This week in music has been really dull. Nothing too exciting came out, and the things that did, really weren’t that great (Counting Crows (yawn), Panic At the Disco (emo guys pretending to be pop), etc.). That being said, next week is shaping up to be a two-parter type of week with R.E.M., Black Keys, and Sun Kil Moon coming out…but that is next week. So…on to this week…
Must Buy:
The only must by this week is Consolers of the Lonely by The Raconteurs. For the uninformed, this is the band that Jack White and Brendan Benson formed on a whim while Mr. White was on a break from touring. The sound of the band remains unchanged from what listeners heard on Broken Boy Soldiers (think early White Stripes with a bass) but that is not a bad thing. This is dirty blues oriented rock and roll…in other words…real rock and roll. It is nice to hear that as the White Stripes spiral into a stranger sound (as much as you want to deny it, you know that it’s true) The Raconteurs serve as a more straightforward outlet for its members. The album starts with the title track, which has a fuzzed out vintage sound from the 70’s and also a fun time playing with the tempo throughout. The standout tracks on the album are "You Don’t Understand Me", "Top Yourself" and "Attention". "You Don’t Understand Me" starts off with a rolling piano riff and quickly turns into a good old fashioned sing-along with the chorus. This is not the first time or the last time that listening to this album I was reminded of Paul McCartney. "Top Yourself" is really what Ryan Adams should be writing these days instead of anything and everything that comes into his head (I realize that he’s a prolific and talented songwriter, but where’s the self editing…or even the label saying…hey…maybe FOUR albums in one year isn’t such a great idea…especially when, if you took all four of those albums and picked out the best songs it would make one great album). Sorry about the rant…anyways…the basic for this song are a banjo (sweet) and a slide guitar (even sweeter). If that doesn’t sell you, then there’s just no hope. "Attention" really got my attention (sorry…I just had to) because it starts out with a fuzzed out bass solo and turns into the greatest song Cheap Trick never wrote, complete with the call out and echo chorus. The only thing that concerns me about this album, is the fact that they didn’t even announce that they had recorded it until last week when they announced the release date…hmmm…that makes me think of the movies that you know are awful that they don’t screen for critics, and I’m afraid that may be what many people fear of this album before even hearing it.
Vintage from the Vault:
This week’s vintage artist is The Jesus and Mary Chain. Seeing that Rhino just reissued their entire catalog (minus Munki, which came out on Sub Pop and has stayed in print) I thought it would be time to talk about one of the most influential bands you’ve never heard of. Long before Noel and Liam Gallagher were taking sibling rivalries to a new height, there were Jim and William Reid. These guys made fighting with each other and their fans an art form. One of my favorite stories goes that when they were preparing for a show in ’84 the purposely set up their gear so that their backs would be facing the audience. This in turn started a riot and the show ended after 10 minutes (which was apparently quite common in their early days). My personal experience with JAMC is nothing as exciting, but they do put on one hell of a live show. As far as their music goes you really have to start with Automatic, which is the album that falls at the center of their career (subsequently it is also the album that gets name checked the most: see "Authority Song" by Jimmy Eat World, "We Looked Like Giants" by Death Cab For Cutie and the kick @$$ cover of "Head On" by The Pixies…see…they were influential). While this is not my favorite album (Psychocandy still holds that place in my heart), it is the most immediately accessible. The albums before this one tend to have a Phil Spectorish wall of sound made out of feedback. The most recognizable song from this era, thanks to its key involvement in the movie, Lost in Translation, is "Just Like Honey" from Psychocandy. The era after Automatic runs through the gamut of controversial (Honey’s Dead), acoustic with feedback (Stoned and Dethroned) and experimental (Munki) with a couple of soundtracks thrown in there (The Crow…where a lot of you have probably heard the song "Snakedriver" and not even realized it). Generally speaking the production got better, but the toll of tremendous drug use and squabbling began to tear the group apart. By the infamous House of Blues concert in ’98 the band members were hardly speaking and it all came to a crashing end after the show started with Jim hardly able to speak or stand due to the amount of alcohol and/or drugs he had taken and William walking off stage 15 minutes into the set and ultimately out of the band. Thankfully we have this week’s reissues (which in actuality are the same as the 2006 reissues without the dualdisc DVD side) and a brand new track (on the Heroes soundtrack) which makes me hope that I’ll be joyfully writing a review of a new disc by the end of the year.
Keep discovering new music and filling me in. Until next week...
Sunday, March 30, 2008
Repost: For Those That Just Rocked...We Salute You
For some reason lately I have found myself listening more and more to what is categorized by the music press as "post-rock" (see...the title does make sense). Now according to wikipedia (it was the only place I could find a decent definition) post-rock is "a music genre characterized by non-traditional use of rock instruments and high musical density." I like to think of it more as an intricately designed wall of sound...baroque rock if you will. The few concerts I have been to (all two of them) are truly the loudest concerts I have ever been two, not because the volume was cranked up, but because these bands actually use compositional dynamics (there’s my inner band nerd coming out...) To make it a little easier to navigate the sound scape...or noise scape...that these bands create I’ve decided to create a bit of a user’s guide for my top 5 post-rock bands. If you are a brave listener, or are just looking for something new and exciting...give these 5 bands a whirl (it should also be noted that to truly appreciate the intricacies of these bands you really need to listen to them through headphones).
1. Mogwai
It’s really hard to pick between number 1 and 2 mainly because these are the bands that I’ve been listening to the longest and these are actually the only two bands of this genre that I have seen live. I’m going to put Mogwai at number 1 though, mainly because I discovered them first. Mogwai are a Scottish band that quite literally write rock symphonies, their albums are so densely layered that you can listen to them and hear something new every time. They consist of a core unit of 5 musicians (sometimes more depending on the tour) and like most bands of the genre lack a true vocalist. On the rare occasions that vocals do appear, they are so blended into the mix that they almost serve as another instrument rather than the focal point of the song. They have also managed to avoid repeating themselves even after releasing 6 full length albums and countless ep’s and one off singles, like so many in the genre do (I’m looking at you Eluvium). There are really two basic elements behind the music. The first and most obvious element is the use of dynamics. This was truly the loudest concert that I have EVER attended. This is a band that can go from (metaphorically) a whisper to a scream and then back to a whisper. Be warned when wearing headphones not to get lulled into the softness of the music because when they get loud it is almost enough to force a change of clothes if you aren’t expecting it. The second obvious element is the melodic bass line that is washed over with waves of distortion only to have it disappear (again this speaks quite a bit to their use of dynamics). There are bands that use distortion because it is the only way that they like their guitars. Mogwai, however, use distortion for what it truly is...an effect. They are just as comfortable not using it as they are, and when they do it is to drive the theme of the song further not cover the fact that they are playing the same chords over and over or don’t know how to play their instruments at all.
Featured Tracks:
"You Don’t Know Jesus"
"Summer"
"Burn Girl Prom Queen"
"2 Rights Make 1 Wrong"
2. Sigur Ros
Sigur Ros are truly the type of band that play by their own rules. They are from Iceland...but rather than sing in Icelandic...or English, they have created their own language called "Hopelandic." On top of that, the vocals are sung in an extremely high falsetto and serve no purpose other than to act as another instrument. Fortunately, the rules that they have created work well for them. Not since Jimmy Page have I seen a guitarist that can pull of playing his guitar with a bow. The bassist is also known to sometimes play his bass with a drum stick. Again, all unconventional, but they totally work. Now, as to why they are on my list, it is simple: music, in its purist form is designed to illicit an emotional response and that is what Sigur Ros does. You can’t help but listen to this music without feeling some sort of emotion. For those of you who are fans of Philip K. Dick, I truly imagine that when he was describing the Penfield Mood Organ, it must have been something akin to listening to this music. This is truly a band that I can’t recommend specific tracks because the albums are linked thematically, and to break apart the theme on a track by track basis would be a disservice...so instead
Featured Album:"()" (yes that is really the name...just two parentheses)
3. Mono
Mono is a group of Japanese musicians that have mastered the use of the crescendo, very similar to the style originally developed by Explosions in the Sky (see below) but done better. As a benefit to those of us who don’t live in happening city where our favorite Japanese bands come to visit, Mono has made a point to use little to no electronic manipulation during the recording process. What this essentially means is that what you hear through your headphones is what they sound like live. In fact they tend to record as a full band and many of their best songs were recorded in a single take. In addition to this they have also mastered the creation of new effects by combining many of their effects pedals to create unheard of sounds. The use of distortion plays out to the effect that it is really used only at the emotional high point of the song (a.k.a. the Loudest F*&%$in’ Moment Possible). Of particular note is that they also have a small chamber quartet that has recorded several songs with them and definitely add that more modern classical feel to the whole thing. And, if all of this hasn’t convinced you to check them out...one of the guitarists is named Yoda...I mean seriously.
Featured Tracks
"16.12"
"The Flames Beyond the Cold Mountain"
"Com(?)"
4. Explosions in the Sky
Explosions in the Sky don’t try anything fancy with strange instruments like Mogwai or Sigur Ros. In fact, they don’t have a vocalist...ever. They are a rock band that plays chamber music. If you’ve seen the movie Friday Night Lights you may not realize it but you are already familiar with their music, as they did the score for the entire movie. Also, unlike the first two members of my list they are good old Texas boys. Musically, they are a little less adventurous than Mogwai or Sigur Ros, but don’t count that against them. Each album has a specific theme that is explored musically (think Beethoven symphonies). The tracking on the album is done to essentially break up the movements of the larger piece. Each album takes on its own thematic mood which is carried from track to track. Explosions do use quite a bit of distortion in their music, so for those of you that view distortion as just noise...it’s best to pass.
Featured Tracks:
"It’s Natural to Be Afraid"
"Magic Hours"
"Have You Passed Through This Night?"
5. Pelican
Pelican was founded by a group of musicians that grew tired of the expectations that were being placed on heavy metal...especially during the hey-day of nu-metal. By far the heaviest band on this list (look at their pedigree...they’re metalheads) they add a new dimension to the post-rock movement. Again, this is a band that is straight forward guitar, bass, and drums, yet they manage to make it sound different from all of their peers and predecessors. They are not afraid to add distortion to the bass and just rock out. While they do have their quieter moments, they usually just prefer to turn it up to eleven and rock your eardrums even while playing acoustic.
Featured Tracks:
"City of Echoes"
"March to the Sea"
"Winds With Hands"
1. Mogwai
It’s really hard to pick between number 1 and 2 mainly because these are the bands that I’ve been listening to the longest and these are actually the only two bands of this genre that I have seen live. I’m going to put Mogwai at number 1 though, mainly because I discovered them first. Mogwai are a Scottish band that quite literally write rock symphonies, their albums are so densely layered that you can listen to them and hear something new every time. They consist of a core unit of 5 musicians (sometimes more depending on the tour) and like most bands of the genre lack a true vocalist. On the rare occasions that vocals do appear, they are so blended into the mix that they almost serve as another instrument rather than the focal point of the song. They have also managed to avoid repeating themselves even after releasing 6 full length albums and countless ep’s and one off singles, like so many in the genre do (I’m looking at you Eluvium). There are really two basic elements behind the music. The first and most obvious element is the use of dynamics. This was truly the loudest concert that I have EVER attended. This is a band that can go from (metaphorically) a whisper to a scream and then back to a whisper. Be warned when wearing headphones not to get lulled into the softness of the music because when they get loud it is almost enough to force a change of clothes if you aren’t expecting it. The second obvious element is the melodic bass line that is washed over with waves of distortion only to have it disappear (again this speaks quite a bit to their use of dynamics). There are bands that use distortion because it is the only way that they like their guitars. Mogwai, however, use distortion for what it truly is...an effect. They are just as comfortable not using it as they are, and when they do it is to drive the theme of the song further not cover the fact that they are playing the same chords over and over or don’t know how to play their instruments at all.
Featured Tracks:
"You Don’t Know Jesus"
"Summer"
"Burn Girl Prom Queen"
"2 Rights Make 1 Wrong"
2. Sigur Ros
Sigur Ros are truly the type of band that play by their own rules. They are from Iceland...but rather than sing in Icelandic...or English, they have created their own language called "Hopelandic." On top of that, the vocals are sung in an extremely high falsetto and serve no purpose other than to act as another instrument. Fortunately, the rules that they have created work well for them. Not since Jimmy Page have I seen a guitarist that can pull of playing his guitar with a bow. The bassist is also known to sometimes play his bass with a drum stick. Again, all unconventional, but they totally work. Now, as to why they are on my list, it is simple: music, in its purist form is designed to illicit an emotional response and that is what Sigur Ros does. You can’t help but listen to this music without feeling some sort of emotion. For those of you who are fans of Philip K. Dick, I truly imagine that when he was describing the Penfield Mood Organ, it must have been something akin to listening to this music. This is truly a band that I can’t recommend specific tracks because the albums are linked thematically, and to break apart the theme on a track by track basis would be a disservice...so instead
Featured Album:"()" (yes that is really the name...just two parentheses)
3. Mono
Mono is a group of Japanese musicians that have mastered the use of the crescendo, very similar to the style originally developed by Explosions in the Sky (see below) but done better. As a benefit to those of us who don’t live in happening city where our favorite Japanese bands come to visit, Mono has made a point to use little to no electronic manipulation during the recording process. What this essentially means is that what you hear through your headphones is what they sound like live. In fact they tend to record as a full band and many of their best songs were recorded in a single take. In addition to this they have also mastered the creation of new effects by combining many of their effects pedals to create unheard of sounds. The use of distortion plays out to the effect that it is really used only at the emotional high point of the song (a.k.a. the Loudest F*&%$in’ Moment Possible). Of particular note is that they also have a small chamber quartet that has recorded several songs with them and definitely add that more modern classical feel to the whole thing. And, if all of this hasn’t convinced you to check them out...one of the guitarists is named Yoda...I mean seriously.
Featured Tracks
"16.12"
"The Flames Beyond the Cold Mountain"
"Com(?)"
4. Explosions in the Sky
Explosions in the Sky don’t try anything fancy with strange instruments like Mogwai or Sigur Ros. In fact, they don’t have a vocalist...ever. They are a rock band that plays chamber music. If you’ve seen the movie Friday Night Lights you may not realize it but you are already familiar with their music, as they did the score for the entire movie. Also, unlike the first two members of my list they are good old Texas boys. Musically, they are a little less adventurous than Mogwai or Sigur Ros, but don’t count that against them. Each album has a specific theme that is explored musically (think Beethoven symphonies). The tracking on the album is done to essentially break up the movements of the larger piece. Each album takes on its own thematic mood which is carried from track to track. Explosions do use quite a bit of distortion in their music, so for those of you that view distortion as just noise...it’s best to pass.
Featured Tracks:
"It’s Natural to Be Afraid"
"Magic Hours"
"Have You Passed Through This Night?"
5. Pelican
Pelican was founded by a group of musicians that grew tired of the expectations that were being placed on heavy metal...especially during the hey-day of nu-metal. By far the heaviest band on this list (look at their pedigree...they’re metalheads) they add a new dimension to the post-rock movement. Again, this is a band that is straight forward guitar, bass, and drums, yet they manage to make it sound different from all of their peers and predecessors. They are not afraid to add distortion to the bass and just rock out. While they do have their quieter moments, they usually just prefer to turn it up to eleven and rock your eardrums even while playing acoustic.
Featured Tracks:
"City of Echoes"
"March to the Sea"
"Winds With Hands"
Repost: Music Review 3/17-3/21
Okay…so here is the first in my new weekly (or as close to weekly as I can get with Ethan) column of music I am currently listening to. Before we get started I want to lay a few things out. I am always looking to check out new music, so if you have anything cool that you think I should check out, please let me know. I am writing this because outside of my family, music is my major passion, and with the radio people miss out on so much cool music. I know I may sound pretentious but there is life beyond FM and what the record labels pay to be played. As far as my collection goes, I purchase music on CD, Vinyl and digitally. I prefer vinyl, but it gets expensive and is VERY time consuming to digitize so that it is portable. I am picky about my digital music, however, and have everything encoded at a minimum of 256 kbps, unless it is absolutely avoidable (thanks iTunes). I do recommend that if you are going to purchase digital music you buy it from iTunes only if it is in the Plus format; otherwise, go over to Amazon where it is usually cheaper and everything is encoded at 256. Okay…now that I’ve gotten all of the technical B.S. out of the way let’s get started.
This Week’s Must Haves:
The first must have this week is Brain Thrust Mastery by We Are Scientists. This is a band whose first album, With Love and Squalor, was criminally overlooked. They are a New York based band who are HUGE in the UK, but can’t catch a break out of the club circuit. In fact, currently Brain Thrust Mastery is only available in the UK (you can purchase it digitally, and legally, at 7digital.com). The album itself moves away from the indie rock sound of their debut and towards the new new wave/dance rock feel of the new regime of 80’s inspired bands. It follows in the same vein as last year’s A Weekend in the City by Bloc Party, which is very much a nod to their British popularity. The band experiments with a more layered sound, which, from what I understand was bred out of necessity after their longtime drummer quit during the recording. This is especially evident on the opening track "Ghouls", where a drum track is virtually absent. The three strongest tracks on the album are "Let’s See It", "Lethal Enforcer", and "Chick Lit". "Let’s See It" is probably the most radio friendly track on the whole album, with a dual tracked vocal chorus that sounds like something from a lost Johnny Marr penned Smiths tune. "Lethal Enforcer" is straight 80’s bliss. This track sounds like what Duran Duran should be trying to do today (I’m looking in your direction Mr. LeBon). Obviously the track wears it’s influences on its sleeve and is pure synthed out ear candy. "Chick Lit" is my favorite track on the album. From the hand-claps and the gyrating bass line, to the full blown heavily overdubbed drums during the chorus, this track does everything right in my ears. It even has tinges of Songs of Faith and Devotion by Depeche Mode thrown in there. The best description I can give this track is that it is like a big, swaggering drag queen who is coming to bitch-slap you into the next county (after all, with a chorus that says "I asked you nicely once/But I won’t do that again" I think that’s a fitting image).
The second must have this week is The Odd Couple by Gnarls Barkley (available digitally this week and physically next week). I’m going to get it out of the way and just come out and say that this album is not as groundbreaking as their previous release, St. Elsewhere. Where that album took the genre rule book and threw it out the window, this album doesn’t do that. Don’t get me wrong. This is an amazing album; it’s just not a new sound like their prior album. It’s more of what they did last time, which I suppose follows the old adage of, if it isn’t broken, don’t fix it. The album starts off a little slow and sleazy (not the bad kind) and doesn’t really pick up until track 3, which is really my only major issue with this album. The track listing could have had a little more time devoted to it, but that’s the beauty of iTunes, you can rearrange it in the order that you see fit (once I find a suitable order I’ll post it here). The standout tracks here are "Run (I’m A Natural Disaster)" and "Open Book". I am sure that "Run", which is the first single, will become as ubiquitous as "Crazy", and it is well deserved. The track already has the controversy from its seizure inducing video (with a HILARIOUS Justin Timberlake cameo) and a hook that you could catch Jaws with. "Open Book", on the other hand, reminds me of a Bjork track (think Homogenic era) with its skittering drums, forest animal sounds and celestial chorus. This is not a track that will appeal to everyone, but upon repeated listens, it will grow on you.
Vintage from the Vault:
This week’s vintage band worth checking out is Mission of Burma. Perfectly (and intentionally) I am throwing this band out there because their first wave of releases have been reissued this week on Matador. A little history, if you’ll indulge me. The band itself formed in the late 70’s/early 80’s and released only one full length album and several EP’s before breaking up due to the partial hearing loss of one of the singers (they later reformed and have since released 2 albums: 2004’s ONoffON and 2006’s Obliterati). I was originally introduced to this band during Spring Break of 1997 when I purchased Moby’s Animal Rights and heard his version of the track "That’s When I Reached for My Revolver". After that I went and hunted down every album, single and 7" I could find (most everything has been out of print since the early 90’s so I had to subsist on compilations rather than the actual album and EP’s). This band has influenced too many bands to name here (one notable example is that Pearl Jam named Vs. after their 1981 debut album vs.) and is worth checking out if you get a chance (and thanks to Matador it is very easy to find ALL of their albums).
This Week’s Must Haves:
The first must have this week is Brain Thrust Mastery by We Are Scientists. This is a band whose first album, With Love and Squalor, was criminally overlooked. They are a New York based band who are HUGE in the UK, but can’t catch a break out of the club circuit. In fact, currently Brain Thrust Mastery is only available in the UK (you can purchase it digitally, and legally, at 7digital.com). The album itself moves away from the indie rock sound of their debut and towards the new new wave/dance rock feel of the new regime of 80’s inspired bands. It follows in the same vein as last year’s A Weekend in the City by Bloc Party, which is very much a nod to their British popularity. The band experiments with a more layered sound, which, from what I understand was bred out of necessity after their longtime drummer quit during the recording. This is especially evident on the opening track "Ghouls", where a drum track is virtually absent. The three strongest tracks on the album are "Let’s See It", "Lethal Enforcer", and "Chick Lit". "Let’s See It" is probably the most radio friendly track on the whole album, with a dual tracked vocal chorus that sounds like something from a lost Johnny Marr penned Smiths tune. "Lethal Enforcer" is straight 80’s bliss. This track sounds like what Duran Duran should be trying to do today (I’m looking in your direction Mr. LeBon). Obviously the track wears it’s influences on its sleeve and is pure synthed out ear candy. "Chick Lit" is my favorite track on the album. From the hand-claps and the gyrating bass line, to the full blown heavily overdubbed drums during the chorus, this track does everything right in my ears. It even has tinges of Songs of Faith and Devotion by Depeche Mode thrown in there. The best description I can give this track is that it is like a big, swaggering drag queen who is coming to bitch-slap you into the next county (after all, with a chorus that says "I asked you nicely once/But I won’t do that again" I think that’s a fitting image).
The second must have this week is The Odd Couple by Gnarls Barkley (available digitally this week and physically next week). I’m going to get it out of the way and just come out and say that this album is not as groundbreaking as their previous release, St. Elsewhere. Where that album took the genre rule book and threw it out the window, this album doesn’t do that. Don’t get me wrong. This is an amazing album; it’s just not a new sound like their prior album. It’s more of what they did last time, which I suppose follows the old adage of, if it isn’t broken, don’t fix it. The album starts off a little slow and sleazy (not the bad kind) and doesn’t really pick up until track 3, which is really my only major issue with this album. The track listing could have had a little more time devoted to it, but that’s the beauty of iTunes, you can rearrange it in the order that you see fit (once I find a suitable order I’ll post it here). The standout tracks here are "Run (I’m A Natural Disaster)" and "Open Book". I am sure that "Run", which is the first single, will become as ubiquitous as "Crazy", and it is well deserved. The track already has the controversy from its seizure inducing video (with a HILARIOUS Justin Timberlake cameo) and a hook that you could catch Jaws with. "Open Book", on the other hand, reminds me of a Bjork track (think Homogenic era) with its skittering drums, forest animal sounds and celestial chorus. This is not a track that will appeal to everyone, but upon repeated listens, it will grow on you.
Vintage from the Vault:
This week’s vintage band worth checking out is Mission of Burma. Perfectly (and intentionally) I am throwing this band out there because their first wave of releases have been reissued this week on Matador. A little history, if you’ll indulge me. The band itself formed in the late 70’s/early 80’s and released only one full length album and several EP’s before breaking up due to the partial hearing loss of one of the singers (they later reformed and have since released 2 albums: 2004’s ONoffON and 2006’s Obliterati). I was originally introduced to this band during Spring Break of 1997 when I purchased Moby’s Animal Rights and heard his version of the track "That’s When I Reached for My Revolver". After that I went and hunted down every album, single and 7" I could find (most everything has been out of print since the early 90’s so I had to subsist on compilations rather than the actual album and EP’s). This band has influenced too many bands to name here (one notable example is that Pearl Jam named Vs. after their 1981 debut album vs.) and is worth checking out if you get a chance (and thanks to Matador it is very easy to find ALL of their albums).
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