So I have been on the road. There is probably a better, more detailed entry in me, but for today you get a synopsis:
I went to Omaha to see Devotchka. They were incredible; their opening band, Basia Bulat, was amazing too. Wonderful show, would do this again any time. So many little surprises. And a tuba!
Then I went to Portland to see Beirut. Rowdy, rambunctious crowd, fantastic show. Two encores, the second of which surprised a lot of people (as probably 50% thought the show was over after the first, and left). Such a great show!
And I spent too much money, eating at fabulous restaurants I would normally eschew in favor of dirty diners. Still, the whole trip was great fun, worth every minute, even the time in Portland I had a horrible headache.
Saturday, May 31, 2008
Wednesday, May 21, 2008
It Still Moves
Today's Music That Jason Is Pleasantly Surprised By is My Morning Jacket, It Still Moves. This is an album I found by way of the public library, and have been listening to over the past couple of weeks. I don't know that it came out and grabbed my attention like some albums do, but I've actually enjoyed it.
The music can be described in terms of the vocals and guitar; sure, there are other instruments, but these two components are what dominate the sound. Jim James (the singer) has a pretty good voice, one that projects but isn't overbearing. The whole effect is that of a restrained jam band, the kind of band that you would expect to get rowdy and play twelve-minute guitar solos if they didn't stay within their boundaries so well. Sometimes you half want the band to rock harder
This album is often kind of dreamy, sort of like an extended lullaby that is just upbeat enough to keep you awake but that generally puts the listener at ease. In particular, "I Will Sing You Songs" and "Master Plan" are characteristic of this. There is enough twang in some songs that you would have expect My Morning Jacket to be playing at a dance hall somewhere that people are wearing serious belt buckles and dancing like they mean it. This isn't a bad thing, though. Listen to "Golden" and "Easy Morning Rebel". There's also a little bit of blues in this album, too. "Run Thru" might be the best track on the album.
Overall this isn't a life-changing album but it's a pretty good one. I guess if I were to DJ a dance in a small town somewhere I would probably put this album on and see if the bar had Kahlua and some milk, or at least some coffee creamer.
In other news:
BEIRUTBEIRUTBEIRUTBEIRUTBEIRUTBEIRUT the weekend is almost here. Oh, yes.
So overall
The music can be described in terms of the vocals and guitar; sure, there are other instruments, but these two components are what dominate the sound. Jim James (the singer) has a pretty good voice, one that projects but isn't overbearing. The whole effect is that of a restrained jam band, the kind of band that you would expect to get rowdy and play twelve-minute guitar solos if they didn't stay within their boundaries so well. Sometimes you half want the band to rock harder
This album is often kind of dreamy, sort of like an extended lullaby that is just upbeat enough to keep you awake but that generally puts the listener at ease. In particular, "I Will Sing You Songs" and "Master Plan" are characteristic of this. There is enough twang in some songs that you would have expect My Morning Jacket to be playing at a dance hall somewhere that people are wearing serious belt buckles and dancing like they mean it. This isn't a bad thing, though. Listen to "Golden" and "Easy Morning Rebel". There's also a little bit of blues in this album, too. "Run Thru" might be the best track on the album.
Overall this isn't a life-changing album but it's a pretty good one. I guess if I were to DJ a dance in a small town somewhere I would probably put this album on and see if the bar had Kahlua and some milk, or at least some coffee creamer.
In other news:
BEIRUTBEIRUTBEIRUTBEIRUTBEIRUTBEIRUT the weekend is almost here. Oh, yes.
So overall
Monday, May 19, 2008
23
Today's Music That Jason Isn't Crazy About is Blonde Redhead's 23. This album is one that I bought on a whim, after having heard the title track (also the album opener). I thought to myself, "If this album is collectively half as good as '23', then it will be amazing." As it turns out, the album isn't half as good as the one song. It's not atrociously bad, but I really don't care for it much.
This album doesn't stray too far from the BR formula, maintaining a strange and tense feel throughout the album. The vocals are high-pitched from both singers (one male, one female) and suit the instrumentation well. My greatest complaint about the album is that it doesn't offer any surprises. Each song seems to give away all of its hooks and sonic elements right away, and doesn't have much in the way of lyrics. It's sort of like having a book with a dozen chapters that all cover the same portion of a story, without any conclusive passages. I have to say that this is typical of other Blonde Redhead albums as well, and that I probably won't actively seek any more of their music. I wanted to like this album, partially because I spent actual money for it, but I couldn't get into it at all.
As a whole, BR seems to settle for trying to be strange rather than inspiring or challenging the listener to any great degree, and I think the music suffers for it. This album is particularly characteristic of this affliction, and as such, I couldn't recommend it much.
I should talk a little bit about '23', the album opener. It's pretty dark and driving, and actually has a little sonic build to it. This song really makes me want to chase things down and pounce on them; it's also a really good driving song for when you are driving to something important. I attribute part of this song's effect to the presence of actual drums. If the whole album was like this, well, then I'm sure this blog entry would be quite different.
In other news:
This is going to be the longest week ever.
This album doesn't stray too far from the BR formula, maintaining a strange and tense feel throughout the album. The vocals are high-pitched from both singers (one male, one female) and suit the instrumentation well. My greatest complaint about the album is that it doesn't offer any surprises. Each song seems to give away all of its hooks and sonic elements right away, and doesn't have much in the way of lyrics. It's sort of like having a book with a dozen chapters that all cover the same portion of a story, without any conclusive passages. I have to say that this is typical of other Blonde Redhead albums as well, and that I probably won't actively seek any more of their music. I wanted to like this album, partially because I spent actual money for it, but I couldn't get into it at all.
As a whole, BR seems to settle for trying to be strange rather than inspiring or challenging the listener to any great degree, and I think the music suffers for it. This album is particularly characteristic of this affliction, and as such, I couldn't recommend it much.
I should talk a little bit about '23', the album opener. It's pretty dark and driving, and actually has a little sonic build to it. This song really makes me want to chase things down and pounce on them; it's also a really good driving song for when you are driving to something important. I attribute part of this song's effect to the presence of actual drums. If the whole album was like this, well, then I'm sure this blog entry would be quite different.
In other news:
This is going to be the longest week ever.
Wednesday, May 14, 2008
The Midnight Organ Fight
Today's Music That Is Pretty Great is The Midnight Organ Fight, by Frightened Rabbit. This is a band that I sort of stumbled into through the AV Club, and liked what I heard. I was able to get their latest album through eMusic, and I haven't looked back since. I don't know much about the band - I think they are Scottish but I am not sure - so let's get down to business.
This is kind of a simple band, traditional guitar/bass/drums, vocals that are apparently but not overly Scottish. It's very emotional; I'd describe this album as listening to the worst breakup you can remember. Is this a bad thing? Not at all. It's genuine driving emotion, sort of like a lo-fi version of the Arcade Fire. It's sometimes angry, sometimes depressed, always compelling. I don't think you can dance to it, and if music affects your mood, you probably won't be able to listen to this album very often.
Still, I like this album. It has a good tempo, and though the mood is somber at best, it really works. I really should listen to it a little more but it isn't a 'feel-good' album.
In Other News:
I have been neglecting this blog some lately.
This is kind of a simple band, traditional guitar/bass/drums, vocals that are apparently but not overly Scottish. It's very emotional; I'd describe this album as listening to the worst breakup you can remember. Is this a bad thing? Not at all. It's genuine driving emotion, sort of like a lo-fi version of the Arcade Fire. It's sometimes angry, sometimes depressed, always compelling. I don't think you can dance to it, and if music affects your mood, you probably won't be able to listen to this album very often.
Still, I like this album. It has a good tempo, and though the mood is somber at best, it really works. I really should listen to it a little more but it isn't a 'feel-good' album.
In Other News:
I have been neglecting this blog some lately.
Thursday, May 8, 2008
I Can Hear The Heart Beating As One
Today's Music That Jason Recommends A Lot And Then Some is I Can Hear The Heart Beating As One, by Yo La Tengo. I thought long and hard about how to classify this album, how to describe it in concise terms, and I just couldn't do it. A lot of that has to do with the fact that I've been trying to write this entry for a few days and it will probably be fairly disjointed by the time it actually is completed. Mostly, though, it has to do with how interesting this album is.
This is a Yo La Tengo album, bearing many of its hallmarks (instruments playing against time signatures, some upbeat rock songs and some quieter using vocals as more of an effect than a lead). It's quirky, and while that word is usually reserved for things that are consciously trying for quirky, this has more to do with Yo La Tengo's subtle sense of humor and playing against type. Sometimes there is fuzzy, distorted guitar, sometimes it's mostly bass and piano, sometimes both. This album does a really great job of changing tempo and mood between songs. Some other YLT albums are good but comfortably softer than this one; this album is louder and more intrusive than a fair amount of their other work, and I, for one, think it really does the band justice. I wouldn't call it 'hard rock' by any means though; that isn't a good or bad thing, it just is what it is.
If there is a criticism of this album, it's maybe that the vocals aren't dynamic enough. They certainly have range, but it seems as though they don't always match the intensity and tempo of the songs, and sometimes just keep up when I think they should be leading. However, this isn't enough to detract from a diverse, intriguing soundscape.
As for individual tracks, well, there are several standouts. "Moby Octopad" is pretty great, "We're an American Band" and "Little Honda" are everything that cover songs should be. "Sugarcube" is a nice, upbeat, clever rock song. "Deeper into Movies" is maybe the best track on the whole album, "Autumn Sweater" is a nice change of pace. "Green Arrow" is a real change of pace, and kind of a pleasant surprise; "Return to Hot Chicken" is a marvelous album opener. I could probably give you an opinion on every song on this album, and that alone should tell you something. (Also, if you hadn't noticed, the song titles are pretty great, too.)
So, to summarize, this album is basically the cat's meow. It's not great workout music, and not something you could just fall asleep to, but if you like clever, engaging music that rocks just a little, this is worth your time. I think I found this album at a time when I was less impressionable than I was in the awakening of my musical awareness, so I can't say it affected me as much as some others, but I have always thought highly of it.
In Other News:
Saturday where are you?
This is a Yo La Tengo album, bearing many of its hallmarks (instruments playing against time signatures, some upbeat rock songs and some quieter using vocals as more of an effect than a lead). It's quirky, and while that word is usually reserved for things that are consciously trying for quirky, this has more to do with Yo La Tengo's subtle sense of humor and playing against type. Sometimes there is fuzzy, distorted guitar, sometimes it's mostly bass and piano, sometimes both. This album does a really great job of changing tempo and mood between songs. Some other YLT albums are good but comfortably softer than this one; this album is louder and more intrusive than a fair amount of their other work, and I, for one, think it really does the band justice. I wouldn't call it 'hard rock' by any means though; that isn't a good or bad thing, it just is what it is.
If there is a criticism of this album, it's maybe that the vocals aren't dynamic enough. They certainly have range, but it seems as though they don't always match the intensity and tempo of the songs, and sometimes just keep up when I think they should be leading. However, this isn't enough to detract from a diverse, intriguing soundscape.
As for individual tracks, well, there are several standouts. "Moby Octopad" is pretty great, "We're an American Band" and "Little Honda" are everything that cover songs should be. "Sugarcube" is a nice, upbeat, clever rock song. "Deeper into Movies" is maybe the best track on the whole album, "Autumn Sweater" is a nice change of pace. "Green Arrow" is a real change of pace, and kind of a pleasant surprise; "Return to Hot Chicken" is a marvelous album opener. I could probably give you an opinion on every song on this album, and that alone should tell you something. (Also, if you hadn't noticed, the song titles are pretty great, too.)
So, to summarize, this album is basically the cat's meow. It's not great workout music, and not something you could just fall asleep to, but if you like clever, engaging music that rocks just a little, this is worth your time. I think I found this album at a time when I was less impressionable than I was in the awakening of my musical awareness, so I can't say it affected me as much as some others, but I have always thought highly of it.
In Other News:
Saturday where are you?
Saturday, May 3, 2008
All Hour Cymbals
Today's Music That Jason Is Really Into is All Hour Cymbals by Yeasayer. This is something I found via the AV Club; after hearing the song "2080" my curiosity was both vast and fervent. Some months later, I was able to find this group via eMusic and download the album, and I was not disappointed.
"2080" is probably the best track on this album, but the entire thing is pretty good. It's a busy, populated soundscape; there are electronic elements but the album seems to be string-and-percussion dominated. It's inspiring at times, almost nihilistic at others, but never dull. "Sunrise", the album opener, is a good track, "Worms" is worth listening to as well. I don't know that there is a single song on the album that stands out in a negative way, it's somewhat experimental, but has a definite sound if not theme.
I'd have to put Yeasayer on the shelf between the Secret Machines and TV on the Radio, to give you an idea of their sound. They're probably closer to a darker TV on the Radio than anything else I can think of, which isn't a bad thing. This band like so many others has obvious debt to Pink Floyd and Roger Waters in particular, but the sound comes off as genuine rather than a veneer of youthful misanthropy.
All things considered, I would recommend this album to anyone who is interested in any of the bands I mentioned here, and probably to most open-minded music fans in general. It isn't a very poppy album, nor will you find heartbreaking ballads here, but I don't think you will be let down.
In Other News:
I have to take some vacation time. I'm not really stressed, I just need to start using it so I don't have to forfeit it.
"2080" is probably the best track on this album, but the entire thing is pretty good. It's a busy, populated soundscape; there are electronic elements but the album seems to be string-and-percussion dominated. It's inspiring at times, almost nihilistic at others, but never dull. "Sunrise", the album opener, is a good track, "Worms" is worth listening to as well. I don't know that there is a single song on the album that stands out in a negative way, it's somewhat experimental, but has a definite sound if not theme.
I'd have to put Yeasayer on the shelf between the Secret Machines and TV on the Radio, to give you an idea of their sound. They're probably closer to a darker TV on the Radio than anything else I can think of, which isn't a bad thing. This band like so many others has obvious debt to Pink Floyd and Roger Waters in particular, but the sound comes off as genuine rather than a veneer of youthful misanthropy.
All things considered, I would recommend this album to anyone who is interested in any of the bands I mentioned here, and probably to most open-minded music fans in general. It isn't a very poppy album, nor will you find heartbreaking ballads here, but I don't think you will be let down.
In Other News:
I have to take some vacation time. I'm not really stressed, I just need to start using it so I don't have to forfeit it.
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