Today's Music of the Day is Heavy Ghost, by DM Stith. Now, I don't know anything about this album, except that some guy at the AV Club just loved it. This was enough for me to download it and listen to it several times over the course of the past few weeks.
Heavy Ghost has drawn some comparisons to Bon Iver's For Emma, Long Ago (forgive me if I didn't get that exactly right). These comparisons are apt on some level that mostly consists of volume and instrument choice, but I have a hard time linking the two. Heavy Ghost is an appropriate name, mostly because the album has a sound that is, for lack of a better word, spooky. There are all kinds of 'ooo' backing vocals throughout the album, and the lead vocals are prominently enunciated on a few tracks, but not consistently.
Overall I like this album, but I don't 'like' like it. Songs like "Fire of Birds", where the vocals are more central to the song, are more accessible, but there aren't enough of them on the album. The overall sound is interesting, but it seems to keep its distance too much of the time to be enjoyable. I can't really speak badly of this album, but I feel like we aren't destined to be friends. I'll probably stick to Mogwai and Sigur Ros, though maybe in a year or two when DM Stith puts out another album I'll be more open to its particular sound.
In Other News:
I guess I decided not to do anything for post #200. What did I do for #100, anyway? Perhaps I'll still do something special in the future...or just make another playlist and review it.
I woke up early again today.
Why can't it be next Tuesday already?
Tuesday, March 31, 2009
Friday, March 27, 2009
Stairs and Elevators
Today's Music of the Day is Stairs and Elevators, by the Heartless Bastards. This I picked up from eMusic at the recommendation of a friend. I don't know a great deal about the band, except that it has gone through a few lineups in its short history, and now maybe features one original member.
Initially, Stairs and Elevators really grabbed my attention. The sound here is very garage-blues; it's hard not to think of the Black Keys or the White Stripes, albeit here with a frontwoman who has a voice that absolutely growls. So far, so good, right? Sure. But with each subsequent listen, the blinding howl of the singer became less dominating, and the composition and instrumentation of the songs themselves became more apparent.
While I appreciate the filthy blues sound here, its simplicity is both its greatest strength and weakness. The songs here are good, but there isn't enough diversity from track to track. I might be able to forgive this if the lyrics were more profound, or if Jack White showed up to melt somebody's face with a scathing guitar solo every three tracks or so.
I am avoiding the obvious strength of this album, that the singer (I think her name is Karen Ellingston or something like that) is amazing. I wouldn't be surprised if this album has already taken the virginity of a few teenage boys. Seriously, this woman's voice is some combination of butter, whiskey, and fire. Still, I wish it was enough to make up for what is a relatively uniform and dull album otherwise.
In Other News:
Where is the sleep hiding
Initially, Stairs and Elevators really grabbed my attention. The sound here is very garage-blues; it's hard not to think of the Black Keys or the White Stripes, albeit here with a frontwoman who has a voice that absolutely growls. So far, so good, right? Sure. But with each subsequent listen, the blinding howl of the singer became less dominating, and the composition and instrumentation of the songs themselves became more apparent.
While I appreciate the filthy blues sound here, its simplicity is both its greatest strength and weakness. The songs here are good, but there isn't enough diversity from track to track. I might be able to forgive this if the lyrics were more profound, or if Jack White showed up to melt somebody's face with a scathing guitar solo every three tracks or so.
I am avoiding the obvious strength of this album, that the singer (I think her name is Karen Ellingston or something like that) is amazing. I wouldn't be surprised if this album has already taken the virginity of a few teenage boys. Seriously, this woman's voice is some combination of butter, whiskey, and fire. Still, I wish it was enough to make up for what is a relatively uniform and dull album otherwise.
In Other News:
Where is the sleep hiding
Wednesday, March 25, 2009
Elvis Perkins in Dearland
Today's Music That You Should Be Listening To is Elvis Perkins in Dearland, by Elvis Perkins, of course. This is his second album, following 2007's beautiful, melancholy Ash Wednesday.
Dearland has a very late 1960's / early 1970's sound and feel to it. Specifically, it was hard not to think of post-Beatles George Harrison, or maybe Bob Dylan had he decided to make more sense and less sense at the same time. The sound of the album is rambling and busy, with Elvis' voice and guitar occasionally leading a small battalion of instruments (though they carry more sparse instrumentation on some tracks as well.) Elvis' voice is good if not great, but he certainly knows how to use it; I can't claim him as my favorite or most respected singer, but I'll be damned if his voice doesn't set the tone perfectly for every song on this record.
The songs here are fairly personal and emotional; however, they manage to be accessible, even at the most reserved and introspective moments. This album has strong feelings is open about them without ever being melodramatic. It's not depressing by any means, but I would challenge most people to listen to this album once or twice - really pay attention to it - and not be affected. The mood here is mostly serious, but sometimes the instruments let some playful bursts through - not too many, though, and because of this they carry an appropriate amount of weight and relief when they do show up.
It would be difficult to pick the strong tracks on this album - some albums have clear frontrunners, but not so much here - though there are definite high points. "Shampoo", the album opener, would work anywhere on the album, but it hits all the right notes at the start. "I Heard Your Voice in Dresden" and "Send My Fond Regards To Lonelyville" have semi-bearable titles but are full of charm. "Chains, Chains, Chains" and "123 Goodbye" warm the soul. Really, though, there aren't filler songs on this album; even the tracks which I am less fond of are still excellent.
There have been some other very good albums released already this year - A.C. Newman and Neko Case, among others - but Dearland is probably the greatest pleasant surprise thus far. It's a definite step forward from Ash Wednesday - and this is a compliment to Dearland, not to Ash Wednesday's detriment. Ash Wednesday was quiet, moody, guarded, and still excellent. But Dearland is Ash Wednesday with confidence and friends, as though Perkins woke up one day and decided that his music didn't have to be asked how it felt, that it could come right out and tell you.
Dearland has strong ties to the past, but please, please let this be the way of the future. With this album, Perkins has made the kind of music that makes me glad that I care about music.
In Other News:
The flesh is knitting...slowly.
Professionally and personally, I am being tested this week. These things aren't problems, but opportunities to push through and come out with an apple.
Dearland has a very late 1960's / early 1970's sound and feel to it. Specifically, it was hard not to think of post-Beatles George Harrison, or maybe Bob Dylan had he decided to make more sense and less sense at the same time. The sound of the album is rambling and busy, with Elvis' voice and guitar occasionally leading a small battalion of instruments (though they carry more sparse instrumentation on some tracks as well.) Elvis' voice is good if not great, but he certainly knows how to use it; I can't claim him as my favorite or most respected singer, but I'll be damned if his voice doesn't set the tone perfectly for every song on this record.
The songs here are fairly personal and emotional; however, they manage to be accessible, even at the most reserved and introspective moments. This album has strong feelings is open about them without ever being melodramatic. It's not depressing by any means, but I would challenge most people to listen to this album once or twice - really pay attention to it - and not be affected. The mood here is mostly serious, but sometimes the instruments let some playful bursts through - not too many, though, and because of this they carry an appropriate amount of weight and relief when they do show up.
It would be difficult to pick the strong tracks on this album - some albums have clear frontrunners, but not so much here - though there are definite high points. "Shampoo", the album opener, would work anywhere on the album, but it hits all the right notes at the start. "I Heard Your Voice in Dresden" and "Send My Fond Regards To Lonelyville" have semi-bearable titles but are full of charm. "Chains, Chains, Chains" and "123 Goodbye" warm the soul. Really, though, there aren't filler songs on this album; even the tracks which I am less fond of are still excellent.
There have been some other very good albums released already this year - A.C. Newman and Neko Case, among others - but Dearland is probably the greatest pleasant surprise thus far. It's a definite step forward from Ash Wednesday - and this is a compliment to Dearland, not to Ash Wednesday's detriment. Ash Wednesday was quiet, moody, guarded, and still excellent. But Dearland is Ash Wednesday with confidence and friends, as though Perkins woke up one day and decided that his music didn't have to be asked how it felt, that it could come right out and tell you.
Dearland has strong ties to the past, but please, please let this be the way of the future. With this album, Perkins has made the kind of music that makes me glad that I care about music.
In Other News:
The flesh is knitting...slowly.
Professionally and personally, I am being tested this week. These things aren't problems, but opportunities to push through and come out with an apple.
Monday, March 23, 2009
Back from Philly / A.C. Newman show
Support Your Local Catgun has survived spring break. And a nation mourns. Philly was fun! I got blisters and a Puma jacket. Music reviews will be forthcoming this week, as I had a chance to download my monthly quota from eMusic yesterday. I was particularly happy that eMusic had the Coraline soundtrack!
Go see Coraline. Don't make me argue about this with you.
On to the A.C. Newman show! The opening band was the Broken West, who may or may not have played with Kevin Costner or something like that. They were too loud but not awful; mostly, their songs were consistent but not climactic enough. They play a friendly brand of electrified power-pop that was definitely in its element; off hand, I would compare them to Immaculate Machine.
A.C. Newman and his band were particularly good. They covered most of the songs from his two solo albums - The Slow Wonder and Get Guilty - for a fairly rowdy St. Patrick's day crowd. I'm happy to report that Newman and his band sound amazing in person, with no drop-off from the quality of sound with the recording. Newman and his band eschewed the traditional encore, choosing to play everything on stage without leaving and waiting for applause.
Highlights included, well, most everything. In particular, the moments between songs allowed Newman to speak to the crowd; he's very friendly and funny, to be honest. I wish I had recorded or transcribed some of the things he said - especially bits about fiddles in Canada and editing Dan Bejar's Wikipedia page - but he mostly just seems like a pretty decent guy. What songs did I most enjoy? "The Cloud Prayer", as it has a trumpet, and some of his newer songs ("There are Maybe Ten or Twelve", "All of My Days and All of My Days Off") were great too.
All things considered, the show was wonderful, and the trip was good too. I have blisters that are mending but still sore, though time should heal these. I missed my guitar and capoeira, to say the least, but this week should be more rigorous if less carefree.
In Other News:
All of that was the other news.
I'm going to be an uncle again early next week! I'm anxious, though I'm sure everything will be fine.
Go see Coraline. Don't make me argue about this with you.
On to the A.C. Newman show! The opening band was the Broken West, who may or may not have played with Kevin Costner or something like that. They were too loud but not awful; mostly, their songs were consistent but not climactic enough. They play a friendly brand of electrified power-pop that was definitely in its element; off hand, I would compare them to Immaculate Machine.
A.C. Newman and his band were particularly good. They covered most of the songs from his two solo albums - The Slow Wonder and Get Guilty - for a fairly rowdy St. Patrick's day crowd. I'm happy to report that Newman and his band sound amazing in person, with no drop-off from the quality of sound with the recording. Newman and his band eschewed the traditional encore, choosing to play everything on stage without leaving and waiting for applause.
Highlights included, well, most everything. In particular, the moments between songs allowed Newman to speak to the crowd; he's very friendly and funny, to be honest. I wish I had recorded or transcribed some of the things he said - especially bits about fiddles in Canada and editing Dan Bejar's Wikipedia page - but he mostly just seems like a pretty decent guy. What songs did I most enjoy? "The Cloud Prayer", as it has a trumpet, and some of his newer songs ("There are Maybe Ten or Twelve", "All of My Days and All of My Days Off") were great too.
All things considered, the show was wonderful, and the trip was good too. I have blisters that are mending but still sore, though time should heal these. I missed my guitar and capoeira, to say the least, but this week should be more rigorous if less carefree.
In Other News:
All of that was the other news.
I'm going to be an uncle again early next week! I'm anxious, though I'm sure everything will be fine.
Sunday, March 15, 2009
Middle Cyclone
Today's Music That Jason Adores is Neko Case's Middle Cyclone. This, of course, is Neko's recent release, coming on the heels of the excellent Fox Confessor Brings the Flood (2006).
Middle Cyclone is a lovely work. Neko's voice sparkles, as usual; I will admit to having a terrible bias, though. The songs here compliment her voice well; there's solid instrumentation throughout (some of the New Pornographers appear here, and Neko's band is excellent as always). The sound here does seem to be something of a step back - certainly not in quality (though one could easily choose between this album and Fox Confessor, if one so wished) but in theme. There seem to be more fables and characters here, as opposed to tales of caution and woe. There really isn't a pronounced 'twang' to the sound, but it's still very much 'alt-country' or 'americana', however you want to classify it.
The whole album is solid - I'd be hard-pressed to choose a favorite track, but even I have my likes and dislikes. 'Fever' is a solid track, one that would have fit well on Fox Confessor as well as here. "The Pharaohs" and "I'm an Animal" are wonderful, the title track is good, "This Tornado Loves You" is a nice opener and a microcosm of the entire album. "Magpie to the Morning" is as sweet as sunlight on a spring weekend. If anything, the short lengths of the songs ("Marais la Nut" not withstanding, thank you for the joke, Neko) only make them that much more desirable.
Maybe you won't like this album. Maybe it's too eco-preachy for you, maybe it's not as sinister as Fox Confessor or even The Tigers Have Spoken, maybe you can't dance to it or you just rock too hard for something that only shares its message and doesn't bark it at you. This album didn't strike me right away, like some do; my first listen led me to wonder where the anthems were, when Neko was going to pour her broken heart into the microphone. But subsequent listens have given me an appreciation for this album. Neko still sings like lightning in the night, but reining in her voice makes the moments where it wails really stand out. This album isn't all flash but I've come to love it just the same. Maybe you don't feel the same way. And that's okay. But I will argue with you about this. There are too many great moments not to love Middle Cyclone.
Plus, check out this cover art. If I had seen this picture when I was 15, I don't think I would have ever recovered. As it is, I still think it's funny and great at the same time.
In Other News:
Support Your Local Catgun will be taking a hiatus this week. I'm going on vacation - I'll be in Philadelphia - and won't be back until Friday. But I'll hopefully have something special for my 200th blog post. Enjoy the week.
The things that have plagued me this year - physically and emotionally - are starting to lose their hold on me. Time heals all wounds, and thank goodness.
Middle Cyclone is a lovely work. Neko's voice sparkles, as usual; I will admit to having a terrible bias, though. The songs here compliment her voice well; there's solid instrumentation throughout (some of the New Pornographers appear here, and Neko's band is excellent as always). The sound here does seem to be something of a step back - certainly not in quality (though one could easily choose between this album and Fox Confessor, if one so wished) but in theme. There seem to be more fables and characters here, as opposed to tales of caution and woe. There really isn't a pronounced 'twang' to the sound, but it's still very much 'alt-country' or 'americana', however you want to classify it.
The whole album is solid - I'd be hard-pressed to choose a favorite track, but even I have my likes and dislikes. 'Fever' is a solid track, one that would have fit well on Fox Confessor as well as here. "The Pharaohs" and "I'm an Animal" are wonderful, the title track is good, "This Tornado Loves You" is a nice opener and a microcosm of the entire album. "Magpie to the Morning" is as sweet as sunlight on a spring weekend. If anything, the short lengths of the songs ("Marais la Nut" not withstanding, thank you for the joke, Neko) only make them that much more desirable.
Maybe you won't like this album. Maybe it's too eco-preachy for you, maybe it's not as sinister as Fox Confessor or even The Tigers Have Spoken, maybe you can't dance to it or you just rock too hard for something that only shares its message and doesn't bark it at you. This album didn't strike me right away, like some do; my first listen led me to wonder where the anthems were, when Neko was going to pour her broken heart into the microphone. But subsequent listens have given me an appreciation for this album. Neko still sings like lightning in the night, but reining in her voice makes the moments where it wails really stand out. This album isn't all flash but I've come to love it just the same. Maybe you don't feel the same way. And that's okay. But I will argue with you about this. There are too many great moments not to love Middle Cyclone.
Plus, check out this cover art. If I had seen this picture when I was 15, I don't think I would have ever recovered. As it is, I still think it's funny and great at the same time.In Other News:
Support Your Local Catgun will be taking a hiatus this week. I'm going on vacation - I'll be in Philadelphia - and won't be back until Friday. But I'll hopefully have something special for my 200th blog post. Enjoy the week.
The things that have plagued me this year - physically and emotionally - are starting to lose their hold on me. Time heals all wounds, and thank goodness.
Thursday, March 12, 2009
Trouble in Dreams
Today's Music of the Day is Destroyer's Trouble in Dreams. This is the most recent effort from one Daniel Bejar, having been released last year (though I'm not sure if it came before or after the New Pornographers' Challengers).
Bejar really pulls all the stops here - the guitar and piano compete for attention through the entire record, and there are some other strings, drums, and maybe even an organ that make appearances. Sometimes the guitar is fuzzy, but it generally defaults to a bright, smooth sound (unfortunately, in this catgun's opinion). Bejar himself is in fine form, with his vocals falling somewhere between Neil Diamond and Shatner.
The overall sound here is still a little too bright and breezy, and Bejar should probably be hit with a yardstick every time he throws in a 'la la la' or a 'dum dum', but Trouble in Dreams is a step in the right direction. The previous Destroyer album, Destroyer's Rubies, bore these traits like a yoke, whereas they don't come up as often here. Trouble in Dreams does a better job of varying the mood and theme from song to song, even if the sound is still very identifiable. Some of the songs are very good here - "Plaza Trinidad" is probably the standout, though "Shooting Rockets" and "Dark Leaves Form a Thread" play to Bejar's strengths well.
Can I recommend this album? Eh, not necessarily. I listen to it on occasion, but I'd be hard-pressed to claim it over much of the other music in my library. It's not awful, just too Bejarian - that is, too unfocused and whimsical for my taste - too much of the time.
In Other News:
I finally got the new Neko Case album! Review forthcoming. Initial thoughts - it's a little more friendly than Fox Confessor, but not that far removed. The sound has a little more pronounced twang, too, but not a great deal more. Neko, of course, sounds like ice water on a hundred-degree day.
My shoulder seems to be healing! It's not fast, but it is apparent, and I am relieved. I can't wait to get back to free weights.
Bejar really pulls all the stops here - the guitar and piano compete for attention through the entire record, and there are some other strings, drums, and maybe even an organ that make appearances. Sometimes the guitar is fuzzy, but it generally defaults to a bright, smooth sound (unfortunately, in this catgun's opinion). Bejar himself is in fine form, with his vocals falling somewhere between Neil Diamond and Shatner.
The overall sound here is still a little too bright and breezy, and Bejar should probably be hit with a yardstick every time he throws in a 'la la la' or a 'dum dum', but Trouble in Dreams is a step in the right direction. The previous Destroyer album, Destroyer's Rubies, bore these traits like a yoke, whereas they don't come up as often here. Trouble in Dreams does a better job of varying the mood and theme from song to song, even if the sound is still very identifiable. Some of the songs are very good here - "Plaza Trinidad" is probably the standout, though "Shooting Rockets" and "Dark Leaves Form a Thread" play to Bejar's strengths well.
Can I recommend this album? Eh, not necessarily. I listen to it on occasion, but I'd be hard-pressed to claim it over much of the other music in my library. It's not awful, just too Bejarian - that is, too unfocused and whimsical for my taste - too much of the time.
In Other News:
I finally got the new Neko Case album! Review forthcoming. Initial thoughts - it's a little more friendly than Fox Confessor, but not that far removed. The sound has a little more pronounced twang, too, but not a great deal more. Neko, of course, sounds like ice water on a hundred-degree day.
My shoulder seems to be healing! It's not fast, but it is apparent, and I am relieved. I can't wait to get back to free weights.
Tuesday, March 10, 2009
Pocket Symphony
Today's Music of the Day is AIR's Pocket Symphony. This album was released in 2007 and was actually purchased on CD by me; I believe I listened to it intently for a few weeks and then put it in a stack of CDs to be pawned / resold, despite not hating it. My priorities being elsewhere, this disc somehow avoided being purged from my residence and survived to make it to the office today.
The overall sound here is subtle, atmospheric, maybe a little foreboding, possibly some pretense. It's kind of a pop album, in the sense that you can slow pop down to the point where it almost puts you to sleep; I would refrain from calling this 'ambient' or 'trance', though. The album is mostly dominated by strings and keys, with vocals on about half the tracks.
This is a solid work, for the most part - the first couple instrumental tracks in particular are very good. I do think that the sound stays in its comfort zone a little too much, though; the group's previous album, Talkie Walkie, did a better job of stretching its boundaries, so Pocket Symphony, for all of its lush composition, is a bit of a letdown. In particular, the later instrumental tracks are nicely layered, but don't have much going on besides the initial blend of sounds. I do also have to call out the vocal tracks, which aren't so great - "One Hell of a Party" in particular is mediocre at best.
Overall, this album probably gets a shrug from me. "Space Maker" and "Once Upon A Time" are excellent; the other tracks fall somewhere between 'ok' and 'meh'.
In Other News:
I still don't have the new Neko Case album. WHAT IN THE NAME OF CRAP IS WRONG WITH ME.
The overall sound here is subtle, atmospheric, maybe a little foreboding, possibly some pretense. It's kind of a pop album, in the sense that you can slow pop down to the point where it almost puts you to sleep; I would refrain from calling this 'ambient' or 'trance', though. The album is mostly dominated by strings and keys, with vocals on about half the tracks.
This is a solid work, for the most part - the first couple instrumental tracks in particular are very good. I do think that the sound stays in its comfort zone a little too much, though; the group's previous album, Talkie Walkie, did a better job of stretching its boundaries, so Pocket Symphony, for all of its lush composition, is a bit of a letdown. In particular, the later instrumental tracks are nicely layered, but don't have much going on besides the initial blend of sounds. I do also have to call out the vocal tracks, which aren't so great - "One Hell of a Party" in particular is mediocre at best.
Overall, this album probably gets a shrug from me. "Space Maker" and "Once Upon A Time" are excellent; the other tracks fall somewhere between 'ok' and 'meh'.
In Other News:
I still don't have the new Neko Case album. WHAT IN THE NAME OF CRAP IS WRONG WITH ME.
Monday, March 9, 2009
The Cool
Today's Music of the Day is Lupe Fiasco's The Cool. As it turns out, there is some rap and hip-hop that I like - Lupe Fiasco is more than just a great name. I've woefully under-represented rap on this blog, and today is a small concession towards my neglect. But this blog isn't about self-pity, it's about music.
The Cool is fairly diverse in its sound and message, and the album really flows because of it. Lupe himself doesn't have the most unique voice, but he certainly has skill. (Note that unique can refer to, say, Shaquille O'Neal, but also to Dennis Rodman.) His lyrics are strong too - there are some clever pop-culture references (The Odd Couple !?) but the album doesn't rely on them, thankfully. There are some guest rappers and singers - again, they don't dominate the album, but contribute in parts, limiting their exposure but strengthening the effect.
Some of these songs are straightforward jams, whereas others are more narrative, but the entire album works very well. The balance between the two is what holds the album together. For every "Superstar" there is a "Paris, Tokyo", for every "Go Go Gadget Flow" there is a "Hip-Hop Saved My Live". This album is clever and Lupe keeps his voice down just enough so that when he does speak up, it's hard not to pay attention. Maybe this album isn't for you - since reading this blog probably means that you are middle-class and white - but you should still give it a shot.
In Other News:
Forget daylight savings time. Seriously. I will be lucky to recover that hour by June.
The Cool is fairly diverse in its sound and message, and the album really flows because of it. Lupe himself doesn't have the most unique voice, but he certainly has skill. (Note that unique can refer to, say, Shaquille O'Neal, but also to Dennis Rodman.) His lyrics are strong too - there are some clever pop-culture references (The Odd Couple !?) but the album doesn't rely on them, thankfully. There are some guest rappers and singers - again, they don't dominate the album, but contribute in parts, limiting their exposure but strengthening the effect.
Some of these songs are straightforward jams, whereas others are more narrative, but the entire album works very well. The balance between the two is what holds the album together. For every "Superstar" there is a "Paris, Tokyo", for every "Go Go Gadget Flow" there is a "Hip-Hop Saved My Live". This album is clever and Lupe keeps his voice down just enough so that when he does speak up, it's hard not to pay attention. Maybe this album isn't for you - since reading this blog probably means that you are middle-class and white - but you should still give it a shot.
In Other News:
Forget daylight savings time. Seriously. I will be lucky to recover that hour by June.
Friday, March 6, 2009
Misc. Loose Songs
Today, I'm covering some miscellaneous loose songs that I acquired from various sources. So, as is tradition at Support Your Local Catgun, I'll come up with an original scale on which to rate the various songs. Today's scale, in order from worst to best, will be based on the cast of the popular television series "Gilligan's Island".
*The Howells - Lame enough that they don't even get separate entries. Why couldn't we have had a monkey sidekick or at least some cute kid instead?
*Gilligan - even as a child, his bumbling got on my nerves. I hope he never got with Mary Ann. Also, thanks for ruining that style of hat for everyone, not that it took much.
*The Professor - kind of a contrived character, as well as inventing too many plot devices for my taste. Probably an okay guy though.
*The cannibals - rough characters that probably went hungry.
*Ginger - shiny but undoubtedly more trouble than it could possibly be worth.
*The Skipper - an old crusty sailor. Possibly the only guy more fed up with Gilligan than me.
*Mary Ann. well dang. God bless syndicated television.
And now, the playlist:
#Radiohead - "Down is the New Up" - not bad, but hardly their best work. Interesting if overly melancholy and pretentious. - cannibals
#M83 - "We Own the Sky (Maps Remix)" - yeah, pretty good stuff. Nice build to it, well used vocals (not lyrics, really). -The Skipper
#Port O'Brien - "I Woke Up Today" - nice energy, the chorus-style vocals are kind of a gimmick but they aren't a problem. Simple song but well done. -Ginger
#R.E.M. - "The Lion Sleeps Tonight" - one of my favorite old-timey kitsch songs, covered by one of my all-time favorite groups. -Mary Ann
#R.E.M. - "Stumble" - very early R.E.M., always welcome. Jangly, if that's even a word. -The Skipper
#Wolf Parade - "Language City" - enjoyable and layered without being overly complex. Typical Wolf Parade - boisterous but a little wistful, utilizing traditional instruments and working in some synth for fun. -Ginger
#Dandy Warhols - "Primary" - a cover of the Cure song. Not bad, even if the overall sound is a little too smug and not daring enough. -cannibals
#Ladytron - "Ghosts" - slightly too passive for my tastes, at least in comparison to the better Ladytron songs. Still a nice mix of menace and sneer, though - this songs makes a good bookend to "Primary". -cannibals
#Ladytron - "Runaway" - see above, though this song is a little more repetitive. -The Professor
#Broken Social Scene - "Anthems For a Seventeen Year Old Girl" - cute but not really anything here, you basically get everything the song has to offer in the first thirty seconds. The breathy vocals and strings are more cloying than helpful. I never hated BSS, but the music seems to be more interested about appearing to be clever than actually doing much. -Gilligan
#Deastro - "Parallelogram" - Pure electronic gameshow cheese. Kind of fun, but not really deep enough to drown in. Gets a bonus point because the intro synth line makes me think of Gradius. But man, are the vocal-driven portions of this song dire. -Gilligan
#Deastro - "Carol Gilligan" - a litle better than "Parallelogram", for having some progression. Not really my cup of tea, though, as it's content more to be digital fluff. -The Professor
#Wax Fang - "World War II, Part 2" - melodramatic, to say the least, but fun in an over-the-top way. Gets bonus points for having the decency to be bold if not great. -Ginger
And there you have it. Some songs that nobody really cares about, reviewed tersely.
In Other News:
God damn it am I stupid. But I escape consequences by being nice, as usual.
Time to get back on the job hunt. And do laundry.
*The Howells - Lame enough that they don't even get separate entries. Why couldn't we have had a monkey sidekick or at least some cute kid instead?
*Gilligan - even as a child, his bumbling got on my nerves. I hope he never got with Mary Ann. Also, thanks for ruining that style of hat for everyone, not that it took much.
*The Professor - kind of a contrived character, as well as inventing too many plot devices for my taste. Probably an okay guy though.
*The cannibals - rough characters that probably went hungry.
*Ginger - shiny but undoubtedly more trouble than it could possibly be worth.
*The Skipper - an old crusty sailor. Possibly the only guy more fed up with Gilligan than me.
*Mary Ann. well dang. God bless syndicated television.
And now, the playlist:
#Radiohead - "Down is the New Up" - not bad, but hardly their best work. Interesting if overly melancholy and pretentious. - cannibals
#M83 - "We Own the Sky (Maps Remix)" - yeah, pretty good stuff. Nice build to it, well used vocals (not lyrics, really). -The Skipper
#Port O'Brien - "I Woke Up Today" - nice energy, the chorus-style vocals are kind of a gimmick but they aren't a problem. Simple song but well done. -Ginger
#R.E.M. - "The Lion Sleeps Tonight" - one of my favorite old-timey kitsch songs, covered by one of my all-time favorite groups. -Mary Ann
#R.E.M. - "Stumble" - very early R.E.M., always welcome. Jangly, if that's even a word. -The Skipper
#Wolf Parade - "Language City" - enjoyable and layered without being overly complex. Typical Wolf Parade - boisterous but a little wistful, utilizing traditional instruments and working in some synth for fun. -Ginger
#Dandy Warhols - "Primary" - a cover of the Cure song. Not bad, even if the overall sound is a little too smug and not daring enough. -cannibals
#Ladytron - "Ghosts" - slightly too passive for my tastes, at least in comparison to the better Ladytron songs. Still a nice mix of menace and sneer, though - this songs makes a good bookend to "Primary". -cannibals
#Ladytron - "Runaway" - see above, though this song is a little more repetitive. -The Professor
#Broken Social Scene - "Anthems For a Seventeen Year Old Girl" - cute but not really anything here, you basically get everything the song has to offer in the first thirty seconds. The breathy vocals and strings are more cloying than helpful. I never hated BSS, but the music seems to be more interested about appearing to be clever than actually doing much. -Gilligan
#Deastro - "Parallelogram" - Pure electronic gameshow cheese. Kind of fun, but not really deep enough to drown in. Gets a bonus point because the intro synth line makes me think of Gradius. But man, are the vocal-driven portions of this song dire. -Gilligan
#Deastro - "Carol Gilligan" - a litle better than "Parallelogram", for having some progression. Not really my cup of tea, though, as it's content more to be digital fluff. -The Professor
#Wax Fang - "World War II, Part 2" - melodramatic, to say the least, but fun in an over-the-top way. Gets bonus points for having the decency to be bold if not great. -Ginger
And there you have it. Some songs that nobody really cares about, reviewed tersely.
In Other News:
God damn it am I stupid. But I escape consequences by being nice, as usual.
Time to get back on the job hunt. And do laundry.
Wednesday, March 4, 2009
Ones and Zeroes
Today's Music of the Day is Immaculate Machine's Ones and Zeroes.
Immaculate Machine, if you've never heard of them, and I bet you haven't, make(s) high-energy spastic pop music. Sometimes they write ballads and let Kathryn Calder sing them, and her voice is usually enough to make me long for a person or a moment in time that maybe never really existed. The guys in the band are okay singers, I suppose, but Kathryn basically owns them in that regard.
Immaculate Machine, at their best, are a fun group. I think that their uptempo songs are generally their better compositions, but I appreciate even the lesser ballads; the balance allows the songs to stand out relative to each other. Sometimes the struggle with IM is that they seem to be a very young group, in terms of personality and song composition. While this isn't necessarily a bad thing, it's often difficult to listen to their songs without wanting more from them: deeper lyrics, a greater sense of plot and emotional development from the music. Maybe the lyrics are akin to a writer who only uses first-person perspective, and qualms abound from such a trait.
Soon, though, it's easy to look at one tree, and another tree, and soon there are just trees instead of a forest. Music isn't always meant to be criticized; I think there should be some awareness, if not analysis, though this doesn't preclude enjoyment. So while it's easy enough to scrutinize Immaculate Machine's music to where it isn't enjoyable, these songs should be taken for what they are and not what they should be. It's not as if listening to Immaculate Machine is mandatory, or even expected.
Anyway, Ones and Zeroes, which is titled well, is a fairly enjoyable album. The compositions aren't intricate, but they are certainly listenable. "Phone Number" is boisterous to a degree that is hard to be unswayed by, and some of the ballads - "No Way Out" in particular - really hit their mark. I don't think that my sticking points about the album are invalid, but I also don't think they prevent me from enjoying it.
In Other News:
Live moves on.
Immaculate Machine, if you've never heard of them, and I bet you haven't, make(s) high-energy spastic pop music. Sometimes they write ballads and let Kathryn Calder sing them, and her voice is usually enough to make me long for a person or a moment in time that maybe never really existed. The guys in the band are okay singers, I suppose, but Kathryn basically owns them in that regard.
Immaculate Machine, at their best, are a fun group. I think that their uptempo songs are generally their better compositions, but I appreciate even the lesser ballads; the balance allows the songs to stand out relative to each other. Sometimes the struggle with IM is that they seem to be a very young group, in terms of personality and song composition. While this isn't necessarily a bad thing, it's often difficult to listen to their songs without wanting more from them: deeper lyrics, a greater sense of plot and emotional development from the music. Maybe the lyrics are akin to a writer who only uses first-person perspective, and qualms abound from such a trait.
Soon, though, it's easy to look at one tree, and another tree, and soon there are just trees instead of a forest. Music isn't always meant to be criticized; I think there should be some awareness, if not analysis, though this doesn't preclude enjoyment. So while it's easy enough to scrutinize Immaculate Machine's music to where it isn't enjoyable, these songs should be taken for what they are and not what they should be. It's not as if listening to Immaculate Machine is mandatory, or even expected.
Anyway, Ones and Zeroes, which is titled well, is a fairly enjoyable album. The compositions aren't intricate, but they are certainly listenable. "Phone Number" is boisterous to a degree that is hard to be unswayed by, and some of the ballads - "No Way Out" in particular - really hit their mark. I don't think that my sticking points about the album are invalid, but I also don't think they prevent me from enjoying it.
In Other News:
Live moves on.
Monday, March 2, 2009
Heartbreaker
Today's Somewhat Poorly Titled Music of the Day is Ryan Adams' Heartbreaker. No need to tell Adams' life story here, so let's talk about the album.
Heartbreaker appears to be a classic case of wanting to like something more than I actually do. The album itself is a recipe for success - mostly just Adams playing guitar and singing. He's notably more subdued here than on some other albums, at least those that I am familiar with. I believe his songwriting is probably his strongest suit, though his vocals and guitar aren't anything to scoff at.
Rather, my problem here is probably that his vocals and guitar are too restrained - I know the guitar is more raucous and the vocals more passioned than what I am getting here. Heartbreaker is nice, maybe too much so. This is probably what I would play for someone if I wanted them to think I was nicer than I actually am; maybe it is what I would play on a mellow evening in if Sam Beam, Chan Marshall, and maybe even Bob Dylan weren't giving me what I wanted already. I suppose I could like this album, but I mostly listen to it and wonder why I'm not listening to something Will Sheff made, as he has the decency to smack his guitar around and yell some of the time.
I suppose if you like your rock with a hint of twang, something that isn't 'country' by any means but still owes a debt to John Mellencamp, this might be for you. Maybe if John Mellencamp had been more sensitive and gone to art school, he would have made Heartbreaker some twenty years earlier. Or maybe I don't know what I am talking about. The point is that I know what I hate, and I don't hate Heartbreaker. I just don't like it enough.
In Other News:
I made some CDs for a friend, and I am thankfully giving them away today. I say 'thankfully' because one is Okkervil River, and I don't want to make myself sick of 'For Real'.
The weekend was pretty good, though not without its rough patches. For some reason I basically lost my appetite, and consequently haven't eaten much over the past few days. Today seems to be a little closer to normal, though. (I'm okay, physically and emotionally, I just don't feel like eating. The 'what' is less of a concern than the 'why', though.)
I made plans for spring break. Got my A.C. Newman ticket!
"Some nights I thirst for real blood, for real knives, for real cries. And then the flash of steel from real guns in real life really fills my mind..."
Heartbreaker appears to be a classic case of wanting to like something more than I actually do. The album itself is a recipe for success - mostly just Adams playing guitar and singing. He's notably more subdued here than on some other albums, at least those that I am familiar with. I believe his songwriting is probably his strongest suit, though his vocals and guitar aren't anything to scoff at.
Rather, my problem here is probably that his vocals and guitar are too restrained - I know the guitar is more raucous and the vocals more passioned than what I am getting here. Heartbreaker is nice, maybe too much so. This is probably what I would play for someone if I wanted them to think I was nicer than I actually am; maybe it is what I would play on a mellow evening in if Sam Beam, Chan Marshall, and maybe even Bob Dylan weren't giving me what I wanted already. I suppose I could like this album, but I mostly listen to it and wonder why I'm not listening to something Will Sheff made, as he has the decency to smack his guitar around and yell some of the time.
I suppose if you like your rock with a hint of twang, something that isn't 'country' by any means but still owes a debt to John Mellencamp, this might be for you. Maybe if John Mellencamp had been more sensitive and gone to art school, he would have made Heartbreaker some twenty years earlier. Or maybe I don't know what I am talking about. The point is that I know what I hate, and I don't hate Heartbreaker. I just don't like it enough.
In Other News:
I made some CDs for a friend, and I am thankfully giving them away today. I say 'thankfully' because one is Okkervil River, and I don't want to make myself sick of 'For Real'.
The weekend was pretty good, though not without its rough patches. For some reason I basically lost my appetite, and consequently haven't eaten much over the past few days. Today seems to be a little closer to normal, though. (I'm okay, physically and emotionally, I just don't feel like eating. The 'what' is less of a concern than the 'why', though.)
I made plans for spring break. Got my A.C. Newman ticket!
"Some nights I thirst for real blood, for real knives, for real cries. And then the flash of steel from real guns in real life really fills my mind..."