london calling (the clash)
I can recognize this album's significance, and I can appreciate it… I'm not in love with this record but there are a lot of parts of it that I really like. London Calling is famous for its integration of a lot of different musical genres- some reggae, some ska, some punk rock, some rockabilly- however, I really dislike many of those genres. Also I'd say that this is the sort of album that, even my favorites started to wear thin after a while. There's indisputably a freshness and an energy to their sound, and this is very appealing- as one critic wrote, it could come out this year and still sound relevant. The album was a little too long for me, and though every song has its moments, there's definitely many that I would have trimmed to make a more listenable record (although the expansiveness and the variety probably makes it stronger as an album).
Some favorites- "London Calling" of course is a classic, I love the heavy, dark energy in this song (even though I find the darkish, barking vocals a little annoying at points); "Lost in the Supermarket" is a lovely, uptempo, melancholy melody with lyrics that I found pretty interesting and followable. "I'm Not Down" has a great energy. The fuzzy, echoing bigness of "The Card Cheat" is pretty lovely and exciting, it certainly sounds like an influence on The Pains of Being Pure at Heart. I enjoy the dark strangeness of "The Guns of Brixton." "The Right Profile" uses strong guitars and brass in a way that I really like- I'm a sucker for brass in rock music. And "Train in Vain" is a masterpiece- beautiful, energetic melody, forceful brass, great lyrics. Probably my favorite overall track, and a fantastic closing number.
Many of the other songs are great and listenable, many others are not. It's the sort of record that makes for good listening, although I don't think I will eagerly seek it out. But there's a lot happening on this album that I can recognize in other bands I've heard this year, other bands I expect to hear this year. It's definitely a good reference point for when I'm listening to more new music this year. Overall I can certainly like a lot of this but it isn't perfectly in line with my tastes.
Wednesday, June 24, 2009
Thursday, June 18, 2009
album #60
ragged wood (fleet foxes)
I listened to this album a whole lot before writing this review. It's a really nice album; having loved Sun Giant so much, I couldn't wait to get to the next Fleet Foxes release. Overall, this album is not as consistently melodically perfect as Sun Giant; there's still a lot of loveliness. But overall, out of my favorite four or five Fleet Foxes tracks, only one came from this album. There's still a Lot of good stuff, nonetheless.
Robin Pecknold has a really beautiful voice- strong and clear, piercing the chilly autumn forest air. This group has really got a lovely sound figured out, a real throwback, acoustic/pop orchestral tone- and vocals that consistently seem to press with a startling forcefulness, a true intensity. Some of my favorites included "Ragged Wood," a real voyage of a song, forceful and ever shifting; "Tiger Mountain Peasant Song," a soulful, solo, acoustic ballad, "Oliver James," a beautiful closer with a sweet acoustic sound played against brilliantly strong, searing vocals; and the masterpiece, "Blue Ridge Mountains"- the first Fleet Foxes song I heard, the one that made me need to hear more, the one that remains my favorite. Simply perfect- lovely acoustics, a beautifully echoing, haunting piano, lovely vocals sang with clarity and passion, an alluringly sad but hopeful melody. On some of the albums I listened to several times, I started skipping the tracks I knew best- but with this record, I could never skip "Blue Ridge Mountains."
This is one of those albums where even the songs I don't mention are lovely and enjoyable. A very good album. I'm gonna have to keep my eye on these guys- they're not perfect for my tastes, but they're without a doubt a really lovely group making really beautiful melodies.
I listened to this album a whole lot before writing this review. It's a really nice album; having loved Sun Giant so much, I couldn't wait to get to the next Fleet Foxes release. Overall, this album is not as consistently melodically perfect as Sun Giant; there's still a lot of loveliness. But overall, out of my favorite four or five Fleet Foxes tracks, only one came from this album. There's still a Lot of good stuff, nonetheless.
Robin Pecknold has a really beautiful voice- strong and clear, piercing the chilly autumn forest air. This group has really got a lovely sound figured out, a real throwback, acoustic/pop orchestral tone- and vocals that consistently seem to press with a startling forcefulness, a true intensity. Some of my favorites included "Ragged Wood," a real voyage of a song, forceful and ever shifting; "Tiger Mountain Peasant Song," a soulful, solo, acoustic ballad, "Oliver James," a beautiful closer with a sweet acoustic sound played against brilliantly strong, searing vocals; and the masterpiece, "Blue Ridge Mountains"- the first Fleet Foxes song I heard, the one that made me need to hear more, the one that remains my favorite. Simply perfect- lovely acoustics, a beautifully echoing, haunting piano, lovely vocals sang with clarity and passion, an alluringly sad but hopeful melody. On some of the albums I listened to several times, I started skipping the tracks I knew best- but with this record, I could never skip "Blue Ridge Mountains."
This is one of those albums where even the songs I don't mention are lovely and enjoyable. A very good album. I'm gonna have to keep my eye on these guys- they're not perfect for my tastes, but they're without a doubt a really lovely group making really beautiful melodies.
Wednesday, June 17, 2009
book #5
Angler: The Cheney Vice Presidency (Barton Gellman)
Pretty fantastic read. The wikipedia page strikes me as a pretty good guide to the main revelations and most interesting points in the book. Not a complete synopsis, but a good read of the highlights.
General feelings or observations that came to me while reading…
• Bush comes off as an almost sympathetic figure. Particularly in the early chapters, and really throughout, the vibe is that he's a sincere and well-meaning guy, and his flaw is not idiocy or cruelty, but a consistent neglect of the details, taken too easily by the allure of the Big Idea, and (repeatedly) not drawing enough sources before making a key decision.
• In fact, it becomes fascinating and vaguely surreal that the key players in this book- Yoo, Addington, Cheney, etc- are so devoted to the "Unitary Executive" theory, and yet the President they serve is barely the driving force of any of it. It's interesting that he seems so amiable and disinvested in a machine that is obsessed with his very supremacy. Almost like the child of an exceptionally intense stage mother.
• This book also helped clarify for me the whole John C. Yoo issue-I didn't quite understand how he fit into this picture, and why he is spoken of so contemptuously, but now I understand why- the memos he wrote at the Office of Legal Counsel (essentially the supreme court of the executive branch, the arbiter of policy/interpretive/judicial disputes) justified the use of torture, domestic spying, and other abuses of executive power.
• The examination of the interior shape of the administration, the bureaucratic institutions and who mattered, and how they mattered, is all pretty fascinating. It's very interesting watching Cheney install key allies at certain points, how he utilizes his various personnel resources. His influence really was borne of a mastery of the details, a true willingness to dig in the weeds.
• The card he writes to his grandkids is hilarious. Jesus.
• One line near the end that really struck me- and it's a truism, a point made by many of my favorite analysts, but nonetheless still powerful and tragic- "His best hope of vindication appeared to lie in a future no one could want, a future in which all his efforts failed."
• The book takes a pretty diplomatic, respectful view of Cheney. There's no hesitation to point out his dishonesty or his manipulation, but also the book doesn't assign any villainous ulterior motives to him. He clearly is interested in power, but Gellman (and his sources) take the opportunities they're given to assert that Cheney truly thought he was doing what was best, what was necessary for the country's safety. Overall, I found there was generally, perhaps not enough examination of his motives- we know these things he did, but why? What was his driving motivational force; the course that he stuck to so unyieldingly, what made it the course he believed in so deeply? That's the sort of insight that the book comes up a little short on; and almost certainly, of course, because Cheney himself wasn't interviewed. He's simply destined to be shrouded in a certain secrecy.
Pretty fantastic read. The wikipedia page strikes me as a pretty good guide to the main revelations and most interesting points in the book. Not a complete synopsis, but a good read of the highlights.
General feelings or observations that came to me while reading…
• Bush comes off as an almost sympathetic figure. Particularly in the early chapters, and really throughout, the vibe is that he's a sincere and well-meaning guy, and his flaw is not idiocy or cruelty, but a consistent neglect of the details, taken too easily by the allure of the Big Idea, and (repeatedly) not drawing enough sources before making a key decision.
• In fact, it becomes fascinating and vaguely surreal that the key players in this book- Yoo, Addington, Cheney, etc- are so devoted to the "Unitary Executive" theory, and yet the President they serve is barely the driving force of any of it. It's interesting that he seems so amiable and disinvested in a machine that is obsessed with his very supremacy. Almost like the child of an exceptionally intense stage mother.
• This book also helped clarify for me the whole John C. Yoo issue-I didn't quite understand how he fit into this picture, and why he is spoken of so contemptuously, but now I understand why- the memos he wrote at the Office of Legal Counsel (essentially the supreme court of the executive branch, the arbiter of policy/interpretive/judicial disputes) justified the use of torture, domestic spying, and other abuses of executive power.
• The examination of the interior shape of the administration, the bureaucratic institutions and who mattered, and how they mattered, is all pretty fascinating. It's very interesting watching Cheney install key allies at certain points, how he utilizes his various personnel resources. His influence really was borne of a mastery of the details, a true willingness to dig in the weeds.
• The card he writes to his grandkids is hilarious. Jesus.
• One line near the end that really struck me- and it's a truism, a point made by many of my favorite analysts, but nonetheless still powerful and tragic- "His best hope of vindication appeared to lie in a future no one could want, a future in which all his efforts failed."
• The book takes a pretty diplomatic, respectful view of Cheney. There's no hesitation to point out his dishonesty or his manipulation, but also the book doesn't assign any villainous ulterior motives to him. He clearly is interested in power, but Gellman (and his sources) take the opportunities they're given to assert that Cheney truly thought he was doing what was best, what was necessary for the country's safety. Overall, I found there was generally, perhaps not enough examination of his motives- we know these things he did, but why? What was his driving motivational force; the course that he stuck to so unyieldingly, what made it the course he believed in so deeply? That's the sort of insight that the book comes up a little short on; and almost certainly, of course, because Cheney himself wasn't interviewed. He's simply destined to be shrouded in a certain secrecy.
exhibit #4
John Lennon: The New York City Years (The Rock and Roll Hall of Fame Annex)
This was my first time at the Annex, so this reflection covers the John Lennon special exhibit and the main galleries as well.
The anteroom is covered with silver plates, marking the names of each of the inductees. Overhead the music of an inductee plays for a snippet, and the corresponding name glows. As we get closer to the entrance time, the snippets cut faster and faster, finally reaching that iconic "A Day in the Life" crescendo.
We move to the next room for an introductory film- a montage of images and film clips and quotes, charting the evolution of Rock & Roll. The lights, the music, the images- it really made me tingle. I really liked it.
After the film we move to the next room and receive audio guides. My first instinct is, "this is starting to get a little exhaustingly corporate- they're really guiding us through this entire process?" but eventually I realize the audio synchs up to each exhibit, playing the appropriate music as you look at each exhibit. This is a very cool feature- because of course it's great to carry the music with you, it's really the whole point of the gallery.
The beginning of the exhibit features different video screens discussing types of bands throughout history. For instance, their examples of "Art Influenced Rockers"- Velvet Underground… Television… U2… Coldplay. Really ran off the rails there)
After that comes the main course, a chronological gallery of memorabilia. My favorites: James Brown's cape; Madonna's Keith Haring jacket; a 1957 promo headshot of Simon and Gatfunkel as shiny-haired, dorky teen idols, "Tom and Jerry." To think just a few years later, they'd be among the leaders of a new break from that culture… Bruce Springsteen's 1957 Chevy convertible, yellow with airbrushed flames, the car he owned while composing Born to Run. It's so fascinatingly, thoroughly appropriate, as so much of Born to Run is all about trying to capture that magic, the spirit of the 1950's cars, the greasers, the girls, the sweetly naive young toughs.
The next chamber focuses on New York's specific contributions to rock history. Wow- I should listen to Grandmaster Flash. This audio guide's already rewarded me with a new album for my 2009 list. Hypothetically I love the huge Manhattan map, but it's a little dull. Wow, it's pretty cool to see the CBGB awning again… to think I used to live next to this thing. A little moment of reunion. The CBGB artifacts in general are pretty cool; many of them remind me of Rauschenberg combines. "The Bottom Line," a famous club that the landlord, NYU, closed because they couldn't agree on the lease. Hah, oh motherfucking NYU! I loved my years there but it's hilarious how destructive they are to this city's cultural history. Cool seeing David Byrne's big suit. And Jesus, Debbie Harry was so hot. "Rapture" is not as annoying as I thought, or at least it sounds really good right now.
John Lennon: The New York City Years
Before you walk in, there are these adhesive white sheets on the ground. I guess they're to wipe off your feet (the room is all white- one big white space, white carpets, white walls), but my first instinct was, "Yoko's gonna post these as art somewhere- all of these foot prints." Favorites: John's New York City t-shirt. There's a Ringo collage, there's a George collage… no Paul? Random note: their first NYC apartment was on Bank street. It's interesting seeing the original Grapefruit book. I remember looking through mom's copy back home. I'd never heard of the "War is Over" billboard campaign until just now. Yoko looks really hot in this film of her and John hanging out in their soldier outfits. They were a good looking couple. I also enjoy the amusingly strange video of Yoko walking an endless loop of men from a door to the window. Man, that must have been incredible when Lennon joined Elton John onstage at Madison Square Garden- pretty sure it was a surprise appearance, right? I wanna read up about it. MSG November '74. Yoko's season of glass poem is really good. This exhibit has made me like her more. And the brown paper bag of clothes… heartbreaking. An extraordinary place to end this exhibit.
This was my first time at the Annex, so this reflection covers the John Lennon special exhibit and the main galleries as well.
The anteroom is covered with silver plates, marking the names of each of the inductees. Overhead the music of an inductee plays for a snippet, and the corresponding name glows. As we get closer to the entrance time, the snippets cut faster and faster, finally reaching that iconic "A Day in the Life" crescendo.
We move to the next room for an introductory film- a montage of images and film clips and quotes, charting the evolution of Rock & Roll. The lights, the music, the images- it really made me tingle. I really liked it.
After the film we move to the next room and receive audio guides. My first instinct is, "this is starting to get a little exhaustingly corporate- they're really guiding us through this entire process?" but eventually I realize the audio synchs up to each exhibit, playing the appropriate music as you look at each exhibit. This is a very cool feature- because of course it's great to carry the music with you, it's really the whole point of the gallery.
The beginning of the exhibit features different video screens discussing types of bands throughout history. For instance, their examples of "Art Influenced Rockers"- Velvet Underground… Television… U2… Coldplay. Really ran off the rails there)
After that comes the main course, a chronological gallery of memorabilia. My favorites: James Brown's cape; Madonna's Keith Haring jacket; a 1957 promo headshot of Simon and Gatfunkel as shiny-haired, dorky teen idols, "Tom and Jerry." To think just a few years later, they'd be among the leaders of a new break from that culture… Bruce Springsteen's 1957 Chevy convertible, yellow with airbrushed flames, the car he owned while composing Born to Run. It's so fascinatingly, thoroughly appropriate, as so much of Born to Run is all about trying to capture that magic, the spirit of the 1950's cars, the greasers, the girls, the sweetly naive young toughs.
The next chamber focuses on New York's specific contributions to rock history. Wow- I should listen to Grandmaster Flash. This audio guide's already rewarded me with a new album for my 2009 list. Hypothetically I love the huge Manhattan map, but it's a little dull. Wow, it's pretty cool to see the CBGB awning again… to think I used to live next to this thing. A little moment of reunion. The CBGB artifacts in general are pretty cool; many of them remind me of Rauschenberg combines. "The Bottom Line," a famous club that the landlord, NYU, closed because they couldn't agree on the lease. Hah, oh motherfucking NYU! I loved my years there but it's hilarious how destructive they are to this city's cultural history. Cool seeing David Byrne's big suit. And Jesus, Debbie Harry was so hot. "Rapture" is not as annoying as I thought, or at least it sounds really good right now.
John Lennon: The New York City Years
Before you walk in, there are these adhesive white sheets on the ground. I guess they're to wipe off your feet (the room is all white- one big white space, white carpets, white walls), but my first instinct was, "Yoko's gonna post these as art somewhere- all of these foot prints." Favorites: John's New York City t-shirt. There's a Ringo collage, there's a George collage… no Paul? Random note: their first NYC apartment was on Bank street. It's interesting seeing the original Grapefruit book. I remember looking through mom's copy back home. I'd never heard of the "War is Over" billboard campaign until just now. Yoko looks really hot in this film of her and John hanging out in their soldier outfits. They were a good looking couple. I also enjoy the amusingly strange video of Yoko walking an endless loop of men from a door to the window. Man, that must have been incredible when Lennon joined Elton John onstage at Madison Square Garden- pretty sure it was a surprise appearance, right? I wanna read up about it. MSG November '74. Yoko's season of glass poem is really good. This exhibit has made me like her more. And the brown paper bag of clothes… heartbreaking. An extraordinary place to end this exhibit.
Thursday, June 11, 2009
album #59
sun giant (fleet foxes)
This is the shortest music compilation I've listened to this year- an EP of 5 songs, less than 20 minutes long- but oh my God is it good. These songs are simply beautiful- soaring, glowing, timeless melodies. It makes for a gorgeous rediscovery of '60s folk/pop- especially in the interplay and harmonies of the vocals, which evoke the Beach Boys, the Mamas and the Papas, and Crosby, Stills, Nash and Young.
"Sun Giant" is a beautiful morning hymn. "Drops in the River" patiently builds and surges beautifully with a quietly forceful passion. "English House" is generally pleasant, and opens especially strong with a beautiful (can't get enough of that adjective with this EP), cascading vocal harmony. "Mykonos" has a generally lovely, wintry sound, and surges unexpectedly with this beautiful, very CSNY-style refrain midway through. "Innocent Sun," although less perfect than the other four tracks, is still pretty pleasant.
It took me a while to start listening to these guys- I generally discount/resent the great works made by people my age- but upon first listen they've completely won me over. Sun Giant was absolutely marvelous, and I'm excited to listen to more of Fleet Foxes.
This is the shortest music compilation I've listened to this year- an EP of 5 songs, less than 20 minutes long- but oh my God is it good. These songs are simply beautiful- soaring, glowing, timeless melodies. It makes for a gorgeous rediscovery of '60s folk/pop- especially in the interplay and harmonies of the vocals, which evoke the Beach Boys, the Mamas and the Papas, and Crosby, Stills, Nash and Young.
"Sun Giant" is a beautiful morning hymn. "Drops in the River" patiently builds and surges beautifully with a quietly forceful passion. "English House" is generally pleasant, and opens especially strong with a beautiful (can't get enough of that adjective with this EP), cascading vocal harmony. "Mykonos" has a generally lovely, wintry sound, and surges unexpectedly with this beautiful, very CSNY-style refrain midway through. "Innocent Sun," although less perfect than the other four tracks, is still pretty pleasant.
It took me a while to start listening to these guys- I generally discount/resent the great works made by people my age- but upon first listen they've completely won me over. Sun Giant was absolutely marvelous, and I'm excited to listen to more of Fleet Foxes.
album #58
in the aeroplane over the sea (neutral milk hotel)
This might be the first album that I've heard all year that I can unabashedly say: I didn't like it. Jeff Mangum's voice is a grating nasal whine and the lyrics, often interestingly weird, slide a little too much into dislikable, off-puttingly weird. It didn't occur to me at first, but unsurprisingly, 2 of my 3 favorite songs are the instrumental tracks- " " and "The Fool." As a guy who cares for melody and instrumentation in my music, I found the acoustic emphasis and the melodic flatness to be pretty unappetizing. There's some nicely strange instrumental flourishes, this vibe of "a carnival in world war two europe," as an av club reviewer put it well. But if I want that sort of musical experience, Beirut does it much more beautifully and lushly.
"The King of Carrot Flowers Pt. 1" is their breakthrough song, the most famous track on the record and the one that got me interested and excited to hear the rest of the album. The rest of the album just can't match the melodic heights or promising mystique of that first track. It's not like it's a hateable record, but it's just not my cup of tea.
This might be the first album that I've heard all year that I can unabashedly say: I didn't like it. Jeff Mangum's voice is a grating nasal whine and the lyrics, often interestingly weird, slide a little too much into dislikable, off-puttingly weird. It didn't occur to me at first, but unsurprisingly, 2 of my 3 favorite songs are the instrumental tracks- " " and "The Fool." As a guy who cares for melody and instrumentation in my music, I found the acoustic emphasis and the melodic flatness to be pretty unappetizing. There's some nicely strange instrumental flourishes, this vibe of "a carnival in world war two europe," as an av club reviewer put it well. But if I want that sort of musical experience, Beirut does it much more beautifully and lushly.
"The King of Carrot Flowers Pt. 1" is their breakthrough song, the most famous track on the record and the one that got me interested and excited to hear the rest of the album. The rest of the album just can't match the melodic heights or promising mystique of that first track. It's not like it's a hateable record, but it's just not my cup of tea.
Sunday, June 7, 2009
album #57
the kinks are the village green preservation society (the kinks)
I loved this album. The Kinks write such fun, versatile music- within their nice, British, pop rock sensibility, they tackle versatile styles- harpsichord delicacy, country & western, hard rock, bouncy pop… they're just plain good. And the lyrics are so clear- for whatever reason, this band's lyrics hit me in a way that almost no other band's lyrics hit.
Lyrically and musically, this is a fascinating, nicely thematic album- versatile styles with a philosophical consistency- a sense of nostalgia, lost illusions, pining for the past, artifacts resisting change- but still somehow silly, sarcastically dismissive of that past, at the same time. Apparently this album sold poorly when it came out- in the turmoil of late 1968- but time has made it not only hugely popular, but strikingly appropriate… I can't help but think of my father's generation, aged and faded.
"Do You Remember Walter" is my favorite- a really great melody and a heartbreaking story. For somebody like me who spends a lot of time thinking about youth and time, it's really an extraordinarily compelling, sad, small tale. Just the simplest story of yearning, memory and age. So simple and beautiful. "Big Sky" is another huge standout. Sounds like one of the most of-its-time songs on the album, something calmly intense, something revolutionary in its tone. And it reads like a startling rebuttal of the idea of God- I think of people praying to that big sky, but the big sky just doesn't care. It's just the big sky, aloof from our chaos, no savior. "Picture Book" is just a classic, bouncy, delightful pop song with that iconic, oft-borrowed guitar riff- "People Take Pictures of Eachother" makes me think of an outsider watching "Picture Book." I like "Johnny Thunder," a song that really evokes the Who- their background singing, the way the instruments hit, the lyrical story of a socially frustrated, strange boy. "Animal Farm" has got a great, swooning, '60s rock sound. I love the harpsichord elegance, the nostalgia and the smarmy wit of "Village Green," probably my favorite track after "Walter" and "Big Sky."
Anyway, this is the second Kinks album in a row that, upon listening, I found almost every song interesting, unique and listenable. I guess I should start delving even further into their catalogue. They might be my favorite discovery from this yearlong music project.
I loved this album. The Kinks write such fun, versatile music- within their nice, British, pop rock sensibility, they tackle versatile styles- harpsichord delicacy, country & western, hard rock, bouncy pop… they're just plain good. And the lyrics are so clear- for whatever reason, this band's lyrics hit me in a way that almost no other band's lyrics hit.
Lyrically and musically, this is a fascinating, nicely thematic album- versatile styles with a philosophical consistency- a sense of nostalgia, lost illusions, pining for the past, artifacts resisting change- but still somehow silly, sarcastically dismissive of that past, at the same time. Apparently this album sold poorly when it came out- in the turmoil of late 1968- but time has made it not only hugely popular, but strikingly appropriate… I can't help but think of my father's generation, aged and faded.
"Do You Remember Walter" is my favorite- a really great melody and a heartbreaking story. For somebody like me who spends a lot of time thinking about youth and time, it's really an extraordinarily compelling, sad, small tale. Just the simplest story of yearning, memory and age. So simple and beautiful. "Big Sky" is another huge standout. Sounds like one of the most of-its-time songs on the album, something calmly intense, something revolutionary in its tone. And it reads like a startling rebuttal of the idea of God- I think of people praying to that big sky, but the big sky just doesn't care. It's just the big sky, aloof from our chaos, no savior. "Picture Book" is just a classic, bouncy, delightful pop song with that iconic, oft-borrowed guitar riff- "People Take Pictures of Eachother" makes me think of an outsider watching "Picture Book." I like "Johnny Thunder," a song that really evokes the Who- their background singing, the way the instruments hit, the lyrical story of a socially frustrated, strange boy. "Animal Farm" has got a great, swooning, '60s rock sound. I love the harpsichord elegance, the nostalgia and the smarmy wit of "Village Green," probably my favorite track after "Walter" and "Big Sky."
Anyway, this is the second Kinks album in a row that, upon listening, I found almost every song interesting, unique and listenable. I guess I should start delving even further into their catalogue. They might be my favorite discovery from this yearlong music project.
Friday, June 5, 2009
album #56
microcastle (deerhunter)
This is a good example of an album that really works better as an album than as a collection of songs. Individually, there aren't many of these songs that I love, but collectively the album flows as a really nice, ambient, sonic piece. The album goes through peaks and valleys, the more forceful songs and the more subdued, delicate, intimate tracks. There's a generally consistent tone, which I don't quite know how to describe. Ambient, buzzing, indie rock. It took many, many listens of this album before I could really digest it- I don't know whether that means it's deep, or forgettable.
I love the "Intro"- it really unleashes this wailing, forceful, swooningly melodic sound, and it blends nicely into "Agoraphobia," my favorite track, the reason I wanted to hear the album. Just a great melody there, excellent song. Nothing stands out quite like those songs, but "Little Kids," with its awesome buzzing melody and the bright, hard pluck of the guitar, opens fantastically, and "Nothing Ever Happened" has a great energy and a great sound- okay individually, a strong upswing after several subdued, more contemplative songs.
Almost every song works better in the flow of the piece, than as its own song. This is good, ambient, background music, but other than those first two tracks, nothing I would really go out of my way to hear again- my taste is for stronger, clearer melody. Anyway, it's pretty good.
This is a good example of an album that really works better as an album than as a collection of songs. Individually, there aren't many of these songs that I love, but collectively the album flows as a really nice, ambient, sonic piece. The album goes through peaks and valleys, the more forceful songs and the more subdued, delicate, intimate tracks. There's a generally consistent tone, which I don't quite know how to describe. Ambient, buzzing, indie rock. It took many, many listens of this album before I could really digest it- I don't know whether that means it's deep, or forgettable.
I love the "Intro"- it really unleashes this wailing, forceful, swooningly melodic sound, and it blends nicely into "Agoraphobia," my favorite track, the reason I wanted to hear the album. Just a great melody there, excellent song. Nothing stands out quite like those songs, but "Little Kids," with its awesome buzzing melody and the bright, hard pluck of the guitar, opens fantastically, and "Nothing Ever Happened" has a great energy and a great sound- okay individually, a strong upswing after several subdued, more contemplative songs.
Almost every song works better in the flow of the piece, than as its own song. This is good, ambient, background music, but other than those first two tracks, nothing I would really go out of my way to hear again- my taste is for stronger, clearer melody. Anyway, it's pretty good.
Thursday, June 4, 2009
album #55
the rhumb line (ra ra riot)
I like these guys. Sweet, melodic, instrumentally versatile/driven indie pop music. Much of their catalogue reminds me of Matt Pond P.A.- the tenderness, the melodies, the strings, the tenderly intense tone.
I kindof sensed something, which I did not like, but I'll confess that it didn't strike me as worth mentioning until I checked the avclub's review of this album… The first song, "Ghost Under Rocks," really sets a magnificent, soaring, urgent tone that the rest of the record simply doesn't live up to. That first track is the one that made me want to hear the album- just a passionate, searching, divine song. And the next several songs are just so, milky.
Most of the album is melodically pleasant, as I mentioned. There are three tracks, all nearer the end of the cd- after there's some time to recuperate from the post-Ghost disappointment- that really soar and hit me in a great way. "Too Too Too Fast" is driven with a really nice, vintage synth and distinctly expressive, unleashed singing; "Suspended in Gaffa" is similarly driven by magnificent, ceremonial percussion- there's an elegantly dramatic forcefulness to this song that I am really into. It sounds like a more delicate variation of something Queen would do. "Run My Mouth" finds a lovely cello/guitar melodic interplay that matches my favorite Matt Pond P.A. work.
Four great songs, and the rest is pretty pleasant, if forgettable, background music. A really nice album.
I like these guys. Sweet, melodic, instrumentally versatile/driven indie pop music. Much of their catalogue reminds me of Matt Pond P.A.- the tenderness, the melodies, the strings, the tenderly intense tone.
I kindof sensed something, which I did not like, but I'll confess that it didn't strike me as worth mentioning until I checked the avclub's review of this album… The first song, "Ghost Under Rocks," really sets a magnificent, soaring, urgent tone that the rest of the record simply doesn't live up to. That first track is the one that made me want to hear the album- just a passionate, searching, divine song. And the next several songs are just so, milky.
Most of the album is melodically pleasant, as I mentioned. There are three tracks, all nearer the end of the cd- after there's some time to recuperate from the post-Ghost disappointment- that really soar and hit me in a great way. "Too Too Too Fast" is driven with a really nice, vintage synth and distinctly expressive, unleashed singing; "Suspended in Gaffa" is similarly driven by magnificent, ceremonial percussion- there's an elegantly dramatic forcefulness to this song that I am really into. It sounds like a more delicate variation of something Queen would do. "Run My Mouth" finds a lovely cello/guitar melodic interplay that matches my favorite Matt Pond P.A. work.
Four great songs, and the rest is pretty pleasant, if forgettable, background music. A really nice album.
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