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.
Thursday, August 28, 2008
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.
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