Saturday, May 26, 2012

Riverboat Gamblers - The Wolf You Feed

This was initially sold to me as "garage revival"; and maybe the band was at some point. While new to me, they are a decade old. And have had as many members through the proverbial band door. This is not garage rock by any stretch. It's - for the most part - punk rock. And decent, too.

Not pop punk per se, but it's also not the rawest thing you've ever heard. The production is clean, the melodies are distinct.

A couple of highlights include "Comedians"- where the Gamblers polish it up just enough to bring a bounce to their step. The opening chords sound like Kings of Leon, but then the song flows between a modern Thermals and some classic Walkmen. Also "Gallows Bird" with its monotonous beat and lyrical repetition is still awesomely sloppy, like they were playing in the bowels of a slave boat during a storm with a drunk piano player.

On the other hand, they polish up way to much on "Heart Conditions". This sounds too much like a Von Bondies cover, whom I like; but the addition with the rest of the collection here is a forced manuever. Conceptually the same argument can be had for "Loser Neck". Except that it sound like Mike Ness is fronting Better Than Ezra. But, two boners aside, this is still a decent collection. (3 of 5 stars)

Sunday, May 20, 2012

Beach House - Bloom

I knew I would regret this as soon as I saw the glowing review on Pitchfork. That hipster shit has never reflected my tastes. But, I've heard some other things that their previous releases, while growingly successful, seemed lazy to other people. And that this one is more fully realized collection with wider-scoping production.

I still call bullshit.

The same ethereal-voice Casio-tone synthesizer is in play from beginning to the bitter fucking end. And Victoria's wispy vocal is so boring, it makes Carly Simon sound like Lemmy. I don't know how much more I can say about how little this album has to offer.

If this were just a dull delivery with some diamonds-in-the-rough songwriting, then I'd be more forgiving and at least two-star it. But no. Take for example, "The Hours". They dream up some lyric, "Can I wait the hours until you find me?" like some Castlevania princess. And then just build lines around other words that rhyme with "hours". "Climb up to the tower" / "Violence in the flowers". Don't get me wrong- lots of pop music does get trite with their rhymes. Good pop does it well. Beach House just don't try.

And a hidden bonus track? Really? Is this 1995? Fuck you. (1 of 5 stars)

Saturday, May 12, 2012

Silversun Pickups - Neck Of The Woods

While I skipped their last release, The SPs debut was a relatively pleasant throwback to the Smashing Pumpkins. "Lazy Eye" and "Melatonin" are good jams and I've seen the band put on a good show. But I'd be surprised if the dynamics of this band grow to make them a favorite though.

A couple of the songs on this new record, though, are expanding for the straight Alt.-Rock format and delving into programmed percussive elements. I assume that Radiohead is an influence, but that level of the game is clearly never accomplished. Actually, one of these, while one of the most boring tracks on the album is one of my favorites. "Here We Are (Chancer)" is stable, monotonous and recalls a VHIII track to me. But the bass line slinks around enough to sexy up a groove in a song where nothing else is moving.



On the other hand, another of these electro-tracks seems to be ripping off Depeche Mode. And not in an inspired-by-cool way. But rather a straight lifting of a melody and stylistic production. See if you don't agree.
The closing track, "Out Of Breath" is indicative of the entire record. It's got riffage, it's got promise. But the production is completely neutered, the lyrics too oblique and wasted. And if Brian Aubert's vocal range is a little limited, that doesn't excuse the lack of dynamics. One of the great parts of "Lazy Eye" was that as soon as you get complacent with the general groove, it explodes. There are no explosions - or even fireworks - in this neck of the woods. (2 of 5 stars)

Saturday, May 5, 2012

Norah Jones - Little Broken Hearts

Yes, I've made my coplaints about chick singers in the past, but I was too drawn to this. a.) It's all about the fresh wound of a broken relationship (I'm a big fan of that shit.) b.) It was produced by Danger Mouse, who generally works for me. c.) Norah did a great job on the Rome project as well as that last Little Willies record. ... and d.) She's super hot.

The album opens with a beautiful lullaby, but what follows is what we were told to expect. Norah has traded in her VH1-jazzy Adult Alternative pass to become a hipster indie-pop girl. Kinda like Jessica Simpson did when she was fucking Billy Corgan.

Some of the tracks, like "She's 22" and the title track work with a smoky mournfulness. Others, like "Say Goodbye" and "Happy Pills" have a uppity coolness that I thought was just too silly to fit here. Mr. Mouse, oddly enough, is producing this quite cooly. For a guy who got his start remixing hip-hop and then turn  a garage blues band into an arena rock radio staple, he is scarecly providing any rhythm to speak of.

But that's okay. The space between is all pretty sultry. In "Miriam", for example, Norah is confronting her lover's other lover. And while threatening their death, she makes the suffering sound all too sexy. (3.5 of 5 stars)