Dear The Jayhawks,
I've been listening to more diverse music lately. For a while I was firmly rooted in my indie rock habits, but recently I've been listening to more rap, hip-hop, jazz, and even country. Specifically, country artists besides Johnny Cash and Neko Case. (Don't worry, I'm not giving up either of them, you know that.)
There have been some pretty good discoveries! The Sadies are fantastic, and I will probably purchase some of their music in the future. I'm listening to Waylon Jennings right now, a live album to be specific, and it isn't bad. It maybe isn't as dark as Johnny Cash, but Waylon has a hell of a voice for country music. I really have to get some Willie Nelson too, and Jack White would probably smack me for not putting Loretta Lynn at the top of my list.
Anyhow, The Jayhawks, some people have described your stuff as 'alt-country'. Well, I guess 'alt-country' means 'new Eagles' or maybe 'slightly twangy soft rock'. Either way, I don't want anything to do with it. It doesn't have much atmosphere, it doesn't rock, it basically makes me want to punch Don Henley in the back of the head. I'll take your album back to the public library, deposit it gently in the return box, and be on my way. Best of luck with your music that is watered-down, safe, and boring even by Wilco standards. Good riddance!
In Other News:
I went to my first guitar class last night and it was okay! Not great, but not bad either. My fingers are a little sore today, but I'm going to give this six weeks and see how it goes. I can tell that playing guitar is not something I'll pick up overnight but I like playing things.
Thursday, March 27, 2008
Wednesday, March 26, 2008
Tales From Turnpike House
Today's Music That Jason Would Be Nice To Even If He Wouldn't Really Like Its Company is St. Etienne's Tales From Turnpike House. This album is nice, I guess, and not too pretentious, but I don't really care for it. It kind of falls in the 'neo-lounge' category, which sometimes means 'trip-hop like Thievery Corporation' and sometimes means 'lite music without a shameless pop skeleton'. This album is kind of light and wistful, and doesn't really have much in the way of depth; sometimes it sounds like recycled pop straight from 1984, sometimes it sounds like the kind of awful electronic music you would expect to hear from a pristine mall store with overpriced clothing. The music is nice, I guess, but doesn't really create much of an atmosphere. Compare it to something like Aimee Mann or Iron & Wine, and it doesn't really seem to stand up. It doesn't have the aural soundscape of, say, Sigur Ros, not even close.
The only track on the album that really seems to have any effect would be the last one, "Goodnight", and even that is probably a matter of opinion. Overall this album manages to be less obnoxious and dumb than most of what you'd find on popular radio (i.e. what is marketed towards impressionable youth) but still doesn't have that much going for it. It's cute but doesn't really cover any new ground; I've probably spoken enough ill abou this album for one day.
In Other News:
Sleep continues to be a rare beast in my wilderness.
The only track on the album that really seems to have any effect would be the last one, "Goodnight", and even that is probably a matter of opinion. Overall this album manages to be less obnoxious and dumb than most of what you'd find on popular radio (i.e. what is marketed towards impressionable youth) but still doesn't have that much going for it. It's cute but doesn't really cover any new ground; I've probably spoken enough ill abou this album for one day.
In Other News:
Sleep continues to be a rare beast in my wilderness.
Friday, March 21, 2008
The Forgotten Arm
Today's Music That Happens To Be Good And Is Also Growing On Jason is by Aimee Mann, The Forgotten Arm. First off, let me say, if you aren't familiar with Aimee Mann, you're really missing out on something. I wouldn't say her music 'rocks'; it's better described as melancholy, really, but it's wonderful. I don't know what a good starting point would be, but I can't say I've been let down by any of her albums. Why the hell were we listening to Natalie Merchant fifteen years ago instead of Aimee Mann? Hell if I know. (Author's Note: I really am not in a position to rip on Natalie Merchant, she's fine, I just feel like Aimee Mann is underappreciated.) I don't think this album is my favorite Mann album - that distinction probably falls to Bachelor No. 2 - but it's a solid work. It maybe isn't groundbreaking, but it doesn't have anything to complain about.
Anyhow, The Forgotten Arm has the definite sound of a Mann album. It's probably a little more upbeat and layered than some of her past albums, which isn't a bad thing, nor is it a definite improvement. This album is full of slow, gorgeous songs; this is apparently something of a theme album but the songs all certainly stand alone. There are a lot of instruments here. Sometimes the electric guitar takes the lead, but usually Mann's gentle voice is the catalyst for everything else. The piano probably deserves second billing on this album. None of the instruments are overbearing, though they all have a presence to some degree. This gives the album a nice if professional balance. Have I mentioned Mann's voice yet? It's like getting a hug from an old friend draped in velvet on a cold sad day, the kind of thing that will make you ache as soon as it's gone but that you would never turn down.
The song titles are pretty good; "Dear John" is a hell of a name for an opening track to an album; "I Was thinking I Could Clean Up For Christmas" and "King of the Jailhouse" are also great. "Little Bombs" is probably the best song on the album, but there aren't any stinkers here. "Goodbye Caroline" is wonderful, "I Can't Help You Anymore" is good as well.
In short: If you're the kind of person who likes rock and roll, and likes your bands to tell you how hard they rock all the time, this album will probably bore you to tears. But if you appreciate soft-spoken music, then The Forgotten Arm will probably make your day.
In Other News:
I am off at noon today! And I'm going somewhere for lunch that I can get a beer. I don't have a beer with lunch often but I enjoy it when I can. Have a good Easter weekend and remember to go buy Jason some discount Cadbury's Creme Eggs on Monday.
Anyhow, The Forgotten Arm has the definite sound of a Mann album. It's probably a little more upbeat and layered than some of her past albums, which isn't a bad thing, nor is it a definite improvement. This album is full of slow, gorgeous songs; this is apparently something of a theme album but the songs all certainly stand alone. There are a lot of instruments here. Sometimes the electric guitar takes the lead, but usually Mann's gentle voice is the catalyst for everything else. The piano probably deserves second billing on this album. None of the instruments are overbearing, though they all have a presence to some degree. This gives the album a nice if professional balance. Have I mentioned Mann's voice yet? It's like getting a hug from an old friend draped in velvet on a cold sad day, the kind of thing that will make you ache as soon as it's gone but that you would never turn down.
The song titles are pretty good; "Dear John" is a hell of a name for an opening track to an album; "I Was thinking I Could Clean Up For Christmas" and "King of the Jailhouse" are also great. "Little Bombs" is probably the best song on the album, but there aren't any stinkers here. "Goodbye Caroline" is wonderful, "I Can't Help You Anymore" is good as well.
In short: If you're the kind of person who likes rock and roll, and likes your bands to tell you how hard they rock all the time, this album will probably bore you to tears. But if you appreciate soft-spoken music, then The Forgotten Arm will probably make your day.
In Other News:
I am off at noon today! And I'm going somewhere for lunch that I can get a beer. I don't have a beer with lunch often but I enjoy it when I can. Have a good Easter weekend and remember to go buy Jason some discount Cadbury's Creme Eggs on Monday.
Wednesday, March 19, 2008
Housekeeping
I got a few albums from the public library yesterday! Reviews are probably forthcoming, but here are some initial impressions:
Aimee Mann - The Forgotten Arm - pretty good! I don't know if I like it as well as Bachelor No. 2, but it's a decent album. Hard to argue with "Little Bombs".
St. Etienne - Tales From Turnpike House - kind of a neo-lounge feel. Not as sure about this one, maybe it will grow on me but I doubt it. The last track, "Goodnight" seems to be pretty good, but mostly it's just cute.
Four Tet - Rounds - Well, okay, I already had this one, but I lost it when my hard drive burned up last year. This album is great.
Been reading a lot, too. Some book thoughts:
Norman Mailer - The Gospel According to the Son - not a bad book, but I wouldn't have read it had I known what it was about.
Denis Johnson - The Name of the World - pretty good! This one was a bit short, but nicely written, though the characters were maybe a little quirky at times.
Charlie Huston - Already Dead - a fair book but not really my style. Seems to be the most highly evolved form of vampire fanfiction, to be honest.
In Other News:
Tomorrow I have to be professional in front of some Important People. Wish me luck.
Aimee Mann - The Forgotten Arm - pretty good! I don't know if I like it as well as Bachelor No. 2, but it's a decent album. Hard to argue with "Little Bombs".
St. Etienne - Tales From Turnpike House - kind of a neo-lounge feel. Not as sure about this one, maybe it will grow on me but I doubt it. The last track, "Goodnight" seems to be pretty good, but mostly it's just cute.
Four Tet - Rounds - Well, okay, I already had this one, but I lost it when my hard drive burned up last year. This album is great.
Been reading a lot, too. Some book thoughts:
Norman Mailer - The Gospel According to the Son - not a bad book, but I wouldn't have read it had I known what it was about.
Denis Johnson - The Name of the World - pretty good! This one was a bit short, but nicely written, though the characters were maybe a little quirky at times.
Charlie Huston - Already Dead - a fair book but not really my style. Seems to be the most highly evolved form of vampire fanfiction, to be honest.
In Other News:
Tomorrow I have to be professional in front of some Important People. Wish me luck.
Monday, March 17, 2008
The Boy With No Name
Today's Music of the Day is Travis, The Boy With No Name. I've been listening to this album off and on for a couple weeks, and I'm still not entirely sure what to think of it. It's definitely Travis, wistful, emotional, somber music, maybe too much so at times. I kind of like it and I kind of don't. I don't think it really has the depth of some other music I enjoy, even some of the more 'pop' music like Okkervil River, certainly not the New Pornographers. I think the greatest fault of this sweetly sounding music is that it doesn't push quite hard enough. It just gets to a certain degree of release in the music and is content to settle there, without daring to reach any greater height.
The instrumentation is decent in this album; the band manages to incorporate strings, piano, drums, guitar, bass, and even banjo to an enviable degree. The singer's voice isn't bad by any means though it seems to be limited, maybe somewhat by the style of music. I guess if I had to compare Travis to any contemporary bands, the obvious choice would be Coldplay, though Travis isn't probably as polished or quite as bland. Recent U2 would also be a fair comparison, maybe if you took out the Edge (this not being a good thing, likely). So to summarize, Travis is a fair band, probably too gentle for my taste, but not atrocious or offensive. They have a good sense of musical soundscape even if they are a little too constrained by the boundaries of familiarity. I guess they're a band that I will tolerate but wouldn't ever really be interested in. (They do have a couple songs I like though.)
In Other News:
Everyone at my College is on break this week, except for me and one other person, I think.
The instrumentation is decent in this album; the band manages to incorporate strings, piano, drums, guitar, bass, and even banjo to an enviable degree. The singer's voice isn't bad by any means though it seems to be limited, maybe somewhat by the style of music. I guess if I had to compare Travis to any contemporary bands, the obvious choice would be Coldplay, though Travis isn't probably as polished or quite as bland. Recent U2 would also be a fair comparison, maybe if you took out the Edge (this not being a good thing, likely). So to summarize, Travis is a fair band, probably too gentle for my taste, but not atrocious or offensive. They have a good sense of musical soundscape even if they are a little too constrained by the boundaries of familiarity. I guess they're a band that I will tolerate but wouldn't ever really be interested in. (They do have a couple songs I like though.)
In Other News:
Everyone at my College is on break this week, except for me and one other person, I think.
Friday, March 14, 2008
Surrender
Today's Music of the Day is Surrender, from The Chemical Brothers. Sorry if anyone here expected Cheap Trick!
Surrender is a pretty neat album. It's mostly electronic, some of it danceable, some of it not. I feel like the album as a whole is a solid work, though I care for some tracks more than others. I think that occasionally, the songs settle for being bright and loud and fast and sparkly rather than building emotion or musical progression. Still, some of the darker, driving tracks are really good, maybe not Explosions in the Sky or Four Tet - good, but more than tolerable nonetheless. At the risk of generalizing, I haven't really been into the other Chemical Brothers releases very much - this is probably my favorite album of theirs. I guess I've listened to so much music that isn't vocally/lyrically driven - Four Tet and Mogwai come to mind - that something like this seems unambitious if not too simplistic and straightforward for me. Still, if I went to a party, and people were dancing to this music, I would be hard-pressed not to join in. "Let Forever Be" is a song I'll always have memories of.
In other news:
Henry Rollins was freakin' awesome. Also a little scary, though; I could easily see myself being him in twenty years if I'm not careful. It's a frightening thing, to see your possible future on stage ranting in front of you.
Jason need sleep.
I might get a new laptop this weekend, I'm certainly going to try.
I'm listening to The New Pornographers' Electric Version today, loving it. Why you don't listen to this band more often is beyond me.
Surrender is a pretty neat album. It's mostly electronic, some of it danceable, some of it not. I feel like the album as a whole is a solid work, though I care for some tracks more than others. I think that occasionally, the songs settle for being bright and loud and fast and sparkly rather than building emotion or musical progression. Still, some of the darker, driving tracks are really good, maybe not Explosions in the Sky or Four Tet - good, but more than tolerable nonetheless. At the risk of generalizing, I haven't really been into the other Chemical Brothers releases very much - this is probably my favorite album of theirs. I guess I've listened to so much music that isn't vocally/lyrically driven - Four Tet and Mogwai come to mind - that something like this seems unambitious if not too simplistic and straightforward for me. Still, if I went to a party, and people were dancing to this music, I would be hard-pressed not to join in. "Let Forever Be" is a song I'll always have memories of.
In other news:
Henry Rollins was freakin' awesome. Also a little scary, though; I could easily see myself being him in twenty years if I'm not careful. It's a frightening thing, to see your possible future on stage ranting in front of you.
Jason need sleep.
I might get a new laptop this weekend, I'm certainly going to try.
I'm listening to The New Pornographers' Electric Version today, loving it. Why you don't listen to this band more often is beyond me.
Wednesday, March 12, 2008
THE BEST PARTY EVAR
Today's Music That Jason Probably Wouldn't Even Steal is The Boy Least Likely To, The Best Party Ever. I am on my first listen of this album, and I suspect it will be my last, and I also suspect that I won't make it through the entire album before I give up on it.
So why do I dislike this album so much? It seems to be as gentle as music can possibly be, unaffecting to the point of blandness. If I had a son, I would probably let him listen to this until the age of ten, at which point I would take it away from him so he wouldn't become Martin Prince from the Simpsons. This music is what would happen if someone heard Badly Drawn Boy, specifically maybe his soundtrack to the film About A Boy, and said to him/herself, "that Damon Gough really rocks too hard, I wonder if I could make music like his that is just a little safer. Something that wouldn't bother my toddlers too much." I guess this album isn't offensive, just completely lacking in any interesting qualities. To summarize: The Boy Least Likely To, thanks for coming by, but you can't come be a wet blanket at the party again. We won't call you because you're probably going to be offended when someone goes for a second beer, and 8 p.m. is too early to quit having any fun for the night. Good luck with the kids show!
In Other News:
Vampire Weekend, go the fuck away. You guys only rock a little bit harder than The Boy Least Likely To, and you're absolutely everywhere. Quit screwing up my radio and everything else, you suck. I still have my copy of Graceland and it rocks harder than you do. If I combined you with The Boy Least Likely To, together you wouldn't rock as hard as a 1 on a scale of 1 to 11. Nobody likes your band, quit and go back to school, the world needs more investment bankers.
Also, I'm going to see Henry Rollins tomorrow, and looking forward to it. Woo!
So why do I dislike this album so much? It seems to be as gentle as music can possibly be, unaffecting to the point of blandness. If I had a son, I would probably let him listen to this until the age of ten, at which point I would take it away from him so he wouldn't become Martin Prince from the Simpsons. This music is what would happen if someone heard Badly Drawn Boy, specifically maybe his soundtrack to the film About A Boy, and said to him/herself, "that Damon Gough really rocks too hard, I wonder if I could make music like his that is just a little safer. Something that wouldn't bother my toddlers too much." I guess this album isn't offensive, just completely lacking in any interesting qualities. To summarize: The Boy Least Likely To, thanks for coming by, but you can't come be a wet blanket at the party again. We won't call you because you're probably going to be offended when someone goes for a second beer, and 8 p.m. is too early to quit having any fun for the night. Good luck with the kids show!
In Other News:
Vampire Weekend, go the fuck away. You guys only rock a little bit harder than The Boy Least Likely To, and you're absolutely everywhere. Quit screwing up my radio and everything else, you suck. I still have my copy of Graceland and it rocks harder than you do. If I combined you with The Boy Least Likely To, together you wouldn't rock as hard as a 1 on a scale of 1 to 11. Nobody likes your band, quit and go back to school, the world needs more investment bankers.
Also, I'm going to see Henry Rollins tomorrow, and looking forward to it. Woo!
Monday, March 10, 2008
The Stage Names
Today's Music That Jason Likes Kinda But Also Is Angry At Himself For Liking is Okkervil River's The Stage Names.
I'm not sure what to make of this album, exactly. It's kind of popular folk music, something evolved from John Denver and James Taylor, ultimately descended from Bob Dylan, only taken to its most rambunctious and emotional. The lyrics are generally pretty good, and I like the song titles as well. The singer has a pretty good voice but he borders on being too 'emo' at times. This can be good; in an age where too many bands embrace irony but don't realize that they are still its bitch, a singer who allows himself to really cut loose is a welcome aspect of a band. That is, if the singer isn't too cloying and whiny, and for as much as I like this band, sometimes the singer (Will Sheff is his name) is, at least for me. But the music is pretty good; I would say it rocks as hard as folk-rock can without having to drop the 'folk'. The music isn't too slow, even the ballads move a little. The drums are boisterous without dominating, which is good; the guitars are generally electric, which also helps. Maybe it's a rock structure built on an old folk burial ground.
For as much as I criticize the band in the above paragraph, they still manage to give me a sense of importance and awe when I listen to their music. The opening track to The Stage Names, "Our Life is Not a Movie or Maybe", is pretty damn good. I challenge you to listen to it and not get into it when the piano and drums kick in and Sheff is really howling. So I guess on a scale of 1 to 10, this album would get both a D and an A. I'm so on the fence about it that I have splinters. This band is opening for the New Pornographers next month, and I'm actually looking forward to seeing them, even if they are a little bit of a guilty pleasure. I guess I would recommend this album to you, but not if you can't enjoy music for what it is as opposed to what it is mocking.
In other news:
This might be the best that I've handled daylight savings time in recent memory. It's still lame though.
I'm not sure what to make of this album, exactly. It's kind of popular folk music, something evolved from John Denver and James Taylor, ultimately descended from Bob Dylan, only taken to its most rambunctious and emotional. The lyrics are generally pretty good, and I like the song titles as well. The singer has a pretty good voice but he borders on being too 'emo' at times. This can be good; in an age where too many bands embrace irony but don't realize that they are still its bitch, a singer who allows himself to really cut loose is a welcome aspect of a band. That is, if the singer isn't too cloying and whiny, and for as much as I like this band, sometimes the singer (Will Sheff is his name) is, at least for me. But the music is pretty good; I would say it rocks as hard as folk-rock can without having to drop the 'folk'. The music isn't too slow, even the ballads move a little. The drums are boisterous without dominating, which is good; the guitars are generally electric, which also helps. Maybe it's a rock structure built on an old folk burial ground.
For as much as I criticize the band in the above paragraph, they still manage to give me a sense of importance and awe when I listen to their music. The opening track to The Stage Names, "Our Life is Not a Movie or Maybe", is pretty damn good. I challenge you to listen to it and not get into it when the piano and drums kick in and Sheff is really howling. So I guess on a scale of 1 to 10, this album would get both a D and an A. I'm so on the fence about it that I have splinters. This band is opening for the New Pornographers next month, and I'm actually looking forward to seeing them, even if they are a little bit of a guilty pleasure. I guess I would recommend this album to you, but not if you can't enjoy music for what it is as opposed to what it is mocking.
In other news:
This might be the best that I've handled daylight savings time in recent memory. It's still lame though.
Friday, March 7, 2008
Blog Tease
I can't possibly think about what to blog about today. I'm sure something is coming along, but I just don't have an album in mind. Hopefully this weekend, or early next week, I can get to the library and pick up some more music. Maybe later today there will be an Okkervil River blog, if you're lucky.
On a non-music note, I finished reading Cormac McCarthy's The Road this week. What an incredible book. I certainly have a strong opinion about it, but I don't know that I have the words today. I read the entire thing over the course of three or four days, and I'm glad I did. If you haven't read this book yet, by all means go to your public library. I've read a couple of his other books - excellent works by any standard - but this is probably my favorite. I'll be hard-pressed not to buy a copy of it somewhere.
In other news:
I'm so happy to have it be Friday that it's not funny.
On a non-music note, I finished reading Cormac McCarthy's The Road this week. What an incredible book. I certainly have a strong opinion about it, but I don't know that I have the words today. I read the entire thing over the course of three or four days, and I'm glad I did. If you haven't read this book yet, by all means go to your public library. I've read a couple of his other books - excellent works by any standard - but this is probably my favorite. I'll be hard-pressed not to buy a copy of it somewhere.
In other news:
I'm so happy to have it be Friday that it's not funny.
Monday, March 3, 2008
Knives Don't Have Your Back
Today's Music That Suffers From Not Being Cat Power is Knives Don't Have Your Back, by Emily Haines and the Soft Skeleton. No history lesson today in the interest of brevity and my rapidly growing headache.
This album is all faint, wispy vocals and piano, mellow stuff, generally pretty good. Sometimes Haines is a little too cute with her voice for me but overall this is a fine album, very basic and melancholy in its sound. I guess I already gave away my major criticism of the album with my sub-heading today though. This album, if anything, is at fault for being too similar, without any distinguishing features, to any number of Cat Power albums. I can't really get excited about an album that I've heard in principle if not in practice a few times already, one that I think has been done better before. There really isn't anything more to say about the album; none of the songs were particularly remarkable to my ears. If you like soft piano that might make you drowsy, this album may be for you.
The album is packaged well, almost like a golden-bound little book with an interesting insert. I think that tells you everything you need to know, that I found the presentation of the physical album more interesting than its actual contents. I'm willing to admit that my own physical condition is probably the reason for my terse if unfair review, but I stand by my words.
In Other News:
It's Monday and I need a nap. As per Monday tradition.
This is Support Your Local Catgun #75; I think if I make it to #100 I'll probably give away a massage and a hamloaf. I'm still a good number of posts away, though, sit down.
This album is all faint, wispy vocals and piano, mellow stuff, generally pretty good. Sometimes Haines is a little too cute with her voice for me but overall this is a fine album, very basic and melancholy in its sound. I guess I already gave away my major criticism of the album with my sub-heading today though. This album, if anything, is at fault for being too similar, without any distinguishing features, to any number of Cat Power albums. I can't really get excited about an album that I've heard in principle if not in practice a few times already, one that I think has been done better before. There really isn't anything more to say about the album; none of the songs were particularly remarkable to my ears. If you like soft piano that might make you drowsy, this album may be for you.
The album is packaged well, almost like a golden-bound little book with an interesting insert. I think that tells you everything you need to know, that I found the presentation of the physical album more interesting than its actual contents. I'm willing to admit that my own physical condition is probably the reason for my terse if unfair review, but I stand by my words.
In Other News:
It's Monday and I need a nap. As per Monday tradition.
This is Support Your Local Catgun #75; I think if I make it to #100 I'll probably give away a massage and a hamloaf. I'm still a good number of posts away, though, sit down.
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