Today's Music That Jason Likes But Doesn't "Like" Like is the self-titled Broken Social Scene album. This is music that very much falls in line with the New Pornographers as a clever indie joint project. BSS is a larger music collective than the Pornos, though, and their music tends to be more rock than pop.
As a group, BSS tends to play well (or at least be mixed well) together. No member or instrument really dominates, making for a pleasant if unaffecting aural tapestry. The music is clever, to be certain; it really moves and jumps, and strays from the 4/4 time signature that popular music seems to be locked into any more. The musicians are more than competent; the drummer in particular manages to be busy without being intrusive, which is a nice way of saying that the drums are noticeable but not in a bad way. (This is somewhat uncommon.) As I do consider BSS to be the peers of the New Pornos, I have a hard time not comparing lyrics, and in this regard BSS doesn't hold a poetic candle to the words of Newman & Bejar.
Still, this album is good music for someone who likes their indie rock thoughtful if not verbose, who likes to rock - not too much though - without much pretense.
In other news, it's a three day weekend! And it's about freakin' time.
I needed a place where I could blog to my heart's content without the harassment that came from the social networking sites. This isn't really going to be a diary, but more of a place where I can tell people what is happening with me and talk about music. Mostly talk about music.
Friday, August 31, 2007
Tuesday, August 28, 2007
The Great Destroyer...and then some
Man do I ever want to blog about Challengers some more. I've been listening to it almost every day since I got it. While it's probably the least rambunctious New Pornographers album (and likely the weakest in some eyes), it's a very good album. It isn't as upbeat as any of their other albums, even Twin Cinema, but I'm still impressed. I do have one criticism: the Bejar songs (Dan Bejar contributes a few songs to each album) don't blend with the others as well on this album as they do on Twin Cinema or even Electric Version. His songs are good, and the Newman songs are excellent as well, but they are a little too different in sound to transition together cleanly. I suppose this is more a result of these two men having continued to grow as musicians since the NPs initially set out as a side project of sorts. I really like this album, though, and can't find a song that I dislike. Of course I like the Neko songs, but a lot of the others are wonderful as well.
No, no, today's Music That Is Making Jason Buy Concert Tickets is The Great Destroyer, by Low. This is far from the first Low album, but it's the first one I got my hands on, by way of the DSM public library. I heard their song 'Monkey' on BetterPropaganda and was rewarded for my curiosity. Low is a group of three people from (I think) Minneapolis who started making music in the early/mid 90's. Their sound is very reserved and minimalist, 'downtempo' or 'slowcore' for those of you who need to label your music. Whereas the New Pornographers are known for having all sorts of catchy pop hooks in songs, Low is almost exactly the opposite: ominous, foreboding promise that never explodes. Note: I really need to get some of the early Low albums. I've heard much praise for Things We Lost In The Fire, and apparently Low has a very good Christmas album.
Anyhow, The Great Destroyer is something of a departure from the traditional Low albums. It's more upbeat and louder, to be certain, though it retains the darker tone of their earlier work. For longtime fans, I suspect it came as something of a letdown, but I liked it almost immediately. My favorite song on the album is easily 'Silver Rider', which probably comes closest to emulating the slow, brooding sound that is more traditional Low. This album overall is enjoyable, even if it isn't 'fun'; it's great for holding a grudge or just being in a sour mood all day. It's also good for rainy days or just settling down.
In other news:
I need sleep. Apparently I can't just sleep four hours a night and ignore it forever.
No, no, today's Music That Is Making Jason Buy Concert Tickets is The Great Destroyer, by Low. This is far from the first Low album, but it's the first one I got my hands on, by way of the DSM public library. I heard their song 'Monkey' on BetterPropaganda and was rewarded for my curiosity. Low is a group of three people from (I think) Minneapolis who started making music in the early/mid 90's. Their sound is very reserved and minimalist, 'downtempo' or 'slowcore' for those of you who need to label your music. Whereas the New Pornographers are known for having all sorts of catchy pop hooks in songs, Low is almost exactly the opposite: ominous, foreboding promise that never explodes. Note: I really need to get some of the early Low albums. I've heard much praise for Things We Lost In The Fire, and apparently Low has a very good Christmas album.
Anyhow, The Great Destroyer is something of a departure from the traditional Low albums. It's more upbeat and louder, to be certain, though it retains the darker tone of their earlier work. For longtime fans, I suspect it came as something of a letdown, but I liked it almost immediately. My favorite song on the album is easily 'Silver Rider', which probably comes closest to emulating the slow, brooding sound that is more traditional Low. This album overall is enjoyable, even if it isn't 'fun'; it's great for holding a grudge or just being in a sour mood all day. It's also good for rainy days or just settling down.
In other news:
I need sleep. Apparently I can't just sleep four hours a night and ignore it forever.
Thursday, August 23, 2007
The Man Comes Around
Today's Music That Jason Wants You To Listen To is Johnny Cash's American IV: The Man Comes Around. This is the fourth album in the 'American' series, which (as I understand it) was largely orchestrated by producer Rick Rubin. Now I may not have my facts entirely straight, but the first 'American' album was the result of Rubin getting in touch with Cash and just getting him into the studio and letting him do what he wanted, at his own pace. And thank God.
American IV is a curious mix of mostly cover songs, with a few originals rounding out the album. The song you probably know is his cover of Nine Inch Nails/Trent Reznor's "Hurt", which is everything a cover song should be: a unique take on an interesting song that doesn't lessen the effect of the original at all. There are plenty of other good songs here too; most of the album consists of covers of old country songs and standards, making this album not a candidate for 'feel-good record of the year', but it is a fine work. As much as the old covers seem to fit Johnny's style, they almost seem beneath him ("Desperado", "I'm So Lonesome I Could Cry"). So many of them just seem to pander for sympathy, whereas Johnny being himself never had to, never would have. Still, the fact that Johnny was making albums right up until he passed away is nothing to scoff at, and his gentle touch with these songs generates no melodrama.
The more modern or popular covers ("Hurt", "In My Life", and others) are the highlights of this album. Ten years ago, who would have thought Johnny Cash covering Depeche Mode and NIN would be feasible, much less good? While you might suspect my favorite track to be "Bridge Over Troubled Water", due to my love of both Simon & Garfunkel and Fiona Apple (the latter sings with Cash on this track), my favorite is the title track. It's one of the few originals to make its way onto the album, and it probably even outshines "Hurt". Johnny was never shy about his Christian faith, so perhaps this song just suits him more than the others.
So in short, good though depressing album. I really hope to get more of the American series of albums from the library.
In other news:
I've been sore all week. Yesterday I couldn't even use the stairs well. It's great.
American IV is a curious mix of mostly cover songs, with a few originals rounding out the album. The song you probably know is his cover of Nine Inch Nails/Trent Reznor's "Hurt", which is everything a cover song should be: a unique take on an interesting song that doesn't lessen the effect of the original at all. There are plenty of other good songs here too; most of the album consists of covers of old country songs and standards, making this album not a candidate for 'feel-good record of the year', but it is a fine work. As much as the old covers seem to fit Johnny's style, they almost seem beneath him ("Desperado", "I'm So Lonesome I Could Cry"). So many of them just seem to pander for sympathy, whereas Johnny being himself never had to, never would have. Still, the fact that Johnny was making albums right up until he passed away is nothing to scoff at, and his gentle touch with these songs generates no melodrama.
The more modern or popular covers ("Hurt", "In My Life", and others) are the highlights of this album. Ten years ago, who would have thought Johnny Cash covering Depeche Mode and NIN would be feasible, much less good? While you might suspect my favorite track to be "Bridge Over Troubled Water", due to my love of both Simon & Garfunkel and Fiona Apple (the latter sings with Cash on this track), my favorite is the title track. It's one of the few originals to make its way onto the album, and it probably even outshines "Hurt". Johnny was never shy about his Christian faith, so perhaps this song just suits him more than the others.
So in short, good though depressing album. I really hope to get more of the American series of albums from the library.
In other news:
I've been sore all week. Yesterday I couldn't even use the stairs well. It's great.
Tuesday, August 21, 2007
Challengers!
ItshereitshereitshereitshereOMGitshereitshere! Today's Music That Jason Has Been Waiting On For A Long Long Time is Challengers, by the New Pornographers.
So my copy of Challengers finally showed up! It was actually sent to my neighbor, who dropped it off last night around six-ish. (This is ironic because less than an hour before, I was talking to someone at the gym and specifically said "I haven't met any of my neighbors".) I didn't stay up to listen to the whole thing last night - I made it through half the album before I couldn't keep my eyes open - but the early impression is a good one.
Thus far, the songs I've heard seem to be more laid-back and sweeter than the tracks on Twin Cinema. I don't know that this is exactly what I would have hoped for - Twin Cinema was nigh-godly without being too chipper - but it still sounds like New Porn. Most of these songs were written by A.C. Newman, and they sound like Newman songs, with their busy layered soundscape and multiple hooks. Dan Bejar contributes a few songs, and while they don't disrupt the flow of the album, they have a different feel than the Newman tracks. I don't know how to describe the difference, exactly; the Newman tracks are better contained and pull you in right away, whereas the Bejar tracks linger and just grow on you to the point where they end and you aren't ready for them to be over but you know you never will be.
Standout tracks on the initial listen: "Unguided", "Challengers". The title track has Neko Case singing, thank God, and it managed to make me feel luckier and lonelier at the same time. While I don't honestly expect Neko to always be a part of this group, and I'd certainly buy their albums even if she didn't sing on them, her voice still has its Midas touch. Also, sometime if you wanted to hear me turn into a total fanboy, ask me about Neko Case. Let's just leave it at that.
So, in short: New Pornographers, less rambunctious than in their Mass Romantic days but still wonderful, Neko Case can tie me up anytime. Sorry!
So my copy of Challengers finally showed up! It was actually sent to my neighbor, who dropped it off last night around six-ish. (This is ironic because less than an hour before, I was talking to someone at the gym and specifically said "I haven't met any of my neighbors".) I didn't stay up to listen to the whole thing last night - I made it through half the album before I couldn't keep my eyes open - but the early impression is a good one.
Thus far, the songs I've heard seem to be more laid-back and sweeter than the tracks on Twin Cinema. I don't know that this is exactly what I would have hoped for - Twin Cinema was nigh-godly without being too chipper - but it still sounds like New Porn. Most of these songs were written by A.C. Newman, and they sound like Newman songs, with their busy layered soundscape and multiple hooks. Dan Bejar contributes a few songs, and while they don't disrupt the flow of the album, they have a different feel than the Newman tracks. I don't know how to describe the difference, exactly; the Newman tracks are better contained and pull you in right away, whereas the Bejar tracks linger and just grow on you to the point where they end and you aren't ready for them to be over but you know you never will be.
Standout tracks on the initial listen: "Unguided", "Challengers". The title track has Neko Case singing, thank God, and it managed to make me feel luckier and lonelier at the same time. While I don't honestly expect Neko to always be a part of this group, and I'd certainly buy their albums even if she didn't sing on them, her voice still has its Midas touch. Also, sometime if you wanted to hear me turn into a total fanboy, ask me about Neko Case. Let's just leave it at that.
So, in short: New Pornographers, less rambunctious than in their Mass Romantic days but still wonderful, Neko Case can tie me up anytime. Sorry!
Friday, August 17, 2007
Turquoise and Crimson
Today's Music That Jason Likes But Doesn't 'Like' Like is Turquoise and Crimson, by Vast. Now, I don't really know anything about Vast, except that a friend recommended them to me some time ago, so I picked up this double album on a whim. So here are my thoughts.
This album is probably not going to classify as my favorite anything, but it's still very listenable. It's rock, definitely not heavy metal but probably enough to make John Mayer wet his pants at the very least. It makes me think of a darker U2, as though this band heard "New Year's Day" and decided that they would make albums that expanded on that same sound. The singer actually has a comparable vocal range to Bono, though he doesn't have quite the voice. Still not bad by any means. The band incorporates piano very well in many of the songs, particularly "Don't Take Your Love Away From Me", which has a fairly awful title but is probably my favorite track on either disc.
I suppose there has to be an explanation for why I'm not over the moon about this album. It's interesting, dark and driving enough to be really enjoyable though probably not uptempo enough for the gym. Some of the songs are a little too similar in structure and overall sound, and there isn't always enough tension built up to make the release in each song particularly gratifying. The band doesn't really do anything wrong; I suppose it's like having a date with someone who is agreeable and pleasant, even attractive, but not at any point unpredictable or especially stimulating.
In other news, I'm late for something. See you later.
This album is probably not going to classify as my favorite anything, but it's still very listenable. It's rock, definitely not heavy metal but probably enough to make John Mayer wet his pants at the very least. It makes me think of a darker U2, as though this band heard "New Year's Day" and decided that they would make albums that expanded on that same sound. The singer actually has a comparable vocal range to Bono, though he doesn't have quite the voice. Still not bad by any means. The band incorporates piano very well in many of the songs, particularly "Don't Take Your Love Away From Me", which has a fairly awful title but is probably my favorite track on either disc.
I suppose there has to be an explanation for why I'm not over the moon about this album. It's interesting, dark and driving enough to be really enjoyable though probably not uptempo enough for the gym. Some of the songs are a little too similar in structure and overall sound, and there isn't always enough tension built up to make the release in each song particularly gratifying. The band doesn't really do anything wrong; I suppose it's like having a date with someone who is agreeable and pleasant, even attractive, but not at any point unpredictable or especially stimulating.
In other news, I'm late for something. See you later.
Thursday, August 16, 2007
everybody in the place can just GET OUT
So today, I was toying with the idea of posting a somewhat less positive review. Just about all of the music I've discussed here so far has been things that I have a favorable opinion of. But the negativity, or at least less enthusiasm, is on its way. I was thinking about The Shins, specifically; they're a group that has some good songs and also some unaffecting soggy-cereal kind of songs. They aren't awful, but I wouldn't say their music would 'change my life'.
Enough. Let's get down to business.
Today's Music That Jason Keeps Locked Away Until You're Older is Elephant, by The White Stripes. I could go on and on about Jack and Meg themselves, but let's talk about the album today. This album is from a period in the White Stripes' existence where Jack was really getting into old blues and country, ran around with Loretta Lynn for a while, and incorporated some of these elements into the music. The result was probably the best White Stripes album (some people would argue in favor of De Stijl or White Blood Cells, certainly not baseless claims). The songs here jump around a little, stylistically: straight-forward dirty rock songs ("Seven Nation Army", "The Hardest Button to Button"), slow bluesy songs that get loud and squeal a little bit ("Ball and Biscuit", "I Just Don't Know What To Do With Myself") and even songs with Jack being cute and flirting with Holly Golightly ("It's True That We Love One Another"). It makes a whole that manages to be cohesive without reaching for any kind of uniformity.
I even like the song titles and lyrics on this album. The lyrics aren't exactly Stipesque, but they fit exactly with the style of music. This album is fun and rambunctious, but doesn't deny its roots. Underneath all of the songs is a sense of latent danger that you don't get in most records. There's always that possibility that each song might be the one where the White Stripes decide to go to 11 and ROCK THE HELL OUT OF YOU. I want to tell you that I have a favorite song on this album, but I couldn't pick just one or even two. The uptempo songs are fun and almost perfect workout music, the downtempo songs make for good contrast and offer a nice slow burn. Basically, if you like modern rock that doesn't blow, this album is for you. Not recommended if you like your bands full of late 20-somethings who still write songs about being in high school.
Someday, maybe, there will be a post about the greatness of the White Stripes in general, about how they are exactly who they are on stage and how they might not have 'saved' rock but they didn't let their image get in the way.
In other news:
As reported by The Onion, America's News Source, death is still 100% fatal. No cure in sight.
Enough. Let's get down to business.
Today's Music That Jason Keeps Locked Away Until You're Older is Elephant, by The White Stripes. I could go on and on about Jack and Meg themselves, but let's talk about the album today. This album is from a period in the White Stripes' existence where Jack was really getting into old blues and country, ran around with Loretta Lynn for a while, and incorporated some of these elements into the music. The result was probably the best White Stripes album (some people would argue in favor of De Stijl or White Blood Cells, certainly not baseless claims). The songs here jump around a little, stylistically: straight-forward dirty rock songs ("Seven Nation Army", "The Hardest Button to Button"), slow bluesy songs that get loud and squeal a little bit ("Ball and Biscuit", "I Just Don't Know What To Do With Myself") and even songs with Jack being cute and flirting with Holly Golightly ("It's True That We Love One Another"). It makes a whole that manages to be cohesive without reaching for any kind of uniformity.
I even like the song titles and lyrics on this album. The lyrics aren't exactly Stipesque, but they fit exactly with the style of music. This album is fun and rambunctious, but doesn't deny its roots. Underneath all of the songs is a sense of latent danger that you don't get in most records. There's always that possibility that each song might be the one where the White Stripes decide to go to 11 and ROCK THE HELL OUT OF YOU. I want to tell you that I have a favorite song on this album, but I couldn't pick just one or even two. The uptempo songs are fun and almost perfect workout music, the downtempo songs make for good contrast and offer a nice slow burn. Basically, if you like modern rock that doesn't blow, this album is for you. Not recommended if you like your bands full of late 20-somethings who still write songs about being in high school.
Someday, maybe, there will be a post about the greatness of the White Stripes in general, about how they are exactly who they are on stage and how they might not have 'saved' rock but they didn't let their image get in the way.
In other news:
As reported by The Onion, America's News Source, death is still 100% fatal. No cure in sight.
Monday, August 13, 2007
Gulag Orkestar
Today's Music That Jason Will Probably Get Into A Fight About At Some Point:
It's easy to nitpick. Nothing is ever perfect and criticism comes easy to most people, whether we like to believe so or not. If only this sandwich had more mustard, if only it were not so humid, if only so-and-so were a little more blonde. But is anything really above criticism?
YES.
Earlier this year, after having heard a couple of songs from Gulag Orkestar at The Lift one night, I purchased the CD. This album immediately endeared itself to me; through my first listen, I could tell that this was something monumental, on the order of the Arcade Fire's Funeral or even Neutral Milk Hotel's In The Aeroplane Over The Sea. This album is fantastic, inspired music, the kind of music that puts so much simple popular music to shame. But enough gushing, what does it sound like?
It sounds like a bunch of drunken gypsies who really know how to play their instruments, sitting around a fire, not really talking about what songs to play because they don't have to. There isn't much in the way of traditional rock instruments on this album; it's mostly horns, accordion, mandolin, and so on. The vocals will never be as smooth as say, Marvin Gaye, but they work perfectly with the casual theme of the whole album. It does have a bit of a dark tone to it, but it's hard not to fall in love with this album. There isn't anything contrived here to speak of.
Beirut is releasing an album on the 9th of October this year, and you can believe I'll purchase it as soon as I can. If anyone made a movie about my life, it might be lame, but the soundtrack would be awesome.
In Other News:
Saturday's plans fell through so I went to see Once. I wrote a gushing note about it already, but it's good, really good. Go see it!
Yesterday I had probably the best tuna sandwich I've ever had. I also took a dozen or so pictures of the sunset peeking out from the tail of a thunderstorm, giving the sky an interesting honey color.
This weekend went by way, way too fast, and it doesn't seem like I accomplished much of anything. It wasn't bad, really, I just couldn't keep up with anything in particular.
It's easy to nitpick. Nothing is ever perfect and criticism comes easy to most people, whether we like to believe so or not. If only this sandwich had more mustard, if only it were not so humid, if only so-and-so were a little more blonde. But is anything really above criticism?
YES.
Earlier this year, after having heard a couple of songs from Gulag Orkestar at The Lift one night, I purchased the CD. This album immediately endeared itself to me; through my first listen, I could tell that this was something monumental, on the order of the Arcade Fire's Funeral or even Neutral Milk Hotel's In The Aeroplane Over The Sea. This album is fantastic, inspired music, the kind of music that puts so much simple popular music to shame. But enough gushing, what does it sound like?
It sounds like a bunch of drunken gypsies who really know how to play their instruments, sitting around a fire, not really talking about what songs to play because they don't have to. There isn't much in the way of traditional rock instruments on this album; it's mostly horns, accordion, mandolin, and so on. The vocals will never be as smooth as say, Marvin Gaye, but they work perfectly with the casual theme of the whole album. It does have a bit of a dark tone to it, but it's hard not to fall in love with this album. There isn't anything contrived here to speak of.
Beirut is releasing an album on the 9th of October this year, and you can believe I'll purchase it as soon as I can. If anyone made a movie about my life, it might be lame, but the soundtrack would be awesome.
In Other News:
Saturday's plans fell through so I went to see Once. I wrote a gushing note about it already, but it's good, really good. Go see it!
Yesterday I had probably the best tuna sandwich I've ever had. I also took a dozen or so pictures of the sunset peeking out from the tail of a thunderstorm, giving the sky an interesting honey color.
This weekend went by way, way too fast, and it doesn't seem like I accomplished much of anything. It wasn't bad, really, I just couldn't keep up with anything in particular.
Friday, August 10, 2007
No Blog Today.
Support Your Local Catgun was cancelled today on account of nice weather and life being too short. Please try back at a later date. Thanks?
...I actually thought about blogging about the Black Keys today but perhaps later.
...I actually thought about blogging about the Black Keys today but perhaps later.
Tuesday, August 7, 2007
Now Here is Nowhere
Today's Music That Jason Thinks You Should Like is Now Here is Nowhere, by The Secret Machines. This music, not surprisingly, was recommended to me by a fellow music dork. I guess the best way to describe it would be as indie arena rock. It's boisterous and unapologetic, certainly not as dumb as the music we'd describe as 'hair-rock' or 'rap-metal' or 'nu-metal' or even some 'alternative' but it has a little swagger to it. In this case, I think that's a good thing. The band rocks fairly hard, but doesn't feel the need to keep anything radio-friendly; the opening song ("First Wave Intact") clocks in at exactly 9 minutes, and probably half of that is drums over 16-measure guitar chords.
It's hard to listen to this album and not think of some other bands: Who's Next-era Who, pre-Joshua Tree-era U2, maybe even Billy Idol. Maybe not. Anyhow, I think they're more conscious than their predecessors; they might be pretentious about some things but the songs generally back up their beliefs. Many of their songs find their way into my workout music, but they stand up to dedicated listening just the same. The real standout track is "The Road Leads Where It's Led", as driving and poetic a rock anthem as anything released in the past ten years, but there isn't really a song on this album that draws my ire. I think this album might be too open about what it is and what it wants for some people, but there isn't anything wrong with being accessible. Who knows? Maybe Roger Waters would have written music like this if he wasn't so intent on proving how little everyone understood him.
Just listen to the album. It isn't quite far enough removed from popular rock standards to be considered post-rock, but it's too clever to lump in with the Limp Bizkits and the Puddle of Mudds and even the Strokeses of the world. Just listen to it and enjoy it. You used to be fun, you remember what it's like to rock.
I actually saw the Secret Machines when they came through Ames in February of 2005, they were all kinds of amazing. The drummer had lots of hair and made me think of Animal (from the Muppets).
In other news:
I made a wonderful smoothie last night and succeeded at making crepes this weekend! I like cooking, but it's always more fun when things don't go horribly wrong.
It's hard to listen to this album and not think of some other bands: Who's Next-era Who, pre-Joshua Tree-era U2, maybe even Billy Idol. Maybe not. Anyhow, I think they're more conscious than their predecessors; they might be pretentious about some things but the songs generally back up their beliefs. Many of their songs find their way into my workout music, but they stand up to dedicated listening just the same. The real standout track is "The Road Leads Where It's Led", as driving and poetic a rock anthem as anything released in the past ten years, but there isn't really a song on this album that draws my ire. I think this album might be too open about what it is and what it wants for some people, but there isn't anything wrong with being accessible. Who knows? Maybe Roger Waters would have written music like this if he wasn't so intent on proving how little everyone understood him.
Just listen to the album. It isn't quite far enough removed from popular rock standards to be considered post-rock, but it's too clever to lump in with the Limp Bizkits and the Puddle of Mudds and even the Strokeses of the world. Just listen to it and enjoy it. You used to be fun, you remember what it's like to rock.
I actually saw the Secret Machines when they came through Ames in February of 2005, they were all kinds of amazing. The drummer had lots of hair and made me think of Animal (from the Muppets).
In other news:
I made a wonderful smoothie last night and succeeded at making crepes this weekend! I like cooking, but it's always more fun when things don't go horribly wrong.
Monday, August 6, 2007
NO MUSICS TODAY
The music blog was rained out today. I know there wasn't much rain, but on Monday it doesn't always take very much. Today's blog will largely consist of Other News.
This weekend was a lot of fun. I bought clothes at thrift stores, saw two decent movies, and played pool competently for the first time in years. I had good pizza, visited the art center, and kinda got hit on by a female bartender. She was pretty but I was just glad she wasn't some dude. Also I found the last piece of my Halloween costume. I'm such a dork, that's all I have to say about it.
I enjoyed the thunderstorms this weekend as well. There was some really spectacular lightning on Saturday night and even early Sunday morning.
Finally, I got back to writing my novel last night. I'm to the point where plotwise I think I know what happens but it's going to take some time with my notebook to get the rest of the words out. I'm sure when something actually happens it will be well-publicized, at least in my tiny corner of the world, but it's not yet, anyway.
This weekend was a lot of fun. I bought clothes at thrift stores, saw two decent movies, and played pool competently for the first time in years. I had good pizza, visited the art center, and kinda got hit on by a female bartender. She was pretty but I was just glad she wasn't some dude. Also I found the last piece of my Halloween costume. I'm such a dork, that's all I have to say about it.
I enjoyed the thunderstorms this weekend as well. There was some really spectacular lightning on Saturday night and even early Sunday morning.
Finally, I got back to writing my novel last night. I'm to the point where plotwise I think I know what happens but it's going to take some time with my notebook to get the rest of the words out. I'm sure when something actually happens it will be well-publicized, at least in my tiny corner of the world, but it's not yet, anyway.
Thursday, August 2, 2007
Mass Romantic
Man am I tired today. I think tonight I'm going to go home and just read until I don't feel like reading any more, and then just sleep. I'm finally trying to read Marilynne Robinson's Gilead. This book is exceptionally well-written, but I haven't enough of it yet to tell you more than that. I'm also reading Terry Pratchett's Reaper Man, which is humorous though without the gravity of Gilead, to be certain.
Today's Music That Jason Talks About All The Freakin' Time is the first album from The New Pornographers, Mass Romantic. This album isn't really the first exposure I had to the NPs - that would be "July Jones" from Electric Version - but when I finally got around to purchasing all (three) of their albums, I made a point to listen to this one first.
For those of you who aren't familiar with the New Pornographers, and shame on you, they're sort of a Canadian indie-rock supergroup. When they formed, they all had previous music careers (A.C. Newman with Zumpano, Dan Bejar with Destroyer, Neko Case solo, etc.) and this was simply a side project for them. Newman wrote most of the songs, with Bejar contributing a few. What happened was that they made some smart and extremely catchy indie power-pop that took on a life of its own and somehow managed to be bigger than the collective works of all the involved parties. It sounds like a group that doesn't quite have direction, but that makes up for it by having more talent than any one group probably should.
The album doesn't take itself too seriously; it really sounds like a bunch of musicians having a good time without straying from the song structure too much. The record is somewhat inconsistent, but even the lows are hardly a burden. The strongest track is easily "Letter From an Occupant", though "The Fake Headlines", "Slow Descent Into Alcoholism", and the title track are excellent as well. So many good songs on this record! The NPs make albums that I can listen to without having to skip a single track, which I can't say about even some of the better CDs in my collection. I easily see "Mass Romantic" as being the soundtrack to a carefree day at an amusement park or campground with a lot of my friends. Before my recent promotional testing, I listened to music that I knew would put me in a good mood - it's no coincidence that the NPs were the most well-represented group in the playlist I made for the event.
I'm sure I'll review the other NPs albums at some point, but Mass Romantic is a good place to start if you're interested. This album doesn't quite have the maturity and depth of their later works, but if I were to give it a letter grade, it would have to be 9/10 at the very least.
Today's Music That Jason Talks About All The Freakin' Time is the first album from The New Pornographers, Mass Romantic. This album isn't really the first exposure I had to the NPs - that would be "July Jones" from Electric Version - but when I finally got around to purchasing all (three) of their albums, I made a point to listen to this one first.
For those of you who aren't familiar with the New Pornographers, and shame on you, they're sort of a Canadian indie-rock supergroup. When they formed, they all had previous music careers (A.C. Newman with Zumpano, Dan Bejar with Destroyer, Neko Case solo, etc.) and this was simply a side project for them. Newman wrote most of the songs, with Bejar contributing a few. What happened was that they made some smart and extremely catchy indie power-pop that took on a life of its own and somehow managed to be bigger than the collective works of all the involved parties. It sounds like a group that doesn't quite have direction, but that makes up for it by having more talent than any one group probably should.
The album doesn't take itself too seriously; it really sounds like a bunch of musicians having a good time without straying from the song structure too much. The record is somewhat inconsistent, but even the lows are hardly a burden. The strongest track is easily "Letter From an Occupant", though "The Fake Headlines", "Slow Descent Into Alcoholism", and the title track are excellent as well. So many good songs on this record! The NPs make albums that I can listen to without having to skip a single track, which I can't say about even some of the better CDs in my collection. I easily see "Mass Romantic" as being the soundtrack to a carefree day at an amusement park or campground with a lot of my friends. Before my recent promotional testing, I listened to music that I knew would put me in a good mood - it's no coincidence that the NPs were the most well-represented group in the playlist I made for the event.
I'm sure I'll review the other NPs albums at some point, but Mass Romantic is a good place to start if you're interested. This album doesn't quite have the maturity and depth of their later works, but if I were to give it a letter grade, it would have to be 9/10 at the very least.