skip to main |
skip to sidebar
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)
"Frustration is my lexicon of hate."
Metallica plays behind Lou Reed at one concert; he asks them to do a record with him; they say yes. The result, even before I get started, is getting a buttload of shitty reviews. I have to quote one of the best lines I saw, by Chuck Klosterman: "If the Red Hot Chili Peppers acoustically covered the 12 worst Primus songs for Starbucks, it would still be (slightly) better than this."
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, (3.5 of 5 stars)
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...
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.
There's also no value in these lyrics. I mean, he has a song using one of the biggest clichés ever with "Chains Of Love". He's also certainly concerned about growing old and not being the kid he once was. But his only ability to verbalize this comes in:
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 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.
