lp (ambulance ltd)
I dig this album- dreamy, slightly psychadelic pop. I imagine it all taking place in a green and blue room, light filtered through smoky shadows. Except for the tracks that are pure sunshine and salesmanship, like "Anecdote." There's an ambient vibe to this record; if Pulp Fiction was a little more aquatic or a little sweeter, this could make a good soundtrack- touches of noir and now and then, the southwest.
Several pop gems- the dark sneer of "Primitive," the plucky sunny "Anecdote," the anthemic "Heavy Lifting," and my two favorite tracks: the low easy amble, perfectly accentuated by a sweet guitar sigh, of "Young Urban," and the driven, pretty, sad slacker jewel "Stay Where You Are."
My main critique- sometimes they spend excessive time in their underwater jams, either waiting to get somewhere good or lingering after a great song has already finished. A few times I've had to make radio edits, particularly to trim the fat from my two favorite tracks. That dreamy, smoky ambience now and then just feels like killing time.
This might be an interesting band to read about- wikipedia indicates that they've had a somewhat turbulent existence, with every member leaving to form a new band except the lead singer, and then their record label is going under, and the leader of the group seems a little bit lost- one of those creative people who might be, this is a harsh judgment to make of a guy I'm just starting to learn about, but there's a vibe of laziness, of passive disappointment in the face of decline. Christ, it's actually pretty sad. Man. Well hey, good music, good music. Contracts… what terrible things. Don't get the law involved, just live and make.
Saturday, November 26, 2011
Wednesday, November 23, 2011
album #52
majesty shredding (superchunk)
A lot of catchy pop-punk anthems- “Digging For Something” cries out across the void, “My Gap Feels Weird” is fast and shimmering, “Rosemarie” trots gallantly, “Crossed Wires,” my favorite, roars with youthful, triumphant energy. “Slow Drip” crescendos fantastically in the chorus, a Cars-like choral rally around the world 'time.' “Fractures in Plaster” is a stately gem, something about it feels like a call to arms- I can picture it as one of those Broadway rock anthems. The guitars in “Rope Light” are awesome, no other description seems appropriate.
This band I think has a deeper history and more connotations than I'm ready to wade into- the sort of band that Klosterman references, and I'm not sure if it's with love or derision. As far as I can tell, this is a really catchy band (I'm surprised they didn't have any huge '90s radio hits, maybe they did), their singer has one of those voices that makes any band sound like a mallpunk band (that is, very high pitched) and they seem like the sort of band that doesn't grow up- they're gonna play with the same youthful energy and weirdness that they played with back in the day, whenever that was.
I really feel in an awkward place with this band- listening to them brings me back to sophomore year, when my priority was being cool and I didn't know how to get there. Something in me needs to make sure that I'm leaving this band with the 'right' opinion, even though that notion would expose my entire process of listening and reviewing albums as a lie- an effort to reinforce social orthodoxies, in the privacy of my own home. The bottom line is you take from music what You take from it; though I've found music reviews very useful, mainly for catching things I didn't notice, filling in gaps in my knowledge and perspective. Having checked- the good news is, the snobs reinforce my gut instinct that this is a really good, fun record. Also, I didn't know Superchunk founded Merge records. Cool cool. Wouldn't mind hearing more of these guys.
A lot of catchy pop-punk anthems- “Digging For Something” cries out across the void, “My Gap Feels Weird” is fast and shimmering, “Rosemarie” trots gallantly, “Crossed Wires,” my favorite, roars with youthful, triumphant energy. “Slow Drip” crescendos fantastically in the chorus, a Cars-like choral rally around the world 'time.' “Fractures in Plaster” is a stately gem, something about it feels like a call to arms- I can picture it as one of those Broadway rock anthems. The guitars in “Rope Light” are awesome, no other description seems appropriate.
This band I think has a deeper history and more connotations than I'm ready to wade into- the sort of band that Klosterman references, and I'm not sure if it's with love or derision. As far as I can tell, this is a really catchy band (I'm surprised they didn't have any huge '90s radio hits, maybe they did), their singer has one of those voices that makes any band sound like a mallpunk band (that is, very high pitched) and they seem like the sort of band that doesn't grow up- they're gonna play with the same youthful energy and weirdness that they played with back in the day, whenever that was.
I really feel in an awkward place with this band- listening to them brings me back to sophomore year, when my priority was being cool and I didn't know how to get there. Something in me needs to make sure that I'm leaving this band with the 'right' opinion, even though that notion would expose my entire process of listening and reviewing albums as a lie- an effort to reinforce social orthodoxies, in the privacy of my own home. The bottom line is you take from music what You take from it; though I've found music reviews very useful, mainly for catching things I didn't notice, filling in gaps in my knowledge and perspective. Having checked- the good news is, the snobs reinforce my gut instinct that this is a really good, fun record. Also, I didn't know Superchunk founded Merge records. Cool cool. Wouldn't mind hearing more of these guys.
album #51
kaputt (destroyer)
This Might be my favorite Destroyer record, it certainly contends, and it's so incredibly different than anything else he's released. Lately I've thought of Daniel Bejar as being this generation's David Bowie, in his pursuit of reinvention with each album- in which case, this is his Young Americans. I'm amused at the thought of somebody who falls in love with Destroyer at Starbucks, looks into his back catalogue, and comes up with a whole lot of his nasally, barely melodic 7-minute tangled blues rock tracks. I think Bejar said this was the first time he truly set out to make a pop record- and boy, if this is what he comes up with, he should really keep it up.
“Chinatown” is one of my favorite songs, a contender for my favorite Destroyer song- well paced, beautifully constructed, with a seductive key line sneaking up and down in the chorus. “Suicide Demo For Kara Walker” is a lovely, misty island. I remember Kara Walker's art and I often picture that room in the Met, with silvery light air and blue currents, when I hear this song. This is a silly thing to confess, but a lot of this album reminds me of the misty pond level of Bugdom- white fog and clear waters and far journeys from port to port (hey, after all, Bejar talked about far-flung imperial outposts as an influence on this record.) “Kaputt” is a wonderful song, a wistful, pretty synthetic dance. I would absolutely dance to it in a cool, dry European disco of whites and blues. “Downtown” is a jewel, I love the vibrant bass, the choir, the smoky curl of the saxophone, the shape of the whole track just works for me. It's another one of my favorite songs, and it would sound amazing in a dentist's office.
It's easy listening, baby, and it's easy on my ears. More than anything I'm curious about what this means for the next Destroyer album- if this is an aberration or a distinct step towards a new direction.
This Might be my favorite Destroyer record, it certainly contends, and it's so incredibly different than anything else he's released. Lately I've thought of Daniel Bejar as being this generation's David Bowie, in his pursuit of reinvention with each album- in which case, this is his Young Americans. I'm amused at the thought of somebody who falls in love with Destroyer at Starbucks, looks into his back catalogue, and comes up with a whole lot of his nasally, barely melodic 7-minute tangled blues rock tracks. I think Bejar said this was the first time he truly set out to make a pop record- and boy, if this is what he comes up with, he should really keep it up.
“Chinatown” is one of my favorite songs, a contender for my favorite Destroyer song- well paced, beautifully constructed, with a seductive key line sneaking up and down in the chorus. “Suicide Demo For Kara Walker” is a lovely, misty island. I remember Kara Walker's art and I often picture that room in the Met, with silvery light air and blue currents, when I hear this song. This is a silly thing to confess, but a lot of this album reminds me of the misty pond level of Bugdom- white fog and clear waters and far journeys from port to port (hey, after all, Bejar talked about far-flung imperial outposts as an influence on this record.) “Kaputt” is a wonderful song, a wistful, pretty synthetic dance. I would absolutely dance to it in a cool, dry European disco of whites and blues. “Downtown” is a jewel, I love the vibrant bass, the choir, the smoky curl of the saxophone, the shape of the whole track just works for me. It's another one of my favorite songs, and it would sound amazing in a dentist's office.
It's easy listening, baby, and it's easy on my ears. More than anything I'm curious about what this means for the next Destroyer album- if this is an aberration or a distinct step towards a new direction.
album #50
destroyer's rubies (destroyer)
This album is an old favorite. It hit me at the right time, a point of my life where I was extremely hungry for and receptive to a good, cool album, especially from something from the New Pornographers universe. This is the first Destroyer record I owned- I remember buying it from a cool record store in Soho, now a realtor's- and I've always thought of it as the gold standard. It's everything I expect from Destroyer- rambling, literate epics, hushed dissertations on manners, spectacular power riffs, plenty of ba-ba-ba la-la-la's, and a few songs I spent endless nights singing along with.
One thing I'm just now realizing, as I listen to “Rubies,” is how this must be what it feels to be a Dylan fan- Dan's strengths and quirks line up somewhat with Bob's. Dylan is obviously legend but I haven't always loved him, yet my ear is pretty warmly tuned to Destroyer. I suppose I leave his excesses behind, there's just so much left that I'm into- lots of elegant melody lines and powerful surges of guitar noise and well-earned personal connotations.
“Rubies” is one of my favorite ten-minute songs (right up there with “Marquee Moon,” “Jungleland” and the current leader, “Station To Station.”) I love the journey the song takes, and it's particularly poignant when it lands on just one fragile guitar in a quiet room.
“Your Blood” is an amble I've loved since the day I heard it; “European Oils” is a giant, my head bobbing from the first theatrical downward march of the piano, a heavy European blues journey that hits one of my favorite lyrics- “in love and war, I insist on slaughter/ and getting it on with the hangman's daughter/ she needs release, she needs to feel at peace/ with her father, the fucking maniac”- and there lands a searing riff that I've sung along with for years. And the guitar, the piano, the lyrics, all slamming in rhythm as they drown in the storm- or collapse in the barroom dance hall- just a magnificent number.
“Painter In Your Pocket” is one of my favorite songs ever; Katie and I have always bonded over it. A sad and thoughtful beauty, it moves like a submarine, you can feel the pressure of the ocean against the steel of the song, and every now and then breaks a glowing hint of pure pink perfection, a sweetly sad riff to which I'm entirely devoted. When that melody takes over in the second half- man oh man.
“3000 Flowers” rocks, searing energy from start to finish. The end of the song especially is a magnificent “push the pedal, sing along loud” slice of my youth. The rest of the album is largely blues numbers, intricate rambling jams. I haven't always loved 'em, but they're pretty solid, and I give them more listens and more leeway than I do most 'B' songs.
I wonder now how important it is to listen to an album alone in your car, when it comes to determining the music one loves most. Generally speaking, I hold residual devotion for most of the music I've listened to in my car; there are other bands and albums I've loved more in the years since, and yet I can't break the feeling that I'd love those albums even more if I'd heard them in my car. The most obvious factor is, everytime I drove, I was in a dreamy vacation environment, a nostalgia safari, and my poignancy radar was tuned so high that everything generated meaning instantaneously. If I continued to drive in my daily life- if I continued to experience most music in my car, I wonder how the effect would differ. It would be weaker, that's pretty much for sure.
This album is an old favorite. It hit me at the right time, a point of my life where I was extremely hungry for and receptive to a good, cool album, especially from something from the New Pornographers universe. This is the first Destroyer record I owned- I remember buying it from a cool record store in Soho, now a realtor's- and I've always thought of it as the gold standard. It's everything I expect from Destroyer- rambling, literate epics, hushed dissertations on manners, spectacular power riffs, plenty of ba-ba-ba la-la-la's, and a few songs I spent endless nights singing along with.
One thing I'm just now realizing, as I listen to “Rubies,” is how this must be what it feels to be a Dylan fan- Dan's strengths and quirks line up somewhat with Bob's. Dylan is obviously legend but I haven't always loved him, yet my ear is pretty warmly tuned to Destroyer. I suppose I leave his excesses behind, there's just so much left that I'm into- lots of elegant melody lines and powerful surges of guitar noise and well-earned personal connotations.
“Rubies” is one of my favorite ten-minute songs (right up there with “Marquee Moon,” “Jungleland” and the current leader, “Station To Station.”) I love the journey the song takes, and it's particularly poignant when it lands on just one fragile guitar in a quiet room.
“Your Blood” is an amble I've loved since the day I heard it; “European Oils” is a giant, my head bobbing from the first theatrical downward march of the piano, a heavy European blues journey that hits one of my favorite lyrics- “in love and war, I insist on slaughter/ and getting it on with the hangman's daughter/ she needs release, she needs to feel at peace/ with her father, the fucking maniac”- and there lands a searing riff that I've sung along with for years. And the guitar, the piano, the lyrics, all slamming in rhythm as they drown in the storm- or collapse in the barroom dance hall- just a magnificent number.
“Painter In Your Pocket” is one of my favorite songs ever; Katie and I have always bonded over it. A sad and thoughtful beauty, it moves like a submarine, you can feel the pressure of the ocean against the steel of the song, and every now and then breaks a glowing hint of pure pink perfection, a sweetly sad riff to which I'm entirely devoted. When that melody takes over in the second half- man oh man.
“3000 Flowers” rocks, searing energy from start to finish. The end of the song especially is a magnificent “push the pedal, sing along loud” slice of my youth. The rest of the album is largely blues numbers, intricate rambling jams. I haven't always loved 'em, but they're pretty solid, and I give them more listens and more leeway than I do most 'B' songs.
I wonder now how important it is to listen to an album alone in your car, when it comes to determining the music one loves most. Generally speaking, I hold residual devotion for most of the music I've listened to in my car; there are other bands and albums I've loved more in the years since, and yet I can't break the feeling that I'd love those albums even more if I'd heard them in my car. The most obvious factor is, everytime I drove, I was in a dreamy vacation environment, a nostalgia safari, and my poignancy radar was tuned so high that everything generated meaning instantaneously. If I continued to drive in my daily life- if I continued to experience most music in my car, I wonder how the effect would differ. It would be weaker, that's pretty much for sure.
album #49
angles (the strokes)
It's all right, it sounds different than The Strokes' more iconic sound, their lo-fi mid-aughts stuff. This album gleams a little more- it's almost as if they're reproducing the arc of music history, moving from the '70s garages into the later '70s disco-pop and the '80s clean synth sounds.
“Games” is a song I listen to over and over again, strictly because it opens with a fantastic minute of vintage synth disco-pop sound; “Gratisfaction” is pretty awesome, a glam-rock serenade straight out of early Bowie. And “Life Is Simple In The Moonlight” sounds a lot like Michael Jackson at the beginning- it draws you in with intro to “PYT,” eventually settling into a decent, minor key sagging sway (jolted awake every now and then by some ba-ba-bas.)
Overall, the album doesn't leave a strong impression but it's all right. It's an interesting story here- Casabalancas recorded his vocals separately and communicated with the rest of the band largely by email, and rather vaguely at that. So it makes sense that the album feels different than what came before- the rest of the band could take the lead (which Casablancas insisted on), so adherence to the formula, doing things the way they were done before, simply didn't follow.
It's all right, it sounds different than The Strokes' more iconic sound, their lo-fi mid-aughts stuff. This album gleams a little more- it's almost as if they're reproducing the arc of music history, moving from the '70s garages into the later '70s disco-pop and the '80s clean synth sounds.
“Games” is a song I listen to over and over again, strictly because it opens with a fantastic minute of vintage synth disco-pop sound; “Gratisfaction” is pretty awesome, a glam-rock serenade straight out of early Bowie. And “Life Is Simple In The Moonlight” sounds a lot like Michael Jackson at the beginning- it draws you in with intro to “PYT,” eventually settling into a decent, minor key sagging sway (jolted awake every now and then by some ba-ba-bas.)
Overall, the album doesn't leave a strong impression but it's all right. It's an interesting story here- Casabalancas recorded his vocals separately and communicated with the rest of the band largely by email, and rather vaguely at that. So it makes sense that the album feels different than what came before- the rest of the band could take the lead (which Casablancas insisted on), so adherence to the formula, doing things the way they were done before, simply didn't follow.
Tuesday, November 22, 2011
album #48
anthology II, disc 1 (the beatles)
This is a fun cache of music; it's not really a proper album, seeing as this is about 18% of the Anthology, and it's the only slice of the pie I have in my collection. It's not even my favorite slice of the pie- I remember loving Anthology II, Disc 2 more as a kid; I must've misplaced it once upon a time.
AII/D1 covers the days of Help, Rubber Soul and Revolver; I'm fairly sure that the live tracks are from their famous Shea Stadium gig. These tracks, then, are slightly before the period of my peak interest, but it's still a highly intriguing time in the band's history- transitioning from Beatlemania to the studio. The watery, kinda-cool, kinda-awkward take of “Tomorrow Never Knows,” especially in contrast to the overwhelming adoration on their concert tracks, gives you a sense of how brave that transition was- the choice to make it, to leap into the unknown, surely against their label's wishes.
Some various thoughts provoked by the tracks:
“Real Love”- holy hell, this is a great song. And truly a pretty moving production, as well. Something beautiful in the simple act of Yoko allowing the boys to make it. “I Feel Fine”- I've always really liked the song, and it's sinking in now how this truly is a hard emotional state to reach, and when you're there it truly is something to celebrate- pure, simple, uncomplicated mutual love. “Ticket To Ride”- never really loved this song, but it's just now, just tonight, hitting me how perfect this song is. It truly does describe how my most important relationships ended, and the manner that I now expect relationships to end. It's hard to keep two hearts in sync. This song tells the story, simple and sad and perfect.
“You've Got To Hide Your Love Away” > “Yesterday.”
The Anthology version of “And Your Bird Can Sing” is my favorite version- the mid-sixties cascade of guitar, it's just honey to my ear. It's a bit of a shame that their stoned giggles break the take down. “I'm Looking Through You” is a beauty; best song on the album, besides “Real Love” perhaps.
This reminds me that I should get Help!, an album of theirs that I loved as a younger man. And also, hell, why not Magical Mystery Tour? And Abbey Road. My Beatles collection is, in fact, startlingly thin. I guess it's because I've got the albums all up here, man.
I've never really considered this an album, and until today it's been years since I listened to it all in a row. These are more like filler songs, fun little classics that pop up on shuffle. In any event, it's all pretty good. The Beatles were, how you say?, pretty darn good.
This is a fun cache of music; it's not really a proper album, seeing as this is about 18% of the Anthology, and it's the only slice of the pie I have in my collection. It's not even my favorite slice of the pie- I remember loving Anthology II, Disc 2 more as a kid; I must've misplaced it once upon a time.
AII/D1 covers the days of Help, Rubber Soul and Revolver; I'm fairly sure that the live tracks are from their famous Shea Stadium gig. These tracks, then, are slightly before the period of my peak interest, but it's still a highly intriguing time in the band's history- transitioning from Beatlemania to the studio. The watery, kinda-cool, kinda-awkward take of “Tomorrow Never Knows,” especially in contrast to the overwhelming adoration on their concert tracks, gives you a sense of how brave that transition was- the choice to make it, to leap into the unknown, surely against their label's wishes.
Some various thoughts provoked by the tracks:
“Real Love”- holy hell, this is a great song. And truly a pretty moving production, as well. Something beautiful in the simple act of Yoko allowing the boys to make it. “I Feel Fine”- I've always really liked the song, and it's sinking in now how this truly is a hard emotional state to reach, and when you're there it truly is something to celebrate- pure, simple, uncomplicated mutual love. “Ticket To Ride”- never really loved this song, but it's just now, just tonight, hitting me how perfect this song is. It truly does describe how my most important relationships ended, and the manner that I now expect relationships to end. It's hard to keep two hearts in sync. This song tells the story, simple and sad and perfect.
“You've Got To Hide Your Love Away” > “Yesterday.”
The Anthology version of “And Your Bird Can Sing” is my favorite version- the mid-sixties cascade of guitar, it's just honey to my ear. It's a bit of a shame that their stoned giggles break the take down. “I'm Looking Through You” is a beauty; best song on the album, besides “Real Love” perhaps.
This reminds me that I should get Help!, an album of theirs that I loved as a younger man. And also, hell, why not Magical Mystery Tour? And Abbey Road. My Beatles collection is, in fact, startlingly thin. I guess it's because I've got the albums all up here, man.
I've never really considered this an album, and until today it's been years since I listened to it all in a row. These are more like filler songs, fun little classics that pop up on shuffle. In any event, it's all pretty good. The Beatles were, how you say?, pretty darn good.
album #47
aladdin sane (david bowie)
This is Bowie's fifties rock album, with a heavy dose of Rolling Stones, strong and simple. There's a good sing-song shape to the songs, they move on a metronome- it's a relatively predictable album, not in a bad way. There are a few odd gems- the paranoid passion of “Panic in Detroit” lifts it up a level, as the guitars run down the walls; “Time” is a vaguely hostile cabaret soliloquy, an early taste of the Thin White Duke. “Lady Grinning Soul” makes for an alluring closer, a haunting ballad of smoke and mirrors. And my favorite track is “Aladdin Sane (1913-1938-197?),” one of the great Bowie songs in my opinion. The glowering piano line seduces me instantly- add to this the eerie, searching question of the chorus, “Who Will Love Aladdin Sane?,” and the astonishing, otherwordly breakdown of the piano midway through. Nothing on this orderly album can approach the level of chaos braved in that interlude.
Another way to look at that song, in context of this album- this is the first record Bowie released as a genuine rock star, massively famous. And "Aladdin Sane" hints at the boldly strange road that he'll soon travel, far away from conventional glam rock sounds.
This is a good one- I really like this album, I'd rank it as one of my favorites of Bowie's. One question I'd love to examine is, who is Aladdin Sane, the character? I know Ziggy, I know the Duke- what's Aladdin Sane's philosophy exactly, and does it show up anywhere other than that particularly haunting track? Is there a theme that unifies these tracks on a level that I haven't discerned? The answer appears to be 'no,' and the character, as Bowie describes him, is "Ziggy goes to America." Anyway- this is a winner. Good, good album here.
This is Bowie's fifties rock album, with a heavy dose of Rolling Stones, strong and simple. There's a good sing-song shape to the songs, they move on a metronome- it's a relatively predictable album, not in a bad way. There are a few odd gems- the paranoid passion of “Panic in Detroit” lifts it up a level, as the guitars run down the walls; “Time” is a vaguely hostile cabaret soliloquy, an early taste of the Thin White Duke. “Lady Grinning Soul” makes for an alluring closer, a haunting ballad of smoke and mirrors. And my favorite track is “Aladdin Sane (1913-1938-197?),” one of the great Bowie songs in my opinion. The glowering piano line seduces me instantly- add to this the eerie, searching question of the chorus, “Who Will Love Aladdin Sane?,” and the astonishing, otherwordly breakdown of the piano midway through. Nothing on this orderly album can approach the level of chaos braved in that interlude.
Another way to look at that song, in context of this album- this is the first record Bowie released as a genuine rock star, massively famous. And "Aladdin Sane" hints at the boldly strange road that he'll soon travel, far away from conventional glam rock sounds.
This is a good one- I really like this album, I'd rank it as one of my favorites of Bowie's. One question I'd love to examine is, who is Aladdin Sane, the character? I know Ziggy, I know the Duke- what's Aladdin Sane's philosophy exactly, and does it show up anywhere other than that particularly haunting track? Is there a theme that unifies these tracks on a level that I haven't discerned? The answer appears to be 'no,' and the character, as Bowie describes him, is "Ziggy goes to America." Anyway- this is a winner. Good, good album here.
album #46
young americans (david bowie)
This is a fun album to listen to, and fun to understand as a reference point for where Bowie came from, and where he ended up. Young Americans is 'plastic soul,' as Bowie called it- soul music flattened of all meaning and sung by a priviledged white boy. There's something awkardly parodic about it, like it's not a straightforward celebration of the art form- and nothing about how it's made, just the fact of its existence. It's easy listening, seductive and fun- it's hard to reconcile this sweet, easy Bowie against the dark and surreal journey he undertook just a year later on Station to Station, and deeper into his career with the Berlin trilogy. Though on the other hand, this Bowie makes perfect sense as the precursor to the “Let's Dance” Bowie of the early '80s. Sometimes it seems Bowie can be rightly summarized as, a guy who took any given genre and created an album where he took that genre and turned it on his own warped wordlview. This record feels a little less strange though, it feels a little more straightforward. This is Bowie at his pinnacle of corporate amiability.
“Young Americans” is a funky jewel, one of my mom's favorite songs; “Win” rises with a flutter of brass wings; there's no way really to describe the other songs except to say they sound iconic- they sound like very good examples of '70s soul. They sound like what easy listening funky soul is supposed to sound like, very well constructed and melodic and endearing. They don't stand out, I'm not excited to listen to them, but the sounds are good.
The oddest song on the record is the classic finale, “Fame”- a dark, buzzing, funky, angrily atonal strut. In fact, man, after listening to the rest of the record, this barely makes sense as a track here. If the rest of this album is clouds of amber & pink, “Fame” is a blade of purple. I suppose this is the dark, weird, Bowie edge that I was looking for. Another thing that intrigues me about this record is, John Lennon sang background vocals on this song (and the cover of “Across the Universe,” my least favorite track on the album.) It must be so overwhelming, so strange to be collaborating with somebody who was a global icon when you were a young teen, somebody who was surely a personal hero- but it's a testament to Bowie's confidence that he can pull it off. That's when you really know you've made it- and when you really know that you can make it. When your heroes want to work with you, and you take it in stride.
This is a fun album to listen to, and fun to understand as a reference point for where Bowie came from, and where he ended up. Young Americans is 'plastic soul,' as Bowie called it- soul music flattened of all meaning and sung by a priviledged white boy. There's something awkardly parodic about it, like it's not a straightforward celebration of the art form- and nothing about how it's made, just the fact of its existence. It's easy listening, seductive and fun- it's hard to reconcile this sweet, easy Bowie against the dark and surreal journey he undertook just a year later on Station to Station, and deeper into his career with the Berlin trilogy. Though on the other hand, this Bowie makes perfect sense as the precursor to the “Let's Dance” Bowie of the early '80s. Sometimes it seems Bowie can be rightly summarized as, a guy who took any given genre and created an album where he took that genre and turned it on his own warped wordlview. This record feels a little less strange though, it feels a little more straightforward. This is Bowie at his pinnacle of corporate amiability.
“Young Americans” is a funky jewel, one of my mom's favorite songs; “Win” rises with a flutter of brass wings; there's no way really to describe the other songs except to say they sound iconic- they sound like very good examples of '70s soul. They sound like what easy listening funky soul is supposed to sound like, very well constructed and melodic and endearing. They don't stand out, I'm not excited to listen to them, but the sounds are good.
The oddest song on the record is the classic finale, “Fame”- a dark, buzzing, funky, angrily atonal strut. In fact, man, after listening to the rest of the record, this barely makes sense as a track here. If the rest of this album is clouds of amber & pink, “Fame” is a blade of purple. I suppose this is the dark, weird, Bowie edge that I was looking for. Another thing that intrigues me about this record is, John Lennon sang background vocals on this song (and the cover of “Across the Universe,” my least favorite track on the album.) It must be so overwhelming, so strange to be collaborating with somebody who was a global icon when you were a young teen, somebody who was surely a personal hero- but it's a testament to Bowie's confidence that he can pull it off. That's when you really know you've made it- and when you really know that you can make it. When your heroes want to work with you, and you take it in stride.
album #45
twin cinema (the new pornographers)
One of my favorite albums ever, one of the most important albums I'll ever own. A massive power-pop achievement from my favorite band of my college years. They released their peak album at the peak point of my fandom, at the end of the summer I spent driving through Texas blasting Mass Romantic and Electric Version.
The towering ballads from this album defined the end of that summer and the end of every vacation- "Stacked Crooked" stands as one of the songs I've gone to more often than any other, when I've critically needed a song to overcome me. "The Bleeding Heart Show" is right up there as well- those 'Hey-La's are the holy chants of my highway church. "Twin Cinema," love everything about it, a great opener. "Bones of an Idol," the discovery of that glowing green guitar riff, epic. "Use It," one of the ultimate 'it's time to get up and move and take action' songs. "Jackie Dresssed In Cobras" chases a gorgeous melody right up a tree and then shakes it off a branch back into the verse. "Sing Me Spanish Techno" is a a great pump-you-up track, "Three Or Four" marches to a heavy, ball-swinging beat, "Star Bodies" charges forward and evenutally leaps off a cliff into the stratosphere- that atmospheric electric breakdown in the last minute was, for a certain time, my favorite minute of miusic. And "Streets of Fire" is a lovely, low key, wistful stroll. And then every other song is prety good too.
Holy hell, how did I not choose this for the 'your favorite album ever' project? What a weird oversight on my part. I guess I thought I was over these guys, in the way that one gets 'over' The Beatles after a certain level of exposure. Station To Station might be more compelling at this point, but Twin Cinema, all the drives throughout Austin and workout sessions in my sophomore year dorm, all my last nights in the car before a morning flight= this one really, really counts in a huge way.
One of my favorite albums ever, one of the most important albums I'll ever own. A massive power-pop achievement from my favorite band of my college years. They released their peak album at the peak point of my fandom, at the end of the summer I spent driving through Texas blasting Mass Romantic and Electric Version.
The towering ballads from this album defined the end of that summer and the end of every vacation- "Stacked Crooked" stands as one of the songs I've gone to more often than any other, when I've critically needed a song to overcome me. "The Bleeding Heart Show" is right up there as well- those 'Hey-La's are the holy chants of my highway church. "Twin Cinema," love everything about it, a great opener. "Bones of an Idol," the discovery of that glowing green guitar riff, epic. "Use It," one of the ultimate 'it's time to get up and move and take action' songs. "Jackie Dresssed In Cobras" chases a gorgeous melody right up a tree and then shakes it off a branch back into the verse. "Sing Me Spanish Techno" is a a great pump-you-up track, "Three Or Four" marches to a heavy, ball-swinging beat, "Star Bodies" charges forward and evenutally leaps off a cliff into the stratosphere- that atmospheric electric breakdown in the last minute was, for a certain time, my favorite minute of miusic. And "Streets of Fire" is a lovely, low key, wistful stroll. And then every other song is prety good too.
Holy hell, how did I not choose this for the 'your favorite album ever' project? What a weird oversight on my part. I guess I thought I was over these guys, in the way that one gets 'over' The Beatles after a certain level of exposure. Station To Station might be more compelling at this point, but Twin Cinema, all the drives throughout Austin and workout sessions in my sophomore year dorm, all my last nights in the car before a morning flight= this one really, really counts in a huge way.
Monday, November 21, 2011
album #44
physical graffiti (led zeppelin)
A lot of pretty badass stuff on this album- a heavy, nasty, sexy, swaggering album. Great riffs.
“Custard Pie” sets the tone early, a throbbing rhythmic riff, Robert Plant's ooh's and aah's from across the stage and right up into your body. It's a great opener, one of my favorite tracks. “The Rover” is heavy and nasty, like a serious workout, with an irresistable high riff sneaking in. “Houses of the Holy” charms me, it's got a melodically seductive ease, the song you sing to bring a girl home- not the song you sing once you get there. “Kashmir” is an epic, that thunderous orchestral wave crashing into your ears- a peak moment for the album. There's something about the lazy melodic charm of “Down By The Seaside” that pulls me in, it's worth revisiting. “Ten Years Gone” is a melodic, melancholy beauty, the man choosing music over a particular love. This song's guitars break open in a way that reminds me of the best blues moments from a John Mayer album. And “The Wanton Song” very suddenly became one of my favorite Zeppelin songs, the main riff drives with relentless power, a violent motor, and the shell eventually cracks to reveal this pearl of melody in an aquatic wash of guitar sound. One of those musical moments that I keep tapping like a junkie, willing to listen to so many empty minutes just to hit that perfect taste again.
Lots of good on this album, though I gotta say it's a little long for my tastes- too many songs, and they're all a little too long. Which gives me the odd idea of releasing edited versions of albums (Indeed, I have done this with one or two albums), cut out what I consider filler and keep the songs centered on their best melodic highs. Indulgence seems to be one of Zeppelin's defining traits, and that's evident in both form and function.
A lot of pretty badass stuff on this album- a heavy, nasty, sexy, swaggering album. Great riffs.
“Custard Pie” sets the tone early, a throbbing rhythmic riff, Robert Plant's ooh's and aah's from across the stage and right up into your body. It's a great opener, one of my favorite tracks. “The Rover” is heavy and nasty, like a serious workout, with an irresistable high riff sneaking in. “Houses of the Holy” charms me, it's got a melodically seductive ease, the song you sing to bring a girl home- not the song you sing once you get there. “Kashmir” is an epic, that thunderous orchestral wave crashing into your ears- a peak moment for the album. There's something about the lazy melodic charm of “Down By The Seaside” that pulls me in, it's worth revisiting. “Ten Years Gone” is a melodic, melancholy beauty, the man choosing music over a particular love. This song's guitars break open in a way that reminds me of the best blues moments from a John Mayer album. And “The Wanton Song” very suddenly became one of my favorite Zeppelin songs, the main riff drives with relentless power, a violent motor, and the shell eventually cracks to reveal this pearl of melody in an aquatic wash of guitar sound. One of those musical moments that I keep tapping like a junkie, willing to listen to so many empty minutes just to hit that perfect taste again.
Lots of good on this album, though I gotta say it's a little long for my tastes- too many songs, and they're all a little too long. Which gives me the odd idea of releasing edited versions of albums (Indeed, I have done this with one or two albums), cut out what I consider filler and keep the songs centered on their best melodic highs. Indulgence seems to be one of Zeppelin's defining traits, and that's evident in both form and function.
album #43
bitter tea (the fiery furnaces)
This is a cold, crisp, gray air album. It's a winter album for me, I remember it from January in Texas, driving around Brandon's neighborhood, or nights sometimes. There's a dry mint flavor to it, cool and disconnected. The instruments have a dry electric tingle to them. 'Bitter tea' really is a pretty good name for this odd record, a further lurch electricward than any of their earlier records, to a fault.
"Black-Hearted Boy" was a track I used to like, the lamented torch song, seductive melody- but it gets derailed by its tangy electronic excesses, a recurring theme of this album. "Bitter Tea" is a fun time, first minute sounds like a fantastic arcade showdown. "Oh Sweet Woods" is an old favorite, a terrific nighttime track, eerie and imposing, a hallucinated manhunt. "Police Sweater Vow" is a more straightforward number, there's a lift to the groove that implies, 'shit man, everything's fine.' I've always liked the vintage rock ballad vibe of "Whistle Rhapsody," a song that could have seduced '70s arenas. And "Benton Harbor Blues" is a chill, melodic beauty, a cousin of "Tropicool Ice Land," and lyrically a fine go-to in times of reflection.
This is one of my less-favored Fiery Furnaces albums, it just doesn't pull me in. Good tracks though, and it captures a particular season quite well.
This is a cold, crisp, gray air album. It's a winter album for me, I remember it from January in Texas, driving around Brandon's neighborhood, or nights sometimes. There's a dry mint flavor to it, cool and disconnected. The instruments have a dry electric tingle to them. 'Bitter tea' really is a pretty good name for this odd record, a further lurch electricward than any of their earlier records, to a fault.
"Black-Hearted Boy" was a track I used to like, the lamented torch song, seductive melody- but it gets derailed by its tangy electronic excesses, a recurring theme of this album. "Bitter Tea" is a fun time, first minute sounds like a fantastic arcade showdown. "Oh Sweet Woods" is an old favorite, a terrific nighttime track, eerie and imposing, a hallucinated manhunt. "Police Sweater Vow" is a more straightforward number, there's a lift to the groove that implies, 'shit man, everything's fine.' I've always liked the vintage rock ballad vibe of "Whistle Rhapsody," a song that could have seduced '70s arenas. And "Benton Harbor Blues" is a chill, melodic beauty, a cousin of "Tropicool Ice Land," and lyrically a fine go-to in times of reflection.
This is one of my less-favored Fiery Furnaces albums, it just doesn't pull me in. Good tracks though, and it captures a particular season quite well.
album #42
the black saint and the sinner lady (charles mingus)
An all-time great album title, and a great album too. It sways with exhilarating bombast, like a jazz pirate ship, or a stumble-bumble adventure through angular New York alleyways, colored like a comic book. This album tells more of a story than any other jazz album I've heard so far- others have a cool ambience or take a nice journey, but this album always creates pictures for me more vividly than any other record, I really feel the rainy, angular, brick-wall, yellow light, swaying and bustling adventure.
This album moves between states very well- I've thought lately about moving between states as a crucial element of a comedic scene, that the moments of transition are where the laughter and surprise comes- and this album demonstrates that ability quite well, musically. Low sways, Spanish guitars, bursts of activity. You're always lurching around, looking for your footing, while The Black Saint and the Sinner Lady pulls you and moves you.
An all-time great album title, and a great album too. It sways with exhilarating bombast, like a jazz pirate ship, or a stumble-bumble adventure through angular New York alleyways, colored like a comic book. This album tells more of a story than any other jazz album I've heard so far- others have a cool ambience or take a nice journey, but this album always creates pictures for me more vividly than any other record, I really feel the rainy, angular, brick-wall, yellow light, swaying and bustling adventure.
This album moves between states very well- I've thought lately about moving between states as a crucial element of a comedic scene, that the moments of transition are where the laughter and surprise comes- and this album demonstrates that ability quite well, musically. Low sways, Spanish guitars, bursts of activity. You're always lurching around, looking for your footing, while The Black Saint and the Sinner Lady pulls you and moves you.
album #41
hexadecagon (the octopus project)
Two things I didn't know about this band until the other night: They're Austin natives, and also this album was played live as an installation piece at South by Southwest, an epic art-concert. And knowing that really makes the record make sense- I'd describe this as an album that would be more exhilarating live. Get caught up in the rhythms, feel the sound surround you, everybody bobbing and dancing along. It makes me think about music as a Catholic experience, sheltered and religious and mystical and totemic, vs. mechanically reproduced music, where I'm just sitting and listening to this album on my bed, in between gchat conversations and thinking about what site to head to next. Shadowy dancers, neon streaks of light, that's what I see now when I think of this album.
Particular favorites: "A Phantasy," I've always liked how the melody line lands in that track, and "Circling" is pretty exciting, it very much feels like the communal climax, there's an awesome sense of drive and drama and unity in the way the instruments spiral around the central, authoritative key line, like a tight jagged twister.
Don't love all the tracks but they're all fun, positive, there's a melodic goodness to it- I wouldn't call myself excited by Most of the tracks, though. This band might be worth further exploration, though, if they've put together other albums that have pulled a strong response.
Two things I didn't know about this band until the other night: They're Austin natives, and also this album was played live as an installation piece at South by Southwest, an epic art-concert. And knowing that really makes the record make sense- I'd describe this as an album that would be more exhilarating live. Get caught up in the rhythms, feel the sound surround you, everybody bobbing and dancing along. It makes me think about music as a Catholic experience, sheltered and religious and mystical and totemic, vs. mechanically reproduced music, where I'm just sitting and listening to this album on my bed, in between gchat conversations and thinking about what site to head to next. Shadowy dancers, neon streaks of light, that's what I see now when I think of this album.
Particular favorites: "A Phantasy," I've always liked how the melody line lands in that track, and "Circling" is pretty exciting, it very much feels like the communal climax, there's an awesome sense of drive and drama and unity in the way the instruments spiral around the central, authoritative key line, like a tight jagged twister.
Don't love all the tracks but they're all fun, positive, there's a melodic goodness to it- I wouldn't call myself excited by Most of the tracks, though. This band might be worth further exploration, though, if they've put together other albums that have pulled a strong response.
album #40
evil empire (rage against the machine)
A fun, feisty record, a badass record- scowl, feel the fury coasting your veins, give a smart and fierce "fuck you" to all the bastards. "People Of The Sun," an awesome opening track- immediately you feel everything that's gonna work on this album, the high tight spit of the vocals, the rusty buzzsaw fire guitar that can do anything; the irresistible throb of the bass. This is, indeed, one of the only times that "rap metal" works, and beyond 'works'- it makes resounding sense. It's the perfect combination of sounds and philosophies to capture the fully defiant spirit of the band.
My main complaint is that the songs, over time, all sound pretty similar- and it does remind me of Texas gyms, as all metal does (even if this is way better than the average track from that genre.) There are a few gems, though, each track can probably win three minutes at a time- that is, enjoyed in a context without being worn down over the course of an album (much like Radiohead in that regard.)
A fun, feisty record, a badass record- scowl, feel the fury coasting your veins, give a smart and fierce "fuck you" to all the bastards. "People Of The Sun," an awesome opening track- immediately you feel everything that's gonna work on this album, the high tight spit of the vocals, the rusty buzzsaw fire guitar that can do anything; the irresistible throb of the bass. This is, indeed, one of the only times that "rap metal" works, and beyond 'works'- it makes resounding sense. It's the perfect combination of sounds and philosophies to capture the fully defiant spirit of the band.
My main complaint is that the songs, over time, all sound pretty similar- and it does remind me of Texas gyms, as all metal does (even if this is way better than the average track from that genre.) There are a few gems, though, each track can probably win three minutes at a time- that is, enjoyed in a context without being worn down over the course of an album (much like Radiohead in that regard.)
album #39
helplessness blues (fleet foxes)
An endearing album, and it's grown on me. "Montezuma" is immediately beautiful, the melancholy choral cascade completely seduces me; "Bedouin Dress" wins me over with that earnest guitar and playful clarinet. The album pulls together beautiful choral harmonies again and again, with that tinge of working man's pastoral sadness, an oldness and wisdom and sense of simplicity throughout. "Helplessness Blues" is an absolute beauty, I love the rhythmic pluck and dash of "Lorelai," especially with the symphonic vocals- it's probably my favorite track on the album, after "Montezuma."
I really love this band- not only beautiful on the level of melody, harmony and instrumentation, but even the wistful philosophical tinge of their lyrics suits me right. This band is one of the greats (and to think, I used to envy/resent/ignore them, just because they're slightly younger than I am. Although that remains a sickening thought.)
An endearing album, and it's grown on me. "Montezuma" is immediately beautiful, the melancholy choral cascade completely seduces me; "Bedouin Dress" wins me over with that earnest guitar and playful clarinet. The album pulls together beautiful choral harmonies again and again, with that tinge of working man's pastoral sadness, an oldness and wisdom and sense of simplicity throughout. "Helplessness Blues" is an absolute beauty, I love the rhythmic pluck and dash of "Lorelai," especially with the symphonic vocals- it's probably my favorite track on the album, after "Montezuma."
I really love this band- not only beautiful on the level of melody, harmony and instrumentation, but even the wistful philosophical tinge of their lyrics suits me right. This band is one of the greats (and to think, I used to envy/resent/ignore them, just because they're slightly younger than I am. Although that remains a sickening thought.)
album #38
before today (ariel pink's haunted graffiti)
This is an example of an album where I just never think of the title; I've always thought of the band's name as the album name. It's a shady album, it googles and buzzes. The electric sound almost sounds like a kazoo. It's a fun, fuzzy foggy retro album, with two superstar tracks: the undercard "Fright Night," glowing melodic synths dramatically landing across the purple nightscape song; and "Round And Round," Pitchfork's best song of 2010, an honor my roommates and I initially met with derision- but upon inspection, I personally came around to it in a big way. It still sounds like that particular December to me, and even more specifically it's the night I first came back from LGA. A lovely anthem, instrumental choices that stretch across the best of the '80s, a final fadeout I've made a habit of singing along with.
After those two songs, in the context of the whole album, I realize how the rest of the record just can't compete with those stars. Good songs all, but those two are in their own stratosphere. Altogether, a fun record, and I'm more likely than not to stick with a track when it comes up on shuffle. I like this guy- even though he oozes LA premeditated weirdcool, he's put together some pretty acceptable, weirdcool tracks.
This is an example of an album where I just never think of the title; I've always thought of the band's name as the album name. It's a shady album, it googles and buzzes. The electric sound almost sounds like a kazoo. It's a fun, fuzzy foggy retro album, with two superstar tracks: the undercard "Fright Night," glowing melodic synths dramatically landing across the purple nightscape song; and "Round And Round," Pitchfork's best song of 2010, an honor my roommates and I initially met with derision- but upon inspection, I personally came around to it in a big way. It still sounds like that particular December to me, and even more specifically it's the night I first came back from LGA. A lovely anthem, instrumental choices that stretch across the best of the '80s, a final fadeout I've made a habit of singing along with.
After those two songs, in the context of the whole album, I realize how the rest of the record just can't compete with those stars. Good songs all, but those two are in their own stratosphere. Altogether, a fun record, and I'm more likely than not to stick with a track when it comes up on shuffle. I like this guy- even though he oozes LA premeditated weirdcool, he's put together some pretty acceptable, weirdcool tracks.
Friday, November 18, 2011
album #37
ahmad jamal at the pershing (ahmad jamal)
A sublime album, one of my favorite finds from my friend's album project. I think of this album less as a matter of individual songs, and more the continuum of a concert. I love live recordings; the ambience of the crowd's engagement, the way the music reverberates out to the space- space we're free to imagine.
Here's a thing I'm thinking about just now, the difference between picturing music that takes place in a studio (where it's really anywhere we want it to be, evokes anything we want) and recorded music that takes place live (this album, for me, always evokes itself, a sharp '60s crowd awash in blue, a hint of smoke.) Though maybe that's not fair to say- after all, what this album Really evokes is The Blue Note, back when (I think it was Katie) I attended a performance there. And At Folsom Prison, though I always feel the environment (I picture it as concrete yellows, brownish gray uniforms), I suppose it also takes me out to the wilderness- but not quite the total way that, say, Red Headed Stranger does. And I bet the environment is a key factor there. The audience becomes an instrument, an element of the expression, and therefore an element of the interpretation. It's pretty true of actually live-attended concerts, the music is the focus but so much of the experience comes from the shared sensations of the crowd, the feeling of sharing something vibrant and connective.
This makes me feel like reading up more on Walter Benjamin or talking to Annie. In any event, this is a delightful album, cool, melodic, elegant, charming. A very good listen, an artist worth knowing more.
A sublime album, one of my favorite finds from my friend's album project. I think of this album less as a matter of individual songs, and more the continuum of a concert. I love live recordings; the ambience of the crowd's engagement, the way the music reverberates out to the space- space we're free to imagine.
Here's a thing I'm thinking about just now, the difference between picturing music that takes place in a studio (where it's really anywhere we want it to be, evokes anything we want) and recorded music that takes place live (this album, for me, always evokes itself, a sharp '60s crowd awash in blue, a hint of smoke.) Though maybe that's not fair to say- after all, what this album Really evokes is The Blue Note, back when (I think it was Katie) I attended a performance there. And At Folsom Prison, though I always feel the environment (I picture it as concrete yellows, brownish gray uniforms), I suppose it also takes me out to the wilderness- but not quite the total way that, say, Red Headed Stranger does. And I bet the environment is a key factor there. The audience becomes an instrument, an element of the expression, and therefore an element of the interpretation. It's pretty true of actually live-attended concerts, the music is the focus but so much of the experience comes from the shared sensations of the crowd, the feeling of sharing something vibrant and connective.
This makes me feel like reading up more on Walter Benjamin or talking to Annie. In any event, this is a delightful album, cool, melodic, elegant, charming. A very good listen, an artist worth knowing more.
album #36
pink moon (nick drake)
This album sounds like beautiful autumn photography, memories of the Bronx Zoo or Thanksgiving '07, warm autumn- the leaves every color, the still beauty of the lake, multiplying the images. Leaves that don't necessarily crunch when you step on them. A sweet album with that hint of melancholy, it's very relistenable. Lovely ambient music. Makes me think of the 'lodge rock' genre making its way into pop culture, musical Waldens. This album surely is one of the iconic progenitors of that style.
Nick Drake's a Van Gogh figure, one of those tragic posthumous heroes, and I've appreciated everything of his that I've heard. My favorite song of his is from the Garden State soundtrack, "One of These Things First." As lovely as he can be with just the organic sound of the guitar, I'd also like to hear more of his more layered compositions.
This album sounds like beautiful autumn photography, memories of the Bronx Zoo or Thanksgiving '07, warm autumn- the leaves every color, the still beauty of the lake, multiplying the images. Leaves that don't necessarily crunch when you step on them. A sweet album with that hint of melancholy, it's very relistenable. Lovely ambient music. Makes me think of the 'lodge rock' genre making its way into pop culture, musical Waldens. This album surely is one of the iconic progenitors of that style.
Nick Drake's a Van Gogh figure, one of those tragic posthumous heroes, and I've appreciated everything of his that I've heard. My favorite song of his is from the Garden State soundtrack, "One of These Things First." As lovely as he can be with just the organic sound of the guitar, I'd also like to hear more of his more layered compositions.
Saturday, November 12, 2011
album #35
electric version (the new pornographers)
I've always loved this album, and it was my favorite New Pornographers album (out of the two I knew) that fateful summer '05, one of the crucial eras of absorbing music from the driver's seat on Austin area highways. Two main differences from Mass Romantic: (1) Electric Version strikes me as slightly sweeter, a little bit cuter, not quite as relentless; and (2) it's a little more uneven, a mix of tracks slightly weaker than Mass Romantic's weakest, and several other tracks that are supreme personal favorites.
"Electric Version," for instance, is one of my favorite opening tracks on any album, and is basically the opening track of summer '05. That roll of drums, that cascade of dark pearly synths down the stairs, the bob and surge of the chorus; a pair of Neko-driven tracks that I used to absolutely destroy my ears with, "The Laws Have Changed" and especially "All For Swinging You Around," a song that for a certain shining time felt like it would be my favorite song forever. "July Jones," from the title, to the somewhat hot, tired swoon of the beat, forever feels like late summer '05 to me; "Loose Translation" is a beauty, a terrific melody in the keys that lines up with the percussion quite compellingly. "Chump Change" is a song I feel like I'm discovering just now- it wasn't on the summer '05 mix (not enough space on the cd, one of the tracks I left behind), and I'm just now noticing the Fleetwood Mac-esque searing harmony, great stuff going on in this track. And then there's the song that, a winter or two or three after that summer '05 peak, became one of my favorite songs: "Ballad of A Comeback Kid," a true tower, a journey that climaxes with an anthemic roll of guitar hooks that I sang along with, loud, hopeful, wistful, triumphant, again and again and again.
I've always loved this album, and it was my favorite New Pornographers album (out of the two I knew) that fateful summer '05, one of the crucial eras of absorbing music from the driver's seat on Austin area highways. Two main differences from Mass Romantic: (1) Electric Version strikes me as slightly sweeter, a little bit cuter, not quite as relentless; and (2) it's a little more uneven, a mix of tracks slightly weaker than Mass Romantic's weakest, and several other tracks that are supreme personal favorites.
"Electric Version," for instance, is one of my favorite opening tracks on any album, and is basically the opening track of summer '05. That roll of drums, that cascade of dark pearly synths down the stairs, the bob and surge of the chorus; a pair of Neko-driven tracks that I used to absolutely destroy my ears with, "The Laws Have Changed" and especially "All For Swinging You Around," a song that for a certain shining time felt like it would be my favorite song forever. "July Jones," from the title, to the somewhat hot, tired swoon of the beat, forever feels like late summer '05 to me; "Loose Translation" is a beauty, a terrific melody in the keys that lines up with the percussion quite compellingly. "Chump Change" is a song I feel like I'm discovering just now- it wasn't on the summer '05 mix (not enough space on the cd, one of the tracks I left behind), and I'm just now noticing the Fleetwood Mac-esque searing harmony, great stuff going on in this track. And then there's the song that, a winter or two or three after that summer '05 peak, became one of my favorite songs: "Ballad of A Comeback Kid," a true tower, a journey that climaxes with an anthemic roll of guitar hooks that I sang along with, loud, hopeful, wistful, triumphant, again and again and again.
album #34
the brutalist bricks (ted leo)
I loved this guy when I was younger; a very exciting performer to see live. The records he's released in recent years haven't totally captured my imagination. This record doesn't leave me with a strong impression, it mostly feels like filler, it just kinda sounds like him. A few tracks I love- "Gimme The Wire," wonderful energy on this one, a real zip of a number; "Bartolomeo and the Buzzing of Bees" is a romantic number, there's something seductive in that low, slow, driven rhythm, the lyrics that hint at new promises offered to an old flame. Something about it evokes a balcony scene. And "Bottled In Cork" is the star track, I really love it- it starts with a classic Ted Leo zip, and suddenly stops at the cliff's edge and shifts splendidly into a melodic, sing-song number with a vintage feel, a total beauty. Something about it evokes "Queen Bitch," that melodic acoustic call and response rhythm; it certainly sounds like a track that would exist on a Wes Andersen soundtrack. I remember hearing this song in a bar and loving it, and when my pal Russ identified it, I remember knowing then and there that Russ was a guy who knows his music.
It's possible I haven't given the rest of the tracks enough time to sink in and become their own; maybe I'll return some other time, but for now I'm content with what I've mined from this record. If anything I need to get his older albums into my collection.
I loved this guy when I was younger; a very exciting performer to see live. The records he's released in recent years haven't totally captured my imagination. This record doesn't leave me with a strong impression, it mostly feels like filler, it just kinda sounds like him. A few tracks I love- "Gimme The Wire," wonderful energy on this one, a real zip of a number; "Bartolomeo and the Buzzing of Bees" is a romantic number, there's something seductive in that low, slow, driven rhythm, the lyrics that hint at new promises offered to an old flame. Something about it evokes a balcony scene. And "Bottled In Cork" is the star track, I really love it- it starts with a classic Ted Leo zip, and suddenly stops at the cliff's edge and shifts splendidly into a melodic, sing-song number with a vintage feel, a total beauty. Something about it evokes "Queen Bitch," that melodic acoustic call and response rhythm; it certainly sounds like a track that would exist on a Wes Andersen soundtrack. I remember hearing this song in a bar and loving it, and when my pal Russ identified it, I remember knowing then and there that Russ was a guy who knows his music.
It's possible I haven't given the rest of the tracks enough time to sink in and become their own; maybe I'll return some other time, but for now I'm content with what I've mined from this record. If anything I need to get his older albums into my collection.
Friday, November 11, 2011
album #33
mass romantic (the new pornographers)
An absolutely awesome album, one of my favorites as a younger guy, and still fantastic. I think of this album largely for having really hard, heavy, blazingly strong beats- just militant, aggressive power-drumming. I feel like I heard AC Newman say that once in an interview or somesuch, that a strong female vocalist and powerful drumming were the two keys to making great pop music. This record certainly could support that theory. Every track is awesome and has stayed fresh for me; I'd rank it in one of the highest circles of my 'favorite album ever' conversation, with the only drawback being a dearth of the sentimental, reflectively nostalgic numbers that generally seal an album's beauty for me.
Still, several good memories associated with this record- "Mass Romantic" was a favorite track, I remember going to it often in the drive to Brandon's, really slamming it. "Letter From An Occupant" I always loved blaring, and I love the aggressive, slamming synth rhythm of "Mystery Hours," I just Loved how aggressive it was. And "Jackie" is cool too, it contains one of my favorite New Pornographers lyrics (one of Scott's favorites too): "visualize success but don't believe your eyes."
This record is stunningly awesome and it's possibly my third favorite album by this band. Goes to show you why they're one of the biggest bands of my life.
An absolutely awesome album, one of my favorites as a younger guy, and still fantastic. I think of this album largely for having really hard, heavy, blazingly strong beats- just militant, aggressive power-drumming. I feel like I heard AC Newman say that once in an interview or somesuch, that a strong female vocalist and powerful drumming were the two keys to making great pop music. This record certainly could support that theory. Every track is awesome and has stayed fresh for me; I'd rank it in one of the highest circles of my 'favorite album ever' conversation, with the only drawback being a dearth of the sentimental, reflectively nostalgic numbers that generally seal an album's beauty for me.
Still, several good memories associated with this record- "Mass Romantic" was a favorite track, I remember going to it often in the drive to Brandon's, really slamming it. "Letter From An Occupant" I always loved blaring, and I love the aggressive, slamming synth rhythm of "Mystery Hours," I just Loved how aggressive it was. And "Jackie" is cool too, it contains one of my favorite New Pornographers lyrics (one of Scott's favorites too): "visualize success but don't believe your eyes."
This record is stunningly awesome and it's possibly my third favorite album by this band. Goes to show you why they're one of the biggest bands of my life.
album #32
jj nº 3 (jj)
These guys remind me of Sigur Ros, there's a ghostly prettiness to the record, it swirls around in this synthy, white-snow-in-the-bright-sun dreamscape. They remind me of Dark Dark Dark- one big reason because I found each of these through the same friend; another because there's a sense of muted mystery around both of them, a darkness from which the vocals shine out; the main difference between the two is the Eastern European bent of the latter, the Nordic bent of the former. I don't particularly need this record, I do love one track though: "You Know," a sparkling melody with a hint of sadness and a graceful ambition. Those adjectives generally apply to the feel of the album.
These guys remind me of Sigur Ros, there's a ghostly prettiness to the record, it swirls around in this synthy, white-snow-in-the-bright-sun dreamscape. They remind me of Dark Dark Dark- one big reason because I found each of these through the same friend; another because there's a sense of muted mystery around both of them, a darkness from which the vocals shine out; the main difference between the two is the Eastern European bent of the latter, the Nordic bent of the former. I don't particularly need this record, I do love one track though: "You Know," a sparkling melody with a hint of sadness and a graceful ambition. Those adjectives generally apply to the feel of the album.
album #31
the idiot (iggy pop)
This record sounds like a dark New York alley in the '70s and the warriors are marching towards you. Ominous, smoky, metric rhythm, a bit of a sneer. Bowie produced this for Iggy in Berlin, as a favor to a friend, and also as a chance to experiment with techniques and ideas that he'd bring to fruition on Low. It was interesting to learn that Bowie's new wave/disco "Little China Girl" was in fact a cover (and apparently as a favor, to get royalty checks headed Iggy's way), and that the original is here- a melodic number crafted by Bowie, with those iconic lyrics from Iggy. I've always especially loved the lyric, "I'll give you television; I'll give you eyes of blue." Iggy tended to improvise his lyrics at the mic- very impressive, compelling stuff he came up with. Also, my favorite track is "Dum Dum Boys"- the sneering, searing, heavy march of the guitar just wins me over completely. Reminds me of the ancestor, the superior ancestor, of Black Flag's "Life of Pain."
This record sounds like a dark New York alley in the '70s and the warriors are marching towards you. Ominous, smoky, metric rhythm, a bit of a sneer. Bowie produced this for Iggy in Berlin, as a favor to a friend, and also as a chance to experiment with techniques and ideas that he'd bring to fruition on Low. It was interesting to learn that Bowie's new wave/disco "Little China Girl" was in fact a cover (and apparently as a favor, to get royalty checks headed Iggy's way), and that the original is here- a melodic number crafted by Bowie, with those iconic lyrics from Iggy. I've always especially loved the lyric, "I'll give you television; I'll give you eyes of blue." Iggy tended to improvise his lyrics at the mic- very impressive, compelling stuff he came up with. Also, my favorite track is "Dum Dum Boys"- the sneering, searing, heavy march of the guitar just wins me over completely. Reminds me of the ancestor, the superior ancestor, of Black Flag's "Life of Pain."
Tuesday, November 8, 2011
album #30
perfect teeth (unrest)
A mix of sweet, strange and contemplative, and terrific jangly pop.
“Cath Carroll”- a favorite. I love the guitars driving the rhythm, the esoteric subject matter (a ballad for a music critic), the high aaaah’s of the chorus. I really like this one.
“So Sick”- another song with the guitars directing the rhythm, nice vocals, nice tone- good one all around. “Light Command,” anohter song with a good, quick, jangly uptempo rhythm, good sound.
I really like “Soon It Is Going to Rain”- this long, low, melodic, contemplative song… so different than all my other favorites. More measured, patient- but beautiful. A magnificent song, indoors and alone. The plaintiveness in the voice, the strange details, the sense of romance, nostalgia… it just feels like a distant, perfect young romance.
“Make Out Club” is considered their best song. Great melody/rhythm/energy/story, a warm spread of romance and nostalgia- it’s definitely the song that really captures their essence. “West Coast Love Affair” is pretty cool- I love that really low, cool style, so different from the rest of their tracks. And the chant of “Six Layer Cake” has grown on me.
It’s a pretty good album, a really nice distinct style- romantic, yearning, nostalgic, internal- both in their slow pieces and their fast ones.
A mix of sweet, strange and contemplative, and terrific jangly pop.
“Cath Carroll”- a favorite. I love the guitars driving the rhythm, the esoteric subject matter (a ballad for a music critic), the high aaaah’s of the chorus. I really like this one.
“So Sick”- another song with the guitars directing the rhythm, nice vocals, nice tone- good one all around. “Light Command,” anohter song with a good, quick, jangly uptempo rhythm, good sound.
I really like “Soon It Is Going to Rain”- this long, low, melodic, contemplative song… so different than all my other favorites. More measured, patient- but beautiful. A magnificent song, indoors and alone. The plaintiveness in the voice, the strange details, the sense of romance, nostalgia… it just feels like a distant, perfect young romance.
“Make Out Club” is considered their best song. Great melody/rhythm/energy/story, a warm spread of romance and nostalgia- it’s definitely the song that really captures their essence. “West Coast Love Affair” is pretty cool- I love that really low, cool style, so different from the rest of their tracks. And the chant of “Six Layer Cake” has grown on me.
It’s a pretty good album, a really nice distinct style- romantic, yearning, nostalgic, internal- both in their slow pieces and their fast ones.
album #29
it’s never been like that (phoenix)
I LOVE this album. Few bands play guitar with a more perfect crackle and pop. There’s a brightness to them I just love.
“Napoleon Says”- addictive sear of the guitar. “Consolation Prizes”- pure shimmering pop. Total classic. I listen to this song when I’m waking up and I always feel like I’m in the opening credits of an indie movie. Also the lyrics are strikingly relevant to my life. Even when it gets too sugary after a few listens, this has become one of the key songs in my life.
“Long Distance Call”- Awesome. The song that I got the record for, that hot flat drumming, the urgent tangle of guitar and bass, the cascade yelp of the chorus. This is a great track.
In the middle of the album the songs take on a coolness, a leisutely groove, a brisk autumn drive.
“Lost and Found”- I love everything that happens with the guitars, the beautiful glow as they dance down the stairs, and the heavier dramatic swing in the chorus gets me too.
This album is in the category of, multiple stars, and even the forgettables are listenable (though they may try my patience just a little- this group has a habit of too-long instrumentals.)
And then, man, the closers. “Sometimes in the Fall”- (I love the drive, love the call of the vocals, the bright slide of the guitar. Classic. And “Second to None”- on an album repeatedly defined by brilliant, shiny, striking guitar work, this might be the best of all. The guitars take dramatic stands across the whole song, especially in the chorus- a breakthrough of narrative. There’s a huge story, a huge promise, entirely in the strike of a riff. And the puppy-dog yelp of the vocals, of course, another Phoenix trademark.
Great pop, driven by some of my favorite guitars in music. I love these guys.
I LOVE this album. Few bands play guitar with a more perfect crackle and pop. There’s a brightness to them I just love.
“Napoleon Says”- addictive sear of the guitar. “Consolation Prizes”- pure shimmering pop. Total classic. I listen to this song when I’m waking up and I always feel like I’m in the opening credits of an indie movie. Also the lyrics are strikingly relevant to my life. Even when it gets too sugary after a few listens, this has become one of the key songs in my life.
“Long Distance Call”- Awesome. The song that I got the record for, that hot flat drumming, the urgent tangle of guitar and bass, the cascade yelp of the chorus. This is a great track.
In the middle of the album the songs take on a coolness, a leisutely groove, a brisk autumn drive.
“Lost and Found”- I love everything that happens with the guitars, the beautiful glow as they dance down the stairs, and the heavier dramatic swing in the chorus gets me too.
This album is in the category of, multiple stars, and even the forgettables are listenable (though they may try my patience just a little- this group has a habit of too-long instrumentals.)
And then, man, the closers. “Sometimes in the Fall”- (I love the drive, love the call of the vocals, the bright slide of the guitar. Classic. And “Second to None”- on an album repeatedly defined by brilliant, shiny, striking guitar work, this might be the best of all. The guitars take dramatic stands across the whole song, especially in the chorus- a breakthrough of narrative. There’s a huge story, a huge promise, entirely in the strike of a riff. And the puppy-dog yelp of the vocals, of course, another Phoenix trademark.
Great pop, driven by some of my favorite guitars in music. I love these guys.
album #28
ep (the fiery furnaces)
This is a good album, and I kinda think of it as the default Fiery Furnaces album- it seems like an even balance of their more adventurous sounds and their clearer pop ideas and their sea-chanty storytelling. I wonder though if I've heard these songs too many times, if the sense of surprise and joy has dissipated through sheer familiarity. My reaction to these songs is, "yep, they're Fiery Furnaces songs," not "Hell Yeah! Let's hear that again!"
Favorite moments: probably the heavy-landing chorus of "Duffer St. George" and the forboding, melodic introduction to "Cousin Chris."
Altogether good; I wouldn't skip these songs on shuffle, but I'm not going for this album when I need music.
This is a good album, and I kinda think of it as the default Fiery Furnaces album- it seems like an even balance of their more adventurous sounds and their clearer pop ideas and their sea-chanty storytelling. I wonder though if I've heard these songs too many times, if the sense of surprise and joy has dissipated through sheer familiarity. My reaction to these songs is, "yep, they're Fiery Furnaces songs," not "Hell Yeah! Let's hear that again!"
Favorite moments: probably the heavy-landing chorus of "Duffer St. George" and the forboding, melodic introduction to "Cousin Chris."
Altogether good; I wouldn't skip these songs on shuffle, but I'm not going for this album when I need music.
album #27
graceland (paul simon)
I deliberately chose Graceland, my favorite album, for #27 (my lucky number.) This is just a beautiful album, melodic, rhythmic, poetic, playful. Every track is a jewel, Every track. Do I need to come up with a flowery synonym for each track? Or a thing I love about each track?
"The Boy In the Bubble"- iconic opening, just perfect. "Graceland," the smile of the bass, and 'he's the child of my first marriage,' and 'losing love is like a window through your heart,' but gosh, I better watch out for mentioning lyrics I love, or else it'll take forever. "I Know What I Know," I love the hectic chant of the chorus. "Gumboots," holy shit- 'you don't feel you could love me but I feel you could,' one of the great lyrics; and the romantic, animated sway of the brass, I Love it. "Diamonds on the Soles of Her Shoes," one of the true beauties, and those lyrics, and that sexy, joyful little dance of a chorus. "You Can Call Me Al," the breakthrough hook, and actually probably the weakest song on the album (funny how that goes.) The end, when the key changes, might be my favorite part. "Under African Skies" reminds me of elementary school, 'follow the drinking gourd' or something. A lovely song. "Homeless"- holy shit, 'some people say…' that whole sequence is so, so beautiful- 'hello! hello! hello!', the way the words land. Perfect. One of my favorite moments of the album, I'd say. "Crazy Love, Vol II." is a beauty, 'fat Charlie the archangel files for divorce…' heartbreaking, 'she says the joke is on me, the joke is on her'- a painfully beautiful line, delivered with a beautiful turn of falsetto. That whole song, the sweet, high, delicate melody. A true gem. "That Was Your Mother," a sassy cajun tale, and "All Around The World Or The Myth Of Fingerprints," I love the rhythm, the energy, the whole thing.
Some personal lights from this album: the summer drives to the condo, and one trip in particular with Mom driving, and Alex was with us, and he expressed disapproval, and it was one of those times that I just Knew he was wrong (or at least, right now, I've added that opinion to my memory); 'Vote For Al' was the parody song I wrote for the 2000 election (I still remember most of the words); JD, my best friend or at least in the club of best friends, on our first night hanging out one-on-one, the first thing we truly agreed on- after several mild disputes and missed connections- was the magnificence of "Graceland."
The best album.
I deliberately chose Graceland, my favorite album, for #27 (my lucky number.) This is just a beautiful album, melodic, rhythmic, poetic, playful. Every track is a jewel, Every track. Do I need to come up with a flowery synonym for each track? Or a thing I love about each track?
"The Boy In the Bubble"- iconic opening, just perfect. "Graceland," the smile of the bass, and 'he's the child of my first marriage,' and 'losing love is like a window through your heart,' but gosh, I better watch out for mentioning lyrics I love, or else it'll take forever. "I Know What I Know," I love the hectic chant of the chorus. "Gumboots," holy shit- 'you don't feel you could love me but I feel you could,' one of the great lyrics; and the romantic, animated sway of the brass, I Love it. "Diamonds on the Soles of Her Shoes," one of the true beauties, and those lyrics, and that sexy, joyful little dance of a chorus. "You Can Call Me Al," the breakthrough hook, and actually probably the weakest song on the album (funny how that goes.) The end, when the key changes, might be my favorite part. "Under African Skies" reminds me of elementary school, 'follow the drinking gourd' or something. A lovely song. "Homeless"- holy shit, 'some people say…' that whole sequence is so, so beautiful- 'hello! hello! hello!', the way the words land. Perfect. One of my favorite moments of the album, I'd say. "Crazy Love, Vol II." is a beauty, 'fat Charlie the archangel files for divorce…' heartbreaking, 'she says the joke is on me, the joke is on her'- a painfully beautiful line, delivered with a beautiful turn of falsetto. That whole song, the sweet, high, delicate melody. A true gem. "That Was Your Mother," a sassy cajun tale, and "All Around The World Or The Myth Of Fingerprints," I love the rhythm, the energy, the whole thing.
Some personal lights from this album: the summer drives to the condo, and one trip in particular with Mom driving, and Alex was with us, and he expressed disapproval, and it was one of those times that I just Knew he was wrong (or at least, right now, I've added that opinion to my memory); 'Vote For Al' was the parody song I wrote for the 2000 election (I still remember most of the words); JD, my best friend or at least in the club of best friends, on our first night hanging out one-on-one, the first thing we truly agreed on- after several mild disputes and missed connections- was the magnificence of "Graceland."
The best album.
Monday, November 7, 2011
album #26
garlands (cocteau twins)
This band first came on my radar at the recommendation of an annoying guy who struck up a conversation with me at the Beach House concert in Philadelphia. This group and that one are similar in the dreamy element; the intricate ambience; Cocteau Twins also strikes me as having a glowering, ominous darkness more befitting a comparison to say, Joy Division. The colors of this album are a dusky gray, weird hints of violet light, bright green smoke. It makes me think of a party in a vast, dark, smokey warehouse, one of those weird Brooklyn parties where it's cold outside and you can feel the chill indoors too, and you can't quite make anything out.
A few particularly cool tracks: the searing hammer of "Blind Dumb Deaf," the strangely soulful rhythm of "Garlands," the shadow lightning chase of "But I'm Not," my favorite track of the moment.
Cool stuff; a band worth continued investigation.
This band first came on my radar at the recommendation of an annoying guy who struck up a conversation with me at the Beach House concert in Philadelphia. This group and that one are similar in the dreamy element; the intricate ambience; Cocteau Twins also strikes me as having a glowering, ominous darkness more befitting a comparison to say, Joy Division. The colors of this album are a dusky gray, weird hints of violet light, bright green smoke. It makes me think of a party in a vast, dark, smokey warehouse, one of those weird Brooklyn parties where it's cold outside and you can feel the chill indoors too, and you can't quite make anything out.
A few particularly cool tracks: the searing hammer of "Blind Dumb Deaf," the strangely soulful rhythm of "Garlands," the shadow lightning chase of "But I'm Not," my favorite track of the moment.
Cool stuff; a band worth continued investigation.
album #25
the wild hunt (the tallest man on earth)
This album has grown on me; I've owned it for several months but never really given it a concentrated listen. There's a metallic tang to this album- the brightly harsh strike of the guitars, the voice a high harsh croak, like a cold steel string. It's a rather minimalist album, mostly just guitar and voice, a genre that seems to be coming back into contemporary fashion; "lodge rock" as urban dictionary pegs it.
So many lovely melodies on this album: there's an endearing pitter-patter stumble in "The Wild Hunt," a beautiful sense of uplift in the one-on-one serenade "Burden of Tomorrow," a bouncy ramble to "You're Going Back," and a melancholy, regal beauty to the closer, "Kids on the Run"- it sounds a lot like something Springsteen would've made.
Every track runs from good to really good; it's all worth a relisten. Good stuff.
This album has grown on me; I've owned it for several months but never really given it a concentrated listen. There's a metallic tang to this album- the brightly harsh strike of the guitars, the voice a high harsh croak, like a cold steel string. It's a rather minimalist album, mostly just guitar and voice, a genre that seems to be coming back into contemporary fashion; "lodge rock" as urban dictionary pegs it.
So many lovely melodies on this album: there's an endearing pitter-patter stumble in "The Wild Hunt," a beautiful sense of uplift in the one-on-one serenade "Burden of Tomorrow," a bouncy ramble to "You're Going Back," and a melancholy, regal beauty to the closer, "Kids on the Run"- it sounds a lot like something Springsteen would've made.
Every track runs from good to really good; it's all worth a relisten. Good stuff.
album #24
illinois (sufjan stevens)
Last night I felt angry with this album, an album I loved as a younger man- it felt bloated, too flowery, too cutesy, quavery and ornate. I deleted the superfluous tracks, and now listening in the morning, there's still about an hour of music- and I really, really like what's left. (Also I read a review of the album this morning, as part of my friend's 'everybody emails me your favorite album' project- this helped shift my perception.)
This is a winter album for me, a bright winter- there's one moment listening to one song that covers this all for me; "Casimir Pulaski Day" on 620, with Brandon, cold and sunny afternoon. That's one of the most beautiful songs ever, and it's a contender for my favorite song. I listen to it fairly rarely, but it's such a heartbreakingly perfect jewel ("and I almost touched your blouse"- a perfect lyric; the wordless denouement, amazing.)
"Concerning the UFO Sighting Near Highland, Illinois"- a beautiful opener. That piano is legend. "Come On! Feel the Illinoise!" and "The Tallest Man, The Broadest Shoulders" have always evoked a similar feeling in me, this state fair sensation, high school bands, the scope of history, the scope of heroes. Likewise, "Jacksonville" and "Decatur" are a pair of Mark Twain beauties.
"Chicago"- oh my god. I can't believe it's been almost a year since I last listened to this song. (I wonder what the better city anthem is, between this and "Empire State of Mind." One is magnificent bombast, the other tenderly, insightfully midwestern.) This is a beautiful epic, the iconic sweep of the strings, it gives me chills. "All things go, all things go," a beautiful beautiful lyric- Lots of good lyrics in this song. And the trumpet! God damn. How could I have doubted this album?
"The Man From Metropolis Steals Our Hearts" is a song I loved more a few years ago; I still like the slam of the guitar, but the juxtaposition with the kids' choir just seems strange. I still like the sing-song melody and the vague sense of empathy to it, the sense of love that comes through. It's the view of a superhero through the loving hope that he inspires in the children. "The Predatory Wasp of the Palisades" was my favorite for a while, there's an operatic, dramatic flair to it, in a really lovely way.
I can't say honestly that I love the album, because there were a lot of tracks that I deleted- too uncomfortable, too obnoxious, etc. But man, so so much gold remains. It's really a lovely work. It's not quite the music I'll listen to again and again and again, but it's undeniably beautiful- warm, a "sweet yellow," as my friend called it, perfectly.
Last night I felt angry with this album, an album I loved as a younger man- it felt bloated, too flowery, too cutesy, quavery and ornate. I deleted the superfluous tracks, and now listening in the morning, there's still about an hour of music- and I really, really like what's left. (Also I read a review of the album this morning, as part of my friend's 'everybody emails me your favorite album' project- this helped shift my perception.)
This is a winter album for me, a bright winter- there's one moment listening to one song that covers this all for me; "Casimir Pulaski Day" on 620, with Brandon, cold and sunny afternoon. That's one of the most beautiful songs ever, and it's a contender for my favorite song. I listen to it fairly rarely, but it's such a heartbreakingly perfect jewel ("and I almost touched your blouse"- a perfect lyric; the wordless denouement, amazing.)
"Concerning the UFO Sighting Near Highland, Illinois"- a beautiful opener. That piano is legend. "Come On! Feel the Illinoise!" and "The Tallest Man, The Broadest Shoulders" have always evoked a similar feeling in me, this state fair sensation, high school bands, the scope of history, the scope of heroes. Likewise, "Jacksonville" and "Decatur" are a pair of Mark Twain beauties.
"Chicago"- oh my god. I can't believe it's been almost a year since I last listened to this song. (I wonder what the better city anthem is, between this and "Empire State of Mind." One is magnificent bombast, the other tenderly, insightfully midwestern.) This is a beautiful epic, the iconic sweep of the strings, it gives me chills. "All things go, all things go," a beautiful beautiful lyric- Lots of good lyrics in this song. And the trumpet! God damn. How could I have doubted this album?
"The Man From Metropolis Steals Our Hearts" is a song I loved more a few years ago; I still like the slam of the guitar, but the juxtaposition with the kids' choir just seems strange. I still like the sing-song melody and the vague sense of empathy to it, the sense of love that comes through. It's the view of a superhero through the loving hope that he inspires in the children. "The Predatory Wasp of the Palisades" was my favorite for a while, there's an operatic, dramatic flair to it, in a really lovely way.
I can't say honestly that I love the album, because there were a lot of tracks that I deleted- too uncomfortable, too obnoxious, etc. But man, so so much gold remains. It's really a lovely work. It's not quite the music I'll listen to again and again and again, but it's undeniably beautiful- warm, a "sweet yellow," as my friend called it, perfectly.
album #23
my aim is true (elvis costello)
“Welcome to the Working Week”- I like this track. Fun, vintage sound, I love the “ooo”s.
"Miracle Man"- the strut, the melodic rull of the guitar, instantly wins me over. His music is about frustration- sexual, romantic, career. It’s the music for cool losers. As if I needed more evidence that this is for nerds- “No Dancing” features a reading metaphor for sex- “used to glance at the paperback jackets, now he’s ready every one.” Vintage ‘50s blues/rock sound.
“Alison”- the classic. And only more heatbreaking. Devastating, actually. Beautiful. Rather than raging, it’s the sweet, plaintive approach. God damn, I could cry.
“Sneaky Feelings”- Good, classic sound, classic shape, a good one even if it feels like formula. Nice melody. On the other hand, any track that touches on reggae I inherently dislike. White Reggae Sucks. The Police in the early years- the Only exception. Not much of this album surprises me, it just sounds like a nice take on its genre, and its not a genre I enjoy enough to listen carefully and learn the subtleties, the surprises.
Ah, I Really like “Mystery Dance”- classic sound, sublimely raunchy/frustrated lyrics. Cool Loser classic.
I don’t particularly love the album, but a lot of the tracks have grown on me in a real way, a lot of winners here. As I get older and reexamine a lot of my longer tenured albums- and some fade from esteem and others grow- I think about an old Time magazine line about music, about how some acts age like wine, others like milk. I think Elvis Costello might end up aging a little bit more like wine, in my canon.
“Welcome to the Working Week”- I like this track. Fun, vintage sound, I love the “ooo”s.
"Miracle Man"- the strut, the melodic rull of the guitar, instantly wins me over. His music is about frustration- sexual, romantic, career. It’s the music for cool losers. As if I needed more evidence that this is for nerds- “No Dancing” features a reading metaphor for sex- “used to glance at the paperback jackets, now he’s ready every one.” Vintage ‘50s blues/rock sound.
“Alison”- the classic. And only more heatbreaking. Devastating, actually. Beautiful. Rather than raging, it’s the sweet, plaintive approach. God damn, I could cry.
“Sneaky Feelings”- Good, classic sound, classic shape, a good one even if it feels like formula. Nice melody. On the other hand, any track that touches on reggae I inherently dislike. White Reggae Sucks. The Police in the early years- the Only exception. Not much of this album surprises me, it just sounds like a nice take on its genre, and its not a genre I enjoy enough to listen carefully and learn the subtleties, the surprises.
Ah, I Really like “Mystery Dance”- classic sound, sublimely raunchy/frustrated lyrics. Cool Loser classic.
I don’t particularly love the album, but a lot of the tracks have grown on me in a real way, a lot of winners here. As I get older and reexamine a lot of my longer tenured albums- and some fade from esteem and others grow- I think about an old Time magazine line about music, about how some acts age like wine, others like milk. I think Elvis Costello might end up aging a little bit more like wine, in my canon.
album #22
crooked rain, crooked rain (pavement)
This is the Pavement alum for me. When a newly discovered artist disappoints me, I often talk about “finding My album of theirs”- it’s nice when that search works out. “Silence Kit,” love it- the falsetto lilt in the voice, I love that sort of thing. A hint of melodic sentiment. I really can’t describe it except to say it’s exactly Pavement. The slackerly sing/talk cadence, the garage rock instrumentation, the low, leisurely tracks.
Yglesias got involved in a snide rebuttal to Pitchfork’s salute to “Gold Soundz,” celebrating “Cut Your Hair” as the true champ- but seriously, “Gold Soundz” is Vastly better. I’ve tried to resist Pitchfork, but they’re Right. “Gold Soundz” is gorgeous- melodic, nostalgic, cool.
“Newark Wilder etc”- one song that basically is the entire Spoon catalogue, before Spoon. “5-4 Unity” is a terrific instrumental with such a different sound, it makes me think of something that would show up on a bootleg. “Unfur”- great rocking numer, confident, youthful, sounds like a more fun- more suburban- take on Nirvana’s rebellious instincts. More unabashedly commercial.
The album closes with a ramble of very Pavementy songs, which are okay but I don’t totally love- ultimately I just don’t think I Love this band, but they score a run of accessible, awesome, winning tracks in the heart of this album.
This is the Pavement alum for me. When a newly discovered artist disappoints me, I often talk about “finding My album of theirs”- it’s nice when that search works out. “Silence Kit,” love it- the falsetto lilt in the voice, I love that sort of thing. A hint of melodic sentiment. I really can’t describe it except to say it’s exactly Pavement. The slackerly sing/talk cadence, the garage rock instrumentation, the low, leisurely tracks.
Yglesias got involved in a snide rebuttal to Pitchfork’s salute to “Gold Soundz,” celebrating “Cut Your Hair” as the true champ- but seriously, “Gold Soundz” is Vastly better. I’ve tried to resist Pitchfork, but they’re Right. “Gold Soundz” is gorgeous- melodic, nostalgic, cool.
“Newark Wilder etc”- one song that basically is the entire Spoon catalogue, before Spoon. “5-4 Unity” is a terrific instrumental with such a different sound, it makes me think of something that would show up on a bootleg. “Unfur”- great rocking numer, confident, youthful, sounds like a more fun- more suburban- take on Nirvana’s rebellious instincts. More unabashedly commercial.
The album closes with a ramble of very Pavementy songs, which are okay but I don’t totally love- ultimately I just don’t think I Love this band, but they score a run of accessible, awesome, winning tracks in the heart of this album.
Saturday, November 5, 2011
album #21
so tonight that i might see (mazzy star)
The fuzzy fog of a '90s coffeehouse. These are chill songs, slow, cool, there's a dream to each of them. It feels like the music that would buzz in the background while you catch up with that girl you should've loved all along, the one you've known for years.
"Unreflected" has an appeal, something in the acoustic guitar produces a lovely sense of pace, of urgency, that draws me in. And the obvious jewel of the album is "Fade In To You," a beautiful number, from the downbeat strike of the acoustic guitar to the bluesy dance of the piano to the sweet swoon of the electric guitar to the seductively dreamy vocals, it's one of pinnacle Gen-X love songs. (come to think of it, is there a better Gen-X love song? And generally speaking, 'best love song by generation' seems like a fun bar discussion.)
The fuzzy fog of a '90s coffeehouse. These are chill songs, slow, cool, there's a dream to each of them. It feels like the music that would buzz in the background while you catch up with that girl you should've loved all along, the one you've known for years.
"Unreflected" has an appeal, something in the acoustic guitar produces a lovely sense of pace, of urgency, that draws me in. And the obvious jewel of the album is "Fade In To You," a beautiful number, from the downbeat strike of the acoustic guitar to the bluesy dance of the piano to the sweet swoon of the electric guitar to the seductively dreamy vocals, it's one of pinnacle Gen-X love songs. (come to think of it, is there a better Gen-X love song? And generally speaking, 'best love song by generation' seems like a fun bar discussion.)
album #20
satanic panic in the attic (of montreal)
This is a mirthful album, playful, strange, something between psychadelic pop and folk rock. For whatever reason this album reminds me of a street fair; it's sunny and baroque, a little thinner and simpler than The Sunlandic Twins. There's more of a pinch to the sound, whereas the latter album has a bass and electric depth, a richness, fullness that has always won me over.
I've always loved "Disconnect the Dots," a magnificent synth anthem, one of the great openers. "Lysergic Bliss" is almost like a suite, it's a more exciting journey than I remembered or understood until just now- a song worth knowing better. "Erroneous Escape into Erik Eckles" is a cool number, a hip jangly melodic sway to that song. I always loved the dynamic energy of "Rapture Rapes the Muses," and the leisurely sex of "Spike the Senses."
Lots of other fun, sneaky numbers- a lot of it feels like a mildly inappropriate or deliberately devilish children's book, Lemony Snicket-like, in those playfully tangled lyrics and sunny, winning sounds.
This is a mirthful album, playful, strange, something between psychadelic pop and folk rock. For whatever reason this album reminds me of a street fair; it's sunny and baroque, a little thinner and simpler than The Sunlandic Twins. There's more of a pinch to the sound, whereas the latter album has a bass and electric depth, a richness, fullness that has always won me over.
I've always loved "Disconnect the Dots," a magnificent synth anthem, one of the great openers. "Lysergic Bliss" is almost like a suite, it's a more exciting journey than I remembered or understood until just now- a song worth knowing better. "Erroneous Escape into Erik Eckles" is a cool number, a hip jangly melodic sway to that song. I always loved the dynamic energy of "Rapture Rapes the Muses," and the leisurely sex of "Spike the Senses."
Lots of other fun, sneaky numbers- a lot of it feels like a mildly inappropriate or deliberately devilish children's book, Lemony Snicket-like, in those playfully tangled lyrics and sunny, winning sounds.
Friday, November 4, 2011
album #19
turn on the bright lights (interpol)
One of the classic mid-aughts New York albums. This is a dark album, minor key. This band got compared a lot to Joy Division in their day, and I used to agree with that- the downcast post-punk vibe, the similarly deep, dark, semispoken vocals- but it's really a much more produced, polished, dense sound than Joy Division; not nearly so sparse or desolate. I like the jagged guitars, the air. It's not one of my favorite albums, but there's a lot of good stuff going on.
Some beauties- the melancholy floating dream of "Untitled"; "Hands Away," a track that really does some beautiful stuff in its space, there's a subtle vibrant melodic coalescence there that I never fully appreciated until just now; the magnificently dark, jaggedly bombastic bacchanal strut of "Obstacle 2" (inane lyrics and all, my favorite song from the album); the glowering meditation of "Stella Was A Diver…"; and another song I'd count as my album favorite, or second place at least, is "PDA"- there's an energy to it, an upbeat sensation of chasing after life that the rest of the album, in a darker place, doesn't quite match. Of course the lyrics, about sleep and couches, don't match my impression of 'chasing after life,' but the guitars and the vocal cadence does it, and that's enough for me. Also I remember driving with a girl I liked as we kinda danced in the car seats to this song, so it's always going to sound like life to me.
One of the classic mid-aughts New York albums. This is a dark album, minor key. This band got compared a lot to Joy Division in their day, and I used to agree with that- the downcast post-punk vibe, the similarly deep, dark, semispoken vocals- but it's really a much more produced, polished, dense sound than Joy Division; not nearly so sparse or desolate. I like the jagged guitars, the air. It's not one of my favorite albums, but there's a lot of good stuff going on.
Some beauties- the melancholy floating dream of "Untitled"; "Hands Away," a track that really does some beautiful stuff in its space, there's a subtle vibrant melodic coalescence there that I never fully appreciated until just now; the magnificently dark, jaggedly bombastic bacchanal strut of "Obstacle 2" (inane lyrics and all, my favorite song from the album); the glowering meditation of "Stella Was A Diver…"; and another song I'd count as my album favorite, or second place at least, is "PDA"- there's an energy to it, an upbeat sensation of chasing after life that the rest of the album, in a darker place, doesn't quite match. Of course the lyrics, about sleep and couches, don't match my impression of 'chasing after life,' but the guitars and the vocal cadence does it, and that's enough for me. Also I remember driving with a girl I liked as we kinda danced in the car seats to this song, so it's always going to sound like life to me.
album #18
old world underground, where are you now? (metric)
A dark album, a late night album, driving alone, maybe smoking a cigarette outside a club, maybe a coffee shop. Sexy. Emily Haines, one of the great voices of indie music; there's always been an allure in her high, narrow, breathy chanteuse sound. A lot of these are low, vibrating tracks- altogether I'd say this is one of the most useful albums I own, it fits a mood that I often feel, a dark city thoughtfulness. It served me well late nights in school and I still like to return to it now and then, in those moments.
A few star tracks: "Wet Blanket," a tight jerk of a melody; "Hustle Rose," a lovely swoon in the preface before launching off into a more animated drama; "Succexy," one of the best political songs of the Bush era (high-tech personalized bread and circuses); "Calculation Theme," hearbtreakingly simple and subtle, a beautiful low synth pulse, and one of my favorite lyrics in rock, a line that served me well at a particular reflective period: "tonight, your ghost will ask my ghost, who put these bodies between us?"
This is a good go-to album, I've always liked this band and their material.
A dark album, a late night album, driving alone, maybe smoking a cigarette outside a club, maybe a coffee shop. Sexy. Emily Haines, one of the great voices of indie music; there's always been an allure in her high, narrow, breathy chanteuse sound. A lot of these are low, vibrating tracks- altogether I'd say this is one of the most useful albums I own, it fits a mood that I often feel, a dark city thoughtfulness. It served me well late nights in school and I still like to return to it now and then, in those moments.
A few star tracks: "Wet Blanket," a tight jerk of a melody; "Hustle Rose," a lovely swoon in the preface before launching off into a more animated drama; "Succexy," one of the best political songs of the Bush era (high-tech personalized bread and circuses); "Calculation Theme," hearbtreakingly simple and subtle, a beautiful low synth pulse, and one of my favorite lyrics in rock, a line that served me well at a particular reflective period: "tonight, your ghost will ask my ghost, who put these bodies between us?"
This is a good go-to album, I've always liked this band and their material.
album #17
team boo (mates of state)
I was really into this album as a younger man, when it was first brought to my attention by a hipstery girl that I had an on again/off again (and rarely acted upon) flirtatious rapport. It was good music for driving around and reflecting on the key nights of that experience; but in the past year or two I've really fallen out of favor with this record- it's too high, too yelpy, the instrumentation too limited (just those dinky, rolling keyboards, really.) I'm vaguely confident it's one of the albums I enjoy least, among those in my collection.
But when I listened to the album for the first time in a long time, rather than just waiting for tracks to come up on shuffle and then skipping them, I rediscovered something: a lot of the songs have little treasures buried underneath the first minute of the song, really nice melodic spots that glide in after annoying, yelpy starts. "Ha Ha" is an example; "Gotta Get a Problem," and the biggest contrast is "I Got This Feelin"- really shrill up top, very pretty in the middle.
Among songs that are straight up good, I really like "Fluke," a joyful number paced by a thrillingly tight helix of the synth. "Middle is Gold"- hah, wow, just hit me that that song title is basically the secret code of the album, far as I'm concerned- is an all right song with a great, forceful rhythm section, that's really where that song makes it count.
Yelpy, enthusiastic, stripped-down emo synth pop might not be my thing anymore (or if it ever was), but there's still some exciting and lovely moments here. I still don't really like this album too much, but I certainly appreciate it more now than I did yesterday.
I was really into this album as a younger man, when it was first brought to my attention by a hipstery girl that I had an on again/off again (and rarely acted upon) flirtatious rapport. It was good music for driving around and reflecting on the key nights of that experience; but in the past year or two I've really fallen out of favor with this record- it's too high, too yelpy, the instrumentation too limited (just those dinky, rolling keyboards, really.) I'm vaguely confident it's one of the albums I enjoy least, among those in my collection.
But when I listened to the album for the first time in a long time, rather than just waiting for tracks to come up on shuffle and then skipping them, I rediscovered something: a lot of the songs have little treasures buried underneath the first minute of the song, really nice melodic spots that glide in after annoying, yelpy starts. "Ha Ha" is an example; "Gotta Get a Problem," and the biggest contrast is "I Got This Feelin"- really shrill up top, very pretty in the middle.
Among songs that are straight up good, I really like "Fluke," a joyful number paced by a thrillingly tight helix of the synth. "Middle is Gold"- hah, wow, just hit me that that song title is basically the secret code of the album, far as I'm concerned- is an all right song with a great, forceful rhythm section, that's really where that song makes it count.
Yelpy, enthusiastic, stripped-down emo synth pop might not be my thing anymore (or if it ever was), but there's still some exciting and lovely moments here. I still don't really like this album too much, but I certainly appreciate it more now than I did yesterday.
album #16
funeral (arcade fire)
Neon Bible is blacks and deep blues, cold airy grays; Funeral is pale lilacs and pinks with bright blues, Matisse colors, April with a chill in the air. It's a sweeter, more radiant album, it's my preferred Arcade Fire album.
Some of the tracks are a little slow for my taste- pretty, but slow; many others are real gems. I've always loved the delicate dance of piano that introduces the album, on "Neighborhood #1 (Tunnels)"- with the movement of the cello, the yearning yelp of the vocals, it's a hopeful opener stretching towards the sunlight. I've always loved the vaguely Eastern European flavor of "Laika," the tense rhythm; the classic, towering, glowering guitars of "Power Out," the most badass moment of the record (and I'll always remember this song from Aziz Ansari's bit about, like, maybe tostitos scoops, some product that would Not fit for this theme song). "Haiti" is a longtime favorite, something about the cool aqua melody, the tropical twinkle in the chorus. And "Rebellion" is an all time great song- pulsing, beautiful, melodic, full of life and drama and somehow tethered, contained- except for certain moments of release.
This album feels completely sincere- there's a sense of pain and also a sense of childlike wonder, but it all feels very heartfelt, very sweet. It's hopeful. I haven't always Loved this album, but it's earnest, and clearly lovely.
Neon Bible is blacks and deep blues, cold airy grays; Funeral is pale lilacs and pinks with bright blues, Matisse colors, April with a chill in the air. It's a sweeter, more radiant album, it's my preferred Arcade Fire album.
Some of the tracks are a little slow for my taste- pretty, but slow; many others are real gems. I've always loved the delicate dance of piano that introduces the album, on "Neighborhood #1 (Tunnels)"- with the movement of the cello, the yearning yelp of the vocals, it's a hopeful opener stretching towards the sunlight. I've always loved the vaguely Eastern European flavor of "Laika," the tense rhythm; the classic, towering, glowering guitars of "Power Out," the most badass moment of the record (and I'll always remember this song from Aziz Ansari's bit about, like, maybe tostitos scoops, some product that would Not fit for this theme song). "Haiti" is a longtime favorite, something about the cool aqua melody, the tropical twinkle in the chorus. And "Rebellion" is an all time great song- pulsing, beautiful, melodic, full of life and drama and somehow tethered, contained- except for certain moments of release.
This album feels completely sincere- there's a sense of pain and also a sense of childlike wonder, but it all feels very heartfelt, very sweet. It's hopeful. I haven't always Loved this album, but it's earnest, and clearly lovely.
Wednesday, November 2, 2011
album #15
begin to hope (regina spektor)
The official music of five Novembers ago. Regina Spektor was a major celebrity crush of mine back then, largely off the videos for "Fidelity" and "Us." The former is on this particular album, and it's a beauty. Adorable, sweet, sad, wonderful. The tender anthem "Better" is another favorite from this album; I'm rediscovering "Samson," a lovely, sad song, maybe the most lyrically beautiful of any track here, and a song I avoided for years because of residual connotations. "Hotel Song" is another favorite, catchy, a little bit mischevious, sexy in an agelessly youthful, playful way. It's not one of my total favorite songs, but "Apres Moi" interests me from the angle of, 'this is what Soviet Russia felt like, this is how a Dictator speaks.'
I wonder how much context, how much impact, it adds to a love song when the singer is someone you find personally attractive. It certainly makes me swoon in that, "oh I wish it was directly to me" way, a sensation I don't necessarily feel for most lyrical subjects from most singers. And what's my favorite love song, among artists I wouldn't desire? A quick scan of my itunes reminds me that, all of my favorite female musicians are amazingly attractive. Labels obviously take better care and take better interest in an attractive artist. But the audience is not a perfect P.C. victim of that choice- speaking for myself at least, the listener likes to listen to attractive people. The only time I've ever listened to a beautiful musician and gotten turned off by it is Au Revoir Simone, a band that has released one song I loved and otherwise seems to write a lot of condescending breakup songs along the lines of "I hope you'll be okay without me, sweetie."
But I don't want her personal beauty to be the only thing I have to say about this album- it's entirely sweet and lovely, and she's my favorite piano balladeer. This is a good one, a Winter classic.
The official music of five Novembers ago. Regina Spektor was a major celebrity crush of mine back then, largely off the videos for "Fidelity" and "Us." The former is on this particular album, and it's a beauty. Adorable, sweet, sad, wonderful. The tender anthem "Better" is another favorite from this album; I'm rediscovering "Samson," a lovely, sad song, maybe the most lyrically beautiful of any track here, and a song I avoided for years because of residual connotations. "Hotel Song" is another favorite, catchy, a little bit mischevious, sexy in an agelessly youthful, playful way. It's not one of my total favorite songs, but "Apres Moi" interests me from the angle of, 'this is what Soviet Russia felt like, this is how a Dictator speaks.'
I wonder how much context, how much impact, it adds to a love song when the singer is someone you find personally attractive. It certainly makes me swoon in that, "oh I wish it was directly to me" way, a sensation I don't necessarily feel for most lyrical subjects from most singers. And what's my favorite love song, among artists I wouldn't desire? A quick scan of my itunes reminds me that, all of my favorite female musicians are amazingly attractive. Labels obviously take better care and take better interest in an attractive artist. But the audience is not a perfect P.C. victim of that choice- speaking for myself at least, the listener likes to listen to attractive people. The only time I've ever listened to a beautiful musician and gotten turned off by it is Au Revoir Simone, a band that has released one song I loved and otherwise seems to write a lot of condescending breakup songs along the lines of "I hope you'll be okay without me, sweetie."
But I don't want her personal beauty to be the only thing I have to say about this album- it's entirely sweet and lovely, and she's my favorite piano balladeer. This is a good one, a Winter classic.
Tuesday, November 1, 2011
album #14
the life pursuit (belle and sebastian)
A pretty album, twee and dreamy. Everything is sparkling and fragile, like a frozen lake in sunny March. This is a melodic album with cute characters, bright guitars, catchy hooks. It's quite lovely, although sometimes the sweetness becomes almost embarrassing. I loved it more a few years ago than I do now, though the songs still hold up individually. "Sunshine," for instance, is a dazzling wash of sound, possibly my favorite on the record- though that could be true of any number of tracks. I always enjoyed the bass swing of "White Collar Boy"- something about it sounds like a hockey stadium anthem- or the bright sweet melancholy of "To Be Myself Completely."
A pretty album, twee and dreamy. Everything is sparkling and fragile, like a frozen lake in sunny March. This is a melodic album with cute characters, bright guitars, catchy hooks. It's quite lovely, although sometimes the sweetness becomes almost embarrassing. I loved it more a few years ago than I do now, though the songs still hold up individually. "Sunshine," for instance, is a dazzling wash of sound, possibly my favorite on the record- though that could be true of any number of tracks. I always enjoyed the bass swing of "White Collar Boy"- something about it sounds like a hockey stadium anthem- or the bright sweet melancholy of "To Be Myself Completely."
album #13
birth of the cool (miles davis)
This is a perfectly charming record, all pretty good. There aren't really any particular tracks I can point to and say, "I love this in a major way" ("Israel" comes closest.) But it's all pleasant. This feels sortof like a pop jazz record, with each song short and digestable, light hearted, easy going, and orderly structured. This is a key record for cool jazz, a genre of lighter, easier jazz. Looking up cool jazz also reminded me of the sad and interesting story of Chet Baker. Anyway, this record is pleasant- it's always nice when one of these songs comes up in the shuffle, and they're all pretty catchy and distinct in their way. But I don't particularly Need any of it, none of it moves me. As far as Davis goes, I think I'm more excited for the moments of metallic acidic strangeness on Bitches Brew, and I prefer A Love Supreme to any of it.
This is a perfectly charming record, all pretty good. There aren't really any particular tracks I can point to and say, "I love this in a major way" ("Israel" comes closest.) But it's all pleasant. This feels sortof like a pop jazz record, with each song short and digestable, light hearted, easy going, and orderly structured. This is a key record for cool jazz, a genre of lighter, easier jazz. Looking up cool jazz also reminded me of the sad and interesting story of Chet Baker. Anyway, this record is pleasant- it's always nice when one of these songs comes up in the shuffle, and they're all pretty catchy and distinct in their way. But I don't particularly Need any of it, none of it moves me. As far as Davis goes, I think I'm more excited for the moments of metallic acidic strangeness on Bitches Brew, and I prefer A Love Supreme to any of it.
album #12
this night (destroyer)
A black sky record, a few glittering stars. Vast and sparse, pretty. Most of this album is skippable, the songs often feel too long and like there's not enough happening, or not enough melody to seduce me. But a few tracks from this album are personal classics: "This Night," "Here Comes the Night," and especially "I Have Seen A Light" are late-night driving classics, airy and contemplative. The melodic crash of the guitar chord in that third song is loaded with so many currents of personal nostalgia, as is the "Ba-Ba, Whoa-whoa-whoa" denouement of the second.
"Crystal Country" is another good one, and the lingering favorite from this record is "Students Carve Hearts Out Of Coal"- the riff in that song, sweet, club jazz- a lovely wistful melodic shrug.
Black with gold flakes, that's the official color of this record.
A black sky record, a few glittering stars. Vast and sparse, pretty. Most of this album is skippable, the songs often feel too long and like there's not enough happening, or not enough melody to seduce me. But a few tracks from this album are personal classics: "This Night," "Here Comes the Night," and especially "I Have Seen A Light" are late-night driving classics, airy and contemplative. The melodic crash of the guitar chord in that third song is loaded with so many currents of personal nostalgia, as is the "Ba-Ba, Whoa-whoa-whoa" denouement of the second.
"Crystal Country" is another good one, and the lingering favorite from this record is "Students Carve Hearts Out Of Coal"- the riff in that song, sweet, club jazz- a lovely wistful melodic shrug.
Black with gold flakes, that's the official color of this record.
album #11
the sunlandic twins (of montreal)
This is one of the key records of my college years. There's a particular memory that has glowed for years- winter break 05/06, "The Party's Crashing Us" blaring as my car comes over the I35 horizon onto the Austin skyline, the UT Tower glowing orange.
I've always delighted in that particular song, the star song- bombastic, magnificently weird. "We made love like a pair of black wizards" is a lyric that absolutely rocked my world, back in the day. "Requiem for O.M.M.2" is another winner, a great classic guitar song to kick off an album that generally goes to a weirder, more electronic place. There are a lot of songs on this album I've always felt for; another is "Wraith Pinned to the Mist & Other Games," a chill, mellow melodic beauty, and a key song between me and my friend Brandon- I've always especially loved the sly, upbeat guitar that sneaks into the end of that one.
Altogether I've always liked the rhythms of this album, the synthetic tingles- something a little bit Pee Wee Herman about it. The second half of the album gets lower, deeper, less energized, closing with the lovely "The Repudiated Immortals." The Bonus EP tracks, which weren't part of the CD I loved as a 19 year old, aren't particular favorites of mine. When the weirdness doesn't quite work, Of Montreal often just sounds like a chirpy, verbose tangle, and a few of those EP tracks slip into that zone.
Altogether though, this is my favorite Of Montreal record, and it's essentially beyond review, being such a classic of the good ol' days.
This is one of the key records of my college years. There's a particular memory that has glowed for years- winter break 05/06, "The Party's Crashing Us" blaring as my car comes over the I35 horizon onto the Austin skyline, the UT Tower glowing orange.
I've always delighted in that particular song, the star song- bombastic, magnificently weird. "We made love like a pair of black wizards" is a lyric that absolutely rocked my world, back in the day. "Requiem for O.M.M.2" is another winner, a great classic guitar song to kick off an album that generally goes to a weirder, more electronic place. There are a lot of songs on this album I've always felt for; another is "Wraith Pinned to the Mist & Other Games," a chill, mellow melodic beauty, and a key song between me and my friend Brandon- I've always especially loved the sly, upbeat guitar that sneaks into the end of that one.
Altogether I've always liked the rhythms of this album, the synthetic tingles- something a little bit Pee Wee Herman about it. The second half of the album gets lower, deeper, less energized, closing with the lovely "The Repudiated Immortals." The Bonus EP tracks, which weren't part of the CD I loved as a 19 year old, aren't particular favorites of mine. When the weirdness doesn't quite work, Of Montreal often just sounds like a chirpy, verbose tangle, and a few of those EP tracks slip into that zone.
Altogether though, this is my favorite Of Montreal record, and it's essentially beyond review, being such a classic of the good ol' days.
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