This review was written for the Music Emissions website. Check out this review, and the website!
Continuing with my recent Canadian theme, Melville is the Rheostatics’ second full-length album. It placed in the top fifty best Canadian albums of all time — according to Canadian magazine Chart — three times in a row (1996, 2000, and 2005). The Rheostatics are Dave Bidini (Guitar), Tim Vesely (Bass Guitar), Dave Clark (Drums), and Martin Tielli (Guitar).
This album is quite a gem, especially for those with an interest in Canadian alternative rock (like me). Overall, the music is melodic and subdued, showcasing the vocal talents of Bidini, Vesely, and Tielli. This is especially evident in the song Northern Wish, which crests and falls quietly and subtly. I’m also a huge fan of the song Chanson Les Ruelles, which is incredibly Canadian, being written in correct but terribly pronounced French. It proclaims Canada’s distinction from the United States and supports it.
On the downside, this album can be too subdued at times. The first time I listened to it, I was in a very mellow mood, and appreciated the album greatly. The second time I listened through, I was in a less mellow mood, and the album seemed to drag along at a painful pace. Some songs that epitomize this for me are It and Saskatchewan.
Being Canadian, I understand this album at a more instinctual level. I can’t say for sure whether or not it would translate to a different audience. If any Americans want to comment on my review about this album, it would be greatly appreciated. Apart from the pacing, this album has no serious musical issues. The Rheostatics have hit a very Canadian ground here in Melville, and I’m proud to be a part of it. That’s why you should listen to this album.
Wednesday, September 17, 2008
Wednesday, September 10, 2008
Review of Go Figure (Spirit of the West)
This review was written for the Music Emissions website. Check out this review, and check out the site!
Go Figure is the sixth full-length release by Canadian folk/rock band Spirit of the West. It’s a departure from their strong folk-inspired performances, and delves into a harder, rockier sound. Spirit of the West is John Mann (Guitar, Vocals), Geoffrey Kelly (Guitar, Flute, Whistles, Vocals), Hugh McMillan (Guitar, Bass, Keyboards), Vince Ditrich (Drums), Tobin Frank (Occasional Bass/Accordion).
There are a lot of positives to this album for me. The music is very strong, multilayered rock with a punch. The album kicks off with D For Democracy, in which the first line of the chorus is “Scour the House!”, a reference to the Canadian House of Parliament (that’s our Government, for the Americans in the audience). This really sets the tone for the album.
It’s also fun when an album courts controversy. The song Political, an amusing song that asks the question “Why did everything, everything, for you and me have to be so political?”, was re-recorded in rock style for this album, and while touring the album, the band was presented with a petition in my hometown of London Ontario that they play the old version of the song!
That aside, the other strong songs on the album are Goodbye Grace, an oddly sprawling song that endears itself to me in its almost lethargic style, and Far Too Canadian. This song is a scathing indictment of the Canadian state and identity. The chorus goes “I am the face of my country/Expressionless and small/Weak at the knees, shaken badly/Can’t straighten up at all/I watch the spine of my country bend and break/I am in a sorry state”. The double meaning of “state” cements this song in my mind as lyrical brilliance.
A few songs, such as Pulling Lame and Spot the Difference suffer by comparison to these four powerhouses, but they don’t detract too much from the album itself. All in all, it’s a great album, especially if you’re Canadian. Go Figure is the best Spirit of the West album I’ve heard to date, and that’s why you should listen to it.
Go Figure is the sixth full-length release by Canadian folk/rock band Spirit of the West. It’s a departure from their strong folk-inspired performances, and delves into a harder, rockier sound. Spirit of the West is John Mann (Guitar, Vocals), Geoffrey Kelly (Guitar, Flute, Whistles, Vocals), Hugh McMillan (Guitar, Bass, Keyboards), Vince Ditrich (Drums), Tobin Frank (Occasional Bass/Accordion).
There are a lot of positives to this album for me. The music is very strong, multilayered rock with a punch. The album kicks off with D For Democracy, in which the first line of the chorus is “Scour the House!”, a reference to the Canadian House of Parliament (that’s our Government, for the Americans in the audience). This really sets the tone for the album.
It’s also fun when an album courts controversy. The song Political, an amusing song that asks the question “Why did everything, everything, for you and me have to be so political?”, was re-recorded in rock style for this album, and while touring the album, the band was presented with a petition in my hometown of London Ontario that they play the old version of the song!
That aside, the other strong songs on the album are Goodbye Grace, an oddly sprawling song that endears itself to me in its almost lethargic style, and Far Too Canadian. This song is a scathing indictment of the Canadian state and identity. The chorus goes “I am the face of my country/Expressionless and small/Weak at the knees, shaken badly/Can’t straighten up at all/I watch the spine of my country bend and break/I am in a sorry state”. The double meaning of “state” cements this song in my mind as lyrical brilliance.
A few songs, such as Pulling Lame and Spot the Difference suffer by comparison to these four powerhouses, but they don’t detract too much from the album itself. All in all, it’s a great album, especially if you’re Canadian. Go Figure is the best Spirit of the West album I’ve heard to date, and that’s why you should listen to it.
Monday, September 8, 2008
Review of I'm A Mountain (Sarah Harmer)
This review was written for the website Music Emissions. Check out this review, and check out the site!
Sarah Harmer’s fourth album, I’m A Mountain, is quite a departure from her previous works. With her on this acoustic folk and bluegrass album are Chris Bartos (Fiddle), Willie P. Bennett (Harmonica), Luther Wright (Banjo, Harmonica, Harmony Vocals), Dan Curtis (Guitar), John Dinsmore (Bass), Jason Euringer (Harmony Vocals, Stand-Up Bass), Spencer Evans (Clarinet, Piano, Accordion), Dean Stone (Percussion), and Clem Harmer (Harmony Vocals). Yes, Clem is in fact Sarah’s father.
As I mentioned in the previous album, the acoustic folk/bluegrass direction of this album is different from the Sarah Harmer we’ve heard in the past. I think, however that it suits her quite wonderfully, especially her cover of the Dolly Parton song Will He Be Waiting For Me?. The song describes the worries of a woman distant from her love, saying “Will he be waiting for me? He will be, won’t he?”, her quiet quickness giving an almost frantic air to the questions.
Other songs of note on the album include I Am Aglow, another wonderful image describing an intense love. I’m also quite partial to Salamandre, sung entirely in French. The lyrics were written by Kate Fenner, but true to form, this is also a love song. Perhaps love and bluegrass go together well, or maybe it’s just love and Sarah Harmer.
A couple songs, like The Ring, and Oleander, lack the same punch as the others. The energy seems to be missing from them, and they detract from the overall enjoyment of the album, but they don’t detract from it much.
Overall, Sarah Harmer’s I’m A Mountain is a rock-solid album, sure to be enjoyed if you like folk or bluegrass music. Even if you don’t, it’s a beautifully put together set of songs, and that’s why you should listen to it.
Sarah Harmer’s fourth album, I’m A Mountain, is quite a departure from her previous works. With her on this acoustic folk and bluegrass album are Chris Bartos (Fiddle), Willie P. Bennett (Harmonica), Luther Wright (Banjo, Harmonica, Harmony Vocals), Dan Curtis (Guitar), John Dinsmore (Bass), Jason Euringer (Harmony Vocals, Stand-Up Bass), Spencer Evans (Clarinet, Piano, Accordion), Dean Stone (Percussion), and Clem Harmer (Harmony Vocals). Yes, Clem is in fact Sarah’s father.
As I mentioned in the previous album, the acoustic folk/bluegrass direction of this album is different from the Sarah Harmer we’ve heard in the past. I think, however that it suits her quite wonderfully, especially her cover of the Dolly Parton song Will He Be Waiting For Me?. The song describes the worries of a woman distant from her love, saying “Will he be waiting for me? He will be, won’t he?”, her quiet quickness giving an almost frantic air to the questions.
Other songs of note on the album include I Am Aglow, another wonderful image describing an intense love. I’m also quite partial to Salamandre, sung entirely in French. The lyrics were written by Kate Fenner, but true to form, this is also a love song. Perhaps love and bluegrass go together well, or maybe it’s just love and Sarah Harmer.
A couple songs, like The Ring, and Oleander, lack the same punch as the others. The energy seems to be missing from them, and they detract from the overall enjoyment of the album, but they don’t detract from it much.
Overall, Sarah Harmer’s I’m A Mountain is a rock-solid album, sure to be enjoyed if you like folk or bluegrass music. Even if you don’t, it’s a beautifully put together set of songs, and that’s why you should listen to it.
Review of The Clash [UK] (The Clash)
The first album-length release by The Clash, this eponymous album was produced twice, once in 1977 in the United Kingdom, and once in 1979 in the United States. The 1979 version includes songs not on the original album as well as having some of the songs cut due to not being "radio friendly". The Clash are Joe Strummer (Guitar, Vocals), Mick Jones (Guitar, Vocals), Paul Simonon (Bass), and Terry Chimes (Drums).
The Clash deliver more than two-chord punk on this album, though there is a fair share of that if you're interested. Songs like White Riot and Janie Jones blast through you, with a certain power and fury that takes some getting used to. The song London's Burning, with the lyrics "Black or white turn it on, face the new religion/Everybody's sitting 'round watching television!", and "London's burning with boredom now" show the aggressive style of music, which for the era and genre are entirely appropriate.
There's more, however, to the album than raw power and furious lyrics. Songs like What's My Name and Police and Thieves show a somewhat more refined musical ability than other songs on the record might suggest. This refined sound adds to the punk sound without removing its power, which is quite an accomplishment in its own right. Police and Thieves, written by singer Junior Murvin, is performed in punk/reggae style, which is a nice counterpoint to the rest of the album with a laid-back attitude about it.
As with any album, and especially with a first album, not everything worked out as intended. Some songs like Remote Control, I'm So Bored With The U.S.A., and Deny have energy and passion, but seem to be lacking something that takes it above the status of melodic noise.
There's something about the raw energy of punk that gets me every time, and The Clash is no different. The edge of experimentation and newness apparent on this first album definitely adds to the experience. I'm personally a big fan of this album, and the critics of the day certainly agreed that this album is a bedrock on which to build a punk collection.
Note: I had originally written this review for Music Emissions, but I didn't check carefully to enough to see if one had been written. Thus it will be posted here, but not there.
The Clash deliver more than two-chord punk on this album, though there is a fair share of that if you're interested. Songs like White Riot and Janie Jones blast through you, with a certain power and fury that takes some getting used to. The song London's Burning, with the lyrics "Black or white turn it on, face the new religion/Everybody's sitting 'round watching television!", and "London's burning with boredom now" show the aggressive style of music, which for the era and genre are entirely appropriate.
There's more, however, to the album than raw power and furious lyrics. Songs like What's My Name and Police and Thieves show a somewhat more refined musical ability than other songs on the record might suggest. This refined sound adds to the punk sound without removing its power, which is quite an accomplishment in its own right. Police and Thieves, written by singer Junior Murvin, is performed in punk/reggae style, which is a nice counterpoint to the rest of the album with a laid-back attitude about it.
As with any album, and especially with a first album, not everything worked out as intended. Some songs like Remote Control, I'm So Bored With The U.S.A., and Deny have energy and passion, but seem to be lacking something that takes it above the status of melodic noise.
There's something about the raw energy of punk that gets me every time, and The Clash is no different. The edge of experimentation and newness apparent on this first album definitely adds to the experience. I'm personally a big fan of this album, and the critics of the day certainly agreed that this album is a bedrock on which to build a punk collection.
Note: I had originally written this review for Music Emissions, but I didn't check carefully to enough to see if one had been written. Thus it will be posted here, but not there.
Sunday, June 15, 2008
Review of Old World Underground, Where Are You Now? (Metric)
Originally written for the music review contest at Music Emissions. Check out the site!
"Old world underground, where are you now?" are the first words Emily Haines belts out on this record, and the energy hardly drops for forty minutes. Backed by her synthesizer and James Shaw (Guitar, Vocals), Josh Winstead (Bass), and Joules Scott-Key (Drums), the first release from Canadian indie band Metric is solid all the way through.
There's so much to be said for this album. If you'd have asked me hours ago, I'd have told you that the synth-supported indie wasn't really my thing. The synthesizer is used very judiciously, almost cleverly. It's almost always there, but it adds to the sound, rather than trying to be the sound. The musicians are quite proficient, and beyond that, they know how to play as a group, which is rare for a first release. I'm personally extremely enamoured with the skills of Joules Scott-Key. Drumming is often the difference between mediocre and good music, and the simple yet appropriate drums on this album do not disappoint me. Call me converted, I guess.
Personally, I prefer the more energetic songs, like I.O.U., Succexy, and Dead Disco. Some of the more mellow songs, like Hustle Rose, drag just a little, which is something that I hope the band has dealt with in its next release. You can be sure I'll be checking that out! I'm quite impressed with vocalist Emily Haines, I should add. Her style is edgy without being obnoxious, and it really adds to the music. Having listened to her other sometimes-act Broken Social Scene, I can tell you without hesitation that she ought to focus on Metric and forget the broken Broken Social Scene.
This is quite possibly the most gushing review I've ever written. The album is by no means perfect, but the little nagging things that bother me are hard to pinpoint and name, so I'll leave them as an open-ended statement. All told, this album has been my most pleasant surprise lately. Support Canadian music, and encourage bands like this to keep making music. Brilliant album, so listen to it already!
"Old world underground, where are you now?" are the first words Emily Haines belts out on this record, and the energy hardly drops for forty minutes. Backed by her synthesizer and James Shaw (Guitar, Vocals), Josh Winstead (Bass), and Joules Scott-Key (Drums), the first release from Canadian indie band Metric is solid all the way through.
There's so much to be said for this album. If you'd have asked me hours ago, I'd have told you that the synth-supported indie wasn't really my thing. The synthesizer is used very judiciously, almost cleverly. It's almost always there, but it adds to the sound, rather than trying to be the sound. The musicians are quite proficient, and beyond that, they know how to play as a group, which is rare for a first release. I'm personally extremely enamoured with the skills of Joules Scott-Key. Drumming is often the difference between mediocre and good music, and the simple yet appropriate drums on this album do not disappoint me. Call me converted, I guess.
Personally, I prefer the more energetic songs, like I.O.U., Succexy, and Dead Disco. Some of the more mellow songs, like Hustle Rose, drag just a little, which is something that I hope the band has dealt with in its next release. You can be sure I'll be checking that out! I'm quite impressed with vocalist Emily Haines, I should add. Her style is edgy without being obnoxious, and it really adds to the music. Having listened to her other sometimes-act Broken Social Scene, I can tell you without hesitation that she ought to focus on Metric and forget the broken Broken Social Scene.
This is quite possibly the most gushing review I've ever written. The album is by no means perfect, but the little nagging things that bother me are hard to pinpoint and name, so I'll leave them as an open-ended statement. All told, this album has been my most pleasant surprise lately. Support Canadian music, and encourage bands like this to keep making music. Brilliant album, so listen to it already!
Tuesday, June 10, 2008
Review of Phantom Power (The Tragically Hip)
This review was written for the Music Emissions website. Check out this review, and check out the website!
Phantom Power is the seventh full-length release by Canadian alternative rock band the Tragically Hip. The band consists of Gordon Downie (Vocals), Rob Baker (Guitar), Paul Langlois (Guitar), Gord Sinclair (Bass), and Johnny Fay (Drums). "Phantom Power" refers to a manner of powering microphones and other digital equipment with direct current power.
There's a whole lot to be said for this album. On it are some of my favourite Tragically Hip songs, including Poets and Fireworks. These upbeat songs feature some wonderful guitar work; I'm particularly enamoured with the way the acoustic guitar and electric guitar sound together. Fireworks is just a great, catchy tune with some memorable lyrics: "You said you didn't give a crap* about hockey/And I'd never seen someone say that before/You held my hand and we walked home the long way/You were loosening my grip on Bobby Orr." Some of the slower songs are excellent as well, like Bobcaygeon, winner of a Juno award (Canadian Music, for those in the south) for best single the year it was released.
There's not much I can say to the negative on this album. A couple of the songs, like Vapour Trails and Membership drag a little, but every album has its black sheep. This album is almost as good as Fully Completely, which is high praise from me.
I'm a huge fan of this album. With the tempo up or down, the Tragically Hip have hit a winner with Phantom Power. Gordon Downie's voice is a treat to listen to, the guitars work brilliantly in tandem, and the album simply rocks. So go listen to it already.
*Yes, I know that's not the word he uses here, but kids might read this.
Phantom Power is the seventh full-length release by Canadian alternative rock band the Tragically Hip. The band consists of Gordon Downie (Vocals), Rob Baker (Guitar), Paul Langlois (Guitar), Gord Sinclair (Bass), and Johnny Fay (Drums). "Phantom Power" refers to a manner of powering microphones and other digital equipment with direct current power.
There's a whole lot to be said for this album. On it are some of my favourite Tragically Hip songs, including Poets and Fireworks. These upbeat songs feature some wonderful guitar work; I'm particularly enamoured with the way the acoustic guitar and electric guitar sound together. Fireworks is just a great, catchy tune with some memorable lyrics: "You said you didn't give a crap* about hockey/And I'd never seen someone say that before/You held my hand and we walked home the long way/You were loosening my grip on Bobby Orr." Some of the slower songs are excellent as well, like Bobcaygeon, winner of a Juno award (Canadian Music, for those in the south) for best single the year it was released.
There's not much I can say to the negative on this album. A couple of the songs, like Vapour Trails and Membership drag a little, but every album has its black sheep. This album is almost as good as Fully Completely, which is high praise from me.
I'm a huge fan of this album. With the tempo up or down, the Tragically Hip have hit a winner with Phantom Power. Gordon Downie's voice is a treat to listen to, the guitars work brilliantly in tandem, and the album simply rocks. So go listen to it already.
*Yes, I know that's not the word he uses here, but kids might read this.
Review of Sessions EP (The Two Koreas)
This review was written for the Music Emissions website. Check out the review, and check out the site!
The Two Koreas, Canadian indie rock band, are back with their newest EP, Sessions. This is a long EP, almost forty minutes, with seven tracks. The Two Koreas are Stuart Berman (Vocals), Kieran Grant (Guitar), Ian Worang (Bass), Jason Anderson (Keyboards), and David Gee (Drums). On their myspace page, the band likens the EP's release to that of a "blog-post update", reminding us that they are still kicking and still working after a long wait.
There are a couple really catchy songs on this little recording. One of my favourites is Withering Heights, the first track on the album. It's straight through with jangly guitars and a thrumming rhythm, and is definitely the highlight of the album for me. Boy Teen Oslo has some great guitar work, and the bass line is simple and effective throughout. I also quite like Cloth Coat Revolution for the discordant guitar noise and the drum work that keeps it all together.
While the album has some wonderful points, the negatives are also there. Personally, I'm not wild about Berman's vocals, but I understand there's a great deal of subjectivity in that statement. The EP is, as I mentioned, quite long, and sometimes the pace drags through some of the comparatively slower-paced songs such as Steely Can and Hotel Christiana.
All told, this album is pretty good. There's a lot about it that I like, and only a couple things that I don't. With the Sessions EP, the Two Koreas have hit most of the right bases. You should listen to it, it's the work of a band that's still moving forwards, and that's a fairly refreshing.
The Two Koreas, Canadian indie rock band, are back with their newest EP, Sessions. This is a long EP, almost forty minutes, with seven tracks. The Two Koreas are Stuart Berman (Vocals), Kieran Grant (Guitar), Ian Worang (Bass), Jason Anderson (Keyboards), and David Gee (Drums). On their myspace page, the band likens the EP's release to that of a "blog-post update", reminding us that they are still kicking and still working after a long wait.
There are a couple really catchy songs on this little recording. One of my favourites is Withering Heights, the first track on the album. It's straight through with jangly guitars and a thrumming rhythm, and is definitely the highlight of the album for me. Boy Teen Oslo has some great guitar work, and the bass line is simple and effective throughout. I also quite like Cloth Coat Revolution for the discordant guitar noise and the drum work that keeps it all together.
While the album has some wonderful points, the negatives are also there. Personally, I'm not wild about Berman's vocals, but I understand there's a great deal of subjectivity in that statement. The EP is, as I mentioned, quite long, and sometimes the pace drags through some of the comparatively slower-paced songs such as Steely Can and Hotel Christiana.
All told, this album is pretty good. There's a lot about it that I like, and only a couple things that I don't. With the Sessions EP, the Two Koreas have hit most of the right bases. You should listen to it, it's the work of a band that's still moving forwards, and that's a fairly refreshing.
Sunday, June 8, 2008
Review of Fallow (The Weakerthans)
The Weakerthans are an indie rock band from Canada, formed by John K. Samson, formerly of Propaghandi. With him are John P. Sutton (Bass) and Jason Tait (Drums); Fallow is their first release. It's unlike anything Samson ever did with Propaghandi, where the former was known for being loud and irreverent, Fallow is a mostly introspective rock/folk album.
Samson, incidentally, wrote every song on the album, and his lyrics are quite strong. As an aside, the first I ever heard of this band was from another brilliant lyricist, Ron Hawkins. In the song "Casual Overdose" on the album Sordid Fiction, he writes "It's the closeness that separates/An awkwardly eloquent toast/From a casual overdose/Of punk rock and Chinatown hum/'Til we both are overcome/So we join our trembling hands/And clap for the Weakerthans". Like Hawkins, Samson's lyrics are poetic, and humble enough that you can tell he doesn't take himself too seriously. By way of an example, the song "Confessions Of A Futon-Revolutionist" contains the lyrics "Let's lay our bad day down here, dear and make-believe we're strong, or hum some protest song. Like maybe 'We Shall Overcome Someday.'"
In the negative, the music is not entirely original. It's pretty standard rock/folk fare, which is great if you're like me and like that kind of thing, but if you're not and you don't, this album might get old pretty fast. Also in the negative is the song "Leash". I'm not really quite sure what he was going for with that discordant guitar noise, but maybe he should leave that to Sonic Youth or somebody who knows what to do with it.
Despite the weak music and odd experiments, Fallow coasts to victory on the back of Samson's lyrics. I really like this album, and I'm proud to be from the same country as these guys.
Samson, incidentally, wrote every song on the album, and his lyrics are quite strong. As an aside, the first I ever heard of this band was from another brilliant lyricist, Ron Hawkins. In the song "Casual Overdose" on the album Sordid Fiction, he writes "It's the closeness that separates/An awkwardly eloquent toast/From a casual overdose/Of punk rock and Chinatown hum/'Til we both are overcome/So we join our trembling hands/And clap for the Weakerthans". Like Hawkins, Samson's lyrics are poetic, and humble enough that you can tell he doesn't take himself too seriously. By way of an example, the song "Confessions Of A Futon-Revolutionist" contains the lyrics "Let's lay our bad day down here, dear and make-believe we're strong, or hum some protest song. Like maybe 'We Shall Overcome Someday.'"
In the negative, the music is not entirely original. It's pretty standard rock/folk fare, which is great if you're like me and like that kind of thing, but if you're not and you don't, this album might get old pretty fast. Also in the negative is the song "Leash". I'm not really quite sure what he was going for with that discordant guitar noise, but maybe he should leave that to Sonic Youth or somebody who knows what to do with it.
Despite the weak music and odd experiments, Fallow coasts to victory on the back of Samson's lyrics. I really like this album, and I'm proud to be from the same country as these guys.
Wednesday, June 4, 2008
Review of Crocodile (Echo and the Bunnymen)
This review was originally written for the Music Emission website. Check out the review, and the site!
Crocodiles is the first full-length release by post-punk band Echo and the Bunnymen. At the time of release, the band consisted of Ian McCulloch (Vocals, Guitar), Will Sergeant (Lead Guitar), Les Pattinson (Bass), and Pete de Freitas (Drums). I will be reviewing the UK LP release, which had ten tracks, as opposed to the American release which had twelve.
The musicianship on this album is nothing special. The band shows themselves to be reasonably competent at composing music and playing their instruments. The music itself is pretty standard post-punk fare, with a bit of a dark edge to it. Haunting tunes, such as Monkeys and Stars are Stars are emotionally and eerily powerful, and definitely a plus for me. While McCulloch's voice does nothing for me personally, his vocal style is at least unique.
In the negative, the album has a stretch of boring songs, wherein the musicianship is fine but the music leaves me waiting for the song to flip past. This begins around the title track, into Rescue, and continues for much of the rest of the album. Fans of The Cure, I predict, will either like it for sounding similar, or hate it for sounding similar but falling short. It is by no means a ripping off, but the elements the band puts forward are not as distinct as they might be.
All told, this album is extremely middle of the road. I find it neither excellent nor repugnant. Echo and the Bunnymen are neither excruciatingly bad, nor are they the Gods of post-punk (as they had been hyped to me). I wish this review could be longer, and I wish Crocodiles had given me more to speak about. If you're hard up for finding something you haven't heard before, go ahead and check this album out, otherwise I'd probably wait until more desperation set in.
Crocodiles is the first full-length release by post-punk band Echo and the Bunnymen. At the time of release, the band consisted of Ian McCulloch (Vocals, Guitar), Will Sergeant (Lead Guitar), Les Pattinson (Bass), and Pete de Freitas (Drums). I will be reviewing the UK LP release, which had ten tracks, as opposed to the American release which had twelve.
The musicianship on this album is nothing special. The band shows themselves to be reasonably competent at composing music and playing their instruments. The music itself is pretty standard post-punk fare, with a bit of a dark edge to it. Haunting tunes, such as Monkeys and Stars are Stars are emotionally and eerily powerful, and definitely a plus for me. While McCulloch's voice does nothing for me personally, his vocal style is at least unique.
In the negative, the album has a stretch of boring songs, wherein the musicianship is fine but the music leaves me waiting for the song to flip past. This begins around the title track, into Rescue, and continues for much of the rest of the album. Fans of The Cure, I predict, will either like it for sounding similar, or hate it for sounding similar but falling short. It is by no means a ripping off, but the elements the band puts forward are not as distinct as they might be.
All told, this album is extremely middle of the road. I find it neither excellent nor repugnant. Echo and the Bunnymen are neither excruciatingly bad, nor are they the Gods of post-punk (as they had been hyped to me). I wish this review could be longer, and I wish Crocodiles had given me more to speak about. If you're hard up for finding something you haven't heard before, go ahead and check this album out, otherwise I'd probably wait until more desperation set in.
Monday, June 2, 2008
Review of Back In The D.H.S.S. (Half Man Half Biscuit)
This review was written for Music Emissions, a great music resource. Check out this review, and check out the site!
Half Man Half Biscuit is a post-punk group that absolutely refuses to take itself seriously, and Back In The D.H.S.S. is their first full-length release. Consisting of Nigel Blackwell (Vocals, Guitar), Neil Crossley (Bass), Simon Blackwell (Lead Guitar), Paul Wright (Drums), and David Lloyd (Keyboard), the band lampoons plenty of English celebrities I'd never heard of, like Bob Todd and Fred Titmus.
This album makes me laugh pretty hard. It's completely and utterly ridiculous. Nigel Blackwell writes lyrics like:
Musically, the album is fairly weak. The musicians have some talent, and it comes out the songs previously mentioned, but for most of the album it sounds as though they didn't care enough to bring that talent to each recording. It's understandable and forgivable, though, being the first recording in a rather under-furnished studio. In addition to the flat music, there are some tracks that are just too odd for words, like Time Flys By (When You're The Driver Of A Train) and I Love You Because (You Look Like Jim Reeves) -- Writer of songs such as Silver Bells and Blue Christmas.
All told, Back In The D.H.S.S. has a great amount of silliness, which can be a lot of fun. Unfortunately, the musicianship of Half Man Half Biscuit falls short, and might make this album difficult to listen to. I enjoyed reading about the characters mentioned in the songs more than I enjoyed listening to most of them, and that's not something that should ever happen. Don't let this album prevent you from checking out the band, though. I promise you I've peeked ahead and there is better stuff to come.
Half Man Half Biscuit is a post-punk group that absolutely refuses to take itself seriously, and Back In The D.H.S.S. is their first full-length release. Consisting of Nigel Blackwell (Vocals, Guitar), Neil Crossley (Bass), Simon Blackwell (Lead Guitar), Paul Wright (Drums), and David Lloyd (Keyboard), the band lampoons plenty of English celebrities I'd never heard of, like Bob Todd and Fred Titmus.
This album makes me laugh pretty hard. It's completely and utterly ridiculous. Nigel Blackwell writes lyrics like:
Oh I was walking round my local store
I was searching for the ten pence off Lenor
When suddenly I bumped into this guy
On seeing who it was I gave a cry
“Fuckin’ ‘Ell, It’s Fred Titmus!”
I was searching for the ten pence off Lenor
When suddenly I bumped into this guy
On seeing who it was I gave a cry
“Fuckin’ ‘Ell, It’s Fred Titmus!”
Musically, the album is fairly weak. The musicians have some talent, and it comes out the songs previously mentioned, but for most of the album it sounds as though they didn't care enough to bring that talent to each recording. It's understandable and forgivable, though, being the first recording in a rather under-furnished studio. In addition to the flat music, there are some tracks that are just too odd for words, like Time Flys By (When You're The Driver Of A Train) and I Love You Because (You Look Like Jim Reeves) -- Writer of songs such as Silver Bells and Blue Christmas.
All told, Back In The D.H.S.S. has a great amount of silliness, which can be a lot of fun. Unfortunately, the musicianship of Half Man Half Biscuit falls short, and might make this album difficult to listen to. I enjoyed reading about the characters mentioned in the songs more than I enjoyed listening to most of them, and that's not something that should ever happen. Don't let this album prevent you from checking out the band, though. I promise you I've peeked ahead and there is better stuff to come.
We Have A Winner!
As a number of my friends are aware, I was taking place in an Album Review contest for the past two weeks. If you weren't aware, this probably explains the massive amounts of reviews I've been writing lately.
Well, I won. This is very exciting, but it also comes with a fair amount of responsibility, like writing 3-5 reviews a week. I think I can do it, but it'll be tricky when I go away for the summer. I have a plan, but no sense in boring everyone with it.
One of the more interesting bits of winning this contest is that I won 10 CDs. I had to pick from a list, and it was 20 CDs long, and I had only heard of one of the bands on it. I'll post it here, and anybody who knows these acts can feel free to advise me for a couple days.
That's my list. What do you think?
Well, I won. This is very exciting, but it also comes with a fair amount of responsibility, like writing 3-5 reviews a week. I think I can do it, but it'll be tricky when I go away for the summer. I have a plan, but no sense in boring everyone with it.
One of the more interesting bits of winning this contest is that I won 10 CDs. I had to pick from a list, and it was 20 CDs long, and I had only heard of one of the bands on it. I'll post it here, and anybody who knows these acts can feel free to advise me for a couple days.
Lykke Li - Little Bit EP
Circa Survive - On Letting Go
The Sound Of Animals Fighting - Tiger and the Duke
Voodoo Glow Skulls - Southern California Street Music
Shout Out Louds - Our Ill Wills
Kelly Willis - Translated From Love
Mustard Plug - In Black and White
The Fall of Troy - Manipulator
Modern Life Is War - Midnight In America
Chiodos - Bone Palace Ballet
Tim Armstrong - A Poets Life
Throw Me The Statue - Moonbeams
Dengue Fever - Venus On Earth
The Junior Varsity - Cinematographic
Putumayo World Hits
In Flames - A Sense Of Purpose
Dizzee Rascal - Maths and English
The Sword - Gods of the Earth
Russian Circles - Station
The Replacements - Don't You Know Who I Think I Was?
Retribution Gospel Choir
That's my list. What do you think?
Sunday, June 1, 2008
Review of Silent Alarm (Bloc Party)
Sadly, Bloc Party will never get another chance at a first full-length album. The band consists of Kele Okereke (Vocals, Rhythm Guitar), Russel Lissack (Lead Guitar), Gordon Moakes (Bass), and Matt Tong (Drums). The band's sound can only be described as recycled post-punk, and this recycling is not going to help prevent global warming.
In the positive, I have to disagree with the esteemed reviewer when he says, "[T]he band is at their absolute worst when they try to slow down the tempo and write atmospheric ballads such as on 'Blue Light' and 'So Here We Are.'" I found "Blue Light" to be one of the most interesting songs on the album, with the drums making sounds other than the droning "thump thump thump" found on the rest of the album. Well, I suppose the reviewer was half-right: "So Here We Are" was terrible.
In the negative is just about the rest of the album. John Henry Heinz once said, "To do a common thing uncommonly well brings success." Silent Alarm is certainly not uncommon, drawing heavily from the styles of bands like Joy Division and Gang of Four. Unfortunately, the common sounds are not done uncommonly well, and the album falls flat. This album is just boring. I think almost actually fell asleep while listening. It's no secret that I prefer up-tempo styles, but this is just dreadful.
While my friends know that I hold no great love for Joy Division or Gang of Four, my advice is this: Skip this album, put some of your old Joy Division vinyl on, and save yourself the money it would cost you to listen to the copy-cat. Furthermore, if you have a young friend who is drawn in by this album, have them listen to your Joy Division with you, and save them from the rebranding of old music.
Note: This review makes reference to a review on the Music Emissions website. That review can be found here.
In the positive, I have to disagree with the esteemed reviewer when he says, "[T]he band is at their absolute worst when they try to slow down the tempo and write atmospheric ballads such as on 'Blue Light' and 'So Here We Are.'" I found "Blue Light" to be one of the most interesting songs on the album, with the drums making sounds other than the droning "thump thump thump" found on the rest of the album. Well, I suppose the reviewer was half-right: "So Here We Are" was terrible.
In the negative is just about the rest of the album. John Henry Heinz once said, "To do a common thing uncommonly well brings success." Silent Alarm is certainly not uncommon, drawing heavily from the styles of bands like Joy Division and Gang of Four. Unfortunately, the common sounds are not done uncommonly well, and the album falls flat. This album is just boring. I think almost actually fell asleep while listening. It's no secret that I prefer up-tempo styles, but this is just dreadful.
While my friends know that I hold no great love for Joy Division or Gang of Four, my advice is this: Skip this album, put some of your old Joy Division vinyl on, and save yourself the money it would cost you to listen to the copy-cat. Furthermore, if you have a young friend who is drawn in by this album, have them listen to your Joy Division with you, and save them from the rebranding of old music.
Note: This review makes reference to a review on the Music Emissions website. That review can be found here.
Thursday, May 29, 2008
Review of You Can Play These Songs With Chords (Death Cab For Cutie)
The title of the recording refers to two possible recordings. The original recording was released in 1997, featuring only Ben Gibbard (Vocals, Guitar, Bass, Drums, Piano), as a demo. This demo was then re-released in 2002 by the members of Death Cab For Cutie after their successful album The Photo Album. With the original songs of the demo were ten more tracks by Death Cab For Cutie, adding Christopher Walla (Vocals, Guitar), Nicholas Harmer (Bass) and Nathan Good (Drums, Tambourine) to the mix. I'll be reviewing 2002 release.
This album has a few strengths, the first of which is Ben Gibbard's notable talents. The first eight songs feature him and only him, and they are excellent considering the demo nature of the recording. Songs like "Champagne From A Paper Cup" and "Hindsight" show skilled song-writing through simple music and well-crafted lyrics. The low-fi nature of this half of the recording appeals to me quite a bit, as it shows the strengths of the musician and not the producer. The other thing I really love about this album is the flip that occurs when we leave the demo and enter the bonus tracks. It's not often you can hear in one recording the growth of a group of musicians, and you can hear it here.
Some of the songs on the newer part of the album, such as "TV Trays" and "New Candles" are a little dull, but these incidences are uncommon enough that's it not hard to listen through the album to hear the good ones. There's one really odd song, called "Flustered/Hey Tomcat!" which involves many production-based effects that warp spoken words. I'm still not quite sure what to think about it, but if you like that kind of thing, you'll probably like this too.
Personally, I really like this album for the low-fi demo tracks and the experience of time-travel you get by leaping into more mature Death Cab music, and that's why you should listen to it.
This album has a few strengths, the first of which is Ben Gibbard's notable talents. The first eight songs feature him and only him, and they are excellent considering the demo nature of the recording. Songs like "Champagne From A Paper Cup" and "Hindsight" show skilled song-writing through simple music and well-crafted lyrics. The low-fi nature of this half of the recording appeals to me quite a bit, as it shows the strengths of the musician and not the producer. The other thing I really love about this album is the flip that occurs when we leave the demo and enter the bonus tracks. It's not often you can hear in one recording the growth of a group of musicians, and you can hear it here.
Some of the songs on the newer part of the album, such as "TV Trays" and "New Candles" are a little dull, but these incidences are uncommon enough that's it not hard to listen through the album to hear the good ones. There's one really odd song, called "Flustered/Hey Tomcat!" which involves many production-based effects that warp spoken words. I'm still not quite sure what to think about it, but if you like that kind of thing, you'll probably like this too.
Personally, I really like this album for the low-fi demo tracks and the experience of time-travel you get by leaping into more mature Death Cab music, and that's why you should listen to it.
Review of Weezer [Blue Album] (Weezer)
The Blue Album is Weezer's first eponymous release, and referred to in this way to disambiguate it from The Green Album, another eponymous release which came seven years later. The band consisted of Rivers Cuomo (Lead Vocals, Lead Guitar, Keyboards), Patrick Wilson (Percussion), Brian Bell (Rhythm Guitar, Backing Vocals), and Matt Sharp (Bass Guitar, Backing Vocals).
The first release by Weezer definitely sounds like a first release. It's rough around all the edges, it's immature, and most of the songs are little more than catchy. Which is, of course, why I love it. It shows a wonderfully reckless disregard for the polished kind of music I'm used to hearing, and while the music is basic it does exactly what it means to do, which is to entertain. The first song, "My Name Is Jonas", is one of the stronger tracks on the record, with a funky little acoustic intro, the theme of which makes it into the solo-like bridge, which is my favourite piece of guitar work on the album. I can't call it a solo, because there's one guitar laying down a constant droning rhythm while another guitar slowly builds on top.
Other positives on the album include the bass-heavy "Only In Dreams", one of few seven-minute songs I'm willing to listen all the way through, and "Say It Aint So", purely for the chorus. I always wonder why I'm listening to the song, and then the chorus hits me and I remember. The weaker songs on the album are tracks like "No One Else", and "Surf Wax America", which are like the Pringles of the album. They're kind of entertaining, but there's a complete lack of substance in them. "Buddy Holly" fits this bill too.
Personally, I get a kick out of this album. It's catchy, and I enjoy listening to it. It's not an amazing piece of brilliant work that will last for the ages, but I don't think it was ever meant to be. So if you listen to music to enjoy it, and not just to marvel at it, you should definitely be listening to this album.
The first release by Weezer definitely sounds like a first release. It's rough around all the edges, it's immature, and most of the songs are little more than catchy. Which is, of course, why I love it. It shows a wonderfully reckless disregard for the polished kind of music I'm used to hearing, and while the music is basic it does exactly what it means to do, which is to entertain. The first song, "My Name Is Jonas", is one of the stronger tracks on the record, with a funky little acoustic intro, the theme of which makes it into the solo-like bridge, which is my favourite piece of guitar work on the album. I can't call it a solo, because there's one guitar laying down a constant droning rhythm while another guitar slowly builds on top.
Other positives on the album include the bass-heavy "Only In Dreams", one of few seven-minute songs I'm willing to listen all the way through, and "Say It Aint So", purely for the chorus. I always wonder why I'm listening to the song, and then the chorus hits me and I remember. The weaker songs on the album are tracks like "No One Else", and "Surf Wax America", which are like the Pringles of the album. They're kind of entertaining, but there's a complete lack of substance in them. "Buddy Holly" fits this bill too.
Personally, I get a kick out of this album. It's catchy, and I enjoy listening to it. It's not an amazing piece of brilliant work that will last for the ages, but I don't think it was ever meant to be. So if you listen to music to enjoy it, and not just to marvel at it, you should definitely be listening to this album.
Wednesday, May 28, 2008
Question of the Week
Hi everybody, I thought I'd kick off the grand public opening of the blog with a segment I hope will be weekly. I ask a question, something about music in some way, and everybody answers it! I hope.
This weeks question:What is the most embarrassing record/album/cd/recording you've ever bought with your own money?
Mine's pretty easy: Nickelback's "Silver Side Up"
How about you?
This weeks question:What is the most embarrassing record/album/cd/recording you've ever bought with your own money?
Mine's pretty easy: Nickelback's "Silver Side Up"
How about you?
Tuesday, May 27, 2008
Review of Nashville Skyline (Bob Dylan)
Bob Dylan's Nashville Skyline explores a country style unheard from Dylan prior to its release. The first song on the album is a re-recording of his own song "Girl From The North Country" which was performed with Johnny Cash, and really sets the tone for the rest of the recording.
As my friends will tell you, I am not generally a fan of country music, but this record is country done right. The technical skills of the musicians are showcased in the songs "Nashville Skyline Rag" (an instrumental piece), and "Country Pie", where the vocals are quiet and unassuming, allowing the musicians to really shine. The song "I Threw It All Away" is a heart-felt ballad about making a mistake in love, and Dylan's vocal talents make the song extremely touching.
The most well-known song from the album, "Lay Lady Lay", was originally recorded for a movie, but Dylan did not finish with it soon enough for it to be featured. "Tell Me That It Isn't True" is a brilliantly performed song wherein the singer is desperately asking his love to deny the rumours that she had been sleeping around, and Dylan's performance conveys the desperation very convincingly.
You might notice that I didn't have my usual "negatives" paragraph. That's because I couldn't find any. There is nothing about this album that I don't like. If you don't like or can't appreciate country music or Bob Dylan, you probably won't like this album, but apart from that, it's an astounding piece of music done right, and that's why you should listen to it.
As my friends will tell you, I am not generally a fan of country music, but this record is country done right. The technical skills of the musicians are showcased in the songs "Nashville Skyline Rag" (an instrumental piece), and "Country Pie", where the vocals are quiet and unassuming, allowing the musicians to really shine. The song "I Threw It All Away" is a heart-felt ballad about making a mistake in love, and Dylan's vocal talents make the song extremely touching.
The most well-known song from the album, "Lay Lady Lay", was originally recorded for a movie, but Dylan did not finish with it soon enough for it to be featured. "Tell Me That It Isn't True" is a brilliantly performed song wherein the singer is desperately asking his love to deny the rumours that she had been sleeping around, and Dylan's performance conveys the desperation very convincingly.
You might notice that I didn't have my usual "negatives" paragraph. That's because I couldn't find any. There is nothing about this album that I don't like. If you don't like or can't appreciate country music or Bob Dylan, you probably won't like this album, but apart from that, it's an astounding piece of music done right, and that's why you should listen to it.
Monday, May 26, 2008
Review of VU (The Velvet Underground)
VU is considered by many to be the "lost album" of the Velvet Underground. Recorded in 1969 while working under the MGM Records label, the Velvet Underground was released from its contract because their music was considered offensive to the moral standards of Mike Curb, the new CEO. Many of their recorded tracks were unreleased, and ten of them were released in 1985 as the album VU. The Velvet Underground is comprised of Lou Reed (Vocals, Guitar), John Cale (Bass), Maureen "Moe" Tucker (Percussion, Vocals), and Sterling Morrison (Guitar, Backup Vocals). Doug Yule (Bass, Keyboards) contributed as well.
This is one of my personal favourite Velvet Underground albums. Despite the fact that it was tossed together from a group of unreleased songs, the album is musically just as strong as the other Velvet Underground works. The song "Foggy Notion" puts forward some of the best sprawling guitar work I've ever heard. "Lisa Says" is another wonderful song, with quiet verses crescendoing into powerful choruses, which drop off right back into the soft sounds again.
Some of the songs, notably "Andy's Chest" are somewhat immature, which detracts from my overall enjoyment of the album. Before I did the reading for this review, I hadn't known that this was not a well-planned album, but in retrospect I can hear some of the differences in style from song to song, and this prevents the album from really sounding like a cohesive whole.
All things said, however, this album has some of indispensable music by the Velvet Underground, and should be listened to any serious alternative rocker at least once. The music of this band is too influential to ever disregard, and that's why you should be listening to it.
Review of Keasbey Nights (Streetlight Manifesto)
Keasbey Nights is a re-recording of an album by the same name by Catch 22. Tomas Kalnoky (Guitar, Vocals, Mixing, etc. etc...), formerly of Catch 22, was responsible for all the writing -- both lyrics and music -- for the original and this re-recording. He is backed by Jim Conti (Tenor Sax), James Egan (Trumpet, Background Vocals), Chris Paszik (Bass, Background Vocals), Dan Ross (Alto Sax, Baritone Sax), Mike Soprano (Trombone), and Chris Thatcher (Drums). Though chronologically second, this album is often not counted when ordering the band's official releases, because it is a re-recording.
In case you didn't figure it out from the massive number of people and brass instruments, this album is a third-wave Ska, released in 2006. It features much more skilled musicianship than the original Catch 22 recording. If you like Ska, this album is a huge treat with a never-ending run of brass solos that would rival the greats. The song "Walking Away" features a horn battle that showcases the talents of the musicians, if you're as interested by that as I am.
The other thing I really love about this album is the gangster feel about it. I'll say that again: "Gangster", not "Gangsta". Songs like "9mm And A Three Piece Suit" and the title track really give off the impression of the mob, and it's an oddly enjoyable feeling. My favourite lyric on the album is "Jack dropped 21, Jill 22, the look in his eye said 'Brother, what you gonna do, with a nine-milimetre and a three piece suit?'"
Negatively, this album has a couple songs that are not done as well, "Giving Up, Giving In" is rather uninteresting, and the half-screaming vocalist does not impress. "As The Footsteps Die Out Forever" suffers from a similar issue.
If you don't like Ska, or don't know what I'm talking about, this album is a pretty good one to wet your feet on. It's very standard ska fare done uncommonly well. I'll be honest, I enjoy listening to it in part despite the ordinary nature of the music itself, but that's Ska. It's jumpy and fun, and that's why you should listen to it.
In case you didn't figure it out from the massive number of people and brass instruments, this album is a third-wave Ska, released in 2006. It features much more skilled musicianship than the original Catch 22 recording. If you like Ska, this album is a huge treat with a never-ending run of brass solos that would rival the greats. The song "Walking Away" features a horn battle that showcases the talents of the musicians, if you're as interested by that as I am.
The other thing I really love about this album is the gangster feel about it. I'll say that again: "Gangster", not "Gangsta". Songs like "9mm And A Three Piece Suit" and the title track really give off the impression of the mob, and it's an oddly enjoyable feeling. My favourite lyric on the album is "Jack dropped 21, Jill 22, the look in his eye said 'Brother, what you gonna do, with a nine-milimetre and a three piece suit?'"
Negatively, this album has a couple songs that are not done as well, "Giving Up, Giving In" is rather uninteresting, and the half-screaming vocalist does not impress. "As The Footsteps Die Out Forever" suffers from a similar issue.
If you don't like Ska, or don't know what I'm talking about, this album is a pretty good one to wet your feet on. It's very standard ska fare done uncommonly well. I'll be honest, I enjoy listening to it in part despite the ordinary nature of the music itself, but that's Ska. It's jumpy and fun, and that's why you should listen to it.
Review of Cosmic Thing (The B-52s)
The B-52s are an Athens Georgia pop-rock/electronic band who got their start in 1976. The band consists of Keith Strickland (Guitar, Keyboard, Vocals), Kate Pierson (Keyboard, Vocals), Fred Schneider (Percussion, Vocals), and Cindy Wilson (Vocals), at its core. A great number of other people contributed to the album, which is their fifth full-length release.
One of the notable things about this band is the two distinct vocal styles applied by the men and women respectively. The women sing high, soft and sweet, while the men tend to belt out the tunes somewhere between singing and speaking in an almost Shatnerian style. This, combined with the electronic effects, tends to produce some very catchy-but-odd music, especially on tracks like "Love Shack" and "Roam". The album also has some more "normal-sounding" songs, like "Dead Beat Club", though the term "normal" and this band don't exactly mix.
The problem with this album is that it's pretty far out there, and I think one's either going to like the style of it or not. I find it easy to lose myself in the harmonies and the almost-spoken lyrics, but if this isn't your thing, you're really, really not going to like it. Generally it's a little more produced than I like to hear music. I'm a huge fan of the Low-Fi sound, and I consider the perfect sound to be a little too perfect, but once again that's a personal feeling and I'm sure many of you will disagree.
All I can say is that if you're the sort who likes your music wacky and weird, you'll get a kick out of these folks. I like it because it's too strange to do otherwise.
One of the notable things about this band is the two distinct vocal styles applied by the men and women respectively. The women sing high, soft and sweet, while the men tend to belt out the tunes somewhere between singing and speaking in an almost Shatnerian style. This, combined with the electronic effects, tends to produce some very catchy-but-odd music, especially on tracks like "Love Shack" and "Roam". The album also has some more "normal-sounding" songs, like "Dead Beat Club", though the term "normal" and this band don't exactly mix.
The problem with this album is that it's pretty far out there, and I think one's either going to like the style of it or not. I find it easy to lose myself in the harmonies and the almost-spoken lyrics, but if this isn't your thing, you're really, really not going to like it. Generally it's a little more produced than I like to hear music. I'm a huge fan of the Low-Fi sound, and I consider the perfect sound to be a little too perfect, but once again that's a personal feeling and I'm sure many of you will disagree.
All I can say is that if you're the sort who likes your music wacky and weird, you'll get a kick out of these folks. I like it because it's too strange to do otherwise.
Review of Violent Femmes (The Violent Femmes)
Violent Femmes is the self-titled first release of the band which gave birth to the folk-punk genre. The album is notable for mixing the sounds of American folk and proto-punk into a heavy, whirling mass of folk noise. The band consisted, at the time, of Gordon Gano (Guitar, Violin, Lead Vocals), Brian Ritchie (Acoustic Bass, Electric Bass, Xylophone, Vocals), and Victor Lorenzo (Percussion). Mark Van Hecke played piano on the track "Good Feeling."
It took me a long time to get into this album. For most of my listening life, I've always sort of ignored this album, preferring to it the fifth release, "Why Do Birds Sing?". In retrospect, this was unfair. This album was partially responsible for folk-punk, one of my favourite genres, and the music is reflective of the experimentalism of what I now consider to be standard fare. There is terrific energy on the album, especially in songs like "Blister In The Sun" (the one that everybody knows) and "Prove My Love" (probably less well-known). The work of this band also leads into the Low-Fi genre, tidbits of which can be heard across the album.
Earlier this year, when I was young and foolish (haha), I thought this album was kind of boring and, as I said, I skipped over it. There's not much negative say about the album, except that it might be a tad weird for some people. It's definitely not your average alternative rock, it's drug inspired (occasionally feverishly so) and discordant at times, and unless you're up for something a little different, you probably won't like this. Of course, if you're not up for something a little different, chances are you won't even be reading this review.
This album has so much going for it, and so little taking away from that, it would be a shame if you didn't listen to it. So get on it already, eh?
It took me a long time to get into this album. For most of my listening life, I've always sort of ignored this album, preferring to it the fifth release, "Why Do Birds Sing?". In retrospect, this was unfair. This album was partially responsible for folk-punk, one of my favourite genres, and the music is reflective of the experimentalism of what I now consider to be standard fare. There is terrific energy on the album, especially in songs like "Blister In The Sun" (the one that everybody knows) and "Prove My Love" (probably less well-known). The work of this band also leads into the Low-Fi genre, tidbits of which can be heard across the album.
Earlier this year, when I was young and foolish (haha), I thought this album was kind of boring and, as I said, I skipped over it. There's not much negative say about the album, except that it might be a tad weird for some people. It's definitely not your average alternative rock, it's drug inspired (occasionally feverishly so) and discordant at times, and unless you're up for something a little different, you probably won't like this. Of course, if you're not up for something a little different, chances are you won't even be reading this review.
This album has so much going for it, and so little taking away from that, it would be a shame if you didn't listen to it. So get on it already, eh?
Review of Psychocandy (Jesus And Mary Chain)
Psychocandy is the first release by the Scottish Jesus and Mary Chain. The album is notable for being one of the progenitors of the shoegaze genre, which is epitomized by melding vocals with guitar noise while the musicians stared at their feet. The band consisted, at the time, of Jim Reid (Vocals, Guitar), William Reid (his brother, also Vocals and Guitar), Douglas Hart (Bass), and Bobby Gillespie (Drums).
I like this album quite a bit. Obviously drug inspired, the feedback noises and building of simple parts together to form a greater whole was, for the time, revolutionary. Despite what you might think with the feedback and squealing guitars, I find this an excellent album to relax to. It's very mellow in its oddness, which is nice. Some songs definitely stick out, like "Just Like Honey" and "Taste of Cindy", they tend to be a little more upbeat, as is my wont. I'd also like to draw attention to the drumming. It's not crazy, it's not flashy, but it is just right and it cements the entire album together.
In the negative, the album can feel a bit repetitive if you're not into that sort of thing. Many songs sound somewhat similar, especially the intros of "Just Like Honey" and "Some Candy Talking" have the same feel to me. I do like this album, but I rarely listen all the way through, unless I need calming down.
This album is a little over-hyped, I think, which is not the band's fault and that's why I didn't include it in the negative. It's a great album, but I much prefer the edgier sound of Munki, their seventh and last. All things considered, this album is definitely worth checking out if you haven't, and definitely worth giving another listen if you have.
I like this album quite a bit. Obviously drug inspired, the feedback noises and building of simple parts together to form a greater whole was, for the time, revolutionary. Despite what you might think with the feedback and squealing guitars, I find this an excellent album to relax to. It's very mellow in its oddness, which is nice. Some songs definitely stick out, like "Just Like Honey" and "Taste of Cindy", they tend to be a little more upbeat, as is my wont. I'd also like to draw attention to the drumming. It's not crazy, it's not flashy, but it is just right and it cements the entire album together.
In the negative, the album can feel a bit repetitive if you're not into that sort of thing. Many songs sound somewhat similar, especially the intros of "Just Like Honey" and "Some Candy Talking" have the same feel to me. I do like this album, but I rarely listen all the way through, unless I need calming down.
This album is a little over-hyped, I think, which is not the band's fault and that's why I didn't include it in the negative. It's a great album, but I much prefer the edgier sound of Munki, their seventh and last. All things considered, this album is definitely worth checking out if you haven't, and definitely worth giving another listen if you have.
Thursday, May 22, 2008
Review of Good Weird Feeling (The Odds)
Good Weird Feeling is the third full-length release by the Odds (now the New Odds), and it's a titan of Canadian alternative rock. Craig Northey (Vocals, Guitar), Steven Drake (Vocals, Guitar), Doug Elliott (Bass), and Paul Brennan (Drums) make up the band, whose name reportedly came from Brennan asking Drake, "What are the odds of us ever escaping bullshit gigs like this?" while in a small town in British Colombia.
Good Weird Feeling is not too far out there, musically. It's an accessible power pop/alternative rock album, but don't let that fool you. I mentioned Heinz's quote, awhile back, something to the effect of, "To do a common thing uncommonly well bring success". This album is uncommonly well done. The subject matter is occasionally uncomfortably well treated, like in the case of "Oh Sorrow, Oh Shame", which is a song about feeling the shame of crossdressing. The song definitely made me feel like I understood, which was quite a treat.
Have you ever listened to an album and thought, "Wow, there's nothing they could have done to make this sound any better"? It happens to me very rarely, but this one of those albums. I have no issues with it musically, none whatsoever. Every time I listen to it, it's a joy to listen to. Some songs stand out, of course, like the slowly building "Break The Bed", and the quiet and quirky "The Last Drink".
This is, as an album, one of the best albums I've ever heard. Each of these songs is great alone, but together they truly surpass themselves. If you ever go hunting for one Canadian alternative rock album, make it this one.
Good Weird Feeling is not too far out there, musically. It's an accessible power pop/alternative rock album, but don't let that fool you. I mentioned Heinz's quote, awhile back, something to the effect of, "To do a common thing uncommonly well bring success". This album is uncommonly well done. The subject matter is occasionally uncomfortably well treated, like in the case of "Oh Sorrow, Oh Shame", which is a song about feeling the shame of crossdressing. The song definitely made me feel like I understood, which was quite a treat.
Have you ever listened to an album and thought, "Wow, there's nothing they could have done to make this sound any better"? It happens to me very rarely, but this one of those albums. I have no issues with it musically, none whatsoever. Every time I listen to it, it's a joy to listen to. Some songs stand out, of course, like the slowly building "Break The Bed", and the quiet and quirky "The Last Drink".
This is, as an album, one of the best albums I've ever heard. Each of these songs is great alone, but together they truly surpass themselves. If you ever go hunting for one Canadian alternative rock album, make it this one.
Review of Trompe Le Monde (The Pixies)
Trompe Le Monde is the fourth and final release by the Pixies. The band consists of Black Francis (Vocals, Guitar), Joey Santiago (Lead Guitar), David Lovering (Drums), Kim Deal (Bass, Vocals), and Eric Drew Feldman (Keyboard, Piano). The album is space-themed, referencing places like Roswell NM and the Olympus Mons (the largest mountain in our solar system, located on Mars). It's a little further out there than the rest of the work done by the band, and that's saying something about the Pixies.
Personally, I love how this album seems to take the styles of Doolittle and Bossanova and push them to the limit in this album. Everything is just a little sharper, from the guitars, to the production, to the lyrics and singing. I'm taken by soaring songs like "Bird Dream Of The Olympus Mons", and "Motorway to Roswell", which inspire in me the feeling of something bigger than our little home. Beyond that, though, the music rocks, and I mean really rocks. It's a little weird, but it's definitely weird in a good way. Songs like "Distance Equals Rate Times Time", "U-Mass" and "Trompe Le Monde" start hitting quickly and don't let up. When combined with the more introspective songs mentioned earlier, the mix is good enough to fall in love with.
There's not much in the negative on this album, but a couple songs -- "Planet Of Sound", I'm looking at you -- just fall flat for me. Sometimes it's a little too much in the way of screaming, sometimes the music is just a little boring: the exact reasons vary from song to song, but these few songs are definitely in the minority.
All told, I really, really like this album, and I think as far as Pixies albums go, it's fairly underrated and underlistened. I hope to change that. If you like the Pixies already, you ought to love this album. So give it a shot already!
Personally, I love how this album seems to take the styles of Doolittle and Bossanova and push them to the limit in this album. Everything is just a little sharper, from the guitars, to the production, to the lyrics and singing. I'm taken by soaring songs like "Bird Dream Of The Olympus Mons", and "Motorway to Roswell", which inspire in me the feeling of something bigger than our little home. Beyond that, though, the music rocks, and I mean really rocks. It's a little weird, but it's definitely weird in a good way. Songs like "Distance Equals Rate Times Time", "U-Mass" and "Trompe Le Monde" start hitting quickly and don't let up. When combined with the more introspective songs mentioned earlier, the mix is good enough to fall in love with.
There's not much in the negative on this album, but a couple songs -- "Planet Of Sound", I'm looking at you -- just fall flat for me. Sometimes it's a little too much in the way of screaming, sometimes the music is just a little boring: the exact reasons vary from song to song, but these few songs are definitely in the minority.
All told, I really, really like this album, and I think as far as Pixies albums go, it's fairly underrated and underlistened. I hope to change that. If you like the Pixies already, you ought to love this album. So give it a shot already!
Tuesday, May 20, 2008
Review of Ramones (The Ramones)
Ramones is the first release by the progenitors of punk, the Ramones. It's a blast that ends in a flash; at only twenty-nine minutes, I can put both it and their second record on the same CD. Joey (Vocals), Johnnie (Guitar), Dee-Dee (Bass, Backup Vocals), and Tommy (Drums) Ramone -- all stage names, of course -- make up this classic punk band.
This album scores serious points with me simply by being one of the first punk albums ever made. The music itself is very rough, but that was what made it different, and that is not a negative here. The wall of noise brings with it the emotions of being in a screwed up world, where fathers lock their children in basements (I Don't Wanna Go Down To The Basement) and mothers chase children with baseball bats (Beat On The Brat). Look for very simple instrumental work on this record.
The only thing about this album that occasionally perturbs me is Joey's singing style. Sometimes the noises he makes aren't really words, and I'm not used to that. Also, due to the lack of musical skill in the band, it's easy to get lost in the record, sometimes to forget where you are, because a lot of it sounds kind of the same.
Somehow, through it all, it still sounds like it stands as the birth of a genre, and I'm not quite sure how that works, but here it is. The Ramones will forever stand a head above the rest, and this album shows that clearly.
This album scores serious points with me simply by being one of the first punk albums ever made. The music itself is very rough, but that was what made it different, and that is not a negative here. The wall of noise brings with it the emotions of being in a screwed up world, where fathers lock their children in basements (I Don't Wanna Go Down To The Basement) and mothers chase children with baseball bats (Beat On The Brat). Look for very simple instrumental work on this record.
The only thing about this album that occasionally perturbs me is Joey's singing style. Sometimes the noises he makes aren't really words, and I'm not used to that. Also, due to the lack of musical skill in the band, it's easy to get lost in the record, sometimes to forget where you are, because a lot of it sounds kind of the same.
Somehow, through it all, it still sounds like it stands as the birth of a genre, and I'm not quite sure how that works, but here it is. The Ramones will forever stand a head above the rest, and this album shows that clearly.
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