A couple of weeks ago, I heard Hell, the first single off this album, while I was in my car. I was kind of in shock at how much it...rocked. I turned it up so loud that my car shook.
In a lot of way, Sainthood is a departure from the sound you're used to hearing from Tegan and Sara. For one thing, there are way more rock and electronica influences. You might attribute the chances they took, sonically, to Chris Walla's production. You might attribute it to Tegan's work with AFI bassist Hunter Burgan. Or you might attribute it to Tegan and Sara's collaboration with Tiesto on his remix of their song 'Back in Your Head.'
The thing that hasn't changed, though, is the way in which the sisters can write a lyric that stops you in your tracks. Gut wrenchingly honest, the duo treks through the muddy, murky waters of the way in which we sacrifice ourselves for those we love and who we hope will love us back.
For me, the aforementioned 'Hell' and the album-closing 'Someday' were the best songs on the album. Other standouts included 'Alligator' (a total earworm) and 'The Ocean' (careful: this catchy chorus is hard to shake). Fans of Tegan and Sara's...folksier sound need not worry. The earnest song 'Sentimental tune,' a track that sounds eerily like their earlier song 'And Darling,' is a throwback track that would fit in on any track from If it was you.
There was only one song that just didn't work for me: Night watch. It wasn't bad, necessarily, but I did think it lacked cohesiveness. And on an album full of standouts, a 'meh' track is hard to ignore.
Overall, I'm a fan of Sainthood. It's totally worth the investment.
Showing posts with label music reviews. Show all posts
Showing posts with label music reviews. Show all posts
Thursday, October 29, 2009
Tuesday, October 13, 2009
Erin McKeown's Hundreds of Lions
Erin McKeown's new album, Hundreds of Lions, is something I've been anticipating for a while. Recorded without support from a major label on the front end, this is McKeown's first album of original music since 2005's We Will Become Like Birds and her first collaboration with Ani DiFranco's label, Righteous Babe.
One thing I really appreciate about McKeown as an artist is her capacity to challenge me as a listener. Her new album, Hundreds of Lions, is no exception. The creative freedom that comes from not having having major label support is evident from all of the risks that McKeown takes. And I, for one, dig it.
Always lyrically nimble, McKeown spends a lot of this album experimenting sonically. The first time through, the rich arrangements threw me. Strings, a drum machine, and birds all serve as accompaniment on tracks throughout the album.
Even with a more complex sound, McKeown is very meticulous in making sure that nothing is extraneous. And after a second listen, I could see that every instrument added a necessary layer of richness and depth to songs with inspired lyrics.
McKeown seems to have found a comfortable home among the songs she covered on Sing You Sinners. Though original tunes, standouts like To a Hammer, The Lions, and The Rascals all could've been covers of long-ago written standards. And McKeown shines when she's playing witty, carefully crafted songs with a vintage feel.
For my money, though, the best track is You, Sailor. Previously released on McKeown's live album, Lafayette, the studio version takes an already beautiful song and breathes new life into it.
It may take you more than one listen to crack through its shell, but I assure you that Hundreds of Lions is worth the work.
One thing I really appreciate about McKeown as an artist is her capacity to challenge me as a listener. Her new album, Hundreds of Lions, is no exception. The creative freedom that comes from not having having major label support is evident from all of the risks that McKeown takes. And I, for one, dig it.
Always lyrically nimble, McKeown spends a lot of this album experimenting sonically. The first time through, the rich arrangements threw me. Strings, a drum machine, and birds all serve as accompaniment on tracks throughout the album.
Even with a more complex sound, McKeown is very meticulous in making sure that nothing is extraneous. And after a second listen, I could see that every instrument added a necessary layer of richness and depth to songs with inspired lyrics.
McKeown seems to have found a comfortable home among the songs she covered on Sing You Sinners. Though original tunes, standouts like To a Hammer, The Lions, and The Rascals all could've been covers of long-ago written standards. And McKeown shines when she's playing witty, carefully crafted songs with a vintage feel.
For my money, though, the best track is You, Sailor. Previously released on McKeown's live album, Lafayette, the studio version takes an already beautiful song and breathes new life into it.
It may take you more than one listen to crack through its shell, but I assure you that Hundreds of Lions is worth the work.
Monday, July 14, 2008
Imogen Heap, or, Mrs. Dude doesn't like electronica
The Dude and I have notoriously different tastes in music sometimes. It's bizarre how much our tastes are either exactly the same or completely opposite.
It can, I think, be boiled down to the fact that The Dude is a music person and I am a lyrics person. Unfortunately, there are precious few times when those two aspects of an artist's work overlap.
My biggest complaint about electronica is that lyrics sometimes get tossed by the wayside in favor of cool musical flourishes. And, in my mind, that simply won't do. If, as an artist, you're more interested in music than lyrics, create instrumental music. No one will think less of you, I swear. Work it out, musically, and add some tracks with lyrics. At least, that way, you don't have to pretend that you care about creating something with lyrical integrity.
The Dude will tell you that sometime last summer, I went on a electronica buying-spree that consisted of me buying two of the albums that he's enjoyed immensely but that I haven't touched. One of them is Speak for yourself by Imogen Heap.
Two days ago, I was scrolling through Black Francis, my iPod, seeking out music that I haven't touched in a while. I wanted (nay, needed) to stop listening to the same three albums over and over again.
And then it happened.
I found Imogen Heap.
I like Speak for yourself. It's atmospheric and ethereal without veering off into the land of Bjork.
For the Bjork fans who might be offended by this statement, ask yourselves, is she not crazy musically-speaking? You know I'm right...
Heap seems to do the impossible--she blends interesting music with complex lyrics. I can listen to the entire album and not get grumpy that she's just mailing-it-in lyrically. And she gives me something interesting melodically.
Brilliant!
So, it turns out The Dude was right. Imogen Heap is something we can both agree on...
It can, I think, be boiled down to the fact that The Dude is a music person and I am a lyrics person. Unfortunately, there are precious few times when those two aspects of an artist's work overlap.
My biggest complaint about electronica is that lyrics sometimes get tossed by the wayside in favor of cool musical flourishes. And, in my mind, that simply won't do. If, as an artist, you're more interested in music than lyrics, create instrumental music. No one will think less of you, I swear. Work it out, musically, and add some tracks with lyrics. At least, that way, you don't have to pretend that you care about creating something with lyrical integrity.
The Dude will tell you that sometime last summer, I went on a electronica buying-spree that consisted of me buying two of the albums that he's enjoyed immensely but that I haven't touched. One of them is Speak for yourself by Imogen Heap.
Two days ago, I was scrolling through Black Francis, my iPod, seeking out music that I haven't touched in a while. I wanted (nay, needed) to stop listening to the same three albums over and over again.
And then it happened.
I found Imogen Heap.
I like Speak for yourself. It's atmospheric and ethereal without veering off into the land of Bjork.
For the Bjork fans who might be offended by this statement, ask yourselves, is she not crazy musically-speaking? You know I'm right...
Heap seems to do the impossible--she blends interesting music with complex lyrics. I can listen to the entire album and not get grumpy that she's just mailing-it-in lyrically. And she gives me something interesting melodically.
Brilliant!
So, it turns out The Dude was right. Imogen Heap is something we can both agree on...
Thursday, May 29, 2008
Vampire Weekend (by Vampire Weekend)
As a general rule, I'm not that into bands that are critics' darlings. It's not that I want to be a hipster who likes all the stuff that the critics don't like. It's that most of the time, I don't think the critics are right.
As I get older, though, I'm starting to learn that being opposed to critics' darlings means eating my words when I realize that they're actually pretty good.
I'm looking at you Against Me!, Radiohead, Arctic Monkeys, and more that I'm forgetting.
But don't worry, I'm sure The Dude will chime in with more that I've forgotten when he reads this.
Anyway, with our trip to Bonaroo fast approaching, I decided to start listening to the stuff we own by bands who are playing. My approach has been to take artists day-by-day as they'll appear on the lineup. Thurday has MGMT and Vampire Weekend appearing in the evening, so I pulled out the Vampire Weekend disc.
It's fun and quirky. I like it a lot.
No doubt you've heard their single "A-Punk" in heavy rotation on MTV, unless you don't watch MTV. But let's face it, you're as addicted to their America's Next Top Model reruns as I am so you do. Or what about The Paper? Or A Shot at Love 2: Electric Boogaloo?
No? Okay then...never mind.
Ahem.
Anyway, Vampire Weekend's major label debut is fun and channels both Graceland-era Paul Simon and Phantom Planet, you know...that band the kid from Rushmore is in?
Lyrically, it's pretty nimble, though I was glad that there were only 11 songs because it started to sound precious by the end. They don't move much past the experiences that twenty-somethings have, and their songs certainly aren't political. But, they also don't fall into the Maroon5 trap of being sugary sweet love ballads, either. It's just typical, normal, everyday stuff--like a song about a guy who's tasked with killing some vampires.
And sonically, the album shows that Vampire Weekend has a range beyond just a guitar, a bass, and a drum kit. I liked the range they showed.
The album is certainly worth a listen. It's fun, it's quirky, and it's short. So even if you hate it, you're not stuck listening to it for long!
As I get older, though, I'm starting to learn that being opposed to critics' darlings means eating my words when I realize that they're actually pretty good.
I'm looking at you Against Me!, Radiohead, Arctic Monkeys, and more that I'm forgetting.
But don't worry, I'm sure The Dude will chime in with more that I've forgotten when he reads this.
Anyway, with our trip to Bonaroo fast approaching, I decided to start listening to the stuff we own by bands who are playing. My approach has been to take artists day-by-day as they'll appear on the lineup. Thurday has MGMT and Vampire Weekend appearing in the evening, so I pulled out the Vampire Weekend disc.
It's fun and quirky. I like it a lot.
No doubt you've heard their single "A-Punk" in heavy rotation on MTV, unless you don't watch MTV. But let's face it, you're as addicted to their America's Next Top Model reruns as I am so you do. Or what about The Paper? Or A Shot at Love 2: Electric Boogaloo?
No? Okay then...never mind.
Ahem.
Anyway, Vampire Weekend's major label debut is fun and channels both Graceland-era Paul Simon and Phantom Planet, you know...that band the kid from Rushmore is in?
Lyrically, it's pretty nimble, though I was glad that there were only 11 songs because it started to sound precious by the end. They don't move much past the experiences that twenty-somethings have, and their songs certainly aren't political. But, they also don't fall into the Maroon5 trap of being sugary sweet love ballads, either. It's just typical, normal, everyday stuff--like a song about a guy who's tasked with killing some vampires.
And sonically, the album shows that Vampire Weekend has a range beyond just a guitar, a bass, and a drum kit. I liked the range they showed.
The album is certainly worth a listen. It's fun, it's quirky, and it's short. So even if you hate it, you're not stuck listening to it for long!
Tuesday, April 8, 2008
Accelerate by R.E.M.
I've been too busy listening to this album to actually weigh in on it.
Funny, no?
Look, I know that R.E.M. has gotten a bad reputation after the last few albums. Reveal and Around the Sun weren't well-received. In fact, whatever the opposite of well-received is, that's how they were received. I know all of this.
R.E.M. has been my favorite band since the time between when Automatic for the People and Monster were released. I was a freshman in high school. And while my contemporaries were listening to bubble gum pop or grunge, I was falling in love with a College Rock icon. In fact, R.E.M. was alternative before there was even a name for that genre of music.
It is for this reason that I was willing to find the good in murky, muddy albums of the late 90s and early 00s. Up had its moments--it gave us "Walk Unafraid," after all. Reveal was unfocused, but had some great hooks. And I even found something to love about Around the Sun, with its dark melodies and jarring vocals.
It was rumored, though, that Accelerate was going to be a return to hard-charging straightforward rock songs. In fact, those who'd heard the record before its official release date dared to invoke the sacred name of Life's Rich Pageant.
After hearing all of that, it was hard to listen to Accelerate with an open mind. Instead, I had all of my hopes and dreams on this album. Having so much faith in something would surely leave me burned, right?
Nah.
It was totally awesome!
The album starts with the defiant track "Living Well is the Best Revenge," where Stipe's anger and wit are channeled into a single song, and continues thrilling until the fun would-be throwaway track "I'm gonna DJ," which proclaims "Death is pretty final/I'm collecting vinyl/I'm gonna DJ at the end of the world." I say "would-be" because though the track is short, it might actually be the best track on the album. It's concise, like a good poem, and has a ridiculously big hook.
What's not to like?
In between are songs that all clock in under 4 minutes and which convey the intensity of a band trying to rage against the dying of the light.
Stipe, Buck, and Mills are political, satirical, and seem desperate to prove that though they were inducted into the Rock and Roll Hall of Fame, their place in the music scene is not that of the retired elder statesmen of Alternative Rock. R.E.M. is, despite the past few albums, proving itself to be a thriving band with something relevant to say to those willing to listen.
The album lacked some of the polish that previous albums have had, and the rough-around-the-edges quality is what makes it so good. The whole album feels urgent, and that urgency is what makes it good.
In short, Accelerate met my ridiculously high expectations. It restored my faith in the future of R.E.M. It's as if the band members awakened from a slumber, not content to rest on their past accomplishments.
And, you know what? That's fine by me.
Funny, no?
Look, I know that R.E.M. has gotten a bad reputation after the last few albums. Reveal and Around the Sun weren't well-received. In fact, whatever the opposite of well-received is, that's how they were received. I know all of this.
R.E.M. has been my favorite band since the time between when Automatic for the People and Monster were released. I was a freshman in high school. And while my contemporaries were listening to bubble gum pop or grunge, I was falling in love with a College Rock icon. In fact, R.E.M. was alternative before there was even a name for that genre of music.
It is for this reason that I was willing to find the good in murky, muddy albums of the late 90s and early 00s. Up had its moments--it gave us "Walk Unafraid," after all. Reveal was unfocused, but had some great hooks. And I even found something to love about Around the Sun, with its dark melodies and jarring vocals.
It was rumored, though, that Accelerate was going to be a return to hard-charging straightforward rock songs. In fact, those who'd heard the record before its official release date dared to invoke the sacred name of Life's Rich Pageant.
After hearing all of that, it was hard to listen to Accelerate with an open mind. Instead, I had all of my hopes and dreams on this album. Having so much faith in something would surely leave me burned, right?
Nah.
It was totally awesome!
The album starts with the defiant track "Living Well is the Best Revenge," where Stipe's anger and wit are channeled into a single song, and continues thrilling until the fun would-be throwaway track "I'm gonna DJ," which proclaims "Death is pretty final/I'm collecting vinyl/I'm gonna DJ at the end of the world." I say "would-be" because though the track is short, it might actually be the best track on the album. It's concise, like a good poem, and has a ridiculously big hook.
What's not to like?
In between are songs that all clock in under 4 minutes and which convey the intensity of a band trying to rage against the dying of the light.
Stipe, Buck, and Mills are political, satirical, and seem desperate to prove that though they were inducted into the Rock and Roll Hall of Fame, their place in the music scene is not that of the retired elder statesmen of Alternative Rock. R.E.M. is, despite the past few albums, proving itself to be a thriving band with something relevant to say to those willing to listen.
The album lacked some of the polish that previous albums have had, and the rough-around-the-edges quality is what makes it so good. The whole album feels urgent, and that urgency is what makes it good.
In short, Accelerate met my ridiculously high expectations. It restored my faith in the future of R.E.M. It's as if the band members awakened from a slumber, not content to rest on their past accomplishments.
And, you know what? That's fine by me.
Tuesday, March 18, 2008
Slanted and Enchanted by Pavement
I've only known the band Pavement from their single "Cut your hair." Well, that and the cover they did of "No more kings" on the album School House Rock Rocks!. So when the iTunes store had Pavement's first album, Slanted and Enchanted, on sale I was kind of sad. I wanted the one with "Cut your hair" on it!
But, I knew that there was a Pavement void in my album collection that needed to be filled, so I went ahead and bought Slanted and Enchanted.
I've been listening to it pretty much non-stop for almost a week, it's that good.
According to the Wikipedia entry for the album, Slanted and Enchanted was pretty influential in the 1990s rock scene. I can see how this is true and realize, in retrospect that, as a self-proclaimed flannel-head, it isn't an album I can afford to be without.
Slanted and Enchanted is full of witty lyrics, crunchy guitars, and a lo-fi sound that makes it charming. It is everything that slacker rock was supposed to be and it's done really, really well.
In my opinion, a good album should be so tightly put together that you feel like it's effortless even though you know that it took a lot of work to make it happen. As a listener, though, you shouldn't be able to see the cracks. This album is like that and, thus, I recommend it.
But, I knew that there was a Pavement void in my album collection that needed to be filled, so I went ahead and bought Slanted and Enchanted.
I've been listening to it pretty much non-stop for almost a week, it's that good.
According to the Wikipedia entry for the album, Slanted and Enchanted was pretty influential in the 1990s rock scene. I can see how this is true and realize, in retrospect that, as a self-proclaimed flannel-head, it isn't an album I can afford to be without.
Slanted and Enchanted is full of witty lyrics, crunchy guitars, and a lo-fi sound that makes it charming. It is everything that slacker rock was supposed to be and it's done really, really well.
In my opinion, a good album should be so tightly put together that you feel like it's effortless even though you know that it took a lot of work to make it happen. As a listener, though, you shouldn't be able to see the cracks. This album is like that and, thus, I recommend it.
Tuesday, March 4, 2008
Brighter than Creation's Dark by Drive-By Truckers
I loved A blessing and a curse, DBT's previous album. I listened to it obsessively for a while and was quite self-congratulatory about being into the whole "alt country" thing.
The album was strong, both musically and lyrically, and I ended up feeling like no matter how many times I listened to the album, I'd always find something new. And really, isn't what makes and album good it's ability to reveal something new about itself each time you listen to it?
Understandably, I dragged my feet when it came time to listen to DBT's newest album, Brighter Than Creation's Dark. I worried about how the band would recover from Jason Isbell's departure. I worried about how having Shonna Tucker singing more songs would affect the balance of the album. Mostly, though, I worried that I wouldn't like it.
And, on first listen, I didn't.
It started out rocky for me, when I started listening to it. Where was my "Feb. 14?" Where was my strong guitar? Instead, I get "Two Daughters and a Beautiful Wife," haunting in it's lyrics and much lighter than what I expected from an opening track.
I had to fight my urge to turn the album off and give DBT the respect of listening to the entire thing before passing judgment.
I'm glad I did.
The album, though not as good as their previous work, was memorable and haunting. Much darker than their last album, Brighter than Creation's Dark was painted with a musical palate of black, dark grey, and deep purple.
This isn't to say that there isn't some rock on the album. There are songs with hard edges and crunchy guitar chords. But they are mixed with lighter, wispy, more ephemeral songs. Ultimately a good mix, I think.
The album was strong, both musically and lyrically, and I ended up feeling like no matter how many times I listened to the album, I'd always find something new. And really, isn't what makes and album good it's ability to reveal something new about itself each time you listen to it?
Understandably, I dragged my feet when it came time to listen to DBT's newest album, Brighter Than Creation's Dark. I worried about how the band would recover from Jason Isbell's departure. I worried about how having Shonna Tucker singing more songs would affect the balance of the album. Mostly, though, I worried that I wouldn't like it.
And, on first listen, I didn't.
It started out rocky for me, when I started listening to it. Where was my "Feb. 14?" Where was my strong guitar? Instead, I get "Two Daughters and a Beautiful Wife," haunting in it's lyrics and much lighter than what I expected from an opening track.
I had to fight my urge to turn the album off and give DBT the respect of listening to the entire thing before passing judgment.
I'm glad I did.
The album, though not as good as their previous work, was memorable and haunting. Much darker than their last album, Brighter than Creation's Dark was painted with a musical palate of black, dark grey, and deep purple.
This isn't to say that there isn't some rock on the album. There are songs with hard edges and crunchy guitar chords. But they are mixed with lighter, wispy, more ephemeral songs. Ultimately a good mix, I think.
Monday, March 3, 2008
Sleep through the static by Jack Johnson
I've noticed that I've been blogging a lot about music lately. I think it's because I am currently in a phase where I'm reading many more magazines than books. I'll try to remedy that and be more varied in my favorite things.
Anyway...
Jack Johnson has been an acquired taste for me. I never really liked his laid-back surfer-style of music. His songs always seemed a little "sleepy" and directionless for my taste. I need strong, lyrically-driven music, and Johnson always seemed like he was just along for the ride so-to-speak and going where the music took him.
The Dude enjoys his music, though, so little by little Johnson has worn me down.
Sleep through the Static takes Johnson in a different direction. It features songs that have electric guitar and which are politically minded, both new ventures for Johnson. He also recorded this album on the mainland in a Green studio.
There are a lot of critics who thought that Sleep through the Static wasn't a radical enough departure for Johnson, but I think it's actually what I liked most about the album. Johnson has a great voice that doesn't deserve to get buried under layers of crunchy guitar. And, ultimately, that doesn't seem to be what Johnson is "about" anyway. But the move from goofy songs like "Bubble toes" to more darker, more mindful songs like "Sleep through the Static" show his ability to mature as a musician without leaving his history behind.
Anyway...
Jack Johnson has been an acquired taste for me. I never really liked his laid-back surfer-style of music. His songs always seemed a little "sleepy" and directionless for my taste. I need strong, lyrically-driven music, and Johnson always seemed like he was just along for the ride so-to-speak and going where the music took him.
The Dude enjoys his music, though, so little by little Johnson has worn me down.
Sleep through the Static takes Johnson in a different direction. It features songs that have electric guitar and which are politically minded, both new ventures for Johnson. He also recorded this album on the mainland in a Green studio.
There are a lot of critics who thought that Sleep through the Static wasn't a radical enough departure for Johnson, but I think it's actually what I liked most about the album. Johnson has a great voice that doesn't deserve to get buried under layers of crunchy guitar. And, ultimately, that doesn't seem to be what Johnson is "about" anyway. But the move from goofy songs like "Bubble toes" to more darker, more mindful songs like "Sleep through the Static" show his ability to mature as a musician without leaving his history behind.
Saturday, February 16, 2008
New music a-go-go!
Two very promising developments on the New Music Front...
The Counting Crows released a single, "You can't count on me," in advance of a new album called Saturday Nights and Sunday Mornings. It is lovely, jangly rock with emotionally bare lyrics--which is to say Counting Crows at their very best. The band hasn't strayed very far from their "signature sound" over the years, but that is, in my humblest of opinions, a good thing.
R.E.M.'s single "Supernatural Superserious" (try saying that ten times fast, right?) can also be heard, in advance of their album Accelerate which, like The Dude's book, has a release date of April 1, 2008. The single seems closer to early R.E.M. (read: Document or Life's Rich Pageant) than their last release, Around the Sun. This should please die-hard fans. I love what R.E.M. has done in the past few years as they try to find their post-Bill Berry sound, but I'm also glad that they seem to be going back to the formula that works best for them--guitar driven, politically minded rock 'n' roll.
The Counting Crows released a single, "You can't count on me," in advance of a new album called Saturday Nights and Sunday Mornings. It is lovely, jangly rock with emotionally bare lyrics--which is to say Counting Crows at their very best. The band hasn't strayed very far from their "signature sound" over the years, but that is, in my humblest of opinions, a good thing.
R.E.M.'s single "Supernatural Superserious" (try saying that ten times fast, right?) can also be heard, in advance of their album Accelerate which, like The Dude's book, has a release date of April 1, 2008. The single seems closer to early R.E.M. (read: Document or Life's Rich Pageant) than their last release, Around the Sun. This should please die-hard fans. I love what R.E.M. has done in the past few years as they try to find their post-Bill Berry sound, but I'm also glad that they seem to be going back to the formula that works best for them--guitar driven, politically minded rock 'n' roll.
Wednesday, September 12, 2007
Graduation by Kanye West
Let me start by saying how thrilled I am that he didn't include any of those skits on this album. I hate the skits. They always mess with the flow of the album.
Overall, I thought it was pretty good. It was certainly a solid B effort.
Biggest (pleasant) surprises:
Everything I am
Big brother
Biggest disappointment:
Homecoming (with Chris Martin of Coldplay)
I liked:
Good morning
Can't tell me nothin'
Stronger
I could have lived without:
Drunk and hot girls
Champion
I felt like this album was way too overproduced. There was too much sampling, I thought, which is funny because I usually end up thinking that West does a pretty good job with making the sampling seem effortless.
This album reminded me a lot of Jay-Z's The Black Album in its tone and level of polish. Clearly West had a lot to say.
Overall, I thought it was pretty good. It was certainly a solid B effort.
Biggest (pleasant) surprises:
Everything I am
Big brother
Biggest disappointment:
Homecoming (with Chris Martin of Coldplay)
I liked:
Good morning
Can't tell me nothin'
Stronger
I could have lived without:
Drunk and hot girls
Champion
I felt like this album was way too overproduced. There was too much sampling, I thought, which is funny because I usually end up thinking that West does a pretty good job with making the sampling seem effortless.
This album reminded me a lot of Jay-Z's The Black Album in its tone and level of polish. Clearly West had a lot to say.
Tuesday, August 14, 2007
A strange education by The Cinematic
Remember when the Smashing Pumpkins used to have a crunchy guitar sound? It must have been around Gish and Siamese Dream but before Mellon Collie.
The Cinematics have captured that crunch sound on their album A Strange Education.
I ended up digging A Strange education a lot more than I expected to. The album had the crunchy guitar sound of the Pumpkins, the heaviness of Interpol, and the lyrical earnestness of Snow Patrol.
I know that The Cinematics have put out a few albums before this, so I'm not sure how their sound has evolved over time. Wikipedia, in this article, cites their influences as The Clash and the Talking Heads. Maybe every band cites The Clash as an influence, because I certainly didn't hear it on this album.
Anyway, I heartily endorse A strange education.
The Cinematics have captured that crunch sound on their album A Strange Education.
I ended up digging A Strange education a lot more than I expected to. The album had the crunchy guitar sound of the Pumpkins, the heaviness of Interpol, and the lyrical earnestness of Snow Patrol.
I know that The Cinematics have put out a few albums before this, so I'm not sure how their sound has evolved over time. Wikipedia, in this article, cites their influences as The Clash and the Talking Heads. Maybe every band cites The Clash as an influence, because I certainly didn't hear it on this album.
Anyway, I heartily endorse A strange education.
Tuesday, May 29, 2007
Monday's gem
I listened to some stuff today, but I'm not going to talk about all of it. I just want to talk about the one that really stuck.
I listened to Albert Hammond, Jr.'s Yours to keep and loved it. Hammond, Jr. is a member of the band The Strokes, but despite my lukewarm feelings toward the band, I loved this album. It was fresh, inventive, and fun to listen to. A quieter and more introspective album than anything done by The Strokes, Yours to keep made an impact with its musical and lyrical dexterity. It was subtle in ways that The Strokes dream of being. Hammond, Jr. works his way from upbeat to wistful and back again in the span of twelve tracks and, in the process, makes a name for himself as a solo artist with soul.
I highly recommend Yours to keep.
I listened to Albert Hammond, Jr.'s Yours to keep and loved it. Hammond, Jr. is a member of the band The Strokes, but despite my lukewarm feelings toward the band, I loved this album. It was fresh, inventive, and fun to listen to. A quieter and more introspective album than anything done by The Strokes, Yours to keep made an impact with its musical and lyrical dexterity. It was subtle in ways that The Strokes dream of being. Hammond, Jr. works his way from upbeat to wistful and back again in the span of twelve tracks and, in the process, makes a name for himself as a solo artist with soul.
I highly recommend Yours to keep.
Sunday, May 6, 2007
Why Mrs. Dude was painfully wrong about Arctic Monkeys
I have trouble liking critics darlings sometimes. When the Arctic Monkeys disc "Whatever people say I am, that's what I'm not" came out, I didn't like it very much. I liked the single "I bet you look good on the dance floor," sure, but I didn't dig the album very much. I felt like the energy didn't hold up over the duration of the album and I got bored fairly quickly. So, I wrote off Arctic Monkeys as just another critics darling.
When "Favourite Worst Nightmare" came out, The Dude bought it. It made it's way onto Black Frances and, eventually, I found myself face-to-face with this disc.
About two tracks in, I knew I was in trouble.
See, this album was everything I didn't think the previous one was. The lyrics were fantastic and the music was the right mix of rock and pop. I wasn't the least bit bored with it, and found that the end came way too quickly. What I loved most about this disc was that they were able to keep up the energy over 12 songs. Sometimes, pop-punky bands have a problem keeping that energy going and one or two tracks end up being throw-away tracks. Not on this disc.
So, I must say that I was wrong about Arctic Monkeys.
When "Favourite Worst Nightmare" came out, The Dude bought it. It made it's way onto Black Frances and, eventually, I found myself face-to-face with this disc.
About two tracks in, I knew I was in trouble.
See, this album was everything I didn't think the previous one was. The lyrics were fantastic and the music was the right mix of rock and pop. I wasn't the least bit bored with it, and found that the end came way too quickly. What I loved most about this disc was that they were able to keep up the energy over 12 songs. Sometimes, pop-punky bands have a problem keeping that energy going and one or two tracks end up being throw-away tracks. Not on this disc.
So, I must say that I was wrong about Arctic Monkeys.
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