yeahs have already done better. "You'll Find A Way" is more fun with its surf-punk guitars and shouted chorus. With "Shove It", she takes a sharp turn into reggae dancehall territory, which leads up to the M.I.A. mimicking "Creator". As far as first half of debuts go, the diversity here is outstanding.
Unfortunately, the album falters in quality after that. The new-wave pop of "Lights Out" is the exception - this one should hit the radio or at least be used in a corny love scene in a prime time show.
Not a great album, but a notable one and definitely an artist to watch in the future.
In a few days, I'll rant about how I love MGMT and how I'm an idiot for not buying that album six months ago. Happy New Year.
Monday, December 29, 2008
Saturday, December 13, 2008
20 Best Albums of the Year (Part 2)
10. Lil Wayne - Carter III: It's easy to call this album overexposed - it pretty much owned pop radio this year. Hip-hop has produced several creative and well-hyped records this decade, but something has to be said for selling a million CDs in a week even though CD sales are dying across the board. "A Milli" is a classic lesson in free-form word association and"Mrs. Officer" is the kind of mindless fun the radio used to play, but the album really shines when it moves into experimental territory such as "Dr. Carter" and "Phone Home". Even if you're worn out on him this year, this is a hip-hop album that people will be playing years from now.
9. Shearwater - Rook: Jonathan Meiburg's Shearwater is no longer an Okkervil River side project - it deserves to be its own band. Rook is an album that seems to celebrate desolation. It's best songs are not rock songs at all: "Leviathan Bound" and "The Snow Leopard" are based on spare pianos and harpsichords. But what really makes this album special is Meiburg's voice. his Buckley-esqe opera howl gives emotional weight to these songs that is unparalleled in most of this year's indie rock. Plus, it's nice to see an art-rock project last only 35 minutes.
8. Coldplay - Viva La Vida: Yes Chris Martin, smite the haters! Make an artsy world-beat tinged album and get it played day and night on the radio! Yes, there are parts that don't hold together, but there are also moments like "Lost?", a tribal organ-driven gospel rock track that makes spiritual emptiness sound beautiful. The lyrics are more pretentious than ever - Chris sings about meeting God in a cemetery and walking the streets he used to own - but is trying to be the next U2 really a bad thing? I still don't think they've made their masterpiece, but their status as the world's biggest band is safe for a few more years.
7. Q-Tip - The Renaissance: What title do we give him, "The King of Sophisticated Rap"? "The Underdog for Greatest Rapper Ever"? I'm not sure, but his return from an 8-year recording absence is everything we wanted: a smooth, relaxing rap record, which is something nobody makes anymore. "Gettin' Up" is a should-be hit and one of the greatest rap singles this decade, and even the Norah Jones cameo works! Everything goes right on this album, and if Q-Tip can work out his record label problems, his solo catalog can someday match or surpass Tribe Called Quest's amazing catalog.
6. Alejandro Escovedo - Real Animal: The year's best alt-country album in a great year for alt-country, this album evokes punk, soul, Texas rock, and country in equal measure. "Chelsea Hotel '78" is a brilliant recollection of the punk era, and rock-blues like "Smoke" show why he should be touring with Bruce Springsteen. For country ballads, nothing this year tops "Sister Lost Soul", "Sensitive Boys", and "The Swallows Of San Juan". Why isn't the radio playing any of these? This follow-up surpasses the already outstanding The Boxing Mirror, and he's peaking at his old age.
5. Portishead - Third: Would you expect a band that disappeared for over a decade to return with their strangest, most uncompromising album? Combine the Cure's Disintegration, Scott Walker's Drift, and Massive Attack's Blue Lines and you will be somewhere close to this. Dark and brooding (even by their standards), this album has unexpected turns into folk, acid jazz, club beats, and British rock. "Silence" is the most nervous, tense album opener since Joy Division's second album, and "Machine Gun" is the year's darkest, angriest single. Welcome back, Portishead.
4. Fleet Foxes - Fleet Foxes: While the idea of mixing Beach Boy's vocals with backwoods Americana is a great idea on paper, what's more amazing is how they pulled it off. The songwriting is catchy, complex, and unbelievably developed for a new band. "White Winter Hymnal" is a breath of fresh air and boasts some of the best male harmonies heard in indie rock. After buying this, you won't be able to resist hunting down the Sun Giant EP. This is the best debut record since the Arcade Fire's Funeral - let's just hope they stay on track and stick to this plan.
3. TV On The Radio - Dear Science,: This is how you should follow up a masterpiece: write catchier songs, add more layers, and don't forget what you were good at in the first place. For this band, the key has always been R&B singing and rhythm that sets them apart: they add sexuality and romance into songs that are typically about death and the end of the world. "Crying" and "Love Dog" work as slow jams as well as angry rock songs, and they finally make real ballads with "Stork & Owl" and "Family Tree". This album, along with Return To Cookie Mountain, make one of the best one-two punches ever, and this band might be just getting started. By the way, "Golden Age" is the song of the year.
2. Nick Cave & The Bad Seeds - Dig! Lazarus, Dig!: Yes, he is getting crazier with age. Imagine a deranged preacher ranting about sin while The Stooges make noise behind him: that's basically what you are getting here. However, he still shows off his songwriting chops that gave us albums like Boatman's Call on "Hold On To Yourself" and "Jesus Of The Moon". "We Call Upon The Author" and "More News From Nowhere" evoke Dylan for long apocalyptic rants, the former of which comes with Sonic Youth noise freakouts between every verse. The title track relies on sense of humor as much as it relies on guitars: what other songwriter could pull this idea off? Nick is still one of a kind and at the age of 50, he's far from done.
1. Bon Iver - For Emma, Forever Ago: I had few doubts about this being 2008's best album. Every person who bought this album felt like they found a hidden gem. Whereas Coldplay, Lil Wayne, and TV On The Radio made big-sounding records to be shouted along with by the masses, it feels like Bon Iver made this album just for you to hide in your room and reflect on. At its core, it's a voice and an acoustic guitar. Given the songwriting depth, that would have been enough, but then he handed it over to atmospherics: listen to the multi-tracked voices on "Lump Sum" or the raining snare drums on "The Wolves (Act I and II)". "Skinny Love" showcases his full-sounding voice and narrative-style lyrics. "For Emma" takes a conversation with a lost love and puts horns and traditional rhythm behind it.
What became my favorite part of this album is the closer. On "Re: Stacks", he sings his softest falsetto about "when your money's gone and you're drunk as hell" for over six minutes. It's a spare, undramatic closer that feels like a man coming to terms and moving on; you can almost hear him leaving the cabin where he wrote these songs ready to face life again and ready to leave isolation and self pity behind. This album isn't about self-loathing or anger, it's about reflection and renewal. I never would have believed that a man could go to a cabin in Wisconsin, isolate himself from all human contact for three months, and write one of the best albums of the decade, but here it is. Whether or now we ever hear another album from Bon Iver is irrelevant: this album is, simply, perfect.
9. Shearwater - Rook: Jonathan Meiburg's Shearwater is no longer an Okkervil River side project - it deserves to be its own band. Rook is an album that seems to celebrate desolation. It's best songs are not rock songs at all: "Leviathan Bound" and "The Snow Leopard" are based on spare pianos and harpsichords. But what really makes this album special is Meiburg's voice. his Buckley-esqe opera howl gives emotional weight to these songs that is unparalleled in most of this year's indie rock. Plus, it's nice to see an art-rock project last only 35 minutes.
8. Coldplay - Viva La Vida: Yes Chris Martin, smite the haters! Make an artsy world-beat tinged album and get it played day and night on the radio! Yes, there are parts that don't hold together, but there are also moments like "Lost?", a tribal organ-driven gospel rock track that makes spiritual emptiness sound beautiful. The lyrics are more pretentious than ever - Chris sings about meeting God in a cemetery and walking the streets he used to own - but is trying to be the next U2 really a bad thing? I still don't think they've made their masterpiece, but their status as the world's biggest band is safe for a few more years.
7. Q-Tip - The Renaissance: What title do we give him, "The King of Sophisticated Rap"? "The Underdog for Greatest Rapper Ever"? I'm not sure, but his return from an 8-year recording absence is everything we wanted: a smooth, relaxing rap record, which is something nobody makes anymore. "Gettin' Up" is a should-be hit and one of the greatest rap singles this decade, and even the Norah Jones cameo works! Everything goes right on this album, and if Q-Tip can work out his record label problems, his solo catalog can someday match or surpass Tribe Called Quest's amazing catalog.
6. Alejandro Escovedo - Real Animal: The year's best alt-country album in a great year for alt-country, this album evokes punk, soul, Texas rock, and country in equal measure. "Chelsea Hotel '78" is a brilliant recollection of the punk era, and rock-blues like "Smoke" show why he should be touring with Bruce Springsteen. For country ballads, nothing this year tops "Sister Lost Soul", "Sensitive Boys", and "The Swallows Of San Juan". Why isn't the radio playing any of these? This follow-up surpasses the already outstanding The Boxing Mirror, and he's peaking at his old age.
5. Portishead - Third: Would you expect a band that disappeared for over a decade to return with their strangest, most uncompromising album? Combine the Cure's Disintegration, Scott Walker's Drift, and Massive Attack's Blue Lines and you will be somewhere close to this. Dark and brooding (even by their standards), this album has unexpected turns into folk, acid jazz, club beats, and British rock. "Silence" is the most nervous, tense album opener since Joy Division's second album, and "Machine Gun" is the year's darkest, angriest single. Welcome back, Portishead.
4. Fleet Foxes - Fleet Foxes: While the idea of mixing Beach Boy's vocals with backwoods Americana is a great idea on paper, what's more amazing is how they pulled it off. The songwriting is catchy, complex, and unbelievably developed for a new band. "White Winter Hymnal" is a breath of fresh air and boasts some of the best male harmonies heard in indie rock. After buying this, you won't be able to resist hunting down the Sun Giant EP. This is the best debut record since the Arcade Fire's Funeral - let's just hope they stay on track and stick to this plan.
3. TV On The Radio - Dear Science,: This is how you should follow up a masterpiece: write catchier songs, add more layers, and don't forget what you were good at in the first place. For this band, the key has always been R&B singing and rhythm that sets them apart: they add sexuality and romance into songs that are typically about death and the end of the world. "Crying" and "Love Dog" work as slow jams as well as angry rock songs, and they finally make real ballads with "Stork & Owl" and "Family Tree". This album, along with Return To Cookie Mountain, make one of the best one-two punches ever, and this band might be just getting started. By the way, "Golden Age" is the song of the year.
2. Nick Cave & The Bad Seeds - Dig! Lazarus, Dig!: Yes, he is getting crazier with age. Imagine a deranged preacher ranting about sin while The Stooges make noise behind him: that's basically what you are getting here. However, he still shows off his songwriting chops that gave us albums like Boatman's Call on "Hold On To Yourself" and "Jesus Of The Moon". "We Call Upon The Author" and "More News From Nowhere" evoke Dylan for long apocalyptic rants, the former of which comes with Sonic Youth noise freakouts between every verse. The title track relies on sense of humor as much as it relies on guitars: what other songwriter could pull this idea off? Nick is still one of a kind and at the age of 50, he's far from done.
1. Bon Iver - For Emma, Forever Ago: I had few doubts about this being 2008's best album. Every person who bought this album felt like they found a hidden gem. Whereas Coldplay, Lil Wayne, and TV On The Radio made big-sounding records to be shouted along with by the masses, it feels like Bon Iver made this album just for you to hide in your room and reflect on. At its core, it's a voice and an acoustic guitar. Given the songwriting depth, that would have been enough, but then he handed it over to atmospherics: listen to the multi-tracked voices on "Lump Sum" or the raining snare drums on "The Wolves (Act I and II)". "Skinny Love" showcases his full-sounding voice and narrative-style lyrics. "For Emma" takes a conversation with a lost love and puts horns and traditional rhythm behind it.
What became my favorite part of this album is the closer. On "Re: Stacks", he sings his softest falsetto about "when your money's gone and you're drunk as hell" for over six minutes. It's a spare, undramatic closer that feels like a man coming to terms and moving on; you can almost hear him leaving the cabin where he wrote these songs ready to face life again and ready to leave isolation and self pity behind. This album isn't about self-loathing or anger, it's about reflection and renewal. I never would have believed that a man could go to a cabin in Wisconsin, isolate himself from all human contact for three months, and write one of the best albums of the decade, but here it is. Whether or now we ever hear another album from Bon Iver is irrelevant: this album is, simply, perfect.
Wednesday, December 10, 2008
20 Best Albums of the Year (Part 1)
It's mid-December and no more notable releases are coming out in 2008, so it's that time to review. Here are some of my favorite albums of 2008:
20. Drive-By Truckers - Brighter Than Creation's Dark: They add a female member and an electric piano, but you still know what you are getting: multiple songwriters, at least 15 songs per record, a few alt-country gems, and the rest are consistent (which I think is the best word to describe this band).
19. Ryan Adams - Cardinology: Speaking of consistent, Ryan delivers his best record since Heartbreaker. It was a good year for alt-country.
18. Walkmen - You & Me: Dark, haunting, and beautiful in a self-loathing romance kind of way, this is 2008's soundtrack for urban alienation.
17. Okkervil River - The Stand-Ins: Now adding Motown influences to the mix, they add another solid effort that proves that they are just getting started. "Lost Coastlines" is one of the year's most irresistible singles.
16. Wolf Parade - At Zoomer Mountain: Even better than their great debut album - they sound more like a band than a project now, and their songs are cheery and catchy while having psychotic vocals and lyrics. These guys are going to be around for a while.
15. REM - Accelerate: They're back! After a decade of daunting irrelevant records, REM deliver concise garage rock with punk riffs. I hope they stick to the plan for a few more years.
14. Vampire Weekend - Vampire Weekend: A solid debut that reminds me fondly of the Strokes debut (let's hope the comparisons end there). Although I hope the indie/world music trend doesn't catch on, it's nice to hear a band with some new ideas.
13. Gaslight Anthem - '59 Sound: How this catchy punk record escaped commercial success escapes me - think a cross between the Goo Goo Dolls and the louder end of Bruce Springsteen. Give it a try and it will grow on you.
12. Opeth - Watershed: Hasn't it been a few years since we've had a great prog-metal epic? Haunting, dynamic, and technically astounding (as is any Opeth album), this album is a new level for them, and an easy place to start for metal non-enthusiasts.
11. Jenny Lewis - Acid Tongue: Jenny finally delivers a consistently solid album and she does it without the help of Rilo Kiley. The title track is a gorgeous acoustic tale of drug use and "Jack Killed Mom" is a perfect White Stripes rip-off. Will Rilo Kiley match this one next year?
(I'll move on to the top ten in a few days.)
20. Drive-By Truckers - Brighter Than Creation's Dark: They add a female member and an electric piano, but you still know what you are getting: multiple songwriters, at least 15 songs per record, a few alt-country gems, and the rest are consistent (which I think is the best word to describe this band).
19. Ryan Adams - Cardinology: Speaking of consistent, Ryan delivers his best record since Heartbreaker. It was a good year for alt-country.
18. Walkmen - You & Me: Dark, haunting, and beautiful in a self-loathing romance kind of way, this is 2008's soundtrack for urban alienation.
17. Okkervil River - The Stand-Ins: Now adding Motown influences to the mix, they add another solid effort that proves that they are just getting started. "Lost Coastlines" is one of the year's most irresistible singles.
16. Wolf Parade - At Zoomer Mountain: Even better than their great debut album - they sound more like a band than a project now, and their songs are cheery and catchy while having psychotic vocals and lyrics. These guys are going to be around for a while.
15. REM - Accelerate: They're back! After a decade of daunting irrelevant records, REM deliver concise garage rock with punk riffs. I hope they stick to the plan for a few more years.
14. Vampire Weekend - Vampire Weekend: A solid debut that reminds me fondly of the Strokes debut (let's hope the comparisons end there). Although I hope the indie/world music trend doesn't catch on, it's nice to hear a band with some new ideas.
13. Gaslight Anthem - '59 Sound: How this catchy punk record escaped commercial success escapes me - think a cross between the Goo Goo Dolls and the louder end of Bruce Springsteen. Give it a try and it will grow on you.
12. Opeth - Watershed: Hasn't it been a few years since we've had a great prog-metal epic? Haunting, dynamic, and technically astounding (as is any Opeth album), this album is a new level for them, and an easy place to start for metal non-enthusiasts.
11. Jenny Lewis - Acid Tongue: Jenny finally delivers a consistently solid album and she does it without the help of Rilo Kiley. The title track is a gorgeous acoustic tale of drug use and "Jack Killed Mom" is a perfect White Stripes rip-off. Will Rilo Kiley match this one next year?
(I'll move on to the top ten in a few days.)
Sunday, December 7, 2008
Paste Magazine's Album of the Year
Last year, I fell in love with Paste magazine after they chose The National's Boxer for album of the year. This dark, brooding masterpiece was snubbed by almost everybody else, and for me it turned out to be one of the best records of the decade. Then they went one step further and gave them the front cover with the caption "Do you know who they are?". I swear I will never throw out that issue as long as I live.
This year, they gave She & Him's Volume 1 the same honors, and I had to at least give this record a try. Actress Zooey Deschanel performed an album of 60s California pop with M. Ward, tacked on a ridiculously uncreative band name and album name, and here you go. "Sentimental Heart" is a nice way to start, with piano, strings, and a female choir halfway through. Zooey's voice takes some getting used to; it's lovely at the lower octaves, but slightly strained on the higher end. Her voice might wear you down before this album is over.
The next two tracks are the highlights of the album, and show why she should sing more songs that rely on rhythm as opposed to naked vocals. "This Is Not A Test" has an amazing chorus harmony that Joni Mitchell would be proud of.
Now the bad news: they don't keep up this energy for an entire record. Late in the album, there are two lazy, unmemorable country ballads and a few lo-fi acoustic songs that could have been left out if this weren't a 36 minute album.
Even though this is a less exciting year for music than 2007, I can't see this being the best of the year by any measure. If you want a more convincing California pop tribute, check out Jenny Lewis' Acid Tongue. Volume 1 is an interesting and occasionally gorgeous album, but nothing more.
At least Paste has some balls and didn't pick Lil Wayne. Way to go Blender.
This year, they gave She & Him's Volume 1 the same honors, and I had to at least give this record a try. Actress Zooey Deschanel performed an album of 60s California pop with M. Ward, tacked on a ridiculously uncreative band name and album name, and here you go. "Sentimental Heart" is a nice way to start, with piano, strings, and a female choir halfway through. Zooey's voice takes some getting used to; it's lovely at the lower octaves, but slightly strained on the higher end. Her voice might wear you down before this album is over.
The next two tracks are the highlights of the album, and show why she should sing more songs that rely on rhythm as opposed to naked vocals. "This Is Not A Test" has an amazing chorus harmony that Joni Mitchell would be proud of.
Now the bad news: they don't keep up this energy for an entire record. Late in the album, there are two lazy, unmemorable country ballads and a few lo-fi acoustic songs that could have been left out if this weren't a 36 minute album.
Even though this is a less exciting year for music than 2007, I can't see this being the best of the year by any measure. If you want a more convincing California pop tribute, check out Jenny Lewis' Acid Tongue. Volume 1 is an interesting and occasionally gorgeous album, but nothing more.
At least Paste has some balls and didn't pick Lil Wayne. Way to go Blender.
Thursday, December 4, 2008
Vacation and Money Well Spent
I've been on vacation for a week now, which always means two things to me: seeing friends and family and spending a ridiculous amount of money on music that I typically would not spend. Here's a few classics I just added to my collection:
Frank Zappa's We're Only In It For The Money: Yes, the songs are brilliant and innovative, as they are on any Zappa album. But one thing that really stands out about this record is how mean it is: Frank takes shots at hippies, free love, and counter culture like no musician has since. He jokes about being beaten by cops and getting STDs from proponents of free love, all while writing amazingly catchy, although brief, pop-rock songs. If you are a fan of Tom Waits or Captain Beefhart, you have to own this one. If you are a hippie, this might not be for you...
Steely Dan's Katy Lied: I recently realized that I am a huge Steely Dan fan. It took my best friend a few years to beat it into my head, but now I've come around. I think this is their best album. "Black Friday" is urgent, driving rock about an economic meltdown (how appropriate) while "Any World (That I'm Welcome To)" is an amazingly tender, sentimental piano ballad considering the typical crass sarcasm in their lyrics. This is the album to start with if you can't settle for just owning their greatest hits package, which you shouldn't.
Buena Vista Social Club (self-titled): This album isn't just for lovers of jazz, rock, Americana, or Cuban music: this is an album for anybody who loves music. If you aren't moved by the piano work of Rueben Gonzalez, I can't help you. My favorite moment is the upbeat singalong "Amor de Loca Juventud", which is beautifully sad even if you don't speak their language (this translates to "Love of Crazy Youth", but admittedly I had to look it up).
It looks like there isn't much exciting music coming out this month, so its time for me to dive into the 2008 year-end lists. Have a good weekend...
Frank Zappa's We're Only In It For The Money: Yes, the songs are brilliant and innovative, as they are on any Zappa album. But one thing that really stands out about this record is how mean it is: Frank takes shots at hippies, free love, and counter culture like no musician has since. He jokes about being beaten by cops and getting STDs from proponents of free love, all while writing amazingly catchy, although brief, pop-rock songs. If you are a fan of Tom Waits or Captain Beefhart, you have to own this one. If you are a hippie, this might not be for you...
Steely Dan's Katy Lied: I recently realized that I am a huge Steely Dan fan. It took my best friend a few years to beat it into my head, but now I've come around. I think this is their best album. "Black Friday" is urgent, driving rock about an economic meltdown (how appropriate) while "Any World (That I'm Welcome To)" is an amazingly tender, sentimental piano ballad considering the typical crass sarcasm in their lyrics. This is the album to start with if you can't settle for just owning their greatest hits package, which you shouldn't.
Buena Vista Social Club (self-titled): This album isn't just for lovers of jazz, rock, Americana, or Cuban music: this is an album for anybody who loves music. If you aren't moved by the piano work of Rueben Gonzalez, I can't help you. My favorite moment is the upbeat singalong "Amor de Loca Juventud", which is beautifully sad even if you don't speak their language (this translates to "Love of Crazy Youth", but admittedly I had to look it up).
It looks like there isn't much exciting music coming out this month, so its time for me to dive into the 2008 year-end lists. Have a good weekend...
Thursday, November 27, 2008
Why, Kanye, Why?
After hearing several songs on hip-hop/pop radio that use that horrible device that scrambles voices and makes everybody sound like a robot, I wondered two things: what is that device called and why do people use it? When I read several reviews of the new Kanye West album, I discovered that it is called the auto-tune. I still can't figure out the other question though.
Kanye, who after three records was on his way to being a hip-hop legend, decided to base AN ENTIRE ALBUM around this damn thing. Steal a trend and overexpose it under your album is generic and bland - good call! What was he thinking?
That's all I'm going to say about this unlistenable album, which competes with My Morning Jacket and Lucinda Williams for the year's biggest disappointment.
Anyway, have a great Thanksgiving.
Kanye, who after three records was on his way to being a hip-hop legend, decided to base AN ENTIRE ALBUM around this damn thing. Steal a trend and overexpose it under your album is generic and bland - good call! What was he thinking?
That's all I'm going to say about this unlistenable album, which competes with My Morning Jacket and Lucinda Williams for the year's biggest disappointment.
Anyway, have a great Thanksgiving.
Monday, November 24, 2008
Guns N' Roses
I think track-by-track is the only way I can do this. Let's go:
1. Chinese Democracy - A quiet intro leads to a big dumb rock song. Not very memorable, but this an idea way to start this album. Plus, that is a better guitar solo than 95% of the solos attempted this decade, which sets a good precedent for the rest of the record.
2. Shackler's Revenge - This one was obviously created for Guitar Hero. The chorus grew on me after a few times; this is an inevitable radio hit.
3. Better - What is it with this album and horrible song intros? The first 30 seconds sound like a bad Brittany Spears track, and then we get a great mid-tempo verse followed by a great aggressive chorus - think "My Michelle". This is a highlight.
4. Streets Of Dreams - Yes, the piano shows up! Perfect timing! A dramatic power ballad that doesn't overdo the whining or the strings. Best song on the record - things are going great thus far.
5. If The World - What the hell is going on here? Spanish guitar, funk bass, metal riffs, and a new higher octave for Axel to sing in? This is the point where GNR purists throw this CD out their car windows. Terrible.
6. There Was A Time - This song just redefined the word "pretentious". Every idea Axel had, good or bad, they just swung for the fences and tried it. This is a confusing mess of a song. There are parts that I like, but sorting this one out is like homework.
7. Catcher In The Rye - Another gorgeous piano ballad that redeems the album from those last two tracks. I love the uncharacteristic "la la la" that leads into a great guitar solo. This is a keeper.
8. Scraped - Pure guitar muscle reminiscent of Soundgarden. I love the backing vocals, I hate the intro (yet again).
9. Riad N' The Bedouins - Take the last track, give it an even worse intro and a horrible name. You probably could have cut this one.
10. Sorry - A slow, angry, draining ballad that is difficult to get through. "I'm sorry for you, not sorry for me" - these are horrid lyrics even by Axel's standards. This song is, simply put, unlistenable.
11. I.R.S. - Finally, a good intro! A driving but creepy tantrum with some of Axel's best yelling - it grows on you.
12. Madagascar - He performed this one several years ago on MTV. Usually, an orchestra and a symphony work terribly together, but they are well balanced and this is a solid epic in the "Estranged" vein. Even the Martin Luther King sample at the end doesn't overstay its welcome.
13. This I Love - A weepy piano/string ballad that could make it into a future Disney film. I actually like it, although at least one metal head will read this and beat me up for it.
14. Prostitute - More string, more piano, but a bit more drive and guitar this time. Unexpectedly gorgeous outro: a solid end to a shaky record.
For those of you keeping score, here's this record in a nutshell: 5 excellent tracks that rank with this band's best before the two-decade break, 5 songs that are good enough to occupy space but aren't very memorable, and 4 tracks that are horrible experiments gone wrong.
Does that make this a classic album? No, but it makes it a good one. Give it a chance - there are enough well-executed ideas here to make this album interesting and even memorable. I don't think it will be a well-regarded piece of music history, but if you need some good old rock and roll, this will get you through the holiday season. And it should be enough to make you hope Axel doesn't wait another 17 years to give us something new.
1. Chinese Democracy - A quiet intro leads to a big dumb rock song. Not very memorable, but this an idea way to start this album. Plus, that is a better guitar solo than 95% of the solos attempted this decade, which sets a good precedent for the rest of the record.
2. Shackler's Revenge - This one was obviously created for Guitar Hero. The chorus grew on me after a few times; this is an inevitable radio hit.
3. Better - What is it with this album and horrible song intros? The first 30 seconds sound like a bad Brittany Spears track, and then we get a great mid-tempo verse followed by a great aggressive chorus - think "My Michelle". This is a highlight.
4. Streets Of Dreams - Yes, the piano shows up! Perfect timing! A dramatic power ballad that doesn't overdo the whining or the strings. Best song on the record - things are going great thus far.
5. If The World - What the hell is going on here? Spanish guitar, funk bass, metal riffs, and a new higher octave for Axel to sing in? This is the point where GNR purists throw this CD out their car windows. Terrible.
6. There Was A Time - This song just redefined the word "pretentious". Every idea Axel had, good or bad, they just swung for the fences and tried it. This is a confusing mess of a song. There are parts that I like, but sorting this one out is like homework.
7. Catcher In The Rye - Another gorgeous piano ballad that redeems the album from those last two tracks. I love the uncharacteristic "la la la" that leads into a great guitar solo. This is a keeper.
8. Scraped - Pure guitar muscle reminiscent of Soundgarden. I love the backing vocals, I hate the intro (yet again).
9. Riad N' The Bedouins - Take the last track, give it an even worse intro and a horrible name. You probably could have cut this one.
10. Sorry - A slow, angry, draining ballad that is difficult to get through. "I'm sorry for you, not sorry for me" - these are horrid lyrics even by Axel's standards. This song is, simply put, unlistenable.
11. I.R.S. - Finally, a good intro! A driving but creepy tantrum with some of Axel's best yelling - it grows on you.
12. Madagascar - He performed this one several years ago on MTV. Usually, an orchestra and a symphony work terribly together, but they are well balanced and this is a solid epic in the "Estranged" vein. Even the Martin Luther King sample at the end doesn't overstay its welcome.
13. This I Love - A weepy piano/string ballad that could make it into a future Disney film. I actually like it, although at least one metal head will read this and beat me up for it.
14. Prostitute - More string, more piano, but a bit more drive and guitar this time. Unexpectedly gorgeous outro: a solid end to a shaky record.
For those of you keeping score, here's this record in a nutshell: 5 excellent tracks that rank with this band's best before the two-decade break, 5 songs that are good enough to occupy space but aren't very memorable, and 4 tracks that are horrible experiments gone wrong.
Does that make this a classic album? No, but it makes it a good one. Give it a chance - there are enough well-executed ideas here to make this album interesting and even memorable. I don't think it will be a well-regarded piece of music history, but if you need some good old rock and roll, this will get you through the holiday season. And it should be enough to make you hope Axel doesn't wait another 17 years to give us something new.
Thursday, November 20, 2008
Today's Ramblings
- I've read some preliminary reviews of the new Guns N' Roses album and I'm kind of excited. It sounds like a mess, but with more hits than misses and a varied sound that will give it some replay value like the Use Your Illusion albums did. I was skeptical of Rolling Stones review since they have a rule where they can't give bad reviews to old artists, but some other reviews have made me optimistic. Three days from now, everybody can laugh at me if I'm wrong.
- Blender put out the year's first "best of the year list". I was pleasantly surprised by most of it even though the #1 pick was ridiculously obvious for them (Lil Wayne) and mid-November seems to be a bid early to do this. The put my two favorite albums of the year on there (Nick Cave and Bon Iver) even though they failed to write a review on either of them. Oh well, I think I can forgive you guys now. Just stop writing about Lil Wayne for God's sake.
- After GNR, there are no releases to look forward to for the rest of the year. Where are you Jay-Z? U2? We need a good release right before Christmas! Help!
- He really was one of the most underrated drummers ever. Rest in peace, Mitch Mitchell.
- Blender put out the year's first "best of the year list". I was pleasantly surprised by most of it even though the #1 pick was ridiculously obvious for them (Lil Wayne) and mid-November seems to be a bid early to do this. The put my two favorite albums of the year on there (Nick Cave and Bon Iver) even though they failed to write a review on either of them. Oh well, I think I can forgive you guys now. Just stop writing about Lil Wayne for God's sake.
- After GNR, there are no releases to look forward to for the rest of the year. Where are you Jay-Z? U2? We need a good release right before Christmas! Help!
- He really was one of the most underrated drummers ever. Rest in peace, Mitch Mitchell.
Monday, November 17, 2008
Ahh, pop-country music...
I just picked up the new Taylor Swift album. Read that again. Go ahead, mock me. I hid it as I carried it up to the counter at my local Best Buy, but now I'm writing about it. I like this record. While it isn't the caliber of recent masterpieces by Vince Gill and Miranda Lambert, it is another catchy and ultimately satisfying pop country crossover, a type of record that I seem to be playing more and more this year.
With that said, an 18-year old girl just put out a more memorable album than anything being played on rock radio right now. Is this a pretty clear indication that rock music is dead? Seriously, play Taylor Swift and Brad Paisley and then play the new albums by Hinder and Nickelback. You might tell your male friends the rock albums are better, but tell me you aren't humming the country hits on the way home.
Lil Wayne and Kanye West made hip-hop popular again and a new class of very-young songwriters have revived pop country. Rock music needs help. This new Guns N' Roses album really has its work cut out for it.
Until then, at least give the song "Change" by Taylor Swift a try. Give in to country music. You know you want to. Most of us already have.
With that said, an 18-year old girl just put out a more memorable album than anything being played on rock radio right now. Is this a pretty clear indication that rock music is dead? Seriously, play Taylor Swift and Brad Paisley and then play the new albums by Hinder and Nickelback. You might tell your male friends the rock albums are better, but tell me you aren't humming the country hits on the way home.
Lil Wayne and Kanye West made hip-hop popular again and a new class of very-young songwriters have revived pop country. Rock music needs help. This new Guns N' Roses album really has its work cut out for it.
Until then, at least give the song "Change" by Taylor Swift a try. Give in to country music. You know you want to. Most of us already have.
Thursday, November 13, 2008
Deerhunter's Microcastle
Ah, its nice to hear some good old guitar noise again. It's actually become kind of a rare thing - most indie rock these days incorporates kitchen sink instrumentation (Arcade Fire), complex harmonies (Panda Bear), multi-genre exercises (TV On The Radio), pop hooks (The Shins), and on and on. After Nirvana popularized the punk-noise that Sonic Youth perfected, indie rock kind of moved on.
That's why Deerhunter's Microcastle is such a refreshing listen. This band takes the torch passed from Sonic Youth, My Bloody Valentine, and Pavement. "Agoraphobia" and "Nothing Ever Happens" are catchy, loud, and drive with the urgency "college rock" (as it was then called) did 20 years ago. This band writes some beautiful ones too: "Green Jacket" is a piano and light vocals floating in guitar distortion and "Little Kids" could pass as prime R.E.M.
The record store I found this at had it in the "experimental" section, which seems a bit odd - wasn't this the norm in underground music back in the late 80s? Isn't this just great guitar pop with bad production? How does that make it experimental? It isn't - its just a great reminder of how indie rock got to where it is, and that alone makes it one of the year's most interesting listens.
That's why Deerhunter's Microcastle is such a refreshing listen. This band takes the torch passed from Sonic Youth, My Bloody Valentine, and Pavement. "Agoraphobia" and "Nothing Ever Happens" are catchy, loud, and drive with the urgency "college rock" (as it was then called) did 20 years ago. This band writes some beautiful ones too: "Green Jacket" is a piano and light vocals floating in guitar distortion and "Little Kids" could pass as prime R.E.M.
The record store I found this at had it in the "experimental" section, which seems a bit odd - wasn't this the norm in underground music back in the late 80s? Isn't this just great guitar pop with bad production? How does that make it experimental? It isn't - its just a great reminder of how indie rock got to where it is, and that alone makes it one of the year's most interesting listens.
Monday, November 10, 2008
Q-Tip's The Renaissance
I was starting to get worried - is Lil Wayne's Carter III the only worthwhile rap album coming out this year? It was looking that way, with Jay-Z further delaying his and Kanye sounding like he's abandoning rap altogether (and the Streets new album barely qualifying as rap). Every fall, there is a late entry into the race, and last week gave us a masterpiece.
I incorrectly assumed Q-Tip hasn't done much since his Tribe Called Quest days. He's actually recorded four albums in ten years, now two of which have been released. And Wilco thought they had record label problems: at least their recordings eventually get released by somebody.
On the Renaissance, Q-Tip brings back a few things rap has been missing. First is the funk: the low end of this record reminds me of west coast rap from the 90s. Second is actual choruses: between his rhymes of "Gettin' Up" is a beautifully sung harmony. Third is social conscience in the Bob Marley sense of the phrase: "We Fight/We Love" is a calm, peaceful rally call that is out of place with the typical curse-at-the-President fare that passes for political in today's hip-hop. Even "Life Is Better", a romantic duet with Norah Jones, holds together and works in the record's context.
If you own any Tribe Called Quest albums, you already know you are getting one of the best MCs alive; in fact, Jay-Z might be his only competition. Let's all make an effort to make sure this guy is never prevented from releasing an album again: this is everything a rap record should be.
I incorrectly assumed Q-Tip hasn't done much since his Tribe Called Quest days. He's actually recorded four albums in ten years, now two of which have been released. And Wilco thought they had record label problems: at least their recordings eventually get released by somebody.
On the Renaissance, Q-Tip brings back a few things rap has been missing. First is the funk: the low end of this record reminds me of west coast rap from the 90s. Second is actual choruses: between his rhymes of "Gettin' Up" is a beautifully sung harmony. Third is social conscience in the Bob Marley sense of the phrase: "We Fight/We Love" is a calm, peaceful rally call that is out of place with the typical curse-at-the-President fare that passes for political in today's hip-hop. Even "Life Is Better", a romantic duet with Norah Jones, holds together and works in the record's context.
If you own any Tribe Called Quest albums, you already know you are getting one of the best MCs alive; in fact, Jay-Z might be his only competition. Let's all make an effort to make sure this guy is never prevented from releasing an album again: this is everything a rap record should be.
Thursday, November 6, 2008
Yes We Can!!!
Well, it was nice to have an uneventful election. No recounts, no riots, just Obama winning and a renewed sense of optimism this country hasn't seen this decade. Here are a few songs that we will always have to remember George W. Bush by:
"Devils and Dust" by Bruce Springsteen - An old fashion anti-war ballad that could have fit the Vietnam War too. I really think Bruce's endorsement of Obama is responsible for at least a million of his votes - nobody can convince me otherwise.
"Capital G" by Nine Inch Nails - Here's a trick that gave Trent new life in his career: make horrifying music about how screwed America is, then give it a dance beat. Any song from that album would fit this list.
"Sins Of Our Fathers" by Tom Waits - The title pretty much says it all. This song didn't need eleven minutes to make its point, but I'm glad it goes that long.
"Holiday" by Green Day - He compares Bush to Hitler, and this song becomes a huge radio hit uncensored. Am I the only one who thinks that's crazy?
"When The President Talks To God" by Bright Eyes - The least subtle and most brutal of the GW Bush slanders, it sounds like an enraged drunk man trying to preach.
Thanks for the memories Bush! Now that rock musicians like the President, what are they going to sing about? This isn't going to be like the 90s where all rock musicians do is cry about the girl who left them, right? I guess we'll see.
"Devils and Dust" by Bruce Springsteen - An old fashion anti-war ballad that could have fit the Vietnam War too. I really think Bruce's endorsement of Obama is responsible for at least a million of his votes - nobody can convince me otherwise.
"Capital G" by Nine Inch Nails - Here's a trick that gave Trent new life in his career: make horrifying music about how screwed America is, then give it a dance beat. Any song from that album would fit this list.
"Sins Of Our Fathers" by Tom Waits - The title pretty much says it all. This song didn't need eleven minutes to make its point, but I'm glad it goes that long.
"Holiday" by Green Day - He compares Bush to Hitler, and this song becomes a huge radio hit uncensored. Am I the only one who thinks that's crazy?
"When The President Talks To God" by Bright Eyes - The least subtle and most brutal of the GW Bush slanders, it sounds like an enraged drunk man trying to preach.
Thanks for the memories Bush! Now that rock musicians like the President, what are they going to sing about? This isn't going to be like the 90s where all rock musicians do is cry about the girl who left them, right? I guess we'll see.
Monday, November 3, 2008
Ryan Adams
10 albums in 8 years - this guy is a workaholic. His first album, Heartbreaker, was a new standard in alt-country moping. But then he couldn't decide what he wanted to be: Gold incorporated rock and 70's pop while Rock N' Roll was a straight-up glam punk album. He finally grounded his sound a bit by forming his band (the Cardinals) but he's still cranking out music faster than the average fan can keep up with.
Here's what is really amazing: almost all of his albums have been pretty good. Heartbreaker is his only masterpiece, but alt-country is all about consistency. His albums got a little turbulent in 2005 when he decided to release three in one year, but last year's Easy Tiger was a solid return to form.
His new record, Cardinology, is his best record since Gold. The new single "Fix It" incorporates R&B vocals and "Magick" reminds us on his punk leanings from his earlier albums, but most of it sticks to the plan: guitar hooks, emotional singing and a country twang. There aren't a lot of people who are doing it better right now.
The highlights come in the middle from two mid-tempo ballads. "Cobwebs" is a stadium power ballad that sounds like U2's best 80s singalongs and "Let Us Down Easy" is gospel roots that Dylan would be proud of.
I'm satisfied with Ryan Adams putting out solid alt-country records like this one: he doesn't need to swing for the fences and put out something adventurous that might not work (like the trainwreck of an album Lucinda Williams just put out). Just keep writing memorable songs like these and he has a great future. Cardinology won't win new fans, but it will keep the old ones happy.
Here's what is really amazing: almost all of his albums have been pretty good. Heartbreaker is his only masterpiece, but alt-country is all about consistency. His albums got a little turbulent in 2005 when he decided to release three in one year, but last year's Easy Tiger was a solid return to form.
His new record, Cardinology, is his best record since Gold. The new single "Fix It" incorporates R&B vocals and "Magick" reminds us on his punk leanings from his earlier albums, but most of it sticks to the plan: guitar hooks, emotional singing and a country twang. There aren't a lot of people who are doing it better right now.
The highlights come in the middle from two mid-tempo ballads. "Cobwebs" is a stadium power ballad that sounds like U2's best 80s singalongs and "Let Us Down Easy" is gospel roots that Dylan would be proud of.
I'm satisfied with Ryan Adams putting out solid alt-country records like this one: he doesn't need to swing for the fences and put out something adventurous that might not work (like the trainwreck of an album Lucinda Williams just put out). Just keep writing memorable songs like these and he has a great future. Cardinology won't win new fans, but it will keep the old ones happy.
Wednesday, October 29, 2008
Nine Inch Nails in Orlando
Anybody who has been following Nine Inch Nails for more that a decade now know that there are essentially two sides to this band. One of them wants to make loud industrial pop-rock and releases albums like With Teeth, Broken, and The Slip. One of them wants to make slow-burning intricate epics like Year Zero, Ghosts, and The Fragile. Both sides are essential, but how is Trent Reznor going to balance these two urges on a stage show?
That question brought me to see them last night at the University of Central Florida in Orlando. I never thought the pioneer of industrial-goth would fit in at a college basketball arena, but it was actually the perfect sized venue for him. Here's some random thoughts on things I loved about this show:
- The oddball setlist that worked even though it still doesn't make sense. "Echoplex" as an encore? "In This Twilight" as a closer after you just played "Hurt" as a communal sing-along? "The Wretched" as the only thing to represent The Fragile? No setlist by any artist has ever kept me wondering like this one.
- The crowd: amazingly enthusiastic college kids interspersed with a few random actual goths. I actually felt less nerdy as I was leaving the arena. The night was filled with spirited sing-alongs, particularly "March Of The Pigs", "Head Like A Hole", "Closer", and several more.
- The politics: after showing a picture of Bush fading into McCain during "The Hand That Feeds", Trent delivered the message "come on, Florida, you need to get your shit together this time!"
- The lighting can't be adequately described here. In an interview earlier in the year, Trent claimed he wanted to use video as an instrument. Now I get it. Video projections in front of and behind the band made for some stunning effects, while more peaceful backdrops accompanied the softer material. Speaking of that...
- The "Ghosts" instrumental mini-set. Although several people in the crowd found it as an opportunity for a bathroom break, this set featured a marimba, upright bass, banjo, and some stunning atmospheric music that sounded like a completely different band that the one that just lit up the arena with "Wish". "Piggy" was the perfect transition to bring it back to the older material.
- There was an overabundance of Year Zero. Before it's all said and done, that might be the most underrated record of this decade. Multiple keyboards and intense visuals took over when "God Given" and "The Great Destroyer" hypnotized the crowd with their apocalyptic chants.
Even if you know the Downward Spiral material better than anything new, I don't think there has ever been a better time to see the Nine Inch Nails. Now 14 years removed from his commercial peak, Trent is hitting his stride right now.
(Now Trent, give us another live record. Please?)
That question brought me to see them last night at the University of Central Florida in Orlando. I never thought the pioneer of industrial-goth would fit in at a college basketball arena, but it was actually the perfect sized venue for him. Here's some random thoughts on things I loved about this show:
- The oddball setlist that worked even though it still doesn't make sense. "Echoplex" as an encore? "In This Twilight" as a closer after you just played "Hurt" as a communal sing-along? "The Wretched" as the only thing to represent The Fragile? No setlist by any artist has ever kept me wondering like this one.
- The crowd: amazingly enthusiastic college kids interspersed with a few random actual goths. I actually felt less nerdy as I was leaving the arena. The night was filled with spirited sing-alongs, particularly "March Of The Pigs", "Head Like A Hole", "Closer", and several more.
- The politics: after showing a picture of Bush fading into McCain during "The Hand That Feeds", Trent delivered the message "come on, Florida, you need to get your shit together this time!"
- The lighting can't be adequately described here. In an interview earlier in the year, Trent claimed he wanted to use video as an instrument. Now I get it. Video projections in front of and behind the band made for some stunning effects, while more peaceful backdrops accompanied the softer material. Speaking of that...
- The "Ghosts" instrumental mini-set. Although several people in the crowd found it as an opportunity for a bathroom break, this set featured a marimba, upright bass, banjo, and some stunning atmospheric music that sounded like a completely different band that the one that just lit up the arena with "Wish". "Piggy" was the perfect transition to bring it back to the older material.
- There was an overabundance of Year Zero. Before it's all said and done, that might be the most underrated record of this decade. Multiple keyboards and intense visuals took over when "God Given" and "The Great Destroyer" hypnotized the crowd with their apocalyptic chants.
Even if you know the Downward Spiral material better than anything new, I don't think there has ever been a better time to see the Nine Inch Nails. Now 14 years removed from his commercial peak, Trent is hitting his stride right now.
(Now Trent, give us another live record. Please?)
Saturday, October 25, 2008
Guns N' Roses new album
It seems like this might be a disappointing fall for music. Two albums that might have been critical and commercial blockbusters, albums by U2 and Jay-Z, look like they might not be finished this year. Kanye West is putting out a new record, but it's a non-hip hop experiment that has about a 50 percent chance of failing completely. Unless you are getting excited about the new Hinder and Nickelback releases, it might be a dull couple of months.
So after a decade and a half, Axel Rose thinks this is a good time to drop the new Guns N' Roses album. The sudden rise of of Guitar Hero and Rock Band certainly helps: look what it did for Metallica's resurgence. Say what you want about Axel's singing - he might be a marketing genius.
Now the funny part: how is he going to distribute this album? A multi-tiered online/store release like the Hold Steady did? A revolutionary pick-a-price deal like Radiohead's? No, this album is going to be released at one store. On November 23, you can find this album at Best Buy and nowhere else. I have mixed feeling about this idea:
1.) I like the idea of midnight release parties with people flooding the store to be the first to hear a new release. I think iTunes pretty much killed this idea; it will be a nice throwback to my high school years.
2.) I like the idea of them saying no online vendors because they want people to physically own the album, but did you also have to screw over independent record stores? Aren't they suffering enough?
3.) I hope Best Buy keeps up on demand, because this is going to be one of the biggest selling albums of the decade, even if it isn't good. That's my not-so-daring prediction.
I know I should be pissed about Axel jerking me around for the past decade and a half, but I will almost definitely buy this album for two reasons: I think there is still talent there, and there have been a staggering lack of memorable mainstream rock albums in the past five years. Once we get the hype out of the way, we can see if the music will stand on its own.
I'm going to go search for leaked GNR tracks on the internet now.
So after a decade and a half, Axel Rose thinks this is a good time to drop the new Guns N' Roses album. The sudden rise of of Guitar Hero and Rock Band certainly helps: look what it did for Metallica's resurgence. Say what you want about Axel's singing - he might be a marketing genius.
Now the funny part: how is he going to distribute this album? A multi-tiered online/store release like the Hold Steady did? A revolutionary pick-a-price deal like Radiohead's? No, this album is going to be released at one store. On November 23, you can find this album at Best Buy and nowhere else. I have mixed feeling about this idea:
1.) I like the idea of midnight release parties with people flooding the store to be the first to hear a new release. I think iTunes pretty much killed this idea; it will be a nice throwback to my high school years.
2.) I like the idea of them saying no online vendors because they want people to physically own the album, but did you also have to screw over independent record stores? Aren't they suffering enough?
3.) I hope Best Buy keeps up on demand, because this is going to be one of the biggest selling albums of the decade, even if it isn't good. That's my not-so-daring prediction.
I know I should be pissed about Axel jerking me around for the past decade and a half, but I will almost definitely buy this album for two reasons: I think there is still talent there, and there have been a staggering lack of memorable mainstream rock albums in the past five years. Once we get the hype out of the way, we can see if the music will stand on its own.
I'm going to go search for leaked GNR tracks on the internet now.
Sunday, October 19, 2008
The Streets
The Streets' first two albums had so much hype and critical acclaim, there was really nowhere left to go. I remember reading British magazines a few years ago after A Grand Don't Come For Free (his outstanding second album): they said things like "the Streets relate to the youth of England in a way nobody has since Joe Strummer and Morrissey". Really, he's already in that class? The next few albums are going to be tough. Unfortunately, British rap is completely incapable of ever being mainstream in America, so your going to have to keep catering to the ever critical cult/hipster crowds here.
His fourth album, Everything Is Borrowed, is shocking from the first second of the opening title track. Is he using live instruments now? Didn't he create Original Pirate Material on his laptop? And them there's the lyrics: "I came to this world with nothing/I leave with nothing but love/everything else is borrowed". Gone are teenage themes of drugs and crushes, now he sings about war and death.
The lyrics are overbearing after a while, but the instrumentation remains pretty exiting through the whole album. He expands his sound to include R&B and jazz, particularly on the surprisingly uplifting "On The Edge Of A Cliff".
I think everybody would love this album if it weren't by the Streets, which is unfortunate. Give this guy a chance to grow up. He still has some good music left in him.
His fourth album, Everything Is Borrowed, is shocking from the first second of the opening title track. Is he using live instruments now? Didn't he create Original Pirate Material on his laptop? And them there's the lyrics: "I came to this world with nothing/I leave with nothing but love/everything else is borrowed". Gone are teenage themes of drugs and crushes, now he sings about war and death.
The lyrics are overbearing after a while, but the instrumentation remains pretty exiting through the whole album. He expands his sound to include R&B and jazz, particularly on the surprisingly uplifting "On The Edge Of A Cliff".
I think everybody would love this album if it weren't by the Streets, which is unfortunate. Give this guy a chance to grow up. He still has some good music left in him.
Wednesday, October 15, 2008
Lucinda Williams' Little Honey
Here is a musician that never ceases to amaze me. That's not to say that everything she tries on her new record actually works; it just amazes me how hard she keeps trying. Now 55 years old, she has already created three masterpieces in three different decades (1988's Lucinda Williams, 1998's Car Wheels On A Gravel Road, 2003's World Without Tears). Little Honey is an album filled with brilliant ideas and a few failures, so I'm going to have to separate the good from the bad.
Good:
- "Tears Of Joy" - Gospel blues built for a Baptist church with some outstanding guitar soloing.
- "Honey Bee" - This sexually explicit stomper could have been stolen from the White Stripes.
- "If Wishes Were Horses" - How can any man turn down an apology this sad and beautiful?
- "Knowing" - The Memphis horns actually work for her on another great lonesome ballad.
- "Plan To Marry" - Simple: Lucinda and guitar. Bliss. One of her best.
Bad:
-"Jailhouse Tears" - For the love of God, everybody stop letting Elvis Costello guest on your album.
-"Little Rock Star" - She's trying to do a spaced-out power ballad now? Why?
-"Rarity" - This goes almost nowhere for almost nine minutes.
-"It's A Long Way To The Top" - Doesn't she think she's above covering AC-DC? The song is as bad as the idea.
This album has enough good ideas to be worth buying if you are already a Lucinda fan, but it has enough bad ideas to scare away the uninitiated. If you want to know why everybody loves her, start with Car Wheels On A Gravel Road. It's still nice to hear her trying every idea she comes across, but maybe two albums in two years is a bit too fast.
Good:
- "Tears Of Joy" - Gospel blues built for a Baptist church with some outstanding guitar soloing.
- "Honey Bee" - This sexually explicit stomper could have been stolen from the White Stripes.
- "If Wishes Were Horses" - How can any man turn down an apology this sad and beautiful?
- "Knowing" - The Memphis horns actually work for her on another great lonesome ballad.
- "Plan To Marry" - Simple: Lucinda and guitar. Bliss. One of her best.
Bad:
-"Jailhouse Tears" - For the love of God, everybody stop letting Elvis Costello guest on your album.
-"Little Rock Star" - She's trying to do a spaced-out power ballad now? Why?
-"Rarity" - This goes almost nowhere for almost nine minutes.
-"It's A Long Way To The Top" - Doesn't she think she's above covering AC-DC? The song is as bad as the idea.
This album has enough good ideas to be worth buying if you are already a Lucinda fan, but it has enough bad ideas to scare away the uninitiated. If you want to know why everybody loves her, start with Car Wheels On A Gravel Road. It's still nice to hear her trying every idea she comes across, but maybe two albums in two years is a bit too fast.
Monday, October 13, 2008
The return of Antony
For anybody who had their hearts broken by Antony & The Johnson's 2005 release I Am A Bird Now (the most tearjerking album of that year or most), you'll be happy to hear that voice again. He's been having a productive year already with his Hercules & Love Affair project where his voice surprisingly worked over disco. Now Antony & The Johnsons have a new EP to act as a teaser for a record early next year.
The Another World EP starts off, thankfully, with Antony doing what he does best. The first two songs are slow, undynamic ballads with his voice and piano at the forefront. Then, things go wrong: "Shake That Devil" is an attempt at freeform bluesy vocal-jazz, which ends up sounding like open mic night for amateur poets. I see what he was going for here, I just hope it never happens again. After that, he goes back to the vocal/piano/violin combo that made him famous in the first place. "Hope Mountain" has some beautiful orchestral flourishes, but things don't get to wild on the last two tracks.
As long as he sticks to what he's good at, his new LP in 2009 should be a great album. All he needs is that voice; experimenting and trying to be someone else isn't always a good move.
Lucinda Williams has a new album out tomorrow. It's getting surprisingly weak reviews, but I'm almost positive she is incapable of creating a bad album. I'll tell you in a few days.
The Another World EP starts off, thankfully, with Antony doing what he does best. The first two songs are slow, undynamic ballads with his voice and piano at the forefront. Then, things go wrong: "Shake That Devil" is an attempt at freeform bluesy vocal-jazz, which ends up sounding like open mic night for amateur poets. I see what he was going for here, I just hope it never happens again. After that, he goes back to the vocal/piano/violin combo that made him famous in the first place. "Hope Mountain" has some beautiful orchestral flourishes, but things don't get to wild on the last two tracks.
As long as he sticks to what he's good at, his new LP in 2009 should be a great album. All he needs is that voice; experimenting and trying to be someone else isn't always a good move.
Lucinda Williams has a new album out tomorrow. It's getting surprisingly weak reviews, but I'm almost positive she is incapable of creating a bad album. I'll tell you in a few days.
Wednesday, October 8, 2008
Yes, more Bob Dylan worship is in order
I just picked up a copy of Tell Tale Signs: The Bootleg Series Volume 8. Not only is this a solid reminder that he's the greatest musician of all time, it's a good reminder of one of his most underrated contributions to music: the bootleg.
Over forty years after its release, mythical extended versions of the Basement Tapes are still being passed around somewhere. Now 8 double-disc releases have been released to commercially (and legally) document his greatest live moments as well as outtakes from his studio albums. Listening to "Series of Dreams" or "Dignity" makes me wonder how any musician can leave material this good in the editing room.
What's important about this volume is that it documents outtakes from a brilliant artistic revival he's had in the past eleven years that has given us three classic albums: Time Out Of Mind, Love & Theft, and Modern Times. This bootleg series fills the gaps we wait five years between albums and give some insight to his songwriting explosion during these years. Both discs start with alternate takes of "Mississippi", which might be his best song this decade. These takes are softer, less urgent, and more bluesy: either one could work and it would still be a classic.
What we need now is a late-era live album from Bob. I want to hear Bob put an new "Mississippi" take next to the 60s classics he's still reinventing at the age of 67. Give us more, Bob! Anything he puts out, I'm in.
Over forty years after its release, mythical extended versions of the Basement Tapes are still being passed around somewhere. Now 8 double-disc releases have been released to commercially (and legally) document his greatest live moments as well as outtakes from his studio albums. Listening to "Series of Dreams" or "Dignity" makes me wonder how any musician can leave material this good in the editing room.
What's important about this volume is that it documents outtakes from a brilliant artistic revival he's had in the past eleven years that has given us three classic albums: Time Out Of Mind, Love & Theft, and Modern Times. This bootleg series fills the gaps we wait five years between albums and give some insight to his songwriting explosion during these years. Both discs start with alternate takes of "Mississippi", which might be his best song this decade. These takes are softer, less urgent, and more bluesy: either one could work and it would still be a classic.
What we need now is a late-era live album from Bob. I want to hear Bob put an new "Mississippi" take next to the 60s classics he's still reinventing at the age of 67. Give us more, Bob! Anything he puts out, I'm in.
Sunday, October 5, 2008
2004
Since October is kind of a lull month for new releases, I've been going back through some of my favorite albums of the decade for the past few days. 2007 was an exceptional year and 2008 is shaping up to be almost as good, but no year this decade comes close to 2004. If you don't believe me, here's what came out that year:
- Arcade Fire - Funeral: Still unequivocally my favorite album of the decade.
- Brian Wilson - Smile: It took 37 years to finish; it really was his "teenage symphony to God", even though he was well into his 60s at this point.
- Wilco - A Ghost Is Born: Wilco scores their fifth (an maybe final) masterpiece with this dark, uncompromising folk-rock.
- Loretta Lynn - Van Lear Rose: Jack White produced this stunning crossover that made us all wish for more country/indie team-ups.
- Nick Cave and the Bad Seeds - Abattoir Blues/Lyre Of Orpheus: This sprawling double disc summarized their whole career and is still their best album.
- Green Day - American Idiot: By far the best mainstream rock-radio album of the decade. In fact, maybe the only memorable one.
- Modest Mouse, The Killers, The Walkmen, Franz Ferdinand: Say what you want about the OC, but that show took some great music to the masses.
- Morrisey - You Are The Quarry and Prince - Musicology: Two 1980s titans finally had their artistic revivals in 2004.
- Madvillian - Madvilliany and The Street - A Grand Don't Come For Free: A banner year for oddball, uncommercial rap albums.
- Kanye West - College Dropout: The best rapper and biggest pop star of the decade showed up in 2004.
- Tom Waits - Real Gone: George W. Bush hating peaked this year (and he won the election regardless). Every year Tom puts out an album is a good year.
- Elliott Smith - From A Basement On A Hill: What a beautiful was to go out - RIP.
- Blanche - If We Can't Trust The Doctors: The most underrated and unrecognized debut of the past few years.
- Sufjan Stevens - Seven Swans: A landmark for both modern folk music and Christian music.
- DJ Danger Mouse - Grey Album: The only thing that could stop this from being a classic is lawyers (who actually did stop it, so good luck finding a copy).
You have to go back to 1977 to find a year with a lineup like this; 2004 was the best music year of my life. We would all look at 2004 this fondly if it weren't for that damn election...
- Arcade Fire - Funeral: Still unequivocally my favorite album of the decade.
- Brian Wilson - Smile: It took 37 years to finish; it really was his "teenage symphony to God", even though he was well into his 60s at this point.
- Wilco - A Ghost Is Born: Wilco scores their fifth (an maybe final) masterpiece with this dark, uncompromising folk-rock.
- Loretta Lynn - Van Lear Rose: Jack White produced this stunning crossover that made us all wish for more country/indie team-ups.
- Nick Cave and the Bad Seeds - Abattoir Blues/Lyre Of Orpheus: This sprawling double disc summarized their whole career and is still their best album.
- Green Day - American Idiot: By far the best mainstream rock-radio album of the decade. In fact, maybe the only memorable one.
- Modest Mouse, The Killers, The Walkmen, Franz Ferdinand: Say what you want about the OC, but that show took some great music to the masses.
- Morrisey - You Are The Quarry and Prince - Musicology: Two 1980s titans finally had their artistic revivals in 2004.
- Madvillian - Madvilliany and The Street - A Grand Don't Come For Free: A banner year for oddball, uncommercial rap albums.
- Kanye West - College Dropout: The best rapper and biggest pop star of the decade showed up in 2004.
- Tom Waits - Real Gone: George W. Bush hating peaked this year (and he won the election regardless). Every year Tom puts out an album is a good year.
- Elliott Smith - From A Basement On A Hill: What a beautiful was to go out - RIP.
- Blanche - If We Can't Trust The Doctors: The most underrated and unrecognized debut of the past few years.
- Sufjan Stevens - Seven Swans: A landmark for both modern folk music and Christian music.
- DJ Danger Mouse - Grey Album: The only thing that could stop this from being a classic is lawyers (who actually did stop it, so good luck finding a copy).
You have to go back to 1977 to find a year with a lineup like this; 2004 was the best music year of my life. We would all look at 2004 this fondly if it weren't for that damn election...
Wednesday, October 1, 2008
Jenny Lewis - Acid Tongue
Another year, another Jenny Lewis album. That wasn't an insult; every recording she's done has been good if not great, and between her solo work and Rilo Kiley it adds up to 6 albums in 7 years. She's always reaching for something new by stealing something old: last year's Under The Blacklight was a polished pop-rock record that tried to establish Rilo Kiley as the new Fleetwood Mac. It didn't work and critics were divided on it, probably because the first half of the album was a masterpiece and the second half was horrible. Hard working she is, consistent she isn't.
On Acid Tongue, Jenny mines early 70s Elton John, Neil Young, and Joni Mitchell instead, and the results are the most consistent she's ever done. This album sounds loose, fun, and personal whereas other albums by here have felt overstuffed and overproduced. "Black Sand" and "Pretty Bird" start the album with two beautiful and occasionally haunting ballads, but then she really loosens up with a ten minute rock jam called "The Next Messiah". Apparently she remembered that she is a rock singer and not a pop-soul singer when recording this one.
Although both her range and songwriting have improved, she still isn't a great singer. She doesn't have Fiona Apple's bitterness or Patti Griffin's soulfulness, and her voice really starts to fall apart on the otherwise beautiful "Trying My Best To Love You". Regardless, every song on the record flows into the next, and the dynamics make it a fun listen. The only complete dud on the album is "Carpetbaggers" with Elvis Costello who, despite being one of my all-time favorite singers, is becoming an irritating guest singer. I'm surprised he hasn't been on rap records yet.
There are two highlights: the soulful title track with it's spare instrumentation and cautionary tales of LA life, and the hilarious blues-stomp "Jack Killed Mom". The good things about this album far outweigh the bad, and this album varies far enough from her other records to make you glad that she's still trying to find her voice. I think she might have found it, but her masterpiece is still someday coming.
On Acid Tongue, Jenny mines early 70s Elton John, Neil Young, and Joni Mitchell instead, and the results are the most consistent she's ever done. This album sounds loose, fun, and personal whereas other albums by here have felt overstuffed and overproduced. "Black Sand" and "Pretty Bird" start the album with two beautiful and occasionally haunting ballads, but then she really loosens up with a ten minute rock jam called "The Next Messiah". Apparently she remembered that she is a rock singer and not a pop-soul singer when recording this one.
Although both her range and songwriting have improved, she still isn't a great singer. She doesn't have Fiona Apple's bitterness or Patti Griffin's soulfulness, and her voice really starts to fall apart on the otherwise beautiful "Trying My Best To Love You". Regardless, every song on the record flows into the next, and the dynamics make it a fun listen. The only complete dud on the album is "Carpetbaggers" with Elvis Costello who, despite being one of my all-time favorite singers, is becoming an irritating guest singer. I'm surprised he hasn't been on rap records yet.
There are two highlights: the soulful title track with it's spare instrumentation and cautionary tales of LA life, and the hilarious blues-stomp "Jack Killed Mom". The good things about this album far outweigh the bad, and this album varies far enough from her other records to make you glad that she's still trying to find her voice. I think she might have found it, but her masterpiece is still someday coming.
Saturday, September 27, 2008
New Music Binge!!!
I just got back from a Baltimore business trip where I purchased a ridiculous amount of new music:
- Metallica - Death Magnetic: Admit it, you've missed them. I think just about everybody is in denial about how much they like Metallica. Even though this album is not a classic or might even be forgotten in two years, it's just a fun metal record and it's the best thing they've done in 15 years. It will probably be the first album ever remembered more for how it sounded on Guitar Hero or Rock Band than how it sounded on a radio or CD player. Whether that was a compliment or not is up to you.
- Opeth - Watershed: I love this band on paper, I'm just not sure if I enjoy listening to them. That undoubtedly qualifies them to be the new torch-bearers for prog rock (sorry, Dream Theater, your days are numbered). This is a beautiful album with amazing twists and mind-blowing instrumentation, but I'm not sure if I can remember a single song from it. Catchy melodies aren't really their thing, but then again, they are a metal band. If you like metal or prog, you aren't going to do better than this.
- Gaslight Anthem - '59 Sound: This might be the mindless feel-good album of the year. Nothing special really, just a catchy, uncomplicated pop album (the complete opposite of that Opeth record). The singer is a combination of Bruce Springsteen and Paul Westerberg, so every song he sings sounds like a dying battle cry. The title track is so catchy it should be on every radio station, while "Miles Davis & The Cool" is the best jazz legend tribute I've ever heard from a punk band (OK, it's the only one). Play this one at a summer party if you want to feel young again.
- Beach House - Devotion: Is "folk drone music" actually a genre now? There are some weird things coming out of Baltimore right now. This album is so airy and light, its 45 minutes might go by without you noticing. The flourishes of church organ and atmospheric guitar sweeping in and out make it a beautifully layered and romantic sounding album. The slightly atonal singing can be grating at moments, but it usually blends as just another instrument. This is great dinner conversation music or great music to do drugs to, depending on who you are.
- Jenny Lewis - Acid Tongue: I'm still not sure if I love or hate this. I'll get back to you....
- Metallica - Death Magnetic: Admit it, you've missed them. I think just about everybody is in denial about how much they like Metallica. Even though this album is not a classic or might even be forgotten in two years, it's just a fun metal record and it's the best thing they've done in 15 years. It will probably be the first album ever remembered more for how it sounded on Guitar Hero or Rock Band than how it sounded on a radio or CD player. Whether that was a compliment or not is up to you.
- Opeth - Watershed: I love this band on paper, I'm just not sure if I enjoy listening to them. That undoubtedly qualifies them to be the new torch-bearers for prog rock (sorry, Dream Theater, your days are numbered). This is a beautiful album with amazing twists and mind-blowing instrumentation, but I'm not sure if I can remember a single song from it. Catchy melodies aren't really their thing, but then again, they are a metal band. If you like metal or prog, you aren't going to do better than this.
- Gaslight Anthem - '59 Sound: This might be the mindless feel-good album of the year. Nothing special really, just a catchy, uncomplicated pop album (the complete opposite of that Opeth record). The singer is a combination of Bruce Springsteen and Paul Westerberg, so every song he sings sounds like a dying battle cry. The title track is so catchy it should be on every radio station, while "Miles Davis & The Cool" is the best jazz legend tribute I've ever heard from a punk band (OK, it's the only one). Play this one at a summer party if you want to feel young again.
- Beach House - Devotion: Is "folk drone music" actually a genre now? There are some weird things coming out of Baltimore right now. This album is so airy and light, its 45 minutes might go by without you noticing. The flourishes of church organ and atmospheric guitar sweeping in and out make it a beautifully layered and romantic sounding album. The slightly atonal singing can be grating at moments, but it usually blends as just another instrument. This is great dinner conversation music or great music to do drugs to, depending on who you are.
- Jenny Lewis - Acid Tongue: I'm still not sure if I love or hate this. I'll get back to you....
Saturday, September 20, 2008
TV On The Radio's Dear Science
When I heard the new TV On The Radio album, "Dear Science", I got to the point where I am completely satisfied with this year in music. I have no complaints; 2008 has had everything. We've had great albums by elders (Tom Petty, Nick Cave), a new band actually worth its buzz (Fleet Foxes), a successfully challenging pop record (Coldplay), a great band revived from the dead (Portishead), and a sleeper classic that nobody heard (Bon Iver). It doesn't even matter if anything good comes out in the next three months. Now, for the second time this year (the first being the Hold Steady), we have a band following up a masterpiece with another masterpiece.
What's really impressive is that TV On The Radio do it completely different this time. In 2006, Return To Cookie Mountain was brooding indie rock that had flourishes of soul and funk, but it relied much more on its David Bowie and Nine Inch Nails influence. Dear Science (I know, horrible title and horrible cover art) is Brooklyn's update on Prince's Sign O' The Times; it might stray into other areas, but it's purpose is to make you dance.
On the opener "Halfway Home", they take an unexpected shot at stadium rock with soaring guitars and a "ba ba ba ba" Beach Boys chorus. Then on "Crying" and "Dancing Choose" they bring the funk and soul; the latter even has rapping that is so frantic you almost don't realize how bad the rhyming is. "Stork & Owl" is a beautiful ballad with dubbed voices and plucked strings; at this point, they sound like they could be the next Coldplay (I mean that as a compliment). It's very rare that a band can cover this much ground in four tracks.
The rest of the record doesn't match the intensity of the first four tracks, but nothing can. "Family Tree" is a great soul ballad that probably needs to be a minute shorter. "Shout Me Out" probably could have been left off the album. However, the last two tracks bring it all home: "DLZ" is as dark and intense as Nine Inch Nails recent work, and "Lover's Day" is an epic that sounds like an end-of-the-war march with kitchen sink instrumentation.
Will this album take them to the mainstream? Probably not. There isn't room on the radio for anything this challenging. There is no band alive right now that crosses genres and races like TV On The Radio. You could list the influences for hours: Prince, Outkast, Marvin Gaye, Nine Inch Nails, Michael Jackson, David Bowie, the Pixies...they are all part of this band's world.
What's really impressive is that TV On The Radio do it completely different this time. In 2006, Return To Cookie Mountain was brooding indie rock that had flourishes of soul and funk, but it relied much more on its David Bowie and Nine Inch Nails influence. Dear Science (I know, horrible title and horrible cover art) is Brooklyn's update on Prince's Sign O' The Times; it might stray into other areas, but it's purpose is to make you dance.
On the opener "Halfway Home", they take an unexpected shot at stadium rock with soaring guitars and a "ba ba ba ba" Beach Boys chorus. Then on "Crying" and "Dancing Choose" they bring the funk and soul; the latter even has rapping that is so frantic you almost don't realize how bad the rhyming is. "Stork & Owl" is a beautiful ballad with dubbed voices and plucked strings; at this point, they sound like they could be the next Coldplay (I mean that as a compliment). It's very rare that a band can cover this much ground in four tracks.
The rest of the record doesn't match the intensity of the first four tracks, but nothing can. "Family Tree" is a great soul ballad that probably needs to be a minute shorter. "Shout Me Out" probably could have been left off the album. However, the last two tracks bring it all home: "DLZ" is as dark and intense as Nine Inch Nails recent work, and "Lover's Day" is an epic that sounds like an end-of-the-war march with kitchen sink instrumentation.
Will this album take them to the mainstream? Probably not. There isn't room on the radio for anything this challenging. There is no band alive right now that crosses genres and races like TV On The Radio. You could list the influences for hours: Prince, Outkast, Marvin Gaye, Nine Inch Nails, Michael Jackson, David Bowie, the Pixies...they are all part of this band's world.
Wednesday, September 17, 2008
Richard Wright
Richard Wright, one of the original members of Pink Floyd, died this week at the age of 65. Any group who ever used spaced-out keyboards or psychedelic background effects in their music owe a lot to this guy - Radiohead, Wilco, Beck, Flaming Lips, My Morning Jacket - I could go on for hours. I will remember his organ work on "Us & Them" as one of the transcendent life-altering moments of my record-buying life.
Rest in peace.
Rest in peace.
Sunday, September 14, 2008
Okkervil River's The Stand-Ins
After a few days of listening to Scott Walker, I needed some cheering up: sorry about the bleakness of that last post. Fortunately, Okkervil River's new album is actually upbeat, which is difficult to image given their past albums.
After a short, pointless intro, The Stand-Ins sets the tone with "Lost Coastlines". A catchy melody and a danceable R&B rhythm are a perfect way for Will Sheff and Jonathan Meiberg (now of Shearwater fame) to duet. It's reminiscent of "A Hand To Take Hold Of The Scene" from the Stage Names but even more fun; this band has definitely developed an ear for pop music. This leads to "Singer Songwriter", which takes several cues from Blonde On Blonde: the squealing organ, the driving roots-rock guitar, and the snarky kiss-off lyrics. These first two songs are catchier and more fun than just about anything they've recorded and are two of Okkervil River's best songs.
"Starry Stairs" and "Blue Tulip" are indie-rock versions of power ballads. The former boasts Memphis horns straight out of an Al Green album, the later builds on slow, drawn-out drama. "Pop Lie" is almost a Weezer tribute - this one hasn't grown on me yet, but it does have some cheesy 80s synths, so it is at least a good joke. The album's other highlight is "Calling And Not Calling My Ex", a mopey mid-tempo pop song that sound like what the Cure were trying to do in the mid-90s.
While The Stand-Ins isn't their best album, it's an easier introduction to them than Black Sheep Boy and it the perfect compliment to The Stage Names, which I suppose was the point. Put these three albums together with Down The River Of Golden Dreams and you have one of the best catalogues by an American band this decade. They don't need more fans and they don't need more critical acclaim: they just need to keep doing exactly what they are doing.
After a short, pointless intro, The Stand-Ins sets the tone with "Lost Coastlines". A catchy melody and a danceable R&B rhythm are a perfect way for Will Sheff and Jonathan Meiberg (now of Shearwater fame) to duet. It's reminiscent of "A Hand To Take Hold Of The Scene" from the Stage Names but even more fun; this band has definitely developed an ear for pop music. This leads to "Singer Songwriter", which takes several cues from Blonde On Blonde: the squealing organ, the driving roots-rock guitar, and the snarky kiss-off lyrics. These first two songs are catchier and more fun than just about anything they've recorded and are two of Okkervil River's best songs.
"Starry Stairs" and "Blue Tulip" are indie-rock versions of power ballads. The former boasts Memphis horns straight out of an Al Green album, the later builds on slow, drawn-out drama. "Pop Lie" is almost a Weezer tribute - this one hasn't grown on me yet, but it does have some cheesy 80s synths, so it is at least a good joke. The album's other highlight is "Calling And Not Calling My Ex", a mopey mid-tempo pop song that sound like what the Cure were trying to do in the mid-90s.
While The Stand-Ins isn't their best album, it's an easier introduction to them than Black Sheep Boy and it the perfect compliment to The Stage Names, which I suppose was the point. Put these three albums together with Down The River Of Golden Dreams and you have one of the best catalogues by an American band this decade. They don't need more fans and they don't need more critical acclaim: they just need to keep doing exactly what they are doing.
Thursday, September 11, 2008
Scott Walker's The Drift
Horrifying. Harrowing. Bleak. Terrifying. These are a few words that are going to come up whenever you hear about this album. I think it's necessary to mention it today since it better captures the dread and horror of its topic than any other album in the past seven years did: September 11, 2001.
On the album's best track ("Jesse"), Scott Walker imagines a conversation between the still-born brother of Elvis Presley and Elvis himself. They talk over horror-movie strings as "pow, pow" is whispered while they see "nose holes caked in black cocaine". The planes have hit the towers. You wait for a crash of noise, but there is only fading instruments and the phrase "I'm the only one left alive".
Considering the topics and destruction of song structure represented here, it's amazing how beautiful this album is. "Cossacks Are" starts the album with the illusion of convention: the driving bass and drums make way for that haunting voice. But on the second track, it all goes to hell. Swirling, detuned strings, thumping drums that sound like a violent beating, a song structure you can't predict the tenth time, and lyrics about a woman who insisted on being executed with Mussolini.
The album closes with "A Lover Loves", which has Scott whispering "psst" between phrases over a simple guitar rhythm. It's a perfect track to close a perfect album: it's haunting and uncomfortable, but you won't be able to turn it off.
If you are depressed and alone, don't buy this album. If you don't like the challenge of unraveling a complex masterpiece, don't buy this album. This one is not for the uninitiated. For the rest of us, it's an album to remember, and no better musical portrait of 9/11 was ever painted.
On the album's best track ("Jesse"), Scott Walker imagines a conversation between the still-born brother of Elvis Presley and Elvis himself. They talk over horror-movie strings as "pow, pow" is whispered while they see "nose holes caked in black cocaine". The planes have hit the towers. You wait for a crash of noise, but there is only fading instruments and the phrase "I'm the only one left alive".
Considering the topics and destruction of song structure represented here, it's amazing how beautiful this album is. "Cossacks Are" starts the album with the illusion of convention: the driving bass and drums make way for that haunting voice. But on the second track, it all goes to hell. Swirling, detuned strings, thumping drums that sound like a violent beating, a song structure you can't predict the tenth time, and lyrics about a woman who insisted on being executed with Mussolini.
The album closes with "A Lover Loves", which has Scott whispering "psst" between phrases over a simple guitar rhythm. It's a perfect track to close a perfect album: it's haunting and uncomfortable, but you won't be able to turn it off.
If you are depressed and alone, don't buy this album. If you don't like the challenge of unraveling a complex masterpiece, don't buy this album. This one is not for the uninitiated. For the rest of us, it's an album to remember, and no better musical portrait of 9/11 was ever painted.
Monday, September 8, 2008
Leftovers, notes, etc.
- Last week, I mentioned September's new releases, but I somehow overlooked the fact that one of my favorite bands have a new record on September 23. I don't know how I missed this one. TV On The Radio will put out Dear Science, and the first impressions are amazing. Look them up on myspace to hear clips from two tracks. I'm not going to say anything about them right now, because I will probably be ranting for weeks about how great this band it. I'll wait until the entire record comes out to do that.
- I heard some of the new Brian Wilson album and like everybody, I can't help but be disappointed. Instead of another collaboration with the great Van Dyke Parks, we get a Brian Wilson solo album where Van Dyke Parks pitches in a few "spoken narratives". So what we get is a rehash of a solo career nobody cared about before Smile and nobody will care about after Smile. Skip it. If you want to hear good Brian Wilson, listen to Fleet Foxes or Panda Bear, not Brian Wilson. How sad is that?
- Read Rolling Stone's review of the new Metallica album. They deliver the single funniest music analogy I've ever read: they compare Metallica's new album to Russia's invasion of the Republic of Georgia. My hats off to you. That's hilarious. Unless you are from the Republic of Georgia.
- I've heard two new songs from the new Okkervil River album; one was excellent, one was mediocre. Reviews so far are shaky. Come on, guys - don't pull a My Morning Jacket on us. I'll review this one in a couple of days...
- I heard some of the new Brian Wilson album and like everybody, I can't help but be disappointed. Instead of another collaboration with the great Van Dyke Parks, we get a Brian Wilson solo album where Van Dyke Parks pitches in a few "spoken narratives". So what we get is a rehash of a solo career nobody cared about before Smile and nobody will care about after Smile. Skip it. If you want to hear good Brian Wilson, listen to Fleet Foxes or Panda Bear, not Brian Wilson. How sad is that?
- Read Rolling Stone's review of the new Metallica album. They deliver the single funniest music analogy I've ever read: they compare Metallica's new album to Russia's invasion of the Republic of Georgia. My hats off to you. That's hilarious. Unless you are from the Republic of Georgia.
- I've heard two new songs from the new Okkervil River album; one was excellent, one was mediocre. Reviews so far are shaky. Come on, guys - don't pull a My Morning Jacket on us. I'll review this one in a couple of days...
Saturday, September 6, 2008
Wolf Parade's At Mount Zoomer
It only took this band three years to go from being the center of hype to being overlooked and underrated. That isn't surprising given the pace of indie music this decade. It only takes a few years for a band to go from the garage to "the saviors of rock" status to burnouts: if you don't believe me, look at the careers of the Shins, the Strokes, Interpol, Wilco, the White Stripes... I could go on.
In 2005, Wolf Parade's first album rode a wave of hype created by the Arcade Fire's Funeral (Wolf Parade actually opened shows for them that year). With that in mind, they seemed like a one-trick pony that didn't have another direction to go. Their second album, At Mount Zoomer, proves me wrong and might have been the most overlooked album of this summer.
This album relies on keyboards and synths more than anything by their peers: Wolf Parade aren't even trying to be a rock band. Their songs still have great choruses, but you have to wait for them to build to it. "Bang your Drum" has a wonderful, hummable chorus, but they opt to us it only once and bury it in the last half of the track. Twists like this are the reason it took me two months to love this album, but I'm there now.
"California Dreamer" is the highlight - a hypnotic, haunting epic that builds into extended keyboard solos. "Fine Young Cannibals" is a slow burner with an R&B rhythm that sounds stolen from a Spoon album. "Soldier's Grin" is a waltz-tempo prog rocker that makes lyrics like "this place here is no friend of mine" sound fun and danceable. Everything they try on this album works, even the extended solos on the eleven-minute "Kissing The Beehive".
Get this album and spend some time with it. Due to albums by Bon Iver, Shearwater, and the Walkmen, this seems to be the year of indie epic masterpieces that need time to grow on you. Add this one to the list.
In 2005, Wolf Parade's first album rode a wave of hype created by the Arcade Fire's Funeral (Wolf Parade actually opened shows for them that year). With that in mind, they seemed like a one-trick pony that didn't have another direction to go. Their second album, At Mount Zoomer, proves me wrong and might have been the most overlooked album of this summer.
This album relies on keyboards and synths more than anything by their peers: Wolf Parade aren't even trying to be a rock band. Their songs still have great choruses, but you have to wait for them to build to it. "Bang your Drum" has a wonderful, hummable chorus, but they opt to us it only once and bury it in the last half of the track. Twists like this are the reason it took me two months to love this album, but I'm there now.
"California Dreamer" is the highlight - a hypnotic, haunting epic that builds into extended keyboard solos. "Fine Young Cannibals" is a slow burner with an R&B rhythm that sounds stolen from a Spoon album. "Soldier's Grin" is a waltz-tempo prog rocker that makes lyrics like "this place here is no friend of mine" sound fun and danceable. Everything they try on this album works, even the extended solos on the eleven-minute "Kissing The Beehive".
Get this album and spend some time with it. Due to albums by Bon Iver, Shearwater, and the Walkmen, this seems to be the year of indie epic masterpieces that need time to grow on you. Add this one to the list.
Monday, September 1, 2008
September's new releases
Here are the albums that may or may not be worth getting excited over this month:
Okkervil River The Stand-Ins (September 9) - The sequel to last year's excellent Stage Names already has a great single on iTunes. One of my favorite American bands right now- do you think they will actually have some commercial success with this one?
Brian Wilson That Lucky Old Sun (September 2) - It already has terrible reviews from Blender and Q. But really, could Brian Wilson and Van Dyke Parks really do something bad together? Maybe my expectations are high because of Smile, but then again, he spent 40 years finishing that album.
Metallica Death Magnetic (September 9) - Are they really using Guitar Hero to showcase their new material? Forget I even mentioned this one. Sorry.
Ben Folds Way To Normal (September 30) - His last album featured "mature" songwriting, which was equally profound and boring. Hopefully he will loosen up this time and make something closer to Rockin' The Suburbs.
Well, that's it - Okkervil River is the only sure thing this month. Have a great Labor Day.
Okkervil River The Stand-Ins (September 9) - The sequel to last year's excellent Stage Names already has a great single on iTunes. One of my favorite American bands right now- do you think they will actually have some commercial success with this one?
Brian Wilson That Lucky Old Sun (September 2) - It already has terrible reviews from Blender and Q. But really, could Brian Wilson and Van Dyke Parks really do something bad together? Maybe my expectations are high because of Smile, but then again, he spent 40 years finishing that album.
Metallica Death Magnetic (September 9) - Are they really using Guitar Hero to showcase their new material? Forget I even mentioned this one. Sorry.
Ben Folds Way To Normal (September 30) - His last album featured "mature" songwriting, which was equally profound and boring. Hopefully he will loosen up this time and make something closer to Rockin' The Suburbs.
Well, that's it - Okkervil River is the only sure thing this month. Have a great Labor Day.
Thursday, August 28, 2008
Robyn
Damn you, Metacritic. You tricked me again. I really should have known better, but I fell for it.
About four years ago, I saw an album getting rave reviews on Metacritic called Funeral by Arcade Fire. I read the reviews, and then without ever hearing a single track on the album, I bought it on Amazon.com. It only took me one listen to think "this is the single greatest album of the new millennium". By the way, I still believe that. This year, I bought two of the best records of the year solely based on what I saw on Metacritic: debut records by Bon Iver and the Fleet Foxes. What can I say, I'm a sucker for good music reviews.
Occasionally, I get burned, and it always seems to be by the same two genres: electronica (hideously overrated albums by the Field and Primal Scream) and pop music (Lily Allen and now Robyn). I don't know why these albums rate so high and get me so excited - they are just bound to disappoint.
With that said, I bought the self-titled album by Robyn and... I guess I'm missing something here. How is this better than Brittany Spears, Mariah Carey, or any of the other "popular" musicians who do this kind of music? The beats are simply more annoying (the song "Konichiwa Bitches" would even be an annoying video game soundtrack), the lyrics are repulsive and simple minded (look at the aforementioned song title), and the choruses are either not catchy or simply stolen ("Cobrastyle" rips the chorus off, oh yes, Kid Rock's "Bawitabaw"!).
Why did critics crap themselves over this album? Why? Is it because she's not American? Is it because an unheard of "pop" musician is much better because nobody in America buys her records? This is inexcusable. Shame on you Blender, Pitchfork, and Allmusic. Did you even play this one start to finish? It isn't even bad in an interesting way like the Animal Collective are (that's another rant for another time).
OK, now my advice: if you read Metacritic, please completely disregard the rating if the album is a dance, electronic, or pop record. Even if it's hip-hop, be skeptical. And don't talk yourself into buying a horrible album just because it got good reviews. If I got my money back from every time I did that, I could have bought a new car by now.
About four years ago, I saw an album getting rave reviews on Metacritic called Funeral by Arcade Fire. I read the reviews, and then without ever hearing a single track on the album, I bought it on Amazon.com. It only took me one listen to think "this is the single greatest album of the new millennium". By the way, I still believe that. This year, I bought two of the best records of the year solely based on what I saw on Metacritic: debut records by Bon Iver and the Fleet Foxes. What can I say, I'm a sucker for good music reviews.
Occasionally, I get burned, and it always seems to be by the same two genres: electronica (hideously overrated albums by the Field and Primal Scream) and pop music (Lily Allen and now Robyn). I don't know why these albums rate so high and get me so excited - they are just bound to disappoint.
With that said, I bought the self-titled album by Robyn and... I guess I'm missing something here. How is this better than Brittany Spears, Mariah Carey, or any of the other "popular" musicians who do this kind of music? The beats are simply more annoying (the song "Konichiwa Bitches" would even be an annoying video game soundtrack), the lyrics are repulsive and simple minded (look at the aforementioned song title), and the choruses are either not catchy or simply stolen ("Cobrastyle" rips the chorus off, oh yes, Kid Rock's "Bawitabaw"!).
Why did critics crap themselves over this album? Why? Is it because she's not American? Is it because an unheard of "pop" musician is much better because nobody in America buys her records? This is inexcusable. Shame on you Blender, Pitchfork, and Allmusic. Did you even play this one start to finish? It isn't even bad in an interesting way like the Animal Collective are (that's another rant for another time).
OK, now my advice: if you read Metacritic, please completely disregard the rating if the album is a dance, electronic, or pop record. Even if it's hip-hop, be skeptical. And don't talk yourself into buying a horrible album just because it got good reviews. If I got my money back from every time I did that, I could have bought a new car by now.
Sunday, August 24, 2008
The Walkmen's You & Me
Earlier this decade, New York City was pumping out the bands that were leading the way in new rock music. Now they come from Nebraska, Texas, Minnesota, and so on; but in 2002, all eyes were on the Strokes and Interpol for "next big thing" status. Unfortunately, both of those bands lost the magic after their debut records and have moved on to produce major label disasters. There is another NYC band that, after hearing their new record, I wish I had spent more time paying attention to the past six years: The Walkmen.
Let's start with the voice. This guy sings like a more desperate Bob Dylan combined with David Bowie on "Rock and Roll Suicide": every line he sings like it's his dying words. How he does this and remains melodic is kind of amazing - he rarely even changes tone or volume with the song. Like Dylan, his voice takes some getting used to, but you'll love it after a few tracks.
The music of the Walkmen is based around two things: steady rhythm and random bursts of instruments. "On The Water" is a tense but beautiful ballad that sounds like it's waiting to explode (and eventually does). On "In A New Year", high-pitched wailing vocals float over bursts of organ-it wouldn't be out of place on Blonde On Blonde.
The album gets better as it goes along. The later half relies on smooth Motown vocals (particularly the gorgeous standout "Canadian Girl") and piano and trumpet touches. "New Country" recalls early Pavement with soft, drowning guitars. "I Lost You" is a mid-tempo stadium rocker that recalls earlier Walkmen records.
Unfortunately, there is nothing as catchy or immediate here as Bows + Arrows tracks such as "The Rat" and "Little House Of Savages", but You & Me is overall a much better album. If you wrote this band off as another band from The OC 5 years ago, you're missing an outstanding record here: one of the best of the year.
Let's start with the voice. This guy sings like a more desperate Bob Dylan combined with David Bowie on "Rock and Roll Suicide": every line he sings like it's his dying words. How he does this and remains melodic is kind of amazing - he rarely even changes tone or volume with the song. Like Dylan, his voice takes some getting used to, but you'll love it after a few tracks.
The music of the Walkmen is based around two things: steady rhythm and random bursts of instruments. "On The Water" is a tense but beautiful ballad that sounds like it's waiting to explode (and eventually does). On "In A New Year", high-pitched wailing vocals float over bursts of organ-it wouldn't be out of place on Blonde On Blonde.
The album gets better as it goes along. The later half relies on smooth Motown vocals (particularly the gorgeous standout "Canadian Girl") and piano and trumpet touches. "New Country" recalls early Pavement with soft, drowning guitars. "I Lost You" is a mid-tempo stadium rocker that recalls earlier Walkmen records.
Unfortunately, there is nothing as catchy or immediate here as Bows + Arrows tracks such as "The Rat" and "Little House Of Savages", but You & Me is overall a much better album. If you wrote this band off as another band from The OC 5 years ago, you're missing an outstanding record here: one of the best of the year.
Wednesday, August 20, 2008
Richmond Fontaine's The Fitzgerald
I've been shut in for a couple of days now because of Tropical Storm Fay. This gave me some time to go through some past CDs and play some that I might have forgotten about.
In the past few years, there have been several great albums that have stripped down songwriting to its core, most recently Bon Iver's masterpiece For Emma, Forever Ago. This is always a risky venture: some bands, even great ones, need thick instrumentation to hide a shaky voice and inconsistent lyric writing behind. Case and point: Wilco's last record. I love Wilco, but does anybody want to hear Jeff Tweedy's voice front and center for forty minutes?
The closest thing I've heard to the stripped down haunting starkness of Bruce Springsteen's Nebraska recently is a 2005 record called The Fitzgerald by Richmond Fontaine. Nobody bought it and no critics cared, but it seems like this has the makings of an alt-country cult classic.
First of all, they have a singer whose voice redefines the word ragged. He tells middle-American tales of bar fights, guys gone AWOL, domestic violence, murder, and losers trying to redeem themselves at casinos. The album is largely performed on acoustic guitar, but other instruments seem to sweep in at the right time: the violin of "Casino Lights", the piano on "Incident At Conklin Creek" and the drums on "Exit 194B" are used just in the right measure.
The use of tempo in this album is what makes the Nebraska comparisons work. The first two tracks are slow and harrowing; it almost feels like they are trying to get uncommitted listeners to quit on the album. "Welhorn Yards" matches the bleakness of Springsteen's serial killer tale "State Trooper". Toward the end of the album, the upbeat and hopeful "Don't Look Back And It Won't Hurt" feels like redemption for the album's lost characters.
Give thing one a try; it might become a cult classic yet.
Be safe, Florida. Hurricane season is almost over!
In the past few years, there have been several great albums that have stripped down songwriting to its core, most recently Bon Iver's masterpiece For Emma, Forever Ago. This is always a risky venture: some bands, even great ones, need thick instrumentation to hide a shaky voice and inconsistent lyric writing behind. Case and point: Wilco's last record. I love Wilco, but does anybody want to hear Jeff Tweedy's voice front and center for forty minutes?
The closest thing I've heard to the stripped down haunting starkness of Bruce Springsteen's Nebraska recently is a 2005 record called The Fitzgerald by Richmond Fontaine. Nobody bought it and no critics cared, but it seems like this has the makings of an alt-country cult classic.
First of all, they have a singer whose voice redefines the word ragged. He tells middle-American tales of bar fights, guys gone AWOL, domestic violence, murder, and losers trying to redeem themselves at casinos. The album is largely performed on acoustic guitar, but other instruments seem to sweep in at the right time: the violin of "Casino Lights", the piano on "Incident At Conklin Creek" and the drums on "Exit 194B" are used just in the right measure.
The use of tempo in this album is what makes the Nebraska comparisons work. The first two tracks are slow and harrowing; it almost feels like they are trying to get uncommitted listeners to quit on the album. "Welhorn Yards" matches the bleakness of Springsteen's serial killer tale "State Trooper". Toward the end of the album, the upbeat and hopeful "Don't Look Back And It Won't Hurt" feels like redemption for the album's lost characters.
Give thing one a try; it might become a cult classic yet.
Be safe, Florida. Hurricane season is almost over!
Friday, August 15, 2008
Randy Newman's Harps and Angels
I know he's been doing albums for decades, but I've never been a fan of Randy Newman. I just never got it. His bizarre half-talking style of singing just never caught on with me.
Harps and Angels is, without a doubt, the most surprising, humorous piece of music I've bought this year. His mix of piano jazz, Dixieland, and show tunes isn't the surprise: it's the brutally political lyrics and the sense of humor that keep me playing this album. In "A Piece Of The Pie", he asks "living in the richest country in the world, don't you think you'd have a better life?" and then tells us "the French fries are great". That pretty much sums up the album: America is going to crap, let's laugh about it.
To counter the political material, he has some beautiful love ballads like "Losing You" and "Feels Like Home" that give this album a good flow. Songs like "Korean Parents" are just as much comedy sketches as they are songs, but the beauty of the orchestrations unfold after a couple listens.
At 35 minutes long, its a brief listen that you'll want to hear again to try and make sense of the lyrics. If you like traditional songwriters like Bob Dylan or Tom Waits, spend some time with this one; it will grow on you even if you're an uninitiated Newman listener.
Harps and Angels is, without a doubt, the most surprising, humorous piece of music I've bought this year. His mix of piano jazz, Dixieland, and show tunes isn't the surprise: it's the brutally political lyrics and the sense of humor that keep me playing this album. In "A Piece Of The Pie", he asks "living in the richest country in the world, don't you think you'd have a better life?" and then tells us "the French fries are great". That pretty much sums up the album: America is going to crap, let's laugh about it.
To counter the political material, he has some beautiful love ballads like "Losing You" and "Feels Like Home" that give this album a good flow. Songs like "Korean Parents" are just as much comedy sketches as they are songs, but the beauty of the orchestrations unfold after a couple listens.
At 35 minutes long, its a brief listen that you'll want to hear again to try and make sense of the lyrics. If you like traditional songwriters like Bob Dylan or Tom Waits, spend some time with this one; it will grow on you even if you're an uninitiated Newman listener.
Tuesday, August 12, 2008
Conor Oberst
I think Conor Oberst's career is almost to the point where I can figure out where he's going. That sure hasn't been the case for the past few years. After the sprawling, melodramatic fury that was Lifted..., he put together two albums at once: one was his finest moment (I'm Wide Awake, It's Morning) and one was a disastrous genre experiment (Digital Ash In A Digital Urn). He tried to combine all of his past work to please everybody with 2007's Cassadega; not surprisingly, some of it came out great, but most of it was a mess.
Now he losses the name Bright Eyes, does an album with many of the same people he's always worked with, and releases a tame but focused solo record. The emotional outbursts of his pat albums are gone: even when he sings "I Don't Want To Die (In A Hospital)", he does it with a self-mocking sense of humor. He's no longer a whinny kid who screams about politics and bad relationships; he's a seasoned road warrior who tells stories of his travels and singing advice like "there's nothing that the road can't heal".
Not only has he learned subtly in the past few years, he's learned how to carry a melody for an entire song. "Sausilito" is breezy country rock that never breaks from it's melody or changes dynamic. It's nice to hear him writing a good song without trying to make every track an epic.
Although it doesn't hit the heights of his best records, i appreciate the new, calm Conor and this self-assured solo debut. If you are new to Bright Eyes, start with Lifted... and I'm Wide Awake It's Morning. It isn't going to be one of the stand-out records this year, but he remains an important young songwriter who might have a few masterpieces left in him.
Now he losses the name Bright Eyes, does an album with many of the same people he's always worked with, and releases a tame but focused solo record. The emotional outbursts of his pat albums are gone: even when he sings "I Don't Want To Die (In A Hospital)", he does it with a self-mocking sense of humor. He's no longer a whinny kid who screams about politics and bad relationships; he's a seasoned road warrior who tells stories of his travels and singing advice like "there's nothing that the road can't heal".
Not only has he learned subtly in the past few years, he's learned how to carry a melody for an entire song. "Sausilito" is breezy country rock that never breaks from it's melody or changes dynamic. It's nice to hear him writing a good song without trying to make every track an epic.
Although it doesn't hit the heights of his best records, i appreciate the new, calm Conor and this self-assured solo debut. If you are new to Bright Eyes, start with Lifted... and I'm Wide Awake It's Morning. It isn't going to be one of the stand-out records this year, but he remains an important young songwriter who might have a few masterpieces left in him.
Wednesday, August 6, 2008
Sugarland
Once or twice a year, I divert from my typical indie snobbery to enjoy a pop country record. The last few I have picked up have been excellent: Vince Gill's These Days had enough brilliant songwriting to fill four discs and Miranda Lambert's Crazy Ex-Girlfriend managed to be angrier than any punk record that came out last year. I'm ready to admit that pop country radio has impressed me during the last few years.
Which leads us to Sugarland, a duo with two massive hit records under their belt. They have one of the best female singers in country music, but they also have power chords from a guitar player whose backup vocals wouldn't be out of place in Metallica. The beautiful contrast between these two vocalists is what separates Sugarland from an average country act.
"Take Me As I Am" starts with power chords and mixes 80s hair metal riff with a girl-power chorus; I imaging this will be a crossover hit used in more than a few teen movies. "It Happens" is acoustic country rock with some amazing fast wordplay and one of the catchiest choruses I've heard this year. Even the ballads stay exciting by always building to dynamic chorus; "Keep You" is a power ballad hit waiting to happen.
There isn't anything revelatory here, just fun pop music for the end of summer. Maybe I should divert to country radio more often.
Which leads us to Sugarland, a duo with two massive hit records under their belt. They have one of the best female singers in country music, but they also have power chords from a guitar player whose backup vocals wouldn't be out of place in Metallica. The beautiful contrast between these two vocalists is what separates Sugarland from an average country act.
"Take Me As I Am" starts with power chords and mixes 80s hair metal riff with a girl-power chorus; I imaging this will be a crossover hit used in more than a few teen movies. "It Happens" is acoustic country rock with some amazing fast wordplay and one of the catchiest choruses I've heard this year. Even the ballads stay exciting by always building to dynamic chorus; "Keep You" is a power ballad hit waiting to happen.
There isn't anything revelatory here, just fun pop music for the end of summer. Maybe I should divert to country radio more often.
Monday, August 4, 2008
More critical praise for the Fleet Foxes
There have been a lot of great albums this year, but nothing has grown on me the way the Fleet Foxes have. I didn't love their album immediately; now I think it is the best band debut record since the Arcade Fire four years ago. Just listen to "Ragged Wood" and "Your Protector" a few times and tell me if you agree.
Since this album has me wanting every available track by this band, I picked up their Sun Giant EP this weekend. I am now convinced that if you own one of their discs, you won't be able to stop yourself from getting the other. This one loads the soft folk songs at the beginning: "Sun Giant" and "Drops In The River" are gorgeous ballads with almost no rhythm. "English House" could pass as the acoustic side of Led Zeppelin, with building voices filling in the void when the guitar rhythm drops out. Already, this band sounds like no other band alive in 2008.
"Mykonos" might be their best moment so far. Even if you don't know the words, everybody can hum along to the dark, haunting background vocals. Actually, I think that's true of all of their songs.
The bottom line: this is the most exciting new American band I've heard in a long time. Indie rock is known for lyrics, rhythm, and random instrumentation, but how often is it known for harmony and vocal talent? Finally.
Since this album has me wanting every available track by this band, I picked up their Sun Giant EP this weekend. I am now convinced that if you own one of their discs, you won't be able to stop yourself from getting the other. This one loads the soft folk songs at the beginning: "Sun Giant" and "Drops In The River" are gorgeous ballads with almost no rhythm. "English House" could pass as the acoustic side of Led Zeppelin, with building voices filling in the void when the guitar rhythm drops out. Already, this band sounds like no other band alive in 2008.
"Mykonos" might be their best moment so far. Even if you don't know the words, everybody can hum along to the dark, haunting background vocals. Actually, I think that's true of all of their songs.
The bottom line: this is the most exciting new American band I've heard in a long time. Indie rock is known for lyrics, rhythm, and random instrumentation, but how often is it known for harmony and vocal talent? Finally.
Thursday, July 31, 2008
Live on iTunes
Although I will probably continue to complain about the inevitable demise of the CD industry, there is something I love about iTunes: it has artists releasing music they probably wouldn't otherwise release at all.
Case in point: U2 just released Live From Paris, a 1987 live show, on iTunes. Despite being a legendary live act for over 25 years, they have never been able to come up with a solid live release. For 12 dollars, you get 80 minutes of U2 at their best; it has over half of Joshua Tree, their 80s hits, and a few surprises such as "Electric Co." and "40". It also has plenty of self-righteous Bono dialogue and some great in song tributes: he works Bob Marley's "Exodus" into "I Still Haven't Found What I'm Looking For" and Joy Division's "Love Will Tear Us Apart" into "With Or Without You".
Better yet, get the free Tom Waits concert off of the All Songs Considered Concert Podcast. Here's a guy who really needs to release a live record. He covers an astounding amount of ground in two and a half hours. A few highlights:
- "Way Down In The Hole" with his apocalyptic Evangelist personna
- "All The World Is Green" and "Hold On" are even more affectionate and beautiful live
- "9th and Hennipen" has some amazing yet terrifying method acting from Tom
- the dialogue before "Chocolate Jesus" where Tom talks about how gas prices prevent us from going to church
Two and a half hours of free live Tom Waits: it's like Christmas came early for me.
Case in point: U2 just released Live From Paris, a 1987 live show, on iTunes. Despite being a legendary live act for over 25 years, they have never been able to come up with a solid live release. For 12 dollars, you get 80 minutes of U2 at their best; it has over half of Joshua Tree, their 80s hits, and a few surprises such as "Electric Co." and "40". It also has plenty of self-righteous Bono dialogue and some great in song tributes: he works Bob Marley's "Exodus" into "I Still Haven't Found What I'm Looking For" and Joy Division's "Love Will Tear Us Apart" into "With Or Without You".
Better yet, get the free Tom Waits concert off of the All Songs Considered Concert Podcast. Here's a guy who really needs to release a live record. He covers an astounding amount of ground in two and a half hours. A few highlights:
- "Way Down In The Hole" with his apocalyptic Evangelist personna
- "All The World Is Green" and "Hold On" are even more affectionate and beautiful live
- "9th and Hennipen" has some amazing yet terrifying method acting from Tom
- the dialogue before "Chocolate Jesus" where Tom talks about how gas prices prevent us from going to church
Two and a half hours of free live Tom Waits: it's like Christmas came early for me.
Monday, July 28, 2008
One Day As A Lion
I must be getting old: it's already been nine years since the last Rage Against The Machine record. How can the most political band of the 90's (the only one, really) lay out of the entire GW Bush era? There is so much to sing about now! Five years of the Iraq war and we get nothing out of Zach de la Rocha? It's not hard to see why this 5 song EP is one of the most anticipated recordings of 2008.
"Wild International" starts on a familiar note; Zach yells/raps about politics and religion over heavy drums and a low buzz that seems to have replaced Tom Morrello. Then things get really exciting. "Ocean View" is straight up punk with Zach actually singing the chorus. Now you have my attention.
"Last Letter" gets even louder and heavier and features some creepy guitar with a ringing echo effect. He returns to rapping for "If You Fear Dying". Those of you who great up with sayings like "fear is your only God!" will be shouting along with "if you fear dying, than you're already dead!". Good to have you back, Zach.
The guitars squealing on "One Day As A Lion" (the song, not the EP) sound like Tom Morrello might have snuck back in, but this is not a Rage album. This is something new, original, and exciting that will make you wonder how we made it through the last 8 years without this guy. Maybe we won't get anything else out of this project, but it is satisfying enough for now to have a concrete product.
At the end of this brief 20-minute record, I think you'll scream along with the last words: "we'll show you what war is good for!". And then you'll want to play it all again.
"Wild International" starts on a familiar note; Zach yells/raps about politics and religion over heavy drums and a low buzz that seems to have replaced Tom Morrello. Then things get really exciting. "Ocean View" is straight up punk with Zach actually singing the chorus. Now you have my attention.
"Last Letter" gets even louder and heavier and features some creepy guitar with a ringing echo effect. He returns to rapping for "If You Fear Dying". Those of you who great up with sayings like "fear is your only God!" will be shouting along with "if you fear dying, than you're already dead!". Good to have you back, Zach.
The guitars squealing on "One Day As A Lion" (the song, not the EP) sound like Tom Morrello might have snuck back in, but this is not a Rage album. This is something new, original, and exciting that will make you wonder how we made it through the last 8 years without this guy. Maybe we won't get anything else out of this project, but it is satisfying enough for now to have a concrete product.
At the end of this brief 20-minute record, I think you'll scream along with the last words: "we'll show you what war is good for!". And then you'll want to play it all again.
Saturday, July 26, 2008
I'm back.. a few random notes...
Sorry I haven't written anything in a while; I took off to Miami for a week on business. A few notes from the last week and a half:
- If you are a big Hold Steady fan, there are two great clips from the David Letterman show you should see. The first is their performance of "Sequestered In Memphis"
(http://www.youtube.com/watch?v=r7RO0y1-ZAE).
The second is a hilarious skit making fun of Craig Finn's geek appearance (http://www.youtube.com/watch?v=nWlWCgSUgzg&feature=related).
I've watched each clip about 10 times. Enjoy.
- There are only two albums I care about in August or September. Connor Oberst's solo record comes out August 5, which could be brilliant (like Lifted or I'm Wide Awake It's Morning) or a complete disaster (like Cassadaga). Better yet, Okkervil River already have a new record on September 9. Since their last two records were brilliant and Shearwater already has one of this year's best albums, I'm very excited for this one.
- Zach de la Rocha (of Rage Against The Machine fame) finally has some new output! His new project is called One Day As A Lion, and you can hear a track at (http://www.myspace.com/onedayasalion).
I was excited, but this song seems a little sluggish and it still hasn't grown on me. It's nice to hear him doing something again. I'm going to get the new EP on iTunes; I'll review it soon. If fans of rap-metal still exist, it's a good day for you!
Have a good weekend.
- If you are a big Hold Steady fan, there are two great clips from the David Letterman show you should see. The first is their performance of "Sequestered In Memphis"
(http://www.youtube.com/watch?v=r7RO0y1-ZAE).
The second is a hilarious skit making fun of Craig Finn's geek appearance (http://www.youtube.com/watch?v=nWlWCgSUgzg&feature=related).
I've watched each clip about 10 times. Enjoy.
- There are only two albums I care about in August or September. Connor Oberst's solo record comes out August 5, which could be brilliant (like Lifted or I'm Wide Awake It's Morning) or a complete disaster (like Cassadaga). Better yet, Okkervil River already have a new record on September 9. Since their last two records were brilliant and Shearwater already has one of this year's best albums, I'm very excited for this one.
- Zach de la Rocha (of Rage Against The Machine fame) finally has some new output! His new project is called One Day As A Lion, and you can hear a track at (http://www.myspace.com/onedayasalion).
I was excited, but this song seems a little sluggish and it still hasn't grown on me. It's nice to hear him doing something again. I'm going to get the new EP on iTunes; I'll review it soon. If fans of rap-metal still exist, it's a good day for you!
Have a good weekend.
Thursday, July 17, 2008
The Hold Steady!!!
I'm sorry, I was wrong. It happens; I'm not perfect.
First, I complained about the early release on iTunes. They responded by giving CD buyers three excellent bonus tracks. Than I complained about the fast demise of great American bands I've had high expectations of (Wilco, Flaming Lips, My Morning Jacket, etc.). They respond by giving us another stunning masterpiece of an album. It's great to be wrong.
Stay Positive starts off with "Constructive Summer", a punk blast with shout-along lines like "We can all be something bigger!". Without even breaking momentum, they dive into their catchiest single ever: "Sequested in Memphis" is an early E Street Band party complete with smooth saxophone and squealing keyboards. Remember when rock bands made songs that make you want to dance?
On the third track, things start to get weird. "One for the Cutters" is a harpsichord waltz and "Navy Sheets" features and 80s pop synthesizer. Fans of Boys And Girls In America will love "Lord, I'm Discouraged", maybe their best power ballad. It sounds like Bob Seger closing a bar, and it has the greatest hair metal guitar solo since the Guns N' Roses broke up.
After the dark folk ballad "Both Crosses", the album peaks with the title track, a pounding rock jam that summarizes the theme of the record: it's hard growing old. Craig Finn does his old man rant about how it's going to be years from now when his band is old, irrelevant, and worn out, while making numerous references to the Hold Steady's past songs ("Massive Nights" and "Postive Jam" are referenced).
Make no mistake - this band isn't going anywhere. The Hold Steady are America's best band in 2008.
First, I complained about the early release on iTunes. They responded by giving CD buyers three excellent bonus tracks. Than I complained about the fast demise of great American bands I've had high expectations of (Wilco, Flaming Lips, My Morning Jacket, etc.). They respond by giving us another stunning masterpiece of an album. It's great to be wrong.
Stay Positive starts off with "Constructive Summer", a punk blast with shout-along lines like "We can all be something bigger!". Without even breaking momentum, they dive into their catchiest single ever: "Sequested in Memphis" is an early E Street Band party complete with smooth saxophone and squealing keyboards. Remember when rock bands made songs that make you want to dance?
On the third track, things start to get weird. "One for the Cutters" is a harpsichord waltz and "Navy Sheets" features and 80s pop synthesizer. Fans of Boys And Girls In America will love "Lord, I'm Discouraged", maybe their best power ballad. It sounds like Bob Seger closing a bar, and it has the greatest hair metal guitar solo since the Guns N' Roses broke up.
After the dark folk ballad "Both Crosses", the album peaks with the title track, a pounding rock jam that summarizes the theme of the record: it's hard growing old. Craig Finn does his old man rant about how it's going to be years from now when his band is old, irrelevant, and worn out, while making numerous references to the Hold Steady's past songs ("Massive Nights" and "Postive Jam" are referenced).
Make no mistake - this band isn't going anywhere. The Hold Steady are America's best band in 2008.
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