During a CD-buying binge this past weekend, I picked up one of those albums that can best be described as life-altering.
For those of you who don't know abut Talk Talk, let me give you the short version. They came from England in the early 80's and created some great but run-of-the-mill pop songs, particularly "It's My Life" (which had an extremely popular cover by No Doubt a few years ago). With he new wave phase passing and most 80's pop band having no idea where to go, Talk Talk make a pair of records that combine atmospheric beauty with free-jazz rhythms to make ten-minute songs with no chorus (think an update of Van Morrison's Astral Weeks). Commercial suicide occurs, they break up. Almost two decades later, critics hail these records as masterpieces.
Don't you wish this happened more ofter? Furthermore, don't you wish the general music population loved this record when it came out?
The album creeps in with "Myrrhman" built on random guitar strums and minor-keyed horns playing a funeral. The vocals are clear and strong; you can tell this guy is capable of writing pop tunes, but by this point I'm glad he doesn't. The guitar blast in "Ascension Day" leads into what seems like a more conventional track - that is until a Sonic Youth guitar solo and crashing cymbals lead the song toward a sudden chilling halt. Radiohead definitely heard this record prior to recording Kid A.
"After The Flood" is the album's centerpiece, and what a stunner. The smooth keyboard loops under a whiling organ and screeching guitar solos. This track finds the perfect place between blissful beauty and nervous paranoia. At ten minutes, it still feels too short.
If it weren't for the gorgeous vocals, "Taphead" could be an outtake from Charles Mingus' Black Saint And The Sinner Lady. "New Grass" leads them completely into free jazz territory with horns fading in and out and a simple piano rhythm. Understated guitar strumming creates a bleak but building optimistic mood for "Runeii", the album's closer and shortest track.
Somebody please get this band back together to make another record like this. We apparently were all paying too much attention to the New Kids On The Block and M.C. Hammer in 1991 to notice this masterpiece, but I think we embrace this kind of stuff now.
Go get Talk Talk's Laughing Stock. Now.
Tuesday, March 31, 2009
Thursday, March 26, 2009
Opeth's Watershed
It happens every year. Every year there is a dark, unfriendly, complex, challenging record that I don't fall in love with until months after the year ends. 2006 gave us Scott Walker's Drift. 2007 gave us Nine Inch Nail's Year Zero. Alas, I found that album for 2008.
It isn't a surprise that Opeth had to grow on me. I haven't been an avid follower of metal or prog rock for the last decade. Ever since Pantara broke up and Dream Theater started making alienating 29-minute orchestral suites, I've been willing to take or leave either genre.
However, I can't ignore Opeth's Watershed. Does it have the brutal pounding drums and vocal growls that define metal? Yes, but only sparingly. The ballads on this record draw on and build for so long that when the metal tendencies do break loose, it's a breath of fresh air and not nauseating. I really wish more bands made records like this.
In "The Lotus Eater" and "Burden", Opeth cover more ground in 16 minutes than most bands will in a lifetime. The former trades off clean, hypnotic melodies with growling aggression while the band goes into overdrive. After about 5 minutes, a smooth acoustic interlude leads to an acid jazz keyboard solo that sounds like an except from Miles Davis' Bitches Brew. The later is a soaring power ballad that builds off of piano and extended guitar solos. I can't think of another band alive who would attempt any of this sequence (not even you, Dream Theater).
"Hessian Peel" is dreamy and memorizing until the midpoint where the aggression returns. According to the band, the song structures and the "blocks of sound" are inspired by Scott Walker's Drift. This album is just as musically adventurous and almost as haunting.
I think it's time for me to explore the entire Opeth catalog - it seems like I've missed the boat by ignoring prog-metal for this long.
It isn't a surprise that Opeth had to grow on me. I haven't been an avid follower of metal or prog rock for the last decade. Ever since Pantara broke up and Dream Theater started making alienating 29-minute orchestral suites, I've been willing to take or leave either genre.
However, I can't ignore Opeth's Watershed. Does it have the brutal pounding drums and vocal growls that define metal? Yes, but only sparingly. The ballads on this record draw on and build for so long that when the metal tendencies do break loose, it's a breath of fresh air and not nauseating. I really wish more bands made records like this.
In "The Lotus Eater" and "Burden", Opeth cover more ground in 16 minutes than most bands will in a lifetime. The former trades off clean, hypnotic melodies with growling aggression while the band goes into overdrive. After about 5 minutes, a smooth acoustic interlude leads to an acid jazz keyboard solo that sounds like an except from Miles Davis' Bitches Brew. The later is a soaring power ballad that builds off of piano and extended guitar solos. I can't think of another band alive who would attempt any of this sequence (not even you, Dream Theater).
"Hessian Peel" is dreamy and memorizing until the midpoint where the aggression returns. According to the band, the song structures and the "blocks of sound" are inspired by Scott Walker's Drift. This album is just as musically adventurous and almost as haunting.
I think it's time for me to explore the entire Opeth catalog - it seems like I've missed the boat by ignoring prog-metal for this long.
Sunday, March 22, 2009
Looking Forward
He's a few artist who are releasing CDs I look forward to this year:
Prince (March 31): Three CDs for 13 dollars? OK, one of them is by a protege he is promoting, but still at that price I am willing to take a gamble. Of course, every CD he's released since 1987 has been a gamble, so I don't know what to say about this one.
Bob Dylan (April 28): Remember when Time Out Of Mind came out and people were calling it a great way to close his career? That was 12 years ago. Since then, he's released two better studio albums. This has to work. He can do no wrong.
Eminem (19 May): His "retirement" did mange to outlast Jay-Z's "retirement" by a few years. Hip-hop has really moved on from the comedic pop he did ten years ago, so does he have something new? With Dr. Dre and 50 Cent on board, it will sell no matter what, but artists who peak this fast and burn out usually don't have long careers.
Lil Wayne (May): He is releasing a rock album. After hearing him slaughter his guitar on the otherwise great album Carter III, I really can't get excited about this. I think Kanye West's bizarre genre experiment last year is going to cause other hip-hop artists to do the same. Beware.
Green Day (May): Love it or hate it, you have to admit that American Idiot is one of the greatest career-revival moments of all time. Now they want to do another concept album and repeat that success. I am not optimistic about this one. I think they've already overreached their boundaries. Just do another punk album with guitars and poop jokes, guys. You've earned it.
Flaming Lips (June): Hopefully, they will title this album We Apologize For At War With The Mystics. I'm excited anyway.
Sufjan Stevens (possibly never): Has anybody seen or heard from him in the last 4 years? Where did he go? We need you!
Prince (March 31): Three CDs for 13 dollars? OK, one of them is by a protege he is promoting, but still at that price I am willing to take a gamble. Of course, every CD he's released since 1987 has been a gamble, so I don't know what to say about this one.
Bob Dylan (April 28): Remember when Time Out Of Mind came out and people were calling it a great way to close his career? That was 12 years ago. Since then, he's released two better studio albums. This has to work. He can do no wrong.
Eminem (19 May): His "retirement" did mange to outlast Jay-Z's "retirement" by a few years. Hip-hop has really moved on from the comedic pop he did ten years ago, so does he have something new? With Dr. Dre and 50 Cent on board, it will sell no matter what, but artists who peak this fast and burn out usually don't have long careers.
Lil Wayne (May): He is releasing a rock album. After hearing him slaughter his guitar on the otherwise great album Carter III, I really can't get excited about this. I think Kanye West's bizarre genre experiment last year is going to cause other hip-hop artists to do the same. Beware.
Green Day (May): Love it or hate it, you have to admit that American Idiot is one of the greatest career-revival moments of all time. Now they want to do another concept album and repeat that success. I am not optimistic about this one. I think they've already overreached their boundaries. Just do another punk album with guitars and poop jokes, guys. You've earned it.
Flaming Lips (June): Hopefully, they will title this album We Apologize For At War With The Mystics. I'm excited anyway.
Sufjan Stevens (possibly never): Has anybody seen or heard from him in the last 4 years? Where did he go? We need you!
Sunday, March 15, 2009
The Dream and P.O.S.
It's been a long week. I've been lazy on the music blogging lately but not the music buying, so here's a two-for-one.
When the critics start raving about a club R&B album, I have to at least take note. Come on, this genre has been an artistic sinkhole for a decade. The Dream's new record, Love Vs. Money, does a lot to change this. This album makes the most of layered synths, falsetto singing that sounds like Michael Jackson's Off The Wall, perfectly placed guest singers, and booty-call lyrics that would make Prince proud. On "Put It Down", he says he's "all up on you like a white shirt on a thug" and asks if you "like it from the back". Wow. It's not high poetry, but its hilarious, fun, and you'll find yourself playing it over and over (and it might double the birth rate in America).
"Walkin' On The Moon" is the sound of Kanye West having fun again - a nice diversion from his last record. "My Love" is one of the catchiest, most memorable performances Mariah Carey has recorded in years. But the Dream can do it on his own too - "Fancy" is an epic ballad that builds on a piano and almost whispered vocals until an orchestra and pounding military drums join. Then he backs off the serious material for a hilarious track about having sex to R. Kelly's album 12 Play. This isn't just a club album - this is an anywhere album. Right now, I can't put it down.
Almost as impressive is Never Better, the new record by the underground Minnesota rapper P.O.S. He sets the tones with guitar strums and rhymes about how it's "a goddamn recession, have a little respect". His style is a mix between early Nas and Zach De La Rocha - he isn't particularly memorable as a rapper, but he fits the style well and he knows how to put a single together.
"Drumroll (We're All Thirsty)" is even more thrilling: a punk band warms up and then halt as P.O.S. comes in off rhythm as they drop out. Once they get in sync, he drops verses that will make your head spin. This album is best described as a thrill ride. The ideas come so fast, there isn't time for the listener to sort them out.
"Savion Glover" and "Goodbye" drop the guitar distortion for pop hooks and synthesizers, and it still works. These could be two of the best hip-hop singles you'll hear this year. If you miss Rage Against The Machine like I do, this might be your best replacement. It isn't for everybody, but if political rage and spit-fire rhymes are your cup of tea, here you go.
Halfway through March, we already have a timeless masterpiece (Animal Collective), two solid weep-along records (Neko Case and Antony And The Johnson), a great veteran comeback (U2), a rising underground rap star (P.O.S.), and a guilty pleasure album that is more addictive than drugs (The Dream). 2009 is a good year to be alive. Well, besides that whole recession thing...
When the critics start raving about a club R&B album, I have to at least take note. Come on, this genre has been an artistic sinkhole for a decade. The Dream's new record, Love Vs. Money, does a lot to change this. This album makes the most of layered synths, falsetto singing that sounds like Michael Jackson's Off The Wall, perfectly placed guest singers, and booty-call lyrics that would make Prince proud. On "Put It Down", he says he's "all up on you like a white shirt on a thug" and asks if you "like it from the back". Wow. It's not high poetry, but its hilarious, fun, and you'll find yourself playing it over and over (and it might double the birth rate in America).
"Walkin' On The Moon" is the sound of Kanye West having fun again - a nice diversion from his last record. "My Love" is one of the catchiest, most memorable performances Mariah Carey has recorded in years. But the Dream can do it on his own too - "Fancy" is an epic ballad that builds on a piano and almost whispered vocals until an orchestra and pounding military drums join. Then he backs off the serious material for a hilarious track about having sex to R. Kelly's album 12 Play. This isn't just a club album - this is an anywhere album. Right now, I can't put it down.
Almost as impressive is Never Better, the new record by the underground Minnesota rapper P.O.S. He sets the tones with guitar strums and rhymes about how it's "a goddamn recession, have a little respect". His style is a mix between early Nas and Zach De La Rocha - he isn't particularly memorable as a rapper, but he fits the style well and he knows how to put a single together.
"Drumroll (We're All Thirsty)" is even more thrilling: a punk band warms up and then halt as P.O.S. comes in off rhythm as they drop out. Once they get in sync, he drops verses that will make your head spin. This album is best described as a thrill ride. The ideas come so fast, there isn't time for the listener to sort them out.
"Savion Glover" and "Goodbye" drop the guitar distortion for pop hooks and synthesizers, and it still works. These could be two of the best hip-hop singles you'll hear this year. If you miss Rage Against The Machine like I do, this might be your best replacement. It isn't for everybody, but if political rage and spit-fire rhymes are your cup of tea, here you go.
Halfway through March, we already have a timeless masterpiece (Animal Collective), two solid weep-along records (Neko Case and Antony And The Johnson), a great veteran comeback (U2), a rising underground rap star (P.O.S.), and a guilty pleasure album that is more addictive than drugs (The Dream). 2009 is a good year to be alive. Well, besides that whole recession thing...
Sunday, March 8, 2009
Ahh, Neko Case's Voice
There are some things in this world that you can always count on. I talked about one of them a few days ago - the Edge's guitar playing. Even if everything else goes wrong - bad songwriting, bad production (as it all did on Pop), you can count on his guitar saving the day. Similarly, I can say without reservation that I will always be astounded by the voice of Neko Case. She could sing the phone book accompanied by nails on a chalkboard and it would still be beautiful.
Fortunately, songwriting and musical innovation have never been much of a problem for her. She already nailed the idea of southern-Gothic alt-country on 2002's Blacklisted and 2006's stunning Fox Confessor Brings The Flood. Where does she go from here? Does she try to do a pop record and get fame alongside Taylor Swift and Carrie Underwood?
Well, no. On her new release, Middle Cyclone, things actually get weirder. If fact, the album ends with 30 minutes of crickets chirping - thank God we have iTunes to edit stuff like this off.
"This Tornado Loves You" uses a fluttering guitar rhythm while comparing obsessive love with the devastation of a tornado. "The Next Time You Say Forever" is a love ballad that turns ugly with regret and anger. "I'm An Animal" is a mid-tempo rock song that wouldn't be out of place on a U2 or R.E.M. album; it made me want to dust off the first two New Pornographer records.
The bare "Middle Cyclone" brings her voice to the front with only and acoustic guitar and toy piano behind it, which "Don't Forget Me" uses an entire piano orchestra. The instrumentation on this album is consistently innovative and exciting and the subject matter explores the darkness of human relationships - right now she's a likely candidate for "Tom Waits of the next generation".
This isn't the best record in her cannon, but it's nice to see her trying to expand. She is blessed with one of the greatest female voices in modern music, but she's also trying to do something with it. Let's hope she has a few more like this one left in her.
Fortunately, songwriting and musical innovation have never been much of a problem for her. She already nailed the idea of southern-Gothic alt-country on 2002's Blacklisted and 2006's stunning Fox Confessor Brings The Flood. Where does she go from here? Does she try to do a pop record and get fame alongside Taylor Swift and Carrie Underwood?
Well, no. On her new release, Middle Cyclone, things actually get weirder. If fact, the album ends with 30 minutes of crickets chirping - thank God we have iTunes to edit stuff like this off.
"This Tornado Loves You" uses a fluttering guitar rhythm while comparing obsessive love with the devastation of a tornado. "The Next Time You Say Forever" is a love ballad that turns ugly with regret and anger. "I'm An Animal" is a mid-tempo rock song that wouldn't be out of place on a U2 or R.E.M. album; it made me want to dust off the first two New Pornographer records.
The bare "Middle Cyclone" brings her voice to the front with only and acoustic guitar and toy piano behind it, which "Don't Forget Me" uses an entire piano orchestra. The instrumentation on this album is consistently innovative and exciting and the subject matter explores the darkness of human relationships - right now she's a likely candidate for "Tom Waits of the next generation".
This isn't the best record in her cannon, but it's nice to see her trying to expand. She is blessed with one of the greatest female voices in modern music, but she's also trying to do something with it. Let's hope she has a few more like this one left in her.
Wednesday, March 4, 2009
U2
About three months ago, one of my best friends and I were having arguments about who would win the latest round of the U2 vs. The Boss rivalry. I figured the Boss had to win again: that is, until he dropped his scattered trainwreck Working On A Dream. I was wrong. Oh well, the point is U2's new record, No Line On The Horizon, is out now. Like every big anticipated rock release (Bruce Springsteen, Guns N' Roses, Green Day are up next), I have to go track-by-track on this one.
1.) "No Line On The Horizon": Pounding bass and drums, the Edge is making those scorching atmosphere sounds, and Bono is yelling like its "Sunday Bloody Sunday". Wow. You couldn't have opened this album better. This song makes me want to run a marathon.
2.) "Magnificent": They really shoot for the big rock anthem on this one. Catchy guitar, dancing bass rhythm, pious lyrics about how "only love could leave such a mark"...this is U2 by the numbers. It's just better than they've done it in almost 20 years.
3.) "Moment Of Surrender": The rock arena stuff is on hold now; welcome to church! He even goes for the gospel organ here. Great chorus though, and the Edge rescues the song when it starts to get dull. This song actually works for over 7 minutes! Has this band ever pulled that off?
4.) "Unknown Caller": Two lengthy epics in a row in the first half of the album? That takes some balls. That idea, as well as this song, is completely owned by Brian Eno. The minor-keyed guitar work toward the end is great and so is the vocal harmonies - these things save this song from being 6 minutes of Bono preaching. This song takes a few listens to like, but it has some nice surprises.
5.) "I'll Go Crazy If I Don't Go Crazy Tonight": The title is unforgivably bad. The singing can be best described as goofy. However, by the second chorus, you will love this song. I can't even figure out why. I think it's because of the Edge's howling in the background. He's the MVP here so far.
6.) "Get Your Boots On": The album's first misstep is it's first single, but I still like it better than "Vertigo". Does this song sound like it was made for a car commercial? It kind of works in the middle of the album, since it is in between a pair of fun stadium rock songs. Oh well, I'm sure "Magnificent" will overtake rock radio soon.
7.) "Stand-Up Comedy": Like the last track, more goofy mindless fun. I love how this record is so distinctly divided between the preachy/artsy and the joking self-parody. "Stand up for your love!" - really, Bono?
8.) "FEZ - Being born": Ringing tones and layered keyboards bring this album back down to earth. The singing reminds me of the Talking Heads' "Born Under Punches" (another Brian Eno creation). This is a great transition track that couldn't really stand alone.
9.) "White As Snow": Does anybody else notice he stole the melody from "O Come Emmanuel"? Come on guys! Mostly Christians buy your records - you can't get away with that! Beautiful song though. This could be a great Bono/Edge acoustic moment at a concert.
10.) "Breathe": Here it is, a new U2 standard. Bono goes on a Bob Dylan style rant while the Edge works magic behind him. This song could have fit onto War or any album since. Perfect.
11.) "Cedars Of Lebanon": This sounds like a cross between "Wake Up Dead Man" and "Grace" - it might be their best-ever album closer (always a rough area for them). Sorrowful and understated aren't their strong suits, but they do it in nice measure here.
Bottom line: this album joins War, Joshua Tree, Achtung Baby, and All That You Can't Leave Behind as the fifth U2 classic. There isn't a filler track here. It's not too late to become a U2 fan.
1.) "No Line On The Horizon": Pounding bass and drums, the Edge is making those scorching atmosphere sounds, and Bono is yelling like its "Sunday Bloody Sunday". Wow. You couldn't have opened this album better. This song makes me want to run a marathon.
2.) "Magnificent": They really shoot for the big rock anthem on this one. Catchy guitar, dancing bass rhythm, pious lyrics about how "only love could leave such a mark"...this is U2 by the numbers. It's just better than they've done it in almost 20 years.
3.) "Moment Of Surrender": The rock arena stuff is on hold now; welcome to church! He even goes for the gospel organ here. Great chorus though, and the Edge rescues the song when it starts to get dull. This song actually works for over 7 minutes! Has this band ever pulled that off?
4.) "Unknown Caller": Two lengthy epics in a row in the first half of the album? That takes some balls. That idea, as well as this song, is completely owned by Brian Eno. The minor-keyed guitar work toward the end is great and so is the vocal harmonies - these things save this song from being 6 minutes of Bono preaching. This song takes a few listens to like, but it has some nice surprises.
5.) "I'll Go Crazy If I Don't Go Crazy Tonight": The title is unforgivably bad. The singing can be best described as goofy. However, by the second chorus, you will love this song. I can't even figure out why. I think it's because of the Edge's howling in the background. He's the MVP here so far.
6.) "Get Your Boots On": The album's first misstep is it's first single, but I still like it better than "Vertigo". Does this song sound like it was made for a car commercial? It kind of works in the middle of the album, since it is in between a pair of fun stadium rock songs. Oh well, I'm sure "Magnificent" will overtake rock radio soon.
7.) "Stand-Up Comedy": Like the last track, more goofy mindless fun. I love how this record is so distinctly divided between the preachy/artsy and the joking self-parody. "Stand up for your love!" - really, Bono?
8.) "FEZ - Being born": Ringing tones and layered keyboards bring this album back down to earth. The singing reminds me of the Talking Heads' "Born Under Punches" (another Brian Eno creation). This is a great transition track that couldn't really stand alone.
9.) "White As Snow": Does anybody else notice he stole the melody from "O Come Emmanuel"? Come on guys! Mostly Christians buy your records - you can't get away with that! Beautiful song though. This could be a great Bono/Edge acoustic moment at a concert.
10.) "Breathe": Here it is, a new U2 standard. Bono goes on a Bob Dylan style rant while the Edge works magic behind him. This song could have fit onto War or any album since. Perfect.
11.) "Cedars Of Lebanon": This sounds like a cross between "Wake Up Dead Man" and "Grace" - it might be their best-ever album closer (always a rough area for them). Sorrowful and understated aren't their strong suits, but they do it in nice measure here.
Bottom line: this album joins War, Joshua Tree, Achtung Baby, and All That You Can't Leave Behind as the fifth U2 classic. There isn't a filler track here. It's not too late to become a U2 fan.
Sunday, March 1, 2009
Titus Andronicus
The past few years have been great for Bruce Springsteen, mostly because of music other bands have been putting out. Bruce worship is everywhere: the Killers sold millions by trying to do a note-for-note remake of "Born To Run" (they called it "When You Were Young"), the Hold Steady made a career off listening to The River, and even the Arcade Fire gave him a fitting tribute with "Antichrist Television Blues". While Bruce is off doing his tributes to Pete Seeger and Brian Wilson (mostly neither successfully), dozens of young bands are trying to recapture the bar-band magic he made in the seventies.
That brings us to Titus Andronicus, the latest band to get Bruce comparisons from the critics. Their debut record, The Airing Of Grievances, went mostly unrecognized last year and got reissued early this year. The band uses a full E Street instrumentation (violin, piano, glockenspiel, saxophone), their band uses rockabilly riffs, and they are from New jersey, but the Boss comparisons end there. Really, think about how a wasted Conor Oberst would sound fronting the Replacements with the Arcade Fire adding in every instrument they can think of. It works a lot better than you'd think.
The first song starts with soft strumming before a pounding piano and drums propel us into the singer's teenage diary lyrics. The song closes with a Pogues-esque punk blowout with horns blaring. I doubt you will be humming this one at work, but it works great for a first impression, and you have to love a song called "Fear And Loathing In Mahwah, NJ".
The first six tracks blare by so fast, you need a couple of listens to catch the nuances: the fun chorus of "Titus Andronicus" (Your life is over! Your life is over!), the intro of "Joset of Nazareth's Blues" (ripped straight out of Bruce's "Promise Land"), the brilliant guitar solo at the end of "Arms Against Atrophy", and so on. The last three tracks stretch out a bit - the two part power ballad "No Future" takes almost 15 minutes and actually needs all of them. The closer, "Albert Camus", alternates gentle strumming and full-band blasts of sound; it's like the Pixies attempting "Jungleland". That is ambition for a debut record.
And that goes for the whole record. However, there are two things that prevent this great album from being a classic debut on the level of the Strokes, Arcade Fire, or Fleet Foxes. The first is the singing. Semi-atonal screaming is great for the two-minute punk jams, but the versatility I think this band is capable of will need more than that on future records. The second is the production. Cheap production works well on a White Stripes or Pavement album because there are too few instruments to get lost. Here, there is too much going on, and some horns parts and piano lines get lost in the mix - you really have to listen hard to overcome the bad production, which makes the record less enjoyable.
With that said, if you love Bruce Springsteen, the Arcade Fire, or the Replacements, you have to at least give them a try. This is an enticing listen and if they keep at it, I feel like this band has a few better albums in their future.
That brings us to Titus Andronicus, the latest band to get Bruce comparisons from the critics. Their debut record, The Airing Of Grievances, went mostly unrecognized last year and got reissued early this year. The band uses a full E Street instrumentation (violin, piano, glockenspiel, saxophone), their band uses rockabilly riffs, and they are from New jersey, but the Boss comparisons end there. Really, think about how a wasted Conor Oberst would sound fronting the Replacements with the Arcade Fire adding in every instrument they can think of. It works a lot better than you'd think.
The first song starts with soft strumming before a pounding piano and drums propel us into the singer's teenage diary lyrics. The song closes with a Pogues-esque punk blowout with horns blaring. I doubt you will be humming this one at work, but it works great for a first impression, and you have to love a song called "Fear And Loathing In Mahwah, NJ".
The first six tracks blare by so fast, you need a couple of listens to catch the nuances: the fun chorus of "Titus Andronicus" (Your life is over! Your life is over!), the intro of "Joset of Nazareth's Blues" (ripped straight out of Bruce's "Promise Land"), the brilliant guitar solo at the end of "Arms Against Atrophy", and so on. The last three tracks stretch out a bit - the two part power ballad "No Future" takes almost 15 minutes and actually needs all of them. The closer, "Albert Camus", alternates gentle strumming and full-band blasts of sound; it's like the Pixies attempting "Jungleland". That is ambition for a debut record.
And that goes for the whole record. However, there are two things that prevent this great album from being a classic debut on the level of the Strokes, Arcade Fire, or Fleet Foxes. The first is the singing. Semi-atonal screaming is great for the two-minute punk jams, but the versatility I think this band is capable of will need more than that on future records. The second is the production. Cheap production works well on a White Stripes or Pavement album because there are too few instruments to get lost. Here, there is too much going on, and some horns parts and piano lines get lost in the mix - you really have to listen hard to overcome the bad production, which makes the record less enjoyable.
With that said, if you love Bruce Springsteen, the Arcade Fire, or the Replacements, you have to at least give them a try. This is an enticing listen and if they keep at it, I feel like this band has a few better albums in their future.
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