perch patchwork (maps & atlases)
Math-rock, as my friend described it; also something folksy and even a touch of the medieval in it. That strong, nasally twang of the voice. Rambling balladry with thick, strange science- complicated guitars and drums interacting rhythmically. Altogether I liked it- my favorites especially were, most of all, "Living Decorations"- a special melodic drive and energy to that one, especially in the beginning-"Solid Ground" has a rhythm and drooping pull to it that evokes TV on the Radio- "Israeli Caves" has a light, melodic drive to it, high and tightly strummed- "Pigeon" has a loveliness that intrigues me, a melody and a pace, even a choice of instruments, that makes me think of Graceland- "Perch Patchwork" is a waltz through Scarborough Faire (yeah yeah, mixed metaphor.) I'll keep them on the radar for future stuff. Interesting sound, I warmed to it- especially after seeing them live.
Thursday, September 30, 2010
album #15
b-52's (b-52's)
Sparse, dark rhythms. A certain tinge of savagery. Hints of Joy Division. The B-52s were a different band in the early years (as the AVClub phrases well, attributing to late guitarist Ricky Wilson.) This is a cool record- a mix of the dark, snaky, post-punk sound of '79-80, with a cool, campy, surf flavor. I especially love "52 Girls" (the jaunty low surf rhythm, the harmonic vocals) "Dance This Mess Around" (a dazzlingly strange track, the rhythmic sparseness, the steady builds and discoveries, the unleashed passions, the semimelodic quality), "Rock Lobster" (the spacy, underseas tremble of the backup vocals, the measured dark strike of the guitars), "6060-842" (the upbeat melodic energy, the harmonic clarity in the chorus.)
I'd like to listen to this record more and also explore more of their early years. 1979-1980 really seems like a golden age of music, so much of what I'm interested in comes from that incredibly specific window of time. And I'm also interested in bands like the B-52s and the Police, groups that are perhaps more known for a blander, broader sound, but began in really dark, strange, exciting places.
Sparse, dark rhythms. A certain tinge of savagery. Hints of Joy Division. The B-52s were a different band in the early years (as the AVClub phrases well, attributing to late guitarist Ricky Wilson.) This is a cool record- a mix of the dark, snaky, post-punk sound of '79-80, with a cool, campy, surf flavor. I especially love "52 Girls" (the jaunty low surf rhythm, the harmonic vocals) "Dance This Mess Around" (a dazzlingly strange track, the rhythmic sparseness, the steady builds and discoveries, the unleashed passions, the semimelodic quality), "Rock Lobster" (the spacy, underseas tremble of the backup vocals, the measured dark strike of the guitars), "6060-842" (the upbeat melodic energy, the harmonic clarity in the chorus.)
I'd like to listen to this record more and also explore more of their early years. 1979-1980 really seems like a golden age of music, so much of what I'm interested in comes from that incredibly specific window of time. And I'm also interested in bands like the B-52s and the Police, groups that are perhaps more known for a blander, broader sound, but began in really dark, strange, exciting places.
album #14
parsley, sage, rosemary and thyme (simon & garfunkel)
This is a thoroughly good album. I like Bookends more, but I like both records a good deal. There's a mix of leisurely, playful folk charm and more emotional, political numbers. This is simply a classic Simon & Garfunkel record, it's hard to imagine an album that more entirely captures their sound. "Scarborough Fair/Canticle" is lovely, a classic; "A Simple Desultory Phillipic" is interesting for being a great tune, a great homage to Dylan- and yet the lyrics indicate that it's meant as a parody. "For Emily, Whenever I May Find Her" emerged as a favorite of mine… simply a beautiful, tender love song.
The first couple times I listened to this album, I tended to zone out and get bored halfway through- there's a certain mildness to their sound. And then those two songs near the end really brought me into it entirely, I enjoy those two a lot. Also I like the bonus version of "A Poem On The Underground" more than the official release. Simon doing it on his own, the guitar picking, there's a muted urgency to it that I find lovely and engaging.
This is a thoroughly good album. I like Bookends more, but I like both records a good deal. There's a mix of leisurely, playful folk charm and more emotional, political numbers. This is simply a classic Simon & Garfunkel record, it's hard to imagine an album that more entirely captures their sound. "Scarborough Fair/Canticle" is lovely, a classic; "A Simple Desultory Phillipic" is interesting for being a great tune, a great homage to Dylan- and yet the lyrics indicate that it's meant as a parody. "For Emily, Whenever I May Find Her" emerged as a favorite of mine… simply a beautiful, tender love song.
The first couple times I listened to this album, I tended to zone out and get bored halfway through- there's a certain mildness to their sound. And then those two songs near the end really brought me into it entirely, I enjoy those two a lot. Also I like the bonus version of "A Poem On The Underground" more than the official release. Simon doing it on his own, the guitar picking, there's a muted urgency to it that I find lovely and engaging.
Thursday, September 23, 2010
album #13
bookends (simon & garfunkel)
This album is perfect for me. I love the melodies and the sweet, wistful nostalgia… it's an album that's come to my life at the right time, and it's already entered heavy rotation. And so many good individual tracks- "Save the Life of My Child," those burning, buzzing guitars, a dramatic, vivid rock song; "America," one of the best songs ever. "Old Friends" has taken on a real significance for me- the sweet, wistful lope of the vocals, the pull and release of the strings- really a beautiful song, therapeutic even. and on a record that fills me, from track to track, with feelings of reflection, the feeling of hope's lights glowing beneath sorrow, the feeling of loss and finding consolation in memory, discovery… on a record that does all this, "Punky's Dilemma" is the best medicine, a charming, melodic, easy little track, one of my favorites- and virtually a must-listen after taking in the rest of the record's best tracks. Even the tracks I loved less, I still liked- this is a very nice, lovely album, and I'm glad I found it.
This album is perfect for me. I love the melodies and the sweet, wistful nostalgia… it's an album that's come to my life at the right time, and it's already entered heavy rotation. And so many good individual tracks- "Save the Life of My Child," those burning, buzzing guitars, a dramatic, vivid rock song; "America," one of the best songs ever. "Old Friends" has taken on a real significance for me- the sweet, wistful lope of the vocals, the pull and release of the strings- really a beautiful song, therapeutic even. and on a record that fills me, from track to track, with feelings of reflection, the feeling of hope's lights glowing beneath sorrow, the feeling of loss and finding consolation in memory, discovery… on a record that does all this, "Punky's Dilemma" is the best medicine, a charming, melodic, easy little track, one of my favorites- and virtually a must-listen after taking in the rest of the record's best tracks. Even the tracks I loved less, I still liked- this is a very nice, lovely album, and I'm glad I found it.
Thursday, September 9, 2010
album #12
odd blood (yeasayer)
Big fan of this album. A wonderful fusion of pop and strangeness and forcefulness. Several great songs- the dramatic, imposing synth crush of "The Children," the peppy, sticky, exultant "Ambling Alp," the ghostly desert lament of "Madder Red," the shimmering, metallic retro-club masterpiece "ONE." The second half of the album doesn't captivate me quite as completely, but it all comes from a terrific sound. The adjective that keeps coming to mind is, gay. So many of these songs sound like gay club anthems- that synthetic, poppy sound, the femininely plaintive, expressive vocals, the forceful, pulsing percussion. Altogether, I like it a lot. I'm excited to hear what these guys make next.
Big fan of this album. A wonderful fusion of pop and strangeness and forcefulness. Several great songs- the dramatic, imposing synth crush of "The Children," the peppy, sticky, exultant "Ambling Alp," the ghostly desert lament of "Madder Red," the shimmering, metallic retro-club masterpiece "ONE." The second half of the album doesn't captivate me quite as completely, but it all comes from a terrific sound. The adjective that keeps coming to mind is, gay. So many of these songs sound like gay club anthems- that synthetic, poppy sound, the femininely plaintive, expressive vocals, the forceful, pulsing percussion. Altogether, I like it a lot. I'm excited to hear what these guys make next.
album #11
odelay (beck)
There must be a better Beck album out there for my tastes. Or, maybe he's just not my thing. I have vague recollections of liking parts of Midnite Vultures, and Guero was pretty good. Odelay just feels like a bag of tricks. Perhaps the problem is a matter of context- when this first comes out, perhaps it's revolutionary, different, marvelously strange. Listening to it now, fully aware of the Beck sound, the shock of the new completely a non-factor in my interpretation, it just feels… like I said, like it's all tricks.
"Devil's Haircut" is cool- that guitar is such a magnificent way to kick off an album- a fantastic declaration. But so much of the album is, fuzzy guitar, twang, faux hip hop, the vocals that barely shift from note to note, the jangly percussion. Whoops, maybe I'm not describing tricks, but his sound itself. Maybe I just don't like his music that much. "Jack-Ass" has a cool sound to it- I think he's sampling a Rolling Stones song here, I'm not sure. "Where It's At" is a perfectly good standout. "Minus" is good, I like the rock and roll intensity. And "Diskobox" has a cool sound, I like that leisurely piano sound he builds from. I don't love this album, or even any of the songs in particular. But… I can't think of anything redeeming to say. It's a generally cool sound and he seems like a generally cool guy. I'll keep looking for the right album (even though I feel like they might all be this uneven.)
There must be a better Beck album out there for my tastes. Or, maybe he's just not my thing. I have vague recollections of liking parts of Midnite Vultures, and Guero was pretty good. Odelay just feels like a bag of tricks. Perhaps the problem is a matter of context- when this first comes out, perhaps it's revolutionary, different, marvelously strange. Listening to it now, fully aware of the Beck sound, the shock of the new completely a non-factor in my interpretation, it just feels… like I said, like it's all tricks.
"Devil's Haircut" is cool- that guitar is such a magnificent way to kick off an album- a fantastic declaration. But so much of the album is, fuzzy guitar, twang, faux hip hop, the vocals that barely shift from note to note, the jangly percussion. Whoops, maybe I'm not describing tricks, but his sound itself. Maybe I just don't like his music that much. "Jack-Ass" has a cool sound to it- I think he's sampling a Rolling Stones song here, I'm not sure. "Where It's At" is a perfectly good standout. "Minus" is good, I like the rock and roll intensity. And "Diskobox" has a cool sound, I like that leisurely piano sound he builds from. I don't love this album, or even any of the songs in particular. But… I can't think of anything redeeming to say. It's a generally cool sound and he seems like a generally cool guy. I'll keep looking for the right album (even though I feel like they might all be this uneven.)
album #10
red headed stranger (willie nelson)
A relistenable classic. Really liked this record. Not too many songs stand out, but I like the entire piece- the narrative flows nicely, I feel like I understand what's going on better than most albums I listen to. I give credit to Willie's clean, iconic voice. I like the returning motifs of certain melodies. A melancholy record, patient but well paced. "Blue Rock Montana" and "Red Headed Stranger" might be my favorite songs. Extraordinary lyrics, chilling story, and I love the melody. But I mean, they're all good. "Blue Eyes Crying In the Rain" is the best example of a couple dreamlike songs- the heartbroken recollections, the private thoughts- or the intimate side- of the red headed stranger. It's like the album shifts between the story of the man in the third person, and the intimate heartache of the first person. The second half of the album feels a little rambly, as if the man has completed his revenge and doesn't really know where to go next, doesn't know what he's looking for anymore. He's just a lost soul riding along the countryside. And then there's a sense of uplift in the last tracks- "Remember Me" and "Hands on the Wheel," in the rhythm, in the melody, hint at something better. And the wistful, instrumental epilogue of "Bandera" closes the album nicely. Really a terrific record, a fine accomplishment. Enigmatic, lovely, teeming with restrained passions, a country classic.
A relistenable classic. Really liked this record. Not too many songs stand out, but I like the entire piece- the narrative flows nicely, I feel like I understand what's going on better than most albums I listen to. I give credit to Willie's clean, iconic voice. I like the returning motifs of certain melodies. A melancholy record, patient but well paced. "Blue Rock Montana" and "Red Headed Stranger" might be my favorite songs. Extraordinary lyrics, chilling story, and I love the melody. But I mean, they're all good. "Blue Eyes Crying In the Rain" is the best example of a couple dreamlike songs- the heartbroken recollections, the private thoughts- or the intimate side- of the red headed stranger. It's like the album shifts between the story of the man in the third person, and the intimate heartache of the first person. The second half of the album feels a little rambly, as if the man has completed his revenge and doesn't really know where to go next, doesn't know what he's looking for anymore. He's just a lost soul riding along the countryside. And then there's a sense of uplift in the last tracks- "Remember Me" and "Hands on the Wheel," in the rhythm, in the melody, hint at something better. And the wistful, instrumental epilogue of "Bandera" closes the album nicely. Really a terrific record, a fine accomplishment. Enigmatic, lovely, teeming with restrained passions, a country classic.
album #9
forgiveness rock record (broken social scene)
Most of the following album reviews are from records I've listened to this year, from months ago, but neglected to write up.
There are some real gems on Forgiveness Rock Record- "World Sick" is a soaring masterpiece, one of my favorite songs I've heard this year. "Texico Bitches" is great, I love the sweetly driven, contemplative melody of "All to All." There's a lull in the middle when none of the tracks really engage me- one buzzes too much- too brassy, a couple have that overly predictable, interlacing plucky BSS guitar sound, one tries a little too hard to sound anthemic in the arrangement- ambitious but a little boring. I like the low, steady sound of "Sentimental X's," with Emily Haines on vocals. "Romance to the Grave" is nice- Feist in the background vocals, a cameo by Sam Prekop (overall this sounds like a BSS/S&C fusion, with the instrumentation of the former and the particular rhythm and tone of the latter.) And "Water in Hell" is a whole lot of fun- it snuck up on me in the months since I first listened to this record. A personal sleeper hit- it's the song from this album I return to the most consistently, that lunging guitar, the upbeat anthemic grunge of it. Pavementesque, one reviewer suggested, which is the best description I can think of- only because I can't think of a good one myself.
A few really really good songs. I wouldn't listen through the entire album again, but lots of nice tracks, and a nice, distinct sound.
Most of the following album reviews are from records I've listened to this year, from months ago, but neglected to write up.
There are some real gems on Forgiveness Rock Record- "World Sick" is a soaring masterpiece, one of my favorite songs I've heard this year. "Texico Bitches" is great, I love the sweetly driven, contemplative melody of "All to All." There's a lull in the middle when none of the tracks really engage me- one buzzes too much- too brassy, a couple have that overly predictable, interlacing plucky BSS guitar sound, one tries a little too hard to sound anthemic in the arrangement- ambitious but a little boring. I like the low, steady sound of "Sentimental X's," with Emily Haines on vocals. "Romance to the Grave" is nice- Feist in the background vocals, a cameo by Sam Prekop (overall this sounds like a BSS/S&C fusion, with the instrumentation of the former and the particular rhythm and tone of the latter.) And "Water in Hell" is a whole lot of fun- it snuck up on me in the months since I first listened to this record. A personal sleeper hit- it's the song from this album I return to the most consistently, that lunging guitar, the upbeat anthemic grunge of it. Pavementesque, one reviewer suggested, which is the best description I can think of- only because I can't think of a good one myself.
A few really really good songs. I wouldn't listen through the entire album again, but lots of nice tracks, and a nice, distinct sound.
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