As we finish the calendar year out, very few new releases come out. Record companies focus on their catalog artists/greatest hits shit at retail. But both Common and Jeezy got a new one out and I jumped on this one as I know nothing about the other.
Common is clearly taking himself more seriously here, focusing on a lyrical theme of dreaming and reaching past your limits. For example, after the opening track runs through its mellow, decidedly non-hip-hoppy shuffle beat, it ends with a coda of Maya Angelou reading a poem. The album ends with an inspirational speech by Chicago b-baller Lonnie Lynn.
He sometimes throws out some shitty similes. "Get my drink on like coasters." and "friends' pass out like pamphlets" and on the other hand he blows out genius lines like "blows a breath of fresh air for you asthmatic rap addicts". But his themes are always sincere; whether about being the voice of optimism or by tracking the obligatory pro-strong-will-ghetto-woman song. The positivity is a plus without being ridiculously boastful like the Beastie Boys last piece of shit. And the rhymes are cool without being awe-inspiring.
I was also a little disappointed altogether with the production. One of things I like about the more underground rap that I listen to is the interesting ways that whichever crew can manipulate a beat. On TD/TB, there are no big name producers, and it shows. The tunes mostly seem ready-made/corporate. A steady-beat over some mellow soul or some smooth jazz.
Being the hopeless romantic, my favorite track is going to be "Lovin' I Lost"; which laments and praises the past relationship all at the same time. And is bedded with a fantastic Curtis Mayfield mix to bring some old soul to the bedroom. (2.5 of 5 stars)
While a Beck fan, who has worked with Charlotte in the past; and also a fan of Gainsbourg as an actress; this will be my first foray in to her music. Although I'm not generally the biggest fan of indie-electronic music led by women, my curiosity got the better of me. (I did just watch Melancholia...)
The Depeche Mode influence is obvious. There is an effort here to bring the dark dance vibe. The addition of Beck, I'm going to assume, adds the additional flavor of something more fun; something more funk. Without him, I'll bet that Charlotte would just have chosen straight-ahead dance beats to carry her songs forward. And that may have been enough for many people. But I appreciate the playful poppiness of "Terrible Angels" and echo-y drums of "All The Rain".
Outside of Beck, Charlotte's performance is largely unnoticeable. Her voice is monotoned in the upper register and muddled by enough echo to make her cloudy/smokey... veiled. Her personality does not come through. Maybe I'm being prejudiced against a singer/not-songwriter, but lines as interesting as "into the eye of a needle you can fly like a mosquito and turn into a million different people" should be able to be sold without too much effort. This becomes especially evident in a couple of non-Beck tracks, "Anna" and "Out Of Touch", which seem electronically lifeless.
The standout, though, is a tremendously written track by Conor O'Brien, aka Villagers, who I am a big fan of. I can hear his voice when Charlotte sings his "Memoir" as if it were her own. If Beck's not going to carry you with jams, she should have been doing this with the rest of the tracks. Something more organic. The album comes with a live disc which shows a much more dynamic performer playing livelier indie-pop tunes. Decent, but not what I'm basing this review on. (2.5 of 5 stars)
I do have to hand to the Keys on one standpoint. They have gotten out a product by themselves or a side-project virtually every year of their existence. Plus, they are consistenly good. Amped-up garage blues is a tried and true format and they haven't run it aground quite yet. I do see, however, a pattern of sameness in the last couple of releases. I do not blame the common element of producer Danger Mouse for this, as he seems to be the one who has pushed their sonic boundaries beyond their two-man limitations. It's more of a songwriting stagnancy that I see. As if Dan were leaning on the production to compensate for playing virtually the same riffs. It all sounds great, but will it always sound great? This will weigh on me as we proceed with their newest.
For example, the first single has taken the old feel, and added a shuffled-up surf beat; pushed up the chorus to arena-sized singalong status and created a ready made radio hit. The same kind of thing that I loved about "Next Girl"; but still without teeth. "Gold on the Ceiling" employs the same synth-hum that made "Howlin' For You" a distinctive sound - which makes this less disctinctive.
There are highlights. "Little Black Submarines" begins with Dan alone and acoustic. Singing with a passion he hasn't in some time about the losses that broken hearts take from us. The melody reminds me vaguely of Bob Dylan's "Love Sick" but feels good. Then, the crunchiest electric wave crashes on the proceedings. "Hell of a Season" is more of a Patrick highlight, giving us the strongest backbeat of the record. And for some reason, everything that makes me roll my eyes at the new Keys comes together all at once in "Nova Baby". Clearly the poppiest thing they've almost ever done, but somehow one of my favorites.
The same things that made a favorite of Brothers are all here too. Decent songs. 3:00-plus minutes. The anxious blues riffing of old Keys's music have been traded happier sounding sing-alongable structured tunes. The basement production of old has been rounded out to include full pop instrumentation and background vocals. And at a paltry 38 minutes long, easily digestable. I'm afraid they're going to get bored to a Rolling Stones level. My worries are completely founded on this record- it's still a recommended listen. That old El Camino still has that old smell of nostalgia, even if you're less excited to drive it now. (3 of 5 stars)
A collection of droning minor chords and growling muted vocals. Each song is named "Epitome", as to make you aware that this is one story. And it starts with "Epitome VII" which makes you understand that this is a continuation of their last album, which ended at "The Fall: Chapter VI".
First of all, horrible production. And I'm not saying this because of the vocals; because I'm sure that this is what they were going for. But the drums sound like pitter-pat on tupperware. The drummer is clearly doing some damage, especially on double bass. But it sounds like shit. The guitar as well has, not a good buzzsaw sound; but a childish tinny buzzsaw sound.
The riffs themselves are not bad. "VII" suffers from reminding the listener too closely to Manson's "Sweet Dreams", but "VIII" has value- as a riff. Altogether, I don't know who this music is for. Where value is put on droning on so long that there is seemingly no end. Where vocal is so purposefully muddled to the point of subliminal "Head On" informercials underwater. This all makes "IX" - the drumless, vocalless, 2-minute guitar ballad my favorite. (.5 of 5 stars)
I am not in the habit of using this space to cover previously tread ground. Greatest hits, live records, reissues, songs that have been released before. But this week saw a lack of any new album released that I'm going to have any thoughtful response too. So, I chose the new live, acoustic release by Chris Cornell. It helps that I love Cornell. It also helps that I got the record for free for buying a concert ticket. Win-win. (Unless it sucks)
The album opens with what I considered the only saving grace from his Timbaland-produced Scream album. Then, it was a blues-ballad hidden-track called "Two Drink Minimum" - now inexplicably called "As Hope and Promise Fade". We also lose, for some reason, the John Mayer co-writing credit. This is the kind of song that serves much better in an acoustic format, ditching the uptown high-class studio buzz of 90's-Eric Clapton-style "blues" for something a little grittier.
More quality versions exist with the Audioslave covers. Because, even with the excitement of a Tom Morello et. al. performance, the songs chosen from their catalog here are amoung the more placid and mid-tempo. So we're not really losing that much and we get to focus on the dynamic voice/lyrics of Cornell.
That's not always true. I'm going to side with the original releases on some of these tracks. "Can't Change Me" for example, gained a lot from the arrangement of Alain Johannes. The Songbook version is certainly good; but we are missing a key element. Same goes for the Temple Of The Dog tracks. Maybe I'm just romanticizing my childhood; but I'm going to side of those sessions- which I consider still to be magical.
Cornell's set, taken from several shows, run the gamut across his career. Pretty evenly spread between his solo career and his various bands. Rounding out the record are a cover of Lennon's "Imagine" and a new acoustic-studio track called "The Keeper". Mellow, but still inspiring despite a lack of any vocal gymnastics. Cornell provides an interesting setlist of career-spanning tunes and delivers them effectively. The recordings are good and Cornell's voice is still in top form. (3.5 of 5 stars)
The opening track to this album is a great introduction for anyone. A firm declaration of not only blackness, but a blackness that doesn't often get rapped about, much less portrayed anywhere. A ghetto-less existence in middle-class white schools with parents who work hard together to bring a better life to their kids. That opener, "Outside", also includes a decidedly anti-soul gospellish hook. It defines the indie rap flow he'll be going for in the rest of the record/career. Even later on, he declares himself, "the only black dude at the Sufjan concert".
Later on, the beats and loops get more traditional hip-hop, but the lyrics never let up. Glover's a comedy actor/writer of course, so you would expect straight-up jokes or simple dick-joke Mickey Avalon style bullshit. But no. While Gambino's rhymes have a distinct sense of humor, it really just runs the quality MC route. Sometimes boastful, sometimes introspective. To give a list of accomplished examples would be futile here- there's simply far too many of them. "Kids" for example, has one of the best lines.
"There any breakage in that Trojan?"
She see what she wanna see
So I make her take Plan B in front of me
Women talk shit on men like all day
But it's Pete Wentz, goes both ways
The whole song, dealing the with ego flip following the female influx once a man becomes successful, is as clever as "Golddigger". But CG delivers it mournful and angry, as if he's lost something more pure by winning what he fought for. It's not the party jam of Kanye's ilk, but just as satisfying. Especially for a baller like this writer.
CG is sure to have a hit with "Heartbeat" which I cringed when I fist put on due to it's typical radio-beat and Usher-stlye club-sexy hook. But then the sexual politics of a broken-up couple who still cling to their physical whims are story-told in the lyrics and I was sold. "I'm a ghost and you know this. That's why we broke up in the first place."
When we get to the end, Donald is telling a story; a poem, almost; about this whole "Camp" idea. It's written for one woman, or girl- more to the point, a rememberance of one of those important declarations. The story is wistful, childish, romantic, dark and lonely. And it's a perfect ending to a great record. (4 of 5 stars)
A side project of Deerhunter's Brandon Cox. Apparently, the guy's a little off-kilter in the headdome. But I wouldn't pretend that this music paints the picture of an earless Van Gogh.
He's a dreamy pop guy in his day job and he doesn't stray from that too far off hours. The first two tracks especially are bland as they are pretty. Sunny indie-pop. After that we see a certain amount of texture. Some electronic programming that plinkos through your ear's sky rather than riffage that you can either dance, mosh or jam to. I'm not trying to be hippie-dippy on purpose, but for god's sake- he's got a song called "Modern Aquatic Nightsongs". He's asking for a little mocking.
But those texture moments are few and far between. For the most part, he seems to be fixated on one sentence fragment that he somehow think deserves two chords and additional musicians. "Everywhere I look, my angel is broken..." Now say that say five times, add on some "oohs" and "ahhs" and that's the gist. I'm sure it will fit somewhere neatly at your next... I don't know... pottery art class. But you'll forget about it when you leave. (1.5 of 5 stars)
This is okay, I'm saying to myself. I assume Metallica fans were the first responders here, being Napster-loving downloaders. And those guys are not the most open-minded of art-lovers. They freak out at the slightest of production-style changes. They're not going to understand a guy reciting poetry of over riffy jams with no chorus or lyrical melody to speak of.
So, while I'm still a big enough fan of Metallica, I was going to put on my Lou Reed fan-hat for this, because the view will probably be better. He really started this whole thing off, writing the basic tracks, while Metallica heavied-up the arrangements.
And for the most part... I'm okay with the collaboration. Metallica is as heavy if not heavier than they have been in years. Particularly on "Mistress Dread", which is an unrelenting thrash concrete wall. The harshest part is the vocal stylings of a rambling of a bum on the street waltzing Mathilda. Granted, I DO believe that Lou is more important than that, but his style is of course, one of a particular taste. And I'm actually happier than he's got a good, heavy band behind him. Otherwise, the 11+ minute repetition of "Why do I cheat on me?" would have been more unbearable than it otherwise is. It's not all that repetitive though. I mean hell, the opening line is "I would cut my arms and tits off when I think of Boris Karloff." That's... interesting. And later on, "to be dry and spermless like a girl"... And I'm not ashamed to admit that it's all a little abstract. Based on a 19th century playwright, Lulu is definitely a desirable girl who gets shit on. And surely learns to do a lot of shitting on. And then there's apparently a Jack The Ripper element. It's way dark and hateful, which adds a good flavor.
There's a lot of quieter, feedback-laden passages where Lou tests our patience. The aforementioned "Cheat On Me" and "Little Dog" where we're comforted in knowing "as long as you can raise that little doggy face to a cold-hearted pussy, you could have a taste."
But there are good spots. The first four tracks in particular are strong, heavy, lyrically interesting and vocally strong (as strong as a near-70 year old bitter guy can drum up). It's an odd collaboration to be sure, but a kid today could just as easily have thrown out "I wish that I could kill you, but I do love your eyes." and it wouldn't seem as pure as someone with a lifetime of asshole women in his memory. "The one who rejects you is winning." I might have pushed it to 4 stars, had they removed the drone feedback and the "Cheat On Me" track. But, as it stands, (3.5of 5stars)
Another big release from one of my favorite artists. Tom Waits' first new album in seven years. I always expect big things. But what I got even exceeded my expectations.
The first thing you notice from the onset is the big-out-frontedness of it all. This is in comparison to his most recent works. The melodramatic-eerily romantic Alice; the bleak cabaret of Blood Money and low howl of Real Gone. All were presented pretty much under the vest. Bad As Me is bigger than that. Rolling Stone just shouted out Swordfishtrombones here, and while I don't want to paint that avant garde of a picture, it certainly has that brightness. For example, the opener "Chicago" is a fantastic rewind to the "Midtown" instrumental off Rain Dogs. Lots of horns and harmonicas and guitars and not the calliope drones that has been a key instrument in the last decade.
Plus, his vocals are way up and at 'em. The title track is a perfect example of that. His gruff growl is ever present as always, but it's constantly enunciated and clear here.
But the focus for any Tom Waits' review will always be directed toward the pen. As one of the most prolific songwriter in American history (not an exaggeration), Tom - and increasingly, his wife, Kathleen - have provided a tremendous amount of lyrical shelter for the emotionally homeless. They keep it clever several times throughout the collection including a new confusion epic, "Talking At The Same Time" where he observes, "We bailed out all the millionaires / They’ve got the fruit, we’ve got the rind". And a completely experimental march of "Hell Broke Luce" scissors to bits everything furthering the war machine, asking "How many ways can you polish up a turd?"
But there are also times that the duo keeps it simple, which also works. The almost-straight rockabilly"Get Lost" is about little more than getting in the car and driving. And the jazzy "Kiss Me" is deeply romantic in its simplicity of a couple whose newness is behind them. Another great collection which will no doubt be in my best of the year. (5 of 5 stars)
When the word "Magnafuzz" is in your album title, you're pretty much giving away the ending right away. Radio Moscow made waves with their Dan Auerbach-produced debut. No Dan in sight here, and also nothing in sight even remotely resembling control. In a good way...
The frenetic hippie-biker jams evoke some horribly scary speed-acid freak out scene that would only be found in the darket alley Austin, Texas bar. (Even though they're from Iowa).
"Creepin'" is their closest effort to a slow jam. A blues harp being amoung the soloist instruments here, it kicks back with a sexy blues groove. I almost called "Turtle Back Rider" a more reined-in commercial effort, but even a minute after the Black Keys-ian opening riff, everything gets sped back up again, And they throw in the whole kitchen sink, washtub and lazy susan.
It's this lack of abandon which is going to hinder Radio Moscow from acheiving any mainstream success. It's certainly not directionless, but it's also crazy and too colorful. But judging from the jambandy "Densaflorativa", you might be able to find them enjoying hippie summer fest success. And there enough of those jams to idicate that that is what the band has in mind. Being The Who in a sea of San Francisco-hair-flower-children.
The highlight of the collection is "Misleading Me". An acoustic-based riff which is no less whacked out than the rest of the record, but does imploy more blues vocals than any other tune here. (3of 5stars)
A friend of mine has been posting a plethora of Ryan Adams videos in the past weeks. I've been watching them amiably and even liked some of the offerings. I am certainly well aware of Adams' reputation much more than I've ever listened to him. And with a career as prolific as his, it's hard to get started. But nonetheless, with a new album out, I thought now would be a good time as any to update my singer-songwriter iPod repertoire.
Having said that. This album is SO fucking boring! I mean, so crazy dull that I don't exactly how to shit on it. This is simply not the same Ryan Adams that I have gotten in brief chunks in the past.
First of all, every song follows the same acoustic guitar verse-chorus-verse-chorus-bridge-chorus-chorus form. Even if I had some personal connection to the lyric: "kindness don't ask for much but an open mind" (I don't); I'd still wonder to myself why I needed to hear it four times with the same inflection with the same musical accompaniment. The songs don't build from anywhere to anything. They start, the etch-a-sketch pin follows the etch-a-sketch line, and then the song ends. A lot of dead space on that board.
That song, "Save Me", is the one that offended me the most. His expressionless voice sings that he's in "so much pain" but never describes anything in the rest of the song that explains that. I have a 30 second audio clip of Aimee Mann farting and that, on a scale of artistic expression, is still halfway between this song and "Brahm's Lullaby"(1 of 5 stars)
Not a lot to say about this one. If you heard WWPJ debut album, you heard a plucky Scottish band playing post-punk rock with thick Scottish accents. Basically the same thing here. This album is decidedly heavier than the last. Darrin Lackie, especially, who has seem to have taken a page from Matt Helders of the Arctic Monkeys. Faster, heavier.
Quite unlike the Monkeys, though- WWPJ take themselves über-seriously. And while Alex Turner would play with a clean guitar tone to keep it bouncy, and to give space for his mile-a-minute lyrics; WWPJ crack the guitars to buzzsaw levels. It makes the end result sound less post-punk and more post-grunge. Like Bush, but faster.
The odd part is the sameness of most every song. I actually looked at my computer player at one point to see if a song was skipping. Sixteenth notes played constantly, rarely changing chords whatsoever. And Adam Thompson's vocals do not evoke any counter melody either. Monotoned tunes with monotoned vocals undermixed behind the rev of grunge guitars. Not bad, just uninspiring. The closer, "Pear Tree", is a standout amongst the others. If only because shows somewhat uniqueness against the remainder of the album. (2.5 of 5 stars)
If you know or don't know... I'm a huge Sammy Hagar fan. This review will be bigger than usual. You're welcome.
"Last Temptation" The opening track innediately reminds you of your first thought on the debut Chickenfoot record: Joe Satriani is made for more than just virtuosity. The man can write a dirty classic rock riff. And like Joe says, this could feel like a re-worked '50s blues song; but add in the Chad Smith power drums and the Van Halen chorus and it becomes completely updated. The lyrics have a great concept of having that marital relation temptation, and even ties it biblically. I could have stood to see Sammy rework the second and third verse/chorus to change up those words slightly. Keeping the tone, but being less repetitive.
"Alright Alright" Very much a Rolling Stones revue here. A great one. Joe's riffs combine the best elements of "Jumpin' Jack Flash" and "Start Me Up" And while the lyric is about the end of a relationship, Sammy doesn't let the funness of the music get away from him. The chorus is a perfect party harmony that was a little late to be a great summertime jam.
"Different Devil" I'm going to assume that this is the poppiest tune on the record. And that's fine. This could easily be a late-80s rock tune with a video of black-and-white images of the tired band on the road, missing their ladies. It gains interest as the key and the tempo changes in the solo.
"Up Next" Written for a long time confidant of Sammy, John Carter died of cancer during the recording of III. Sammy has written a tune about the ramdomness of death, and his own expectations about arriving on death's door. A heavy riff by Joe is followed by a psychedelic, whammy-barred out solo fill this tune out. It's got the high harmony chorus, but other than that, a great metal marching stomp.
"Lighten Up" A Deep Purple like pipe organ intro kicks off this '70s-vibe number. And while that organ effect doesn't last, the vibe does. A straight ahead rokcer, that once again sees Sammy getting angry about romantic entanglements (his wife better be watching out). But within the straight-ahead rock, Joe does a LOT of signature noodling. Sammy called it the "Free Bird" ending, but it's so much faster.
"Come Closer" A romantic blues tune, I hesitate to call it a "ballad" because Chad uses a train-shuffle rhythm. So it's mellow, but not necessarily slow. Sammy said it, and he's right; it's a '70s R&B tune. It's really left field for anything that any of these guys have ever done in the past. And to that they should get a lot of credit. It is true to that old vibe. And when you start out with that as a lyrical basis, the whole band could have messed it around until it became classic Chickenfoot again. But they let it exist as that R&B sound and it works magically.
"Three and a Half Letters" An odd political statement of Sammy talking, reading letters he's received about people facing financial hardships. He reads the letters and then screams the chorus: "I need a job!" Easily the heaviest tune on the record, this could have been your neighborhood punk band, if I didn't tell you. Recorded live in the studio, you can hear Sammy's voice giving in toward the end. His definitely pushing it to eleven here.
"Big Foot" This one is the closest to the first Chickenfoot album. Because it's the most upbeat and fun. A straight-up driving tune. Got my Big Foot on the gas and driving home to you. It's the most simple and I may have placed it somewhere else in the track listing, because next to "...Letters", it seems too simple. But that's a big part of classic rock- is the breezy driving "Radar Love" thang.
"Dubai Blues" A great lyric about a rich man lamentin his lack of the proverbial "she". "Dubai Blues" is a great title for this. A laundry list of high-end possessions followed each time with, "...but I ain't got you."
"Something Going Wrong" This is the only track on the album that makes me question its inclusion, much less how it became the closer. It starts with an acoustic riff that sounds somewhat like "Can't Find My Way Home" except that Joe is using a slide to give it a delta swamp feel. But the song doesn't progress much from there. And lyrically, its the vaguest of the vague. "My baby can't breathe the air" is the only indication that the point is supposed to be environmental. It's not bad, it just doesn't fit in this collection.
Nonetheless, a steller effort from the 'Foot. Even better than the first record. (5 of5 stars)
A new supergroup-ish collaboration whose heart is really in the right place. A desire to make eclectic pop music has all of the ingredients. And from the view of the sonic landscape, what was desired was completely achieved. Next to that, all the participants could have spent another week re-working the songwriting angle.
Heading up the group is, of course, Mick Jagger. Which also brings me to another beef with the record. The vocals are WAY overmixed. This is true of all three vocalists, but is especially apparent at Mick's mic. This is mostly because Damien's vocals are meant to be basically solo reggae breakdowns. And Joss is a great vocalist, whereas Mick is not. All vocals are generally bleeding out what Stewart and Rahman are putting together, but it's more obvious with Jagger, whose voice the listener is more familiar with. I'm avoiding using the word "annoyed" because you won't be. At times, Jagger is quite impressive- spilling out mile-a-minute raps as he does in "Energy" and "Hey Captain". Another time, on the ballad "One Day One Night" it seems that Jagger is playing some alcoholic Tom Waits-type character. The result is definitely weird, but I enjoyed it.
Outside of the vocals is where the band is going to make most of its press. A.R. Rahman is an Indian film composer, which is the bedrock for most of these songs. Dave Stewart then adds some traditional pop and rock elements and puts it over a danceable beat. This is most evident in the title track for the group, which works well as a statement of purpose. Other tracks fair similarly well and will probably go over great at your next mixer.
All in all, the group is surely just a one-off. And that generally comes out without thinking about the details. What they turned out was a good one-night stand moment, but isn't going to be the basis for a lasting relationship. (3 of 5 stars)
I caught Astronautalis at a SxSW show years ago. He rapped over his laptop songs, did some very good freestyling. I came home and fell in love with one of his albums. He's a rapper, to be sure. But his style strayed from straight hip-hop and he was basically rapping over indie rock music.
Andy's lyrics are very literary. Not remotely the boasting MC at all. He tells stories and explores the human condition. The title track talks about how we would live our lives differently, if given the chance. "For the rest of us with our hands on our hips, our work is never done, we are Sisyphus." He's very wordy, fitting as much in as his mouth will allow.
A fantastic mellow number questioning the morality of what comes naturally may have arrived to me just in time to be included on my own next album. "Measure The Globe" doesn't end with answers. The singer is still not sure if he's driven by goodness or evil, but is sure that there's no easy way to judge.
This isn't party jam rap. The closest he comes is with a dance music coda to the otherwise mellow "Midday Moon". A track that effortlessly compares the end of a relationship to mortality questions faced at the end of our lives. That, and the lead single shown below, which does have a very upbeat ground and a huge chorus, backed by Tegan (without Sara).
I never say this, but sometimes I think Astronautalis would serve himself better if he popped it up a little. A perfect example is "Secrets On Our Lips". An excellent romantic story of a one-time hotel fling. It starts out with a simple, poppy piano underlay. But then during the chorus he lets the drummer go nuts. It's perfect for the album, but a single remix could easily be a radio hit.
In the end, I just want to see a great artist get more of the recognition he deserves. This is another great album and I love to see another one in less than three years. (5 of 5 stars)
Just read a review which compared this to Amnesiac, Bowie's Berlin era and the Black Keys. Three things that see completely at odds to me, which leaves me excited to start. And I see the Amnesiac part, kind of. There's plenty of atmospheric drums crashing all about without regard to the mellowness of the keyboards or guitars that may be the anchor of the written song. Even amoung the most ballady of the collection, "Having It Out" pits a weepy Pisano trying to croon like Chris Martin at a piano all while Brian Moen keeps the pace moving with a frenetic tambourine.
It's still way too indie to really be sat alongside those previous examples. These songs are little more than a basic piano or guitar structure with drums that get about a layer of effects overdubs. I get the feeling that Pisano would like to be regarded as a Jim James or Conor Oberst. He's trying to come acoss that earnestly. He lacks a little in the way of dynamic writing, vocal inflection and simple ability to get there.
Still, the pair are able to chalk up a number of successes on the album. The riff laden "Hard Heart" and the more subdued U2 influenced, "Haunt You". (2.5 of 5 stars)
Having my dreams dashed of listening to the new RHCPrecord (not on Rhapsody...) I turned my sights to indie folkers Beirut. I liked their debut release, but that was several years ago. Let's skip ahead to see what they're up to now.
Beirut is an indie folk band, which means that they've got all the instrumentation of an Arcade Fire, except that they are way bigger pussies. Which is expressed with casualness all over this record. A thankfully brisk nine songs, the rolling theme seems to be the isolation and loneliness of the musician's wandering home.
It doesn't have that morbidity though, nor is it as clever, as the Magnetic Fields; but I'm still reminded of them through mostly Zach's monotone vocal delivery. On the contrary to Mr. Merritt, who has often fairly fascinating wordplay; Zach is sparse and leafy. "Sound is the colour I know... is what keeps me looking for your eyes."
But I don't want to be too critical. The songs are very pretty. And it's rare that I get comfortable with a horn section that's not funky. A throwaway electronic track, "Santa Fe" which sounds like The Killers were falling asleep, the songs sound like northeastern coastal cities with Ralph Lauren jackets. It's got a mood that fits, but you won't be driving to it. Standout track attached, "Goshen". (3 of 5 stars)
It may sound too perfectly precious, but I'm going to go ahead and celebrate the new Muppet movie with their non-soundtrack. A collection of Muppet classics done by indy-rock's current finest (and has-beens and who?s). It's hip and sentimental, but Muppets are still awesome, no matter how you look at them.
That being said, covering awesome is not always successful.
The theme song to the show is of course kicked off first. And I'm happy that OK Go supplies their own version than a faithful cover. A crazy break beat is the bed of this classic. It's fun, and brings the rock more than any other in this collection. The Fray's "Mahna Mahna" is fun (how could it not be) but certainly brings no rock. Speaking of rock, it is inexplicable that the post-hardcore group Atreyu is represented here, as the drummer/singer Brandon Saller takes credit for the metal rendition of "Night Life".
Alkaline Trio stays in their comfort zone with their "Moving Right Along" cover and keeps the upbeat swing of the original in their pop-punk version. But again, it comes across as filler- and there's no reason to continue the film dialogue in your cover.
Two surprises are included in the middle, the first being My Morning Jacket's Emmet Otter song choice of "Our World". The perfectly represents an MMJ song and is performed with the same integrity that they would tackle their own Jim James' written tracks. That's a good cover. Similarly, if less effectively, is Amy Lee's cover of "Halfway Down the Stairs". I wouldn't say that I like this version, but I can say that it was approached as Amy wanted to approach it and the original is barely noticeable.
Weezer should have taken Andrew Bird's approach, who took the other of Muppet's most-classic tracks, "Bein' Green". Some might call it too precious, but I would aruge that it would be difficult for anyone to take on this song without sounding like you're holding back tears. It's so well written, and whomever took on the violin solo here nailed it.
Similarly sentimental, but no less effective, comes Matt Nathanson, who has to this point evaded my musical knowledge, turns in a perfectly lamentful lovers' quarrel "I Hope That Something Better Comes Along" without any of the playful duet-ness of the Kermit/Rowlf original.
For the most part, like all tribute records, you'll wonder why you're not just listening to the originals. But there is plenty of inspiration of the Henson camp to make for some great listening. (3 of 5 stars)
And I can declare through even just the second song that it is neither loud nor sloppy. Maybe it was the loss of Kurt Vile that mellowed them out. (Or maybe I'm just remembering wrong) But Adam et. al. keep a sunny, mellow upbeat folk rock feel.
"Brothers" which begs the wonderment of "where my friends are going? Wondering why they didn't take me." It's all vaguely Dylanesque, especially the vocals. I get the feeling that Adam's favorite song ever is "Lay Lady Lay". The band itself is a little more modern. Without much multi-instrumentation to use, they otherwise sound like a stripped down R.E.M. at times. Wilco at others. And while I can't place the song, I feel like "I Was There" sounds exactly like some '70s AM Radio Gold track.
Having said all that, right about halfway is about the time Drugs turns the tables and channels their inner Arcade Fire. And then their inner U2.And another that's a little new wave-y. They've got the rock in them too. And I'm okay with eclecticism of the album. Like I said, it's not as sloppy as another band might do with this much diverse material. The only part that slighted me at all was this "Ambient" part of the title. There does seem to be some riding out on waves of sound a good minute or two after each song should have been completed. It may be someone's cup of tea, but that was a limiting factor for this listener. (3 of 5 stars)
As we finish the calendar year out, very few new releases come out. Record companies focus on their catalog artists/greatest hits shit at retail. But both Common and Jeezy got a new one out and I jumped on this one as I know nothing about the other.
