Damn straight I'm reviewing Bob Dylan's Christmas in the Heart to close out this 22 reviews in 22 weekdays during October project I set before myself.
Above, Must Be Santa Claus, and yes, that is Bob Dylan rocking out with the Polka arrangement (first done by Brave Combo). Thankfully (or unfortunately, depending on your accordion tolerance level), there are no other polka versions on this album, one is unexpected campy fun, more wouldn't be.
Given that all the songs are well known standards that just about every major commercial artist under the sun has taken a crack at, there are a few questions any performer has to ask of themselves before hitting the recording booth (unless they're just after a holiday-themed paycheck, in which case, the only question is how to promote the sucker and get prominently displayed in all the major retailers).
Those questions:
What would be unique about my performance?
Do I love and respect this material?
Will my existing fans enjoy this excursion down nostalgia lane?
Will this appeal beyond my own fan base?
As far as Dylan goes, I think only one of those questions mattered to him personally, and that is, "Do I love and respect this material?", and his answer is a pure unadulterated yes. I don't think there's ever been a more sincerely felt Christmas album released, period. There's a palpable sense that Dylan loves this music with a simple, open hearted sincerity.
As far as the other questions go, "What would be unique about my performance?", well, Dylan's vocal style, matched with these ultra traditional arrangements is definitely unique. Whether that's a plus, or a minus, is up to each listener to judge. For me, while the concept seems discordant, the results are harmonious. The super slick and old fashioned arrangements are at such odds with his gravelly and eccentric phrasing, that there's an unexpected tension brought to every line that's sung. His presence brings a new context to each of these songs, even as he presents them in the most traditional of arrangements and orchestrations.
As far as the third and fourth question, "Will my fans like it, and will I attract new fans", I think this album will be considered a failure. Dylan fans aren't likely to appreciate how sincerely he loves the kind of music that they themselves likely sneered at as teens and adults back in the 60s and 70s. Like his excursion into Gospel and Country, that Dylan is not the Dylan that most Dylan fans adore and respect. The people that would enjoy the unabashedly pre-rock era feel to the musical arrangement (and especially the back-up singers, who sound borrowed from Mitch Miller, or Lawrence Welk) will be turned off by Dylan's gravelly growl.
Personally, I like the tension between these two things, a straight up Dylan folk album has no appeal to me personally, but neither does a traditional Christmas album with a sweeter voiced singer in the lead. This jarring melding of two styles that would seem to have little in common, or little likelihood of mating easily, actually gives this album its appeal.
This album succeeds (at least to my ears), because of Dylan's sincerity. If there was a hint of ironic detachment, or if it seemed Dylan was just trying to cash in on Christmas spending, this would be a disaster. There's none of that, the title of the album is apt, Dylan loves this music, wholeheartedly, if he didn't have "Christmas in the Heart", he wouldn't have been able to pull this off. There are moments that almost sound ridiculous, but Dylan's enthusiasm saves him from sounding like a bizarre karaoke act.
I think it's that sincerity that turns off some reviewers (like the one Althouse linked when the album was released two weeks ago), but that review was a review of the concept of a Dylan Christmas album rather than the particular execution of such a project. There is no conceivable convergence of Christmas album and Bob Dylan that a reviewer like that one would have liked, so he used his review as an excuse to try out a few one-liners.
This album's not for everyone, but, it's unique, and once you get past the shock of the concept of it, I think it begins to make sense, and it has the benefit of being the product of an unaffected joy, coupled with love of the material. That kind of purity of purpose you don't come across every day when shopping for Christmas tunes. So, you could do worse, or you could dig up the original versions of these tunes if you can't get past his voice with these songs, but as a collection of traditional tunes, presented affectionately and passionately, you aren't going to do better.
Showing posts with label Music Reviews. Show all posts
Showing posts with label Music Reviews. Show all posts
30 October 2009
29 October 2009
BLOGTOBER 2009: Music Reviews (21 of 22) Dead By Sunrise, Out of Ashes
Out of Ashes, from Dead By Sunrise is the first album from the side project of Linkin Park's lead singer, and members of "death pop" band, Orgy.
Not the most auspicious of lineage, yet this album does rock pretty damn hard.
Crawl Back In, above, is pretty typical of what you get on the rest of the album. There's more than a touch of 90s grunge, there's a fair amount of 80s hair metal hooks, and for good measure, a hint of 00s flavored emo, all thrown into a blender, topped with Chester Bennington's solid vocals.
It's slick stuff, but in a good way. If you've got a hankering for well executed pop flavored hard rock, you could do a lot worse than download this beast.
Not the most auspicious of lineage, yet this album does rock pretty damn hard.
Crawl Back In, above, is pretty typical of what you get on the rest of the album. There's more than a touch of 90s grunge, there's a fair amount of 80s hair metal hooks, and for good measure, a hint of 00s flavored emo, all thrown into a blender, topped with Chester Bennington's solid vocals.
It's slick stuff, but in a good way. If you've got a hankering for well executed pop flavored hard rock, you could do a lot worse than download this beast.
28 October 2009
BLOGTOBER 2009: Music Reviews (20 of 22) Tegan and Sara, Sainthood
Hell - Tegan and Sara
Tegan and Sara MySpace Video
It's an enjoyable album, one I think other reviewers are crediting with complexity and depth that isn't actually there. A song like On Directing is well written with a nice hook, but when I first heard it, my thought wasn't that is some groundbreakingly complex alterna-pop, my first thought was, this would be a lot more interesting if it were on the Selena Gomez album (and there are a lot more similarities with that album, and this one, than there are differences)
This whole album is well done current version art pop, that has a tendency to sound an awful lot like well done early 80s version art pop. Good thing I like early 80s art pop. The best summary I can think of for this album is that it's "art music for pop people", and it's "pop music for art people". What makes this album interesting is that there is no tension between those two states, it's both those things at the same time.
27 October 2009
BLOGTOBER 2009: Music Reviews (19 of 22) Wolfmother, Cosmic Egg
Above, the video for New Moon Rising from Wolfmother's latest, Cosmic Egg.
It's a fine album, even after a major line-up change, the same Wolfmother formula comes through. The songs are propulsive, hard, and perfect for when you want some uncomplicated metal noisiness in your life.
The Deluxe edition is 16 songs of crunchy chorded goodness (double CD in physical media, but if you follow the above link you can buy the mp3 download for the same price as the 8 song version, so go ahead and treat yourself to the extra album of material). None of the songs are exactly essential, but none of them are throwaways, either. It might have been tighter as a single 10 or 11 track CD, but the I wouldn't be able to decide which tracks to cut, so I'm glad they just put them out there for folks to hear.
26 October 2009
BLOGTOBER 2009: Music Reviews (18 of 22) Q-Tip, Kamaal/The Abstract
Q-Tip's follow up to his 1999 solo debut, The Renaissance, was originally slated to come out in 2002, but Kamaal/The Abstract got shelved by the label cause they didn't think a jazzy-fusiony-electronicaish release from Q-Tip had much commercial potential.
Luckily, with the massive downturn in music sales, suddenly modest sales goals seem worth pursuing.
It's a fantastic album, it's more in line with the kind of acid jazz that was almost popular in the early 90s from the likes of US3, Digable Planets, and Brand New Heavies.
Currently, you can stream the whole album at Q-Tip's myspace page, so give it a spin. It's far heavier on the jazz side of the equation than it is on the hip hop, but it's well executed, well performed, hook driven, jazz, so nobody should let its jazziness scare them away.
It's a shame there's no market for this kind of stuff, but seems the musical vocabulary that's acceptable within radio friendly hip-hop/rap has been extremely narrow for the past couple of decades. The sound changes, but whatever the sound of the moment is, that's the only sound you'll hear on the radio, so any 'rap' artist that tries to expand those boundaries is going to get shut out, and other outlets also are dismissive of embracing a 'rap' artist, assuming all they're putting out is the currently popular style.
Only four weekdays left in BLOGTOBER, I'm hoping to listen to Wolfmother's new album tomorrow, and I'll wind up this project by reviewing Dylan's Christmas album on Friday, you'll just have to tune in and find out what Wednesday and Thursday will bring.
Luckily, with the massive downturn in music sales, suddenly modest sales goals seem worth pursuing.
It's a fantastic album, it's more in line with the kind of acid jazz that was almost popular in the early 90s from the likes of US3, Digable Planets, and Brand New Heavies.
Currently, you can stream the whole album at Q-Tip's myspace page, so give it a spin. It's far heavier on the jazz side of the equation than it is on the hip hop, but it's well executed, well performed, hook driven, jazz, so nobody should let its jazziness scare them away.
It's a shame there's no market for this kind of stuff, but seems the musical vocabulary that's acceptable within radio friendly hip-hop/rap has been extremely narrow for the past couple of decades. The sound changes, but whatever the sound of the moment is, that's the only sound you'll hear on the radio, so any 'rap' artist that tries to expand those boundaries is going to get shut out, and other outlets also are dismissive of embracing a 'rap' artist, assuming all they're putting out is the currently popular style.
Only four weekdays left in BLOGTOBER, I'm hoping to listen to Wolfmother's new album tomorrow, and I'll wind up this project by reviewing Dylan's Christmas album on Friday, you'll just have to tune in and find out what Wednesday and Thursday will bring.
23 October 2009
BLOGTOBER 2009: Music Reviews (17 of 22) Kings of Convenience, Declaration of Dependence
Declaration of Dependence, the latest from Kings of Convenience, Norway's favorite indie folk-pop duo, hit stores this week.
The track, Boat Behind (video above), gives some idea of their style. They make excellent use of strings, an acoustic bass, on that track. There's a nicely executed organic feel to the whole project, and their voices blend perfectly. Two part harmonies that sound this effortless are rare to come by. Mrs. Cold is another fine track, all the elements work together really well.
This sort of pop is easy to get wrong, these Norsemen manage to keep it simple, and simply beautiful. Their style is extremely economical, nothing is wasted, there's no fat, just the good stuff (I'll try and do the same with my review, in sum, the whole album is full of good stuff, if either video appeals, you'll like the rest of it).
The track, Boat Behind (video above), gives some idea of their style. They make excellent use of strings, an acoustic bass, on that track. There's a nicely executed organic feel to the whole project, and their voices blend perfectly. Two part harmonies that sound this effortless are rare to come by. Mrs. Cold is another fine track, all the elements work together really well.
This sort of pop is easy to get wrong, these Norsemen manage to keep it simple, and simply beautiful. Their style is extremely economical, nothing is wasted, there's no fat, just the good stuff (I'll try and do the same with my review, in sum, the whole album is full of good stuff, if either video appeals, you'll like the rest of it).
22 October 2009
BLOGTOBER 2009: Music Reviews (16 of 22) Sherwood, QU
One of the side benefits of this project I've assigned myself of reviewing a new(ish) album each weekday during the month of October, has been that I've gone deeper into the ZunePass catalog, listening to bands that I might otherwise have skipped.
Some, have been deleted quickly after the first run through, others have found their way into my current rotation, and a few others have lead me to seek out older work from that artist, cause their latest is solid work.
That's the case for Sherwood, their latest QU, is a solid bit of indie-rock goodness. They come from up the coast (SLO town, reprezant!) and for the past few years they've put out a couple of excellent albums.
Above, the band running through, You Are, from QU, it's a live run through, a little different from the recorded version, but not much. It shows off their style, and strengths. Solid musicianship, decent hooks (I'm really into hooks lately, can't help it), and the occasional harmony.
Another lively live session for their song, Not Gonna Love, and the same strengths can be heard on this track. The studio version on the album has a lot more pop polish, and in this case it helps, but the version in the video is pretty good, too.
Their sound isn't groundbreaking, but it's got a freshness, openness, and sincerity that a lot of other indie bands lack (I'm looking at you all you 'cooler than thou' bands that come out of the various boroughs of NYC). In press, they cite The Beach Boys as a major influence and inspiration, and it's evident in their approach.
It's indie music, without any darkness, it's sunny, and laid back, just like the town that spawned them.
Some, have been deleted quickly after the first run through, others have found their way into my current rotation, and a few others have lead me to seek out older work from that artist, cause their latest is solid work.
That's the case for Sherwood, their latest QU, is a solid bit of indie-rock goodness. They come from up the coast (SLO town, reprezant!) and for the past few years they've put out a couple of excellent albums.
Above, the band running through, You Are, from QU, it's a live run through, a little different from the recorded version, but not much. It shows off their style, and strengths. Solid musicianship, decent hooks (I'm really into hooks lately, can't help it), and the occasional harmony.
Another lively live session for their song, Not Gonna Love, and the same strengths can be heard on this track. The studio version on the album has a lot more pop polish, and in this case it helps, but the version in the video is pretty good, too.
Their sound isn't groundbreaking, but it's got a freshness, openness, and sincerity that a lot of other indie bands lack (I'm looking at you all you 'cooler than thou' bands that come out of the various boroughs of NYC). In press, they cite The Beach Boys as a major influence and inspiration, and it's evident in their approach.
It's indie music, without any darkness, it's sunny, and laid back, just like the town that spawned them.
21 October 2009
BLOGTOBER 2009: Music Reviews (15 of 22) MoZella, Belle Isle
In today's edition of BLOGTOBER Music Reviews, I'm trying out MoZella's Belle Isle.
Above, the video for Magic (Oh Oh Oh), if you are wondering why it sounds familiar even though you've never heard of MoZella before, it's cause this song is on a Verizon commercial. Her big break a few years back was when Mercedes picked one of her songs for a big campaign, and her music has been used for Nivea commercial, too.
The whole album is background to a commercial or Teen Drama friendly, and that's not meant as an insult. Each song has a strong hook, well performed vocals, and an easy feel. Nothing wrong with an artist getting paid, and with the collapsing music industry, artists have to get their voices heard any way they can.
Can't imagine this being anyone's favorite album, but it's also not an album that you can find a lot of faults with. It's middle of the road in every way, but it's perfectly executed middle of the road music, and there's a place for that sort of thing (as a nice hook to hang an ad campaign on, apparently). This is a very solid album, polished in every aspect (maybe a touch too polished, for my tastes).
She has a series of "Under the Covers" videos posted on her YouTube account, and they're pretty interesting. She's got a nice vocal style, that holds together when stripped down to just her and a guitar. In some ways I like her in stripped down coffee house mode better than the studio stuff, her voice is compelling enough to not need everything else going on around it.
Above, the video for Magic (Oh Oh Oh), if you are wondering why it sounds familiar even though you've never heard of MoZella before, it's cause this song is on a Verizon commercial. Her big break a few years back was when Mercedes picked one of her songs for a big campaign, and her music has been used for Nivea commercial, too.
The whole album is background to a commercial or Teen Drama friendly, and that's not meant as an insult. Each song has a strong hook, well performed vocals, and an easy feel. Nothing wrong with an artist getting paid, and with the collapsing music industry, artists have to get their voices heard any way they can.
Can't imagine this being anyone's favorite album, but it's also not an album that you can find a lot of faults with. It's middle of the road in every way, but it's perfectly executed middle of the road music, and there's a place for that sort of thing (as a nice hook to hang an ad campaign on, apparently). This is a very solid album, polished in every aspect (maybe a touch too polished, for my tastes).
She has a series of "Under the Covers" videos posted on her YouTube account, and they're pretty interesting. She's got a nice vocal style, that holds together when stripped down to just her and a guitar. In some ways I like her in stripped down coffee house mode better than the studio stuff, her voice is compelling enough to not need everything else going on around it.
20 October 2009
BLOGTOBER 2009: Music Reviews (14 of 22) Bebel Gilberto, All In One
Bebel Gilberto's new album, All In One, came out last month, and it's a good one.
At this time (don't know how much longer), Ela (On My Way), is available for FREE from Amazon, so at least download that track.
It's a bit retro-bossa nova, a bit retro-soul, a bit jazzy, and it's all held together by Bebel's breathy vocals. She's better singing in her native tongue, than in English, but that's not to say her songs in English are bad, they just aren't as good as the songs she sings in Portuguese. This album respects its musical predecessors, without being confined by the genres that spawned it. It's both original and familiar, and throughout there's a playfulness that's refreshing.
All the songs go down easy, like a [insert simile here that evokes a Carioca street scene, and depending on your tolerance for dirty talk, may include references to prostitution, or if you a more PG-rated simile, a perfectly mixed Caipirinha].
At this time (don't know how much longer), Ela (On My Way), is available for FREE from Amazon, so at least download that track.
It's a bit retro-bossa nova, a bit retro-soul, a bit jazzy, and it's all held together by Bebel's breathy vocals. She's better singing in her native tongue, than in English, but that's not to say her songs in English are bad, they just aren't as good as the songs she sings in Portuguese. This album respects its musical predecessors, without being confined by the genres that spawned it. It's both original and familiar, and throughout there's a playfulness that's refreshing.
All the songs go down easy, like a [insert simile here that evokes a Carioca street scene, and depending on your tolerance for dirty talk, may include references to prostitution, or if you a more PG-rated simile, a perfectly mixed Caipirinha].
19 October 2009
BLOGTOBER 2009: Music Reviews (13 of 22) Karen O and the Kids, Where the Wild Things Are Soundtrack
Karen O, of the Yeah Yeah Yeahs, has put together a bunch of original songs to go along with the recently released Spike Jonze adaptation of Where the Wild Things Are.
At first blush, it seems as odd of a choice as Spike doing the film in the first place, and looking for music that stands on its own outside of the context of a kids movie is also something that seems like a bad idea.
In this case, though, it's not. The tracks created are interesting, varied, and are enjoyable as songs in of themselves. I think the constraint of trying to fit her style into this context has actually helped Karen O's performance and musical instincts. Her singing is sweeter, less affected than what you find on any Yeah Yeah Yeahs' album, and while the same 'indie' spirit is evident to the arrangements, the melodies are generally more emotionally connected than her other work (and I say that as a fan, they are great at what they do, but there is a coolness and an overtly mannered disaffected pose at work with the Yeah Yeah Yeahs that isn't present here).
The main theme, All Is Love, is a standout track, as is the quieter more contemplative, Hideaway, and the song Animal hits the right rumpus-y tone, without going too far crazy with it.
There's a twanginess to Karen's vocal delivery that suggests she has an amazing rootsy/rockabilly country album in her should she ever decide to go in that direction for an album or two.
So, even if the idea of turning Sendak's short (and narratively extremely simple) children's book into a completely different Hollywood film appalls you, you shouldn't let that keep you from checking out the soundtrack.
At first blush, it seems as odd of a choice as Spike doing the film in the first place, and looking for music that stands on its own outside of the context of a kids movie is also something that seems like a bad idea.
In this case, though, it's not. The tracks created are interesting, varied, and are enjoyable as songs in of themselves. I think the constraint of trying to fit her style into this context has actually helped Karen O's performance and musical instincts. Her singing is sweeter, less affected than what you find on any Yeah Yeah Yeahs' album, and while the same 'indie' spirit is evident to the arrangements, the melodies are generally more emotionally connected than her other work (and I say that as a fan, they are great at what they do, but there is a coolness and an overtly mannered disaffected pose at work with the Yeah Yeah Yeahs that isn't present here).
The main theme, All Is Love, is a standout track, as is the quieter more contemplative, Hideaway, and the song Animal hits the right rumpus-y tone, without going too far crazy with it.
There's a twanginess to Karen's vocal delivery that suggests she has an amazing rootsy/rockabilly country album in her should she ever decide to go in that direction for an album or two.
So, even if the idea of turning Sendak's short (and narratively extremely simple) children's book into a completely different Hollywood film appalls you, you shouldn't let that keep you from checking out the soundtrack.
16 October 2009
BLOGTOBER 2009: Music Reviews (12 of 22) MeShell NdegeOcello, Devil's Halo
Above, a recent interview with the greatest bassist alive, in support of her latest, Devil's Halo.
This is MeShell in pissed off bitter mood, like her album from a decade ago, the aptly titled Bitter.
Like on that album, these songs provide equal doses of sadness, bitterness, and beauty. It's not a concoction for everyone, nor is it the kind of album you're going to throw on at a party or make a part of your workout mix.
What you do have is amazing musicianship, well crafted grooves, and silky vocals.
It's easy to run out of superlatives when trying to describe how incredibly well she does what she does, and how raw and open she is in her songwriting and vocal performances. There's nobody else like her.
Yet, that doesn't mean I expect everyone to download this album, it's challenging stuff, and people use music in their lives for a variety of personal reasons. So you may be turned off by all the things that I find so amazing.
15 October 2009
BLOGTOBER 2009: Music Reviews (11 of 22) Nellie McKay, Normal as Blueberry Pie: A Tribute to Doris Day
If you like this album, you're probably a racist!
Nellie McKay doing the tribute album thing with songs popularized by Doris Day is an interesting choice. Vocally, and stylistically, there's a fit, but content-wise and narratively speaking it's a big shift in attitude compared to her past work.
There has to be something different enough about the 'tribute' versions to make them compelling enough not to dig up the original recordings. Rather than trying to out sing Doris Day, McKay sticks with a traditional vocal style while surrounding those vocals in stripped down settings when compared to the big band sound of the original recordings.
Here's a direct comparison of their differing approaches on The Very Thought of You
It's a smart approach, it works well, and it makes this an album both a worthy tribute to an artist she clearly admires, as well as a work that stands on its own as something new and fresh.
Bet you were wondering when I'd get around to explaining the first sentence of this post. Well, the above video is Ms. McKay explaining why then about to be inaugurated Pres. Obama needed to resist the inexorable lurch rightward experienced by left of center candidates once they take power.
Wonder if she's pleased or upset with Pres. Obama in the near nine months that have passed since then?
Wonder if we'll see a story soon about an 'inaugural baby boom' as lefty Obamatons got so caught up in Hope n' Change last January that they couldn't keep their hands and genitals off of each other?
(unlike folks on the left, I can enjoy an artists work, irrespective of their political viewpoint, and I respect their right to voice that opinion, and wouldn't attempt to limit their business opportunities just because I don't like their politics)
(that's as close as I'll come to commenting on the Rush Limbaugh/St.Louis Rams nonsense)
(if this makes it more likely that an L.A. based group will get control of that team and bring them here, all I have to say is, YOU BASTARDS!)
And if it isn't obvious, anyone who likes Doris Day music from the 40s and 50s must be a racist given that I bet a bunch of those evil segregationist loved Doris back in the day and bought her records over buying superior versions of the same songs by artists like Nat King Cole, Billie Holliday and Ella Fitzgerald.
So, while this is a good album, Nellie McKay must be a racist, or is cynically trying to snap up the racist dollar (and since so many Americans are still racist, that's a good business move), or else she would have made a tribute to Ella or Billie, instead.
This is a fine album, but it's just the kind of thing that if some country singer who had made some odd comments about Pres. Obama, then Nellie McKay and her like would have called them racist.
Nellie McKay doing the tribute album thing with songs popularized by Doris Day is an interesting choice. Vocally, and stylistically, there's a fit, but content-wise and narratively speaking it's a big shift in attitude compared to her past work.
There has to be something different enough about the 'tribute' versions to make them compelling enough not to dig up the original recordings. Rather than trying to out sing Doris Day, McKay sticks with a traditional vocal style while surrounding those vocals in stripped down settings when compared to the big band sound of the original recordings.
Here's a direct comparison of their differing approaches on The Very Thought of You
It's a smart approach, it works well, and it makes this an album both a worthy tribute to an artist she clearly admires, as well as a work that stands on its own as something new and fresh.
Bet you were wondering when I'd get around to explaining the first sentence of this post. Well, the above video is Ms. McKay explaining why then about to be inaugurated Pres. Obama needed to resist the inexorable lurch rightward experienced by left of center candidates once they take power.
Wonder if she's pleased or upset with Pres. Obama in the near nine months that have passed since then?
Wonder if we'll see a story soon about an 'inaugural baby boom' as lefty Obamatons got so caught up in Hope n' Change last January that they couldn't keep their hands and genitals off of each other?
(unlike folks on the left, I can enjoy an artists work, irrespective of their political viewpoint, and I respect their right to voice that opinion, and wouldn't attempt to limit their business opportunities just because I don't like their politics)
(that's as close as I'll come to commenting on the Rush Limbaugh/St.Louis Rams nonsense)
(if this makes it more likely that an L.A. based group will get control of that team and bring them here, all I have to say is, YOU BASTARDS!)
And if it isn't obvious, anyone who likes Doris Day music from the 40s and 50s must be a racist given that I bet a bunch of those evil segregationist loved Doris back in the day and bought her records over buying superior versions of the same songs by artists like Nat King Cole, Billie Holliday and Ella Fitzgerald.
So, while this is a good album, Nellie McKay must be a racist, or is cynically trying to snap up the racist dollar (and since so many Americans are still racist, that's a good business move), or else she would have made a tribute to Ella or Billie, instead.
This is a fine album, but it's just the kind of thing that if some country singer who had made some odd comments about Pres. Obama, then Nellie McKay and her like would have called them racist.
14 October 2009
BLOGTOBER 2009: Music Reviews (10 of 22) The Flaming Lips, Embryonic
...and now for something completely different, it's The Flaming Lips with their latest, Embryonic.
It's a big sprawling mess of an album, in a good way.
How messy? Messy enough to include the above song (which is charmingly messy, in my opinion). Tells you a lot about this band that they choose this as their first official video from this album.
It's rare for me to be at a loss in trying to describe what other albums and acts a particular new release resembles. The Flaming Lips are pretty unique, and like all things unique, they aren't for everyone, nor are they trying to be. There are hints of other bands, but only hints, and the overall feeling is all its own.
This album does not invite you in, it seems to exist primarily for the amusement of the musicians themselves. This is not a radio friendly (not even NPR friendly) unit pusher, nor will you be hearing these tracks selling electronic devices or in the background of your favorite show on network television.
Not that there's anything wrong with music that is radio or CW show friendly, but sometimes it's interesting to explore music that isn't.
This isn't an album I can recommend or not recommend, it's something you kind of have to listen to yourself to decide if it's an indulgent mess, or a courageously risky expression of artistic individualism.
It's a big sprawling mess of an album, in a good way.
How messy? Messy enough to include the above song (which is charmingly messy, in my opinion). Tells you a lot about this band that they choose this as their first official video from this album.
It's rare for me to be at a loss in trying to describe what other albums and acts a particular new release resembles. The Flaming Lips are pretty unique, and like all things unique, they aren't for everyone, nor are they trying to be. There are hints of other bands, but only hints, and the overall feeling is all its own.
This album does not invite you in, it seems to exist primarily for the amusement of the musicians themselves. This is not a radio friendly (not even NPR friendly) unit pusher, nor will you be hearing these tracks selling electronic devices or in the background of your favorite show on network television.
Not that there's anything wrong with music that is radio or CW show friendly, but sometimes it's interesting to explore music that isn't.
This isn't an album I can recommend or not recommend, it's something you kind of have to listen to yourself to decide if it's an indulgent mess, or a courageously risky expression of artistic individualism.
13 October 2009
BLOGTOBER 2009: Music Reviews (09 of 22) Worldwide Groove Corporation, Midnight Sessions
MORE COWBELL!!!
More chillout downtempo music being reviewed by me, as well. Can't help it, I love me some downtempo chilled out acid jazz action.
Worldwide Groove Corporation's, Midnight Sessions is a series of standards, like the embedded Fever+Don't Fear the Reaper mash up above. You can be assured that any downtempo jazzy combo that has the musical sensibilities and sense of humor to mash up a standard like Fever and mash it up with Blue Oyster Cult and then call attention to the need for more cowbell is a band that I will endorse heartily.
All the songs on this album were previously released on Chillodesiac Lounge, Vol. 1, looks like they've been picked up by a different label, so they've reordered the songs a bit, dropped in one extra remix, and are trying to see if folks out there are willing to actually buy copies of this album rather than just steal them.
Missed them before, noticed this 'new' release now. They're worth noticing, it's very well done for what it is. I guess they went with the Midnight Sessions name to make it sound less like a compilation, and make it more obvious that these are songs designed to set a sensuous mood.
But really, at least buy yourself a copy of the Cowbell mix of Fever, that stuff is genius.
12 October 2009
BLOGTOBER 2009: Music Reviews (08 of 22) The Raveonettes, In and Out of Control
Going a bit 'rockier' with today's BLOGTOBER 2009 music review. Columbus Day only counts as a holiday for banks and government workers, so I'm here toiling away at trying to describe what's to like about The Raveonettes latest, In and Out of Control.
I guess the first question to ask is, "which parts of this album are in control, and which are out of it?"
Short answer, it's all well under control, in a somewhat fuzztoned, hook-filled way, there's not a whole lot 'out' of control on this.
Above, Last Dance, their first single from this album, it's suitably raved up for your listening pleasure. I think this song is merely joyous, rather than a posed sort of postmodern ironically 'joyous' song (unlike the video which is very much self consciously 'faux' joyous).
There's a whole lot of wall of sound action on this album, basically a slightly twee version of early Jesus and Mary Chain is the association that comes to my mind, but your mileage may vary.
Despite the light touch, they do tackle serious subjects, Boys Who Rape (Should All Be Destroyed) is a simple little anthem about dealing with rape. It's catchy, and it's got a beat you can dance to, which is kind of odd considering it's a song about rape.
If a bouncy song about rape isn't your style, howabout a bouncy little tune about Suicide? Suicide is another catchy song, this one is about not committing suicide, so its bounciness is sort of appropriate. Some nice fuzzy surf guitar action in this song keeps it moving along.
D.r.u.g.s. is another bouncy ditty, but this time it's about dee arr gee you esss. It's not a pro-drug song, it's more or less about addiction, but mostly it's about a tight little groove with some barely there vocals whispered over the top.
If you like your vocals barely there, your guitars fuzzy, your hooks catchy, and your lyrics simple, this is your band.
No new ground for them, they do what they do, and they do it well, it's appealing on many levels, even while being a bit forgettable.
I guess the first question to ask is, "which parts of this album are in control, and which are out of it?"
Short answer, it's all well under control, in a somewhat fuzztoned, hook-filled way, there's not a whole lot 'out' of control on this.
Above, Last Dance, their first single from this album, it's suitably raved up for your listening pleasure. I think this song is merely joyous, rather than a posed sort of postmodern ironically 'joyous' song (unlike the video which is very much self consciously 'faux' joyous).
There's a whole lot of wall of sound action on this album, basically a slightly twee version of early Jesus and Mary Chain is the association that comes to my mind, but your mileage may vary.
Despite the light touch, they do tackle serious subjects, Boys Who Rape (Should All Be Destroyed) is a simple little anthem about dealing with rape. It's catchy, and it's got a beat you can dance to, which is kind of odd considering it's a song about rape.
If a bouncy song about rape isn't your style, howabout a bouncy little tune about Suicide? Suicide is another catchy song, this one is about not committing suicide, so its bounciness is sort of appropriate. Some nice fuzzy surf guitar action in this song keeps it moving along.
D.r.u.g.s. is another bouncy ditty, but this time it's about dee arr gee you esss. It's not a pro-drug song, it's more or less about addiction, but mostly it's about a tight little groove with some barely there vocals whispered over the top.
If you like your vocals barely there, your guitars fuzzy, your hooks catchy, and your lyrics simple, this is your band.
No new ground for them, they do what they do, and they do it well, it's appealing on many levels, even while being a bit forgettable.
09 October 2009
BLOGTOBER 2009: Music Reviews (07 of 22) Zero 7, Yeah Ghost
It's another downtempo/electronica outfit that's been putting out interesting stuff since the late 90s/early 00s. This time it's Zero 7's turn to pump out some fresh sounds with the release of Yeah Ghost.
Here's a link to a live session of Medicine Man from their new album. Gorgeous video, good song, gives you a sense of the feel of their latest work.
A lot of the songs are pretty damn soulful, a few are a bit twee, all have a swirl of interesting textures throughout the production. They really are masters of downtempo and moody electronica.
This is another case of a solid band doing what they do well, but it doesn't surpass their best work, and a better introduction to their work would be to seek out their fantastic first album, Simple Things (still in the running for best of 2001).
Here's a link to a live session of Medicine Man from their new album. Gorgeous video, good song, gives you a sense of the feel of their latest work.
A lot of the songs are pretty damn soulful, a few are a bit twee, all have a swirl of interesting textures throughout the production. They really are masters of downtempo and moody electronica.
This is another case of a solid band doing what they do well, but it doesn't surpass their best work, and a better introduction to their work would be to seek out their fantastic first album, Simple Things (still in the running for best of 2001).
08 October 2009
BLOGTOBER 2009: Music Reviews (06 of 22) Air, Love 2
Another release from a venerable Electronica act. This time it's Air with Love 2. Their first album, Moon Safari, was one of the best of its kind more than ten years ago.
Their latest isn't bad, but it isn't great, either. Here's a link to the video for Sing Sang Sung, the first official single from the album. Soak up its mellow goodness.
The whole album is really chill. So, when you want something downtempo but with interesting melodies, this will do the trick.
My favorite track is Night Hunter, it's got a nice tempo and a bouncy little rhythm line working.
Their first album is the only one of theirs that's essential, but this album is better than many of their follow ups, and certainly won't dissapoint if you are already a fan of their sound.
This isn't a groundbreaking album, and they're still a couple of French dudes, but if you can get passed that, and you have a hankering for something a bit chilly, give this album a spin.
Their latest isn't bad, but it isn't great, either. Here's a link to the video for Sing Sang Sung, the first official single from the album. Soak up its mellow goodness.
The whole album is really chill. So, when you want something downtempo but with interesting melodies, this will do the trick.
My favorite track is Night Hunter, it's got a nice tempo and a bouncy little rhythm line working.
Their first album is the only one of theirs that's essential, but this album is better than many of their follow ups, and certainly won't dissapoint if you are already a fan of their sound.
This isn't a groundbreaking album, and they're still a couple of French dudes, but if you can get passed that, and you have a hankering for something a bit chilly, give this album a spin.
07 October 2009
BLOGTOBER 2009: Music Reviews (05 of 22) Basement Jaxx, Scars
Basement Jaxx put out their first album since 2006 last month. Scars continues with their usual slew of guest vocalist, and this bunch is especially eclectic, don't like Kelis on Scars, don't worry, you 've got Yo Majesty on Twerk, or the surprisingly effective Yoko Ono on Day of the Sunflowers (We March On).
The songs are as varied as the guest vocalist, from the spare electro-hip hop of Scars, to the dub step of Saga (featuring Santigold), to the Funkadelic-ish She's No Good (featuring Eli 'paperboy' Reed).
It's a crazy journey, one I personally enjoyed going on, I'm sure this isn't for everyone, but it worked for me.
The songs are as varied as the guest vocalist, from the spare electro-hip hop of Scars, to the dub step of Saga (featuring Santigold), to the Funkadelic-ish She's No Good (featuring Eli 'paperboy' Reed).
It's a crazy journey, one I personally enjoyed going on, I'm sure this isn't for everyone, but it worked for me.
06 October 2009
BLOGTOBER 2009: Music Reviews (04 of 22) Paramore, brand new eyes
Paramore's new album brand new eyes is a solid bit of harder edged melodic power pop. Hayley Williams packs a big voice in her tiny little package, and the band puts together a bunch of tunes that showcases her talents (and their own, all the musicians in this band are pretty talented).
Ignorance, the first single (above) is pretty indicative of what you can find on this album.
All the songs are well executed, not all that original, propulsive, catchy, and easily forgotten.
There are two ballads on this album, too, and they are the most intriguing songs on the album. The Only Exception is a sweetly done sad little love song. The other ballad, Misguided Ghosts, is another surprise (when compared to the crunchy chorded, power pop of the rest of the album).
Paramore are good at what they do, and if you like that sort of thing, you'll love this album, but the two ballads suggest that if Hayley Williams wanted to do a solo side project of an entire album of ballads, she could do so quite successfully.
Ignorance, the first single (above) is pretty indicative of what you can find on this album.
All the songs are well executed, not all that original, propulsive, catchy, and easily forgotten.
There are two ballads on this album, too, and they are the most intriguing songs on the album. The Only Exception is a sweetly done sad little love song. The other ballad, Misguided Ghosts, is another surprise (when compared to the crunchy chorded, power pop of the rest of the album).
Paramore are good at what they do, and if you like that sort of thing, you'll love this album, but the two ballads suggest that if Hayley Williams wanted to do a solo side project of an entire album of ballads, she could do so quite successfully.
05 October 2009
BLOGTOBER 2009: Music Reviews (03 of 22) La Roux, La Roux
La Roux's debut album, imaginatively called, "La Roux", hit American stores last week. It's a good retro-ish dance album, with a sharp lyrical edge. Elly Jackson's got a thin-ish voice, but they surround it with the right sounds, and she doesn't push it where it doesn't want to go.
Here's the video for In for the Kill (the 2nd single from the album, it's seriously retro in an early 80s sort of way, sonically, and visually.
That should give you a feel for what the album's all about.
Not sure where the dividing line between bad retro-kitsch and good retro-homage lies, but I know that I'm playing this album, and not hitting next with each track, so I'm going to say it lies on the homage side of the equation. The British press and public went wild for this band, but so far, out here the reception's been lukewarm (less than 2500 copies sold last week).
It's not original, but it is new, so if new "new wave" sounds like a good thing to you, then pick this up.
And as an added bonus, here's a Amazon ChordStrike blog interview between Elly Jackson and Alan Wiley (via Instapundit, of all people, if Instapundit likes it, it must be good! Though, Instapundit being his usual cryptic self, doesn't actually express an opinion one way or the other, just provides a link)
Here's the video for In for the Kill (the 2nd single from the album, it's seriously retro in an early 80s sort of way, sonically, and visually.
That should give you a feel for what the album's all about.
Not sure where the dividing line between bad retro-kitsch and good retro-homage lies, but I know that I'm playing this album, and not hitting next with each track, so I'm going to say it lies on the homage side of the equation. The British press and public went wild for this band, but so far, out here the reception's been lukewarm (less than 2500 copies sold last week).
It's not original, but it is new, so if new "new wave" sounds like a good thing to you, then pick this up.
And as an added bonus, here's a Amazon ChordStrike blog interview between Elly Jackson and Alan Wiley (via Instapundit, of all people, if Instapundit likes it, it must be good! Though, Instapundit being his usual cryptic self, doesn't actually express an opinion one way or the other, just provides a link)
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