parallel lines (blondie)
This is an all right album. I'm not in love with it but there's some good stuff going on. Their overall sound is pretty good- I like the guitars, I like Debbie Harry's voice. And they have nice versatility within that sound, there are some slower songs, some faster aggressive songs, one or two songs that make me think of '50s teen ballads, and the anchor, "Heart of Glass."
"Hanging on the Telephone" is a good opener, this track really grew on me. Fast, good tune. "Pretty Baby" is one of those '50s songs I was talking about- it's like a doo wop song, run through a punk and new wave filter. Harry's voice swoons in this really lovely, low way on that track. "Sunday Girl" is nice. Chill and charming. "Just Go Away" is very good, nice cascading guitars and really strong, clean Harry vocals. The only flaw on that song: the annoyingly punkish male backup vocals. "Heart of Glass" is of course a good one, but I think I prefer the briefer, rock version, "Once I Had a Love." It feels so fresh from the studio, like it all came together on one take. There's a ragged, swishing sound to the guitars that I really like a lot. I can't quite describe what it is- maybe the guitars, the melodies, the energy- but this song (and "Hanging on the Telephone") capture the Blondie that I love best.
This version of the album includes a few bonus live tracks. They're all good, especially "Bang a Gong."
Sunday, March 29, 2009
Monday, March 23, 2009
album #33
icky thump (the white stripes)
This is an exhiliratingly badass album. Ferocious and ballsy, hard rocking guitars, playful lyrics that trip off the tongue. It’s a serious breath of fresh air, a completely different thing than all the milky, subtle stuff I’ve listened to lately.
I love the first several songs. “Icky Thump” is heavy, furious and fierce, a garage rock masterpiece within the first thirty seconds. It makes me think of driving in a hot summer, blasting music with the windows down. “You Don’t Know What Love Is,” heavy, catchy and soulful, probably my favorite, reminds me of Exile on Main Street- era Rolling Stones. Except better. If this song had been on that album, maybe I would actually agree with Exile’s reputation. “300 M.P.H. Torrential Outpour Blues” nicely mixes hard rock and relaxed, catchy guitar work. “Bone Broke” is pretty damn satisfying in a generically good rockin’ way.
The album fades down the stretch, unfortunately. After several early explosions of brilliance, the rest of Icky Thump mostly settles into a generically good, bluesy-rock pattern, not really capturing my attention or affection.
There are some interesting asides, the howling Flamenco “Conquest” and the Highlander duo of “Prickly Thorn, but Sweetly Worn” and “St. Andrew.” “Effect & Cause” is a nice, funny, chill closer, my favorite of the second-half songs. Overall it’s a decent album, but those first few tracks are magnificent, and it’s great to listen to a band like this after all the moody tenderness I’ve subjected myself to.
This is an exhiliratingly badass album. Ferocious and ballsy, hard rocking guitars, playful lyrics that trip off the tongue. It’s a serious breath of fresh air, a completely different thing than all the milky, subtle stuff I’ve listened to lately.
I love the first several songs. “Icky Thump” is heavy, furious and fierce, a garage rock masterpiece within the first thirty seconds. It makes me think of driving in a hot summer, blasting music with the windows down. “You Don’t Know What Love Is,” heavy, catchy and soulful, probably my favorite, reminds me of Exile on Main Street- era Rolling Stones. Except better. If this song had been on that album, maybe I would actually agree with Exile’s reputation. “300 M.P.H. Torrential Outpour Blues” nicely mixes hard rock and relaxed, catchy guitar work. “Bone Broke” is pretty damn satisfying in a generically good rockin’ way.
The album fades down the stretch, unfortunately. After several early explosions of brilliance, the rest of Icky Thump mostly settles into a generically good, bluesy-rock pattern, not really capturing my attention or affection.
There are some interesting asides, the howling Flamenco “Conquest” and the Highlander duo of “Prickly Thorn, but Sweetly Worn” and “St. Andrew.” “Effect & Cause” is a nice, funny, chill closer, my favorite of the second-half songs. Overall it’s a decent album, but those first few tracks are magnificent, and it’s great to listen to a band like this after all the moody tenderness I’ve subjected myself to.
album #32
a weekend in the city (bloc party)
I got kind of bored with this album from time to time. Thematically it’s a generally cool, successful work- the better songs on the album almost made me think of a musical- Les Miserables in particular. The theatric energy, the dark, adventurous, rebellious, European vibe. Many of the songs have a suitelike character- they start small and eventually spiral out into much bigger, more rocking, more symphonic creations. The first half of the album is louder and more anxious, the second half more delicate and sentimental. There are successful and dull-ish songs on both ends. I wasn’t in love with it but there are some fine works here.
“Song for Clay” is the opener, and it’s one of the strongest, most dynamic songs on the album. Excellent pace and energy- it feels like a night time rampage in London, a friend frantically dashing about the city, leading me through the back alleys. “Hunting for Witches” follows through with more of that dark energy, with a guitar lick that sounds borderline plagiaristic of “Banquet” or “Crazy Train.” “Waiting for the 7.18” grows beautifully, with nice, reflective lyrics. My very favorite might be “Kreuzberg”- it’s a soft song, with these beautiful, matt pond PA-esque guitars. And “I Still Remember” carries a prettiness, an energy, a sentimental optimism that I’m really into.
I liked most of it but I did feel like it dragged a little. I don’t know other Bloc Party albums, but I know a few of their singles. This album collectively feels less fun and less frantic than their singles- more reflective, more mature, more demanding. I’d like to hear their earlier work, see if it’s a little more playful, might be a little more up my alley. Regardless, this is pretty good work.
I got kind of bored with this album from time to time. Thematically it’s a generally cool, successful work- the better songs on the album almost made me think of a musical- Les Miserables in particular. The theatric energy, the dark, adventurous, rebellious, European vibe. Many of the songs have a suitelike character- they start small and eventually spiral out into much bigger, more rocking, more symphonic creations. The first half of the album is louder and more anxious, the second half more delicate and sentimental. There are successful and dull-ish songs on both ends. I wasn’t in love with it but there are some fine works here.
“Song for Clay” is the opener, and it’s one of the strongest, most dynamic songs on the album. Excellent pace and energy- it feels like a night time rampage in London, a friend frantically dashing about the city, leading me through the back alleys. “Hunting for Witches” follows through with more of that dark energy, with a guitar lick that sounds borderline plagiaristic of “Banquet” or “Crazy Train.” “Waiting for the 7.18” grows beautifully, with nice, reflective lyrics. My very favorite might be “Kreuzberg”- it’s a soft song, with these beautiful, matt pond PA-esque guitars. And “I Still Remember” carries a prettiness, an energy, a sentimental optimism that I’m really into.
I liked most of it but I did feel like it dragged a little. I don’t know other Bloc Party albums, but I know a few of their singles. This album collectively feels less fun and less frantic than their singles- more reflective, more mature, more demanding. I’d like to hear their earlier work, see if it’s a little more playful, might be a little more up my alley. Regardless, this is pretty good work.
album #31
devotion (beach house)
Beach House cultivates this perfectly dreamy, hazy aura. This music sounds like it comes from some distant American island, from a beach bathed in blue light. After several tries, that’s the best way I can think to describe it. Hauntingly beautiful vocals, relaxed guitars. It’s a great, chill album- great for ambient listening.
Like many works I’ve reviewed lately, this album makes its name not on versatility but the mastery of a tone- a haunting but sweetly relaxed, tropical tone. My three favorite tracks are the opening tracks. “Wedding Bell” captures this lovely, leisurely vibe. A slow, quietly charming vacation of the past. “You Came to Me” is dark, sophisticated and mysterious, with some really fine curves on the guitar. “Gila” quickly grew into my favorite. A low, haunting song with a chill, lovely refrain.
The rest of the album is slightly less memorable but generally carries the nice, cool tone. “All the Years” has this wonderful cascading hook, and I can absolutely picture it emerging as a new favorite after some more listens. “Some Things Last a Long Time” carries the mystery and energy of rainy twilight. And “D.A.R.L.I.N.G.” is not one of my particular favorites, but it’s noteworthy as the most clearly Beach Boys-esque work on the album. This band definitely owes some debts, in tone and instrumentation, to the Beach Boys’ later, moodier work. In many ways this album is closer than Pet Sounds to what I wanted Pet Sounds to be.
Great stuff.
Beach House cultivates this perfectly dreamy, hazy aura. This music sounds like it comes from some distant American island, from a beach bathed in blue light. After several tries, that’s the best way I can think to describe it. Hauntingly beautiful vocals, relaxed guitars. It’s a great, chill album- great for ambient listening.
Like many works I’ve reviewed lately, this album makes its name not on versatility but the mastery of a tone- a haunting but sweetly relaxed, tropical tone. My three favorite tracks are the opening tracks. “Wedding Bell” captures this lovely, leisurely vibe. A slow, quietly charming vacation of the past. “You Came to Me” is dark, sophisticated and mysterious, with some really fine curves on the guitar. “Gila” quickly grew into my favorite. A low, haunting song with a chill, lovely refrain.
The rest of the album is slightly less memorable but generally carries the nice, cool tone. “All the Years” has this wonderful cascading hook, and I can absolutely picture it emerging as a new favorite after some more listens. “Some Things Last a Long Time” carries the mystery and energy of rainy twilight. And “D.A.R.L.I.N.G.” is not one of my particular favorites, but it’s noteworthy as the most clearly Beach Boys-esque work on the album. This band definitely owes some debts, in tone and instrumentation, to the Beach Boys’ later, moodier work. In many ways this album is closer than Pet Sounds to what I wanted Pet Sounds to be.
Great stuff.
Monday, March 16, 2009
book # 3
Dreams from my Father (Barack Obama)
This book has been on my radar for a long tme. I deliberately avoided reading it until after the election, because I was already deeply emotionally invested in the campaign, and reading the book would make the possibility of defeat that much more painful.
Altogether it’s a cool book. Tonally, there are countless moments of poignant eloquence and keen observation. There are also a few points where I felt kindof like rolling my eyes- like, there are times when the writing feels somewhat cliche, kindof like what the bland overachievers from my high school would have written. Often the joy of reading the book comes when it hits you- wow, this guy is the President. This is the most powerful man in the world, and he had these fascinatingly exotic experiences, and he also battled these very human and relatable insecurities.
The book is divided into three sections- his youth, his time in Chicago, and his visit to Kenya. I loved the Origins section, this was by far my favorite part. Each chapter covers a different segment of his youth- the origins of his grandparents and mother, his childhood in Indonesia, his youth in Hawaii (and meeting his father), his teenagerhood (great, interesting chapter), his college experiences in Occidental and Columbia. The Indonesia chapter is particularly astonishing, because it brings the absolutely exotic, strange facts of Obama’s childhood to light. Just step back thinking, damn, our President lived this. And I loved Obama’s grandfather- the charismatic young dreamer, gradually aging and compromising his ambitions, retaining his humor and his uniqueness. The most heartbreaking and vivid illustrations of black pain, through the entire book, come in those first chapters… the weeping janitor, the taunted, fleeing friend.
Chicago was a very difficult read. It reminded me of my own limited experiences in volunteer social work, tutoring kids, helping who I could but also weighed down by the tasks of mere discipline and control. The crushing apathy and poverty and street-level politics and beaurocratic ineptitude that Obama writes of, that he experienced… it makes for emotionally exhausting reading. Some of the chapters, especially when the character of Rafiq comes in, make for uniquely pointed, philosophical examinations of the dilemma and choices of American blacks. I thought of my African American History class, and how many of these chapters could make for good reading on the syllabus. The presence of Harold Washington- that unifying, larger than life figure- was inspirational and fascinating. The emotional power and also the practical limitations of that leadership. It’s impossible not to read it and think of Obama’s photo in those same dilapidated homes, the same limits to what he can do for the believers and the inner city strugglers. Ultimately it vaguely felt that, his experiences in Chicago- yes, they’re authentic, it was intense, he did good work- but it does leave the reader feeling like, the only lasting value is that it filled out his resume.
Kenya definitely made for some fascinating reading. Honestly it was hard just keeping track of his family- I need to read this section again, with a family tree drawn up. Again, this section blows my mind just to remember that this is the President of the United States- that he has close family ties on a distant and pillaged continent, that his close relatives live these incredibly different lives. My favorite parts of this section related to his grandfather, Onyango- the fascinating interactions he had with British colonialism, his fierceness, his story in general. I found it very beautiful and poignant, that the book opens with the story of his white grandparents, and closes with the oral history of his black grandparents.
As Obama himself writes, his father remains something of a spectre throughout the book… even after reading it, I’m not sure if I feel much closer to understanding the Old Man. I certainly know a lot more, but the feeling of mystery, of emotional distance, remains. He kinda reminds me of my friend Ben’s dad. Just a strict, intensely proud, emotionally hardened intellectual. It is Obama, not his father, that we understand much more thoroughly after it all.
A very good book. An incredible glimpse into the heart and mind and family of my favorite American.
This book has been on my radar for a long tme. I deliberately avoided reading it until after the election, because I was already deeply emotionally invested in the campaign, and reading the book would make the possibility of defeat that much more painful.
Altogether it’s a cool book. Tonally, there are countless moments of poignant eloquence and keen observation. There are also a few points where I felt kindof like rolling my eyes- like, there are times when the writing feels somewhat cliche, kindof like what the bland overachievers from my high school would have written. Often the joy of reading the book comes when it hits you- wow, this guy is the President. This is the most powerful man in the world, and he had these fascinatingly exotic experiences, and he also battled these very human and relatable insecurities.
The book is divided into three sections- his youth, his time in Chicago, and his visit to Kenya. I loved the Origins section, this was by far my favorite part. Each chapter covers a different segment of his youth- the origins of his grandparents and mother, his childhood in Indonesia, his youth in Hawaii (and meeting his father), his teenagerhood (great, interesting chapter), his college experiences in Occidental and Columbia. The Indonesia chapter is particularly astonishing, because it brings the absolutely exotic, strange facts of Obama’s childhood to light. Just step back thinking, damn, our President lived this. And I loved Obama’s grandfather- the charismatic young dreamer, gradually aging and compromising his ambitions, retaining his humor and his uniqueness. The most heartbreaking and vivid illustrations of black pain, through the entire book, come in those first chapters… the weeping janitor, the taunted, fleeing friend.
Chicago was a very difficult read. It reminded me of my own limited experiences in volunteer social work, tutoring kids, helping who I could but also weighed down by the tasks of mere discipline and control. The crushing apathy and poverty and street-level politics and beaurocratic ineptitude that Obama writes of, that he experienced… it makes for emotionally exhausting reading. Some of the chapters, especially when the character of Rafiq comes in, make for uniquely pointed, philosophical examinations of the dilemma and choices of American blacks. I thought of my African American History class, and how many of these chapters could make for good reading on the syllabus. The presence of Harold Washington- that unifying, larger than life figure- was inspirational and fascinating. The emotional power and also the practical limitations of that leadership. It’s impossible not to read it and think of Obama’s photo in those same dilapidated homes, the same limits to what he can do for the believers and the inner city strugglers. Ultimately it vaguely felt that, his experiences in Chicago- yes, they’re authentic, it was intense, he did good work- but it does leave the reader feeling like, the only lasting value is that it filled out his resume.
Kenya definitely made for some fascinating reading. Honestly it was hard just keeping track of his family- I need to read this section again, with a family tree drawn up. Again, this section blows my mind just to remember that this is the President of the United States- that he has close family ties on a distant and pillaged continent, that his close relatives live these incredibly different lives. My favorite parts of this section related to his grandfather, Onyango- the fascinating interactions he had with British colonialism, his fierceness, his story in general. I found it very beautiful and poignant, that the book opens with the story of his white grandparents, and closes with the oral history of his black grandparents.
As Obama himself writes, his father remains something of a spectre throughout the book… even after reading it, I’m not sure if I feel much closer to understanding the Old Man. I certainly know a lot more, but the feeling of mystery, of emotional distance, remains. He kinda reminds me of my friend Ben’s dad. Just a strict, intensely proud, emotionally hardened intellectual. It is Obama, not his father, that we understand much more thoroughly after it all.
A very good book. An incredible glimpse into the heart and mind and family of my favorite American.
Monday, March 9, 2009
album #30
a love supreme (john coltrane)
This is probably the album I will have the least to say about, out of everything I've enjoyed. It's simply a different language than the language I use to write about music- I don't know jazz, so I can't recognize influences or genres; the songs are like movements in a suite, not easily digestible pieces of which I can name favorites.
All I know is that this album does what my favorite jazz does: it evokes moods. It evokes the city late at night, and my humbly clichéd dreams of coffee shops and bookish people. If I heard it at fat cat, I'd love it. At three songs and thirty three minutes, it's best for just listening straight through, rather than shuffling around for greatest hits (in this regard, as a whole work devoid of any filler, it is probably the most successful album I've heard all year). If I had to pick a favorite, I'd go with "Resolution," but it's all really on the same plane of goodness, the whole way through.
Excellent work. I'd love to hear more- more Coltrane, more jazz in general- and maybe approach this album again some day, with a more informed interpretation.
This is probably the album I will have the least to say about, out of everything I've enjoyed. It's simply a different language than the language I use to write about music- I don't know jazz, so I can't recognize influences or genres; the songs are like movements in a suite, not easily digestible pieces of which I can name favorites.
All I know is that this album does what my favorite jazz does: it evokes moods. It evokes the city late at night, and my humbly clichéd dreams of coffee shops and bookish people. If I heard it at fat cat, I'd love it. At three songs and thirty three minutes, it's best for just listening straight through, rather than shuffling around for greatest hits (in this regard, as a whole work devoid of any filler, it is probably the most successful album I've heard all year). If I had to pick a favorite, I'd go with "Resolution," but it's all really on the same plane of goodness, the whole way through.
Excellent work. I'd love to hear more- more Coltrane, more jazz in general- and maybe approach this album again some day, with a more informed interpretation.
album #29
the golden age (american music club)
This is a pleasant album. Melodic, slow, gentle; autumnal, as they say. These qualities, the pleasantness, the relatively advanced age of the band, all remind me of The Sea and Cake, a band that I love (but know little of). Listening to this album, having reviewed Hunky Dory earlier today, made me think of the interesting ways an album's mission can differ: whether to display a brilliant versatility, or to master a consistent tone. This album, like Boxer, earns its stars for the mastery of a tone. That soft, pretty, melancholy, nostalgic tone. As another reviewer said well, it's a very "interior" work.
Most of the songs are likable but they don't leave strong impressions- good, but I wouldn't go out of my way to listen to them again. My favorites, the ones that I will happily hear over and over again: "All My Love" is a beautiful opener; low, sweet and sad. "Decibels and the Little Pills" especially reminds me of the Sea and Cake, because it's slightly more uptempo than a lot of the album- it's a fine, melodic, quick (but still low) jam. "All the Lost Souls Welcome You to San Francisco" is the song that made me want to hear the album. Charmingly slow and controlled, with a such a lovely, perfect chorus, and interestingly dark, reference-laden lyrics. "I Know That's Not Really You" is a different beast than so much of the album- brassier, almost carnivalesque, a very different set of instruments. It's like if Gogol Bordello was in the business of making measured, melancholy anthems. It's a beautiful song, and it's really growing on me even now. Those are my favorites. The songs that are worth more listens, because they seem pretty good or because I haven't completely settled on an opinion yet and they intrigue me a little- "Who You Are," "One Step Ahead," the delightfully cynical "The Dance," and the disillusioned tourist ballad "Windows on the World."
Charming work. Apparently this band reunited with the making of this album, and their main period ranged from the mid '80s to the mid '90s. Could be interesting to hear their best work from that era. This album didn't strike me as a masterpiece, but it's pretty good at what it does.
This is a pleasant album. Melodic, slow, gentle; autumnal, as they say. These qualities, the pleasantness, the relatively advanced age of the band, all remind me of The Sea and Cake, a band that I love (but know little of). Listening to this album, having reviewed Hunky Dory earlier today, made me think of the interesting ways an album's mission can differ: whether to display a brilliant versatility, or to master a consistent tone. This album, like Boxer, earns its stars for the mastery of a tone. That soft, pretty, melancholy, nostalgic tone. As another reviewer said well, it's a very "interior" work.
Most of the songs are likable but they don't leave strong impressions- good, but I wouldn't go out of my way to listen to them again. My favorites, the ones that I will happily hear over and over again: "All My Love" is a beautiful opener; low, sweet and sad. "Decibels and the Little Pills" especially reminds me of the Sea and Cake, because it's slightly more uptempo than a lot of the album- it's a fine, melodic, quick (but still low) jam. "All the Lost Souls Welcome You to San Francisco" is the song that made me want to hear the album. Charmingly slow and controlled, with a such a lovely, perfect chorus, and interestingly dark, reference-laden lyrics. "I Know That's Not Really You" is a different beast than so much of the album- brassier, almost carnivalesque, a very different set of instruments. It's like if Gogol Bordello was in the business of making measured, melancholy anthems. It's a beautiful song, and it's really growing on me even now. Those are my favorites. The songs that are worth more listens, because they seem pretty good or because I haven't completely settled on an opinion yet and they intrigue me a little- "Who You Are," "One Step Ahead," the delightfully cynical "The Dance," and the disillusioned tourist ballad "Windows on the World."
Charming work. Apparently this band reunited with the making of this album, and their main period ranged from the mid '80s to the mid '90s. Could be interesting to hear their best work from that era. This album didn't strike me as a masterpiece, but it's pretty good at what it does.
Sunday, March 8, 2009
album #28
hunky dory (david bowie)
I liked this one a lot. Ziggy Stardust was good, Hunky Dory is better. The songs are pretty versatile, but they're held together by Bowie's weird, wonderful voice, and a generally weird, charming vision. Bowie explores so many different styles here- a few of the tracks are darker and more philosophical, a few are lighter and more vaudevillian; there are nods to his heroes, and there are a few songs that really capture his soaring, magnificent strangeness.
"Changes" is legendary. An extraordinary opener. "Oh! You Pretty Things" is one of my favorite Bowie songs, it bears an incredible resemblance to the Beatles. "Life on Mars?" really grew on me, the mix of those delicate, almost victorian verses with that spectacular, soaring chorus- off the top of my head, I can't think of a song I've heard this year with a more overwhelming, iconic chorus. "Queen Bitch" simply rocks. The slighter, more upbeat, almost vaudevillian tunes are fun, "Kooks" and especially "Fill Your Heart With Love Today," one of my favorites. And "The Bewlay Brothers," which gives this vibe of a hopeless, hallucinogenic crawl through the desert (it sounds like it could be the soundtrack to some of those miniature Miro paintings) really grew on me… I love the strange instruments, on a versatile and strange album, it makes for a particularly versatile and strange closer.
Lots and lots of good stuff on this one. An eclectic and accessible album.
I liked this one a lot. Ziggy Stardust was good, Hunky Dory is better. The songs are pretty versatile, but they're held together by Bowie's weird, wonderful voice, and a generally weird, charming vision. Bowie explores so many different styles here- a few of the tracks are darker and more philosophical, a few are lighter and more vaudevillian; there are nods to his heroes, and there are a few songs that really capture his soaring, magnificent strangeness.
"Changes" is legendary. An extraordinary opener. "Oh! You Pretty Things" is one of my favorite Bowie songs, it bears an incredible resemblance to the Beatles. "Life on Mars?" really grew on me, the mix of those delicate, almost victorian verses with that spectacular, soaring chorus- off the top of my head, I can't think of a song I've heard this year with a more overwhelming, iconic chorus. "Queen Bitch" simply rocks. The slighter, more upbeat, almost vaudevillian tunes are fun, "Kooks" and especially "Fill Your Heart With Love Today," one of my favorites. And "The Bewlay Brothers," which gives this vibe of a hopeless, hallucinogenic crawl through the desert (it sounds like it could be the soundtrack to some of those miniature Miro paintings) really grew on me… I love the strange instruments, on a versatile and strange album, it makes for a particularly versatile and strange closer.
Lots and lots of good stuff on this one. An eclectic and accessible album.
Thursday, March 5, 2009
album #27
los angeles (flying lotus)
This is fun music to write about. Generally I don't think I'm a great writer of music reviews (I'm conveying my opinions, sure, but there's not much poetry to it), but there are so many strange and wonderful adjectives that come to mind, trying to describe this album…
For instance, "SexSlaveShip" is wet and sticky. "Golden Diva" is an aerial song, with a glimmering beat. "Robertaflack" is sultry; "Riot" has a dark pulsing beat, heavy hums. "Beginner's Falafel" belongs in outer space. This is weird, fuzzy, cool music- I want to be moving slowly, or dancing, in a dark room, filled with sexy people, lit with strange colors, and I want to be tipsy or high. That's basically the ideal combination of circumstances for hearing this music. Or driving late at night through a neon city.
Great mood music. Generally I like pop or rock, not as much ambient DJ collage stuff (one downside to this album: after repeated listens, I still can barely tell which songs are which- I know when I like what I'm hearing, but my memory hasn't connected titles to sounds). But this is really good stuff. It reminds me of the stuff that my old roomie Luke was into- hazy, strange hip hop. I definitely would be up for investigating more artists like this.
This is fun music to write about. Generally I don't think I'm a great writer of music reviews (I'm conveying my opinions, sure, but there's not much poetry to it), but there are so many strange and wonderful adjectives that come to mind, trying to describe this album…
For instance, "SexSlaveShip" is wet and sticky. "Golden Diva" is an aerial song, with a glimmering beat. "Robertaflack" is sultry; "Riot" has a dark pulsing beat, heavy hums. "Beginner's Falafel" belongs in outer space. This is weird, fuzzy, cool music- I want to be moving slowly, or dancing, in a dark room, filled with sexy people, lit with strange colors, and I want to be tipsy or high. That's basically the ideal combination of circumstances for hearing this music. Or driving late at night through a neon city.
Great mood music. Generally I like pop or rock, not as much ambient DJ collage stuff (one downside to this album: after repeated listens, I still can barely tell which songs are which- I know when I like what I'm hearing, but my memory hasn't connected titles to sounds). But this is really good stuff. It reminds me of the stuff that my old roomie Luke was into- hazy, strange hip hop. I definitely would be up for investigating more artists like this.
Tuesday, March 3, 2009
album #26
the pains of being pure at heart (the pains of being pure at heart)
A solid indie-pop record. More up my alley than much of the stuff I've listened to lately. Dreamy, fuzzy, nice male-female lyric blends. Sugary, accessible pop music. Maybe a hint too delicate for my tastes. There's definitely a throwback vibe, something about the sound really captures the 1980s… part of it is the delicacy of the male vocals, the way they're slightly swallowed by the instruments- also the lovelorn, teenagery quality of the music. It's very much the music of sweetly cool, heartbroken 80's teens.
I really like the opening songs and the closing series on this album, nothing from the middle really captured my attention quite the same way. "Contender" is really good, my favorite track is "Come Saturday"- nice guitar, nice vocal hook. "Everything With You" has a fine swooning sentimentality. The synth in "A Teenager in Love" really seals this particular song as the most 80's-retro of them all. That's a pretty charming song in general. "Hey Paul" is probably my second favorite track, they really turn up the guitars for this one, in addition to a nice soaring hook. That rocking edge is missing from a little too much of the album, so it really makes this song stand out as a good one. The closer, "Gentle Sons" is really growing on me- a good, firm, dramatic sound to that song.
Great pop, nice sound, a tiny bit boring, but altogether I like it a good deal.
A solid indie-pop record. More up my alley than much of the stuff I've listened to lately. Dreamy, fuzzy, nice male-female lyric blends. Sugary, accessible pop music. Maybe a hint too delicate for my tastes. There's definitely a throwback vibe, something about the sound really captures the 1980s… part of it is the delicacy of the male vocals, the way they're slightly swallowed by the instruments- also the lovelorn, teenagery quality of the music. It's very much the music of sweetly cool, heartbroken 80's teens.
I really like the opening songs and the closing series on this album, nothing from the middle really captured my attention quite the same way. "Contender" is really good, my favorite track is "Come Saturday"- nice guitar, nice vocal hook. "Everything With You" has a fine swooning sentimentality. The synth in "A Teenager in Love" really seals this particular song as the most 80's-retro of them all. That's a pretty charming song in general. "Hey Paul" is probably my second favorite track, they really turn up the guitars for this one, in addition to a nice soaring hook. That rocking edge is missing from a little too much of the album, so it really makes this song stand out as a good one. The closer, "Gentle Sons" is really growing on me- a good, firm, dramatic sound to that song.
Great pop, nice sound, a tiny bit boring, but altogether I like it a good deal.
Sunday, March 1, 2009
album #25
boxer (the national)
The National does a fine job of maintaining a particular tone throughout this album, a low, measured tone. Every song feels like a reflection of a particular mood, a particular moment- and that moment is sitting in your car alone, near the end of a warm summer night, reflecting on the passage of time and the value of the night you just spent with someone. The distinct baritone, the fine instrumentation. It's dark, lovely music.
The lyrics are surprisingly sharp- there's humor in a lot of it, and also a scathing critique of a sad material culture. "Fake Empire" and "Mistaken for Strangers" are the opening tracks, and they're my favorites. Lyrically they master those elements of sadness, snark, critique, and musically they're simply fantastic. The low, beautiful piano of the former, the Interpolesque energy of the latter. "Ada," near the close of the album, is my other favorite. Sufjan Stevens contributes to that song, I'm not sure specifically where- many of the instruments sound like his work. His dreamy piano and horns merge perfectly with the mellow darkness of the National.
The rest of the songs are generally good, but none of them stand out. "Start a War" was probably my favorite of the rest of them. Each song has its own grace, its own moments of wit and musical strengths. Sometimes I'll listen to an album, and the tracks not worth mentioning are simply not that good. On this album, everything was pretty good. Fine work overall.
The National does a fine job of maintaining a particular tone throughout this album, a low, measured tone. Every song feels like a reflection of a particular mood, a particular moment- and that moment is sitting in your car alone, near the end of a warm summer night, reflecting on the passage of time and the value of the night you just spent with someone. The distinct baritone, the fine instrumentation. It's dark, lovely music.
The lyrics are surprisingly sharp- there's humor in a lot of it, and also a scathing critique of a sad material culture. "Fake Empire" and "Mistaken for Strangers" are the opening tracks, and they're my favorites. Lyrically they master those elements of sadness, snark, critique, and musically they're simply fantastic. The low, beautiful piano of the former, the Interpolesque energy of the latter. "Ada," near the close of the album, is my other favorite. Sufjan Stevens contributes to that song, I'm not sure specifically where- many of the instruments sound like his work. His dreamy piano and horns merge perfectly with the mellow darkness of the National.
The rest of the songs are generally good, but none of them stand out. "Start a War" was probably my favorite of the rest of them. Each song has its own grace, its own moments of wit and musical strengths. Sometimes I'll listen to an album, and the tracks not worth mentioning are simply not that good. On this album, everything was pretty good. Fine work overall.
february recap
-$495 +$374 (not including rent)
february goal: $12 spent per day, max. and earnings that equate to $15-20 per day.
february result: $17.68 spent per day. and earnings of $13.36 per day.
(*Almost $200 of this spending was unavoidable- bus tickets, metrocard and improv dues. So my discipline in regards to other spending comes out to like, $10.50 a day- admirable effort.)
march goal: $14 spent per day, Hard Max (including dues, metrocard.) earnings that equate to $15-20 per day.
think of it as a monthly allowance of $435, and once you spend it, there is nothing left to spend.
Music: 12 albums reviewed (goal: 10).
Museums: 1 visit with full written reflection- but this was a multi-trip, long term visit. (goal, 2).
Fount: 2 pieces (Cindy McCain video, Lincoln painting). (goal, 3 pieces). Not bad.
Paintings: one minor piece (Lincoln) completed, not much else.
Artwork: Huge leap forward. completed 8-9 collage illustrations, with 2-3 in progress.
Exercise: 5 workouts. 3 were in the first week of the month. So, not so great. But okay.
Cartoons: 1 packet came back. A little drafting. Generally, not enough going on.
Improv: Feeling good in class. 4 performances, 2 okay, 2 pretty good. New group premiered!
Drawings: the doodle blog is looking like a solid success, keep it up! 44 followers.
Miscellany: progress on Presidential Rankings, read and reviewed 2 books, secured a part time job!, had a good audition, bitzy fanaynay
march targets…
music: 10 albums reviewed
museums: 1 written reflection
fount: 3 pieces published
paintings: 2 significant works completed (ali and dave portrait), (jd cafe)
artwork: 10 new illustrations… a file of 20 collages prepared by the start of april.
exercise: 7 workouts
cartoons: work on drafts of all the december idea file, make march another 'idea month'- draft one idea per day.
improv: 7 performances, submit personal notes to coach B.
drawings: keep it up
february goal: $12 spent per day, max. and earnings that equate to $15-20 per day.
february result: $17.68 spent per day. and earnings of $13.36 per day.
(*Almost $200 of this spending was unavoidable- bus tickets, metrocard and improv dues. So my discipline in regards to other spending comes out to like, $10.50 a day- admirable effort.)
march goal: $14 spent per day, Hard Max (including dues, metrocard.) earnings that equate to $15-20 per day.
think of it as a monthly allowance of $435, and once you spend it, there is nothing left to spend.
Music: 12 albums reviewed (goal: 10).
Museums: 1 visit with full written reflection- but this was a multi-trip, long term visit. (goal, 2).
Fount: 2 pieces (Cindy McCain video, Lincoln painting). (goal, 3 pieces). Not bad.
Paintings: one minor piece (Lincoln) completed, not much else.
Artwork: Huge leap forward. completed 8-9 collage illustrations, with 2-3 in progress.
Exercise: 5 workouts. 3 were in the first week of the month. So, not so great. But okay.
Cartoons: 1 packet came back. A little drafting. Generally, not enough going on.
Improv: Feeling good in class. 4 performances, 2 okay, 2 pretty good. New group premiered!
Drawings: the doodle blog is looking like a solid success, keep it up! 44 followers.
Miscellany: progress on Presidential Rankings, read and reviewed 2 books, secured a part time job!, had a good audition, bitzy fanaynay
march targets…
music: 10 albums reviewed
museums: 1 written reflection
fount: 3 pieces published
paintings: 2 significant works completed (ali and dave portrait), (jd cafe)
artwork: 10 new illustrations… a file of 20 collages prepared by the start of april.
exercise: 7 workouts
cartoons: work on drafts of all the december idea file, make march another 'idea month'- draft one idea per day.
improv: 7 performances, submit personal notes to coach B.
drawings: keep it up
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