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)
The first "solo" album by Jack White seems to be somewhat of a misnomer, as it's difficult to ever assume that the third man doesn't have complete control over every project he touches. But this does fit the "solo" trait of being outside of the band-guy's public norm. This is a collection of tunes that run the gamut of styles whereas each of the other groups have a cohesiveness to them. But I'm not slighting anything. This is a brilliant set of songs front to back.
The first track, a 70s pop-rocker which reminds me of some more rambunctious Paul McCartney. "Sixteen Saltines" is straight-up old school White Stripes guitar rock. It's really the only ROCK tune on the record, and is one of only three songs with any guitar solo to speak of. Another, "Freedom at 21", has a frantic psychedelic drum beat and a rhytmic vocal that recalled me to Janelle Monae.
"Love Interruption" is a great example of Jack's lyrical style. There are turns where he seems to be rhyming just for the sake of having a word there. That has value to help make a song more memorable. As the Beatles, Bob Dylan, etc. On the other hand, when you get to the end; you have been told a complete story.
The title track story would have been a perfect additon to my last album about infidelity. It's romantic, and the slide guitar adds a country-western element to the waltz which would make the most ardent adulterer blush.
I think it's the snottiness that makes "Hypocritical Kiss" my current favorite. And then "Weep Themselves to Sleep" is somewhere between "Delilah" and the Stripes' own "...Martyr..." The lone cover on the record is a old Little Wille John blues track called "I'm Shakin'" that also gets to be the most playful song, Also playful, but lyrically less hopeful, is "Hip (Eponymous) Poor Boy", a Harry Nilsson-ish shuffle.
On the other hand, I'm running into another huge favorite with "I Guess I Should Go To Sleep", another country tinged-tune about giving up now to fight another day later. It's got an old-school brilliant Hank-Williams melody, but a jazz-piano riff. Similarly, the album's closer, "Take Me with You when You Go" sounds like Jethro Tull recorded asong in Nashville.The fact that they work so well together is another diamond in Jack White's crown. (5 of 5 stars)
Having looked at the allmusic review here before I started the record, I noticed the comparison "TV On The Radio meets Fleet Foxes"- and for the first track, I kind of agreed with that. TV's vocal inflection with modern percussive melody was being coupled with additional harmonious background. It's still ethereal. It was a good opener.
As we move on, I still feel the TV vibe but the rest has been replaced by something oddly retro-ish. A little U2, but even more than that, the post-U2 breed of 80s alt-rockers. Simple Minds, Big Country, etc.
Now that will seem way off base, especially watching the live performance below. But trust me, there's a lot of extra implementation of instruments that isn't totally synth-based, but will still remind you of the bigger-than-thou eighties production. All the while still being non-electronic. Like Peter Gabriel or Paul Simon. Not third-worldly, but... textured.
If it sounds like I'm totally confused, it's because this is a damn weird album. I don't know if I'm sold on the "math rock" label they've been given, but leader Dave Davison plays without monster chords or riffage. He's a master mother plucker who's working pretty fast up and down the neck. And his voice also frustrates me in the best way. At times, I'm visualizing Cee-Lo, and others, the guy from Big Head Todd. And when you see him, you think- Jimmie Dale Gilmore.
Maybe none of this seems to make sense. And neither does it that I should like this record. But I do. A lot. (4 of 5 stars)
On the recommendation of some trusted friends, I give a listen to the debut by some southern rockers. I surely would have avoided this if left to my own devices. While totally opposite from the indie rock that I often review here; both forms often fall into the same traps. Monotony and well-worn clichéd themes.
The joker in this deck though comes in the form of singer Brittany Howard. Her voice is as dynamic and infectious as any you'll hear. Pretend that Adele ever got fucked as much as she got heartbroken. And this is an important component, because while the band is altogether great; no one will be touting their innovativeness. This is classic rock to it's core. The themes aren't going to surprise you. With a song called "Hold On", you're going to get little more than "times are troubled, hold on". And if I thought someone was just being lazy, I'd let you know. But sometimes, those blues sentiments ring true and are delivered with conviction. That's Alabama Shakes.
But I don't want to undercut the band though. They're perfect for this delivery. There's no Jack White or Dan Auerbach genius playing here, but it feels good. Be on the lookout for a plethora of "dive bombs" - where the band drops out for a second while Brittany screams into an on-the-one crash. It's a great trick. Kudos too to producer Andrija Tokic for the live recording and keeping the drums as out-in-front as they were left. There's a lot of history in Alabama soul production and it was held up here.
Great timing too with the Spring release. Keep this repeating for your next BBQ/boating/drinking mixer. Or just walk by the BRT - they'll have it on. (4 of 5 stars)
Too often in the past have I been burned by the over-hype. This kid's story is impressive, which often leads even the most jaded hipsters to blind themselves with the rosiest of shades. But if I ignored them all, I would have missed the White Stripes and others; so I have a little faith and spin.
What is delivered is a collection of home recordings. Even more raw than Cody ChesnuTT, think instead of a black Daniel Johnston. Instrumentation is sparse and the listener is sold specifically on the merits of the words. Skepticism jumps in right away because while "Take Me Away" is a impressive soul-gospel slave dirge, it also sounds a shitton like Tom Waits.
Other tracks show Willis getting more existential. And maybe a little schizophrenic. "Cosmic Queries" asks, for example, "Is there some trascendental train for the ones who are none?" And while I'm leaning toward the this-is-too-rustic-to-be-authentic vibe, the album is not without its merits. I still think that Willis will eventually benefit from grabbing a Beck-like collaborator (or just Beck) to add some more musical arrangements; but Willis has a gift for gab. Not hip-hop, but more urban folk rap; he brings some quality observational thoughts to the mic sometimes. "Robot Ghost" and the attached "Evening's Kiss" are examples. (3 of 5 stars)
Never one to spend too much time with pop music, circumstances led me to listen to Madonna's latest. What I find most interesting in listening is how much I find myself accusing Madonna of leaning too closely on other hitmakers. Hitmakers that I would surely also accuse of ripping off Madonna. A cyclical problem which I'm sure is just timing. Madonna's at an age now where Lady Gagas are taking the Madonna platform to modern stages. And Madonna's divorce is putting her in a "girl gone wild" vibe which is selling a false youth.
She uses a couple of these hitsters as guests, M.I.A. and Nicki Minaj, and why/how she avoided the Lady Gaga guest spot is curious. Maybe it was too on the nose. As long as you didn't Britney-kiss her on MTV, it wouldn't have been at all ridiculous.
I've been impressed with Madonna music before. I'm thinking specifically with rock-tinged "Ray Of Light", which seemed more authentic somehow. None of that occurs here. Madonna wavers from modern house production to classic dance-pop. The latter includes the single "Give Me All Your Luvin'" and "Turn Up the Radio". It's catchy and fun, but already well-tred ground, even with the young guests.
I was more impressed with the more innovative production techniques. "I'm A Sinner" for example and this writer's favorite, "I'm Addicted". It's nothing that the young kids aren't already used to, but it was enough to keep me from being bored while still employing some quality pop melodies. Having said all that, you should also check out the deluxe-only track "I Fucked Up", which shows some of the rare Ciccone humility. (2.5 of 5 stars)
An album about the artist's mother's suicide. Perfect sunny afternoon music. It's chamber pop, which is fancy talk for "let's put more sounds in there". And more often than not, I was put off by all the noise. There's a pretty pop song underneath all of this. It doesn't have that dynamic skyrocketing that a Rufus Wainwright would have. It's all very lilty. Sufjan Stevens is an apt comparison.
Ari Picker's voice is soft, but still well-spoken and on target. One of my other annoyances is the background vocals. They often sing without words, as orchestration, when I think the album would benefit more from stripping itself down a notch. I would start with these angelic bitches. "The Dead Bird Is Beautiful" and its soft-to-loud buildup is a good example of the stripdown vs. vocal exhaustion.
In the end, I was simply too distracted by the music; which at its core is typical indie folk. But it overextends itself in extra noise. So his songwriting intent of what may have been a thoughtful memorial is lost on me. (2.5 of 5 stars)
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.
