gulag orkestar (beirut)
This is a pleasant album. It's not quite as perfect as Lon Gisland, but still has a lot of loveliness and charm to it. This album has a sense of oldness to it- the song titles alone are like a tour through old Europe. But the oldness is even more evident in the music itself, an undercurrent of wistfulness and weariness. Many of the songs have a somewhat slow, plodding nature, and it takes a while to acclimate to that baroque charm. Some are darkly formal, others are sweetly lolling. Beirut is really at its best when it takes this sweetly weary, wistful tone and matches it to a beautiful hook. "Postcards from Italy" is my favorite- the absolute peak of album comes in the sweet, hopeful, swooning serenade of those trumpets. "Mount Wroclai" follows nicely, a subdued jam. And the closer, "After the Curtain," is really lovely, I like it a whole lot. Marvelously contemplative touch of synth, lovely melody. And "The Bunker" seems like a really nice statement of the album- a nice mix of old world carnival drama and sweet, chanted melody.
Sunday, August 30, 2009
Friday, August 28, 2009
album #75
1999 (prince)
Prince definitely has a distinct style. High, pale, squealy synths, airy drum machines, the sexual coo of his voice. This album is really an exhibition of that sound, rather than a particularly compelling record in its own right. None of the songs are super memorable, I didn't really love any of it. Good stuff though.
"1999" is a reliable classic- a fascinating blend of hedonism and apocalypse. "Little Red Corvette" is the best song on the album, sweet, sad and catchy. The rest of the songs are generally long dance tracks, most of them approaching sexuality from different angles- some sultry, some aggressive, some funk, some ballads, and one track that sounds like a sci fi funk nightmare. My opinion on each of these songs varies with more listens, but right now I'd say my favorite is "Lady Cab Driver," which takes that classic Prince sexual energy and matches it with a nice, casual, upbeat funk rhythm. It sounds like an influence on modern R&B.
Altogether this is a good, very Prince-y album; I'm just not particularly in love with his style- the style and the lyrical themes feel just a little bit redundant. It's good to listen to and learn about though, and I'll probably listen to "Purple Rain" soon, since it's considered his truly best record.
Prince definitely has a distinct style. High, pale, squealy synths, airy drum machines, the sexual coo of his voice. This album is really an exhibition of that sound, rather than a particularly compelling record in its own right. None of the songs are super memorable, I didn't really love any of it. Good stuff though.
"1999" is a reliable classic- a fascinating blend of hedonism and apocalypse. "Little Red Corvette" is the best song on the album, sweet, sad and catchy. The rest of the songs are generally long dance tracks, most of them approaching sexuality from different angles- some sultry, some aggressive, some funk, some ballads, and one track that sounds like a sci fi funk nightmare. My opinion on each of these songs varies with more listens, but right now I'd say my favorite is "Lady Cab Driver," which takes that classic Prince sexual energy and matches it with a nice, casual, upbeat funk rhythm. It sounds like an influence on modern R&B.
Altogether this is a good, very Prince-y album; I'm just not particularly in love with his style- the style and the lyrical themes feel just a little bit redundant. It's good to listen to and learn about though, and I'll probably listen to "Purple Rain" soon, since it's considered his truly best record.
Monday, August 24, 2009
album #74
oracular spectacular (mgmt)
This is a stylistically interesting album- some of the songs sound like electronic indie rock anthems; many other tracks strongly evoke various influences and classic musicians- particularly in the vocals. In certain songs the singer adopts the vocal style of Bowie, the Rolling Stones, and CSNY. Other thant that, some standouts: the drippy, anthemic, hedonistic opener, “Time to Pretend,” and the cool, intriguing “Of Moons, Birds and Monsters” which I'm still trying to figure out, in a good way.
The album is generally all right but absolutely maxes out in the middle with back-to-back huge singles. “Electric Feel” is my favorite, the song that introduced me to this band. Sexy, sultry, tropical disco, with a real forcefulness to it. “Kids” immediately follow. An alternate version of this song appears on Climbing to New Lows, but I prefer this version- there's more of a unity, a synthetic surge to it. I remember hearing this one at night, in a car full of friends on a fast highway, and that feels like the ideal circumstance to experience this song.
Overall a good record. I don't think I'd really listen to the album again- those two huge singles are great, the rest of the record can't hold up to them. But there are a few tracks that are certainly worth some more listens, and across the board they're good at their sound.
This is a stylistically interesting album- some of the songs sound like electronic indie rock anthems; many other tracks strongly evoke various influences and classic musicians- particularly in the vocals. In certain songs the singer adopts the vocal style of Bowie, the Rolling Stones, and CSNY. Other thant that, some standouts: the drippy, anthemic, hedonistic opener, “Time to Pretend,” and the cool, intriguing “Of Moons, Birds and Monsters” which I'm still trying to figure out, in a good way.
The album is generally all right but absolutely maxes out in the middle with back-to-back huge singles. “Electric Feel” is my favorite, the song that introduced me to this band. Sexy, sultry, tropical disco, with a real forcefulness to it. “Kids” immediately follow. An alternate version of this song appears on Climbing to New Lows, but I prefer this version- there's more of a unity, a synthetic surge to it. I remember hearing this one at night, in a car full of friends on a fast highway, and that feels like the ideal circumstance to experience this song.
Overall a good record. I don't think I'd really listen to the album again- those two huge singles are great, the rest of the record can't hold up to them. But there are a few tracks that are certainly worth some more listens, and across the board they're good at their sound.
Friday, August 21, 2009
album #73
climbing to new lows (mgmt)
Good listen. This is their debut record, from a few years back, and it feels like a debut record- it feels like it was made by very young musicians. It's like they're still halfway through the search for their distinct sound, still leaning on influences- that simple '80s synth sound, harkening to Nintendo or, now and then, Depeche Mode.
Some of the tracks are a little too cutesy or too emo for my tastes (e.g. the frustrating case of "Grutu," a spectacular beat undercut by whiny, annoying vocals). However, some of the more mellow tracks are really perfect. "We Don't Care" makes for a smooth, synthetic closer, in parallel to the early, emotive track "We Care" (by the way, is the album supposed to be thematic? It didn't seem to be). My overall favorite song was "Hot Love Drama," a low, sexy groove of a song. "Honey Bunny" is a little obnoxious, lyrically, but the beat is really pleasant. "Money to Burn" has got a similar lowness and sexiness as "Hot Love Drama;" it's a good one but not quite as perfect- that alluring tickle of the synthesizer is missing.
I like them best when they're cool, collected and seductive. I think they drop a lot of the cutesiness and the emo flourishes in their second album, I'm looking forward to hearing it again.
Good listen. This is their debut record, from a few years back, and it feels like a debut record- it feels like it was made by very young musicians. It's like they're still halfway through the search for their distinct sound, still leaning on influences- that simple '80s synth sound, harkening to Nintendo or, now and then, Depeche Mode.
Some of the tracks are a little too cutesy or too emo for my tastes (e.g. the frustrating case of "Grutu," a spectacular beat undercut by whiny, annoying vocals). However, some of the more mellow tracks are really perfect. "We Don't Care" makes for a smooth, synthetic closer, in parallel to the early, emotive track "We Care" (by the way, is the album supposed to be thematic? It didn't seem to be). My overall favorite song was "Hot Love Drama," a low, sexy groove of a song. "Honey Bunny" is a little obnoxious, lyrically, but the beat is really pleasant. "Money to Burn" has got a similar lowness and sexiness as "Hot Love Drama;" it's a good one but not quite as perfect- that alluring tickle of the synthesizer is missing.
I like them best when they're cool, collected and seductive. I think they drop a lot of the cutesiness and the emo flourishes in their second album, I'm looking forward to hearing it again.
Wednesday, August 19, 2009
album #72
wolfgang amadeus phoenix (phoenix)
This is a good record. Bright, crackling, fuzzy synth pop. Phoenix is the type of band that seems to make a brand new album within their particular parameters, every time. Honestly, this is the first full album I've heard, but it's definitely different from the singles of theirs I've heard before. It's still their clean pop sound, but brighter and sharper somehow, less of a low groove.
I love the opening tracks, "Lisztomania" and "1901." Things slow down in the middle- there's an instrumental track that's just a little too long and seems to sever the album off of its hot start, forcing a reboot of sorts. The second half carries itself, fortunately. "Lasso," "Countdown" and "Armistice" are highlights among a killer lineup of bright, likable pop songs.
My only criticism is that the singer's voice gets a little annoying now and then… a high bark that feels a little repetitive from track to track. It hits the mark somewhere between yearning and subdued, I can't quite explain. But it's still plenty good, and overall this is still a perfectly fine, listenable album. I have a feeling they've made an album in the past that I'd love even more, I just have to find it.
This is a good record. Bright, crackling, fuzzy synth pop. Phoenix is the type of band that seems to make a brand new album within their particular parameters, every time. Honestly, this is the first full album I've heard, but it's definitely different from the singles of theirs I've heard before. It's still their clean pop sound, but brighter and sharper somehow, less of a low groove.
I love the opening tracks, "Lisztomania" and "1901." Things slow down in the middle- there's an instrumental track that's just a little too long and seems to sever the album off of its hot start, forcing a reboot of sorts. The second half carries itself, fortunately. "Lasso," "Countdown" and "Armistice" are highlights among a killer lineup of bright, likable pop songs.
My only criticism is that the singer's voice gets a little annoying now and then… a high bark that feels a little repetitive from track to track. It hits the mark somewhere between yearning and subdued, I can't quite explain. But it's still plenty good, and overall this is still a perfectly fine, listenable album. I have a feeling they've made an album in the past that I'd love even more, I just have to find it.
Thursday, August 13, 2009
album #71
at folsom prison (johnny cash)
I loved this record. Cash has one of the best voices in music history, deep, clean, sad, heavy… I'm sure entire theses have been written on it, so I won't belabor the point.
There are three versions of this record, the one I listened to was the 1999 re-release. What I loved about it was Cash's unedited banter with the prisoners… his rapport he has with the prisoners, it makes for one of the most fascinating and engaging aspects of the album. The banter, the teasing, the laughter they share. The way they holler and cheer. And my god, his credibility… song after song about dark, wild, outlaw men, doing what they can or what they must. Consistently compelling lyrics, delivered from that perfect voice, with lots of great country melody. It never felt like an obligation, listening to this record… the whole thing is enjoyable and engaging, not at all the draggy crap I think of when I think of "country." This is pure classic excellence.
There weren't many songs that stand out as favorites- the whole thing flows as a really nice piece. I guess I'd mention "Folsom Prison Blues," "Cocaine Blues," "The Long Black Veil" and "Joe Bean" as being slight favorites, but across the board it really makes for good listening. Altogether a very pleasant surprise.
I loved this record. Cash has one of the best voices in music history, deep, clean, sad, heavy… I'm sure entire theses have been written on it, so I won't belabor the point.
There are three versions of this record, the one I listened to was the 1999 re-release. What I loved about it was Cash's unedited banter with the prisoners… his rapport he has with the prisoners, it makes for one of the most fascinating and engaging aspects of the album. The banter, the teasing, the laughter they share. The way they holler and cheer. And my god, his credibility… song after song about dark, wild, outlaw men, doing what they can or what they must. Consistently compelling lyrics, delivered from that perfect voice, with lots of great country melody. It never felt like an obligation, listening to this record… the whole thing is enjoyable and engaging, not at all the draggy crap I think of when I think of "country." This is pure classic excellence.
There weren't many songs that stand out as favorites- the whole thing flows as a really nice piece. I guess I'd mention "Folsom Prison Blues," "Cocaine Blues," "The Long Black Veil" and "Joe Bean" as being slight favorites, but across the board it really makes for good listening. Altogether a very pleasant surprise.
Friday, August 7, 2009
album #70
innervisions (stevie wonder)
This is a good album, versatile. I like the synth, the funk sounds, and there's a lot of socially conscious lyrics… I guess, my vague impression of Stevie Wonder as an unthreatening boomer musician has really changed after listening to his albums- he speaks pretty honestly and angrily about a lot of issues.
My favorite tracks are the catchy, dark, funky epic "Living for the City," which really transports me to 1970s Harlem. "Higher Ground" is nice and funky, cool lyrics. In general I liked the music a lot, even if I didn't totally love the songs, if that makes sense. A lot of the songs had great melodies and great instruments, they just didn't quite excite me though, but they were very good. Like, if I heard them out of nowhere, in a shuffle, catching me by surprise, I might like them more. I think I liked Songs in the Key of Life a little bit more, although this album was a little more tight and more polished. Good, relistenable record.
This is a good album, versatile. I like the synth, the funk sounds, and there's a lot of socially conscious lyrics… I guess, my vague impression of Stevie Wonder as an unthreatening boomer musician has really changed after listening to his albums- he speaks pretty honestly and angrily about a lot of issues.
My favorite tracks are the catchy, dark, funky epic "Living for the City," which really transports me to 1970s Harlem. "Higher Ground" is nice and funky, cool lyrics. In general I liked the music a lot, even if I didn't totally love the songs, if that makes sense. A lot of the songs had great melodies and great instruments, they just didn't quite excite me though, but they were very good. Like, if I heard them out of nowhere, in a shuffle, catching me by surprise, I might like them more. I think I liked Songs in the Key of Life a little bit more, although this album was a little more tight and more polished. Good, relistenable record.
Tuesday, August 4, 2009
album #69
hounds of love (kate bush)
I liked this, didn't love it. I liked The Kick Inside a little bit more, this album seemed a little too produced, too 80's (strange because, admittedly, I usually like stuff like that). Overall there's a tone of darkness and intensity to the record, broken occasionally with some sugary pop. The first half is a row of singles; the second half, a conceptual suite of varied, more experimental tracks.
"Running Up That Hill" is a song I hated as a kid, but I like it now, I like that dark, driven energy. "Hounds of Love" is cool too, I like the suspensful, dramatic tone. I like the upbeat pop energy of "The Big Sky" and particularly "The Morning Fog," a song which closes the darker, stranger second half of the album on a nice upbeat pop swing. "Mother Stands for Comfort" is slow without any drag at all; it's darkly catchy. "Jig of Life" grew on me, I particularly like the intensity of the second half. A pair of songs that I don't love, but I find them certainly interesting enough for relistening: the sweetly contemplative "And Dream of Sheep" and the low, nervy "Under Ice."
Altogether each song has its own interesting elements, its own value, and it's a cool, likable record. I don't know if it worked for me as a whole, though. Or at least, like I said, I liked but didn't love it. I really feel like there's a perfect Kate Bush album out there for me, but I'm still looking.
I liked this, didn't love it. I liked The Kick Inside a little bit more, this album seemed a little too produced, too 80's (strange because, admittedly, I usually like stuff like that). Overall there's a tone of darkness and intensity to the record, broken occasionally with some sugary pop. The first half is a row of singles; the second half, a conceptual suite of varied, more experimental tracks.
"Running Up That Hill" is a song I hated as a kid, but I like it now, I like that dark, driven energy. "Hounds of Love" is cool too, I like the suspensful, dramatic tone. I like the upbeat pop energy of "The Big Sky" and particularly "The Morning Fog," a song which closes the darker, stranger second half of the album on a nice upbeat pop swing. "Mother Stands for Comfort" is slow without any drag at all; it's darkly catchy. "Jig of Life" grew on me, I particularly like the intensity of the second half. A pair of songs that I don't love, but I find them certainly interesting enough for relistening: the sweetly contemplative "And Dream of Sheep" and the low, nervy "Under Ice."
Altogether each song has its own interesting elements, its own value, and it's a cool, likable record. I don't know if it worked for me as a whole, though. Or at least, like I said, I liked but didn't love it. I really feel like there's a perfect Kate Bush album out there for me, but I'm still looking.
Subscribe to:
Posts (Atom)