skip to main |
skip to sidebar
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)
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)
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.
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)
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.
