Today, after 2+ years and 250 blog posts, Support Your Local Catgun draws to a close. A formal close, anyway; I may still write things here from time to time as music inspires me to do so.
During the past two years, I have written about music, with the occasional day of being rained out or just lazy, and I feel that my productivity has been at least adequate. While writing about music has not failed to be fun, I suppose that 2009 is a different time than 2007 was, where my compulsion to rant about R.E.M. is waning and my concern with sharing my psyche with mostly anonymous readers is more apparent.
I realize that this blog is lacking entries for the following albums that I am especially fond of:
Neko Case, Fox Confessor Brings the Flood
Dandy Warhols, Thirteen Tales From Urban Bohemia
Neutral Milk Hotel, In The Aeroplane Over The Sea
Maybe they will show up some day. Maybe not.
If you've been reading, thanks for doing so. Good luck out there in Radio Land.
I needed a place where I could blog to my heart's content without the harassment that came from the social networking sites. This isn't really going to be a diary, but more of a place where I can tell people what is happening with me and talk about music. Mostly talk about music.
Friday, August 28, 2009
Tuesday, August 25, 2009
The Greatest
Things that I know or at least believe about Chan Marshall, a.k.a. Cat Power:
1) She has a bit of a checkered history with alcohol.
2) Her music is pretty rad.
3) She is pretty attractive (this seems to be a general consensus).
4) I don't know if I would ever see her in concert; maybe, but I have a hard time imagining the show to leave me with anything other than mild depression.
Having said number 4, I'm not completely sure about it. Most of this is due to her more recent work, such as her covers albums, and particularly, her 2006 release The Greatest. This album is still very much a piano-driven album, but it represents something of a stylistic departure from Marshall's earlier work (You Are Free, Moon Pix). This isn't a complaint about quality, as The Greatest is a fine album, though metalheads and hip-hop aficionados would do well to look elsewhere. The style here is somewhat more old-fashioned and bluesy, with horns and strings on several tracks; Marshall's smoky velvet voice still drives the entire production.
As in the past, it's my opinion that Marshall's music is best when it is miserable; there are a couple tracks here that don't work as well as the others. Still, the material is pretty good overall; the title track and "Willie" are my personal favorites, though your mileage may vary.
In Short: it's a welcome twist on the Cat Power sound, and a pretty good listen.
In Other News:
I picked up this album, along with the Arcade Fire's Funeral and Neko Case's Fox Confessor Brings the Flood back in 2006, on a Sunday at Best Buy for a total of roughly $20. This was a pretty good day, musically speaking.
Two more days, and I am off the antibiotics! I won't miss them.
I can't believe I made it this far without making a Cat Power entry. Shame on me.
Next Time: The End! And maybe an album review.
1) She has a bit of a checkered history with alcohol.
2) Her music is pretty rad.
3) She is pretty attractive (this seems to be a general consensus).
4) I don't know if I would ever see her in concert; maybe, but I have a hard time imagining the show to leave me with anything other than mild depression.
Having said number 4, I'm not completely sure about it. Most of this is due to her more recent work, such as her covers albums, and particularly, her 2006 release The Greatest. This album is still very much a piano-driven album, but it represents something of a stylistic departure from Marshall's earlier work (You Are Free, Moon Pix). This isn't a complaint about quality, as The Greatest is a fine album, though metalheads and hip-hop aficionados would do well to look elsewhere. The style here is somewhat more old-fashioned and bluesy, with horns and strings on several tracks; Marshall's smoky velvet voice still drives the entire production.
As in the past, it's my opinion that Marshall's music is best when it is miserable; there are a couple tracks here that don't work as well as the others. Still, the material is pretty good overall; the title track and "Willie" are my personal favorites, though your mileage may vary.
In Short: it's a welcome twist on the Cat Power sound, and a pretty good listen.
In Other News:
I picked up this album, along with the Arcade Fire's Funeral and Neko Case's Fox Confessor Brings the Flood back in 2006, on a Sunday at Best Buy for a total of roughly $20. This was a pretty good day, musically speaking.
Two more days, and I am off the antibiotics! I won't miss them.
I can't believe I made it this far without making a Cat Power entry. Shame on me.
Next Time: The End! And maybe an album review.
Wednesday, August 19, 2009
These Four Walls
Today's Music of the Day is These Four Walls, by We Were Promised Jetpacks. This album was downloaded LEGALLY through Emusic after having read a promising review on the AV Club website.
While comparing bands is generally unfair to all involved, the elements at play here make it hard to ignore. WWPJ (which is probably an acronym for something bizarre) has a number of similarities to Frightened Rabbit: generally uptempo, accessible music, pained lyrics, a certain emotional raw quality, occasional ringing guitar, a couple gently picked ballads, and a singer who is too Scottish for his own good.
Having said that, this album is pretty great. It's rambunctious and fun, in a modern indie-rock sort of way, and manages to be emotional without whining. The music here is solid; the guitar isn't ever distracting, but soars and pushes the tempo in a number of places. It's a solid album, full of promise and heartbreak - I'll definitely see what else this band has out there, if anything at this point.
Personal favorite tracks are "It's Thunder And It's Lightning" and the eight-minute, sprawling "Keeping Warm". Really, though, there aren't weak tracks here - even the less-adored are quite listenable. By the time the album title finally shows up, it will make perfect sense why it was given such promotion.
In Short: a fine album, as enjoyable and poignant as anything I have heard in recent months.
In Other News:
See, I made it all the way through without complaining about the horrible, stupid band name. "We Were Promised Jetpacks" is petulant and tacky. What about something like "Death Panel" or "War President"?
Capoeira this weekend! Woohoo!
More music is forthcoming! Early thoughts on the Ingrid Michaelson album "Be OK" - it's, well, okay.
While comparing bands is generally unfair to all involved, the elements at play here make it hard to ignore. WWPJ (which is probably an acronym for something bizarre) has a number of similarities to Frightened Rabbit: generally uptempo, accessible music, pained lyrics, a certain emotional raw quality, occasional ringing guitar, a couple gently picked ballads, and a singer who is too Scottish for his own good.
Having said that, this album is pretty great. It's rambunctious and fun, in a modern indie-rock sort of way, and manages to be emotional without whining. The music here is solid; the guitar isn't ever distracting, but soars and pushes the tempo in a number of places. It's a solid album, full of promise and heartbreak - I'll definitely see what else this band has out there, if anything at this point.
Personal favorite tracks are "It's Thunder And It's Lightning" and the eight-minute, sprawling "Keeping Warm". Really, though, there aren't weak tracks here - even the less-adored are quite listenable. By the time the album title finally shows up, it will make perfect sense why it was given such promotion.
In Short: a fine album, as enjoyable and poignant as anything I have heard in recent months.
In Other News:
See, I made it all the way through without complaining about the horrible, stupid band name. "We Were Promised Jetpacks" is petulant and tacky. What about something like "Death Panel" or "War President"?
Capoeira this weekend! Woohoo!
More music is forthcoming! Early thoughts on the Ingrid Michaelson album "Be OK" - it's, well, okay.
Friday, August 14, 2009
Brighter Than Creation's Dark
Today's Music of the Day is Drive-By Truckers' Brighter Than Creation's Dark. This album came to me via the public library, mostly due to being unfamiliar with the group. There will be no background on the band today, though.
Brighter Than Creation's Dark isn't exactly my cup of tea, but it is a decent album. The themes here are fairly simple - the lyrics are as rustic as the singer's voice - but it's still a far cry from the banality of most top-40 radio. The electric guitar is prevalent here, but the album is still very much a country music album, in spite of the twang being less consistent that one might expect. The mood here varies from feisty and rowdy to subtle and unhappy. Generally, a man with a good-natured voice that sounds of canned beer and dust sings, though a woman with heartache in her voice has turns at the microphone as well.
While the album is perhaps less rambunctious overall than I would prefer, it's not a bad listen. The performance here is somewhat less invested than a personal, small-scale album like the Rural Alberta Advantage's Hometowns, so it's not quite a triumph, but it does have quite a bit going for it. It isn't hard to relate to, and the diversity of tempo and mood are welcome.
In Short: Perhaps not my first choice, but not terrible by any means, and a decent choice for anyone who likes their music a little closer to open skies and green fields.
In Other News:
Thank goodness the week is over. Next week should be horribly busy but fun.
I'm on drugs! They're prescribed. I don't like them, but it's just a short-term deal, and nothing serious. I'll be fine, honestly.
Brighter Than Creation's Dark isn't exactly my cup of tea, but it is a decent album. The themes here are fairly simple - the lyrics are as rustic as the singer's voice - but it's still a far cry from the banality of most top-40 radio. The electric guitar is prevalent here, but the album is still very much a country music album, in spite of the twang being less consistent that one might expect. The mood here varies from feisty and rowdy to subtle and unhappy. Generally, a man with a good-natured voice that sounds of canned beer and dust sings, though a woman with heartache in her voice has turns at the microphone as well.
While the album is perhaps less rambunctious overall than I would prefer, it's not a bad listen. The performance here is somewhat less invested than a personal, small-scale album like the Rural Alberta Advantage's Hometowns, so it's not quite a triumph, but it does have quite a bit going for it. It isn't hard to relate to, and the diversity of tempo and mood are welcome.
In Short: Perhaps not my first choice, but not terrible by any means, and a decent choice for anyone who likes their music a little closer to open skies and green fields.
In Other News:
Thank goodness the week is over. Next week should be horribly busy but fun.
I'm on drugs! They're prescribed. I don't like them, but it's just a short-term deal, and nothing serious. I'll be fine, honestly.
Tuesday, August 11, 2009
Food and Liquor
Today's Music of the Day is Lupe Fiasco's Food and Liquor. This album was likely borrowed from the public library, partially in an attempt to diversify my music library, partially because Lupe Fiasco has one of the better names in music today.
While I wouldn't consider myself a rap connoisseur, this album was pretty enjoyable. Fiasco has a sharp, snare-drum cadence to his verses - even the more laid-back songs are crisply punctuated. There's a definite energy to the album; even though the instrumental portion of the album is largely electronic, the potent voices give Food and Liquor some life. Fiasco also has some heavy, literate rhymes, but he's not without a sense of humor - the man sounds equally adept rapping about a man's early death as he does dropping lines about the Sega Genesis.
I'm also normally partial to more organic elements of sound - see my ongoing love of Beirut - but the electronic-dominated album is fairly dynamic. There aren't a ton of guest stars here - it is Fiasco's first album, after all - but those that do show up, such as the female vocalist on "He Say She Say", don't wear out their welcome.
Some tracks are stronger than others - this is the case on virtually any album (except for those that have no redeeming quality, perhaps). Having said that, Food and Liquor is a pretty solid album from top to bottom, save for maybe "Outro", an extended thank-you to everyone involved with the album. Standout tracks - in my opinion, anyway - include "The Cool", "The Instrumental", and both parts of "Kick, Push". This isn't really a dance-rap album, though - 50 Cent lovers beware - but it's not hard to listen to.
In Short: this is a fine album for a budding hip-hop enthusiast, or just someone who is sick of rap songs about money and treating women like crap.
In Other News:
This post was as much fun to write as anything in the last few weeks. Why was this so complicated?
I got some more We Were Promised Jetpacks this week. Despite the beyond stupid name, I'm enjoying the songs very much.
Why can't it be Wednesday night yet?
While I wouldn't consider myself a rap connoisseur, this album was pretty enjoyable. Fiasco has a sharp, snare-drum cadence to his verses - even the more laid-back songs are crisply punctuated. There's a definite energy to the album; even though the instrumental portion of the album is largely electronic, the potent voices give Food and Liquor some life. Fiasco also has some heavy, literate rhymes, but he's not without a sense of humor - the man sounds equally adept rapping about a man's early death as he does dropping lines about the Sega Genesis.
I'm also normally partial to more organic elements of sound - see my ongoing love of Beirut - but the electronic-dominated album is fairly dynamic. There aren't a ton of guest stars here - it is Fiasco's first album, after all - but those that do show up, such as the female vocalist on "He Say She Say", don't wear out their welcome.
Some tracks are stronger than others - this is the case on virtually any album (except for those that have no redeeming quality, perhaps). Having said that, Food and Liquor is a pretty solid album from top to bottom, save for maybe "Outro", an extended thank-you to everyone involved with the album. Standout tracks - in my opinion, anyway - include "The Cool", "The Instrumental", and both parts of "Kick, Push". This isn't really a dance-rap album, though - 50 Cent lovers beware - but it's not hard to listen to.
In Short: this is a fine album for a budding hip-hop enthusiast, or just someone who is sick of rap songs about money and treating women like crap.
In Other News:
This post was as much fun to write as anything in the last few weeks. Why was this so complicated?
I got some more We Were Promised Jetpacks this week. Despite the beyond stupid name, I'm enjoying the songs very much.
Why can't it be Wednesday night yet?
Wednesday, August 5, 2009
Plague Park
Today's Music of the Day is the Handsome Furs' Plague Park. This album was loaned to me, and is the first new (to me, anyway) album that I have listened to in CD format in some time.
The Handsome Furs consist of Dan Boeckner (of Wolf Parade fame) and Alexei Perry, playing guitar and keyboard, respectively. Boeckner contributes the vocals as well; the voice should be recognizable to anyone who has heard Apologies to the Queen Mary. The sound here, compared to Wolf Parade, is fairly minimal - outside of the guitar, keyboard, and vocals, a drum machine powers most of the tracks.
It's a fairly simple concept, in terms of musical interaction, but the album is solid. Standout tracks are the opener - "What We Had" and "Dead + Rural", but there really aren't weak links so much as tracks that are less dramatic. The album as a whole is relatively morose - not hard to listen to, just not as bouncy as an album by Wolf Parade or even, say, TV on the Radio.
In short: Maybe this isn't everyone's album, but it's a good if sober listen.
In Other News:
I feel like I'm not doing this album justice. It's a bit of a niche album but definitely worth listening to. I can see some people hating it, though.
Support Your Local Catgun is likely going to go on hiatus after post #250, which should occur sometime before the end of the month. There are too many other things vying for my time and attention at present, but hopefully the blog will not wither and die.
Go outside today.
The Handsome Furs consist of Dan Boeckner (of Wolf Parade fame) and Alexei Perry, playing guitar and keyboard, respectively. Boeckner contributes the vocals as well; the voice should be recognizable to anyone who has heard Apologies to the Queen Mary. The sound here, compared to Wolf Parade, is fairly minimal - outside of the guitar, keyboard, and vocals, a drum machine powers most of the tracks.
It's a fairly simple concept, in terms of musical interaction, but the album is solid. Standout tracks are the opener - "What We Had" and "Dead + Rural", but there really aren't weak links so much as tracks that are less dramatic. The album as a whole is relatively morose - not hard to listen to, just not as bouncy as an album by Wolf Parade or even, say, TV on the Radio.
In short: Maybe this isn't everyone's album, but it's a good if sober listen.
In Other News:
I feel like I'm not doing this album justice. It's a bit of a niche album but definitely worth listening to. I can see some people hating it, though.
Support Your Local Catgun is likely going to go on hiatus after post #250, which should occur sometime before the end of the month. There are too many other things vying for my time and attention at present, but hopefully the blog will not wither and die.
Go outside today.
Tuesday, August 4, 2009
Ghosts of the Great Highway
Today's Music that is Pretty Great is Sun Kil Moon's Ghosts of the Great Highway. This album is one that I got from eMusic some months ago, though it has escaped my blog until just now. It's the work of one Mark Kozelek, apologies for spelling, late of Red House Painters.
Ghosts has a dusty, rural American feel, and mostly features Kozelek's gentle voice and guitar. (I sometimes like to think that Kozelek's voice is Michael Stipe's after having been ironed and smoothed out. This may be wildly inaccurate, or at least dismissive of the inevitable Neil Young comparison.) Generally, the guitar is acoustic and bounding, but occasionally it is traded for a heavy, distorted electric. While the different guitars don't really come with a drastic change of mood or style, the changes in sound are a benefit to this album. Ghosts would stand well alone on its morose-folk merits, but the occasional grinding electric guitar gives it another dimension.
Kozelek is often mentioned as an underappreciated figure in music, and for good reason. Ghosts hardly seems exhaustive, and at the very least, compels me to seek some more Sun Kil Moon. Mostly, though, the title seems to be fitting - this album easily evokes images of dusky skies and open roads, semi trucks lagging up hills, weary gas-station attendants.
Ghosts isn't as fun or as easy to listen to as some of the brighter, poppier albums that I am fond of, but it's definitely worth the trouble. Give "Carry Me Ohio" and "Salvador Sanchez" a try - these are two completely different songs, but they are fairly representative of the album as a whole.
In Short: this is a wonderful album, just try not to let it cloud an otherwise sunny day.
In Other News:
On occasion I give thought to concluding this blog. Maybe it's just something that happens each month as other interests arise and my music library becomes somewhat overutilized.
Who is up for the Hobo Festival?
Ghosts has a dusty, rural American feel, and mostly features Kozelek's gentle voice and guitar. (I sometimes like to think that Kozelek's voice is Michael Stipe's after having been ironed and smoothed out. This may be wildly inaccurate, or at least dismissive of the inevitable Neil Young comparison.) Generally, the guitar is acoustic and bounding, but occasionally it is traded for a heavy, distorted electric. While the different guitars don't really come with a drastic change of mood or style, the changes in sound are a benefit to this album. Ghosts would stand well alone on its morose-folk merits, but the occasional grinding electric guitar gives it another dimension.
Kozelek is often mentioned as an underappreciated figure in music, and for good reason. Ghosts hardly seems exhaustive, and at the very least, compels me to seek some more Sun Kil Moon. Mostly, though, the title seems to be fitting - this album easily evokes images of dusky skies and open roads, semi trucks lagging up hills, weary gas-station attendants.
Ghosts isn't as fun or as easy to listen to as some of the brighter, poppier albums that I am fond of, but it's definitely worth the trouble. Give "Carry Me Ohio" and "Salvador Sanchez" a try - these are two completely different songs, but they are fairly representative of the album as a whole.
In Short: this is a wonderful album, just try not to let it cloud an otherwise sunny day.
In Other News:
On occasion I give thought to concluding this blog. Maybe it's just something that happens each month as other interests arise and my music library becomes somewhat overutilized.
Who is up for the Hobo Festival?