Today I don't really have an album review - hopefully in a day or two I will review Mogwai's Mr. Beast - but I do have some thoughts on things I've likely already reviewed and am listening to.
Still listening to Okkervil River - The Stage Names and The Stand Ins today. These albums really work well together. Stage Names kind of represents a louder, fiery atmosphere, like a party full of people and noise or a big concert with a sweaty crowd, whereas Stand Ins is more like an intimate gathering, or a show with only a dozen interested people. Okkervil River might never make the next OK Computer, but I'm perfectly content to buy their well-read, slightly screechy folk-rock music.
Also, I'm listening to Come On Die Young by Mogwai. This seems to be less engaging than their later work - I don't know if I like it as well as Happy Songs for Happy People or Mr. Beast but it's still enjoyable. The songs are more reserved and not as easy to get into, possibly just not as interesting or foreboding, but I still appreciate the mood.
Finally, I've been listening to Fables by Immaculate Machine again. Some of the songs drag a little towards the end of the album, but this is a really solid work. In particular, Kathryn Calder, the female vocalist, really shines. She has a very good voice, perhaps not the greatest, but I'll be damned if her vocals don't get to me a little bit. I really like the frantic songs here - "Jarhand" is pure adrenaline nonsense that I can't get enough of.
In Other News:
I actually slept okay the past two nights! I think it might be time to get out more blankets, though.
For once, I should be taking less action and talking more. How ridiculous is that?
Showing posts with label Okkervil River. Show all posts
Showing posts with label Okkervil River. Show all posts
Monday, September 29, 2008
Friday, September 26, 2008
The Stand Ins
Today's Music That Jason Likes is Okkervil River's The Stand Ins. This album is comprised of material conceived as part of the Stage Names sessions but was recorded and released separately, almost a full year later.
This album is probably not what I would consider to be Okkervil River's best work, but it's still pretty good, nonetheless. It has a notably different feel to it than The Stage Names, but it still sounds like Okkervil River, very much emotionally charged folk-rock with the occasional horn. Don't get me wrong, this is a pretty good album, plenty of depth and emotion, and some goofy song names, but I'd be lying if I said I enjoyed it as much as The Stage Names. I suppose this has to do more with the comparisons between the two than the quality of Stand Ins.
Stage Names seems to have more energy than Stand Ins; hence, it pulls the listener in more easily. Stand Ins is a more demure album, one that is not as immediately rewarding, but one that probably offers more introspection given an investment of time and attention. I'm midway through my second listen of Stand Ins and while it doesn't have the energy or the stage presence (if I can say that about an album) of Stage Names, it in no way represents a failure.
I suppose there is a greater theme here, about artists attempting to imitate themselves, or maybe whether there is greater achievement in glorious, ambitious failure rather than comfortable, modest success, but that is perhaps talk for another day.
In Other News:
I feel a sleep crash coming on, and I hope to crap that it holds up until I get home from the gym.
I also bought a scooter this week, a silver Yamaha Vino. Who wants to give me a ride out to the dealer, so I can pick it up?
This album is probably not what I would consider to be Okkervil River's best work, but it's still pretty good, nonetheless. It has a notably different feel to it than The Stage Names, but it still sounds like Okkervil River, very much emotionally charged folk-rock with the occasional horn. Don't get me wrong, this is a pretty good album, plenty of depth and emotion, and some goofy song names, but I'd be lying if I said I enjoyed it as much as The Stage Names. I suppose this has to do more with the comparisons between the two than the quality of Stand Ins.
Stage Names seems to have more energy than Stand Ins; hence, it pulls the listener in more easily. Stand Ins is a more demure album, one that is not as immediately rewarding, but one that probably offers more introspection given an investment of time and attention. I'm midway through my second listen of Stand Ins and while it doesn't have the energy or the stage presence (if I can say that about an album) of Stage Names, it in no way represents a failure.
I suppose there is a greater theme here, about artists attempting to imitate themselves, or maybe whether there is greater achievement in glorious, ambitious failure rather than comfortable, modest success, but that is perhaps talk for another day.
In Other News:
I feel a sleep crash coming on, and I hope to crap that it holds up until I get home from the gym.
I also bought a scooter this week, a silver Yamaha Vino. Who wants to give me a ride out to the dealer, so I can pick it up?
Monday, August 25, 2008
Don't Fall In Love With Everyone You See
Today's Music of the Day is Okkervil River's Don't Fall in Love With Everyone You See. Special thanks to eMusic for providing me with this album. It's actually Okkervil River's first album, so I am working backwards on this one somewhat.
This album has all the hallmarks of the Okkervil River sound: elements of folk and a hint of Southern flavor, not enough twang to play a square dance but not really enough guitar solos to open for Van Halen (or whatever band sells out arenas now). There's a little bit of banjo, too, but it serves as more of an alternative to the vocals; DFiLWEYS doesn't have the horns and keys that would fit into the subsequent works. The songs are very good though there doesn't seem to be a consistent sound yet, as compared to later OR albums. Perhaps it's just the arrangement of the songs on the album, or maybe just relative inexperience. Emotions run high here, to say the least; Will Sheff, the singer, is a capable screamer, but has enough gears to his voice to make the screaming poignant, or at least not tired. Sometimes I wish this album had more energy, or at least fewer ballads, but it's not bad by any means, just less energetic than I'd like.
While I wouldn't consider this a stronger record than Black Sheep Boy or The Stage Names, it's still a fine album. There are some really good tracks here - "Red" and "Kansas City" come to mind. Some of the song titles are just as good as the songs themselves: "Dead Dog Song" and "Listening to Otis Redding at Home For Christmas" are fantastic. Clearly, though, the high point of the album is "Westfall", a simple enough track that goes on for roughly five epic minutes. It rocks harder than the rest of the album and has a strong build to it; without giving anything away, I'd have to say the lyrics give the song its power, though.
Overall I would recommend this album to most anyone; it's a fine starting point to a pretty decent band.
In Other News:
Finally almost caught up on sleep. At least until tomorrow, I'm sure.
Pandora just played Neutral Milk Hotel's "King of Carrot Flowers" for me. I love love love that song.
This album has all the hallmarks of the Okkervil River sound: elements of folk and a hint of Southern flavor, not enough twang to play a square dance but not really enough guitar solos to open for Van Halen (or whatever band sells out arenas now). There's a little bit of banjo, too, but it serves as more of an alternative to the vocals; DFiLWEYS doesn't have the horns and keys that would fit into the subsequent works. The songs are very good though there doesn't seem to be a consistent sound yet, as compared to later OR albums. Perhaps it's just the arrangement of the songs on the album, or maybe just relative inexperience. Emotions run high here, to say the least; Will Sheff, the singer, is a capable screamer, but has enough gears to his voice to make the screaming poignant, or at least not tired. Sometimes I wish this album had more energy, or at least fewer ballads, but it's not bad by any means, just less energetic than I'd like.
While I wouldn't consider this a stronger record than Black Sheep Boy or The Stage Names, it's still a fine album. There are some really good tracks here - "Red" and "Kansas City" come to mind. Some of the song titles are just as good as the songs themselves: "Dead Dog Song" and "Listening to Otis Redding at Home For Christmas" are fantastic. Clearly, though, the high point of the album is "Westfall", a simple enough track that goes on for roughly five epic minutes. It rocks harder than the rest of the album and has a strong build to it; without giving anything away, I'd have to say the lyrics give the song its power, though.
Overall I would recommend this album to most anyone; it's a fine starting point to a pretty decent band.
In Other News:
Finally almost caught up on sleep. At least until tomorrow, I'm sure.
Pandora just played Neutral Milk Hotel's "King of Carrot Flowers" for me. I love love love that song.
Wednesday, April 23, 2008
New Pornographers / Okkervil River Show
Today, I don't have an album review for you. Would you like a concert review instead? Too bad.
On Monday night, I visited Madison, WI, home of some college and a ton of bars. My show was at the Orpheum, a theater near the capitol building. And while the day was fun, with me mostly walking around State St. (where all the mayhem happens), the concert was the high point of the trip.
The theater wasn't such a great place for a show, as it was smallish and packed, and security was eager though not imposing. Still, the acoustics were good, even if my seat wasn't so great. The crowd was okay; sometimes white guys at concerts really drive me crazy. Why the hell would you go to a show not to dance and jump around a little bit? The guy in front of me kept his hands on the seat in front of him through the entire show and didn't even tap his feet; there were a number of people like this. Why does this seem like such a sticking point? Because the bands were energetic and lively. It's not like this was a Cat Power show (who I love anyway), the music should have affected the crowd somewhat. Next time I go to one of these shows, I simply have to get down front where I can jump around a little.
But what about the bands, you ask? They were wonderful. The New Pornographers were missing two of their three principal players - Dan Bejar and Neko Case - but they put on a hell of a good show. A.C. Newman is a fine guitar player and singer, and Katherine Calder (of Immaculate Machine, also Newman's niece) filled in extremely well for Case. They didn't play exceptionally long - maybe 80 minutes - but covered a good deal of their material. Highlights of the show were bringing Will Sheff (from Okkervil River) out to do "Myriad Harbor" with the band, and covering Electric Light Orchestra's "Don't Bring Me Down" for an encore. When the band came out for their encore, Newman playfully ribbed the crowd, saying "I know what you're saying but what we're going to do is even better." A nice treat from a band that normally doesn't do cover songs. They played songs from all of their albums, though they understandably leaned towards the Newman-heavy songs (though they played "Bleeding Heart Show" and "Challengers", with Calder handling the high-end vocals.
And what of Okkervil River? Well, they were quite good, probably just as good as the New Pornographers. They did a fine job of keeping the crowd involved and played a good balance of upbeat songs versus ballads - even the ballads seemed to be well-received, "A Girl in Port" in particular. Their trumpet player was great, and their guest guitarist, Charles Missile of the Wrens, was fantastic. Sheff for his part was very rambunctious, dancing and jumping. More than once he jumped on the bass drum, and put his tie around the drummer's head. He came out first, and played "The President's Dead" as the rest of the band got situated. Great band, fantastic live. I don't know if I'd say they stole the NP's thunder, but they played just as long, and I think the show was better because of it. My only criticism is that Sheff has the worst hair of anyone I can think of at the moment, probably bad enough to get him into, say, Fall Out Boy or AFI if he wasn't so good.
All things considered, this was a marvelous show, completely worth the drive. Hope to see either of these bands again in the near future.
Next up: the ridiculous Omaha/Portland trip at the end of May. I must be insane.
On Monday night, I visited Madison, WI, home of some college and a ton of bars. My show was at the Orpheum, a theater near the capitol building. And while the day was fun, with me mostly walking around State St. (where all the mayhem happens), the concert was the high point of the trip.
The theater wasn't such a great place for a show, as it was smallish and packed, and security was eager though not imposing. Still, the acoustics were good, even if my seat wasn't so great. The crowd was okay; sometimes white guys at concerts really drive me crazy. Why the hell would you go to a show not to dance and jump around a little bit? The guy in front of me kept his hands on the seat in front of him through the entire show and didn't even tap his feet; there were a number of people like this. Why does this seem like such a sticking point? Because the bands were energetic and lively. It's not like this was a Cat Power show (who I love anyway), the music should have affected the crowd somewhat. Next time I go to one of these shows, I simply have to get down front where I can jump around a little.
But what about the bands, you ask? They were wonderful. The New Pornographers were missing two of their three principal players - Dan Bejar and Neko Case - but they put on a hell of a good show. A.C. Newman is a fine guitar player and singer, and Katherine Calder (of Immaculate Machine, also Newman's niece) filled in extremely well for Case. They didn't play exceptionally long - maybe 80 minutes - but covered a good deal of their material. Highlights of the show were bringing Will Sheff (from Okkervil River) out to do "Myriad Harbor" with the band, and covering Electric Light Orchestra's "Don't Bring Me Down" for an encore. When the band came out for their encore, Newman playfully ribbed the crowd, saying "I know what you're saying but what we're going to do is even better." A nice treat from a band that normally doesn't do cover songs. They played songs from all of their albums, though they understandably leaned towards the Newman-heavy songs (though they played "Bleeding Heart Show" and "Challengers", with Calder handling the high-end vocals.
And what of Okkervil River? Well, they were quite good, probably just as good as the New Pornographers. They did a fine job of keeping the crowd involved and played a good balance of upbeat songs versus ballads - even the ballads seemed to be well-received, "A Girl in Port" in particular. Their trumpet player was great, and their guest guitarist, Charles Missile of the Wrens, was fantastic. Sheff for his part was very rambunctious, dancing and jumping. More than once he jumped on the bass drum, and put his tie around the drummer's head. He came out first, and played "The President's Dead" as the rest of the band got situated. Great band, fantastic live. I don't know if I'd say they stole the NP's thunder, but they played just as long, and I think the show was better because of it. My only criticism is that Sheff has the worst hair of anyone I can think of at the moment, probably bad enough to get him into, say, Fall Out Boy or AFI if he wasn't so good.
All things considered, this was a marvelous show, completely worth the drive. Hope to see either of these bands again in the near future.
Next up: the ridiculous Omaha/Portland trip at the end of May. I must be insane.
Monday, March 10, 2008
The Stage Names
Today's Music That Jason Likes Kinda But Also Is Angry At Himself For Liking is Okkervil River's The Stage Names.
I'm not sure what to make of this album, exactly. It's kind of popular folk music, something evolved from John Denver and James Taylor, ultimately descended from Bob Dylan, only taken to its most rambunctious and emotional. The lyrics are generally pretty good, and I like the song titles as well. The singer has a pretty good voice but he borders on being too 'emo' at times. This can be good; in an age where too many bands embrace irony but don't realize that they are still its bitch, a singer who allows himself to really cut loose is a welcome aspect of a band. That is, if the singer isn't too cloying and whiny, and for as much as I like this band, sometimes the singer (Will Sheff is his name) is, at least for me. But the music is pretty good; I would say it rocks as hard as folk-rock can without having to drop the 'folk'. The music isn't too slow, even the ballads move a little. The drums are boisterous without dominating, which is good; the guitars are generally electric, which also helps. Maybe it's a rock structure built on an old folk burial ground.
For as much as I criticize the band in the above paragraph, they still manage to give me a sense of importance and awe when I listen to their music. The opening track to The Stage Names, "Our Life is Not a Movie or Maybe", is pretty damn good. I challenge you to listen to it and not get into it when the piano and drums kick in and Sheff is really howling. So I guess on a scale of 1 to 10, this album would get both a D and an A. I'm so on the fence about it that I have splinters. This band is opening for the New Pornographers next month, and I'm actually looking forward to seeing them, even if they are a little bit of a guilty pleasure. I guess I would recommend this album to you, but not if you can't enjoy music for what it is as opposed to what it is mocking.
In other news:
This might be the best that I've handled daylight savings time in recent memory. It's still lame though.
I'm not sure what to make of this album, exactly. It's kind of popular folk music, something evolved from John Denver and James Taylor, ultimately descended from Bob Dylan, only taken to its most rambunctious and emotional. The lyrics are generally pretty good, and I like the song titles as well. The singer has a pretty good voice but he borders on being too 'emo' at times. This can be good; in an age where too many bands embrace irony but don't realize that they are still its bitch, a singer who allows himself to really cut loose is a welcome aspect of a band. That is, if the singer isn't too cloying and whiny, and for as much as I like this band, sometimes the singer (Will Sheff is his name) is, at least for me. But the music is pretty good; I would say it rocks as hard as folk-rock can without having to drop the 'folk'. The music isn't too slow, even the ballads move a little. The drums are boisterous without dominating, which is good; the guitars are generally electric, which also helps. Maybe it's a rock structure built on an old folk burial ground.
For as much as I criticize the band in the above paragraph, they still manage to give me a sense of importance and awe when I listen to their music. The opening track to The Stage Names, "Our Life is Not a Movie or Maybe", is pretty damn good. I challenge you to listen to it and not get into it when the piano and drums kick in and Sheff is really howling. So I guess on a scale of 1 to 10, this album would get both a D and an A. I'm so on the fence about it that I have splinters. This band is opening for the New Pornographers next month, and I'm actually looking forward to seeing them, even if they are a little bit of a guilty pleasure. I guess I would recommend this album to you, but not if you can't enjoy music for what it is as opposed to what it is mocking.
In other news:
This might be the best that I've handled daylight savings time in recent memory. It's still lame though.
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