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.
Monday, April 20, 2009
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?
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