I've said it before and I'll say it again - 2009 is a great year for hip-hop. Sure, it's hit a few snags: Jay-Z's new record was a train wreck, Kanye further ruined his reputation by being a moron at another awards show, and the Beastie Boys' new record was delayed indefinitely due to Adam Yauch being diagnosed with cancer. Despite these setbacks, we have a solid Mos Def album, a stunner from The Dream, and a long-delayed masterpiece from Q-Tip. Not too bad.
But now it gets better. Raekwon finally released the long-awaited sequel to Only Built 4 Cuban Linx, one of the most fondly remembered underground rap records of the 1990's. With so many delays and so many hands in the pot (almost every track has several guest rappers and a different producer), it seems almost impossible that this album would be as good as the first, but somehow it's better.
After a brief but haunting intro, "House Of The Flying Daggers" sounds like a 120 mile-per-hour thrill ride with no less than four Wu-Tang Clan members pitching in. Ghostface Killah is on most of the album's tracks and is often the star of the show - he gets the most unsettling verse in the emotional orchestral highlight "Cold Outside". Some of the more upbeat party tracks are produced by Dr. Dre, who makes beats that could be Chronic (has it been almost 20 years already?) outtakes work with the Wu-Tang's sound - "Catalina" has an island "Big Pimpin" vibe to it but still sounds dark.
Like the best Wu-Tang alumni records - Ghostface Killah's Fishscale and GZA's Liquid Swords included - this album hits you with so many ideas so fast that it requires repeated listens. 22 tracks in 70 minutes is a lot to take in, but without any skits or bad tracks to break the momentum you can't get bored. This might be the decade's last rap masterpiece and it proves that hip-hop has a lot left to accomplish in years to come.
Monday, September 28, 2009
Tuesday, September 22, 2009
Pearl Jam's Backspacer
It seems like every year we get a comeback album from a band we thought were done years ago, but few are a memorable as Pearl Jam's 2006 self-titled album. PJ had fallen so far away from the grand stadium rock we fondly remember from the early 90's that it was a blast to hear them rip through "World Wide Suicide" and "Life Wasted". It made us forget that Riot Act ever happened.
Now is the tough part - where do they go from here? They've had their throwback, but can they sustain this energy? The first three tracks from there latest, Backspacer, answer this by pounding harder and faster than anything in the PJ catalog (except maybe Vs.). All guitar hooks and no texture with Eddie Vedder yelling like he's possessed. This is the way it should be.
When I first read that this album only runs a brisk 37 minutes, I didn't think PJ would take the time to make some risks. Even though Eddie got some slow folksy tunes on record with his Into The Wild soundtrack, I didn't think he give in to those urges here. Wrong and wrong: "Just Breathe" is the most surprising track they've ever attempted. This folk ballad could be sung by Dylan or Springsteen, but they probably wouldn't nail it like Eddie does.
The second half of the record moves more toward mid-tempo. "Speed Of Sound" (no relation to the Coldplay hit) builds a beautiful bridge off keyboards and pianos, two things I never expected on a PJ record. "Force Of Nature" does more of a Rolling Stones boogie without overdoing it and the guitar solos are solid as always.
If you are already a Pearl Jam fan, you'll be happy to know that their self-titled record wasn't a fluke, it was a rebirth. Pearl Jam was a more memorable record, but this one shows that PJ has the versatility, passion, and drive to give us at least another decade of great records like this one. I don't think we could ask for much more.
Now is the tough part - where do they go from here? They've had their throwback, but can they sustain this energy? The first three tracks from there latest, Backspacer, answer this by pounding harder and faster than anything in the PJ catalog (except maybe Vs.). All guitar hooks and no texture with Eddie Vedder yelling like he's possessed. This is the way it should be.
When I first read that this album only runs a brisk 37 minutes, I didn't think PJ would take the time to make some risks. Even though Eddie got some slow folksy tunes on record with his Into The Wild soundtrack, I didn't think he give in to those urges here. Wrong and wrong: "Just Breathe" is the most surprising track they've ever attempted. This folk ballad could be sung by Dylan or Springsteen, but they probably wouldn't nail it like Eddie does.
The second half of the record moves more toward mid-tempo. "Speed Of Sound" (no relation to the Coldplay hit) builds a beautiful bridge off keyboards and pianos, two things I never expected on a PJ record. "Force Of Nature" does more of a Rolling Stones boogie without overdoing it and the guitar solos are solid as always.
If you are already a Pearl Jam fan, you'll be happy to know that their self-titled record wasn't a fluke, it was a rebirth. Pearl Jam was a more memorable record, but this one shows that PJ has the versatility, passion, and drive to give us at least another decade of great records like this one. I don't think we could ask for much more.
Friday, September 18, 2009
Flaming Lips
Prepare yourself for this. Wayne Coyne did a track-by-track breakdown of his new album at this link (http://www.the-fly.co.uk/words/features/5825/the-flaming-lips-%27embryonic%27-//-first-listen ).
You can stream the whole thing this weekend at this link (http://www.colbertnation.com/home).
Our lives will never be the same.
You can stream the whole thing this weekend at this link (http://www.colbertnation.com/home).
Our lives will never be the same.
Sunday, September 13, 2009
Jay-Z's Blueprint 3
Regardless of the fact that he is one of the greatest rappers of all time, Jay-Z's catalog sure has been inconsistent. After his debut masterpiece Reasonable Doubt, quality tailed off until 2001's Blueprint gave him his first career redemption. The Black Album gave him pop crossover hits, but Kingdom Come lost him some of that credibility he gained from it. 2007's American Gangster once again showed him at the top of his game, but can we count on this guy for two great records in a row?
Unfortunately, Blueprint 3 comes closer to Blueprint 2 than the original: too many guest spots, too much boasting, not enough memorable tracks. That's not to say it isn't worth buying for Jay-Z fans - the first five tracks find him at his finest for melody and experimental beat-making. The pair of radio singles are two of the best he's ever written. "D.O.A. (Death-Of-Auto tune)" is a hilarious send-up of pop music in 2009 where he draws battle lines with T.I. and Lil Wayne. It isn't as brutally mean as 2001's "Takeover" (his lash-out at Nas), but it is catchier and more fun. "Run This Town" with Rihanna and Kanye West is pop-rap at its finest with a catchy chorus and military drum rhythm.
However, things drop off around the middle of the album and never get going again. "Hate" is a waste of another Kanye guest spot with a sluggish beat and rhymes that struggle to gain momentum. "So Ambitious" couldn't be more mistitled: the beat sounds recycled from 1999 and makes you wonder if Pharell is even trying these days.
Jay-Z's new record will keep fans happy enough and it doesn't do anything to ruin his legacy or the great decade he's had, but it doesn't stand up to Reasonable Doubt or Blueprint (but then again, little does). If you want a daring, original hip-hop masterpiece, Q-Tip is finally dropping Kamaal The Abstract next week. The Blueprint 3 is more of a holdover until Jay-Z can come up with something better.
Unfortunately, Blueprint 3 comes closer to Blueprint 2 than the original: too many guest spots, too much boasting, not enough memorable tracks. That's not to say it isn't worth buying for Jay-Z fans - the first five tracks find him at his finest for melody and experimental beat-making. The pair of radio singles are two of the best he's ever written. "D.O.A. (Death-Of-Auto tune)" is a hilarious send-up of pop music in 2009 where he draws battle lines with T.I. and Lil Wayne. It isn't as brutally mean as 2001's "Takeover" (his lash-out at Nas), but it is catchier and more fun. "Run This Town" with Rihanna and Kanye West is pop-rap at its finest with a catchy chorus and military drum rhythm.
However, things drop off around the middle of the album and never get going again. "Hate" is a waste of another Kanye guest spot with a sluggish beat and rhymes that struggle to gain momentum. "So Ambitious" couldn't be more mistitled: the beat sounds recycled from 1999 and makes you wonder if Pharell is even trying these days.
Jay-Z's new record will keep fans happy enough and it doesn't do anything to ruin his legacy or the great decade he's had, but it doesn't stand up to Reasonable Doubt or Blueprint (but then again, little does). If you want a daring, original hip-hop masterpiece, Q-Tip is finally dropping Kamaal The Abstract next week. The Blueprint 3 is more of a holdover until Jay-Z can come up with something better.
Monday, September 7, 2009
Joe Henry's Blood From Stars
The same week that Richmond Fontaine's new album blindsided me, Joe Henry released Blood From Stars, his latest in a string of dark jazz-Americana explorations. He's played with the idea of jazz-rock fusion in the past - he even had Ornette Coleman and Bill Frisell featured on Scar and Civilians, respectively - but never has he gotten this close to creating a straight-up jazz record. Like almost every idea he has, it works.
On a Joe Henry solo record you can always expect great guest musicians; this time Marc Ribot and jazz pianist Jason Moran lend a hand. The latter opens the record with a dark spare piano solo, setting the mood for Henry's bleakest record since Scar. This time, his topics lean toward loneliness and loss and opposed to tackling political issues the way he did on Civilians.
This albums feels more like a concept piece that works as an album - their aren't as many notable highlights as there were on past records, which probably means he is more content with his cult status. "Death To The Storm" is a pastoral sounding angry blues track with a gospel chorus and some of Marc Ribot's best soloing. "Bellweather" finds Henry in romantic 50's jazz swooning mode and "Progress Of Love" shows that he can write corny love ballads as well as any pop singer (yes, that was a compliment).
This album probably won't win him any new fans or critical acclaim - amazingly, he didn't earn either of those with his 2007 masterpiece Civilians (still my frontrunner for most underrated album of the decade). If you want to get into Joe, start there and keep going. The run of Scar, Tiny Voices, Civilians, and Blood From Stars makes Joe Henry one of the greatest musicians and innovators of this decade.
On a Joe Henry solo record you can always expect great guest musicians; this time Marc Ribot and jazz pianist Jason Moran lend a hand. The latter opens the record with a dark spare piano solo, setting the mood for Henry's bleakest record since Scar. This time, his topics lean toward loneliness and loss and opposed to tackling political issues the way he did on Civilians.
This albums feels more like a concept piece that works as an album - their aren't as many notable highlights as there were on past records, which probably means he is more content with his cult status. "Death To The Storm" is a pastoral sounding angry blues track with a gospel chorus and some of Marc Ribot's best soloing. "Bellweather" finds Henry in romantic 50's jazz swooning mode and "Progress Of Love" shows that he can write corny love ballads as well as any pop singer (yes, that was a compliment).
This album probably won't win him any new fans or critical acclaim - amazingly, he didn't earn either of those with his 2007 masterpiece Civilians (still my frontrunner for most underrated album of the decade). If you want to get into Joe, start there and keep going. The run of Scar, Tiny Voices, Civilians, and Blood From Stars makes Joe Henry one of the greatest musicians and innovators of this decade.
Monday, August 31, 2009
Richmond Fontaine
I was starting to think that August and September weren't going to be exciting (with the exception of Blueprint 3) when two surprises fell into my lap. In the span of 2 weeks, I discovered new releases from two of my favorite "why does nobody listen to them?" artists: Richmond Fontaine and Joe Henry (I'll get to him later in the week).
Richmond Fontaine is a Portland, Oregon alt-country band that has managed to stay completely anonymous though nine albums despite critical worship from the few publications that actually write about them. Imagine a singer with the storytelling abilities nearly on par with Tom Waits and Bruce Springsteen and a band the plays Being There and Summerteeth era Wilco. With all due respect to the Drive-By Truckers, this is America's greatest alt-country band. And for reasons beyond me, nobody cares. Not even most critics.
This band has four solid masterpieces in a row, including Post To Wire (bar rocking fun), The Fitzgerald (devastatingly stark and spare), and Thirteen Cities (they loosen up and expand in the spirit of Summerteeth). Their latest and maybe best is the brilliantly titled We Used To Think The Freeway Sounded Like A River - a record where they explore giving up and going home. It may sound like a sad theme, but the band sounds like they are having more fun than ever - this is their most accessible album.
"You Can Move Back Here" uses bells, jangle pop, and rising harmonies to welcome a lost soul home - this is the kind of song we wish R.E.M. still wrote. "Maybe We Were Both Born Blue" has a sarcastic romanticism that is far removed from the dark character sketches they used to write. "Walking Back To Our Place at 3 A.M." is a gorgeous instrumental that acts as a perfect bridge to the more emotional and drawn out final two tracks, but nothing on this album overstays its welcome.
Where as most alt-county band have trouble keeping momentum for an entire record, this band keeps it mostly fun through 14 tracks and 43 minutes. We Used To Think The Freeway Sounded Like A River isn't as literate and complex as the brutally dark Fitzgerald, but it is easier to like and should earn Richmond Fontaine some well-earned new fans. Anybody who has ever loved alt-country should know who these people are.
Richmond Fontaine is a Portland, Oregon alt-country band that has managed to stay completely anonymous though nine albums despite critical worship from the few publications that actually write about them. Imagine a singer with the storytelling abilities nearly on par with Tom Waits and Bruce Springsteen and a band the plays Being There and Summerteeth era Wilco. With all due respect to the Drive-By Truckers, this is America's greatest alt-country band. And for reasons beyond me, nobody cares. Not even most critics.
This band has four solid masterpieces in a row, including Post To Wire (bar rocking fun), The Fitzgerald (devastatingly stark and spare), and Thirteen Cities (they loosen up and expand in the spirit of Summerteeth). Their latest and maybe best is the brilliantly titled We Used To Think The Freeway Sounded Like A River - a record where they explore giving up and going home. It may sound like a sad theme, but the band sounds like they are having more fun than ever - this is their most accessible album.
"You Can Move Back Here" uses bells, jangle pop, and rising harmonies to welcome a lost soul home - this is the kind of song we wish R.E.M. still wrote. "Maybe We Were Both Born Blue" has a sarcastic romanticism that is far removed from the dark character sketches they used to write. "Walking Back To Our Place at 3 A.M." is a gorgeous instrumental that acts as a perfect bridge to the more emotional and drawn out final two tracks, but nothing on this album overstays its welcome.
Where as most alt-county band have trouble keeping momentum for an entire record, this band keeps it mostly fun through 14 tracks and 43 minutes. We Used To Think The Freeway Sounded Like A River isn't as literate and complex as the brutally dark Fitzgerald, but it is easier to like and should earn Richmond Fontaine some well-earned new fans. Anybody who has ever loved alt-country should know who these people are.
Monday, August 24, 2009
The Antler's Hospice
Say what you want about music in the 21st Century: I think it's a beautiful time to be alive when somebody can record a masterpiece with a few bucks and a laptop in their apartment and get it heard on the Internet. Bon Iver did it last year and Panda Bear the year before, and they gave us two of the decades most memorable records for anybody who heard them. Did they sell as many copies as Thriller? Heavens no. Did they change a few lives and give us all reason to believe that there is still musical horizons that are untouched? Yes.
That brings us to this year's latest Internet hype record. Hospice by the Antlers steals from a lot of artists, but it does it in perfect measure in a way I've never heard. Take the Arcade Fire's epic song structure, Sufjan Steven's random instrumental shifts, Panda Bear's droning ambiance and Bon Iver's inverted emotion and you're starting to get somewhere close.
The hazy opening instrumental has tape cracks and distorted piano keys that prepare for the sadness of the lyricism. This record revolves around using a hospital to exemplify loss and parting: the entire album follows the slow passing of a love one. It's a miracle that this album manages to be occasionally joyous, but similar to the Arcade Fire's Funeral, death is used as a reaffirmation of life and acceptance.
The albums highlight (although it is full of them) is the lullaby "Bear". Over light, simple piano chords alternating with upbeat guitar strums, the light vocals explain parting the way you would to a child before assuring that "we're not old at all". As he does several times on the record, the singer gracefully jumps an octave on the last chorus, like he just finally started believing what he is singing.
Another stunning is the epic "Wake", where the hospital imagery is evoked through muffled background choirs and gasping breaths. Five minutes in, the funeral organ occupies the space below his plea "don't ever let anyone tell you you deserve that". This is one of the most gorgeous and emotionally brutal moments you will hear in music this year.
Hospice is another left-field triumph for indie music in a year full of them and demands repeated listens. It's not going to cheer you up with its lyrics, but it will make you proud to be a music lover in 2009.
That brings us to this year's latest Internet hype record. Hospice by the Antlers steals from a lot of artists, but it does it in perfect measure in a way I've never heard. Take the Arcade Fire's epic song structure, Sufjan Steven's random instrumental shifts, Panda Bear's droning ambiance and Bon Iver's inverted emotion and you're starting to get somewhere close.
The hazy opening instrumental has tape cracks and distorted piano keys that prepare for the sadness of the lyricism. This record revolves around using a hospital to exemplify loss and parting: the entire album follows the slow passing of a love one. It's a miracle that this album manages to be occasionally joyous, but similar to the Arcade Fire's Funeral, death is used as a reaffirmation of life and acceptance.
The albums highlight (although it is full of them) is the lullaby "Bear". Over light, simple piano chords alternating with upbeat guitar strums, the light vocals explain parting the way you would to a child before assuring that "we're not old at all". As he does several times on the record, the singer gracefully jumps an octave on the last chorus, like he just finally started believing what he is singing.
Another stunning is the epic "Wake", where the hospital imagery is evoked through muffled background choirs and gasping breaths. Five minutes in, the funeral organ occupies the space below his plea "don't ever let anyone tell you you deserve that". This is one of the most gorgeous and emotionally brutal moments you will hear in music this year.
Hospice is another left-field triumph for indie music in a year full of them and demands repeated listens. It's not going to cheer you up with its lyrics, but it will make you proud to be a music lover in 2009.
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