Okay, so this is a complete cop-out from the normal format. This was worth sharing, though. Please try to make it to ~2:30, as it was worth the wait. Enjoy!
Wednesday, April 29, 2009
Monday, April 27, 2009
Collisions
Today's Music of the Day is Calla's Collisions. This is something that came to me by way of eMusic, after having heard some Calla in a local record store and being curious enough about it to download it instead of acquiring more Explosions in the Sky or something else this month.
This is definitely a rock album, one where the term 'ballad' doesn't exactly apply. Collisions is a dark and moody record that takes itself fairly seriously, and the listening experience is better because of it; I wouldn't call this 'metal' but it's definitely hard rock. This isn't to say that every song is uptempo and goes to eleven, but even the more restrained songs feature some serious guitar fuzz. The songs are relatively brief - the longest clocks in at 5:11. The general sound here is very post-grunge; some people might see cues from the Cure but groups like My Bloody Valentine (maybe in the mood if not the sound so much) and possibly even the Smashing Pumpkins seem to be more relevant influences here. I'd consider Calla to be peers to groups like Polvo. The rage is repressed, but it's definitely there.
I especially like the opener ("It Dawned on Me") and the closer ("Overshadowed", which provides a welcome release to all the tension built through the album). Truthfully, though, there aren't bad songs on this album. The band doesn't really break any new ground but they do a good job of stomping on what already exists. I would love to listen to some more of their back catalogue; Collisions doesn't really offer anything I would consider a rock anthem, so I am curious to see if there's anything more bold in their repertoire.
In short, Calla may not have universal appeal, but I believe that they make serious rock music that can be listened to and enjoyed. Collisions is a fitting album for an overcast if not bleak day such as today, where the sky is a uniform shade of heather gray and the air is damp. It's worth a listen if you think you can make it forty minutes without yelling at the kids to get off your damn lawn.
In Other News:
Why did the weekend have to end yet again?
This week promises to be busy but things will end well. I hope the storms don't lead to floods but I am enjoying all the lightning and thunder.
This is definitely a rock album, one where the term 'ballad' doesn't exactly apply. Collisions is a dark and moody record that takes itself fairly seriously, and the listening experience is better because of it; I wouldn't call this 'metal' but it's definitely hard rock. This isn't to say that every song is uptempo and goes to eleven, but even the more restrained songs feature some serious guitar fuzz. The songs are relatively brief - the longest clocks in at 5:11. The general sound here is very post-grunge; some people might see cues from the Cure but groups like My Bloody Valentine (maybe in the mood if not the sound so much) and possibly even the Smashing Pumpkins seem to be more relevant influences here. I'd consider Calla to be peers to groups like Polvo. The rage is repressed, but it's definitely there.
I especially like the opener ("It Dawned on Me") and the closer ("Overshadowed", which provides a welcome release to all the tension built through the album). Truthfully, though, there aren't bad songs on this album. The band doesn't really break any new ground but they do a good job of stomping on what already exists. I would love to listen to some more of their back catalogue; Collisions doesn't really offer anything I would consider a rock anthem, so I am curious to see if there's anything more bold in their repertoire.
In short, Calla may not have universal appeal, but I believe that they make serious rock music that can be listened to and enjoyed. Collisions is a fitting album for an overcast if not bleak day such as today, where the sky is a uniform shade of heather gray and the air is damp. It's worth a listen if you think you can make it forty minutes without yelling at the kids to get off your damn lawn.
In Other News:
Why did the weekend have to end yet again?
This week promises to be busy but things will end well. I hope the storms don't lead to floods but I am enjoying all the lightning and thunder.
Thursday, April 23, 2009
Dark Was The Night Pt 2
Now, for Part 2. Apparently I gave up on a unique scale and just decided to hand out letter grades. Quit whining, you are getting a lot of blog for your money this week and just because the effort is going into the writing and not a gimmick doesn't mean you have any right to bitch. Now read.
*Spoon - "Well-Alright" - This is a pretty fun tune, uptempo and simple, almost uncharacteristic of Spoon. If I didn't know better, someone could have probably convinced me that this was actually the Strokes. Do the Strokes still exist? Did they give up music and just resort to looking cool as a career move? Anyway...B+.
*Arcade Fire - "Lenin" - good stuff, though the mood here is much more relieved than I would normally expect from the Arcade Fire. It's not the greatest AF song but the quality is still good; maybe there just isn't as much of a sweeping crescendo as Win Butler has led me to expect. B
*Beirut - "Mimizan" - love the accordion. This sounds like Flying Club Cup-Beirut, which is not a bad thing. The song is brief but has a nice build, and the sweeping vocals are well suited for the song. A
*My Morning Jacket - "El Caporal" - this is the gentle, easy side of MMJ, which is not what I prefer, but this song is still kind of fun. It's borderline doo-wop, a very old-time feel, and a nicely understated sax presence. I wish I could give this song a higher grade, but it's solid, not spectacular. B-
*Sharon Jones and the Dap-Kings - "Inspiration Information" - an appropriate followup to the previous track, as this is more relaxed than some of Sharon Jones & the Dap-Kings' tunes. Not bad stuff, I just prefer the songs with a little more edge. B-
*David Sitek - "With A Girl Like You" - what immediately seems like cheese is redeemed by a wicked horn line. This song is a bit of a guilty pleasure, but damned if it isn't fun to listen to. There's a nice progression here, too, and the horns take center stage at the end long enough to whet my appetite. I could listen to this one two or three times in a row, easy. A
*Blood Pt 2 - "Buck 65 Remix" (feat. Sufjan Stevens and Serengeti) - nice segue! This is a rhythm-driven rap tune, a nice change of pace on the album. The mood here is darker, borderline sinister, but I appreciate the variety. Plus, the song is relatively brief, especially in comparison to Sufjan dorking up the place for 10+ minutes at the end of disc 1. B
*The New Pornographers - "Hey Snow White" - a slow burn as opposed to the NP's more traditional frantic style. This song is only guilty of giving away everything a little too soon but it still works up a decent groove - love the progression here, and the chorus that just won't quit. To be fair, I'm a sucker for basically anything A.C. Newman does. Love this song. A
*Yo La Tengo - "Gentle Hour" - Good stuff, and another tempo/style change that contrasts well. This is more the hazy, cloudy YLT; this song feels like taking a nap on a gray afternoon. Nice piano here, and the vocals are restrained enough to let the piano be the star. A-
*Stuart Murdoch - "Another Saturday" - an old-fashioned tune here, something that wouldn't sound out of place in a church service. Is this from the Nick Cave-scored The Proposition? It's a little cloying but pretty nonetheless. Subtle instrumentation here is a nice touch. B+
*Riceboy Sleeps - "Happiness" - a serene, ambient tune. It's all synth and strings here, something celestial that wouldn't sound out of place on a Tangerine Dream album. Definitely a changeup from everything else on this disc, but just beautiful. Not something to sing along to, though. Perhaps the best indication of the song's quality is that it is 8+ minutes in length and always seems to be less than half that. A
*Cat Power & Dirty Delta Blues - "Amazing Grace" - oh HELL YES. The mother of all old-time spiritual hymns, covered with as much heart as a thirty-something white lady can muster. Love the instrumentation, too. Maybe if Chan Marshall sang at church I would have a harder time not going. A
*Andrew Bird - "The Giant of Illinois" - Lovely string intro, seamless transition to guitar lead, vocals so full of yearning that it hurts. Wow. There are other artists on the composition that I prefer to Bird, but given all the tracks, I'd be pressed hard to place many of them above this one. Somehow, Bird manages to upstage Marshall here, just a little. A
*Conor Oberst and Gillian Welch - "Lua" - I have to mark this one down, as Conor is covering one of his own tunes. It's still nice and meanders enough, but this isn't one of my favorites. Maybe this song just seems to settle for its opening hook too easily; by the time the song ends, it has pretty much worn out its welcome. It's an okay tune, there just aren't enough ideas to make up for a relatively milquetoast mood. B
*Blonde Redhead + Devastations - "When The Road Runs Out" - kind of interesting to hear BR do something so laid-back. The end result is that the song was somewhat less creepy than a typical BR track, but still not quite sure what to do with itself. B
*Kevin Drew - "Love vs. Porn" - Maybe a little too Broken Social Scene-ish for my taste but still a nice way to wind down the album. B+
And there you have it. Some peaks reach higher than others, but not any real valleys to speak of. Please don't let my general anti-Sufjan bias keep you from this compilation; the two discs contain some great songs. (This is to say nothing of the important charity aspect of the album as well.
Just for reference, in case you are interested in obtaining this compilation yourself:
Enjoy.
In Other News:
I spent too much time blogging this week.
If you live within driving distance of me, go outside, spring finally showed up.
*Spoon - "Well-Alright" - This is a pretty fun tune, uptempo and simple, almost uncharacteristic of Spoon. If I didn't know better, someone could have probably convinced me that this was actually the Strokes. Do the Strokes still exist? Did they give up music and just resort to looking cool as a career move? Anyway...B+.
*Arcade Fire - "Lenin" - good stuff, though the mood here is much more relieved than I would normally expect from the Arcade Fire. It's not the greatest AF song but the quality is still good; maybe there just isn't as much of a sweeping crescendo as Win Butler has led me to expect. B
*Beirut - "Mimizan" - love the accordion. This sounds like Flying Club Cup-Beirut, which is not a bad thing. The song is brief but has a nice build, and the sweeping vocals are well suited for the song. A
*My Morning Jacket - "El Caporal" - this is the gentle, easy side of MMJ, which is not what I prefer, but this song is still kind of fun. It's borderline doo-wop, a very old-time feel, and a nicely understated sax presence. I wish I could give this song a higher grade, but it's solid, not spectacular. B-
*Sharon Jones and the Dap-Kings - "Inspiration Information" - an appropriate followup to the previous track, as this is more relaxed than some of Sharon Jones & the Dap-Kings' tunes. Not bad stuff, I just prefer the songs with a little more edge. B-
*David Sitek - "With A Girl Like You" - what immediately seems like cheese is redeemed by a wicked horn line. This song is a bit of a guilty pleasure, but damned if it isn't fun to listen to. There's a nice progression here, too, and the horns take center stage at the end long enough to whet my appetite. I could listen to this one two or three times in a row, easy. A
*Blood Pt 2 - "Buck 65 Remix" (feat. Sufjan Stevens and Serengeti) - nice segue! This is a rhythm-driven rap tune, a nice change of pace on the album. The mood here is darker, borderline sinister, but I appreciate the variety. Plus, the song is relatively brief, especially in comparison to Sufjan dorking up the place for 10+ minutes at the end of disc 1. B
*The New Pornographers - "Hey Snow White" - a slow burn as opposed to the NP's more traditional frantic style. This song is only guilty of giving away everything a little too soon but it still works up a decent groove - love the progression here, and the chorus that just won't quit. To be fair, I'm a sucker for basically anything A.C. Newman does. Love this song. A
*Yo La Tengo - "Gentle Hour" - Good stuff, and another tempo/style change that contrasts well. This is more the hazy, cloudy YLT; this song feels like taking a nap on a gray afternoon. Nice piano here, and the vocals are restrained enough to let the piano be the star. A-
*Stuart Murdoch - "Another Saturday" - an old-fashioned tune here, something that wouldn't sound out of place in a church service. Is this from the Nick Cave-scored The Proposition? It's a little cloying but pretty nonetheless. Subtle instrumentation here is a nice touch. B+
*Riceboy Sleeps - "Happiness" - a serene, ambient tune. It's all synth and strings here, something celestial that wouldn't sound out of place on a Tangerine Dream album. Definitely a changeup from everything else on this disc, but just beautiful. Not something to sing along to, though. Perhaps the best indication of the song's quality is that it is 8+ minutes in length and always seems to be less than half that. A
*Cat Power & Dirty Delta Blues - "Amazing Grace" - oh HELL YES. The mother of all old-time spiritual hymns, covered with as much heart as a thirty-something white lady can muster. Love the instrumentation, too. Maybe if Chan Marshall sang at church I would have a harder time not going. A
*Andrew Bird - "The Giant of Illinois" - Lovely string intro, seamless transition to guitar lead, vocals so full of yearning that it hurts. Wow. There are other artists on the composition that I prefer to Bird, but given all the tracks, I'd be pressed hard to place many of them above this one. Somehow, Bird manages to upstage Marshall here, just a little. A
*Conor Oberst and Gillian Welch - "Lua" - I have to mark this one down, as Conor is covering one of his own tunes. It's still nice and meanders enough, but this isn't one of my favorites. Maybe this song just seems to settle for its opening hook too easily; by the time the song ends, it has pretty much worn out its welcome. It's an okay tune, there just aren't enough ideas to make up for a relatively milquetoast mood. B
*Blonde Redhead + Devastations - "When The Road Runs Out" - kind of interesting to hear BR do something so laid-back. The end result is that the song was somewhat less creepy than a typical BR track, but still not quite sure what to do with itself. B
*Kevin Drew - "Love vs. Porn" - Maybe a little too Broken Social Scene-ish for my taste but still a nice way to wind down the album. B+
And there you have it. Some peaks reach higher than others, but not any real valleys to speak of. Please don't let my general anti-Sufjan bias keep you from this compilation; the two discs contain some great songs. (This is to say nothing of the important charity aspect of the album as well.
Just for reference, in case you are interested in obtaining this compilation yourself:
Enjoy.
In Other News:
I spent too much time blogging this week.
If you live within driving distance of me, go outside, spring finally showed up.
Wednesday, April 22, 2009
Tuesday, April 21, 2009
Dark Was The Night - Pt 1
Today marks the beginning of an epic two-part post covering the Dark Was The Night compilation. As is tradition at Support Your Local Catgun, I'll be rating the songs on a unique scale. As soon as I come up with it. Also, I am a little irritated, as I realize that a couple tracks are missing from my download. These are tracks by Grizzly Bear, which may belong to a label that is not available via eMusic. This is a Damn Shame, as I like Grizzly Bear. We'll work on this, though.
*Dirty Projectors + David Byrne - "Knotty Pine" - bright and cute, but has a nice vibe to it. I really like the piano line here. A good choice for an album opener, as it sets a strong tone but does so briefly. A-
*The Books featuring Jose Gonzalez - "Cello Song" - neat stuff here. Very minimal but integrates the electronics and the strings exceptionally well. Gonzalez's voice is ideal for this composition. The song does a nice job of building tension while remaining benign. A-
*Feist & Ben Gibbard - "Train Song" - nice, basic, campfire-spooky mood to it. Probably not one of the standout tracks on this album but still very good, and certainly well-placed after the previous two. B+
*Bon Iver - "Brackett, WI" - my first thought was "oh NO, Vernon went electric". I, for one, appreciate Vernon's approach to this song, even if it isn't too far from his roots. Nice build and use of percussion here. The tempo makes me a little restless but damned if this isn't good. A
*The National - "So Far Around The Bend" - a nice transition from Bon Iver to a larger, fuller sound and a little more spring in the heels. Perhaps not the most complex composition, and not my favorite National song, but very listenable, and placed well on the album. The clarinet(?) and piano are good here, and I like the punchy snare drum, too. B+
*Yeasayer - "Tightrope" - just melancholy enough. The singer does some interesting things here. Musically somewhat simple in spite of the layers, but it's very difficult not to empathize with the song, and want whatever the singer is singing about even if that thing isn't exactly clear. A
*My Brightest Diamond - "Feeling Good" - very much a successor to the Feist/Gibbard track, albeit with a brassier, big-band sound. Lovely voice, nice instrumentation as well. I'm a sucker for the horns, and damned if this isn't the best-sung track on this half of the album. A
*Kronos Quartet - "Dark Was The Night" - all strings, all the time. Kind of a musical interlude, really, but this is the reason why compilation albums exist - for little gimmicks and style anomalies like this one. This one seems to be less of a song and more of a bunch of sounds that happen, but it's still a nice touch. B
*Antony + Bryce Dessner - "I Was Young When I Left Home" - kind of a mopey old-timey blues song. As much as I like the mood and sound here, I can't say this is my favorite track on the album, though it's not bad - it is a logical segue from the previous instrumental track. B
*Justin Vernon + Aaron Dessner - "Big Red Machine" - not bad but a little too gentle and emotional for my tastes. Also doesn't seem to have much in the way of progression compared to some songs. I do like the use of the piano as a semi-percussive instrument, though. B
*The Decemberists - "Sleepless" - pretty good though a little morose. I wouldn't have minded a greater crescendo through the song but Meloy leading the piano and banjo(!) makes for a nice effect. Also, I'm a sucker for the Decemberists. B+
*Iron & Wine - "Die" - sixty-six seconds and each one is beautiful. This is the Iron & Wine that I live for. Why couldn't this song be much longer? A
*Sufjan Stevens - "You Are The Blood" - well, they can't all be winners. C, and that's being generous. Sufjan, you suck.
That's all for today. Tune in for Part 2, possibly tomorrow, maybe some other day. I'm really enjoying this compliation so far, in spite of Sufjan Stevens showing up to try and out-cute everything, as usual. I'm excited for Part 2, as the second half of the album features some bands that I really like.
In Other News:
I'm so close to free weights again that I can just about smell them. Come on, shoulder.
I bought a medicine ball last night. I just hope I can remember to use it regularly!
*Dirty Projectors + David Byrne - "Knotty Pine" - bright and cute, but has a nice vibe to it. I really like the piano line here. A good choice for an album opener, as it sets a strong tone but does so briefly. A-
*The Books featuring Jose Gonzalez - "Cello Song" - neat stuff here. Very minimal but integrates the electronics and the strings exceptionally well. Gonzalez's voice is ideal for this composition. The song does a nice job of building tension while remaining benign. A-
*Feist & Ben Gibbard - "Train Song" - nice, basic, campfire-spooky mood to it. Probably not one of the standout tracks on this album but still very good, and certainly well-placed after the previous two. B+
*Bon Iver - "Brackett, WI" - my first thought was "oh NO, Vernon went electric". I, for one, appreciate Vernon's approach to this song, even if it isn't too far from his roots. Nice build and use of percussion here. The tempo makes me a little restless but damned if this isn't good. A
*The National - "So Far Around The Bend" - a nice transition from Bon Iver to a larger, fuller sound and a little more spring in the heels. Perhaps not the most complex composition, and not my favorite National song, but very listenable, and placed well on the album. The clarinet(?) and piano are good here, and I like the punchy snare drum, too. B+
*Yeasayer - "Tightrope" - just melancholy enough. The singer does some interesting things here. Musically somewhat simple in spite of the layers, but it's very difficult not to empathize with the song, and want whatever the singer is singing about even if that thing isn't exactly clear. A
*My Brightest Diamond - "Feeling Good" - very much a successor to the Feist/Gibbard track, albeit with a brassier, big-band sound. Lovely voice, nice instrumentation as well. I'm a sucker for the horns, and damned if this isn't the best-sung track on this half of the album. A
*Kronos Quartet - "Dark Was The Night" - all strings, all the time. Kind of a musical interlude, really, but this is the reason why compilation albums exist - for little gimmicks and style anomalies like this one. This one seems to be less of a song and more of a bunch of sounds that happen, but it's still a nice touch. B
*Antony + Bryce Dessner - "I Was Young When I Left Home" - kind of a mopey old-timey blues song. As much as I like the mood and sound here, I can't say this is my favorite track on the album, though it's not bad - it is a logical segue from the previous instrumental track. B
*Justin Vernon + Aaron Dessner - "Big Red Machine" - not bad but a little too gentle and emotional for my tastes. Also doesn't seem to have much in the way of progression compared to some songs. I do like the use of the piano as a semi-percussive instrument, though. B
*The Decemberists - "Sleepless" - pretty good though a little morose. I wouldn't have minded a greater crescendo through the song but Meloy leading the piano and banjo(!) makes for a nice effect. Also, I'm a sucker for the Decemberists. B+
*Iron & Wine - "Die" - sixty-six seconds and each one is beautiful. This is the Iron & Wine that I live for. Why couldn't this song be much longer? A
*Sufjan Stevens - "You Are The Blood" - well, they can't all be winners. C, and that's being generous. Sufjan, you suck.
That's all for today. Tune in for Part 2, possibly tomorrow, maybe some other day. I'm really enjoying this compliation so far, in spite of Sufjan Stevens showing up to try and out-cute everything, as usual. I'm excited for Part 2, as the second half of the album features some bands that I really like.
In Other News:
I'm so close to free weights again that I can just about smell them. Come on, shoulder.
I bought a medicine ball last night. I just hope I can remember to use it regularly!
Monday, April 20, 2009
Object 47
Today's Music of the Day is Wire's Object 47. For the life of me, I have no idea where this one came from. Public library? Maybe. I may as well have traded a puppy for it somewhere in the recent past.
Anyway, I couldn't get into this one as much as I had hoped. The music is decent, but the songs just kind of bleed together and meander. When the band decides to push the tempo a little (see the opener, "One of Us"), the results are good, but there are too many "Patient Flees"-style tunes on this album for me. While this album came out in 2008, it sounds fairly dated, with vocals not far from Morrissey's Smiths days; the strings and percussion sound too much like a new wave band's attempt at post-punk.
I realize that Wire rules, blah blah blah, that I probably listen to far too much disposable indie pop to appreciate this band. Perhaps if I can get my hands on some of their more timely releases, I'll evaluate those as well, but Object 47 isn't really my cup of tea. I do feel bad about this, mostly because I know that Wire's early music was an object of affection for most of R.E.M. So we'll see.
In Other News:
Enjoy a poorly inspired Monday post.
Who out there is good at decorating cakes? Is it you? Please?
The weekend was quite good if brief. I really have to get some things done this week, though.
Anyway, I couldn't get into this one as much as I had hoped. The music is decent, but the songs just kind of bleed together and meander. When the band decides to push the tempo a little (see the opener, "One of Us"), the results are good, but there are too many "Patient Flees"-style tunes on this album for me. While this album came out in 2008, it sounds fairly dated, with vocals not far from Morrissey's Smiths days; the strings and percussion sound too much like a new wave band's attempt at post-punk.
I realize that Wire rules, blah blah blah, that I probably listen to far too much disposable indie pop to appreciate this band. Perhaps if I can get my hands on some of their more timely releases, I'll evaluate those as well, but Object 47 isn't really my cup of tea. I do feel bad about this, mostly because I know that Wire's early music was an object of affection for most of R.E.M. So we'll see.
In Other News:
Enjoy a poorly inspired Monday post.
Who out there is good at decorating cakes? Is it you? Please?
The weekend was quite good if brief. I really have to get some things done this week, though.
Sunday, April 19, 2009
Oops
I was going to blog about Wire today but then I ran out of time. Shame on me!
The good news is that I got my monthly eMusic quota this week and promptly blew 60% of my downloads on the Dark Was the Night compilation. As it is all covers by relatively prominent indie artists (what a troubled phrase), it probably warrants a song-by-song evaluation rather than just the typical Jason-rants-about-album-themes type of blog that I've usually done. It's good stuff, though - even the bands that I don't normally care for as much (Spoon, I'm looking at you) contribute some interesting tracks.
In Other News:
I am beginning my investigation into a potential invasion of Canada. This has international incident written all over it. I'll probably have to fast for a couple days to make up for all the added Unibroue calories, though.
I have been watching a good deal of Arrested Development lately. I can't say enough good things about it - this show is cleverly written, knows how to use a running joke (Family Guy, I'm looking at you), and is probably cast as well as any sitcom in recent memory. This may also warrant a dedicated non-music-related blog entry as well. I only wish I could get Will Arnett to narrate the entire thing.
The good news is that I got my monthly eMusic quota this week and promptly blew 60% of my downloads on the Dark Was the Night compilation. As it is all covers by relatively prominent indie artists (what a troubled phrase), it probably warrants a song-by-song evaluation rather than just the typical Jason-rants-about-album-themes type of blog that I've usually done. It's good stuff, though - even the bands that I don't normally care for as much (Spoon, I'm looking at you) contribute some interesting tracks.
In Other News:
I am beginning my investigation into a potential invasion of Canada. This has international incident written all over it. I'll probably have to fast for a couple days to make up for all the added Unibroue calories, though.
I have been watching a good deal of Arrested Development lately. I can't say enough good things about it - this show is cleverly written, knows how to use a running joke (Family Guy, I'm looking at you), and is probably cast as well as any sitcom in recent memory. This may also warrant a dedicated non-music-related blog entry as well. I only wish I could get Will Arnett to narrate the entire thing.
Thursday, April 16, 2009
We Are the Night
Today's Music of the Day is We Are the Night, by the Chemical Brothers. I believe this is their most recent release, though I'm not completely sure; this album came to me by way of the public library.
This album has a much more industrial, danceable sound than the indie music I generally seek out. There is a steady thump here; the drums and bass seem to be at the forefront of the sound as much as any elements of the music. Vocals show up, on occasion, but there's not much poetry to them; they seem to be as much a sonic element as a method for communication. Mostly, the album is electronic, and fairly basic in its sound, for all of its various effects and noises.
Still, this album has its moments, and it doesn't lack for directness or enthusiasm. "Saturate" sounds a little too much like Four Tet to the Xtreme, but its energy is hard to deny. Some of the other songs, like "Do it Again", though, give the impression that falsetto and squeaks are supposed to replace actual depth. This album is much like a friend who is full of energy all the time; a little goes a long way, and what is inspiring in small doses becomes cloying and tiring over an extended period. Only the last two songs, "Harpoons" and "The Pills Won't Help You Now" have a more relaxed mood, and it's largely too little, too late.
While this album isn't actively terrible, it's something of a disappointment after Surrender, and I can't really say it's enjoyable. I will admit to my own bias, but that doesn't make We Are the Night any more complex or enjoyable.
In Other News:
Knowing that I have my monthly eMusic quota available, and not having downloaded it yet, makes me crazy. I'm eager to get my hands on that new music.
Who wants to go to Gallery Night in Valley Junction tomorrow? Anyone? Fine!
This album has a much more industrial, danceable sound than the indie music I generally seek out. There is a steady thump here; the drums and bass seem to be at the forefront of the sound as much as any elements of the music. Vocals show up, on occasion, but there's not much poetry to them; they seem to be as much a sonic element as a method for communication. Mostly, the album is electronic, and fairly basic in its sound, for all of its various effects and noises.
Still, this album has its moments, and it doesn't lack for directness or enthusiasm. "Saturate" sounds a little too much like Four Tet to the Xtreme, but its energy is hard to deny. Some of the other songs, like "Do it Again", though, give the impression that falsetto and squeaks are supposed to replace actual depth. This album is much like a friend who is full of energy all the time; a little goes a long way, and what is inspiring in small doses becomes cloying and tiring over an extended period. Only the last two songs, "Harpoons" and "The Pills Won't Help You Now" have a more relaxed mood, and it's largely too little, too late.
While this album isn't actively terrible, it's something of a disappointment after Surrender, and I can't really say it's enjoyable. I will admit to my own bias, but that doesn't make We Are the Night any more complex or enjoyable.
In Other News:
Knowing that I have my monthly eMusic quota available, and not having downloaded it yet, makes me crazy. I'm eager to get my hands on that new music.
Who wants to go to Gallery Night in Valley Junction tomorrow? Anyone? Fine!
Monday, April 13, 2009
For Emma, Forever Ago
Today's Music for the Day is Bon Iver's For Emma, Forever Ago. This album was something given to me by a friend in the recent past. Initially I tried to listen to it in my car on my commute, which was decidedly not the appropriate venue for such music. Later, I brought it into my office and home and gave it a few dedicated listens, giving me a better perspective on the album.
To preface this album somewhat: Bon Iver is the stage name for Justin Vernon (and a couple supporting musicians, for touring purposes, I suppose). If you aren't familiar with Vernon's back story, and how exactly he brought For Emma into existence, it's probably worth looking into. (Wikipedia and a little emotional detachment are probably the only things that are necessary.)
For Emma is a very basic album, with the sound consisting of Vernon's falsetto and guitar. Everything is fairly restrained; Vernon sometimes raises his voice but there's hardly anything to constitute screaming here. Sometimes the songs have a little bounce, sometimes they are so minimalist that even Nick Drake would wonder what is going on.
I have a hard time not considering Justin Vernon to be 2008's Zach Condon - the indie music sensation who appeared from left field (almost literally, in Vernon's case). This, I think, is a good thing - it is human nature (if not music snob creed) to root for the underdog. Vernon's aversion to overproduction of his music is also very important - I can only hope it starts a trend.
In spite of this evidence, I can't completely recommend For Emma to everyone. This has nothing to do with the quality of the songs or performance, and everything to do with the emotional weight of the album. It's difficult to listen to this album and not empathize with Vernon's emotions; everything here is too bare and honest not to be affecting. Because of this, listening to For Emma is a good way to turn an otherwise carefree day serious.
Still, I recommend this album, even if it's not something I can listen to every day or even every week. The title track and "Skinny Love" are probably the standouts, though there really isn't a failure to be found on the album. I'm also partial to "The Wolves", and even the 1:58 "Team" carries its weight well.
In short, this is a great album, a cathartic success that is uncommon in art and music. Just make sure you have a dog or someone to give you a hug at hand if you listen to the whole thing at once.
In Other News:
Let's go to Rock the Garden. Come on. Do it. Calexico, Yeasayer, the Decemberists! For the love of crap, let's go! Tickets go on sale to the public next on the 22nd!
I'm trying to decide between seeing Elvis Perkins and Mogwai in May of this month. I suppose I could do both but I feel I should make a choice, given that I'm considering going to Montreal basically just to see Beirut in July.
Why do bananas only make me hungrier?
To preface this album somewhat: Bon Iver is the stage name for Justin Vernon (and a couple supporting musicians, for touring purposes, I suppose). If you aren't familiar with Vernon's back story, and how exactly he brought For Emma into existence, it's probably worth looking into. (Wikipedia and a little emotional detachment are probably the only things that are necessary.)
For Emma is a very basic album, with the sound consisting of Vernon's falsetto and guitar. Everything is fairly restrained; Vernon sometimes raises his voice but there's hardly anything to constitute screaming here. Sometimes the songs have a little bounce, sometimes they are so minimalist that even Nick Drake would wonder what is going on.
I have a hard time not considering Justin Vernon to be 2008's Zach Condon - the indie music sensation who appeared from left field (almost literally, in Vernon's case). This, I think, is a good thing - it is human nature (if not music snob creed) to root for the underdog. Vernon's aversion to overproduction of his music is also very important - I can only hope it starts a trend.
In spite of this evidence, I can't completely recommend For Emma to everyone. This has nothing to do with the quality of the songs or performance, and everything to do with the emotional weight of the album. It's difficult to listen to this album and not empathize with Vernon's emotions; everything here is too bare and honest not to be affecting. Because of this, listening to For Emma is a good way to turn an otherwise carefree day serious.
Still, I recommend this album, even if it's not something I can listen to every day or even every week. The title track and "Skinny Love" are probably the standouts, though there really isn't a failure to be found on the album. I'm also partial to "The Wolves", and even the 1:58 "Team" carries its weight well.
In short, this is a great album, a cathartic success that is uncommon in art and music. Just make sure you have a dog or someone to give you a hug at hand if you listen to the whole thing at once.
In Other News:
Let's go to Rock the Garden. Come on. Do it. Calexico, Yeasayer, the Decemberists! For the love of crap, let's go! Tickets go on sale to the public next on the 22nd!
I'm trying to decide between seeing Elvis Perkins and Mogwai in May of this month. I suppose I could do both but I feel I should make a choice, given that I'm considering going to Montreal basically just to see Beirut in July.
Why do bananas only make me hungrier?
Thursday, April 9, 2009
Things We Lost in the Fire
Today's Music of the Day is Low's Things We Lost in the Fire. This album has been in my music library for some time now, and it's something I've appreciated for months, though for some reason I am just getting around to it now.
This album is old-school, early period Low. There aren't any anthems here like "Walk Into the Sea"; no, this is more along the lines of "Trust"-era Low. The sound here is minimal and downtempo, with a general mood morose enough to probably even depress Robert Smith a little bit. It's amazing how barren the soundscape is; this album is probably akin to walking through a desert of only white sand, with only an occasional dead tree or cloud to give notice that any progress has been made at all.
It's difficult to listen to this album and not just be affected by the mood, rather than appreciating the quality of the work itself. This isn't to disparage potential listeners, just to give some background to anyone expecting the Apples in Stereo to show up halfway through the album. The whole work is solid, though I'm partial to "Sunflower" and "Closer", the latter of which is probably the crown jewel of the album. There are plenty of good songs here, though - "Dinosaur Act" and "July" are great, and "In Metal" is a nice closer to the album.
While I don't listen to this album every day, I'm certainly glad I have it somewhere. I don't know that I care for it as much as "The Great Destroyer" (which I feel balances its mood better), it's a lovely album if you can bear the emptiness.
In Other News:
Rock Climbing tomorrow! It's just climbing walls but dang if it isn't fun.
Go get your Creme Eggs now before all the Easter candy disappears!
I bought all of "Arrested Development" on DVD this week - the box sets were on sale at Target for $9.99 each. It was too much to pass up. Don't judge me.
This album is old-school, early period Low. There aren't any anthems here like "Walk Into the Sea"; no, this is more along the lines of "Trust"-era Low. The sound here is minimal and downtempo, with a general mood morose enough to probably even depress Robert Smith a little bit. It's amazing how barren the soundscape is; this album is probably akin to walking through a desert of only white sand, with only an occasional dead tree or cloud to give notice that any progress has been made at all.
It's difficult to listen to this album and not just be affected by the mood, rather than appreciating the quality of the work itself. This isn't to disparage potential listeners, just to give some background to anyone expecting the Apples in Stereo to show up halfway through the album. The whole work is solid, though I'm partial to "Sunflower" and "Closer", the latter of which is probably the crown jewel of the album. There are plenty of good songs here, though - "Dinosaur Act" and "July" are great, and "In Metal" is a nice closer to the album.
While I don't listen to this album every day, I'm certainly glad I have it somewhere. I don't know that I care for it as much as "The Great Destroyer" (which I feel balances its mood better), it's a lovely album if you can bear the emptiness.
In Other News:
Rock Climbing tomorrow! It's just climbing walls but dang if it isn't fun.
Go get your Creme Eggs now before all the Easter candy disappears!
I bought all of "Arrested Development" on DVD this week - the box sets were on sale at Target for $9.99 each. It was too much to pass up. Don't judge me.
Tuesday, April 7, 2009
Shadow Cat
Today's Music of the Day is Robyn Hitchcock's Shadow Cat. This album, which was released in 2004 or maybe 2008, because it's early in the day and I'm too lazy to check my facts, is something I downloaded COMPLETELY LEGALLY via eMusic. I did this primarily because Robyn has a fairly impressive discography and I am not familiar with any of it, for better or worse. Robyn has apparently been around and rocking since before I was old enough to give a crap about much of anything.
Shadow Cat is a fairly interesting work. It's largely based on Hitchcock playing guitar (maybe) and singing; his voice tends to be somewhat nasal but a little endearing all the same. The sound takes itself seriously here, mostly; a borderline Shatneresque cover of "The Wind Cries Mary" is quite tongue-in-cheek, though. The sound is a little old-fashioned, acoustic rock with a little of a folk influence, maybe?
(Side Note: I love that Blogspot or whatever this site is called now doesn't consider 'shatneresque' to be a misspelling.)
Overall, though, while I like Shadow Cat, I can't completely claim to love it. Hitchcock isn't bland, and varies his sound between songs, which I appreciate. He takes some chances here that should be commended even when they don't work out especially well. I don't know that this is the best of the music I've been listening to lately (Elvis Perkins, mind you) but it's probably good enough that I might give another Hitchcock album a shot. Shadow Cat isn't a bad place to start, but I feel as though there might be a better one.
In Other News:
This post was even less coherent than it reads.
The weekend was good though I basically managed to botch the idea of regular sleep pretty badly. As usual.
Shadow Cat is a fairly interesting work. It's largely based on Hitchcock playing guitar (maybe) and singing; his voice tends to be somewhat nasal but a little endearing all the same. The sound takes itself seriously here, mostly; a borderline Shatneresque cover of "The Wind Cries Mary" is quite tongue-in-cheek, though. The sound is a little old-fashioned, acoustic rock with a little of a folk influence, maybe?
(Side Note: I love that Blogspot or whatever this site is called now doesn't consider 'shatneresque' to be a misspelling.)
Overall, though, while I like Shadow Cat, I can't completely claim to love it. Hitchcock isn't bland, and varies his sound between songs, which I appreciate. He takes some chances here that should be commended even when they don't work out especially well. I don't know that this is the best of the music I've been listening to lately (Elvis Perkins, mind you) but it's probably good enough that I might give another Hitchcock album a shot. Shadow Cat isn't a bad place to start, but I feel as though there might be a better one.
In Other News:
This post was even less coherent than it reads.
The weekend was good though I basically managed to botch the idea of regular sleep pretty badly. As usual.
Thursday, April 2, 2009
Graceland
Today's Music From Years Ago is Paul Simon's Graceland. This is an album I picked up on CD when I was much younger and didn't really know how to cook. Anyway, I bought this album at a record store that I think is now a Christian Science reading room and nail salon, basically because I had always liked Simon & Garfunkel.
Graceland turned out to be one of the better purchases of my post-adolescent years, an album I liked enough to purchase on cassette tape later (as my car in those days had no CD player). It comes from a period where Paul Simon decided to blend his brand of wordy, sensitive guitar music with traditional African rhythms or something like that. The result ended up being Graceland, an album full of friendly and listenable songs. There are all kinds of instruments here, though Simon's voice is the bandleader (save for one track, "Homeless").
As a whole, even today, I think this album works. Granted, the second half of the album is a little too breezy for my taste now, lacking some of the focus and drive of the earlier songs. The fusion of sounds works, though, and Simon's lyrics are a definite strength. Several tracks stand out: the opener, "Boy in the Bubble", "Diamonds on the Soles of Her Shoes", and my personal favorite, "Under African Skies". The title track, "Homeless, and "Gumboots" are good too. You probably think of "You Can Call Me Al", and the music video with Chevy Chase, our modern-day Icarus, smug as ever.
Anyway, this album might be dated at this point, but it's still a good listen, whether you have a soft spot for Paul Simon's work, like African music, or hopefully both.
In Other News:
The other news is weary and melancholy today. Maybe things will be okay. Maybe not. Who knows?
Graceland turned out to be one of the better purchases of my post-adolescent years, an album I liked enough to purchase on cassette tape later (as my car in those days had no CD player). It comes from a period where Paul Simon decided to blend his brand of wordy, sensitive guitar music with traditional African rhythms or something like that. The result ended up being Graceland, an album full of friendly and listenable songs. There are all kinds of instruments here, though Simon's voice is the bandleader (save for one track, "Homeless").
As a whole, even today, I think this album works. Granted, the second half of the album is a little too breezy for my taste now, lacking some of the focus and drive of the earlier songs. The fusion of sounds works, though, and Simon's lyrics are a definite strength. Several tracks stand out: the opener, "Boy in the Bubble", "Diamonds on the Soles of Her Shoes", and my personal favorite, "Under African Skies". The title track, "Homeless, and "Gumboots" are good too. You probably think of "You Can Call Me Al", and the music video with Chevy Chase, our modern-day Icarus, smug as ever.
Anyway, this album might be dated at this point, but it's still a good listen, whether you have a soft spot for Paul Simon's work, like African music, or hopefully both.
In Other News:
The other news is weary and melancholy today. Maybe things will be okay. Maybe not. Who knows?