Ahhh...music. Topic of my most convoluted thoughts. I've tried many times to put my thoughts down about varying issues with music, but I always just end up with incoherent pages of lists and questions, which don't quite go anywhere. So the decision to put up reviews of varying albums may or may not be a feasible idea. I may just end up with lists of what I'm listening to. Stay tuned...
Until We Felt Red by Kaki King
12/29/06
Came across this on Rhapsody; didn't really get in to it until I saw John Darnielle plugging it on an eMusic list and I gave it a second chance. Now I can't stop listening to it. Really interesting album, she jumps all over the place in style from classical guitar-esque folky bits to extended noise jams to ballads to intricate post rock instrumentals. Very nice album.
12/29/06
Came across this on Rhapsody; didn't really get in to it until I saw John Darnielle plugging it on an eMusic list and I gave it a second chance. Now I can't stop listening to it. Really interesting album, she jumps all over the place in style from classical guitar-esque folky bits to extended noise jams to ballads to intricate post rock instrumentals. Very nice album.
Astor in Paris by 3 Leg Torso
7/26/05
A couple months ago on her birthday, Kirstin dragged me (hardly kicking and screaming) to a show for a local band called 3 Leg Torso. I can't exactly tell you what type of music they play; it's heavily tango influenced, but they pull in enough of other styles that it can't simply be called tango. I can tell you that they're absolutely dynamite to watch live. The songs are fun and energetic, immediately pulling you in. Even without lyrics, they manage to have enough whimsy and surprises to be funny along with simply being enjoyable songs. The guys were entertaining to watch too, with all usual clever banter between songs.
I was tempted to buy one of their CD's at the show, but I was budgeting til my first real paycheck from my recent expired contract (due to the three week delay with my agency, it was over a month before I got a paycheck of any worth). Once I had some money, I shelled out the cash for this CD. The name of the album definitely shows they're comfortable with the tango label, and there's plenty of that here. There's also some stuff that would be hilarious to watch someone tango to, if only for the pace. I don't enough music history to point out the influences, but some stuff makes me think of gypsy music and the like. It's just really fun to listen to. It made a great soundtrack to driving around garage sailing last weekend. There are a few songs in the middle that drag a little, but they don't really detract from the album. The only real problem is that it doesn't quite capture the energy of their live performance. It's hard to pinpoint, but something intangible is missing. Oh well, guess I just have to go see them again. Darn.
7/26/05
A couple months ago on her birthday, Kirstin dragged me (hardly kicking and screaming) to a show for a local band called 3 Leg Torso. I can't exactly tell you what type of music they play; it's heavily tango influenced, but they pull in enough of other styles that it can't simply be called tango. I can tell you that they're absolutely dynamite to watch live. The songs are fun and energetic, immediately pulling you in. Even without lyrics, they manage to have enough whimsy and surprises to be funny along with simply being enjoyable songs. The guys were entertaining to watch too, with all usual clever banter between songs.
I was tempted to buy one of their CD's at the show, but I was budgeting til my first real paycheck from my recent expired contract (due to the three week delay with my agency, it was over a month before I got a paycheck of any worth). Once I had some money, I shelled out the cash for this CD. The name of the album definitely shows they're comfortable with the tango label, and there's plenty of that here. There's also some stuff that would be hilarious to watch someone tango to, if only for the pace. I don't enough music history to point out the influences, but some stuff makes me think of gypsy music and the like. It's just really fun to listen to. It made a great soundtrack to driving around garage sailing last weekend. There are a few songs in the middle that drag a little, but they don't really detract from the album. The only real problem is that it doesn't quite capture the energy of their live performance. It's hard to pinpoint, but something intangible is missing. Oh well, guess I just have to go see them again. Darn.
Black Cherry by Goldfrapp
5/06/05
I know it's almost two years old at this point, but why the hell didn't someone tell me how enjoyable this album is? It's chock full of overblown synthesizers and sultry female vocals, a combination I have a hard time resisting, even if I'd kind of written Goldfrapp off a while ago. I had tried really hard to like their debut, Felt Mountain, with varying degrees of success. I mean, I like Alison Goldfrapp's voice, the songs were beautifully arranged, but most of the time I just found the album kind of boring. There are a few good songs on there (particularly Human), but it just didn't quite work for me. I only pulled it out when I was looking for something background to listen to at work (you know, in those rare times when I have a job). Even then I found myself skipping songs or turning it off altogether.
So I raised an eyebrow when this follow up came out, but didn't have the motivation to buy it or otherwise acquire it through illegitimate means. I was browsing around on Rhapsody yesterday and I came across this and grabbed it. Rhapsody is a simultaneous godsend and curse for the unemployed music junkie. I can listen to all this stuff that I can't afford, but I can't listen to it outside of my computer. If I had the money, I'd spend a couple grand on installing some sort of in-dash computer with wireless access so I could listen to it in the car, but that's of course silly both for monetary and lacking technical skill reasons. Now if I could just get it to work on my Treo...
Anyway, this album was instantly more accessible than its predecessor. Although I've had the silly elitist habit of shunning accessible music in the past, I'm working hard on shaking it. I suppose you could consider the songs here "pop" in some areas, but I honestly don't much care anymore. Trip-hop has always walked that delicate line between indie and mainstream (at least in this country, I've always had the impression that it's much more mainstream in the U.K. and Europe). Not too mention that the Pop mainstream has spent the last few years catching up to the electronica I hold so dear. Seeing as how I rarely listen to music on the radio, and I don't watch TV, I have no idea what's what any more and I'm not sure I feel qualified anymore to rate an album like this. So I'll simply say I like it and leave it at that.
5/06/05
I know it's almost two years old at this point, but why the hell didn't someone tell me how enjoyable this album is? It's chock full of overblown synthesizers and sultry female vocals, a combination I have a hard time resisting, even if I'd kind of written Goldfrapp off a while ago. I had tried really hard to like their debut, Felt Mountain, with varying degrees of success. I mean, I like Alison Goldfrapp's voice, the songs were beautifully arranged, but most of the time I just found the album kind of boring. There are a few good songs on there (particularly Human), but it just didn't quite work for me. I only pulled it out when I was looking for something background to listen to at work (you know, in those rare times when I have a job). Even then I found myself skipping songs or turning it off altogether.
So I raised an eyebrow when this follow up came out, but didn't have the motivation to buy it or otherwise acquire it through illegitimate means. I was browsing around on Rhapsody yesterday and I came across this and grabbed it. Rhapsody is a simultaneous godsend and curse for the unemployed music junkie. I can listen to all this stuff that I can't afford, but I can't listen to it outside of my computer. If I had the money, I'd spend a couple grand on installing some sort of in-dash computer with wireless access so I could listen to it in the car, but that's of course silly both for monetary and lacking technical skill reasons. Now if I could just get it to work on my Treo...
Anyway, this album was instantly more accessible than its predecessor. Although I've had the silly elitist habit of shunning accessible music in the past, I'm working hard on shaking it. I suppose you could consider the songs here "pop" in some areas, but I honestly don't much care anymore. Trip-hop has always walked that delicate line between indie and mainstream (at least in this country, I've always had the impression that it's much more mainstream in the U.K. and Europe). Not too mention that the Pop mainstream has spent the last few years catching up to the electronica I hold so dear. Seeing as how I rarely listen to music on the radio, and I don't watch TV, I have no idea what's what any more and I'm not sure I feel qualified anymore to rate an album like this. So I'll simply say I like it and leave it at that.
Deadlivers by Grayskul
4/12/05
I've always had a soft spot for the somewhat amorphously named genre of geek rock. It encompasses artists from Weezer to They Might Be Giants, as well as lesser known ones like The Darkest of the Hillside Thickets (there really should be a sub genre called Cthulhu Punk). There's just something gratifying about topics like comics and role playing games that aren't really "cool" being unabashedly glorified with the pompousness of rock. Now it stands to reason that this doesn't have to be limited to one genre - why not hip hop?
Enter Grayskul, a group that you need to look no further than their name to prove their geekiness (I suppose the fact that they dropped the second L makes it more stylish or cool or something). I know comic books and other such nerdy pursuits are not new to hip hop (Perhaps I should listen to more MF Doom), but I haven't encountered a group before that's this obsessed with superheroes. I mean really, I don't think I've heard a group (of any genre) mention a utility belt in a song, much less multiple times on an album.
Superhero themed songs abound on this album (their debut), from songs about action figures coming to life to a highly amusing song with superheroes complaining about the perils of rescuing women ("No, I won't take my mask off - get away from me!"). They also take it a step further, presenting themselves as superheroes (Recluse, Reason & Phantom). If you think about it, hip hop actually fits quite well into this mold, what with the alter egos and confident swaggers. There's a song on here where they put an entertaining twist on the usual battle rap put-downs with a song about apprehending and punishing villains.
All of it's a hell of a lot of fun. The production by Phantom is low key, but really well done. It's nothing really out of the ordinary; just the usual vocal and musical samples, but damn are they catchy. Just try not to get that 70's guitar riff from the song Cursive not stuck in your head. Recluse and Reason prove able MCs, providing heady, yet humorous rhymes throughout. Both of them occasionally suffer from trying to cram too many words in without thought to the beat, but I suppose that's the style these days. There's also some entertaining guest spots on the album, most notably (at least for me) Aesop Rock and Mr. Lif. Kudos for managing to work Aesop's Bazooka Tooth moniker as part of the um...plot(?) of the song.
4/12/05
I've always had a soft spot for the somewhat amorphously named genre of geek rock. It encompasses artists from Weezer to They Might Be Giants, as well as lesser known ones like The Darkest of the Hillside Thickets (there really should be a sub genre called Cthulhu Punk). There's just something gratifying about topics like comics and role playing games that aren't really "cool" being unabashedly glorified with the pompousness of rock. Now it stands to reason that this doesn't have to be limited to one genre - why not hip hop?
Enter Grayskul, a group that you need to look no further than their name to prove their geekiness (I suppose the fact that they dropped the second L makes it more stylish or cool or something). I know comic books and other such nerdy pursuits are not new to hip hop (Perhaps I should listen to more MF Doom), but I haven't encountered a group before that's this obsessed with superheroes. I mean really, I don't think I've heard a group (of any genre) mention a utility belt in a song, much less multiple times on an album.
Superhero themed songs abound on this album (their debut), from songs about action figures coming to life to a highly amusing song with superheroes complaining about the perils of rescuing women ("No, I won't take my mask off - get away from me!"). They also take it a step further, presenting themselves as superheroes (Recluse, Reason & Phantom). If you think about it, hip hop actually fits quite well into this mold, what with the alter egos and confident swaggers. There's a song on here where they put an entertaining twist on the usual battle rap put-downs with a song about apprehending and punishing villains.
All of it's a hell of a lot of fun. The production by Phantom is low key, but really well done. It's nothing really out of the ordinary; just the usual vocal and musical samples, but damn are they catchy. Just try not to get that 70's guitar riff from the song Cursive not stuck in your head. Recluse and Reason prove able MCs, providing heady, yet humorous rhymes throughout. Both of them occasionally suffer from trying to cram too many words in without thought to the beat, but I suppose that's the style these days. There's also some entertaining guest spots on the album, most notably (at least for me) Aesop Rock and Mr. Lif. Kudos for managing to work Aesop's Bazooka Tooth moniker as part of the um...plot(?) of the song.
Funeral by The Arcade Fire
2/10/05
Deciding what music to buy is kind of a complicated process for me. I've long come down from my elitist indie high horse (for the most part) and I can begrudgingly admit there's talent outside the tiny fringes of independant music. Seriously though, even though I don't listen to the radio, I have a hard time even considering buying something that's mainstream popular. Without tackling the fact that the independent and mainstream music are blurring together more and more these days, I've noticed my prejudice seems to apply just as much to what's popular among indie circles; if for different reasons. I take the internet hype for up and coming artists with a boulder size grain of salt, because I'd be broke if I went out and bought every album that was categorized as Best New Music on Pitchfork. Not to mention the fact that what's popular doesn't actually have anything to do with whether I like it or not. While there's plenty of independant music out there that I like, there are plenty of indie rock's poster children that simply bore me.
This brings us to the album at hand, which seems to be the unanimous top indie album of 2004, and which as far as I can tell the mainstream knows nothing about (of course, it could and I would never know, what with my self imposed radio and television blackout). The Arcade Fire's Funeral has been at or near the top of every top 10, 25, 50 and 100 list I've seen recently. So I decided, what the hell, I need to find out what the fuss is all about. My reaction? Ok, you know the scene from High Fidelity when John Cusack asks what's playing in the store and Jack Black responds that it's by the shoplifting skateboard punks across the street? He tries to say something negative and then failing that begrudgingly sighs: "It's....really fucking good". That about sums it up. No kidding around, I can't get this album out of my head, and not because it's catchy (even though it is). I can see why every reviewer has dropped the cynical pretense and talked seriously about this album. It's beautiful music that's sad, angry and even inspiring. I'd say more, but whatever else I could say has already been said many, many times and by people with much more indie cred than me. It's just simply an excellent album.
2/10/05
Deciding what music to buy is kind of a complicated process for me. I've long come down from my elitist indie high horse (for the most part) and I can begrudgingly admit there's talent outside the tiny fringes of independant music. Seriously though, even though I don't listen to the radio, I have a hard time even considering buying something that's mainstream popular. Without tackling the fact that the independent and mainstream music are blurring together more and more these days, I've noticed my prejudice seems to apply just as much to what's popular among indie circles; if for different reasons. I take the internet hype for up and coming artists with a boulder size grain of salt, because I'd be broke if I went out and bought every album that was categorized as Best New Music on Pitchfork. Not to mention the fact that what's popular doesn't actually have anything to do with whether I like it or not. While there's plenty of independant music out there that I like, there are plenty of indie rock's poster children that simply bore me.
This brings us to the album at hand, which seems to be the unanimous top indie album of 2004, and which as far as I can tell the mainstream knows nothing about (of course, it could and I would never know, what with my self imposed radio and television blackout). The Arcade Fire's Funeral has been at or near the top of every top 10, 25, 50 and 100 list I've seen recently. So I decided, what the hell, I need to find out what the fuss is all about. My reaction? Ok, you know the scene from High Fidelity when John Cusack asks what's playing in the store and Jack Black responds that it's by the shoplifting skateboard punks across the street? He tries to say something negative and then failing that begrudgingly sighs: "It's....really fucking good". That about sums it up. No kidding around, I can't get this album out of my head, and not because it's catchy (even though it is). I can see why every reviewer has dropped the cynical pretense and talked seriously about this album. It's beautiful music that's sad, angry and even inspiring. I'd say more, but whatever else I could say has already been said many, many times and by people with much more indie cred than me. It's just simply an excellent album.
Analord 10 by Aphex Twin
1/26/05
You may be wondering why I would write a review of a 2 song EP when there are so many full length albums out there that I'm not getting around to. Why? Because it's Aphex Twin, that's why. I freely admit that I pirated these two songs and I don't feel the least bit guilty. Why? Because Richard D. James (Aphex Twin) is an asshole. The songs are only available (at least at the moment) on a sold out, limited edition vinyl release that costs somewhere around $75 (depends on the exchange rate from pounds). Granted, the fact that he's a jerk is old news. That always was part of the whole cult of personality, the multiple recording monkikers, that overdone scary grin of his pasted on album covers, etc. The fact that he's messing with everyone is kind of a given, in fact part of the charm. Being that his output has been rather sparse since his heyday in the mid 90's, that image has become slightly more tiresome. His last official release, a double album that had just as many boring piano interludes (whether or not they are filler is another discussion) as the electronic music he's known for, made you wonder whether the two CD set was a financial choice instead of a creative one. A compilation of remixes amusingly called 26 Mixes for Cash didn't exactly dispute that impression. I'd personally gotten to the point where I assumed he'd run out of ideas and was simply milking the gravy train dry.
This Analord thing would have been the last nail on the has-been coffin except for one tiny little detail. The songs are damn good. They don't break any new ground or anything, they're just simply good solid songs. Oddly accessible too, they're not getting radio airplay anytime soon, but they're (relatively) easy to get into. I had gotten quite bored with the "let's see how many beats we can cram into a song with no structure" school of electronic music (I'm talking to you Squarepusher) and he sidesteps that nicely on these tracks. They actually seem to follow in the vein of the songs on Drukqs (previous album), but they're more cohesive. There's also some nice old school synth stuff going on in there, and I'm a sucker for that sort of thing. I know it's only two songs, but there's supposedly 9 more of these coming (it's apparently part of a series). If they're all like this and they come out on CD, I just might hand over more money to that smug bastard. I can just see that grin now...
1/26/05
You may be wondering why I would write a review of a 2 song EP when there are so many full length albums out there that I'm not getting around to. Why? Because it's Aphex Twin, that's why. I freely admit that I pirated these two songs and I don't feel the least bit guilty. Why? Because Richard D. James (Aphex Twin) is an asshole. The songs are only available (at least at the moment) on a sold out, limited edition vinyl release that costs somewhere around $75 (depends on the exchange rate from pounds). Granted, the fact that he's a jerk is old news. That always was part of the whole cult of personality, the multiple recording monkikers, that overdone scary grin of his pasted on album covers, etc. The fact that he's messing with everyone is kind of a given, in fact part of the charm. Being that his output has been rather sparse since his heyday in the mid 90's, that image has become slightly more tiresome. His last official release, a double album that had just as many boring piano interludes (whether or not they are filler is another discussion) as the electronic music he's known for, made you wonder whether the two CD set was a financial choice instead of a creative one. A compilation of remixes amusingly called 26 Mixes for Cash didn't exactly dispute that impression. I'd personally gotten to the point where I assumed he'd run out of ideas and was simply milking the gravy train dry.
This Analord thing would have been the last nail on the has-been coffin except for one tiny little detail. The songs are damn good. They don't break any new ground or anything, they're just simply good solid songs. Oddly accessible too, they're not getting radio airplay anytime soon, but they're (relatively) easy to get into. I had gotten quite bored with the "let's see how many beats we can cram into a song with no structure" school of electronic music (I'm talking to you Squarepusher) and he sidesteps that nicely on these tracks. They actually seem to follow in the vein of the songs on Drukqs (previous album), but they're more cohesive. There's also some nice old school synth stuff going on in there, and I'm a sucker for that sort of thing. I know it's only two songs, but there's supposedly 9 more of these coming (it's apparently part of a series). If they're all like this and they come out on CD, I just might hand over more money to that smug bastard. I can just see that grin now...
The Painter's Palette by Ephel Duath
12/14/04
First let me say that I am not what you would call a metal fan. I find the posturing involved with most metal music rather silly. It, like punk, has a bajillion sub genres that I don't have the foggiest idea how to distinguish between. Nonetheless I have to admit to a mild fondness for the music. If I ignore the lyrics and the overwrought band, album, and song titles, I can get into it every now and then. I was listening to The Painter's Palette by Ephel Duath today, and I was quite enjoying it. I found it on eMusic last winter and it's an interesting album. First off, the name is a Tolkien reference; it's the name of the mountain range surrounding Mordor (post Peter Jackson I like seeing references that actually involve having read the book). The music isn't your basic metal (not that I really know what that is), it mixes in bits of jazz fusion-ish bits with flourishes like the occasional screeching saxophone. Don't be fooled though, it's still metal; you're assaulted by lot's of thrashing guitars and double-kick drums accompanied by generous helpings of the requisite screaming. For most part I can't understand the lyrics so I can't comment on their potential pretentiousness/cheesiness. All of this adds up to an entertaining album that was getting me through the duller part of my day.
12/14/04
First let me say that I am not what you would call a metal fan. I find the posturing involved with most metal music rather silly. It, like punk, has a bajillion sub genres that I don't have the foggiest idea how to distinguish between. Nonetheless I have to admit to a mild fondness for the music. If I ignore the lyrics and the overwrought band, album, and song titles, I can get into it every now and then. I was listening to The Painter's Palette by Ephel Duath today, and I was quite enjoying it. I found it on eMusic last winter and it's an interesting album. First off, the name is a Tolkien reference; it's the name of the mountain range surrounding Mordor (post Peter Jackson I like seeing references that actually involve having read the book). The music isn't your basic metal (not that I really know what that is), it mixes in bits of jazz fusion-ish bits with flourishes like the occasional screeching saxophone. Don't be fooled though, it's still metal; you're assaulted by lot's of thrashing guitars and double-kick drums accompanied by generous helpings of the requisite screaming. For most part I can't understand the lyrics so I can't comment on their potential pretentiousness/cheesiness. All of this adds up to an entertaining album that was getting me through the duller part of my day.
Summer in Abaddon by Pinback
11/29/04
Pinback is like candy for me. I like sugar so much that I tend to eat too much candy and then I feel sick. Every time I listen to one Pinback album I end up listening to all of them because they're so addictive. Then I have to wait a while before picking it up again so I don't get sick of them. They have such a unique sound that I can't duplicate the mood that their songs produce with any other music. I have the same problem with Boards of Canada (who really need to put out another album). The one drawback to this is that there isn't much variety to Pinback's music, which brings me to their current album. Throughout their so far short career their music has been slowly evolving and being refined, but yet a song from their current album wouldn't sound out of place on their first. All of their songs kind of run together in my head (this is why I never understood why Blue Screen Life, their second full length, was so maligned). Now if this trend of similarity continues on future albums, I may start to get bored of the formula. For the time being however, I'm just happy to have more candy.
11/29/04
Pinback is like candy for me. I like sugar so much that I tend to eat too much candy and then I feel sick. Every time I listen to one Pinback album I end up listening to all of them because they're so addictive. Then I have to wait a while before picking it up again so I don't get sick of them. They have such a unique sound that I can't duplicate the mood that their songs produce with any other music. I have the same problem with Boards of Canada (who really need to put out another album). The one drawback to this is that there isn't much variety to Pinback's music, which brings me to their current album. Throughout their so far short career their music has been slowly evolving and being refined, but yet a song from their current album wouldn't sound out of place on their first. All of their songs kind of run together in my head (this is why I never understood why Blue Screen Life, their second full length, was so maligned). Now if this trend of similarity continues on future albums, I may start to get bored of the formula. For the time being however, I'm just happy to have more candy.
A Name Writ in Water by The One AM Radio
10/15/04
The second night I was staying at the hostel in Kyleakin on the Isle of Skye (this was the hostel where I met Kirstin) I was talking to this girl about a film she did for film school. She showed me parts of it (through the view screen of her camcorder) and while it didn't make too much of impression, the music she used in it did. One of the bands was The One AM Radio (at least I think this is the one). I tried finding it when I got home from Europe, but had no luck. About a week ago I happened to come across this album on eMusic so I downloaded. It's actually pretty good. It's all very slow moving stuff, lot's of drifting songs with sparse instrumentation and quiet singing.. It relies heavily on electronic instrumentation along with guitar and violin but doesn't come off sounding too electronic. Now, I'm not trying to put down electronica, it's a major staple of my musical diet, I just like the way this sounds. Nothing groundbreaking, I just really like it.
10/15/04
The second night I was staying at the hostel in Kyleakin on the Isle of Skye (this was the hostel where I met Kirstin) I was talking to this girl about a film she did for film school. She showed me parts of it (through the view screen of her camcorder) and while it didn't make too much of impression, the music she used in it did. One of the bands was The One AM Radio (at least I think this is the one). I tried finding it when I got home from Europe, but had no luck. About a week ago I happened to come across this album on eMusic so I downloaded. It's actually pretty good. It's all very slow moving stuff, lot's of drifting songs with sparse instrumentation and quiet singing.. It relies heavily on electronic instrumentation along with guitar and violin but doesn't come off sounding too electronic. Now, I'm not trying to put down electronica, it's a major staple of my musical diet, I just like the way this sounds. Nothing groundbreaking, I just really like it.
Whole Numbers Play The Basics by Casino Vs. Japan
10/09/04
10/09/04