Roughly three and a half months ago, March 10th 2009, Athens GA native Madeline Adams released her third record, 'White Flag', on the Orange Twin label. If you don't remember hearing the tracks off Hype Machine, reading the rave blog reveiws, or seeing the interview on Pitchfork, thats probably because, well, none of those things ever happened. In fact, Madeline doesn't even have a Wikipedia page. Seriously now, you don't even need a publicist to get that one right. An Allmusic.com search will yield an almost completely undeveloped page where one of her albums (unreviewed) shares space with the soundtrack to the children's cartoon (not by her). So you may ask how, in a time when the indie community seems so starved to drench their young starlets in attention, does she go so completely unnoticed?
Possibly it has to do with the scene she is struggling to emerge from. Though Athens will forever be an anomaly, a phenomenom if you will in terms of its musical output, those hailing from will forever be tied, at least subconciously, to the Elephant 6 collective. Recording for Orange Twin doesn't help, a label run by members of Elf Power, one of the cheesier outfits of the collective. So is she being tossed off as yet another among a zillion revivalist popsters? Unlikely, as one listen to her music reveals a smart, sharp, embittered yet empathetic writer, of americana folk tunes.
What possibly, do those idolized "starlets" posess that poor Madeline lacks? Feist, Jenny Lewis, Neko Case, St. Vincent... None are particularly better looking, and certainly none are better songwriters or musicians. But wait; Broken Social Scene, Rilo Kiley, The New Pornographers, Sufjan Stevens... Do I dare go so far as to say that one must first sing for an independently accomplished rock group before it is possible to be accepted as a legitamate solo artist in the indie community? Even Cat Power did collaborations with members of Sonic Youth and The Dirty Three. Either that, or I suppose she should take up the harp...
The only other thing that could possibly be holding poor Madeline back is the quality of her music, which at last brings us to our review of her most recent record. You've probably already guessed it by now. The record is great. Granted however, this is not the first time around the block for the songstress. In 2002 she self released her first full length, 'Kissing and Dancing'. Playful, laced with tin can percussion, joyful harmony, and that small town America school girl self conciousness, Madeline had given us a highly enjoyable if unpolished album. Five years later she followed it up on Orange Twin with 'The Slow Bang'; a short, nine song outing. This release differed in that it was completely stripped bare, almost hauntingly so, but amazingly poignant. 'White Flag' boasts the cleanest and fullest production of the three, but not at the expense of the emotion her music has always been capable of.
"Sorry" opens the album with possibly the only time Madeline has been apologetic. It is a soft note to start on, and segways neatly into "Telephone Daydream", the first pop tune she's penned in 7 years. There is not a low point to be found on the album. "Lit Elephants" continues with tender charm, "This Train" uses the peculiarity of Madelines voice as a hook in itself, and "Shotgun Wedding" pairs a bare bones arrangement with the singers typically tough sensibilities to tell a tale of the South. At this point we encounter the albums two soaring highlights, "Jive Talking" and "White Flag". On the former she croons a tale of disenchantment, and on the latter lets her voice soar in a tune of resolution, as if the two are intentionally intertwined. The rest of the album follows along similiar lines while avoiding the pitfalls of overt repitition. "Rain, Fire and Brimstone" is as tough a tune as she's ever written, even more so than the like minded "You Can't Break My Heart". "Mountain Heart" gives outlet to the most straightforward folk tune on the record, harkening back to early Iron and Wine, before "Black Out" ties things off.
Your typical female singer/songwriter honestly doesn't get much better than this. Jenny Lewis and Zooey Deschanel would probably give their big toe to have penned some of these tunes. I would think that the "indie community" would be starving to drink up this talent and claim it as one of its beloved own, as opposed to leaving poor Madeline with the anonymity she now possesses. Here is what I propose: Madeline Adams, Nina Nastasia, and Courtney Kaiser all form a post punk New York girl group and go on tour with The Arcade Fire; as heinous as this would be, maybe then these fine artists and their work will get the exposure and recognition deserved.
Best Tracks: "Jive Talkin", "White Flag", "Rain, Fire, and Brimstone"
Rating: 9/10
Tuesday, June 30, 2009
Monday, June 29, 2009
Albums I Love: The Slider
I always thought it would be cool to have a radio show entitled 'Albums I Love', where I would pick a given album (that I love of course), talk about it for five or six minutes, play the whole record uninterrupted, and then discuss the music and its relevance etc. with callers for the rest of the hour. Well I don't have a radio show, but I do have a blog! So here it is, the now regular installment 'Albums I Love'. This week we will be focusing on T. Rex's 1972 release, 'The Slider'.
If you live in the UK, then you have no idea why I would choose to present such a monumental album as an out-of-the-way gem that listeners may have missed, but here in the US that's exactly what it is. Walk into any US record store- I can almost guarantee that under 'T. Rex' you will find three copies of big brother 'Electric Warrior' and no trace of, the in many ways more accomplished album, 'The Slider'. This could probably be most easily explained by the fact that the only T. Rex single to chart in the US came off 'EW'; but hold on a second, now lets mozy on down the aisle to Led Zeppelin. Woah look at this! Here's all their albums, not only 'Zeppelin II' (host of "Whole Lotta Love", the only Zeppelin tune to break the US Top Ten). The fact is that T. Rex doesn't get one tenth of the respect they deserve from the rock'n'roll pantheon. Marc Bolan singlehandedly defined sexy, sleazy, glam, pop rock (think The Kills forty years ago with just as much attitude). Bowie didn't come close to anything like this. Not to mention giving outlet to one of the most distinctive guitar players of an era. And yet we relegate T. Rex to the obscurity of history. This injustice can not stand.
Thanks to my fathers record collection I grew up with 'Electric Warrior' as a favorite. And though on the internet I would read about 'The Slider', see the excellent reveiws, not only was my father barely aware of its existence, but for literally years I remained unable to find it anywhere with the exception of Amazon for a hefty price of about 25 bucks. Alas, this led me to dismiss the album as an obscurity, a collectors item, some fluke release that ultimately must not have been too important. A few long years later, while unlocking the spoils of the internet, I finally got my first listen to the record and all such notions were shattered.
The record opens with "Metal Guru", the boldest, slickest, most in your face track the band has ever done. It pops with cascading harmonies, a du-wop vibe, and as always that crunchy, reverb drenched backbeat holding it all together. The record never lets up from there. The title track comes in cool and collected, working a slick groove with a few simple chords like only Bolan ever could. It goes down smooth and is only a taste of whats to come. Tracks like "Mystic Lady" and "Spaceball Ricochet" continue pleasantly down a road where "Cosmic Dancer" left off. This album is heavier than its predecessor ("Buick Mackane"), more highly produced ("Rabbit Fighter"), and every bit as catchy and hypnotic ("Telegram Sam").
As a guitarist, Bolan is a breath of fresh air in a era that seemed to favor simply throwing as many notes as possible at any and every song possible. Bolan understood using the guitar as a means to an end, as opposed to playing the guitar as an end in itself. So no, nothing as heinous as Page's "Heartbreaker" solo is to be found here. And yet he's not as minimalist as a Robby Krieger. He understands that he's playing sloppy fun rock music, and that the guitar has to slosh around in the sleaze just as much, and it does. Never excessive, always satisfying, Bolan deserves much more credit than he will ever receive for his chops and vision on a so oft abused instrument.
This is classic rock, but not in the old tired fashion your used to hearing it as endlessly replayed on your local radio. Musically it holds up amazingly well to anything coming out today. Expand your horizons, reach back, go out and buy... well, maybe better off to just download, 'The Slider' today!
Best Tracks: "Mystic Lady", "The Slider", "Telegram Sam"
If you live in the UK, then you have no idea why I would choose to present such a monumental album as an out-of-the-way gem that listeners may have missed, but here in the US that's exactly what it is. Walk into any US record store- I can almost guarantee that under 'T. Rex' you will find three copies of big brother 'Electric Warrior' and no trace of, the in many ways more accomplished album, 'The Slider'. This could probably be most easily explained by the fact that the only T. Rex single to chart in the US came off 'EW'; but hold on a second, now lets mozy on down the aisle to Led Zeppelin. Woah look at this! Here's all their albums, not only 'Zeppelin II' (host of "Whole Lotta Love", the only Zeppelin tune to break the US Top Ten). The fact is that T. Rex doesn't get one tenth of the respect they deserve from the rock'n'roll pantheon. Marc Bolan singlehandedly defined sexy, sleazy, glam, pop rock (think The Kills forty years ago with just as much attitude). Bowie didn't come close to anything like this. Not to mention giving outlet to one of the most distinctive guitar players of an era. And yet we relegate T. Rex to the obscurity of history. This injustice can not stand.
Thanks to my fathers record collection I grew up with 'Electric Warrior' as a favorite. And though on the internet I would read about 'The Slider', see the excellent reveiws, not only was my father barely aware of its existence, but for literally years I remained unable to find it anywhere with the exception of Amazon for a hefty price of about 25 bucks. Alas, this led me to dismiss the album as an obscurity, a collectors item, some fluke release that ultimately must not have been too important. A few long years later, while unlocking the spoils of the internet, I finally got my first listen to the record and all such notions were shattered.
The record opens with "Metal Guru", the boldest, slickest, most in your face track the band has ever done. It pops with cascading harmonies, a du-wop vibe, and as always that crunchy, reverb drenched backbeat holding it all together. The record never lets up from there. The title track comes in cool and collected, working a slick groove with a few simple chords like only Bolan ever could. It goes down smooth and is only a taste of whats to come. Tracks like "Mystic Lady" and "Spaceball Ricochet" continue pleasantly down a road where "Cosmic Dancer" left off. This album is heavier than its predecessor ("Buick Mackane"), more highly produced ("Rabbit Fighter"), and every bit as catchy and hypnotic ("Telegram Sam").
As a guitarist, Bolan is a breath of fresh air in a era that seemed to favor simply throwing as many notes as possible at any and every song possible. Bolan understood using the guitar as a means to an end, as opposed to playing the guitar as an end in itself. So no, nothing as heinous as Page's "Heartbreaker" solo is to be found here. And yet he's not as minimalist as a Robby Krieger. He understands that he's playing sloppy fun rock music, and that the guitar has to slosh around in the sleaze just as much, and it does. Never excessive, always satisfying, Bolan deserves much more credit than he will ever receive for his chops and vision on a so oft abused instrument.
This is classic rock, but not in the old tired fashion your used to hearing it as endlessly replayed on your local radio. Musically it holds up amazingly well to anything coming out today. Expand your horizons, reach back, go out and buy... well, maybe better off to just download, 'The Slider' today!
Best Tracks: "Mystic Lady", "The Slider", "Telegram Sam"
Friday, June 26, 2009
Alexi Murdoch Update
Alexi Murdoch, who after making possibly the most tantalizing EP in history made fans wait four full years for the subsequent long player, has, after almost that length of time again, graced us at last with more musical blessings. 'Toward the Sun' is a limited release, only 5000 were pressed, and is available at his shows or by order through his website (a site which still advertises 'Time Without Consequence' as "The New Album". Apparently he takes his album titles quite literally...). I came across my copy by the grace of my sister, who I talked into attending one of his shows. A live experience which, in my opinion, is unparalelled in terms of intimacy and beauty.
As much as I love the guy, Murdoch has kind of put himself between a rock and a hard place here. When the 'Four Songs' EP became the number one selling record in CDbaby.com history, expectations were already high for the album to follow. By allowing four years to then pass in the making, one of two things was bound to happen for any given fan: they would forget about him, or they would come to expect an album of pure perfection. Needless to say, he delivered on pure perfection; ensuring that no one will make the mistake of forgetting about him again. And thus, here we are another four years later, expectations raging.
(Sidenote: Honestly has there ever been a better EP than 'Four Songs'? I still listen to it completely seperate from the album. Frusciante's DC EP? Lazy Line Painter Jane? Does the Fiery Furnaces EP even count? Yes, 'Sun Giant' is pretty great, but nothing touches 'Four Songs'.)
It is hard to categorize exactly what 'Toward the Sun' is meant to be. At 7 songs and 37 minutes, it is about 20 minutes longer than AM's EP and about 20 minutes shorter than the album. I have heard rumors that this is something of a demo for the album to come, and based on the production that could very well be true. While 'TWC' was very slick, with sometimes dozens of instruments skillfully woven into lush backing mixes, 'TtS' is consistently much simpler and more straightforward, with usually no more than a few acoustic guitars and a drum. 'TtS' also differs in that it has a much warmer feel, as if everything on the album was mic'd and digital processing was kept to a minimum. As a result there is nothing here that goes down quite as smooth as "All My Days" or "Blue Mind", and the warmer nature only ensures, as if they haven't already, that the Nick Drake comparisons will further abound. It will be interesting to see if these changes carry on into the official release or if they are for the sake of the "demo" only. Another interesting observation: a chief difference between 'FS' and 'TWC' was the presence of female harmony on the EP, and almost no harmony whatsoever on the album. It may be inconsequential, but on the chorus of 'TtS's "Some Day Soon" there is a very soft, almost barely audible in fact, female unison...
Lyrically, Murdoch is in much the same vein as we found him before. Verses regurlarly concerning family, dreaming, light/dark, metaphorical burdens, shining, and kindness. (Sample lyric, off "Her Hands Were Leaves": "See my brother he is walking in the sun/His back is bare he carries no burden for anyone/See the island, the silver line/Brother how you shine".) Murdoch still isn't the type to turn a phrase sharp enough to find its way onto your facebook page, but his lyrics remain the vital part of his music. With many acts, you will find yourself analyzing the lyrical quality seperate from the musical quality. With Murdoch however they are one in the same. His lyrics and voice are so natural, so simple, and yet bear such honest truth, that their slow, steady and gentle cadence, seem to eminate from a purer place than any contrived human mind. They seem to eminate from the same place that the musical notes themselves do, making the relationship of the guitar to his words inseperable. On "Through The Dark" he sings "You need someone to hear you when you sigh/Someone to wipe away those tears you cry/Someone to hold you 'neath the darkened sky/Someone to love you more than I". He gets recalls Dylan again on highlight "Some Day Soon" when he sings, "I love my father and I love him well/I hope to see him someday soon/And in the morning I'll be gone/Where for to cannot be told".
When closer, the 9 minute "Crinian Wood" comes on, naturally everyone is expecting the next "Orange Sky". Unfortunately these are promises that are most likely impossible to deliver on. 'TtS' is a solid batch of well written, performed, and distinctly Murdoch tunes, but whether they meet or surpass those that have come before them will have to be to the listeners discretion. I hate to say to "expect more of the same" because of the connotations it carries, but essentially thats what we have here. Luckily "the same" is this good. When you first dip into these tunes however, don't expect your life to be changed all over again for a second time. As of yet no one can say for sure whether this is what we'll be hearing from Murdoch come release time, or whether it will be in completely different form. Either way it sure has me excited.
As much as I love the guy, Murdoch has kind of put himself between a rock and a hard place here. When the 'Four Songs' EP became the number one selling record in CDbaby.com history, expectations were already high for the album to follow. By allowing four years to then pass in the making, one of two things was bound to happen for any given fan: they would forget about him, or they would come to expect an album of pure perfection. Needless to say, he delivered on pure perfection; ensuring that no one will make the mistake of forgetting about him again. And thus, here we are another four years later, expectations raging.
(Sidenote: Honestly has there ever been a better EP than 'Four Songs'? I still listen to it completely seperate from the album. Frusciante's DC EP? Lazy Line Painter Jane? Does the Fiery Furnaces EP even count? Yes, 'Sun Giant' is pretty great, but nothing touches 'Four Songs'.)
It is hard to categorize exactly what 'Toward the Sun' is meant to be. At 7 songs and 37 minutes, it is about 20 minutes longer than AM's EP and about 20 minutes shorter than the album. I have heard rumors that this is something of a demo for the album to come, and based on the production that could very well be true. While 'TWC' was very slick, with sometimes dozens of instruments skillfully woven into lush backing mixes, 'TtS' is consistently much simpler and more straightforward, with usually no more than a few acoustic guitars and a drum. 'TtS' also differs in that it has a much warmer feel, as if everything on the album was mic'd and digital processing was kept to a minimum. As a result there is nothing here that goes down quite as smooth as "All My Days" or "Blue Mind", and the warmer nature only ensures, as if they haven't already, that the Nick Drake comparisons will further abound. It will be interesting to see if these changes carry on into the official release or if they are for the sake of the "demo" only. Another interesting observation: a chief difference between 'FS' and 'TWC' was the presence of female harmony on the EP, and almost no harmony whatsoever on the album. It may be inconsequential, but on the chorus of 'TtS's "Some Day Soon" there is a very soft, almost barely audible in fact, female unison...
Lyrically, Murdoch is in much the same vein as we found him before. Verses regurlarly concerning family, dreaming, light/dark, metaphorical burdens, shining, and kindness. (Sample lyric, off "Her Hands Were Leaves": "See my brother he is walking in the sun/His back is bare he carries no burden for anyone/See the island, the silver line/Brother how you shine".) Murdoch still isn't the type to turn a phrase sharp enough to find its way onto your facebook page, but his lyrics remain the vital part of his music. With many acts, you will find yourself analyzing the lyrical quality seperate from the musical quality. With Murdoch however they are one in the same. His lyrics and voice are so natural, so simple, and yet bear such honest truth, that their slow, steady and gentle cadence, seem to eminate from a purer place than any contrived human mind. They seem to eminate from the same place that the musical notes themselves do, making the relationship of the guitar to his words inseperable. On "Through The Dark" he sings "You need someone to hear you when you sigh/Someone to wipe away those tears you cry/Someone to hold you 'neath the darkened sky/Someone to love you more than I". He gets recalls Dylan again on highlight "Some Day Soon" when he sings, "I love my father and I love him well/I hope to see him someday soon/And in the morning I'll be gone/Where for to cannot be told".
When closer, the 9 minute "Crinian Wood" comes on, naturally everyone is expecting the next "Orange Sky". Unfortunately these are promises that are most likely impossible to deliver on. 'TtS' is a solid batch of well written, performed, and distinctly Murdoch tunes, but whether they meet or surpass those that have come before them will have to be to the listeners discretion. I hate to say to "expect more of the same" because of the connotations it carries, but essentially thats what we have here. Luckily "the same" is this good. When you first dip into these tunes however, don't expect your life to be changed all over again for a second time. As of yet no one can say for sure whether this is what we'll be hearing from Murdoch come release time, or whether it will be in completely different form. Either way it sure has me excited.
Thursday, June 25, 2009
Catching Up...
For a period of about 29 days just a bit ago, due to fairly ridiculous circumstances, I was completely cut off from the world. Internet, music, everything. Since re-entering reality I've been in a frenzy to get caught up on all the new releases, and having done so, now feel obligated to spout a few opinions off about them. It is worth noting that I only do full up reviews on albums that I feel may have slipped under the radar, or that I think I may have a unique perspective on. Every now and again though you might catch me doing a rough and tumble round up, kind of like what we have here:
Phoenix: Wolfgang Amadeus Phoenix
A straight up pop record; a medium of which I'm a huge fan of. This is definitely more of heartbreak, yearning type pop however than your joyous release type stuff. On a first listen I thought of the Kooks, but drenched in a slick glaze of cool, for lack of a better way to describe it. It is smoother, more direct, and has a more uniquely interesting production. The great downfall of this album is all the songs (particularly on the second half) sounding much the same. When "Love Like A Sunset" comes on, your ears prick up, hoping that this is the point where the album will take a sudden turn into the interesting and unexplored. On the next track however they sink right back into the tedium.
Rating: 6.5/10
Best Tracks: "Lisztomania", "Lasso"
Grizzly Bear: Veckatimest
Did you enjoy 'Yellow House'? This record is, on the face, very much the same as the one that preceded it. The production hovers in about the same place, and the songwriting remains only sometimes immediately rewarding, and otherwise challengingly gorgeous. I doubt this will rope in new Grizzly Bear fans, as it is merely a progression along the same path as before, but it will certainly solidify old ones. The arrangements are endlessly complex, but subtle enough to never distract. The replay value from this record is almost ridiculous.
Rating: 8.5/10
Best Tracks: "Two Weeks", "Cheerleader", "About Face"
Dirty Projectors: Bitte Orca
A band with possibly the most challenging discography I can think of, somehow found a way to release an immediately accessible and enjoyable record without sacrificing any of the nuance that at one time made them so frustrating. As usual, the voices, arrangements and guitar playing are virtuosic. Only here, the strength of the songwriting equals the talents of the players. Still quirky and interesting at many points, but always endlessly rewarding.
Rating: 9/10
Best Tracks: "Temecula Sunrise", "The Bride", "Useful Chamber"
God Help The Girl: God Help The Girl
Basic summary: Stuart Murdoch makes a Belle & Sebastian album under a different name with mainly girl singers. This is basically your typical B&S, especially as far as the wordplay is concerned. The instrumentation however often takes on a much more classic, timeless feel, which sometimes make it sound more like something out of your Mom's record collection than an indie record; and thats not necessarily a bad thing. The variety of female vocals are a nice change up, as all the singers boast strong voices, and each bring a unique personality to a songwriter who we've all become more than accustomed too.
Rating: 7/10
Best Tracks: "God Help The Girl", "Pretty Eve In The Tub", "If You Could Speak"
Dinosaur Jr.: Farm
J. Mascis must have found the mythical fountain of street cred or something, cause no matter what these guys do it just always feels legit. I mean, how many bands after 20 years of recording are still pumping out albums as un-polished as Farm? And yet thats exactly how it has to be. To me, this is what bands like Nickelback and Daughtry or whatever should sound like. Playing straight ahead, gritty hard rock. And yet despite trying to come off this way, the majority of their fans end up being teenage girls. I guess thats what happens when you spend your time in a make-up booth instead of learning to rip like J. Regarding the album, to me it never quite hit the highs or acheived the energy of 'Beyond'. The longer numbers run a little long, and because the softer numbers are so nice there probably could have been more of them. That said however, this album rocks. "See You" is among the best work they've ever done.
Rating: 7.5/10
Best Tracks: "I Want You To Know", "Over It", "See You"
Phoenix: Wolfgang Amadeus Phoenix
A straight up pop record; a medium of which I'm a huge fan of. This is definitely more of heartbreak, yearning type pop however than your joyous release type stuff. On a first listen I thought of the Kooks, but drenched in a slick glaze of cool, for lack of a better way to describe it. It is smoother, more direct, and has a more uniquely interesting production. The great downfall of this album is all the songs (particularly on the second half) sounding much the same. When "Love Like A Sunset" comes on, your ears prick up, hoping that this is the point where the album will take a sudden turn into the interesting and unexplored. On the next track however they sink right back into the tedium.
Rating: 6.5/10
Best Tracks: "Lisztomania", "Lasso"
Grizzly Bear: Veckatimest
Did you enjoy 'Yellow House'? This record is, on the face, very much the same as the one that preceded it. The production hovers in about the same place, and the songwriting remains only sometimes immediately rewarding, and otherwise challengingly gorgeous. I doubt this will rope in new Grizzly Bear fans, as it is merely a progression along the same path as before, but it will certainly solidify old ones. The arrangements are endlessly complex, but subtle enough to never distract. The replay value from this record is almost ridiculous.
Rating: 8.5/10
Best Tracks: "Two Weeks", "Cheerleader", "About Face"
Dirty Projectors: Bitte Orca
A band with possibly the most challenging discography I can think of, somehow found a way to release an immediately accessible and enjoyable record without sacrificing any of the nuance that at one time made them so frustrating. As usual, the voices, arrangements and guitar playing are virtuosic. Only here, the strength of the songwriting equals the talents of the players. Still quirky and interesting at many points, but always endlessly rewarding.
Rating: 9/10
Best Tracks: "Temecula Sunrise", "The Bride", "Useful Chamber"
God Help The Girl: God Help The Girl
Basic summary: Stuart Murdoch makes a Belle & Sebastian album under a different name with mainly girl singers. This is basically your typical B&S, especially as far as the wordplay is concerned. The instrumentation however often takes on a much more classic, timeless feel, which sometimes make it sound more like something out of your Mom's record collection than an indie record; and thats not necessarily a bad thing. The variety of female vocals are a nice change up, as all the singers boast strong voices, and each bring a unique personality to a songwriter who we've all become more than accustomed too.
Rating: 7/10
Best Tracks: "God Help The Girl", "Pretty Eve In The Tub", "If You Could Speak"
Dinosaur Jr.: Farm
J. Mascis must have found the mythical fountain of street cred or something, cause no matter what these guys do it just always feels legit. I mean, how many bands after 20 years of recording are still pumping out albums as un-polished as Farm? And yet thats exactly how it has to be. To me, this is what bands like Nickelback and Daughtry or whatever should sound like. Playing straight ahead, gritty hard rock. And yet despite trying to come off this way, the majority of their fans end up being teenage girls. I guess thats what happens when you spend your time in a make-up booth instead of learning to rip like J. Regarding the album, to me it never quite hit the highs or acheived the energy of 'Beyond'. The longer numbers run a little long, and because the softer numbers are so nice there probably could have been more of them. That said however, this album rocks. "See You" is among the best work they've ever done.
Rating: 7.5/10
Best Tracks: "I Want You To Know", "Over It", "See You"
Wednesday, June 24, 2009
Review: Sunset Rubdown- Dragonslayer
This album can probably best be analyzed in relationship to two of leader Spencer Krug's more recent outings, 2007's last Sunset Rubdown release 'Random Spirit Lover' and Wolf Parade's 2008 'At Mount Zoomer'. Strikingly, this record comes off as much more WP than it does SR. There are many macroscopic similarities right from the get go, the number of tracks (9 vs. 8) and the ten minute closer being most apparent. Anyone who actually gave more than one listen to 'Random Spirit Lover' (bravo) is probably expecting more of the same frenetic, quirky, fantasy laden, sprawling instrumental and melodic excess of that release; especially from a record titled 'Dragonslayer'. This is hardly the case however, as the album sticks to straight ahead (albeit progressive in nature) rock songs all the way through; even offering up a bonafide pop track with "Paper Lace". Alas, there is nothing here as oddly fascinating as "The Courtesan Has Sung", or as head scratchingly compelling as "Up On Your Leopard, Upon The End of Your Feral Days". Throw in a little of Boeckner's edge to temper Krug's fantasy and we would have another grade A WP release on our hands here.
The album begins with possibly the two most straightforward songs from anywhere in Krug's catalog with "Silver Moons" and "Idiot Heart". While both are flawlessly executed and enjoyable listens, I still find myself wishing that they had some of that flair and eccentricity to make them more distuingashably Krug. "Black Swan" anchors the albums middle in much the way "California Dreamer" did on 'AMZ', slow burning with powerful bursts of energy erupting throughout. From there we a find a curiousity on "Paper Lace", a track found on the 2009 release 'Enemy Mine' from another amongst Krug's myriad musical projects, Swan Lake. On the SL record the track was done acoustically, with a tentative, probing feel, providing a breath of fresh air amidst often challenging experimentation. Here, again it is a breath of fresh air, but instead in the sense that it is a synth heavy pop tune amidst a batch of much more serious progressive rockers (again recalling 'AMZ', "The Grey Estates"). The grand finale, the ten minute twenty seven second title track-ish "Dragon's Lair" (ala "Kissing The Beehive", also originally meant as a title track...), is one of the only true dings I give this album. It carries a solid melody, makes nice use of female harmony, and acheives the difficult feat of not boring the listener over such a long period. However, as much as I do in fact like this song, after the hard hitting album that 'Dragonslayer' is, you just come to expect more punch from the supposedly epic finale. It boasts some fine guitar playing and a semi-build up towards the end, but never quite erupts in the way you are hoping it will.
All in all, 'Dragonslayer' is consistently terrific. I can't help but feel however that they were holding something back, playing it safe if you will for this release. Krug found a near perfect formula with 'AMZ', and apparently he's sticking with it. The fact is though that this is Sunset Rubdown, not Wolf Parade, and its fans have come to expect and love the 'everything and the kitchen sink' mentality that have graced there previous releases. Still, how can you really complain about an album as great as 'Dragonslayer'? Though in my heart I'll be waiting for more of the random spirit loving music I know these guys are cabaple of, on my face the smile will be just as wide as long as the quality remains this good.
Rating: 8.5/10
Best Tracks: "Black Swan", "Paper Lace", "You Go On Ahead (Trumpet Trumpet II)"
The album begins with possibly the two most straightforward songs from anywhere in Krug's catalog with "Silver Moons" and "Idiot Heart". While both are flawlessly executed and enjoyable listens, I still find myself wishing that they had some of that flair and eccentricity to make them more distuingashably Krug. "Black Swan" anchors the albums middle in much the way "California Dreamer" did on 'AMZ', slow burning with powerful bursts of energy erupting throughout. From there we a find a curiousity on "Paper Lace", a track found on the 2009 release 'Enemy Mine' from another amongst Krug's myriad musical projects, Swan Lake. On the SL record the track was done acoustically, with a tentative, probing feel, providing a breath of fresh air amidst often challenging experimentation. Here, again it is a breath of fresh air, but instead in the sense that it is a synth heavy pop tune amidst a batch of much more serious progressive rockers (again recalling 'AMZ', "The Grey Estates"). The grand finale, the ten minute twenty seven second title track-ish "Dragon's Lair" (ala "Kissing The Beehive", also originally meant as a title track...), is one of the only true dings I give this album. It carries a solid melody, makes nice use of female harmony, and acheives the difficult feat of not boring the listener over such a long period. However, as much as I do in fact like this song, after the hard hitting album that 'Dragonslayer' is, you just come to expect more punch from the supposedly epic finale. It boasts some fine guitar playing and a semi-build up towards the end, but never quite erupts in the way you are hoping it will.
All in all, 'Dragonslayer' is consistently terrific. I can't help but feel however that they were holding something back, playing it safe if you will for this release. Krug found a near perfect formula with 'AMZ', and apparently he's sticking with it. The fact is though that this is Sunset Rubdown, not Wolf Parade, and its fans have come to expect and love the 'everything and the kitchen sink' mentality that have graced there previous releases. Still, how can you really complain about an album as great as 'Dragonslayer'? Though in my heart I'll be waiting for more of the random spirit loving music I know these guys are cabaple of, on my face the smile will be just as wide as long as the quality remains this good.
Rating: 8.5/10
Best Tracks: "Black Swan", "Paper Lace", "You Go On Ahead (Trumpet Trumpet II)"
Sunday, June 21, 2009
The Great Lollapalooza Schedule Debate
This summer I'm finally taking the plunge and roadtripping it to Chicago for Lollapalooza for the first time. By the grace of some amiable higher being, somehow the time, money and means amassed, and I am not one to defy fate. Granted, I was signifigantly more attracted to the headliners at the Pitchfork festival in July, but the dates didn't work out and first year festivals often have plenty of there own issues. I am more than happy to drink in the Lolla culture and enjoy a pretty impressive, if not jaw dropping line-up.
Friday is already shaping up to possibly be the best of the three. Bon Iver, Fleet Foxes, and Andrew Bird all back to back on the same stage. Hopefully Bird has already started on his beard for the occasion. This more than makes up for a weak morning, but also presents the inevitable festival conundrum- having to miss certain sets to see others. At this moment I am likely to forego Of Montreal to see Bird, but its hardly an easy decision and may flip several times depending on what I'm listening to at any given moment. But lets at least try to consider this from an intellectual standpoint. The most recent releases from each never got more than a couple spins from me, as I failed to really connect with more than one or two songs on either. OM boasts a much larger and better back catalogue (nothing against all those bluegrass albums, just not my thing) yet I doubt they will dip into most of it as they seem to be committed to their post-Elephant 6 reinvention. And though it is easy to say that Barnes will put on a much more entertaining show, I am equally interested in witnessing Bird's calculated looping techniques and the subtle ways he builds large soundscapes on the stage, as opposed to the constant excesses of OM. Not having to physically move from one stage to another may be what wins this one for Bird in the end (especially if I'm already in prime position), but OM finishing their set slightly earlier provides the advantage of leaving a little more time to elbow to the front for headliners Kings of Leon (I would have been more excited for this one before 'Only By The Night' but am nonetheless pretty pumped). Peter Bjorn and John and Thievery Corporation, it would have been fun, but it just wasn't meant to be.
Saturday is a fairly 'meh' day for me. I'd like to catch Ezra Furman in the morning and probably the Constantines. Then I suppose Los Campesinos, mainly out of Arts and Crafts loyalty though. From there I'm sure my buddies will wanna see Gomez (sorry Chairlift, but your album put me to sleep and then gave me those half awake not fully enjoyable awkward type dreams...) after which No Age is a must. The debate here comes down to Lykke Li vs. TV On The Radio. In the the blue corner, a beautiful Swede who probably has the cutest nose that side of the Atlantic, and sings self concious minimalist crooning pop ballads, which even though she hasn't realized it yet, are all secretly about me. In the red the over hyped, vaguely intelectually compelling band that I always felt obligated to listen to but never quite connected with, maybe because the music was just so in touch with "the climate of the times" (whatever the hell thats supposed to mean). KO. Get psychedelic with a little Animal Collective, and of course we'll top it all off with some Beastie Boys.
Sunday again brings up a smattering of acts I am interested but not diehard committed to see. In many ways this makes sorting through them all the more difficult. We'll probably begin the day with Ra Ra Riot, followed by the Raveonettes (sorry Gang Gang Dance) and then Vampire Weekend. In deciding Cold War Kids or Dan Auerbach, I think that CWK take it on the strength of the first album alone. I still don't understand why someone in a two piece blues outfit feels the need to make a solo blues record, but if for some reason the Keys show up instead count me in. As much as I love The Velvet Underground, Deerhunter on the heels of 'Microcastles' sweeps an aged Lou Reed, with time enough to scamper over to catch Band of Horses. I don't know why we couldn't squeeze them in on that Friday Bud stage as well, but I'm not complaining. For the headliner, I've already seen the Killers and they honestly weren't bad. I may just hand that one completely over to my compatriots as to whther they or Janes Addiction get the final nod.
All in all, after a lot furrowed eyebrows, sweat, and calculated reason, I think my Lollapalooza schedule is pretty much set. Am I wildly offbase anywhere here? I think not. Now there's nothing left to do but sit and let the anticipation build. See ya at Lolla.
Friday is already shaping up to possibly be the best of the three. Bon Iver, Fleet Foxes, and Andrew Bird all back to back on the same stage. Hopefully Bird has already started on his beard for the occasion. This more than makes up for a weak morning, but also presents the inevitable festival conundrum- having to miss certain sets to see others. At this moment I am likely to forego Of Montreal to see Bird, but its hardly an easy decision and may flip several times depending on what I'm listening to at any given moment. But lets at least try to consider this from an intellectual standpoint. The most recent releases from each never got more than a couple spins from me, as I failed to really connect with more than one or two songs on either. OM boasts a much larger and better back catalogue (nothing against all those bluegrass albums, just not my thing) yet I doubt they will dip into most of it as they seem to be committed to their post-Elephant 6 reinvention. And though it is easy to say that Barnes will put on a much more entertaining show, I am equally interested in witnessing Bird's calculated looping techniques and the subtle ways he builds large soundscapes on the stage, as opposed to the constant excesses of OM. Not having to physically move from one stage to another may be what wins this one for Bird in the end (especially if I'm already in prime position), but OM finishing their set slightly earlier provides the advantage of leaving a little more time to elbow to the front for headliners Kings of Leon (I would have been more excited for this one before 'Only By The Night' but am nonetheless pretty pumped). Peter Bjorn and John and Thievery Corporation, it would have been fun, but it just wasn't meant to be.
Saturday is a fairly 'meh' day for me. I'd like to catch Ezra Furman in the morning and probably the Constantines. Then I suppose Los Campesinos, mainly out of Arts and Crafts loyalty though. From there I'm sure my buddies will wanna see Gomez (sorry Chairlift, but your album put me to sleep and then gave me those half awake not fully enjoyable awkward type dreams...) after which No Age is a must. The debate here comes down to Lykke Li vs. TV On The Radio. In the the blue corner, a beautiful Swede who probably has the cutest nose that side of the Atlantic, and sings self concious minimalist crooning pop ballads, which even though she hasn't realized it yet, are all secretly about me. In the red the over hyped, vaguely intelectually compelling band that I always felt obligated to listen to but never quite connected with, maybe because the music was just so in touch with "the climate of the times" (whatever the hell thats supposed to mean). KO. Get psychedelic with a little Animal Collective, and of course we'll top it all off with some Beastie Boys.
Sunday again brings up a smattering of acts I am interested but not diehard committed to see. In many ways this makes sorting through them all the more difficult. We'll probably begin the day with Ra Ra Riot, followed by the Raveonettes (sorry Gang Gang Dance) and then Vampire Weekend. In deciding Cold War Kids or Dan Auerbach, I think that CWK take it on the strength of the first album alone. I still don't understand why someone in a two piece blues outfit feels the need to make a solo blues record, but if for some reason the Keys show up instead count me in. As much as I love The Velvet Underground, Deerhunter on the heels of 'Microcastles' sweeps an aged Lou Reed, with time enough to scamper over to catch Band of Horses. I don't know why we couldn't squeeze them in on that Friday Bud stage as well, but I'm not complaining. For the headliner, I've already seen the Killers and they honestly weren't bad. I may just hand that one completely over to my compatriots as to whther they or Janes Addiction get the final nod.
All in all, after a lot furrowed eyebrows, sweat, and calculated reason, I think my Lollapalooza schedule is pretty much set. Am I wildly offbase anywhere here? I think not. Now there's nothing left to do but sit and let the anticipation build. See ya at Lolla.
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