Last year I did mini-reviews of every album I listened to in 2010. However, given that I listened to over fifty new albums which were released in 2011, I figured I'd just make a list of the 25 best. All of these are good albums, but only three achieve greatness. It was a solid year, but light on the eventual classics.
25. Crooked Still - Friends of Fall
Just an EP, but a solid one. Aiofe O'Donovan was involved in three of the albums on this list, but this is the one that is carried by her delicate, whispery voice. Can't wait to see her open for Punch Brothers in March.
24. Noam Pikelny - Beat the Devil and Carry a Rail
Punch Brothers banjo player Noam Pikelny made this record in October, which I bought mostly because of his hilarious pitch in the Punch Brothers email newsletter urging me to do so. Fairly standard, but expertly arranged, bluegrass fare, and all instrumental besides a contribution from Aiofe O'Donovan.
23. REM - Collapse Into Now
This was the first REM record I listened to in some time, and I enjoyed it quite a bit. And truthfully, I'd probably move it up if I got around to listening to it more.
22. Opeth - Heritage
Mikael Akerfeldt's music keeps getting more and more complex, but for some reason, it doesn't seem to have quite the impact it had back in the Blackwater Park days. The loud/soft dynamic that made them so awesome as recently as their previous album is missing here. Even so, it's a very good progressive rock album.
21. Chris Thile & Michael Daves - Sleep With One Eye Open
Never before had I thought anyone could do so much with just a guitar, a mandolin, and two voices. This album is not groundbreaking, but very, very fun.
20. The Head And The Heart (self-titled)
These indie-folksters had a fair amount of attention there for awhile. Solid, melodic folk balladry with a pleasant piano-heavy sound, but may not survive the test of time.
19. Dawes - Nothing Is Wrong
2011 will go down in my personal history as the year I fell in love with alternative country. This alternative country/rock band from LA made a solid record here with a bit of a jangly pop feel.
18. Paul Simon - So Beautiful Or So What
Paul Simon always writes solid music, but this is said to be his best since Graceland. Admittedly, I haven't heard any of his work during that stretch, so it's true by default.
17. Greensky Bluegrass - Handguns
This is a recent find for me, a result of their being revealed as part of the 2012 Telluride Bluegrass lineup. Starts out OK, and gets better and better as the album progresses, and ends with a solid 12 minute jam.
16. The Jayhawks - Mockingbird Time
These guys were pioneers in the alternative country genre, and they're back together, and stronger than ever.... Well, maybe not ever, but at least since Tomorrow The Green Grass. It's almost criminal how good they are at vocal harmony.
15. Old 97's - The Grand Theater, Vol. 2
Confession: I haven't even listened to Vol. 1. That's weird, right? Either way, more solid alternative country from another influential alternative country band. This one seems, to me, to be a little more artful than the two above similarly-styled albums.
14. Dead Man Winter - Bright Lights
What do you get when you take much of Trampled By Turtles, and add drums and electric guitars? You get Trampled By Turtles-flavored alternative country. A few of the songs have a nice TBT flavor (and one doubles as an actual TBT song), and a few others are closer to being alternative rock. At any rate, they're better as a progressive bluegrass band, but this is still thoroughly enjoyable.
13. Blackfield - Welcome to My DNA
I was really tentative about this album before it came out, but it turns out that everything Steven Wilson touches sounds good (this is one of three albums on this list with which he was involved). This time around, Aviv Geffen was almost solely responsible for writing the songs, but what makes this record great is not the writing, but the recording and production. Wilson did his usual phenomenal work here.
12. The Dodos - No Color
This progressive indie-folk duo has a sound that is all their own. It is fairly minimalist, but they use acoustic guitars in a way I've never heard them used before. For their minimalist instrumentation, their songs can actually be somewhat complex. I like it.
11. David Lowery - The Palace Guards
It's really difficult to pinpoint what exactly Cracker and Camper Van Beethoven frontman David Lowery's first solo album is... Is it art rock? Whatever it is, it's Lowery's best work since Greenland, with more mellow and introspective music than what we get from his bands. Well, maybe "All Those Girls Meant Nothing To Me" isn't introspective, but that's the exception...
10. The Roots - Undun
I always kind of respected the Roots, but I was never one to sing their praises. But this album is good. One of the most intelligently-penned rap albums I've heard. It's nice to have rappers who actually have something interesting to say, which hasn't been mainstream since Public Enemy (maybe an exaggeration...).
9. Bela Fleck and the Flecktones - Rocket Science
For this album, the Flecktones reformed their original incarnation, with piano player Howard Levy. The result is one of their best albums ever. These guys are one of the most entertaining instrumental bands around, and they're doing their part to keep jazz music alive.
8. Pain of Salvation - Road Salt Two
It's not as good as Road Salt One, but it still has enough stellar tracks to make it a worthy record. My favorite is the mandolin tune "Healing Now." Gildenlow is doing a great job alienating his prog-metal fanbase, but I always respect a musician who makes music for music's sake.
7. Steve Earle - I'll Never Get Out Of This World Alive
This is my pick for country record of the year. Earle's country-folk style comes across as incredibly authentic, and he actually has something to say here. Steve Earle is an excellent songwriter and a man with something to say, and that combination often results in timeless works.
6. Okkervil River - I Am Very Far
Okkervil River have managed a very long string of good-but-not-spectacular records. It's nice when a rock band has this much instrumental depth. It gives them a sound much richer than most bands around, and Will Sheff's overly narrative vocal style adds some valuable uniqueness.
5. Laura Marling - A Creature I Don't Know
This album is like crack. I get one of the catchy melodies from this record stuck in my head, and I absolutely must listen to it. The usual culprits are "Sophia" and "Salinas." Her writing is accomplished and intelligent, and her sexy British accent certainly doesn't hurt her cause.
4. The Decemberists - The King Is Dead
For half the year, this occupied my top spot. This is not The Decemberists' most interesting album, but it is very accessible and likable. It is well documented that they're paying homage to REM here, but they do it in a way that maintains their own unique style.
3. Yo Yo Ma, Stuart Duncan, Edgar Meyer and Chris Thile - The Goat Rodeo Sessions
What happens when you take three of the best bluegrass musicians in the world, and add the world's most accomplished cellist? This. You get this. This is the most recent of the three great records to come out this year, and it is simply thoroughly enjoyable and impressively performed progressive bluegrass instrumentals, with two tracks with vocals by Chris Thile and Aiofe O'Donovan. I constantly have the urge to listen to this disc.
2. Abigail Washburn - City of Refuge
This album came out in January, but never struck me until I saw her perform the material live in Telluride. After that I was hooked. This record is sheer beauty and texture, and her voice fits like a glove.
1. Steven Wilson - Grace For Drowning
Steven Wilson has spent the past few years remixing old King Crimson records, and here it finally manifests itself in his songwriting. Grace For Drowning is the best all-around package I've run across in some time; the music is up there with his best work, the visual artwork (both the physical packaging and the music videos) is stunning, and the sound is better than any other I've heard. The Blu-ray version has a clarity I never thought possible. If you're someone who likes to immerse yourself in your music, rather than relegating it to rhythmic background noise, you have to listen to this record.
Showing posts with label 2011. Show all posts
Showing posts with label 2011. Show all posts
Thursday, December 22, 2011
Thursday, October 6, 2011
#20: Abigail Washburn - City of Refuge
I don't know what it is about this album that makes it so great. The first few times I heard it, I thought it nothing special, but said I'd buy it if I saw it on vinyl. At Telluride Bluegrass, I saw a vinyl copy at the merch tent, and I'm a man of my word.
It helped that I saw her perform several times at the festival. It was during her live set that her music really clicked with me, and I found myself enjoying her set more than almost any other. I listened to the album a few more times in the ensuing weeks, and I was hooked.
Washburn plays the banjo, but this isn't bluegrass. It's more folk than anything else. The music is rich and textured, and her warm voice perfectly complements her lush songs. There's really nothing else out there that combines the same influences she pulls from, making this one of the more unique records in my collection.
Standout tracks:
- Divine Bell
- Burn Thru
- Chains
- Last Train
Sunday, October 2, 2011
New Release: Steven Wilson - Grace For Drowning
Release Date: September 26, 2011
Label: KScope
Having received my much-awaited Grace For Drowning vinyl and deluxe edition mail orders, and allowing a few listens to set in, I feel compelled to provide my thoughts on this excellent new record. Steven Wilson is the lead singer, songwriter, producer, and creative genius behind the progressive rock/metal band Porcupine Tree, and has been involved with many other projects (as both musician, producer, and general sound expert), including Blackfield, Opeth, and, notably, the new 40th anniversary King Crimson remasters. It is the latter project that clearly had the most influence over the outcome of his new sophomore solo record.
I shall break this up into a few broad attributes.
Packaging
I bought both the vinyl and the deluxe blu-ray edition. The vinyl is a standard double gatefold, with printed sleeves and 180g black vinyl. This is what I listened to first, and it is an impressive package, but not any more so than similar vinyl releases.
The deluxe edition, running at a cool $80 plus shipping, is truly impressive. This version comes with both discs of Grace For Drowning, and bonus disc with demos and outtakes, and a blu-ray disc containing 5.1 and stereo mixes of the album, videos, a couple of bonus tracks, photos, and handwritten lyrics. I haven't had a chance to watch all of the videos, but the ones I've seen do songs justice, and fit their dark mood, as is typical of Lasse Hoile-directed videos.
The deluxe edition is housed in a 120-page hardcover book, whose cover is fitted with embossed denim. They certainly did not skimp on quality here. The book's 120 pages - yes, there are really 120 pages - are photos that I'm assuming are thematic, interspersed with lyrics and reproductions of handwritten notes. I don't know where all these photos came from, but it looks like almost as much work could have been put into the design of this edition as the music itself. Steven Wilson considers the album artwork to be, along with the actual music, one of the critical components of an album, and this album artwork is as breathtaking as any I've seen.
Sound
I mentioned that Wilson is hot off his work on King Crimson's 40th Anniversary Editions, and these song truly phenomenal. The new 5.1 remixes of those albums are largely responsible for my renewed appreciation for Lizard and Islands. Thus, it is only appropriate for this album to include a 5.1 edition.
The great thing about this is the 5.1 mix doesn't make the album. It still sounds spectacular in stereo; you don't even really need the 5.1 mix to appreciate the incredible aural experience this album offers. What the 5.1 mix brings to the table is a little more subtle; Wilson essentially brings you, the listener, into the room by moving atmospheric elements and some vocals to the rear channels. There is more separation between the sounds. The blu-ray edition really shines during the quiet parts of the album, when there are but a few instruments, and you are not limited to the dynamic range compressed stereo CDs have. A perfect example of this is the final track, "Like Dust I Have Cleared From My Eye." You hear Wilson in the center channel, the piano in the rear, guitar chords in the front, some occasional strumming in the rear, and layered background vocals all around you.
Even if you don't buy the $80 deluxe edition, it is still worthwhile to have the blu-ray disc, when can be bought separately for about $15 on Amazon.
The Actual Music
Obviously the music is the most important part of any album, and there is no disappointment in this regard. Grace For Drowning is far more ambitious than Wilson's debut solo album, Insurgentes, which is sometimes a recipe for trouble. There is always the risk of coming across as overindulgent, and sometimes music just needs to be simple.
Fortunately, Wilson took a new approach here: he made two separate albums, Deform to Form a Star, which comprises the first disc, and Like Dust I Have Cleared From My Eye, which comprises the second disc. He intended for these albums to be digested separately. The first, Deform, is more structured, less ambitious, and contains a few beautifully simple songs (e.g., "Postcard"). The disc starts out with the delicate title track, whose vocals are limited to some layered la's. The second track, "Sectarian," is a wonderfully discordant and rhythmic instrumental. This starkly contrasts to the Insurgentes, which began with the catchiest song on the album, "Harmony Korine." The effect here is that after ten minutes of textured music, the soft vocals become far more profound when the track "Deform to Form a Star" begins.
The second disc/album is more abstract and ambitious. The centerpiece is a very Lizard-esque epic track entitled "Raider II." The onset of this track seems to give a deliberate nod to Lizard, with its vocal melody and style that is very reminiscent of the beginning of Lizard's first track, "Cirkus." This influence is noticeable throughout the entire album; for this record, Wilson employed several jazz musicians, and there are saxophone and flute parts scattered about. Given the fact that Lizard is one of my favorite albums, this is a welcome influence.
The reason I like the way the albums are divided, is that if the whole album is a bit too much for you, you can simply stick to the first sub-album. This disc alone offers enough depth to keep you occupied for some time. When you feel like you're done absorbing the first disc, you can then move on to the second.
I don't know where this album will settle after I've had months to digest it, but my initial impression, after three listens, is that it's the best thing I've heard in some time, and it's Wilson's best work, which is a high mark indeed.
This album, perhaps more than any album I've heard, offers the complete package. It is pure art in every form. It has excellent music, great photography, beautiful videos, and amazing sound. Regardless of whether this is your preferred style of music, you can't help but be amazed by Wilson's ability to put all this together.
★★★★
Label: KScope
Having received my much-awaited Grace For Drowning vinyl and deluxe edition mail orders, and allowing a few listens to set in, I feel compelled to provide my thoughts on this excellent new record. Steven Wilson is the lead singer, songwriter, producer, and creative genius behind the progressive rock/metal band Porcupine Tree, and has been involved with many other projects (as both musician, producer, and general sound expert), including Blackfield, Opeth, and, notably, the new 40th anniversary King Crimson remasters. It is the latter project that clearly had the most influence over the outcome of his new sophomore solo record.
I shall break this up into a few broad attributes.
Packaging
 |
| Grace For Drowning vinyl edition |
The deluxe edition, running at a cool $80 plus shipping, is truly impressive. This version comes with both discs of Grace For Drowning, and bonus disc with demos and outtakes, and a blu-ray disc containing 5.1 and stereo mixes of the album, videos, a couple of bonus tracks, photos, and handwritten lyrics. I haven't had a chance to watch all of the videos, but the ones I've seen do songs justice, and fit their dark mood, as is typical of Lasse Hoile-directed videos.
 |
| Grace For Drowning deluxe edition |
Sound
I mentioned that Wilson is hot off his work on King Crimson's 40th Anniversary Editions, and these song truly phenomenal. The new 5.1 remixes of those albums are largely responsible for my renewed appreciation for Lizard and Islands. Thus, it is only appropriate for this album to include a 5.1 edition.
The great thing about this is the 5.1 mix doesn't make the album. It still sounds spectacular in stereo; you don't even really need the 5.1 mix to appreciate the incredible aural experience this album offers. What the 5.1 mix brings to the table is a little more subtle; Wilson essentially brings you, the listener, into the room by moving atmospheric elements and some vocals to the rear channels. There is more separation between the sounds. The blu-ray edition really shines during the quiet parts of the album, when there are but a few instruments, and you are not limited to the dynamic range compressed stereo CDs have. A perfect example of this is the final track, "Like Dust I Have Cleared From My Eye." You hear Wilson in the center channel, the piano in the rear, guitar chords in the front, some occasional strumming in the rear, and layered background vocals all around you.
Even if you don't buy the $80 deluxe edition, it is still worthwhile to have the blu-ray disc, when can be bought separately for about $15 on Amazon.
The Actual Music
Obviously the music is the most important part of any album, and there is no disappointment in this regard. Grace For Drowning is far more ambitious than Wilson's debut solo album, Insurgentes, which is sometimes a recipe for trouble. There is always the risk of coming across as overindulgent, and sometimes music just needs to be simple.
Fortunately, Wilson took a new approach here: he made two separate albums, Deform to Form a Star, which comprises the first disc, and Like Dust I Have Cleared From My Eye, which comprises the second disc. He intended for these albums to be digested separately. The first, Deform, is more structured, less ambitious, and contains a few beautifully simple songs (e.g., "Postcard"). The disc starts out with the delicate title track, whose vocals are limited to some layered la's. The second track, "Sectarian," is a wonderfully discordant and rhythmic instrumental. This starkly contrasts to the Insurgentes, which began with the catchiest song on the album, "Harmony Korine." The effect here is that after ten minutes of textured music, the soft vocals become far more profound when the track "Deform to Form a Star" begins.
The second disc/album is more abstract and ambitious. The centerpiece is a very Lizard-esque epic track entitled "Raider II." The onset of this track seems to give a deliberate nod to Lizard, with its vocal melody and style that is very reminiscent of the beginning of Lizard's first track, "Cirkus." This influence is noticeable throughout the entire album; for this record, Wilson employed several jazz musicians, and there are saxophone and flute parts scattered about. Given the fact that Lizard is one of my favorite albums, this is a welcome influence.
The reason I like the way the albums are divided, is that if the whole album is a bit too much for you, you can simply stick to the first sub-album. This disc alone offers enough depth to keep you occupied for some time. When you feel like you're done absorbing the first disc, you can then move on to the second.
I don't know where this album will settle after I've had months to digest it, but my initial impression, after three listens, is that it's the best thing I've heard in some time, and it's Wilson's best work, which is a high mark indeed.
This album, perhaps more than any album I've heard, offers the complete package. It is pure art in every form. It has excellent music, great photography, beautiful videos, and amazing sound. Regardless of whether this is your preferred style of music, you can't help but be amazed by Wilson's ability to put all this together.
★★★★
Sunday, August 7, 2011
Abigail Washburn - City of Refuge
Release Date: January 11, 2011
Label: New Rounder
Earlier this year (or maybe late last year), Abigail Washburn was announced as part of the lineup of the 2011 Telluride Bluegrass Festival. I hadn't heard of her, so this didn't really mean much to me. Later, Hoodlums announced she would be doing an in-store performance in March (which I was unable to attend), so I figured I'd further investigate this Abigail Washburn situation. Over the course of my research, I found that (a) she is married to banjo master Béla Fleck, and (b) she released a new album in January called City of Refuge.
I decided to give this a listen. My first impression was that it was that it was a nice, textured, well-written, and well-sung album, but not one that I could listen to often. I found it slightly boring, but, nevertheless, said if I ever saw a copy of it on vinyl, I'd pick it up.
At the TBF merch tent, I saw a copy of City of Refuge on vinyl, and I'm a man of my word.
It turns out I saw, in addition to her riveting main stage performance on Sunday, her sit-ins in Fleck's Saturday Elks Park performance, and I became a fan of hers that weekend. Not only is she excellent on the clawhammer banjo, but she has the warmest voice in all of female vocaldom, and no matter how many people are in attendance, all of her performances feel like they're taking place around the fire place in your living room.
Needless to say, I've listened to City of Refuge several more times since June, and this is now my favorite album of the year, almost eight months in.
What I like about this album (much of which is co-written with Kai Welch) are Abigail's warm voice, the brilliantly textured music, and the catchy melodies. From the soaring chorus in "City of Refuge," to the backing chorale in "Burn Thru," and especially the gospel-influenced "Divine Bell," once some of these songs get stuck in your head, the only way you can get it out is to listen to a different song on this album.
Musically, it is hard to categorize this. It has elements of bluegrass and folk. It can probably be fairly safely categorized as traditional, but unlike most bluegrass and folk, she strays from the typical American traditions which those genres typically carry on. Her view is more global; she learned Mandarin while living in China in 1996, and at times this record sounds almost like world music.
Where some songs are soaring, others are slow and soothing ("Bring Me My Queen," "Corner Girl," "Dreams Of Nectar," etc.). The instruments are sometimes sparse, and sometimes unite to form an auric river of music. Sometimes banjo pulls all the weight, as is the case with the delicate reverse arpeggios in "Corner Girl;" and sometimes it sits on the sidelines and lets the other instruments do the work. Whichever is the case, the atmosphere is always rich. Aside from the texture, the pacing of this record is excellent, with an excellent and well-timed mix of slow, atmospheric tunes, and the more upbeat toe-tappers.
This record is not for everybody, but if you like to mellow out every now and then, I'd highly recommend it.
Tracklist:
★★★★
Label: New Rounder
I decided to give this a listen. My first impression was that it was that it was a nice, textured, well-written, and well-sung album, but not one that I could listen to often. I found it slightly boring, but, nevertheless, said if I ever saw a copy of it on vinyl, I'd pick it up.
At the TBF merch tent, I saw a copy of City of Refuge on vinyl, and I'm a man of my word.
Needless to say, I've listened to City of Refuge several more times since June, and this is now my favorite album of the year, almost eight months in.
What I like about this album (much of which is co-written with Kai Welch) are Abigail's warm voice, the brilliantly textured music, and the catchy melodies. From the soaring chorus in "City of Refuge," to the backing chorale in "Burn Thru," and especially the gospel-influenced "Divine Bell," once some of these songs get stuck in your head, the only way you can get it out is to listen to a different song on this album.
Musically, it is hard to categorize this. It has elements of bluegrass and folk. It can probably be fairly safely categorized as traditional, but unlike most bluegrass and folk, she strays from the typical American traditions which those genres typically carry on. Her view is more global; she learned Mandarin while living in China in 1996, and at times this record sounds almost like world music.
Where some songs are soaring, others are slow and soothing ("Bring Me My Queen," "Corner Girl," "Dreams Of Nectar," etc.). The instruments are sometimes sparse, and sometimes unite to form an auric river of music. Sometimes banjo pulls all the weight, as is the case with the delicate reverse arpeggios in "Corner Girl;" and sometimes it sits on the sidelines and lets the other instruments do the work. Whichever is the case, the atmosphere is always rich. Aside from the texture, the pacing of this record is excellent, with an excellent and well-timed mix of slow, atmospheric tunes, and the more upbeat toe-tappers.
This record is not for everybody, but if you like to mellow out every now and then, I'd highly recommend it.
Tracklist:
| 1 | Prelude | 0:52 |
| 2 | City of Refuge | 3:42 |
| 3 | Bring Me My Queen | 4:14 |
| 4 | Chains | 3:51 |
| 5 | Ballad of Treason | 3:07 |
| 6 | Last Train | 3:55 |
| 7 | Burn Thru | 4:26 |
| 8 | Corner Girl | 3:24 |
| 9 | Dreams of Nectar | 5:51 |
| 10 | Divine Bell | 2:38 |
| 11 | Bright Morning Stars | 4:40 |
★★★★
Wednesday, July 13, 2011
Bon Iver - Bon Iver
Release Date: June 21, 2011
Label: Jagjaguwar
It's been a few weeks since this was released, and I've given it a solid three or four listens. As such, I feel like I have had ample time to digest it. Seeing as it is one of the most hyped albums of the year so far (at least in certain circles), I figured I'd give it the business.
A decade or so ago, a musical movement started gaining steam. It wasn't as much a genre, as it was an idea. This movement was known as post-rock, and was described as music that is not rock music, but uses rock instruments. A few of these bands were Sigur Ros, Mogwai, Godspeed You! Black Emperor, Kayo Dot (more post-metal), Explosions in the Sky, et al. To me, this type of music is characterized by a general lack of any coherent structure, atmospheric sounds, and the most unappealing melodies imaginable. I have been known to enjoy some pretty challenging music (even the most brazen King Crimson, Yes, Emerson Lake & Palmer, etc.), but I have never been able to find post-rock enjoyable.
Bon Iver is, to my knowledge, not considered post-rock, but the reason I bring this up is that Bon Iver seems to have some of the above qualities. It is heavy on ambience, the songs are atypically structured, and the melodies are completely forgettable.
This is an album that has me torn between passive respect and brooding disdain. On the one hand, I admire bands that try to push boundaries, and do things that aren't typically done. I generally enjoy music that takes a lot of work to become acclimated to. But at the same time, I find this album a chore to listen to. It's not just, "Whatever, at least it's good background music." It's actually difficult for me to listen to this. I hate the way the keyboards sound. I hate the flagrant overuse of the falsetto voice. Even more, I hate the cringe-worthy passages with two falsettos harmonizing. And after four listens, there is not a single melody that I remember.
In short, this album may be admirable in some respects, but it is not good.
That's not to say there aren't great songs. "Towers," for example, shines. More often, though–and this is another one of those post-rock qualities–there are simply good passages strewn about a field of tedium.
Inevitably this album will be considered by indie music journals and, by extension, hipsters everywhere to be one of the best of the year. And it will certainly be more deserving than that new Fleet Foxes album. But there are already at least a dozen other albums this year that I'd rather listen to.
★★☆☆
Label: Jagjaguwar
It's been a few weeks since this was released, and I've given it a solid three or four listens. As such, I feel like I have had ample time to digest it. Seeing as it is one of the most hyped albums of the year so far (at least in certain circles), I figured I'd give it the business.
Bon Iver is, to my knowledge, not considered post-rock, but the reason I bring this up is that Bon Iver seems to have some of the above qualities. It is heavy on ambience, the songs are atypically structured, and the melodies are completely forgettable.
This is an album that has me torn between passive respect and brooding disdain. On the one hand, I admire bands that try to push boundaries, and do things that aren't typically done. I generally enjoy music that takes a lot of work to become acclimated to. But at the same time, I find this album a chore to listen to. It's not just, "Whatever, at least it's good background music." It's actually difficult for me to listen to this. I hate the way the keyboards sound. I hate the flagrant overuse of the falsetto voice. Even more, I hate the cringe-worthy passages with two falsettos harmonizing. And after four listens, there is not a single melody that I remember.
In short, this album may be admirable in some respects, but it is not good.
That's not to say there aren't great songs. "Towers," for example, shines. More often, though–and this is another one of those post-rock qualities–there are simply good passages strewn about a field of tedium.
Inevitably this album will be considered by indie music journals and, by extension, hipsters everywhere to be one of the best of the year. And it will certainly be more deserving than that new Fleet Foxes album. But there are already at least a dozen other albums this year that I'd rather listen to.
★★☆☆
Thursday, June 9, 2011
dredg - Chuckles And Mr. Squeezy
Release Date: May 3, 2011
Label: Superball Music
Every once in awhile, an artist you once thought quite credible, maybe even accomplished, goes out and makes an album so head-scratchingly terrible that it becomes even more memorable than had he made a reasonably respectable record. The best example is Chris Cornell's solo album, Scream, which featured a very bizarre collaboration with Timbaland, and signature Timbaland electric pop. This was quite the surprise, considering Cornell's background (even Audioslave was tolerable, even if it wasn't great).
So you can imagine my glee when I read up on the new dredg album. If you haven't heard of them, dredg is an art rock/prog rock outfit from California, with a moderately sized following, and four albums under their belt, each of them fairly unique. The reviews I read were some of the most unfavorable I've seen in awhile; it was far more poorly received, for example, than the latest Muse album, which I considered to be credibility-destroying. The biggest complaint, of course, was the new electronic soundscapes, this time due to an awkward collaboration with producer Dan the Automator. Based on what I heard, this transcended "band musically evolved and the fans just couldn't handle the change," and reached "band just went batsh*t crazy."
Can you see why I was so excited to listen to this? I thought Chris Cornell was going to have some competition. This was going to be a truly memorable collapse by a band that at one point was making great records, and might have even been close to being in my top ten (back in my college days).
Imagine my dismay, even horror, when I listened to this, and found that it is...good? No, I'm not prepared to say it is good just yet. But it's not anywhere near as bad as Scream, and it might even be better than that new Arctic Monkeys album I for some reason put on afterwards. Despite the fact that I hate electronic music, and the fact that hiring an awkward producer never works, this is not terrible.
Yes, the album title sucks. The cover looks like the artist who made the cover of the latest Ke$ha album picked up one of his rejected album covers, did a bunch of angel dust, and went to town on the singer's face. Most of the songs are at best pedestrian. But it is listenable! A couple of tracks ("The Ornament," a piece of which superbly closed their third album, Catch Without Arms; "Where I'll End Up") are actually decent.
Chuckles And Mr. Squeezy is a somewhat forgettable album from a unique band that used to write pretty good albums. I'm at once relieved and disappointed to say that Scream is still in a league of its own.
★★☆☆
Label: Superball Music
Every once in awhile, an artist you once thought quite credible, maybe even accomplished, goes out and makes an album so head-scratchingly terrible that it becomes even more memorable than had he made a reasonably respectable record. The best example is Chris Cornell's solo album, Scream, which featured a very bizarre collaboration with Timbaland, and signature Timbaland electric pop. This was quite the surprise, considering Cornell's background (even Audioslave was tolerable, even if it wasn't great).
Can you see why I was so excited to listen to this? I thought Chris Cornell was going to have some competition. This was going to be a truly memorable collapse by a band that at one point was making great records, and might have even been close to being in my top ten (back in my college days).
Imagine my dismay, even horror, when I listened to this, and found that it is...good? No, I'm not prepared to say it is good just yet. But it's not anywhere near as bad as Scream, and it might even be better than that new Arctic Monkeys album I for some reason put on afterwards. Despite the fact that I hate electronic music, and the fact that hiring an awkward producer never works, this is not terrible.
Yes, the album title sucks. The cover looks like the artist who made the cover of the latest Ke$ha album picked up one of his rejected album covers, did a bunch of angel dust, and went to town on the singer's face. Most of the songs are at best pedestrian. But it is listenable! A couple of tracks ("The Ornament," a piece of which superbly closed their third album, Catch Without Arms; "Where I'll End Up") are actually decent.
Chuckles And Mr. Squeezy is a somewhat forgettable album from a unique band that used to write pretty good albums. I'm at once relieved and disappointed to say that Scream is still in a league of its own.
★★☆☆
Monday, May 9, 2011
New Release: Chris Thile & Michael Daves - Sleep With One Eye Open
Release Date: May 10, 2011
Label: Nonesuch
Here's a little preview into the future... It is May 9th, and I am listening to an album which does not come out until May 10th. It's not time travel; for some reason, MOG already has it available to stream.
I decided I wanted to listen to this for a few reasons:
(a) I have a man crush on Chris Thile. From Nickel Creek, to Punch Brothers, to his more traditional solo work, everything this guy is involved in is good. Thile is known for his prowess on the mandolin, and his kinda-like-Thom-Yorke-but-less-harsh voice, but his most appealing attribute in my mind is his creativity (and his proclivity for performing bluegrass covers of Radiohead songs is pretty cool, too). Punch Brothers is one of the most exciting bands around today.
(b) Chris Thile and Michael Daves have a Friday morning time slot on the main stage at Telluride next month. I figure I ought to familiarize myself with their material, in order to make the show more enjoyable.
(c) I downloaded the free mp3 they offered a few weeks back of their rendition of "My Little Girl in Tennessee," and I quite liked it.
Before I heard the "Little Girl" mp3, I thought this would be a traditional bluegrass band, with a guitar, mandolin, bass, banjo, and maybe a fiddle. Presumably, Thile and Daves would be the creative force, and hire studio musicians to play the other parts. I noticed right away that the song is a true duet: it is no more than Thile on mandolin, Daves on guitar, and both singing harmony. This immediately made the project a little more interesting to me.
A few songs in, I realized that, while this is stylistically similar to traditional bluegrass, there are a few elements that make this somewhat more interesting than your local bluegrass band. First of all, the arrangements can be very chaotic. I am more than a little impressed with Daves' guitar playing, and as much as I like Thile, I think the guitar work is what makes this work. A few songs in, the playing reaches such a blistering pace that you think there's no way they'll be able to hold it together, but amazingly, they do. On the opposite end of the spectrum, you have slow, peaceful songs like "Bury Me Beneath The Willow," with relatively sparse, and more disciplined, instrumentation. Amazingly, at both ends of the spectrum, it doesn't feel like the instrumentation is lacking; the guitar and mandolin do a more than adequate job at creating a sound that is both melodic and percussive.
It should be noted that everything here is essentially a cover; several of the songs are traditional, and several more are originally written by Flatt, Scruggs, and Monroe, among others. There are no originals; none of Thile's interesting prog-grass inventions. Just two very talented musicians offering their own interpretations of old bluegrass and traditional standards. It could be said that this allows them to focus more on the technical aspects of the music, and less on formulating lyrics and melodies.
Rabbit in the Log from Chris Thile & Michael Daves on Vimeo.
An album like this needs to be placed in its proper context to be really appreciated. This album is not breaking any new ground; it's not a display of songwriting genius; it's virtually impossible to bond with this album on any emotional level. Where this succeeds is as an exhibition of extraordinary guitar and mandolin technique, and perfectly matched vocal harmonies; and in that light, it is a lot of fun. There is not a bad cut here (although 16 tracks may be a few too many). I don't feel that, without it, my collection is lacking something, but I sure as heck enjoy listening to it.
★★★☆
Label: Nonesuch
I decided I wanted to listen to this for a few reasons:
(a) I have a man crush on Chris Thile. From Nickel Creek, to Punch Brothers, to his more traditional solo work, everything this guy is involved in is good. Thile is known for his prowess on the mandolin, and his kinda-like-Thom-Yorke-but-less-harsh voice, but his most appealing attribute in my mind is his creativity (and his proclivity for performing bluegrass covers of Radiohead songs is pretty cool, too). Punch Brothers is one of the most exciting bands around today.
(b) Chris Thile and Michael Daves have a Friday morning time slot on the main stage at Telluride next month. I figure I ought to familiarize myself with their material, in order to make the show more enjoyable.
(c) I downloaded the free mp3 they offered a few weeks back of their rendition of "My Little Girl in Tennessee," and I quite liked it.
Before I heard the "Little Girl" mp3, I thought this would be a traditional bluegrass band, with a guitar, mandolin, bass, banjo, and maybe a fiddle. Presumably, Thile and Daves would be the creative force, and hire studio musicians to play the other parts. I noticed right away that the song is a true duet: it is no more than Thile on mandolin, Daves on guitar, and both singing harmony. This immediately made the project a little more interesting to me.
A few songs in, I realized that, while this is stylistically similar to traditional bluegrass, there are a few elements that make this somewhat more interesting than your local bluegrass band. First of all, the arrangements can be very chaotic. I am more than a little impressed with Daves' guitar playing, and as much as I like Thile, I think the guitar work is what makes this work. A few songs in, the playing reaches such a blistering pace that you think there's no way they'll be able to hold it together, but amazingly, they do. On the opposite end of the spectrum, you have slow, peaceful songs like "Bury Me Beneath The Willow," with relatively sparse, and more disciplined, instrumentation. Amazingly, at both ends of the spectrum, it doesn't feel like the instrumentation is lacking; the guitar and mandolin do a more than adequate job at creating a sound that is both melodic and percussive.
It should be noted that everything here is essentially a cover; several of the songs are traditional, and several more are originally written by Flatt, Scruggs, and Monroe, among others. There are no originals; none of Thile's interesting prog-grass inventions. Just two very talented musicians offering their own interpretations of old bluegrass and traditional standards. It could be said that this allows them to focus more on the technical aspects of the music, and less on formulating lyrics and melodies.
Rabbit in the Log from Chris Thile & Michael Daves on Vimeo.
An album like this needs to be placed in its proper context to be really appreciated. This album is not breaking any new ground; it's not a display of songwriting genius; it's virtually impossible to bond with this album on any emotional level. Where this succeeds is as an exhibition of extraordinary guitar and mandolin technique, and perfectly matched vocal harmonies; and in that light, it is a lot of fun. There is not a bad cut here (although 16 tracks may be a few too many). I don't feel that, without it, my collection is lacking something, but I sure as heck enjoy listening to it.
★★★☆
Thursday, April 21, 2011
New Release: Roger Clyne & The Peacemakers - Unida Cantina
Release Date: April 19, 2011
Label: EmmaJava Records
By now, all of my friends should know I like Roger Clyne & The Peacemakers. Sonoran Hope And Madness is one of my favorite albums... It perfectly exemplifies the union of cowboy, suburban, and Mexican culture found in Arizona. There has never been an album to better capture modern Arizona, but I digress...
After the last two albums, No More Beautiful World, and Turbo Ocho, I wasn't exactly holding out hope for greatness with RCPM's new album. NMBW is forgettable, and Turbo is solid, but lacks the feel that made the band so great back in the day. I have heard some of the new tracks in a live setting over the past week, and some of them were promising.
The album opens about like I expected, after the past two albums: with a watered down pop rock song, "All Over The Radio." Unfortunately, the next song, "Heaven On A Paper Plate," is even worse. "Dinero" is no improvement. "Love Is A Road" starts out cool, but quickly reverts to the form established in the first three tracks.
"Go With The Flow" is the first track I enjoyed. It's a little faster, but it would still be an average track on Turbo Ocho. "Marie" is the first song on this album I consider to be truly excellent, and we're already on track six.
The back side is a little better; the first track, "Empty Highway," is still a little trite, but has a great tune. This is a good song. "Small World" is a nice, slow acoustic piece, and possibly the most country on the album. After a short acoustic instrumental, we get "Just Got High," which brings us back into lame territory. "Today Belongs To The Light" is a reggae-infused song, which is normally not RCPM's forte, but sounds good here. "Paper Airplanes" belongs on a Gin Blossoms record. The closer, "Play On," is a nice, medium-tempo song with a relatively catchy tune.
It's hard to pinpoint what exactly went wrong here. The lyrics are trite...where are the stories? It's been awhile since we've had a "Jack Vs. Jose," "Lupe Montosa," or "Switchblade." Has the lifestyle described in "Captain Suburbia" finally gotten the best of Roger? It's really hard to identify with, or care about, anything that is said here. Is it the slick production, bereft of any dynamics? Thom Jurek said it best in his all-music review: the songs are "simply generic, indistinguishable from a morass of American music that has rightfully faded from memory."
This band is still one of the best live acts to see in the Phoenix area. They still put on a heck of a show. Their studio output, however, seems to be in a state of near-constant decline.
Tracklist:
★☆☆☆
Label: EmmaJava Records
By now, all of my friends should know I like Roger Clyne & The Peacemakers. Sonoran Hope And Madness is one of my favorite albums... It perfectly exemplifies the union of cowboy, suburban, and Mexican culture found in Arizona. There has never been an album to better capture modern Arizona, but I digress...
The album opens about like I expected, after the past two albums: with a watered down pop rock song, "All Over The Radio." Unfortunately, the next song, "Heaven On A Paper Plate," is even worse. "Dinero" is no improvement. "Love Is A Road" starts out cool, but quickly reverts to the form established in the first three tracks.
"Go With The Flow" is the first track I enjoyed. It's a little faster, but it would still be an average track on Turbo Ocho. "Marie" is the first song on this album I consider to be truly excellent, and we're already on track six.
The back side is a little better; the first track, "Empty Highway," is still a little trite, but has a great tune. This is a good song. "Small World" is a nice, slow acoustic piece, and possibly the most country on the album. After a short acoustic instrumental, we get "Just Got High," which brings us back into lame territory. "Today Belongs To The Light" is a reggae-infused song, which is normally not RCPM's forte, but sounds good here. "Paper Airplanes" belongs on a Gin Blossoms record. The closer, "Play On," is a nice, medium-tempo song with a relatively catchy tune.
It's hard to pinpoint what exactly went wrong here. The lyrics are trite...where are the stories? It's been awhile since we've had a "Jack Vs. Jose," "Lupe Montosa," or "Switchblade." Has the lifestyle described in "Captain Suburbia" finally gotten the best of Roger? It's really hard to identify with, or care about, anything that is said here. Is it the slick production, bereft of any dynamics? Thom Jurek said it best in his all-music review: the songs are "simply generic, indistinguishable from a morass of American music that has rightfully faded from memory."
This band is still one of the best live acts to see in the Phoenix area. They still put on a heck of a show. Their studio output, however, seems to be in a state of near-constant decline.
Tracklist:
| 1 | All Over the Radio | 3:13 |
| 2 | Heaven on a Paper Plate | 3:43 |
| 3 | Dinero | 3:43 |
| 4 | Love Is the Road | 4:13 |
| 5 | Go with the Flow | 3:36 |
| 6 | Marie | 3:57 |
| 7 | Empty Highway | 3:52 |
| 8 | Small World | 3:55 |
| 9 | Unida Cantina | 1:18 |
| 10 | Just Got High | 3:37 |
| 11 | Today Belongs to the Light | 4:36 |
| 12 | Paper Airplanes | 3:41 |
| 13 | Play On | 3:22 |
★☆☆☆
Friday, April 15, 2011
New Release: Blackfield - Welcome To My DNA
Release Date (UK): March 28, 2011
Release Date (US): April 19, 2011
Label: KScope
If you haven't heard of Blackfield, which is probably very likely, they are an art rock collaboration between Steven Wilson of Porcupine Tree fame and Israeli rock/pop star Aviv Geffen. In case you didn't know, I am a huge Steven Wilson fan, and I consider him to be one of the best, most diverse, and most creative musicians of our time. Blackfield is just one of several projects he has been involved with.
Even if you have heard every song Steven Wilson has ever recorded, you still haven't heard Blackfield. This music is textured, melodious, and somewhat mellow. The arrangements are simple; you don't hear the odd rhythms and frenzied dynamics which sometimes proliferate Porcupine Tree's work.
The first album, simply called Blackfield, featured a few tracks written by Wilson, a few by Geffen, and the rest credited to both. The second, Blackfield II, featured a little less Wilson and a little more Geffen, but Wilson still made a significant contribution (including my favorite track, "Christenings," which was may have been an unused Porcupine Tree song, and partial credits for "Epidemic" and "1,000 People").
When I heard about the new album, Welcome To My DNA, I decided to go the vinyl route and preorder the hand numbered vinyl version limited to 2,000 copies (I got #491).
The first thing I noticed about this album was that Wilson was only credited with writing one song, "Waving." This struck me as a little concerning; was Blackfield evolving from a Wilson/Geffen collaboration into a project solely owned by Geffen? I always liked Wilson's work better, and it's not a surprise that "Waving" turned out to be the best track on this album. What is surprising is that the album is still good. Maybe Geffen's writing is improving (after the first few listens, I do like "Glass House" and "Far Away"). Maybe the fact that Steven Wilson is still in the producer's chair is holding it together. Who knows.
The weakest point for Welcome To My DNA? Easily the lyrics. Someone needs to confiscate Geffen's pen and never give it back. I find it hard to believe the guy who wrote the lyrics to "Cloudy Now" also wrote "Go To Hell." The lyrics to "Go To Hell" are basically this (I don't have the album on hand right now, so I may be misquoting):
As with the other Blackfield albums, I consider this to be good, beautifully produced music, but nothing groundbreaking. Nobody, as far as I'm aware of, creates more richly layered and elegantly textured music than Steven Wilson, and this is not an exception.
Tracklist:
★★★☆
Release Date (US): April 19, 2011
Label: KScope
Even if you have heard every song Steven Wilson has ever recorded, you still haven't heard Blackfield. This music is textured, melodious, and somewhat mellow. The arrangements are simple; you don't hear the odd rhythms and frenzied dynamics which sometimes proliferate Porcupine Tree's work.
The first album, simply called Blackfield, featured a few tracks written by Wilson, a few by Geffen, and the rest credited to both. The second, Blackfield II, featured a little less Wilson and a little more Geffen, but Wilson still made a significant contribution (including my favorite track, "Christenings," which was may have been an unused Porcupine Tree song, and partial credits for "Epidemic" and "1,000 People").
When I heard about the new album, Welcome To My DNA, I decided to go the vinyl route and preorder the hand numbered vinyl version limited to 2,000 copies (I got #491).
The first thing I noticed about this album was that Wilson was only credited with writing one song, "Waving." This struck me as a little concerning; was Blackfield evolving from a Wilson/Geffen collaboration into a project solely owned by Geffen? I always liked Wilson's work better, and it's not a surprise that "Waving" turned out to be the best track on this album. What is surprising is that the album is still good. Maybe Geffen's writing is improving (after the first few listens, I do like "Glass House" and "Far Away"). Maybe the fact that Steven Wilson is still in the producer's chair is holding it together. Who knows.
The weakest point for Welcome To My DNA? Easily the lyrics. Someone needs to confiscate Geffen's pen and never give it back. I find it hard to believe the guy who wrote the lyrics to "Cloudy Now" also wrote "Go To Hell." The lyrics to "Go To Hell" are basically this (I don't have the album on hand right now, so I may be misquoting):
F*ck you all, f*ck you.That's deep. (Musically, it's not bad, though)
F*ck you all, f*ck you.
I don't care.
Go to hell, go to hell,
Go to hell, go to hell...
As with the other Blackfield albums, I consider this to be good, beautifully produced music, but nothing groundbreaking. Nobody, as far as I'm aware of, creates more richly layered and elegantly textured music than Steven Wilson, and this is not an exception.
Tracklist:
| 1 | Glass House | 2:56 |
| 2 | Go to Hell | 3:03 |
| 3 | Rising of the Tide | 3:47 |
| 4 | Waving | 3:54 |
| 5 | Far Away | 2:47 |
| 6 | Dissolving With the Night | 4:06 |
| 7 | Blood | 3:17 |
| 8 | On the Plane | 3:41 |
| 9 | Oxygen | 3:04 |
| 10 | Zigota | 5:04 |
| 11 | DNA | 3:56 |
★★★☆
Thursday, March 3, 2011
New Release: Eisley - The Valley
Release Date: March 1, 2011
Label: Equal Vision Records
Not sure why I decided to listen to this one... Possibly because it's brand new, and I found it streaming on the internet. Anyhow, this is an indie-pop band made up of a family (four siblings and their cousin) from Tyler, TX. Having heard absolutely nothing of this band, I had no clue what to expect (well, the band name is derived from Mos Eisley, so I expected it to be good).
The album title, The Valley, refers to the recent hardships endured by the members of the band. One of the DuPree sisters had a failed marriage. The band faced an uncertain future after leaving their record label. With this in mind, I was expecting an album filled with desperation and melancholy.
The lyrics, as expected, are melancholy. They sing of heartbreak, disappointment, and pain. This is all well and good, but this music has a decidedly happy sound. The tunes are poppy and infectious, and the production is polished and crisp. The result is an album where there is a mismatch between the music's tone and that of the lyrics–and unfortunately, it's not done in a way that leads you to believe they're just being ironic. The Valley is ultimately a failure; while every song is listenable, I can't help but think this is maybe just a notch above your typical white suburban female pop punk (think Paramore). Nothing here grabs me and says, "Hey, you gotta listen to this again."
The first clue something is wrong is that the longest track is only a minute longer than the shortest. Tolerable, but uninteresting.
Tracklist:
★☆☆☆
Label: Equal Vision Records
The album title, The Valley, refers to the recent hardships endured by the members of the band. One of the DuPree sisters had a failed marriage. The band faced an uncertain future after leaving their record label. With this in mind, I was expecting an album filled with desperation and melancholy.
The lyrics, as expected, are melancholy. They sing of heartbreak, disappointment, and pain. This is all well and good, but this music has a decidedly happy sound. The tunes are poppy and infectious, and the production is polished and crisp. The result is an album where there is a mismatch between the music's tone and that of the lyrics–and unfortunately, it's not done in a way that leads you to believe they're just being ironic. The Valley is ultimately a failure; while every song is listenable, I can't help but think this is maybe just a notch above your typical white suburban female pop punk (think Paramore). Nothing here grabs me and says, "Hey, you gotta listen to this again."
The first clue something is wrong is that the longest track is only a minute longer than the shortest. Tolerable, but uninteresting.
Tracklist:
| 1 | The Valley | 3:20 |
| 2 | Smarter | 3:18 |
| 3 | Watch It Die | 3:09 |
| 4 | Sad | 3:19 |
| 5 | Oxygen Mask | 3:25 |
| 6 | Better Love | 3:20 |
| 7 | I Wish | 3:54 |
| 8 | Kind | 3:07 |
| 9 | Mr. Moon | 3:53 |
| 10 | Please | 3:33 |
| 11 | Ambulance | 4:04 |
★☆☆☆
Thursday, February 10, 2011
New Release: David Lowery - The Palace Guards
Release Date: February 1, 2011
Label: 429 Records
I remember the first exposure I had to David Lowery. It was in the mid-90s, when I was in junior high or so, and just starting to really listen to popular music. It just so happened that the Cracker song "Low" was a hit at the time, and I happened to really enjoy it. I would sing along when I heard it on the radio. For one reason or another, I never purchased Kerosene Hat until much, much later.
Fast forward a decade or so, to summer of 2004 (or maybe it was 2005). Roger Clyne & The Peacemakers were doing their semi-annual Circus Mexicus show, which I attended in May of that year. Opening? Johnny Hickman. Guitarist from Cracker. The next summer I saw the same show, except Johnny Hickman and David Lowery were the opening act. And I happened to really enjoy it. It was only after these shows that I finally decided to further investigate the music of this rock band called Cracker.
Before Cracker, Mr. Lowery was in another rock band called Camper Van Beethoven. This band was apparently popular on college radio, and they had a minor hit with "Take The Skinheads Bowling." In the early 90s, Lowery and Hickman formed Cracker, and had a #1 (on the Modern Rock chart) hit with "Teen Angst (What The World Needs Now)." Then came "Low," after which Cracker sort of faded out into semi-obscurity.
The first album I checked out after seeing Hickman and Lowery was what was at the time their latest release, Greenland. I *loved* this album. It is mellow, but not boring, and I really discovered how much I like Lowery's witty lyrics. He really does seem like a pretty smart guy. Later on, Cracker released Sunrise In The Land of Milk And Honey, which I didn't like quite as much. It is definitely a more rock-oriented album than we have seen recently (they did a bluegrass collaboration with the jamgrass band Leftover Salmon, and they released an album of country songs (mostly covers) that were performed on a tour as their alter-egos Ironic Mullet).
A month ago, I learned that Lowery would be releasing his first solo album, The Palace Guards. Naturally, I purchased it. This is definitely more mellow than anything we've had from Cracker. It is more textured, and less guitar-oriented. The wry lyrics still remain, and I have no idea what most of them are about.
Well, this one is pretty obvious:
Third person, at the beginning of the song:
Tracklist:
This album didn't, by any means, blow me away, but I like it, and I would recommend checking it out. It really is fresh; Lowery has drummed up something legitimately interesting here. Besides, it's pretty cheap on Amazon, and many of the tracks can be had for free at Lowery's blog.
Here is a video of the country-infused opening track (I think he was trying to make it as cheesy as possible):
My personal favorite:
★★★☆
Label: 429 Records
I remember the first exposure I had to David Lowery. It was in the mid-90s, when I was in junior high or so, and just starting to really listen to popular music. It just so happened that the Cracker song "Low" was a hit at the time, and I happened to really enjoy it. I would sing along when I heard it on the radio. For one reason or another, I never purchased Kerosene Hat until much, much later.
Before Cracker, Mr. Lowery was in another rock band called Camper Van Beethoven. This band was apparently popular on college radio, and they had a minor hit with "Take The Skinheads Bowling." In the early 90s, Lowery and Hickman formed Cracker, and had a #1 (on the Modern Rock chart) hit with "Teen Angst (What The World Needs Now)." Then came "Low," after which Cracker sort of faded out into semi-obscurity.
The first album I checked out after seeing Hickman and Lowery was what was at the time their latest release, Greenland. I *loved* this album. It is mellow, but not boring, and I really discovered how much I like Lowery's witty lyrics. He really does seem like a pretty smart guy. Later on, Cracker released Sunrise In The Land of Milk And Honey, which I didn't like quite as much. It is definitely a more rock-oriented album than we have seen recently (they did a bluegrass collaboration with the jamgrass band Leftover Salmon, and they released an album of country songs (mostly covers) that were performed on a tour as their alter-egos Ironic Mullet).
A month ago, I learned that Lowery would be releasing his first solo album, The Palace Guards. Naturally, I purchased it. This is definitely more mellow than anything we've had from Cracker. It is more textured, and less guitar-oriented. The wry lyrics still remain, and I have no idea what most of them are about.
Well, this one is pretty obvious:
All those girls meant nothing to me.On David Lowery's blog, you'll find numerous interesting musings on the meaning of many of these songs. It's interesting that "I Sold The Arabs The Moon," as nonsensical as it seems, actually refers to his experience seeing the Middle East from a helicopter, thinking about how all of civilization was formed there, and was influenced by the fertile crescent. In David's words:
So won't you please take me back?
You get this sense of how small you are. How short your life is in the span of human history. How insignificant your small deeds and actions. At the same time you get a glimpse of the huge yet unseen forces that shape everything we do.... At an altitude like this you can see how the land shaped the people. At an altitude we all become philosophers."The Palace Guards" is a little less philosophical, and finds a very timely application today:
What I was getting at is that in my song “The Palace Guards” are a group of superheros who have crossed some sort of line. They’ve gone from being the public’s protectors to being overprotective, secretive and controlling. They’ve turned into Stalkers.David further explains that while the narrator starts out praising the guards in third person, he switches to first person, revealing that he is actually one of the guards. He compares this to the conflict of interests inherent in state-run media.
Yes it was intended to be a metaphor about the growing power of government!
Just kidding. It’s just an accident that it happens to work so well as a metaphor. Watching the protests in Egypt you could very well think of Mubarak and the ruling national democratic party as The Palace Guards.
Third person, at the beginning of the song:
The palace guards they’re working hardAnd then later:
They have your best interests at heart
They are making song of great enduring strength and beauty
I love you and cause i do...maybe it's about our own government, too.
I hid your passport
I put you on a no fly list
Tracklist:
| 1 | Raise 'Em Up on Honey | 4:27 |
| 2 | The Palace Guards | 3:40 |
| 3 | Deep Oblivion | 5:35 |
| 4 | Ah, You Left Me | 3:47 |
| 5 | Baby, All Those Girls Meant Nothing to Me | 4:07 |
| 6 | I Sold the Arabs the Moon | 4:03 |
| 7 | Marigold | 5:29 |
| 8 | Big Life | 4:25 |
| 9 | Submarine | 3:47 |
This album didn't, by any means, blow me away, but I like it, and I would recommend checking it out. It really is fresh; Lowery has drummed up something legitimately interesting here. Besides, it's pretty cheap on Amazon, and many of the tracks can be had for free at Lowery's blog.
Here is a video of the country-infused opening track (I think he was trying to make it as cheesy as possible):
My personal favorite:
★★★☆
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