Today I don't really have an album review - hopefully in a day or two I will review Mogwai's Mr. Beast - but I do have some thoughts on things I've likely already reviewed and am listening to.
Still listening to Okkervil River - The Stage Names and The Stand Ins today. These albums really work well together. Stage Names kind of represents a louder, fiery atmosphere, like a party full of people and noise or a big concert with a sweaty crowd, whereas Stand Ins is more like an intimate gathering, or a show with only a dozen interested people. Okkervil River might never make the next OK Computer, but I'm perfectly content to buy their well-read, slightly screechy folk-rock music.
Also, I'm listening to Come On Die Young by Mogwai. This seems to be less engaging than their later work - I don't know if I like it as well as Happy Songs for Happy People or Mr. Beast but it's still enjoyable. The songs are more reserved and not as easy to get into, possibly just not as interesting or foreboding, but I still appreciate the mood.
Finally, I've been listening to Fables by Immaculate Machine again. Some of the songs drag a little towards the end of the album, but this is a really solid work. In particular, Kathryn Calder, the female vocalist, really shines. She has a very good voice, perhaps not the greatest, but I'll be damned if her vocals don't get to me a little bit. I really like the frantic songs here - "Jarhand" is pure adrenaline nonsense that I can't get enough of.
In Other News:
I actually slept okay the past two nights! I think it might be time to get out more blankets, though.
For once, I should be taking less action and talking more. How ridiculous is that?
Monday, September 29, 2008
Friday, September 26, 2008
The Stand Ins
Today's Music That Jason Likes is Okkervil River's The Stand Ins. This album is comprised of material conceived as part of the Stage Names sessions but was recorded and released separately, almost a full year later.
This album is probably not what I would consider to be Okkervil River's best work, but it's still pretty good, nonetheless. It has a notably different feel to it than The Stage Names, but it still sounds like Okkervil River, very much emotionally charged folk-rock with the occasional horn. Don't get me wrong, this is a pretty good album, plenty of depth and emotion, and some goofy song names, but I'd be lying if I said I enjoyed it as much as The Stage Names. I suppose this has to do more with the comparisons between the two than the quality of Stand Ins.
Stage Names seems to have more energy than Stand Ins; hence, it pulls the listener in more easily. Stand Ins is a more demure album, one that is not as immediately rewarding, but one that probably offers more introspection given an investment of time and attention. I'm midway through my second listen of Stand Ins and while it doesn't have the energy or the stage presence (if I can say that about an album) of Stage Names, it in no way represents a failure.
I suppose there is a greater theme here, about artists attempting to imitate themselves, or maybe whether there is greater achievement in glorious, ambitious failure rather than comfortable, modest success, but that is perhaps talk for another day.
In Other News:
I feel a sleep crash coming on, and I hope to crap that it holds up until I get home from the gym.
I also bought a scooter this week, a silver Yamaha Vino. Who wants to give me a ride out to the dealer, so I can pick it up?
This album is probably not what I would consider to be Okkervil River's best work, but it's still pretty good, nonetheless. It has a notably different feel to it than The Stage Names, but it still sounds like Okkervil River, very much emotionally charged folk-rock with the occasional horn. Don't get me wrong, this is a pretty good album, plenty of depth and emotion, and some goofy song names, but I'd be lying if I said I enjoyed it as much as The Stage Names. I suppose this has to do more with the comparisons between the two than the quality of Stand Ins.
Stage Names seems to have more energy than Stand Ins; hence, it pulls the listener in more easily. Stand Ins is a more demure album, one that is not as immediately rewarding, but one that probably offers more introspection given an investment of time and attention. I'm midway through my second listen of Stand Ins and while it doesn't have the energy or the stage presence (if I can say that about an album) of Stage Names, it in no way represents a failure.
I suppose there is a greater theme here, about artists attempting to imitate themselves, or maybe whether there is greater achievement in glorious, ambitious failure rather than comfortable, modest success, but that is perhaps talk for another day.
In Other News:
I feel a sleep crash coming on, and I hope to crap that it holds up until I get home from the gym.
I also bought a scooter this week, a silver Yamaha Vino. Who wants to give me a ride out to the dealer, so I can pick it up?
Tuesday, September 23, 2008
The Life Pursuit
Today's Music That Jason Likes But Maybe Doesn't Love is The Life Pursuit, by Belle & Sebastian. Apparently I can't label this with an '&' in the tag. Silly Blogspot. This album came to me by way of the public library, as some friends like Belle & Sebastian well enough to recommend them.
This album is pretty good but maybe not dynamic enough for my taste; as it is, it's still worth listening to. It does seem to have a little more bite to it than some of the other Belle and Sebastian albums, but that's all relative. This is light, airy pop music, what the kids would probably call 'twee', though I didn't find it too grating to enjoy in places. If anything, this album is too sweet and pleasant, a bowl of Frosted Flakes without any eggs or bacon to round out the meal.
Cripes, I wish I had more to say about the album, but I'm afraid not at this point. "Sukie in the Graveyard" isn't a bad song, and actually makes use of an organ (I think). "Another Sunny Day" and "White Collar Boy" are okay songs, too. Really, this album is fine, not quite as lame as some stuff, but just doesn't have the teeth to hold my attention. It's not a bad album for when I feel down and need a little lift, but I'll be damned if it makes me want to work out or do much besides think about clouds.
In Other News:
More eMusic comes today so hopefully I will have some better album reviews soon.
I've been listening to A.C. Newman's The Slow Wonder recently and enjoying it. It is probably what The Life Pursuit should be.
The weekend left me a physical disaster, but was good.
This album is pretty good but maybe not dynamic enough for my taste; as it is, it's still worth listening to. It does seem to have a little more bite to it than some of the other Belle and Sebastian albums, but that's all relative. This is light, airy pop music, what the kids would probably call 'twee', though I didn't find it too grating to enjoy in places. If anything, this album is too sweet and pleasant, a bowl of Frosted Flakes without any eggs or bacon to round out the meal.
Cripes, I wish I had more to say about the album, but I'm afraid not at this point. "Sukie in the Graveyard" isn't a bad song, and actually makes use of an organ (I think). "Another Sunny Day" and "White Collar Boy" are okay songs, too. Really, this album is fine, not quite as lame as some stuff, but just doesn't have the teeth to hold my attention. It's not a bad album for when I feel down and need a little lift, but I'll be damned if it makes me want to work out or do much besides think about clouds.
In Other News:
More eMusic comes today so hopefully I will have some better album reviews soon.
I've been listening to A.C. Newman's The Slow Wonder recently and enjoying it. It is probably what The Life Pursuit should be.
The weekend left me a physical disaster, but was good.
Thursday, September 18, 2008
Neko Case, live in DSM!
Today, instead of an album review, I have a concert review. Joy!
On Tuesday, I was lucky enough to go see Neko Case in concert. The opening band was a group called Giant Sand; they were probably very interesting guys but the allure of fresh air and wine was too much for me. The concrete steps at Hoyt Sherman were pretty nice, too.
Neko Case and her band came out without much fanfare, but put on a pretty good show. She opened with "The Tigers Have Spoken" from the album of the same name. The setlist had some tracks from Blacklisted and Fox Confessor Brings the Flood, as well as some new songs from an album to be released next year. (I don't remember the name of the album but it did seem somewhat clever.) Neko and her band seemed to be in good spirits, as she joked with Kelly Hogan (her backup vocalist) and some of the musicians between songs. (Maybe I should say high spirits, but the mood was jovial in any event.) The new songs were pretty strong and incorporated the drums to an extent that the back catalogue did not; I'll be eager to get this album when it shows up in stores or wherever. Neko and her band sounded great; her voice is every bit as strong live as it is recorded.
My only gripes about this show were that I forgot my camera (photography wasn't allowed, anyway), the somewhat tepid opening band, and the cool temperatures in the theater. Also, I am of the opinion that Kelly Hogan is far too talented to be a backup singer and sidekick. Overall, I'm very happy about the show, and I can only hope that Neko and her band will come through my city or at least within driving distance again someday soon.
In Other News:
I don't know if being tired is making me depressed, or being depressed is making me tired, but I could use a hug and a nap today. The American Analog Set isn't helping, either.
This weekend is going to be crazy. I guess it's really just Saturday, but dang.
On Tuesday, I was lucky enough to go see Neko Case in concert. The opening band was a group called Giant Sand; they were probably very interesting guys but the allure of fresh air and wine was too much for me. The concrete steps at Hoyt Sherman were pretty nice, too.
Neko Case and her band came out without much fanfare, but put on a pretty good show. She opened with "The Tigers Have Spoken" from the album of the same name. The setlist had some tracks from Blacklisted and Fox Confessor Brings the Flood, as well as some new songs from an album to be released next year. (I don't remember the name of the album but it did seem somewhat clever.) Neko and her band seemed to be in good spirits, as she joked with Kelly Hogan (her backup vocalist) and some of the musicians between songs. (Maybe I should say high spirits, but the mood was jovial in any event.) The new songs were pretty strong and incorporated the drums to an extent that the back catalogue did not; I'll be eager to get this album when it shows up in stores or wherever. Neko and her band sounded great; her voice is every bit as strong live as it is recorded.
My only gripes about this show were that I forgot my camera (photography wasn't allowed, anyway), the somewhat tepid opening band, and the cool temperatures in the theater. Also, I am of the opinion that Kelly Hogan is far too talented to be a backup singer and sidekick. Overall, I'm very happy about the show, and I can only hope that Neko and her band will come through my city or at least within driving distance again someday soon.
In Other News:
I don't know if being tired is making me depressed, or being depressed is making me tired, but I could use a hug and a nap today. The American Analog Set isn't helping, either.
This weekend is going to be crazy. I guess it's really just Saturday, but dang.
Tuesday, September 16, 2008
Veneer
Today's Music That Is Very Good is Veneer, by Jose Gonzalez. This is something I picked up at the library simply because I was not familiar with it. Also, the simple design of the album cover drew me in a little bit as well. Now, I don't know that much about Jose Gonzalez, except that he is European (not Spanish, though) and is apparently a star overseas. I don't believe that he is a huge celebrity to Germans in the sense that David Hasselhoff is, though.
Veneer has to draw obvious comparisons to some early Iron & Wine albums, as it's mostly just a man and a guitar. (Sometimes two guitars, maybe? I doubt it, I think Gonzalez is just a very good guitar player.) You'd think one guitar couldn't fill a soundscape the way it does here, though. The instrument really bounds and leaps, sometimes content to defer to Gonzalez's voice, sometimes competing with him, but it's never irrelevant. The sound is very bouncy but has more teeth than what you'd expect from a folk singer, and even his chords sound complicated. The guitar is only hard to listen to because I'm something of a novice guitar player, and hearing Gonzalez play is like watching a person smaller than me lift a car overhead. I would like to tell you that I want to be as talented a guitarist as Gonzalez is, but I would settle for being able to run or speak or cook half as well as he plays guitar.
The man has a pretty good voice, too. It's mellow without being bland, the kind of voice that comes through the speakers like a fall breeze comes in through a screen door, and it really compliments the guitar playing well. Maybe too well. If I was going to fault this album for anything, it would be that the vocals don't seem to match the intensity of the guitar, and that sometimes I'd like a little bit of yelling or at least some more emotion. This is a minor criticism, as the vocals aren't anything that detracts from the album and certainly aren't bad by any stretch, just that I'd like more from them sometimes.
I would probably recommend this album to most people, though. It's interesting without really being offensive or trendy. You'll probably never meet anyone with a Jose Gonzalez ringtone, but that's just fine. This album has a respectable, aged quality to it that doesn't come from trying to please anyone, just from being very proficient. (Note: this is Gonzalez's first album, and a few years old, so I'm very curious to get my hands on some of this other works.)
In Other News:
I'M GOING TO SEE NEKO CASE TONIGHT OMG
Veneer has to draw obvious comparisons to some early Iron & Wine albums, as it's mostly just a man and a guitar. (Sometimes two guitars, maybe? I doubt it, I think Gonzalez is just a very good guitar player.) You'd think one guitar couldn't fill a soundscape the way it does here, though. The instrument really bounds and leaps, sometimes content to defer to Gonzalez's voice, sometimes competing with him, but it's never irrelevant. The sound is very bouncy but has more teeth than what you'd expect from a folk singer, and even his chords sound complicated. The guitar is only hard to listen to because I'm something of a novice guitar player, and hearing Gonzalez play is like watching a person smaller than me lift a car overhead. I would like to tell you that I want to be as talented a guitarist as Gonzalez is, but I would settle for being able to run or speak or cook half as well as he plays guitar.
The man has a pretty good voice, too. It's mellow without being bland, the kind of voice that comes through the speakers like a fall breeze comes in through a screen door, and it really compliments the guitar playing well. Maybe too well. If I was going to fault this album for anything, it would be that the vocals don't seem to match the intensity of the guitar, and that sometimes I'd like a little bit of yelling or at least some more emotion. This is a minor criticism, as the vocals aren't anything that detracts from the album and certainly aren't bad by any stretch, just that I'd like more from them sometimes.
I would probably recommend this album to most people, though. It's interesting without really being offensive or trendy. You'll probably never meet anyone with a Jose Gonzalez ringtone, but that's just fine. This album has a respectable, aged quality to it that doesn't come from trying to please anyone, just from being very proficient. (Note: this is Gonzalez's first album, and a few years old, so I'm very curious to get my hands on some of this other works.)
In Other News:
I'M GOING TO SEE NEKO CASE TONIGHT OMG
Friday, September 12, 2008
Pop Songs 07-08
This week, a blog that I have been following for a while came to its end. Pop Songs 07-08 finally covered all the R.E.M. songs that exist, for now, anyway, and concluded with a couple posts of reader questions answered by Michael Stipe.
For those of you who aren't R.E.M. fans, well, I suppose you don't think much of my opinion and probably aren't reading this, anyway. But for those who are, I'd encourage you to check out Pop Songs 07-08 and at least look up some of your favorite songs, if not read the blog in its entirety. Matthew Perpetua (cheesy pen name or not) has clearly put a great deal of effort into analyzing all this great music, and it seems a shame not to recognize his efforts. Actual album reviews return next week! Maybe.
FYI, Pop Songs 07-08 is linked at right.
In Other News:
I got more bruises. Yay!
I may have found a part-time job. This is something I'd be doing because I want to; the money, while unnecessary, is generally welcome. More to come on this, maybe, but you'd really have to ask.
For those of you who aren't R.E.M. fans, well, I suppose you don't think much of my opinion and probably aren't reading this, anyway. But for those who are, I'd encourage you to check out Pop Songs 07-08 and at least look up some of your favorite songs, if not read the blog in its entirety. Matthew Perpetua (cheesy pen name or not) has clearly put a great deal of effort into analyzing all this great music, and it seems a shame not to recognize his efforts. Actual album reviews return next week! Maybe.
FYI, Pop Songs 07-08 is linked at right.
In Other News:
I got more bruises. Yay!
I may have found a part-time job. This is something I'd be doing because I want to; the money, while unnecessary, is generally welcome. More to come on this, maybe, but you'd really have to ask.
Thursday, September 11, 2008
I Am Not Afraid Of You And I Will Beat Your Ass
Today's Music That Also Sounds Like A Threat is from Yo La Tengo, titled I Am Not Afraid Of You And I Will Beat Your Ass. This album is the most recent release from Yo La Tengo, prolific and critically adored indie rock band, and also the most ridiculously named. Apparently the album title comes from basketball player Tim Thomas, who uttered the words "Everyone in this organization is afraid of you, but I’m not, and I will beat your ass" to then-teammate Stephon Marbury a few years ago.
Anyhow, this album has a lot to like: colorful packaging, a varied collection of interesting songs, a wicked title. The album starts with the retro-bebop styled "Pass the Hatchet, I Think I'm Goodkind", a pleasant enough tune that goes on for almost 11 minutes. I don't know if this album as a whole appeals to me as much as I Can Hear The Heart Beating As One, but it's pretty damn good. Heart seems to rock a little harder; while Not Afraid doesn't get stale at any point, it also stays away from the distortion and the shoegaze elements that Heart incorporated so well. Not Afraid has more of a wistful, dreamy sound, but the songs are still very listenable. Sometimes I wish it had a little more of an edge or pushed the tempo just a bit, but neither of these things are completely lacking.
To be fair, "Watch Out For Me Ronnie" and "Beanbag Chair" do have a little drive to them. This album, though, really has its head in the clouds. Just listen to "Daphnia" and "Sometimes I Don't Get You" and try to tell me otherwise. "Black Flowers" is possibly my favorite song on this album; "Mr Tough" isn't bad, either. The album really ends well, with "The Story of Yo La Tango", all 12+ minutes of it. This is an excellent album, one that even indie rock snobs should be able to enjoy; as long as your music doesn't need choreographed dancing or you don't hold your hand in the metal sign all day, you should give this album a shot.
In Other News:
I really have to try sleeping at night. Cripes.
Anyhow, this album has a lot to like: colorful packaging, a varied collection of interesting songs, a wicked title. The album starts with the retro-bebop styled "Pass the Hatchet, I Think I'm Goodkind", a pleasant enough tune that goes on for almost 11 minutes. I don't know if this album as a whole appeals to me as much as I Can Hear The Heart Beating As One, but it's pretty damn good. Heart seems to rock a little harder; while Not Afraid doesn't get stale at any point, it also stays away from the distortion and the shoegaze elements that Heart incorporated so well. Not Afraid has more of a wistful, dreamy sound, but the songs are still very listenable. Sometimes I wish it had a little more of an edge or pushed the tempo just a bit, but neither of these things are completely lacking.
To be fair, "Watch Out For Me Ronnie" and "Beanbag Chair" do have a little drive to them. This album, though, really has its head in the clouds. Just listen to "Daphnia" and "Sometimes I Don't Get You" and try to tell me otherwise. "Black Flowers" is possibly my favorite song on this album; "Mr Tough" isn't bad, either. The album really ends well, with "The Story of Yo La Tango", all 12+ minutes of it. This is an excellent album, one that even indie rock snobs should be able to enjoy; as long as your music doesn't need choreographed dancing or you don't hold your hand in the metal sign all day, you should give this album a shot.
In Other News:
I really have to try sleeping at night. Cripes.
Tuesday, September 9, 2008
The Shepherd's Dog
Today's Music That Jason Is Fond Of happens to be The Shepherd's Dog, by Iron & Wine. No real snappy intro today, just note that as Iron & Wine is technically Sam Beam, I'll probably use the band/stage name and the artist's name interchangeably in the following paragraph(s). Also, Sam Beam has a huge, thick shrubbery of a beard.
The Shepherd's Dog represents a departure from the earlier Iron & Wine albums, something that was hinted at on Beam's collaboration with Calexico (In the Reins) in the recent past. This can't be much of a surprise, though; as the Iron & Wine sound basically began as one man with hushed, Neil Young-sounding vocals and a single acoustic guitar, there wasn't really anywhere to go with the sound but to add more elements.
While I am partial to the earlier Iron & Wine albums, I think that The Shepherd's Dog succeeds in its own right. It still maintains a very organic, Southern sound, but doesn't lose much with the addition of the other instruments. Some of the arrangements are a little out there, but as a whole the album is pretty good (if not great). "Boy With A Coin" is probably as accessible as any track on the album, and it's certainly listenable - it probably represents what you should expect from this album as much as any individual song does.
So in short: The Shepherd's Dog doesn't have the minimalist charm of earlier Iron & Wine albums, but it hasn't lost its soul, and is worth listening to if you're an Iron & Wine fan (or if you just like music with acoustic guitars and such).
In Other News:
FOUR TET HECK YES
Also, don't let me get discouraged. It's all small stuff, really.
Did I mention that the film version of McCarthy's The Road comes out this year? I can't remember the last time I was actually looking forward to a movie. Actually, that's not true - it was the last Wes Anderson movie. I'm so white.
The Shepherd's Dog represents a departure from the earlier Iron & Wine albums, something that was hinted at on Beam's collaboration with Calexico (In the Reins) in the recent past. This can't be much of a surprise, though; as the Iron & Wine sound basically began as one man with hushed, Neil Young-sounding vocals and a single acoustic guitar, there wasn't really anywhere to go with the sound but to add more elements.
While I am partial to the earlier Iron & Wine albums, I think that The Shepherd's Dog succeeds in its own right. It still maintains a very organic, Southern sound, but doesn't lose much with the addition of the other instruments. Some of the arrangements are a little out there, but as a whole the album is pretty good (if not great). "Boy With A Coin" is probably as accessible as any track on the album, and it's certainly listenable - it probably represents what you should expect from this album as much as any individual song does.
So in short: The Shepherd's Dog doesn't have the minimalist charm of earlier Iron & Wine albums, but it hasn't lost its soul, and is worth listening to if you're an Iron & Wine fan (or if you just like music with acoustic guitars and such).
In Other News:
FOUR TET HECK YES
Also, don't let me get discouraged. It's all small stuff, really.
Did I mention that the film version of McCarthy's The Road comes out this year? I can't remember the last time I was actually looking forward to a movie. Actually, that's not true - it was the last Wes Anderson movie. I'm so white.
Sunday, September 7, 2008
!!!!!!!!!!!!!!!!!!!!
Today I wanted to blog about Cat Power, possibly You Are Free or The Greatest, maybe even Moon Pix. But there's no time! Damn!
See you at Ledges!
See you at Ledges!
Thursday, September 4, 2008
Picaresque
Today's Music That Is Pretty Great is the Decemberists' Picaresque. I'm a little surprised that I haven't written about this album yet; though it's not my favorite Decemberists album, that has more to do with my personal connections to some of their other music and isn't really a judgment on the quality of this work. It does seem to be one of, if not the most well-received album from Colin Meloy and his band in general.
This is a marvelous album, with all the hallmarks of the Decemberists' sound: many instruments, somewhat nasal (not far from Stipe-ish) vocals, lyrics that seem to be lifted from 19th-century literature, just a bit of a flippant attitude. The balance on this album is exemplary, as there are a reasonable number of ballads and uptempo songs; some tracks are dark, whereas others are more good-natured. Overall I am more fond of the more boisterous arrangements of The Crane Wife or the simple charm of Castaways and Cutouts, but I don't have much to complain about here. I especially appreciate the gaul of this album's six and seven minute tracks, and one that falls just shy of nine minutes! Piss off, popular radio!
"The Infanta" is an inspired opener for an album, and it has enough energy to carry through the somber following tracks to "The Sporting Life". I know that "The Mariner's Revenge Song" is probably the crown jewel of this album, but I'm more partial to "Sixteen Military Wives". Still, the tracks are ordered impeccably, with the gentle "Of Angels and Angles" serving as the album's closer. Its brief, comforting melody is a nice contrast to the epic "The Mariner's Revenge Song".
I really have a hard time faulting this album for anything. They make interesting, enjoyable music that doesn't ever insult my intelligence; most of their songs stand alone very well, but their albums are really things of beauty to be appreciated as complete entities. Cripes, my inner fanboy is not bashful today.
In Other News:
When it rains, it pours. Why aren't things ever consistent?
This is a marvelous album, with all the hallmarks of the Decemberists' sound: many instruments, somewhat nasal (not far from Stipe-ish) vocals, lyrics that seem to be lifted from 19th-century literature, just a bit of a flippant attitude. The balance on this album is exemplary, as there are a reasonable number of ballads and uptempo songs; some tracks are dark, whereas others are more good-natured. Overall I am more fond of the more boisterous arrangements of The Crane Wife or the simple charm of Castaways and Cutouts, but I don't have much to complain about here. I especially appreciate the gaul of this album's six and seven minute tracks, and one that falls just shy of nine minutes! Piss off, popular radio!
"The Infanta" is an inspired opener for an album, and it has enough energy to carry through the somber following tracks to "The Sporting Life". I know that "The Mariner's Revenge Song" is probably the crown jewel of this album, but I'm more partial to "Sixteen Military Wives". Still, the tracks are ordered impeccably, with the gentle "Of Angels and Angles" serving as the album's closer. Its brief, comforting melody is a nice contrast to the epic "The Mariner's Revenge Song".
I really have a hard time faulting this album for anything. They make interesting, enjoyable music that doesn't ever insult my intelligence; most of their songs stand alone very well, but their albums are really things of beauty to be appreciated as complete entities. Cripes, my inner fanboy is not bashful today.
In Other News:
When it rains, it pours. Why aren't things ever consistent?
Wednesday, September 3, 2008
Sky Blue Sky
Today's Music That Jason is Not All That Jazzed About is Sky Blue Sky, by Wilco. Before I discuss this album, let's get something straight. I'm not really a Wilco fan. I've given them plenty of chances, having listened to both Summerteeth and Yankee Hotel Foxtrot through probably a dozen times each. I couldn't get excited about either album, though. I did like parts of A Ghost is Born, and thought that it was overall a pretty good album. (Maybe a full review will show up sometime.)
Anyway, this album didn't really do anything for me. There were parts of it that I liked - track #5 had a brief moment of actual excitement when somebody accidentally played an electric guitar solo - but it was largely unaffecting. The overall sound is simply too laid-back and uninvolved; I suppose that pot or very strong cough syrup would lend itself to enhancing the listening experience, but rather than mess with either of those things, I would prefer to listen to more interesting music. It's not that the music is actively bad, but by the end of the album I was praying for Ted Nugent to show up and shoot an arrow through the disc. This album just wasn't engaging enough for me - it's borderline Jack Johnson boring, almost enough to make the Grateful Dead seem dangerous by comparison. Also, the album title is just short of terrible.
In short, this album may have confirmed my belief that Wilco is the new Eagles. If you like Wilco, I won't think less of you, but if you try to tell me how cool they are at a party, I will probably introduce you to someone else who likes Wilco and then spend the rest of the time avoiding you.
In Other News:
I'm not sure if I want a hug today or someone to shove me to the ground and yell a little bit. Maybe it's just too early. Patience, Jason, the gym will be there when you get done at work.
Anyway, this album didn't really do anything for me. There were parts of it that I liked - track #5 had a brief moment of actual excitement when somebody accidentally played an electric guitar solo - but it was largely unaffecting. The overall sound is simply too laid-back and uninvolved; I suppose that pot or very strong cough syrup would lend itself to enhancing the listening experience, but rather than mess with either of those things, I would prefer to listen to more interesting music. It's not that the music is actively bad, but by the end of the album I was praying for Ted Nugent to show up and shoot an arrow through the disc. This album just wasn't engaging enough for me - it's borderline Jack Johnson boring, almost enough to make the Grateful Dead seem dangerous by comparison. Also, the album title is just short of terrible.
In short, this album may have confirmed my belief that Wilco is the new Eagles. If you like Wilco, I won't think less of you, but if you try to tell me how cool they are at a party, I will probably introduce you to someone else who likes Wilco and then spend the rest of the time avoiding you.
In Other News:
I'm not sure if I want a hug today or someone to shove me to the ground and yell a little bit. Maybe it's just too early. Patience, Jason, the gym will be there when you get done at work.
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