Plants and Animals - Parc Avenue
(Secret City Records; 2008)
Score: 86.4% [Gold Sounds]
[mp3]"Mercy"
(Also streaming "Faerie Dance" in our player)
Do you ever wonder what's in the drinking water up in Montreal? Lord knows I sure do, because here I am falling for yet another eclectic Indie-rock band from Montreal.
You probably wouldn't know just by looking at the cover, but Plants and Animals consists of only three people: Guitarist-vocalists Warren Spicer and Nic Basque, and drummer-vocalist Matthew Woodley. Yet listening to the album, and judging by the album's cover, you would be forgiven if you assumed this was yet another Canadian super-group, when a more accurate description might be an Elephant Six style collective of musicians. Many of the people hanging out on the album's cover are friends that helped in the making of the record. As a result, Parc Avenue is a warm, densely layered rcord, rich with vocal harmonies, dueling finger-picked guitars, gorgeous strings (with a little help from Arcade Fire/Belle Orchestre's Sarah Newfield), with a friendly, welcoming vibe. Listening to this album, I felt like I was a part of the group, not an outsider looking/listening in.
You would also be forgiven if you automatically assumed, based on their location, that Plants and Animals wrote the same style of epic, grandiose songs that we associate with other Montreal based bands like Arcade Fire, Wolf Parade, and Islands. Sure, Plants and Animals do sound like those bands on occasion, but they sound like a lot of bands (more on that in a minute), and when they do recall their Canadian peers its usually in short bursts, very rarely attempting anything bombastic (and sounding more like Annuals than Arcade Fire when they do). The album is a mostly laid back affair, perfect for warm evenings with a few friends, watching the sun set over the lawn, cans of beer in the cooler, beards itching, Frisbees flying, good times.
In fact, you would also be forgiven for attempting to pigeonhole Plants and Animals at all. The list of bands I recall when listening to Parc Avenue's 11 tracks reads like an Indie-rock All-Star game: Neil Young, Built to Spill, Arcade Fire, Wolf Parade, Annuals, Ryan Adams, Akron/Family, Angels of Light, Phish (or some equivalent jam band), Tom Petty, the Pink Floyd that made Atom Heart Mother, Grizzly Bear, Midlake, and then some, sometimes within one song. Its quite brilliant, really. They never quite rip off any particular artist completely or for very long, but every song is achingly familiar in the best possible way.
You might not be forgiven, however, if you let the little gem slip between the cracks. The year is short right now, but Parc Avenue is without question one of the best releases thus far.
Wednesday, March 26, 2008
Album Review:
Plants and Animals - Parc Avenue
Monday, March 24, 2008
Album Review:
Stephen Malkmus & the Jicks - Real Emotional Trash
Stephen Malkmus & the Jicks - Real Emotional Trash
(Matador; 2008)
Score: 71.2%
[mp3]"Cold Son" (via Matador Records website)
I've been sitting here, writing, deleting, re-writing, editing, deleting, and writing again for what seems like days now. I have to come clean, I have absolutely nothing poignant to say about Stephen Malkmus' latest solo record (and second with the Jicks). One thing I can say with certainty, however, is that if Stephen Malkmus isn't already regarded as indie-rock's reigning guitar God, then he's sure giving Doug Marsch a run for his money.
Real Emotional Trash is in many ways a lot like the first record he made with the Jicks, but with even more guitar solos. This ought to have been good news for fans of Pig Lib's foray into jam-band territory like myself, but unfortunately the addition of even more noodling guitar solos do not equate greatness. By the time you reach "Baltimore," an excellent track to be sure, you start to wonder if the jams are ever going to end. They do, eventually, on the album's final two tracks, but if you made it that far I assume you're a far more patient person than myself or sleeping with someone in the band.
That was harsh, so let me rephrase.
Real Emotional Trash is truly a musical beast, it pummels you with riffs and guitar solos right from the very beginning, and continues to do so through most of the album. Occasionally you get a little keyboard thrown in, which at times makes me think of the Jicks as indie rock's version of The Doors, but overall Trash is Malkmus' playground. And that's cool; Malkmus can certainly handle his own on the axe, and its not like the Jicks are not merely some crack band of studio musicians he just picked up on the side of the road in Oregon (remember, Janet Weiss is their drummer now).
The problem is in the album's variety, or should I say its lack thereof. As I alluded to above, Pig Lib had its share of guitar solos and jam-outs for sure, but it also had goofy songs about an "escort" from Queens that attracted the attention of former Senator Bob Packwood, a awkward love square (as opposed to a triangle) in which poor William wanted Leroy (but Leroy was straight), not to mention songs about Oysters, a rock 'n roll man from Netherlands who rocked a bit like a Zephyr (and a bit like the Jicks), and buried in the middle of it all is one of Malkmus' best songs, solo or otherwise, in "Animal Midnight," which, on the surface, sounds like a break-up song (and a damn good one at that). Lyrics aside, it also deftly switched from Wilco-esque studio masterpieces, sunburned 70's AM radio rock/pop, and, yes, lengthy jams that just begged to be heard while stoned. With less variety, Trash gets a little bogged down by its own indulgence, and ultimately suffers a little bit as a result. The album's still good, and just about any song will do in a pinch, but as a whole the album its not the potentially Best Album of 2008 like I had hoped when "Baltimore" first hit the net several months back. No worries though, Malkmus has worse albums in his solo catalog (the debut album comes to mind) and he's bounced back before, so here's hoping he'll get the shredding out of his system in time for album number five.
Thursday, March 20, 2008
Album Review:
Destroyer - Trouble in Dreams
Destroyer - Trouble in Dreams
(Merge, 2008)
76%
"Shooting Rockets" [mp3]
Listening to the latest from Destroyer (aka Dan Bejar), I've come to confirm and/or realize a few things about the man.
1. He is a lyrical madman genius.
2. He just might be the lifeblood of the New Pornographers.
3. The man's a risk taker, and yet, amazingly consistent.
In fact, though Trouble in Dreams may not stake out new territory after 2006's phenomenal Destroyer's Rubies, I cannot fault the man for what is essentially a good follow-up. This may sound like an insult, but TID is also my latest contender for 2008's "Best Track from a Mediocre Album" contest.
Let's take a look at the album's arc. TID opens with the day-dreamy "Blue Flower/Blue Flame." Longtime Destroyer fans will note how decidedly pleasant this song and its successors can be on the ears. The most rabid fans may even use the term boring. I'd land somewhere in between the two: certainly "Blue Flame" is positively slayed by Rubies' dynamic nine-minute opener, though I would not call these opening tracks bad. "Foam Hands," the album's first single, is perhaps the strongest example of a track straddling this divide. Once more, we have a song that is gorgeously crafted, melodic, and disappointingly predictable.
The two-track centerpiece that follows should silence -- or at least distract -- the album's biggest critics. "My Favorite Year" reads like a postcard to a former self, a diary entry in one's own unrecognizable handwriting. There's the little freak-out in the middle of the song, punctuated by my favorite line (come on, chicks are suckers for hearing their names in songs):
Beautiful. The follow-up, "Shooting Rockets," is a re-envisioned version of the Swan Lake track (the band of which Bejar comprises 1/3). This version's much cleaner both vocally and musically, as well as a full minute longer, leaving the track with a renewed sense of drama. Lest I forget the lovely line, "A chorus is a thing that bears repeating."
"Nicole - she, blasted on ecstasy / in some East Pendar hovel circa 1993. / It was a good year, it was a very good year. / And now it's gone, / they're saying the whole point of everything's the 'moving on.' / Well, I can't help but feel somewhat opposed to this."
The remainder of the album treads back into the pleasant tenor of its first half, with far spottier results. "Introducing Angels" is one of the weakest Destroyer songs I've heard. "Plaza Trinidad" is a dizzying trifle, though it's nice to see Bejar regain some spark at this point in the album. Thankfully TID rebounds with its closer, "Libby's First Sunrise." While also falling into the hazy/listless category, its swirling guitars reminiscent of "My Favorite Year" do much to leave the listener recalling the album's strengths.
Interestingly, I imagine TID will be a big hit amongst those who've had an interest in Bejar's music but may have seen him as too quirky, too spastic, too much. Here's hoping he doesn't forget about the rest of us.
Tuesday, February 26, 2008
Album Review:
Goldfrapp - Seventh Tree
Goldfrapp - Seventh Tree
(Mute Records, 2008)
Grade: 73%
Seventh Tree is a beef Twinkie... but I'll come back to that.
Goldfrapp's newest album (out Today) is lyrically average, which I can't honestly fault it for. Like the majority of songwriters, Alison is singularly concerned with the capitalized varieties of Love, Sex, Sexy Love, and Lovely Sex. Fortunately, she has a voice that is sufficiently beautiful to distract the linguistically anal (no pun or hepatitis intended).
Alison's aural partner in profit, Will Gregory, left behind most of the dance club feel in favor of what I can only describe as retro-techno-folk-ambient. Rechno Folbient? In some songs, it's a praiseworthy success! In others, not so much... but it's worth pointing out one little tidbit. Will Gregory has two first names, and I don't approve of that sort of thing.
"Clowns" reminds me of "Strong Enough" by Sheryl Crow, except infinitely easier to listen to repeatedly. This and the last song may be my favorites from the album. "Little Bird" starts as a lullaby with some refreshingly primal imagery, including crows with mouths for eyes, then ends sounding loosely like an energetic "Meeting in the Aisles"... but with strings.
The chorus of "Happiness" sounds much like a mellower version of the end (near 2:55) of "Selling Jesus" by Skunk Anasie. That song is on the Strange Days soundtrack, along with "Overcome" by Tricky. "Overcome" is originally from the album Maxinquaye, the tour for which was Alison Goldfrapp's first big opening gig. Conspiracy theorists beware.
I've been hard on them, but the first three tracks of Seventh Tree are phenomenally uplifting. They manage to convey that brand of dance music happiness without sounding at all like dance music. Enjoy the feeling, because when Alison's trailing, "Love, real love..." closes "Happiness," you've reached the beef.
Don't get me wrong, beef is good for you. But do you really want beef in your Twinkie? Don't answer that.
I just can't get into the salty center of Seventh Tree. "Road to Somewhere," "Eat Yourself," and "Some People" all feel like slow-dance songs from prom. They get a resounding "meh" from these lips. Let's get to the other side of that flaky yellow snack cake!
"A&E" is a fitting transition layer, and an interesting music video, as long as you don't have a phobia of anthropomorphized plant life. There's a theme in Goldfrapp's music videos. Alison is usually the center of attention, surrounded by dehumanized man-things. Strange.
The strings in "Cologne Cerrone Houdini" are what set it apart, but they seem forced. None-the-less, a good string section serves to embolden the heart and engorge the member. Or maybe I just like orchestral soundtracks a bit too much.
"Caravan Girl" is good, clean gypsy girl-power fun.
It's a close contest between "Clowns" and "Monster Love" for best song of this album. I refuse to decide a winner, but if you pit Seventh Tree's songs against each other in a cock fight, "Monster Love" would still be clucking (if only for that phat techno bass cue). Where the middle songs failed, "Monster Love" succeeds.
But don't do the slow fade out... that's lame.
Monday, February 25, 2008
Album Reviews:
Los Campesinos!, Monade
On the surface, Los Campesinos! and Monade have little, if anything, in common, but both bands have recently released albums that I'm torn between liking and loving. Maybe listening to the album one more time while writing a quick review will settle things.
Los Campesinos! - Hold On Now, Youngster...
(Arts & Crafts, 2008)
Initial Grade: 83.2%
[mp3]"Don't Tell Me to Do the Math(s)"
Why I'm Torn
About a week ago, I was at work and browsing through my iPod for something upbeat to listen to so that I might be entertained while I performed the repetitive task of slicing meats over and over (and over and over...). It was then that I came across Hold On Now, Youngster..., and it hit me that I had completely forgot all about this album's impending release. Knowing that it might be a good idea to check it out for the sake of the blog, not to mention that last year's Sticking Fingers Into Sockets EP was an enjoyable, upbeat listen, I gave it a spin. The above score reflects my first impression, as not only did I find the songs enjoyable, but really took notice of the production. It felt like I was listening to a collaboration between The Anniversary and Broken Social Scene (Dave Newfeld handled the production duties, which should explain that.), and most of all, it succeeded in keeping me interested at work.
However, subsequent listens leads me to believe that Youngster... might never again ascend higher than "good" status, which I think can be directly linked to the songs all sounding very much alike. Even during my initial listen I could tell that there was little variation on the record, but at the time it did not bother me. Well, that was then, I suppose. Don't get me wrong, the songs are all good, some are great, but its hard to stay focused and keep my attention when each song sounds so much alike.
Final Verdict: 74.4%
Hold On Now, Youngster... is far from a bad record, and there are a few songs, specifically "My Year In Lists" and "Sweet Dreams, Sweet Cheeks," that keep calling me back, begging me to reconsider, but I can't fool myself into thinking Youngster... is an (almost) great album any longer either. Thought the music is upbeat, its at times a bit boring due to the same-samey nature of the songs. However, in the right situations - at a party, at work - this album could very well prove more useful and enjoyable.
Monade - Monstre Cosmic
(Too Pure; 2008)
Initial Grade: 81.8%
[mp3]"Regarde"
Why I'm Torn
I like to fancy myself as a big Stereolab fan. I'm far from a crazed, obsessed fanatic, but I own most of their albums, have my favorites, and listen to those particular albums frequently. So it was with great anticipation when the folks at Too Pure were kind enough to send me Monade's latest album, Cosmic Monstre. You see, Monade is Lætitia Sadier's (of Stereolab, uh, fame?) other project. What started in 2003 as a way to release her bedroom recordings has grown into a full band, one that is now three albums into their career. I put the album on my iTunes and listened to it immediately. My initial impression about two minutes into the album was, this sounds just like Stereolab. Then I got high.
Instantly, it was like a portal opened in my brain, and rather than listening to the songs on my computer, it was like the songs were downloaded into my head, playing through hidden speakers that lie somewhere inside my brain. Over the course of the next 50 minutes I let Monade take me on a cosmic journey, and listened as they played some of the most space-age sounding lounge/jazz music I've ever heard. It was pretty awesome, to say the least.
So why am I torn? Well, I'm not really torn about how I feel about it; I love it. What I was unsure of was whether or not this album was really that good, or was I just so overjoyed to hear something as close to a great Stereolab album as this that I became a little overzealous? In an early draft of this review I even went as far as to state something to the effect of, "Monstre Cosmic is probably the closest we'll ever come to hearing a classic Stereolab album," and in some aspects I still feel this is true. I mean, who knows what Stereolab's up to these days, and even if they did release a new record, which Stereolab would show up? The one that made classic records like Emperor Tomato Ketchup and Dots and Loops, or the one that's responsible for releasing their most recent albums, some of the most hit-and-miss works in the Stereolab canon. Because I wanted this review to be fair and balanced, I put off writing it for several weeks so I could let it sink in, and form a natural, unbiased opinion. I'm glad I did.
Repeated listens have revealed subtle differences - a richer guitar tone, extremely audible bass, a consistent flow throughout the album, and a tendency to push each song's boundaries, to name a few - that reveal more of a separation between Monade and Stereolab than I once thought. Sure, the genes are similar, but identical twins they are not. As a result, I no longer feel like I'm listening to the great Stereolab album that never was, I feel like I'm in love Monade's third album. I also feel like I can safely say, without any hint of overzealousness, that Monstre Cosmic is the first great record I've heard this year (or second, I fancy that new Beach House album quite a bit too, but you'll have a chance to read more about that soon enough).
Final Verdict: 87.4%
Obviously, I'm no longer torn. My early draft, now revised, would read, "Monstre Cosmic is not the closest we'll ever come to hearing a classic Stereolab album, rather it is Monade's first big step in writing their own entry into rock's history books." [Gold Sounds]
Monday, February 18, 2008
Album Review:
Headlights - Some Racing Some Stopping
Headlights - Some Racing, Some Stopping
(Polyvinyl; 2008)
Grade: 79% [GOLD SOUNDS]
[mp3]"Cherry Tulips"
Just when I think I'm tired of the whole Indie Rock scene, tired of all the bullshit posturing and posing, the hype, the hyperbole, the hit and miss albums that just won't go away, epic songs, the word "epic" describing nearly every song that's over 6 minutes, and overwrought album reviews that have more semi-colons than references to the actual music, an album like Some Racing, Some Stopping comes along and reminds me of the simple pleasures that only a good pop song can offer.
When you get right down to it, Some Racing is bound to be overlooked and underrated. It's not as if it jumps up and down, screaming "Ooh, ooh, over here! Listen to me!" Yet, the unassuming nature of this album is part of the charm, because it will positively suck you in without you even knowing. Songs that might initially evoke Belle & Sebastian or Camera Obscura take subtle shifts and make all the right moves, often building into blissful bedroom rock for bleeding hearts. Even better is the pairing of the titular track and "So Much For the Afternoon." These two tracks see the band flexing their creative muscle, proving once and for all that they have more to offer than just energetic indie pop. "Afternoon" is especially stunning, as it manages to evoke both Radiohead's excellent, slow burning, infidelity laden "House of Cards," and Broken Social Scene's swirling "Shampoo Suicide," yet Headlights make it sound uniquely their own.
Some Racing, Some Stopping may not be a revelation, but like Tapes 'N Tapes' debut or, yes, Camera Obscura's most recent release, it is unpretentious, refreshing, and enjoyable. Given the chance, this album it should keep you humming for weeks.
Tuesday, February 5, 2008
Album Review:
Hot Chip - Made in the Dark
Hot Chip - Made in the Dark
(DFA/Astralwerks; 2008)
80%
"Wrestlers" [mp3]
Last October Hot Chip’s official web site posted a press release stating Made in the Dark was “faster and rockier” than 2006’s The Warning. “Faster” I could fathom, but a Hot Chip rock album? P4K was apparently similarly miffed heading into their interview with frontman Alexis Taylor, as they asked if these adjectives were accurate. He replied, “Yeah, some of it is rockier, and there are moments that you could detect a bit of a heavy metal influence.”
Made in the Dark has all the Hot Chip trappings and much, much more. You have your dancey numbers, a la “Ready for the Floor” or “Touch Too Much.” You have your tongue-in-cheek diddies like “Wrestlers,” a classic Hot Chip number that features
Thursday, January 31, 2008
Album Review:
Vampire Weekend - Vampire Weekend
Vampire Weekend - Vampire Weekend
(XL; 2008)
Grade: 63.5%
More than half a year has passed since Stereogum and Good Weather for Airstrikes gave Vampire Weekend their stamp of approval, thus setting off a chain of events that saw Vampire Weekend become one of 2007's most buzzed bands. Now that the album is officially out, the amount of hype is starting to reach levels similar to the British invasion, only this time I'm not buying what the buzz bin is selling. Why? The second coming of the Beatles they're not; if anything, Vampire Weekend sound like Paul Simon's Graceland as performed by the Police. Unfortunately for Vampire Weekend, I never really got into Graceland, or The Police.
I did give this album a legitimate shot, I swear. It would be a disservice to both you, the reader, and me, the music fan, to not keep an open mind. And I have to admit that Vampire Weekend does boast several honest-to-God good songs, ones that I might have completely ignored had I not given the album a fair chance. As you might have guessed, the songs I'm currently digging are some of the album's more "rock" songs, such as the first single "A-Punk," "Campus," and "I Stand Corrected." Neither of those songs rely too heavily on the Afro-pop sound Vampire Weekend is being touted for, and they're better for it. In fact, Vampire Weekend could have been a great garage rock or Indie-pop album had the band decided to lean more in either of those directions. Honestly, I wish they had.
My biggest beef with Vampire Weekend isn't that its a bad album. No, the main reason I can't get myself into the album - the same reason I can't get into Graceland, which is also not really a bad album - is because Vampire Weekend is boring with a capital B. "Cape Cod Kwassa Kwassa," one of the first Vampire Weekend songs to spread like wildfire, is a total snooze-fest, leaving me to wonder just how the hell they managed to take the internet by storm like they have. The rest of the album never delivers anything else to perk things up either, which leaves me to lament the absence of "Boston," an excellent song from the self-released Blue CD-R "demo" that preceded the album. Vampire Weekend also suffers from being very same-samey, and by the time you get to "Walcott" you'll probably start to think the album is on repeat. Even some of the better songs are hard to distinguish from one another. Again, I should point out that Vampire Weekend isn't necessarily a bad album, but it may as well be because I'll probably never want to listen to it again just the same.
Normally, I'd hesitate to be so harsh on an album that just came out, as usually these things turn out to be "growers" and I'm forced to eat my words. But because the majority of these songs were already available on the Blue CD-R (with little to no change), the album has essentially had several months to gestate, and if it were ever going to grow on me I believe it would have happened by now. But it hasn't, and I'm pretty sure it never will. Oh well. Here's hoping 2008's next "it" band is a little more exciting.
Wednesday, January 30, 2008
Little Blurbs:
Mahjongg
Mahjongg - Kontpab
(K Records; 2008)
Grade: 71.0%
[mp3] "Tell the Police the Truth"
A few weeks back we previewed a few of the tracks from Mahjongg's latest album, Kontpab, and though the comments were few in number, it seemed like they were enjoyed by those who listened. If you are one of those who enjoyed the tracks we previewed, then I have both good news and bad news. The bad news is that the two songs we featured turned out to be two of the better ones, which means that its only natural to feel a bit let down after giving Kontpab its first full listen. The good news, however, is that "Pontiac" and "Tell the Police the Truth" still hold up well, and the album's closing track, "Rise Rice," manages to one-up them both, with Mahjongg perfectly executing the blend of electronic and percussive heavy post-rock I briefly touched on in my previous post. Kontpab may not be the revelation I had hoped for, though it's still good.
Thursday, January 24, 2008
Album Review:
Times New Viking - Rip It Off
Times New Viking - Rip It Off
(Matador; 2008)
Grade: 74.0%
[mp3]"Drop-Out"
In April of last year, most of the Range Life staff caught Times New Viking opening for the legendary Yo La Tengo. After chuckling at the band's goofy moniker, I stood back and listened as the threesome made quite a racket. They don't sound half bad, I thought to myself, and if their record sounds a little more cleaned up, I'll bet it's great. Yes, have a laugh now, because if you're familiar at all with TNV, you know that their records are anything but cleaned up, and make their live shows sound crystalline by comparison.
This brings us to Rip It Off, the follow up to last year's critically acclaimed Present the Paisley Reich, and their first for Matador Records. Like Present, the album is a batch of quick, energetic bursts of noise-y pop goodness that sounds like it was filtered through a tin can, played back on the speakers of a Geo Metro, recorded again with a pair of headphones, and then immediately sent out for pressing. Fans of old Guided by Voices and Sebadoh will probably feel all warm and fuzzy inside when they hear this album, as Times New Viking are a cassette band trapped in an mp3 world. However, in an age where decent production is just a Macbook away, its quite possible that Rip It Off will be a hard sell for many younger indie rock fans. Even the most battle tested listener will probably, on occasion, wish for a better quality version of their favorite song (currently the combo of "End of All Things" and "Times New Viking Vs. Yo La Tengo"). Still, Rip It Off is chalk full of undeniably good tunes, regardless of how they sound, and further establishes Times New Viking as a young band to keep an eye on.
Tuesday, January 22, 2008
Album Review:
Cat Power - Jukebox
Cat Power - Jukebox
(Matador, 2008)
63%"Metal Heart" [mp3]
(Busted By Web Sheriff 1/22/08)
How does someone review a covers album? Does one judge the selection of songs, their treatment, or their place within the artist's catalog? I ask because I've never been the biggest fan of covers. All I know is, a good cover should maintain the charm/intensity/essence of the original, while also allowing the artist to incorporate his or her unique sound. (Consider, on the most basic level, Yo La Tengo's take on the Simpsons' theme. This brief cover is unarguably faithful to the original, yet sounds like a version only YLT could envision.)
This crucial requirement is perhaps the biggest reason why Cat Power's second covers album fails to captivate.
Jukebox continues Chan Marshall's transition to bluesier, more soulful work, a la 2006's The Greatest. This creates some intriguing results, such as her jazzy renditions of "Theme from 'New York, New York'" or James' Brown's "Lost Someone."
Yet, and perhaps this is the cover-hater in me, Marshall's most narcisstic -- and accomplished -- moment comes via a cover of "Metal Heart" off her 1998 album Moon Pix. I think this track may be in the running for 2008's Best Songs from Mediocre/Bad Albums, as we see an already standout track given the new smokier, bluesier Cat Power treatment.
I'm not sure what Marshall has in store for us next. Until then, I'll be listening to The Greatest and wondering when she'll get back to doing what she does best -- her own music.
Wednesday, January 16, 2008
Album Review:
Magnetic Fields - Distortion
Magnetic Fields - Distortion
(Merge, 2008)
73.5%
[mp3] "Old Fools"
Distortion, huh? While certainly an appropriate album title - the whole album is caked in distortion, feedback squalls, and hiss - it could just as easily have been titled Stephen Merritt's Does Jesus and Mary Chain's Psychocandy. You don't even have to listen to the album or even take my word for it, he more or less admitted the Psychocandy influence in a recent article on Drowned in Sound. Upon first listen, I was quick to write Distortion off along with the truckload of other albums that have tried their hand recapturing Jesus and Mary Chain's pinnacle album but I've kept going back since that initial listen. At first because it was my duty to review the album, but lately it has more to do with the fact that Distortion has finally started to grow on me.
Further listens have revealed more substance to the album, which allows it to stand on it's own, uh, merits (no pun intended...okay, maybe a little). For starters, there's the lyrics. Now, I'll admit that I'm not incredibly familiar with the Magnetic Fields aesthetic, I do know that they're not above making concept albums, but as to just how personal the band allows themselves to become lyrically, I have no idea. With that said, Stephen Merritt's songs on Distortion portray him as a sad, heartbroken, lonely man, while the tracks sung by Shirley Simms seem like they could be from the perspective of his former lover, who for the most part seems just as confused and misdirected as Stephen. Again, I cannot tell exactly how revealing either singer is with their songs, but it doesn't really matter. Each song tells a tale, regardless of just how truthful it is.
With one exception, the two singers trade song for song, giving the listener equal doses of immediate access and contrast into both of their lives. It's an interesting technique, and though at times it can be a bit distracting, it gives the album more of a cinematic feel, like they intended for the listener to feel as if they were jumping from scene to scene as well as song to song. The lyrical content also helped me to realize that the title Distortion likely refers to more than just the noisy nature of the songs. While both singers portray them or their characters as confused, Stephen's perspective seems especially altered. At one point he's walking around the town alone for the first time, while another he's stating that life is prison unless he's shitfaced. His life is messy like the album is noisy. To quote Femme Fatale, "form and content together at last."
Old Album Review:
Broken Social Scene - Feel Good Lost
I like to act like I know a lot about music. Truth be told, there are plenty of times someone - a music publication, another blogger, a friend - makes me feel like I don't know squat. Like last night, for instance. I was transferring songs from my Itunes when an orphan track called "01 - I Slept With Bonhomme at the CBC" appeared. I soon discovered that this track was from a 2001 Broken Social Scene album titled Feel Good Lost. Long story short, I Googled the title and found out this was the band's debut album. What? You Forgot It In People wasn't their debut? Just color me dumbfounded.
I suppose I thought the band had sprung fully formed from the ether, a from-the-womb-wunderact. Of course the one track I had from Feel Good Lost was instrumental, which didn't offer much information about this mysterious album.
Flash forward several hours, after I've had time to download, listen, digest.
Not to sound harsh, but it's easy to see why critics and fans have in many ways ignored this album's existence. Take, for instance, the sheer number of instrumental tracks here. Whereas both You Forgot It in People and the self-titled album open with instrumental tracks (make that two for YFIIP), these songs are stage-setters for phenomenal followups. On Feel Good Lost, the band takes a good four tracks to get to the point. "Passport Radio" is the first place we see a recognizable BSS. With distant vocals, a plaintive violin, and blustery horn, it sounds like a bad self-titled outtake. Similarly, "Alive in 85" fails to live up to the exuberance of the eighties or of being alive.
And so on and so forth.
I can see fans of Tortoise or other instrumental artists finding a place for Feel Good Lost in their music collections. Sometimes we all just need music we can ignore. And though I was disappointed not to unearth a YFIIP Part 2, it's intriguing to see the seedlings of what has become a far more polished (and accomplished) sound.
Grade: 50%
Wednesday, January 9, 2008
Album Review:
Smashing Pumpkins - American Gothic EP
Smashing Pumpkins - American Gothic EP
(iTunes Exclusive)
55.0%
[mp3] "The Rose March"
One of the more common complaints about Zeitgeist (other than the generic "it sucks", which as true as it may be, hardly counts as constructive criticism) was that softer, mellower songs were sorely missed. In the band's halcyon days, a nice balance of both hard and mellow rock could be found, and for many fans, including yours truly, hearing the Smashing Pumpkins as a one-dimensional hard rock band, as they are on nearly all of Zeitgeist, was probably the hardest aspect of the album to swallow. So it's probably not a coincidence that six months after the initial release of Zeitgeist the Smashing Pumpkins decided to release a mellower, mostly acoustic four- song EP. And given the band's track record with singles/EP's/B-Sides collections, it probably should not come as a surprise that a couple of the songs are actually pretty good.
American Gothic, opens with "The Rose March," a song originally written when Billy was touring behind his solo album in 2005. With plucks at an acoustic guitar, the song initially sounds very much like some of the latest Thurston Moore songs, but soon Billy settles into a gentle strum, and lets his voice, which sounds warmer and more natural than it has in years, carry the tune. At about the three-minute mark, Jimmy Chamberlain lays down a militaristic drum pattern, the kind of stuff he could do in his sleep, and Billy spices things up a tiny bit by layering some distorted guitar patters over the rhythm, singing, "We've only just begun to grieve." The song sounds like a throwback to Adore, an album that was written off by many critics and fans, but also gave birth to some powerful and delicate work. It's easy to see why someone like Pete Townsend is apparently a big fan of the song, it is pretty fucking good. Which is why it's such a shame that the next three songs can't sustain the momentum that "The Rose March" builds, because with only four songs, there's very little room for error.
"Pox" sounds like it was originally intended for Zeitgeist, as it sounds like Billy re-recorded the guitars to fit the EP's acoustic motif. The song probably would have fit better on Zeitgeist, even as an acoustic song, but here it sounds a bit awkward. "Again, Again, Again (The Crux)" has quite possibly the hokiest opening line ever, as Billy sings "I love you / I don't even care," which might be interpreted as romantic if not for his delivery, which I assume he thought sounded passionate but to me just sounds like he added a new twist to his trademark whine. From there, it's impossible to get any worse, but the song never really gets much better either, the best part honestly being when the song ends. "Sunkissed," like "Rose March," sounds like a good Adore outtake, even with the slightly distracting organ tones that fill up the song, but the production is a bit overwrought, a problem consistent throughout the album. Acoustic guitars sound unnatural, and the mixing feels like it could have been handled better, starting with turning down the organ on "Sunkissed" or turning up some bass on the other three songs.
While American Gothic represents a step in the right direction for the new Smashing Pumpkins, and provides a glimmer of hope to old fans who feel that Billy has lost his way, it also reinforces what's wrong with the current incarnation of the band: terrible lyrics, overwrought production, and uninspired performances.
Monday, October 29, 2007
Little Blurbs:
Grizzly Bear - Friend EP
Do you trust your friends?
That was the question posed earlier this year by Stars, the Canadian based band allowed their friends and associates in bands like Dears, Junior Boys, Final Fantasy, to cover their breakthrough album Set Yourself on Fire from start to finish. The results were mixed, the reviews were mixed, leaving no doubt in my mind that the best possible answer to the question is: depends.
With that in mind, I shall continue with the latest installment of our Little Blurbs section, this time focusing on Grizzly Bear and their latest release, Friend EP. Coming soon, a blurb about the Japancakes' homage to the My Bloody Valentine epic, Loveless. You can also read the previous blurb, focusing on Celebration's latest album, The Modern Tribe, here.
Grizzly Bear - Friend EP
(Warp, 2007)
Grade: 71.2
"Alligator (Choir Version)" (mp3)
If you are like me in any way, you are probably a bit hesitant to give this lengthy EP a listen. For starters, Yellow House still holds up quite nicely, so a stopgap EP seems a bit unnecessary, even for a band that tours as much as Grizzly Bear. Second, the EP is lacking in any new material, instead consisting mostly of covers, either done by Grizzly Bear or their friends (hence the title), and re-interpretations of several existing songs.
I'll be honest, my expectations were not very high for this release, and perhaps that is why I came to like it almost immediately. Granted, the last thing us Grizzly Bear fans need are two more covers of "Knife", especially when the original is the undisputed champion, but as a whole this EP is rather enjoyable, especially the first half, where most of Grizzly Bear's tracks reside. The re-worked versions of Horn of Plenty tracks "Alligator" and "Shift" stand out the most on the initial listen, especially "Alligator", which once was a short, noisy drone that now sounds like another Yellow House gem. The song is nearly 4 minutes longer, but Grizzly Bear make the most of their time, filling out the spaces with their rich vocal harmonies and explosive builds, similar to the Yellow House epic "On a Neck, On a Spit". The cover of "He Hit Me", a live staple of the band, fits like a hand-me-down shirt. The doo-wop harmonies suggest "Knife" in the best possible way, as it is easy to imagine their love for this song as the inspiration for what has become their most famous one.
Friend does taper off when the covers kick in, though not for any lack of effort. Atlas Sound, the side project of Deerhunter frontman Bradford Cox, brings the better of the two versions of "Knife" by staying both true and away from the original version at the same time, but the song, as interesting and unique as it is, lacks the passion and soul that makes the original such a compelling listen. Perhaps most surprising of all is Band of Horses' take on "Plans", as they give the song a 70's Country hoedown vibe (and sound a bit like they've been listening to the Eagles' "Seven Bridges Road while they're at it), but as fun as it may sound it still pales in comparison to the original.
Should they trust their friends?
Only to collaborate. The new "Alligator", which has assistance from Zach Condon and the Dirty Projectors, is incredible, and the hyped up jam that concludes Friend is perhaps the most exciting moment on this release. Otherwise, they are better off keeping faith in themselves.
Thursday, October 25, 2007
Little Blurbs:
Celebration - The Modern Tribe
Do you trust your friends?
That was the question posed earlier this year by Stars, the Canadian based band allowed their friends and associates in bands like Dears, Junior Boys, Final Fantasy, to cover their breakthrough album Set Yourself on Fire from start to finish. The results were mixed, the reviews were mixed, leaving no doubt in my mind that the best possible answer to the question is: depends.
With that in mind, I shall begin the latest installment of Little Blurbs, this time focusing on the Celebration, and their latest album, The Modern Tribe. Little Blurbs about Grizzly Bear and Japancakes are coming soon.
Celebration - The Modern Tribe
(4AD; 2007)
Grade: 68.0%
"Pressure" (mp3)
"Fly the Fly" (mp3)
As I've mentioned in another review, playing spot the influence is a favorite pastime among hipsters, music fans, and blossoming critics alike, but sometimes the game is just too easy, especially when said influences make guest appearances on your latest album. The Modern Tribe, the Baltimore based band's second album, was produced by TV on the Radio's David Sitek (who also produces his own band's fine material), and his fingerprints are all over the album, but even more than his production skills you'll also hear him and the rest of the TVotR gang playing guitars, singing lead and backup vocals, and doing whatever else they were apparently asked to do. The same also goes for Nick Zinner of Yeah Yeah Yeah's fame, who also plays guitar on the album. As one might expect, The Modern Tribe sounds very much like those two bands collaborated. It doesn't help that lead singer Katrina Ford spends most of Modern Tribe switching between Karen O's maturing coo ("In This Land"), and Tunde and Kip's rich harmonies ("Pressure").
However, despite the obvious leanings to their friends and contemporaries already established sounds, The Modern Tribe is actually pretty good. The band's reliance on organ and percussion sets them apart from sounding too much like the Yeah Yeah Yeah's, and hearing Tunde and Kip is always a pleasure. "Hands Off My Gold", for example, is one of the album's biggest offenders in the "sounds like TV on the Radio" department, but it also best fits the album's motif. With it's rhythmic percussion the song definitely sounds tribal, while touches of horns, organ, and Tunde's vocals, flesh out the sound, and clearly state what type of modern tribe Celebration are a part of: one that is greatly influenced by the artists around them. At worst, the album sounds like TV on the Radio b-sides sung by Karen O, but at times the album is a celebration of the unity between these bands, and a reminder that great minds think alike.
Should they trust their friends?
Certainly, especially the TV on the Radio gang. Those guys are going places.
Wednesday, October 17, 2007
Album Review: Radiohead - In Rainbows
Radiohead - In Rainbows
(Note: This review is for the mp3 release. A separate review for the Discbox will be written upon its arrival.)
(Self Released, 2007)
Grade: 94.7
In Rainbows (the album)
Weird Fishes/Arpeggi (mp3)
One day after being "rickrolled" by some jackass with too much time on his/her hands, Radiohead surprised the world with the announcement that their seventh album would be self-released, digitally, in a mere ten days. Okay, maybe the entire world wasn't shocked, as I'm certain there are parts of Africa that could care less about what five British blokes do with their time, let alone their music, but still, you and me and everyone we know had Rainbows on the brain. Personally, I don't think I even counted down the final week to my 21st birthday, but I sure as hell counted down the "release date" for Radiohead's seventh album. Why? Radiohead has a hold on my heart and a special place in my life, all thanks to a bald MTV VJ, a killer performance on the Tonight Show With Jay Leno, and a little album called OK Computer. The excitement over counting down 'til midnight (again like my 21st birthday) for my personal download link was fairly new to me, as the territory was slightly unfamiliar. I am old enough to remember midnight CD release parties at record stores - the last Radiohead release, 2003's Hail to the Thief, was the last album I bought at a midnight sale - but something about mixing old-school impatience with modern technology made Radiohead's experiment something I wanted to be a part of. Knowing that somewhere on this Earth, a million people (or more) would be sharing a similar experience with me made it even more fun. As cool as Radiohead's social experiment was, though, nothing tops the actual album itself, which is easily Radiohead's best album since Kid A, and their most widely accessible since The Bends.
Listening to In Rainbows, even for the first time, it seemed like Radiohead was more comfortable with these songs than with anything they have released in the past decade, which I presume is a direct result of the band spending two years writing, recording, and playing the songs live (nine of them at least; "Nude" has been around for nearly a decade). Yes, a similar approach was used on Hail to the Thief, but the results here are significantly better. Where Hail sounds like Radiohead made a mixtape of their songs disguised as a record, In Rainbows is a cohesive, near flawless Radiohead album.
There are many reasons why In Rainbows is such a fantastic, fascinating listen. Nicole may have covered many of them in a recent post, but bear with me while I muse on a few observations of my own. For starters, In Rainbows is, at times, the most "rock" Radiohead has been in quite some time. Traces of rock have appeared on each of the band's albums since The Bends, but In Rainbows has so much guitar you might think it was released in 1997 rather than 2007, especially on "Bodysnatchers", which is easily Radiohead's most intense and gnarliest song since "Electioneering". Every time I listen to it I can picture Jonny ripping into his guitar strings, while Thom rapidly shakes his head from shoulder to shoulder as he wails, "I'm aliiiiiiiiive!" I bet this song kills live.
Speaking of live Radiohead, after attending a Radiohead concert in 2003, I walked away from the show with the impression that the live versions of Radiohead's songs are funkier, or at least more bass heavy, than their album counterparts. I was pretty fucking high at that show, I'll grant you, but I'm convinced Radiohead noticed it too, as it seems to have bled over onto In Rainbows' production and mixing. Colin Greenwood's bass work is prominent throughout the album, and Radiohead do sound funkier, at times even soulful and sexy, like an R&B band or Portishead's self-titled album. It doesn't hurt that Thom's lyrics are oftentimes playful, even sexual. It is a unique direction for the band, proving that even when they're comfortable and accessible, Radiohead are still capable of throwing a curve ball in our direction.
Lastly, the most fascinating aspect of In Rainbows is, in this writer's humble opinion, just how accessible the album is. Radiohead have spent most of their career making jarring follow-up albums to excellent, sometimes iconic releases. Many of these albums were growers, albeit growers that yielded good vibrations with each listen. Kid A, perhaps the new standard to which albums that divide the fans and the critics are set, was so polarizing upon its release it had more than one major music publication proudly hailing Coldplay as the next Radiohead. And while a rock album with touches of R&B might sound polarizing, I assure you that it is manufactured as one easy-to-swallow pill. The songs are arranged and sequenced perfectly, like jigsaws falling into place. The album is long enough to engage the audience, while short enough not to overstay its welcome. It is also highly addictive, and rewarding. My current favorite, "Reckoner," reveals its beauty more and more with each listen, more so than some of the album's immediately engaging songs ("Weird Fishes/Arpeggi", "All I Need").
As you can probably tell, I am in love with In Rainbows. I feel like a teenager all over again. Somewhere in a different space/time continuum, the younger SonicRyan who did his math homework to OK Computer is smiling. Already my $81 is well spent, and the arrival of my Discbox set is still two months off. I have been listening to this album on repeat since the download completed, following the rainbow. Already I have found several pots of gold, with no end in sight.
--Ryan
The moments. The entrance of a sleepy guitar on the backdrop of a synthetic beat. The pure Radiohead rock song where Thom really loses himself. “I’ve seen it coming/I’ve seen it coming.” The isolated falsetto in a song I fell in love with years ago. The wavy, creepy strings. The slow building of distant howls backed by a whirling guitar. The personal lyrics finally let out of the bottle since The Eraser. “I’m in the middle of your picture.” The catchy melodic upbeat acoustic heavily orchestrated number. The drums hiding in the off-beats. The parts that stick in my head and slip loose when no one is around. “Because we separate/it ripples in our reflection.” The expansive, smoldering melody that took awhile, but now cannot seem to get out of my head. The OK Computer droned voices. The organic looped toward its exacted purpose. It’s in the moments.
--Chad
I was waiting for an old friend. It had been years since I’d seen her, left her blistered and angry, a little weathered. Before she’d worn dark half-moons under her eyes, carried self-loathing in frail bones. She never looked so beautiful. Now I wondered how time would mark its passage upon her in undetectable but certain ways, like the inching of the long arm on a clock. I knew nothing. I knew she would not disappoint.
For days I’ve breathed nothing but Radiohead. I’ve craved nothing else. I’ve prowled the Internet, scraped my knees on the album’s tiniest criticisms. I’ve championed “House of Cards” after seeing it spurned, like that summer a boyfriend said orange wasn’t my color and I vowed to prove otherwise. I’ve sung caricatures of “Reckoner” with friends. Doodled rainbows on faded receipts. I’ve stirred the coals of conversation with my squat grocery-checkout hermaphrodite, to whom I evinced that the new album was, for lack of a more concise companion to my linking verb, amazing.
Already I fear my friend’s absence. I fear the moment I’ve traversed every haunted inch, explored each crook of an elbow, sung her in the car, out screamed the rain, falling in love, falling from love, falling in.
--Nicole
Tuesday, October 9, 2007
Album Review: Beirut - The Flying Club Cup
Beirut - The Flying Club Cup
(Ba Da Bing!, 2007)
Grade: 78.4
"The Penalty" (mp3)
"It's your move," my opponent tells me as he pulls several new tiles out of a nearby silk bag. His reminder recovers my senses from a daydream. The culprit, the latest Beirut album, The Flying Club Cup, is nearly a quarter finished, yet already I am daydreaming. Though I am not impressed, I dare not voice my displeasure to his face, instead refocusing my attention on the Scrabble board that sits on the coffee table that separates us. Before I study my tiles I must check my opponent's previous move. I grimace at the newly added cliquot. All seven letters used, placed on a triple word score to add further insult. The game, like the album, is nearly a quarter finished, yet I am already beat. "You're not going to challenge?" he asks. I consider the option. "The Penalty" begins on the stereo, and instead I resign. I tell him he played a great game as we sweep the tiles back into the silk bag. What I wanted to say was much harsher.
The charmed young man departs for the streets, bottle of wine in one hand, mandolin in the other. I watch him from the window. He pulls his collar up as the snow falls and takes a swig from the bottle. I decide to retire for the evening and cozy up to my lover as "Forks and Knives (La Fete)" plays softly in the background. The warm bed makes everything better. Even the music, despite its low volume, charms my ears for the first time. I suppose I was wrong about you, I think to myself as I drift into a deep sleep. The music continues its passage into my ears, into my head. I hear a voice calling me, it is the young man from a few moments earlier. He looks the same, yet somehow I am clothed and my shoddy apartment transformed into a deli. Confused, I accept his offer to lead me back home. Together we wander through cities I have only seen in PBS documentaries and Jean-Pierre Jeunet films. I am amazed, and suddenly it becomes apparent that I am dreaming. No longer eager to return home, we decide to take a hot air balloon over the coast of Italy. I weep at the sight. To the North, everything. To the South, everything else. I thank the young man for his kindness, and for showing me the world as I had never seen it before. "I only brought the balloon", he replied, "you did the rest."
It is morning when my lover wakes me up, and though I normally prefer to sleep in on Sunday mornings, this moment feels appropriate. "Its been a long time since I've seen you smile," she says. I kiss her as gently as the needle does a record, and play the album again so the two of us can fly together.
Tuesday, September 18, 2007
Album Review: Thurston Moore - Trees Outside the Academy
Forget about the Kanye/50 record sales spar, that was merely the under card to the month's main event: Kevin Drew vs. a man who needs no introduction, Thurston Moore (or, K-Dog and 'On as they're affectionately called here at the Range Life office). We'll post our Kevin Drew album later this week, possibly tonight.
Cheers.
Thurston Moore - Trees Outside the Academy
(Ecstatic Peace, 2007)
82.5%
"Frozen Gtr" (mp3)
In the music video for "The Empty Page", the lead-off track from the outstanding Sonic Youth album, Murray Street, Thurston can be seen writing the words "I am not Beck" on a plain white t-shirt. Listening to the first track on Trees Outside the Academy, Thurston Moore's first solo rock album (as opposed to instrumental/experimental noise) in 12 years, you might understand where the confusion lies. The opening notes of Thurston's detuned acoustic (yes, acoustic!) guitar recalls certain songs from Mr. Hanson's back catalog, a bygone era that many Beck fans, including myself, mourn for with each passing Beck album. However, it doesn't take long for Thurston to establish his presence on the album, his voice may be plain, but it is also unmistakable after two-and-a-half decades of playing a major role in one of the most innovative and inspirational bands to ever put music to tape. The song eventually takes its shape, and eventually sounds like, wait for it...
...a long lost Sonic Youth gem.
In many ways, "Frozen Gtr" is the perfect precursor for what to expect on the rest of the album's twelve songs. Sonic Youth's signature sound is all over the album: Thurston's voice, the trademark (de)tunings, spot on overdubs that accentuate rather than hog the headphones, and yet there are a couple of surprises on both the song and the album that make it a worthwhile addition to even the biggest Sonic Youth fan's already overloaded collection.
The first surprise, at least to this listener, is the use of acoustic guitar. For decades it has seemed as if an acoustic guitar might be Sonic Youth's enemy, the instrument making only brief appearances during the bands long and storied career (though one does pop up in another music video highlight, Sonic Youth's cover of The Carpenters' classic, "Superstar"), but Thurston rocks the shit out of the hollowbodies on Trees. Don't get me wrong, Trees still rocks, its just that many of the songs rely on momentum rather than rocking in the more conventional sense, while traditional Sonic Youth-esque mid-song jam-outs still retain their impact despite the lack of distortion. Take the song "Silver>Blue" for example, there is no distortion or feedback distracting the clarity of the notes being played, for the better. Still, there's plenty of actual rockage in the Trees, courtesy of Dinosaur Jr. frontman J Mascis, who lets his hair down on several of the album's tracks.
Speaking of Mascis, I should mention the album's other contributors. Though this is first and foremost a Thurston Moore record, the contributions will not go unnoticed, nor should they, as they provide the album's other big surprise. The lead violin work of Samara Lubelski often takes the place of a guitar overdub or a Mascis solo, and to great effect. The song "Never Light" would probably be quite a bore without her gentle touches. The other notable contribution comes from Christina Carter, of the Charalambides, who sings on both "Frozen Gtr" and "Honest James", another one of the album's standout tracks. There's no denying the fact that I am a big, BIG, Sonic Youth fan, but even I must admit that hearing Thurston duet with a woman who can actually sing (sorry Kim) is quite pleasing.
Because I was never a big fan of Psychic Hearts, I had my doubts as to whether or not Thurston could craft a really good solo album, but the expansion of Thurston Moore's musical palate on Trees, thanks in no small part to the album's aforementioned guests, prevents this album from going in the record collection merely for completion's sake. I believe that this is an album that you will find yourself listening to down the road, not just this month, and easily holds its own with most of the Sonic Youth catalog (the exceptions being Daydream, Sister, and possibly Murray Street). This Tree is solid, and further proof that rather than killing yr idols, you should buy their records instead.