Monday, December 31, 2012
Tuesday, December 11, 2012
Rush Headed for Hall of Fame!
Rush, one of the greatest and most influential bands of all time, will finally be inducted into the Rock and Roll Hall of Fame this April. Despite having been eligible since 1999, it took a round of citizen voting for the HoF Foundation to admit Rush into the Hall. I can only imagine that in the future, the Foundation will look back on their failure to induct the band sooner and ask themselves, "what the fuck were we doing?" But no matter, Rush is finally in. Thus one of my biggest gripes with the music industry is reconciled.
Also to be inducted: Public Enemy, Donna Summer, Randy Newman (HELL YES RANDY), Albert King, and Heart. The induction ceremony will be April 18 at the Nokia Theater in Los Angeles, and will be broadcast on HBO at some point in May.
Also to be inducted: Public Enemy, Donna Summer, Randy Newman (HELL YES RANDY), Albert King, and Heart. The induction ceremony will be April 18 at the Nokia Theater in Los Angeles, and will be broadcast on HBO at some point in May.
Monday, December 10, 2012
This Fall
Well I've more or less failed to blog this fall. Which is really inexcusable because this fall has seen some really fantastic musical releases and events. I've been doing my best to document all of this on the radio show, which hopefully y'all have been enjoying, but for anyone who hasn't heard that, I want to put it here too. I've had a lot on my plate this term, but now I'm going to briefly talk about a lot of different things that are exciting and good, and also about some things that are less exciting. More in-depth discussion coming with the year-end post. Here we go.
Grammy Nominations
So the Grammy nominations were released this week.
Unsurprisingly, they made me want to vomit.
What follows is going to be a whiny liberal kid complaining about mainstream music, so if that's not your jam, head for the exits.
Unsurprisingly, they made me want to vomit.
What follows is going to be a whiny liberal kid complaining about mainstream music, so if that's not your jam, head for the exits.
Thursday, October 4, 2012
The Heist
The new album from Macklemore & Ryan Lewis drops on Tuesday (October 9), but NPR Music in its eternal wisdom and glory has posted the full stream. Listen to this one. One of my favorite albums of the year, it totally lives up to expectations. Check it out.
http://www.npr.org/2012/10/04/162221835/first-listen-macklemore-ryan-lewis-the-heist
http://www.npr.org/2012/10/04/162221835/first-listen-macklemore-ryan-lewis-the-heist
Thursday, September 13, 2012
Radio Debut
Tonight, "The End Groove" makes its on-air debut on KOXY radio! Tune in by clicking here (opens download in iTunes or other media player). Tune in tonight, and every Thursday at 9!
Sunday, September 9, 2012
Review: Oceania
Is this review late and after-the-fact? Yes it is. Do I care? No, I do not.
Oceania is the new album by The Smashing Pumpkins.
"New album" actually isn't descriptive enough. Let's try again: Oceania is The Smashing Pumpkins' first full-length album since 2007, and is the first to include members Nicole Fiorentino (bass) and Mike Byrne (drums). It is a part of the ongoing, 44-song concept album Teargarden by Kaleidyscope that had until Oceania only been released in EPs and singles. And it is totally awesome. Oceania is one of my favorite albums of the year so far, and I am willing to say fairly certainly that it will be in my year-end top five. It rules for a lot of reasons.
Firstly, it's a return to form. Fans of the Pumpkins have been somewhat disgruntled by the recent activity by the band, and fairly so. The albums since 1998's Adore have been widely regarded as weak and uninteresting, and many people were willing to write the band off. Oceania brings them crashing back onto the scene. It achieves the grit and power of Gish and Siamese Dream, the mellow rock of Adore, and all the nuance of the 21st century. The album is aware and respectful of its origins but doesn't hide beneath them. It feels totally new, and totally worthwhile.
Secondly, it is absolutely coherent without being overly operatic. This is a surprisingly tough balance to achieve. When you're trying to put an album together in a way that unfolds and grows and evolves over the course of an hour, it's often easiest to just make a gapless concept album/rock opera because that's the most direct and structured way to give your album a voice and a story. This album avoids that trap.* Of course, this is a concept album (at least a segment of one), but it is a concept album that doesn't pander, and it has a narrative that doesn't exclude alternative interpretations.
*To be 100% clear, gapless, operatic concept albums are awesome, and are by no means easy to just toss together. But this album does it's job without resorting to that method, which I think is more of a feat. It is also probably worth noting somewhere that I am not familiar with the rest of the Teargarden by Kaleidyscope concept album, so I can't really fit this into that narrative line.
One of the central tenants of this album is openness and spiritual/artistic liberation. The lyrics of the album-opening "Quasar" and the following "Panopticon" spotlight those themes immediately. Of course, it wouldn't be a Smashing Pumpkins album without some self-indulgence on the part of Billy Corgan, and where the lyrics are philosophical and enlightened, they also carry an air of narcissism (lines like "Yes I know thy will / Yes I am that man," spoken to an intentionally ambiguous deity or "Fated One"). Even the first song name, "Quasar," referring to an area of accretion of matter around a distant supermassive black hole (surprise physics lesson!) seems to unrealistically portray the scope of the universe that Corgan questions. But that's part of the point: we are not supposed to be able to grasp the scope of the universe, or any of the powers it comprises. In this instance, I don't find the narcissism to be a shortcoming or a failure on the part of Corgan or his album. On the contrary, I think he reasserts himself as the philosophical artist that he always has been, and he uses his ego as an avenue to analyze the world and his place in it as a human.
Lyrics aside for a moment, the first two tracks are also very musically compatible and compelling songs, and they open the album with exactly the strength that the Pumpkins have seemed to lack as of late. "Quasar" leaps out of the gate with a "Cherub Rock"-esque building introduction before a sonic tidal wave of tube-driven guitars crashes out onto your head. The song swells up, and then retreats, then hits a second time. It's grand, but not glamorous or flashy. It bears the kind of power that strikes you with a sense of awe, but that leaves you with all your wits about you. Actually it probably leaves you with more wits about you than you had to begin with. "Panopticon" picks up right where "Quasar" leaves off without duplicating the image or the style in the latter. Here are two songs that must be taken in synchrony for full effect. It's a hell of a one-two punch to get things off the ground.
From here the album slows up a bit. It has proven its strength and potency, and now can get into the real core of its argument. Tracks from "The Celestials" thru "Pinwheels" are classic Pumpkins: neither boringly slow nor distressingly fast, musically accessible but artistically heightened, etc.. "My Love is Winter" has a couple of searing guitar solos and carries some great musical momentum from the preceding tracks into a very strong climax, before "One Diamond, One Heart" falls back to ground-level, and delivers basic, borderline synth pop. I actually find this to be one of the weaker songs on the album, which isn't saying much, but still. The songs build off of each other to create musical landscapes over and through which the listener ventures.
"Oceania" is (fittingly) the album's turning point. At this point, the album has laid out all it has to offer in terms of musicality and philosophy, and now it begins the process of arranging those components just so. The back half of the album will not contain any further big reveals, and it doesn't need to. "Oceania" begins to pick up the pieces and put them together into the aural mural that the album creates. It is as much a journey as the narrative fragment it describes. It has three distinct yet complimentary parts, and it's something of a masterwork. I mean, I can't really say that because Corgan has so much material in so many different veins that it's relatively impossible to pick a single magnum opus. But this song is definitely a frontrunner. My only complaint is that it fades out at the end, which seems like a bit of a cop out for a song that brought so much into the heart of this album. Nonetheless, the song fills the album's sails, and prepares the listener for reentry (mixing metaphors? DEAL WITH IT).
"Pale Horse" and "Chimera" are, music-wise, two of my favorite tracks from the album. They have memorable guitar riffs and carry great charisma into the album's final movement. There's nothing extraordinary or unique about these songs as compared with the rest of the album, and that is as it should be. The album is saving up for one final one-two punch, and these songs help carry us there without losing any listeners along the way. "Glissandra" and "Inkless" are Oceania's last stand. Again, memorable guitar riffs and familiar song structure make these two tracks radio-friendly selections. But they also carry the bulk of the burden of resolution. These songs bring the album back to where it began, but with a sense of earned liberation to replace the uncertainty and weight felt in the album's opening. The album has come full-circle, and is ready to wrap itself up.
Corgan concludes his musical journey in a way that, gently speaking, I would not have elected to. "Wildflower" is, by all means, a good song. But the album felt both musically and ideologically finished after "Inkless," and it almost seems like "Wildflower" was shoehorned in at the last minute to get the album to a nice round sixty minutes. I personally don't learn anything new about Corgan, his album, or its protagonist when I listen to "Wildflower," and I feel a little deflated after the post-"Oceania" triumph. I would not have used the song at the end, but of course it is not my album.
No need to dwell on that note. The album is a stunning success, with or without "Wildflower." It fades to silence and I find myself in a very different place than I was an hour before. It's a journey. Maybe the most excellent aspect of this album is that it remains a journey with every listen. There is no point at which I say to myself, "alright, I think I've got it, I know what happened." I learn new things every time I hear this album, or any part of it. It works on all the right levels, and is one of the most musically diverse and compelling albums of the year. The Smashing Pumpkins are unequivocally back in business, and I'm already looking forward to the continuation of this musical odyssey.
Oceania is the new album by The Smashing Pumpkins.
"New album" actually isn't descriptive enough. Let's try again: Oceania is The Smashing Pumpkins' first full-length album since 2007, and is the first to include members Nicole Fiorentino (bass) and Mike Byrne (drums). It is a part of the ongoing, 44-song concept album Teargarden by Kaleidyscope that had until Oceania only been released in EPs and singles. And it is totally awesome. Oceania is one of my favorite albums of the year so far, and I am willing to say fairly certainly that it will be in my year-end top five. It rules for a lot of reasons.
Firstly, it's a return to form. Fans of the Pumpkins have been somewhat disgruntled by the recent activity by the band, and fairly so. The albums since 1998's Adore have been widely regarded as weak and uninteresting, and many people were willing to write the band off. Oceania brings them crashing back onto the scene. It achieves the grit and power of Gish and Siamese Dream, the mellow rock of Adore, and all the nuance of the 21st century. The album is aware and respectful of its origins but doesn't hide beneath them. It feels totally new, and totally worthwhile.
Secondly, it is absolutely coherent without being overly operatic. This is a surprisingly tough balance to achieve. When you're trying to put an album together in a way that unfolds and grows and evolves over the course of an hour, it's often easiest to just make a gapless concept album/rock opera because that's the most direct and structured way to give your album a voice and a story. This album avoids that trap.* Of course, this is a concept album (at least a segment of one), but it is a concept album that doesn't pander, and it has a narrative that doesn't exclude alternative interpretations.
*To be 100% clear, gapless, operatic concept albums are awesome, and are by no means easy to just toss together. But this album does it's job without resorting to that method, which I think is more of a feat. It is also probably worth noting somewhere that I am not familiar with the rest of the Teargarden by Kaleidyscope concept album, so I can't really fit this into that narrative line.
One of the central tenants of this album is openness and spiritual/artistic liberation. The lyrics of the album-opening "Quasar" and the following "Panopticon" spotlight those themes immediately. Of course, it wouldn't be a Smashing Pumpkins album without some self-indulgence on the part of Billy Corgan, and where the lyrics are philosophical and enlightened, they also carry an air of narcissism (lines like "Yes I know thy will / Yes I am that man," spoken to an intentionally ambiguous deity or "Fated One"). Even the first song name, "Quasar," referring to an area of accretion of matter around a distant supermassive black hole (surprise physics lesson!) seems to unrealistically portray the scope of the universe that Corgan questions. But that's part of the point: we are not supposed to be able to grasp the scope of the universe, or any of the powers it comprises. In this instance, I don't find the narcissism to be a shortcoming or a failure on the part of Corgan or his album. On the contrary, I think he reasserts himself as the philosophical artist that he always has been, and he uses his ego as an avenue to analyze the world and his place in it as a human.
Lyrics aside for a moment, the first two tracks are also very musically compatible and compelling songs, and they open the album with exactly the strength that the Pumpkins have seemed to lack as of late. "Quasar" leaps out of the gate with a "Cherub Rock"-esque building introduction before a sonic tidal wave of tube-driven guitars crashes out onto your head. The song swells up, and then retreats, then hits a second time. It's grand, but not glamorous or flashy. It bears the kind of power that strikes you with a sense of awe, but that leaves you with all your wits about you. Actually it probably leaves you with more wits about you than you had to begin with. "Panopticon" picks up right where "Quasar" leaves off without duplicating the image or the style in the latter. Here are two songs that must be taken in synchrony for full effect. It's a hell of a one-two punch to get things off the ground.
From here the album slows up a bit. It has proven its strength and potency, and now can get into the real core of its argument. Tracks from "The Celestials" thru "Pinwheels" are classic Pumpkins: neither boringly slow nor distressingly fast, musically accessible but artistically heightened, etc.. "My Love is Winter" has a couple of searing guitar solos and carries some great musical momentum from the preceding tracks into a very strong climax, before "One Diamond, One Heart" falls back to ground-level, and delivers basic, borderline synth pop. I actually find this to be one of the weaker songs on the album, which isn't saying much, but still. The songs build off of each other to create musical landscapes over and through which the listener ventures.
"Oceania" is (fittingly) the album's turning point. At this point, the album has laid out all it has to offer in terms of musicality and philosophy, and now it begins the process of arranging those components just so. The back half of the album will not contain any further big reveals, and it doesn't need to. "Oceania" begins to pick up the pieces and put them together into the aural mural that the album creates. It is as much a journey as the narrative fragment it describes. It has three distinct yet complimentary parts, and it's something of a masterwork. I mean, I can't really say that because Corgan has so much material in so many different veins that it's relatively impossible to pick a single magnum opus. But this song is definitely a frontrunner. My only complaint is that it fades out at the end, which seems like a bit of a cop out for a song that brought so much into the heart of this album. Nonetheless, the song fills the album's sails, and prepares the listener for reentry (mixing metaphors? DEAL WITH IT).
"Pale Horse" and "Chimera" are, music-wise, two of my favorite tracks from the album. They have memorable guitar riffs and carry great charisma into the album's final movement. There's nothing extraordinary or unique about these songs as compared with the rest of the album, and that is as it should be. The album is saving up for one final one-two punch, and these songs help carry us there without losing any listeners along the way. "Glissandra" and "Inkless" are Oceania's last stand. Again, memorable guitar riffs and familiar song structure make these two tracks radio-friendly selections. But they also carry the bulk of the burden of resolution. These songs bring the album back to where it began, but with a sense of earned liberation to replace the uncertainty and weight felt in the album's opening. The album has come full-circle, and is ready to wrap itself up.
Corgan concludes his musical journey in a way that, gently speaking, I would not have elected to. "Wildflower" is, by all means, a good song. But the album felt both musically and ideologically finished after "Inkless," and it almost seems like "Wildflower" was shoehorned in at the last minute to get the album to a nice round sixty minutes. I personally don't learn anything new about Corgan, his album, or its protagonist when I listen to "Wildflower," and I feel a little deflated after the post-"Oceania" triumph. I would not have used the song at the end, but of course it is not my album.
No need to dwell on that note. The album is a stunning success, with or without "Wildflower." It fades to silence and I find myself in a very different place than I was an hour before. It's a journey. Maybe the most excellent aspect of this album is that it remains a journey with every listen. There is no point at which I say to myself, "alright, I think I've got it, I know what happened." I learn new things every time I hear this album, or any part of it. It works on all the right levels, and is one of the most musically diverse and compelling albums of the year. The Smashing Pumpkins are unequivocally back in business, and I'm already looking forward to the continuation of this musical odyssey.
Friday, August 31, 2012
The End Groove on the Radio!
EXCITING NEWS!
The End Groove is expanding into a radio program! Starting next week, The End Groove will air on KOXY Radio Thursdays at 9 p.m. The radio show will be an extension of and compliment to this blog (which will, of course, remain up and running). The goal is to have a more interesting and interactive musical experience. Sometimes I'll have a theme or topic, sometimes I'll just play interesting new music, sometimes I'll be by myself, sometimes I'll have some guests. The show will include more talk and discussion than most music radio programs allow for. I'm not actually 100% sure what it's going to be like, but I'm very excited to try this out! Make sure you like the shiny new The End Groove Facebook page, and tune in online here Thursdays at 9:00 p.m. for music, talk, and all kinds of fun!
WAHOOO!
The End Groove is expanding into a radio program! Starting next week, The End Groove will air on KOXY Radio Thursdays at 9 p.m. The radio show will be an extension of and compliment to this blog (which will, of course, remain up and running). The goal is to have a more interesting and interactive musical experience. Sometimes I'll have a theme or topic, sometimes I'll just play interesting new music, sometimes I'll be by myself, sometimes I'll have some guests. The show will include more talk and discussion than most music radio programs allow for. I'm not actually 100% sure what it's going to be like, but I'm very excited to try this out! Make sure you like the shiny new The End Groove Facebook page, and tune in online here Thursdays at 9:00 p.m. for music, talk, and all kinds of fun!
WAHOOO!
Monday, August 13, 2012
Speed Review: Gossamer
It's time for another short review! HooooRAY!
Gossamer by Passion Pit is, on balance, a really good album.
That's a really boring sentence for you to read, but it's a really exciting one for me to write because I have not historically been a Passion Pit fan. I've never found their music engaging or interesting. I was always really quite ambivalent about the whole ordeal.
Gossamer just changed that. I don't have time for a full-length review, so I'm going to be brief in my discussion here. Basically there have always been two things keeping me from really enjoying Passion Pit's music (the same two things that will keep me from enjoying basically any music): uninteresting musical construction and melodies, and unimportant lyrics. Thirty seconds into "Take a Walk," the album's opening track, both of those problems have been addressed. The main riff of the song is one of the catchiest and most exciting melodies of the year, and the lyrics are a brilliant discussion of the economic crisis and the ways it has affected people who have no sense of how to deal with it. I actually had to start the song over again after the first listen (which I have never done during a first listen of an album) to hear the words one more time. The track immediately shows a great deal of artistic and musical maturity on the part of the band, something I don't feel I could have said before now. The song leaves me just grasping for more, wishing that I could hear the riff once more. Actually, while this is definitely a good place for the album to take me, the riff could have been far more pronounced in the mix, especially during the choruses. It felt buried, and I couldn't get lost in it in the way I often do with great melodies. Nonetheless, "Take a Walk" closes out and I'm right on the edge of my proverbial seat, eager to hear the rest of the album.
What's true of "Take a Walk" is, generally speaking, true of all the songs on this album. They're catchy, they're interesting, they have a lot to say. They do everything a good song is supposed to. I really can't possibly complain about the songwriting on this album. But of course, that doesn't mean I can't complain about something else, and you know I will. I can't overlook the fact that, twenty minutes into the album, I begin to lose interest. Not because of poor writing, but because the songs begin to run together. And not in the good, gapless concept album-y kind of way, but in the "they all sound the same" kind of way. By the thirty minute mark, my attention almost totally lost. But hark! A thirty-second interlude called "Two Veils To Hide My Face" marks something of a turnaround, and the album finishes out on a relatively strong note. These final songs still sound very similar to all the other songs on the album (and in the band's canon), but they're interesting enough to keep me tuned in and pleased, and I leave content. Looking back, the album felt good. It felt like a step up from Passion Pit's previous work. The band is making forward progress, learning their art and themselves as they go, and Gossamer shows this growth splendidly. I do believe they have a few screws to tighten up when it comes to producing their sound in a way that displays their music optimally, but they're really very close. Gossamer is Passion Pit's best album yet, and it has convinced me to give a band I previously dismissed another shot.
Gossamer (Passion Pit): 7.5/10
Gossamer was released July 20, 2012, and is available now on iTunes and Spotify.
Gossamer by Passion Pit is, on balance, a really good album.
That's a really boring sentence for you to read, but it's a really exciting one for me to write because I have not historically been a Passion Pit fan. I've never found their music engaging or interesting. I was always really quite ambivalent about the whole ordeal.
Gossamer just changed that. I don't have time for a full-length review, so I'm going to be brief in my discussion here. Basically there have always been two things keeping me from really enjoying Passion Pit's music (the same two things that will keep me from enjoying basically any music): uninteresting musical construction and melodies, and unimportant lyrics. Thirty seconds into "Take a Walk," the album's opening track, both of those problems have been addressed. The main riff of the song is one of the catchiest and most exciting melodies of the year, and the lyrics are a brilliant discussion of the economic crisis and the ways it has affected people who have no sense of how to deal with it. I actually had to start the song over again after the first listen (which I have never done during a first listen of an album) to hear the words one more time. The track immediately shows a great deal of artistic and musical maturity on the part of the band, something I don't feel I could have said before now. The song leaves me just grasping for more, wishing that I could hear the riff once more. Actually, while this is definitely a good place for the album to take me, the riff could have been far more pronounced in the mix, especially during the choruses. It felt buried, and I couldn't get lost in it in the way I often do with great melodies. Nonetheless, "Take a Walk" closes out and I'm right on the edge of my proverbial seat, eager to hear the rest of the album.
What's true of "Take a Walk" is, generally speaking, true of all the songs on this album. They're catchy, they're interesting, they have a lot to say. They do everything a good song is supposed to. I really can't possibly complain about the songwriting on this album. But of course, that doesn't mean I can't complain about something else, and you know I will. I can't overlook the fact that, twenty minutes into the album, I begin to lose interest. Not because of poor writing, but because the songs begin to run together. And not in the good, gapless concept album-y kind of way, but in the "they all sound the same" kind of way. By the thirty minute mark, my attention almost totally lost. But hark! A thirty-second interlude called "Two Veils To Hide My Face" marks something of a turnaround, and the album finishes out on a relatively strong note. These final songs still sound very similar to all the other songs on the album (and in the band's canon), but they're interesting enough to keep me tuned in and pleased, and I leave content. Looking back, the album felt good. It felt like a step up from Passion Pit's previous work. The band is making forward progress, learning their art and themselves as they go, and Gossamer shows this growth splendidly. I do believe they have a few screws to tighten up when it comes to producing their sound in a way that displays their music optimally, but they're really very close. Gossamer is Passion Pit's best album yet, and it has convinced me to give a band I previously dismissed another shot.
Gossamer (Passion Pit): 7.5/10
Gossamer was released July 20, 2012, and is available now on iTunes and Spotify.
Thursday, August 2, 2012
The Best Worst Voices
"I would like them if they had a different singer."
"I just can't get over that voice."
"The singer really bothers me for some reason."
We've all heard it before. People complaining about a voice that's just a little too [adjective]. People hate on weird voices in music. As someone who has a weird singing voice, I say enough! Critics be damned! Singers with weird voices are all over the place, and have made some of the most important contributions to the musical universe. There are many artists about whose voices I hear complaints on the regular. Here are ten of my favorite weird, unique, bizarre, and/or unpleasant voices.
10) Bob Dylan
What better place to start? Bob Dylan has never fooled anyone into believing he was a good singer, and his voice is constantly a turnoff to casual listeners. It's probably why covers of his songs have a habit of performing better than the original versions (Jimi Hendrix and Eric Clapton each performed loads of Dylan songs that became the go-to versions). And yet, Bob Dylan is one of the greatest artists in American history, and people the world over listen to his music religiously. I actually don't even need the rest of this list to prove why a weird voice doesn't keep you out of the realm of the successful, but I don't listen to Bob Dylan that much, so I thought I should still make it.
9) Lou Reed
Remember everything I just wrote about Bob Dylan? All of that carries over to Lou Reed except for the frequent Clapton and Hendrix covers. Also he was in a band called The Velvet Underground, which is neither made of velvet nor underground. Lou Reed has a wonderful horrible singing voice, and he's a great and influential artist. On the list.
8) Anthony Kiedis (Red Hot Chili Peppers)
Okay, this one is a little different. Anthony Kiedis is usually not criticized for his voice, but he is criticized for his singing ability. Or perceived lack thereof. For some reason people just do not believe he can really sing. I know he often doesn't really sing and kind of rap-talk-shouts instead, but come on. First of all, he absolutely can sing, and if you don't believe me, I dare you to perform "Can't Stop" or "The Zephyr Song" the way he does. Not as easy as it looks. Secondly, who the fuck cares? Anthony Kiedis is one of rock's great vocalists, and even if you don't like his brand of talk-song, you can't hate on the dude for doing what works.
7) Joni Mitchell
Joni Mitchell has a shockingly, unsettlingly, uniquely high voice. There are people who, for some weird reason, don't enjoy that. I can't really figure it out. Actually I totally can, it's a bit much. But I invite all of those people to get past their fear of heights (like high pitches, get it?) and listen to her sing. Really listen. And then tell me she isn't one of the best singers around. Listen to "California" because it's one of my favorite songs ever, and because she does things with her voice that I didn't even know were possible. Joni Mitchell is like, really great. If you can't stand her voice, you're just missing out.
6) Justin Vernon (Bon Iver)
Justin Vernon of Bon Iver (which is a band, not a person, please see my recent post for details on this breaking story) often sounds less like a person and more like an embattled owl singing a lullaby. His unclear mumbling is the butt of many a joke, and no argument, it's frequently impossible to know what he's saying, or if he's even using words. But his voice is the perfect frosting on the cake that is Bon Iver's music. They make big, orchestral, sweeping songs that flow between one another in long albums. They are majestic works of art, and the vocals come shining through as if sung by angels and butterflies. Vernon's voice would be ill-suited to literally any other kind of music, but I can't imagine a better fit for Bon Iver.
5) Stevie Nicks
Stevie Nicks (you know, from Fleetwood Mac and stuff) has a low, raspy, abrasive kind of voice that, in an alternate universe, could probably be used to frighten children into eating asparagus. But instead we're in this universe, where it's used to make wonderful music. I love Stevie Nicks. A lot. I have heard people complain about the flat and atonal nature of her voice, as well as about her perceived lack of vocal ability. If you're in either of these camps, or if you're on the fence, listen to Fleetwood Mac's 1975 studio recording of "Rhiannon." The chorus will send chills down your spine. Stevie Nicks is a total rockstar, and her voice, cracked and worn as it may be, is a testament to her musical drive and rock and roll attitude.
4) James Taylor
Okay, I didn't even know people were complaining about James Taylor until recently. And it shocked me because James Taylor is one of the greatest artists in American history, and his voice is quite inoffensive. Nonetheless, some people just don't dig it, I guess. I will never agree, but I suppose I can see where those people are coming from: he does have a very unique voice (I always know when James Taylor comes on the radio, even when I don't know the song), and uniqueness is often synonymous with irritating for listeners. If you're looking to be convinced, first listen to his heart-melting rendition of Carole King's "You've Got A Friend," (1971) then try a couple newer songs (I really like "Line 'Em Up" from 1997's Hourglass). If those don't change your mind, it may be a lost cause. But either way, there's no denying that JT is a prolific and influential musician and singer, and his unique voice is ideal for his music.
3) Billy Corgan (The Smashing Pumpkins)
Billy Corgan has probably faced more criticism for his voice than any other modern musician. Seriously, there are no people who hear The Pumpkins and don't go "man, that voice is crazy." And that's because it is crazy. CRAZY AMAZING. Man, I don't even know what the world would be if Billy Corgan's voice wasn't a part of mainstream music. But it would be horrible. The Smashing Pumpkins are one of the great bands of the late-20th century (and 21st century, who am I kidding? Oceania embraced my soul with rock). Billy Corgan's tinny, thin, whiny squeak of a voice is so well suited to the music he writes and performs that it's kind of hard to believe. The dude has a bizarre and unsettling voice, and I love it.
(I'm not kidding about Oceania, if you haven't heard it yet, go now. That will be the next review I write, I'm just finishing a few of these fun posts first.)
2) Geddy Lee (Rush)
RUSH ARE THE GREATEST BAND OF ALL TIME.
Sorry, was that out loud? What I meant to say is that Rush are an amazing band that plays with unbelievable musicianship and intellect. They are true artists. Geddy Lee is one of the best bassists alive. He's also an awesome singer. Weird voice? You betcha. It's way up there, in a higher register than many people can even imagine (especially in the really early Rush recordings). But I'll be damned if he doesn't hit every note nearly perfectly, and he does it while playing a bass and a synth and another synth and some weird pedal shit also. Again, it's a voice that truly compliments its accompaniment. Rush would not be Rush without the piercing and glorious vocal melodies purveyed by Mr. Lee. Geddy Lee is one of the best musicians alive, and his voice is one of his finest assets.
1) Eric Clapton
Wait, what?
Yes, you read it right. If you're confused, it's probably because you, like me and so many other people, were not aware that Eric Clapton had a weird voice. BUT APPARENTLY HE DOES. Eric Clapton is my favorite guitar player, and I listen to his music basically on loop. So to hear that some people didn't like his voice was quite upsetting. But I understand it. Particularly in his younger years, his voice is high and poorly trained, and often sounds off-key or just awkward. He himself didn't like his voice, and did not sing the songs he learned as a budding blues guitarist because he didn't feel his his voice could appropriately capture the low-down, murky, smoky glory of the blues. It wasn't until really the Cream years that he began to sing regularly. And despite his voice being a little shaky (and in the early going, more than a little intoxicated), I sure am glad he did. Eric Clapton is one of the most iconic rock musicians in history. Imagine where he'd be if he never sang?
Yikes.
***
Alrighty, that's it. Those are my ten favorite bad/annoying/weird voices. If you disagree, have other suggestions, or generally have a comment, leave it below! I'm always glad for feedback and audience participation!
"I just can't get over that voice."
"The singer really bothers me for some reason."
We've all heard it before. People complaining about a voice that's just a little too [adjective]. People hate on weird voices in music. As someone who has a weird singing voice, I say enough! Critics be damned! Singers with weird voices are all over the place, and have made some of the most important contributions to the musical universe. There are many artists about whose voices I hear complaints on the regular. Here are ten of my favorite weird, unique, bizarre, and/or unpleasant voices.
10) Bob Dylan
What better place to start? Bob Dylan has never fooled anyone into believing he was a good singer, and his voice is constantly a turnoff to casual listeners. It's probably why covers of his songs have a habit of performing better than the original versions (Jimi Hendrix and Eric Clapton each performed loads of Dylan songs that became the go-to versions). And yet, Bob Dylan is one of the greatest artists in American history, and people the world over listen to his music religiously. I actually don't even need the rest of this list to prove why a weird voice doesn't keep you out of the realm of the successful, but I don't listen to Bob Dylan that much, so I thought I should still make it.
9) Lou Reed
Remember everything I just wrote about Bob Dylan? All of that carries over to Lou Reed except for the frequent Clapton and Hendrix covers. Also he was in a band called The Velvet Underground, which is neither made of velvet nor underground. Lou Reed has a wonderful horrible singing voice, and he's a great and influential artist. On the list.
8) Anthony Kiedis (Red Hot Chili Peppers)
Okay, this one is a little different. Anthony Kiedis is usually not criticized for his voice, but he is criticized for his singing ability. Or perceived lack thereof. For some reason people just do not believe he can really sing. I know he often doesn't really sing and kind of rap-talk-shouts instead, but come on. First of all, he absolutely can sing, and if you don't believe me, I dare you to perform "Can't Stop" or "The Zephyr Song" the way he does. Not as easy as it looks. Secondly, who the fuck cares? Anthony Kiedis is one of rock's great vocalists, and even if you don't like his brand of talk-song, you can't hate on the dude for doing what works.
7) Joni Mitchell
Joni Mitchell has a shockingly, unsettlingly, uniquely high voice. There are people who, for some weird reason, don't enjoy that. I can't really figure it out. Actually I totally can, it's a bit much. But I invite all of those people to get past their fear of heights (like high pitches, get it?) and listen to her sing. Really listen. And then tell me she isn't one of the best singers around. Listen to "California" because it's one of my favorite songs ever, and because she does things with her voice that I didn't even know were possible. Joni Mitchell is like, really great. If you can't stand her voice, you're just missing out.
6) Justin Vernon (Bon Iver)
Justin Vernon of Bon Iver (which is a band, not a person, please see my recent post for details on this breaking story) often sounds less like a person and more like an embattled owl singing a lullaby. His unclear mumbling is the butt of many a joke, and no argument, it's frequently impossible to know what he's saying, or if he's even using words. But his voice is the perfect frosting on the cake that is Bon Iver's music. They make big, orchestral, sweeping songs that flow between one another in long albums. They are majestic works of art, and the vocals come shining through as if sung by angels and butterflies. Vernon's voice would be ill-suited to literally any other kind of music, but I can't imagine a better fit for Bon Iver.
5) Stevie Nicks
Stevie Nicks (you know, from Fleetwood Mac and stuff) has a low, raspy, abrasive kind of voice that, in an alternate universe, could probably be used to frighten children into eating asparagus. But instead we're in this universe, where it's used to make wonderful music. I love Stevie Nicks. A lot. I have heard people complain about the flat and atonal nature of her voice, as well as about her perceived lack of vocal ability. If you're in either of these camps, or if you're on the fence, listen to Fleetwood Mac's 1975 studio recording of "Rhiannon." The chorus will send chills down your spine. Stevie Nicks is a total rockstar, and her voice, cracked and worn as it may be, is a testament to her musical drive and rock and roll attitude.
4) James Taylor
Okay, I didn't even know people were complaining about James Taylor until recently. And it shocked me because James Taylor is one of the greatest artists in American history, and his voice is quite inoffensive. Nonetheless, some people just don't dig it, I guess. I will never agree, but I suppose I can see where those people are coming from: he does have a very unique voice (I always know when James Taylor comes on the radio, even when I don't know the song), and uniqueness is often synonymous with irritating for listeners. If you're looking to be convinced, first listen to his heart-melting rendition of Carole King's "You've Got A Friend," (1971) then try a couple newer songs (I really like "Line 'Em Up" from 1997's Hourglass). If those don't change your mind, it may be a lost cause. But either way, there's no denying that JT is a prolific and influential musician and singer, and his unique voice is ideal for his music.
3) Billy Corgan (The Smashing Pumpkins)
Billy Corgan has probably faced more criticism for his voice than any other modern musician. Seriously, there are no people who hear The Pumpkins and don't go "man, that voice is crazy." And that's because it is crazy. CRAZY AMAZING. Man, I don't even know what the world would be if Billy Corgan's voice wasn't a part of mainstream music. But it would be horrible. The Smashing Pumpkins are one of the great bands of the late-20th century (and 21st century, who am I kidding? Oceania embraced my soul with rock). Billy Corgan's tinny, thin, whiny squeak of a voice is so well suited to the music he writes and performs that it's kind of hard to believe. The dude has a bizarre and unsettling voice, and I love it.
(I'm not kidding about Oceania, if you haven't heard it yet, go now. That will be the next review I write, I'm just finishing a few of these fun posts first.)
2) Geddy Lee (Rush)
RUSH ARE THE GREATEST BAND OF ALL TIME.
Sorry, was that out loud? What I meant to say is that Rush are an amazing band that plays with unbelievable musicianship and intellect. They are true artists. Geddy Lee is one of the best bassists alive. He's also an awesome singer. Weird voice? You betcha. It's way up there, in a higher register than many people can even imagine (especially in the really early Rush recordings). But I'll be damned if he doesn't hit every note nearly perfectly, and he does it while playing a bass and a synth and another synth and some weird pedal shit also. Again, it's a voice that truly compliments its accompaniment. Rush would not be Rush without the piercing and glorious vocal melodies purveyed by Mr. Lee. Geddy Lee is one of the best musicians alive, and his voice is one of his finest assets.
1) Eric Clapton
Wait, what?
Yes, you read it right. If you're confused, it's probably because you, like me and so many other people, were not aware that Eric Clapton had a weird voice. BUT APPARENTLY HE DOES. Eric Clapton is my favorite guitar player, and I listen to his music basically on loop. So to hear that some people didn't like his voice was quite upsetting. But I understand it. Particularly in his younger years, his voice is high and poorly trained, and often sounds off-key or just awkward. He himself didn't like his voice, and did not sing the songs he learned as a budding blues guitarist because he didn't feel his his voice could appropriately capture the low-down, murky, smoky glory of the blues. It wasn't until really the Cream years that he began to sing regularly. And despite his voice being a little shaky (and in the early going, more than a little intoxicated), I sure am glad he did. Eric Clapton is one of the most iconic rock musicians in history. Imagine where he'd be if he never sang?
Yikes.
***
Alrighty, that's it. Those are my ten favorite bad/annoying/weird voices. If you disagree, have other suggestions, or generally have a comment, leave it below! I'm always glad for feedback and audience participation!
Tuesday, July 31, 2012
A moment for self-indulgence
A quick aside from blogging/reviewing: Today I am releasing my first full-length album! I'm really excited about it, I've spent a long time fooling around with it. It's certainly nothing spectacular, but if you're into it, check it out. It's free. It's here. Thanks for being cool.
Now, back to your regularly scheduled programming. I have several fun pieces in the works, so stay tuned...
Now, back to your regularly scheduled programming. I have several fun pieces in the works, so stay tuned...
Sunday, July 15, 2012
Is That a Band or a Person? HELP!
Have you ever been confused about if an artist was a band or just a single musician? That's probably because you're stupid. HAHA! Jokes. But seriously, when bands are naming themselves like people and people are naming themselves like bands, it can get tough to tell which is which and who is who and why and how. Here are the names of some (excellent) artists that a lot of people get wrong, but that you will never get wrong again because you read this helpful post.
Bands that aren't people:
Steely Dan
Steely Dan is one of the greatest bands in rock and roll history. They fuse rock, jazz, folk, and funk in ways that no one else has. And I know they tricked us by naming themselves like a metallic fellow named Dan, but we're just going to have to accept that they are not a person. They are a band. There are two of them. Their names are Donald Fagen and Walter Becker. They are excellent musicians and songwriters. They've definitely earned the right to name themselves in whatever confusing way they like.
La Roux
Aha! Here's one that almost nobody I talk to seems to know. La Roux, the excellent electro-pop recording artist is A BAND! A duo, I should say. Elly Jackson, whom most people call La Roux mistakenly, is actually just one half of the package. The other half is Ben Langmaid. Another dastardly duo! The next time someone says "that girl looks like La Roux," surprise them with your superior grasp of current music trivia! They will be so impressed that they will give you all of their money and lust after you for weeks.
Bon Iver
A lot of people know this, but I still hear "I saw him last month" or "I didn't like his new album that much" (that one is always my first clue that I'm talking to a fool) all the time. Bon Iver is a band. The singer, founder, and the guy whom you might have believed to be the whole outfit is Justin Vernon. He is joined by Michael Noyce, alleged voice angel Sean Carey, and Matthew McCaughan. While Vernon is certainly responsible for a lot of the band's success (and pretty much all of their music), Bon Iver is a band. So DON'T FUCK IT UP.
People that aren't bands:
Gotye
I struggled with this one myself for a time because what kind of name is "Gotye" for a person? Well, it's a stage name. Who knew? Anyway, Gotye is Wally De Backer, an excellent musician and composer and self-proclaimed "tinkerer" from Australia. His album Making Mirrors from last year is excellent and you should go listen to it.
Iron & Wine
Okay this is getting silly. "Iron & Wine"? That isn't any kind of stage name. That's a band name. Nonetheless, it's what Samuel Beam calls himself on stage/in studio. And despite his apparent lack of respect for band name etiquette, he makes wonderful folk music.
Journey
Haha! Again, you were fooled! You probably thought Journey was a band. But no! There are five people in Journey, but little did you know that all of them are Steve Perry! Zounds! It was him all along!
Okay that last one was a joke because I needed one more to make it even. Disregard it. But disregard no further! Remember the rest of these forever! I will make more of these instructional posts in the future. For now, go show everyone how smart you are.
Bands that aren't people:
Steely Dan
Steely Dan is one of the greatest bands in rock and roll history. They fuse rock, jazz, folk, and funk in ways that no one else has. And I know they tricked us by naming themselves like a metallic fellow named Dan, but we're just going to have to accept that they are not a person. They are a band. There are two of them. Their names are Donald Fagen and Walter Becker. They are excellent musicians and songwriters. They've definitely earned the right to name themselves in whatever confusing way they like.
La Roux
Aha! Here's one that almost nobody I talk to seems to know. La Roux, the excellent electro-pop recording artist is A BAND! A duo, I should say. Elly Jackson, whom most people call La Roux mistakenly, is actually just one half of the package. The other half is Ben Langmaid. Another dastardly duo! The next time someone says "that girl looks like La Roux," surprise them with your superior grasp of current music trivia! They will be so impressed that they will give you all of their money and lust after you for weeks.
Bon Iver
A lot of people know this, but I still hear "I saw him last month" or "I didn't like his new album that much" (that one is always my first clue that I'm talking to a fool) all the time. Bon Iver is a band. The singer, founder, and the guy whom you might have believed to be the whole outfit is Justin Vernon. He is joined by Michael Noyce, alleged voice angel Sean Carey, and Matthew McCaughan. While Vernon is certainly responsible for a lot of the band's success (and pretty much all of their music), Bon Iver is a band. So DON'T FUCK IT UP.
People that aren't bands:
Gotye
I struggled with this one myself for a time because what kind of name is "Gotye" for a person? Well, it's a stage name. Who knew? Anyway, Gotye is Wally De Backer, an excellent musician and composer and self-proclaimed "tinkerer" from Australia. His album Making Mirrors from last year is excellent and you should go listen to it.
Iron & Wine
Okay this is getting silly. "Iron & Wine"? That isn't any kind of stage name. That's a band name. Nonetheless, it's what Samuel Beam calls himself on stage/in studio. And despite his apparent lack of respect for band name etiquette, he makes wonderful folk music.
Journey
Haha! Again, you were fooled! You probably thought Journey was a band. But no! There are five people in Journey, but little did you know that all of them are Steve Perry! Zounds! It was him all along!
Okay that last one was a joke because I needed one more to make it even. Disregard it. But disregard no further! Remember the rest of these forever! I will make more of these instructional posts in the future. For now, go show everyone how smart you are.
Thursday, July 12, 2012
Mid-Year Report
Well, we've made it halfway though 2012. It's been, all things considered, a pretty awesome year for music so far. While I'm really excited about releases and events to come, I think it is worth stopping to reflect on the first half of this year. The good, the bad, the weird, but firstly the good.
Here are my top ten releases from the first half of 2012:
1) Fiona Apple - The Idler Wheel (June 19): 9/10
2) The Smashing Pumpkins - Oceania (June 19): 8.5/10
3) Joe Bonamassa - Driving Toward the Daylight (May 22): 8.5/10
4) Alabama Shakes - Boys and Girls (April 10): 8/10
5) Esperanza Spalding - Radio Music Society (March 20): 8/10
6) Lamb of God - Resolution (January 24): 8/10
7) The Shins - Port of Morrow (March 20): 7.5/10
8) Andrew Bird - Break It Yourself (March 5): 7.5/10
9) Metric - Synthetica (June 12): 7/10
10) Scars on 45 - Scars on 45 (April 10): 7/10
Two things to note: 1) I have not listened to all the releases I intended to, including a few partial/insufficient listenings to albums like Rush's Clockwork Angels, which (according to reviews and musical precedent) is likely to displace albums above. 2) I am allowed to change the order of this list any time I feel like it, so be warned that it probably will not be the same by the end of the year.
Okay then, here's some miscellany:
Stuff I like:
"Call Me Maybe" by Carly Rae Jepsen
BEFORE YOU CAME INTO MY LIFE I MISSED YOU SO BAD I MISSED YOU S—
I love this song and I don't care what you say. h8rs gon' h8.
(Also I know this song was released last year, but the EP was this year and the explosion was this year and dammit I really fucking love this song.)
Rize of the Fenix - Tenacious D
Again, I don't care what you say. This album is hilarious. Sure, it's not quite up to the precedent they set, because that precent was legendary and unattainable. This album is a damn good follow-up to The Pick of Destiny. It does exactly what it is supposed to do: rock hard, be gross, and make people laugh. People who complain about how The D have sold out or lost touch or made a gimmick album are 100% missing the point.
Driftless Pony Club
New favorite band. They put out a new album like ten days ago and it's great. It's fun and lighthearted, but also serious and loud. It rocks. I love it. Craig Benzine has a really beautiful beard. Also one of the songs begins "screw you, North Dakota, you're the neighbor of my least-favorite state right now." So that's the best.
Vintage Trouble
Absolutely the sexiest frontman to ever have existed. Like, you aren't ready for this. But go anyways because they are SO GOOD.
Stuff I don't care for:
JEFF the Brotherhood
Saw them open for Best Coast (hey I talk about them below!) and was not impressed. But that was largely due to very inadequate sound engineering, and I didn't want to write them off until I heard some studio material and had a chance to really get a feel for their music. Well, now I've had that chance and I'm still not sold. Even with the mighty and fabulous Dan Auerbach (The Black Keys) producing, I just don't like this album. The music is decent, not great, I find the lyrics are unimaginative and underwhelming, and I just don't care for it. There was a lot of hype for their major label debut, and I'm just not seeing what for.
Radiohead at Coachella
Okay, I'm going to come right out and say it; enough of this fuckery. I don't like Radiohead. THERE. IT'S DONE. IT CAN'T BE UNDONE. I'M SORRY I JUST HAD TO DO IT.
I don't hate them and I don't disrespect them as artists (very much), but I just don't find them compelling. I saw them at Coachella and they sounded, on balance, very good. But they were 500% too showy. Giant (and I mean GIANT) moving, hanging LED screens and enough stage lighting to rival Las Vegas on New Year's eve. Way too much interest in visuals and not nearly enough on an interesting set list. I was bored after the first half hour because it seemed like they just kept playing the same song over and over again (To be fair, I was not, and am not, familiar with their canon, which probably added to my disinterest. But I really did not enjoy that set, and I have yet to hear a really artistically or musically compelling Radiohead album. But please, someone: prove me wrong here.). They played for a solid 2.5 hours. At least. We left after the SECOND encore (we heard them come on for a third as we walked out, so god knows how long they were really there). A 2 hour concert isn't really that bad, and that isn't the problem in and of itself, but when all the other bands (including the other headliners LIKE THE BLACK KEYS AND FLORENCE + THE MACHINE) got a mere 50 minute allotment and no encore, this seemed unnecessary and unprofessional.
Stuff I don't know what to think of:
Reignwolf
Reignwolf is the on-stage moniker for Jordan Cook, a solo act out of Canada. He plays big, loud, dirty, noisy, brutal blues rock. It's all just him: one guitar, one mic, and one kick drum. The dude rocks. However, after the initial intensity wears off, I'm not sure where I'm left. He catches my attention with the massive noise coming out of his amp and his I-Don't-Give-Any-Fucks aesthetic. But once he has my attention, he doesn't seem to have anywhere to put it. He hasn't released any real studio material, and all my knowledge of him comes from YouTube videos and Soundcloud clips of live shows, so I'm not comfortable dismissing him as a one-trick pony. I think he can really play, and I think he can make something awesome happen. But he's going to have to go a bit further to have me 100% convinced. Time will tell.
Best Coast
So many feels... Let me begin by saying I stand firmly by my defense of Best Coast's album The Only Place; I think it is a good album that hits its mark precisely. But I'm wavering in my defense of Best Coast as a professional and respectable act. I saw them live a few weeks after their album was released, and was very disappointed. They sounded flat, and were visibly unhappy to be playing a Monday night in Portland (taking the California-centric lyrics to "The Only Place" to heart a little too much?). Frontwoman Bethany Cosentino addressed the crowd like an emotional teenager would address his/her parents. She left the stage with a scowl at the end of the set, and after a minor slip-up during the encore (no one would have known if she hadn't reacted), she threw her guitar down on the stage and stormed off with her warm beer. Bobb Bruno had to cover for her to save face. A band that disrespects an auditorium full of eager fans like that is not a band that I feel comfortable putting my full weight behind. Nonetheless, I look forward to finding an opportunity for redemption.
Gotye
Gotye's album Making Mirrors is excellent. Gotye's song "Somebody That I Used To Know" is good (decidedly NOT the highlight of the album, but still a worthwhile tune). But here we have another classic case of video killed the radio star, and then radio revenge killed the video star's brother with a rusty fork and a loudspeaker. Overplayed is an understatement. I can't listen to that song with any joy at all because of how horrible the remixes are, and how stupid and boring the popular commentary that surrounds it can be. Gotye sounded great at Coachella and is a really good artist, and I really like the album. But damn if that song hasn't gotten to me a little bit.
The new John Mayer
John Mayer's new album is good. But it's getting clear that the days of guitar pop Johnny are long gone. Which is good and bad. Good that we're not dealing with his old, pop star self. Bad that we're not getting interesting, singable, radio-friendly tunes. Good that he has an opportunity to showcase his actual musical talents (they are many). Bad that he seems to only want to play borderline whiny country folk pop. He has some winners, and the album holds up. But I don't think he can go too much farther down this road without losing everyone's interest. I'll take the guitar-savvy blues buster, with a side of pop, hold the douchebaggery.
Jack White
Jack White's debut solo album Blunderbuss is... kinda weird? I like it, but I'm not sure it's quite up to all the hype (as per usual, hype ruins the day). Jack is a bizarre fellow, and this album seems to show it. Don't get me wrong, he's a fantastic musician, producer, artist, and performer, and he deserves his place in the spotlight, but I don't totally feel like I'm on board. Especially because he was a total ass to The Black Keys, who are the best. That's not 100% relevant. End of story, I'm just not connecting with this album. Maybe I will after a few more tries. I have been known to change my mind.
...
Okay. That's done. Now let's recap a few notable musical news items in one sentence each:
Randy Blythe
Randy Blythe, the vocalist for legendary metal band Lamb of God, was arrested and charged with manslaughter in the Czech Republic for a two-year-old incident that, as clearly shown in videos, he had nothing to do with.
Frank Ocean
Frank Ocean came out as gay, but he did it right after Anderson Cooper also did it, and his music is only so-so, so it wasn't that interesting.
Adam Yauch
Adam Yauch (MCA) of the Beastie Boys died of cancer in May, which sucks because he was awesome and he isn't alive anymore to fight for his right to party.
Holograms
During the Snoop Dogg/Dr. Dre portion of Coachella, a hologram of Tupac was unleashed, prompting the beginning of similar absurdities for Jimi Hendrix, Kurt Cobain, Freddy Mercury, and other rockstars who would vomit if they ever knew a thing about it.
Axl Rose
Guns N' Roses was inducted into the Rock & Roll Hall of Fame, but lead vocalist and noted douchebag Axl Rose declined his induction because he is a pretentious ass; meanwhile, legendary (and incredibly talented) bands like Rush, Deep Purple, KISS, and The Cars still wait patiently for an overdue invite to the party.
...
Well that was longer than I thought it would be. Sorry about that. But hey, well done if you're still reading down here! Really good work. That's impressive. Uh... yeah... see you next time!
Here are my top ten releases from the first half of 2012:
1) Fiona Apple - The Idler Wheel (June 19): 9/10
2) The Smashing Pumpkins - Oceania (June 19): 8.5/10
3) Joe Bonamassa - Driving Toward the Daylight (May 22): 8.5/10
4) Alabama Shakes - Boys and Girls (April 10): 8/10
5) Esperanza Spalding - Radio Music Society (March 20): 8/10
6) Lamb of God - Resolution (January 24): 8/10
7) The Shins - Port of Morrow (March 20): 7.5/10
8) Andrew Bird - Break It Yourself (March 5): 7.5/10
9) Metric - Synthetica (June 12): 7/10
10) Scars on 45 - Scars on 45 (April 10): 7/10
Two things to note: 1) I have not listened to all the releases I intended to, including a few partial/insufficient listenings to albums like Rush's Clockwork Angels, which (according to reviews and musical precedent) is likely to displace albums above. 2) I am allowed to change the order of this list any time I feel like it, so be warned that it probably will not be the same by the end of the year.
Okay then, here's some miscellany:
Stuff I like:
"Call Me Maybe" by Carly Rae Jepsen
BEFORE YOU CAME INTO MY LIFE I MISSED YOU SO BAD I MISSED YOU S—
I love this song and I don't care what you say. h8rs gon' h8.
(Also I know this song was released last year, but the EP was this year and the explosion was this year and dammit I really fucking love this song.)
Rize of the Fenix - Tenacious D
Again, I don't care what you say. This album is hilarious. Sure, it's not quite up to the precedent they set, because that precent was legendary and unattainable. This album is a damn good follow-up to The Pick of Destiny. It does exactly what it is supposed to do: rock hard, be gross, and make people laugh. People who complain about how The D have sold out or lost touch or made a gimmick album are 100% missing the point.
Driftless Pony Club
New favorite band. They put out a new album like ten days ago and it's great. It's fun and lighthearted, but also serious and loud. It rocks. I love it. Craig Benzine has a really beautiful beard. Also one of the songs begins "screw you, North Dakota, you're the neighbor of my least-favorite state right now." So that's the best.
Vintage Trouble
Absolutely the sexiest frontman to ever have existed. Like, you aren't ready for this. But go anyways because they are SO GOOD.
Stuff I don't care for:
JEFF the Brotherhood
Saw them open for Best Coast (hey I talk about them below!) and was not impressed. But that was largely due to very inadequate sound engineering, and I didn't want to write them off until I heard some studio material and had a chance to really get a feel for their music. Well, now I've had that chance and I'm still not sold. Even with the mighty and fabulous Dan Auerbach (The Black Keys) producing, I just don't like this album. The music is decent, not great, I find the lyrics are unimaginative and underwhelming, and I just don't care for it. There was a lot of hype for their major label debut, and I'm just not seeing what for.
Radiohead at Coachella
Okay, I'm going to come right out and say it; enough of this fuckery. I don't like Radiohead. THERE. IT'S DONE. IT CAN'T BE UNDONE. I'M SORRY I JUST HAD TO DO IT.
I don't hate them and I don't disrespect them as artists (very much), but I just don't find them compelling. I saw them at Coachella and they sounded, on balance, very good. But they were 500% too showy. Giant (and I mean GIANT) moving, hanging LED screens and enough stage lighting to rival Las Vegas on New Year's eve. Way too much interest in visuals and not nearly enough on an interesting set list. I was bored after the first half hour because it seemed like they just kept playing the same song over and over again (To be fair, I was not, and am not, familiar with their canon, which probably added to my disinterest. But I really did not enjoy that set, and I have yet to hear a really artistically or musically compelling Radiohead album. But please, someone: prove me wrong here.). They played for a solid 2.5 hours. At least. We left after the SECOND encore (we heard them come on for a third as we walked out, so god knows how long they were really there). A 2 hour concert isn't really that bad, and that isn't the problem in and of itself, but when all the other bands (including the other headliners LIKE THE BLACK KEYS AND FLORENCE + THE MACHINE) got a mere 50 minute allotment and no encore, this seemed unnecessary and unprofessional.
Stuff I don't know what to think of:
Reignwolf
Reignwolf is the on-stage moniker for Jordan Cook, a solo act out of Canada. He plays big, loud, dirty, noisy, brutal blues rock. It's all just him: one guitar, one mic, and one kick drum. The dude rocks. However, after the initial intensity wears off, I'm not sure where I'm left. He catches my attention with the massive noise coming out of his amp and his I-Don't-Give-Any-Fucks aesthetic. But once he has my attention, he doesn't seem to have anywhere to put it. He hasn't released any real studio material, and all my knowledge of him comes from YouTube videos and Soundcloud clips of live shows, so I'm not comfortable dismissing him as a one-trick pony. I think he can really play, and I think he can make something awesome happen. But he's going to have to go a bit further to have me 100% convinced. Time will tell.
Best Coast
So many feels... Let me begin by saying I stand firmly by my defense of Best Coast's album The Only Place; I think it is a good album that hits its mark precisely. But I'm wavering in my defense of Best Coast as a professional and respectable act. I saw them live a few weeks after their album was released, and was very disappointed. They sounded flat, and were visibly unhappy to be playing a Monday night in Portland (taking the California-centric lyrics to "The Only Place" to heart a little too much?). Frontwoman Bethany Cosentino addressed the crowd like an emotional teenager would address his/her parents. She left the stage with a scowl at the end of the set, and after a minor slip-up during the encore (no one would have known if she hadn't reacted), she threw her guitar down on the stage and stormed off with her warm beer. Bobb Bruno had to cover for her to save face. A band that disrespects an auditorium full of eager fans like that is not a band that I feel comfortable putting my full weight behind. Nonetheless, I look forward to finding an opportunity for redemption.
Gotye
Gotye's album Making Mirrors is excellent. Gotye's song "Somebody That I Used To Know" is good (decidedly NOT the highlight of the album, but still a worthwhile tune). But here we have another classic case of video killed the radio star, and then radio revenge killed the video star's brother with a rusty fork and a loudspeaker. Overplayed is an understatement. I can't listen to that song with any joy at all because of how horrible the remixes are, and how stupid and boring the popular commentary that surrounds it can be. Gotye sounded great at Coachella and is a really good artist, and I really like the album. But damn if that song hasn't gotten to me a little bit.
The new John Mayer
John Mayer's new album is good. But it's getting clear that the days of guitar pop Johnny are long gone. Which is good and bad. Good that we're not dealing with his old, pop star self. Bad that we're not getting interesting, singable, radio-friendly tunes. Good that he has an opportunity to showcase his actual musical talents (they are many). Bad that he seems to only want to play borderline whiny country folk pop. He has some winners, and the album holds up. But I don't think he can go too much farther down this road without losing everyone's interest. I'll take the guitar-savvy blues buster, with a side of pop, hold the douchebaggery.
Jack White
Jack White's debut solo album Blunderbuss is... kinda weird? I like it, but I'm not sure it's quite up to all the hype (as per usual, hype ruins the day). Jack is a bizarre fellow, and this album seems to show it. Don't get me wrong, he's a fantastic musician, producer, artist, and performer, and he deserves his place in the spotlight, but I don't totally feel like I'm on board. Especially because he was a total ass to The Black Keys, who are the best. That's not 100% relevant. End of story, I'm just not connecting with this album. Maybe I will after a few more tries. I have been known to change my mind.
...
Okay. That's done. Now let's recap a few notable musical news items in one sentence each:
Randy Blythe
Randy Blythe, the vocalist for legendary metal band Lamb of God, was arrested and charged with manslaughter in the Czech Republic for a two-year-old incident that, as clearly shown in videos, he had nothing to do with.
Frank Ocean
Frank Ocean came out as gay, but he did it right after Anderson Cooper also did it, and his music is only so-so, so it wasn't that interesting.
Adam Yauch
Adam Yauch (MCA) of the Beastie Boys died of cancer in May, which sucks because he was awesome and he isn't alive anymore to fight for his right to party.
Holograms
During the Snoop Dogg/Dr. Dre portion of Coachella, a hologram of Tupac was unleashed, prompting the beginning of similar absurdities for Jimi Hendrix, Kurt Cobain, Freddy Mercury, and other rockstars who would vomit if they ever knew a thing about it.
Axl Rose
Guns N' Roses was inducted into the Rock & Roll Hall of Fame, but lead vocalist and noted douchebag Axl Rose declined his induction because he is a pretentious ass; meanwhile, legendary (and incredibly talented) bands like Rush, Deep Purple, KISS, and The Cars still wait patiently for an overdue invite to the party.
...
Well that was longer than I thought it would be. Sorry about that. But hey, well done if you're still reading down here! Really good work. That's impressive. Uh... yeah... see you next time!
Thursday, May 31, 2012
Catching Up
Oh my. It has been—
Oh my.
Disregarding how long it has been since I've successfully made a post on this page, the first half of 2012 has been a raging success for music. At the end of June, I think I will do a recap of my favorites from the first half of the year. For now, it's time for…
QUICKIE REVIEWS!!!!!!
WOOOOOO YEEEAHHHAAAHHHH ALRIIIIGHT YES!
My abridged thoughts on a few recent releases. For the purposes of this post, "recent" means "within the month of May." Okay let's get to it.
Rize of the Fenix - Tenacious D (May 15)
Just listen to the title track and you'll know all you need to know about this album. It's Tenacious D. It's hilarious, grotesque, loud, obnoxious, and wonderful. I have read too many negative reviews of this album that complain about how it sounds gimmicky and how the songwriting is not serious.
I... That...
That is literally the whole point. It's goofy music. If you're caught up in how weak the songwriting is, or how they aren't really better than Arcade Fire (as they purport to be in one line), then you're doing it wrong. Seriously.
7/10
The Only Place - Best Coast (May 15)
Once again, the title track sets the tone for the album. Best Coast's first album came with a trademark beach-fuzz-rock tonality, and many fans fell in love immediately with frontwoman Bethany Cosentino's simplistic lyrics and singing. Of course, half of them were distraught when, after gaining momentum and popularity, the band released a shiny, clean-cut sophomore album with good production and thoughtful songwriting. Negative reviews of this album criticize it for its lack of sonic and lyrical diversity, and the failure to live up to the standards set on album #1. Once again, I find this to be a bunch of baloney. The Only Place is a good album with clean recordings and intelligent production. It does not cover a broad spectrum of sound because that would contradict the essence of Best Coast. The lyrics and song structures remain incredibly simple (I don't even think one song has a bridge section), as on the first album. And that's how it should be. There is nothing reasonable to complain about. If you don't like it, don't listen, but don't criticize the album for doing exactly what it is supposed to.
6.5/10
Born and Raised - John Mayer (May 22)
Over the course of his career, John Mayer has been on a long slow march from celebrity pop singer to reserved country guitarist and songwriter. I daresay, he has nearly arrived. Born and Raised is his most folk/country-influenced album yet. The guitars are soft and laid-back, the harmonica is raspy and expectant, the drums are soothing and settled, the vocals are thick with emotion. It's good stuff. Of course, John Mayer is still John Mayer, and he performs about like he always does, but the album has a sincerity and earnestness to it that we have not heard before. Mayer is reflective and thoughtful, but positive and progressive. He isn't done with his journey yet, but this album tells me he's closer than ever. Can't wait for him to get there and sing us some more songs.
7/10
Driving Towards the Daylight - Joe Bonamassa (May 22)
Remember when I wrote this review of Joe's last album? That was just one year ago. Everything I say there about the budding virtuoso carries forward to today. He hasn't missed a beat. Driving Towards The Daylight is a huge blues/rock record. Bonamassa sounds like a total rockstar, both vocally and instrumentally. Somehow, after listening to him for half a decade, I still find myself awed by his guitar work. Dude can shred like none other. I remain unwavering in my opinion that Joe Bonamassa is one of the greatest guitarists living today. The remarkable thing is that he would almost be offended by my saying so. He's a seriously humble man, and I am never disappointed by his albums. If you like deliciously think rock music, you will like this album. If you like scorching guitar solos, you will like this album. If you like anything that is good in the world, you will like this album.
8.5/10
_______
Okay, that's what I have for now. I've been really behind on these reviews, partly because I've been busy, but also because I just haven't been able to sit and listen to a bunch of new albums. In the next few weeks I'm going to try to listen to the new releases from Regina Spektor, Jack White, Melody Gardot, Norah Jones, and Kimbra. If you have anything to add to that list, leave a comment. I hope to be on the ball this summer!
Not off to a promising start...
Thursday, April 5, 2012
New Noises
Two new releases for your consideration:
The first is Andrew Bird’s new album Break It Yourself. If you know about Andrew Bird, you will like this album. If you don’t know about Andrew Bird, you will go listen to his music and you will like this album. Bird continues to hone his looping, layered sound on the album, and it’s really working. He plays like, all of the instruments, and when they all happen at once, there are some pretty amazing outcomes. Check out his work. Also watch this TED presentation he gave, just to understand how talented he really is.
The second is the upcoming release from Alabama Shakes. The upcoming debut release. I emphasize that because this album does not sound like a debut in any way. It sounds like the well-refined work of a bunch of rock veterans. Nope. This is square one. This album (Boys & Girls) is really remarkable. Alabama Shakes generated a huge buzz at SXSW in March, and this album is looking like one of the most anticipated albums yet this year. It’s big bluesy rock from people that are serious about musical innovation. It’s really tough to describe these songs. Just go listen. NPR is streaming the album here this week. The album is set to be released April 10th.
Andrew Bird's album was released 5 March, and is available via iTunes and Spotify. Alabama Shakes are currently accepting pre-orders for their album, which will be released physically 10 April. The album is available now via iTunes in the United States.
Thursday, March 22, 2012
New Albums: Esperanza Spalding and The Shins
Two great new albums were released March 20. Let's talk about them.
First: Grammy winner Esperanza Spalding released Radio Music Society, a new album of jazzy/funky/bluesy/pop-y tunes to follow up her 2011 release Chamber Music Society. The new album was available for streaming via NPR's "First Listen" program, and although the audio has been taken down, the review is still up (here), and if you have time, read it.
This album is wonderful. It's accessible jazz, which is a surprisingly rare occurrence. As someone who has only really scratched the surface of jazz music, I wasn't sure that I'd be able to fully appreciate this album for its jazz musicality. But it pulled me in immediately; this album does not make for any outsiders. About two minutes into the album, I picked up my guitar and started jamming along, and I do not know the first thing about jazz guitar. That should tell you something about the quality of this music.
One of my first observations was the emphasis on Esperanza's vocal ability. This album is really built around her vocals, a foundation which she is more than able to provide. She sings with an energy and musical intellect that is simply not seen in most modern music. Her previous releases did a fine job of highlighting her pipes, but there was also major emphasis on her bass playing. This one does not focus on the bass nearly as much. That is largely due to the fact that the songs are not like her previous works; they are bigger and more composed. To be honest, this is less a jazz album than a pop album with serious jazz influences. But I'm not complaining. Esperanza can belt it.
My second big observation was that, given the accessible and pop-based nature of the release, the album does a remarkable job of navigating through many musical methods and styles, and delivering refreshing content for both casual and musical listeners. Seriously, this album has a little bit of everything. Soulful saxophones, bluesy guitars, big-band horns, pianos, organs, etc. I can't think of another album that balances musical diversity with popular appeal so well. I do not dispute the fact that at times the music can border on cheesiness, but when you're as talented and energetic as Esperanza is, I don't think that's really a problem.
I haven't even mentioned the lyrical strength of her original compositions. To save space, I won't elaborate, but suffice it to say that she tackles big-time ideas with big-time composition. Radio Music Society is a success in all regards. Sit down, tune in, and chill out with this one.
----------
Second: The Shins released a new album for the first time in five years. It's called Port of Morrow. I know very little about The Shins, and will have much less to say about this album. Note: that does not translate to "I didn't like this album as much." Because I did.
This is a good album. It's not a knock-your-socks-off, didn't-see-that-coming, what-a-genius-work-of-art album. It's just good. The songs are well written and fun to listen to, the recording is well-done, James Mercer sounds excited and happy to be singing/playing. There's nothing to complain about on this one. It's easy-going and laid-back, and it gives off a pleasant vibe. On several songs you can hear Mr. Mercer's Hawaiian roots shine through, which of course adds an element of general happiness and excellence to the music on the album.
There's not a lot to say about it without doing a full explication of the music and its inspiration (which would probably be interesting, but I don't think I'm entirely qualified to do that). The album doesn't stray too far from what is comfortable and expected (which is, well, expected), but don't let that take away from what this album does well. Here is a collection of good, relaxed songs. Turn them on and go about your business with a little more peace of mind.
Both albums are available for streaming via Spotify and for download via the iTunes store.
First: Grammy winner Esperanza Spalding released Radio Music Society, a new album of jazzy/funky/bluesy/pop-y tunes to follow up her 2011 release Chamber Music Society. The new album was available for streaming via NPR's "First Listen" program, and although the audio has been taken down, the review is still up (here), and if you have time, read it.
This album is wonderful. It's accessible jazz, which is a surprisingly rare occurrence. As someone who has only really scratched the surface of jazz music, I wasn't sure that I'd be able to fully appreciate this album for its jazz musicality. But it pulled me in immediately; this album does not make for any outsiders. About two minutes into the album, I picked up my guitar and started jamming along, and I do not know the first thing about jazz guitar. That should tell you something about the quality of this music.
One of my first observations was the emphasis on Esperanza's vocal ability. This album is really built around her vocals, a foundation which she is more than able to provide. She sings with an energy and musical intellect that is simply not seen in most modern music. Her previous releases did a fine job of highlighting her pipes, but there was also major emphasis on her bass playing. This one does not focus on the bass nearly as much. That is largely due to the fact that the songs are not like her previous works; they are bigger and more composed. To be honest, this is less a jazz album than a pop album with serious jazz influences. But I'm not complaining. Esperanza can belt it.
My second big observation was that, given the accessible and pop-based nature of the release, the album does a remarkable job of navigating through many musical methods and styles, and delivering refreshing content for both casual and musical listeners. Seriously, this album has a little bit of everything. Soulful saxophones, bluesy guitars, big-band horns, pianos, organs, etc. I can't think of another album that balances musical diversity with popular appeal so well. I do not dispute the fact that at times the music can border on cheesiness, but when you're as talented and energetic as Esperanza is, I don't think that's really a problem.
I haven't even mentioned the lyrical strength of her original compositions. To save space, I won't elaborate, but suffice it to say that she tackles big-time ideas with big-time composition. Radio Music Society is a success in all regards. Sit down, tune in, and chill out with this one.
----------
Second: The Shins released a new album for the first time in five years. It's called Port of Morrow. I know very little about The Shins, and will have much less to say about this album. Note: that does not translate to "I didn't like this album as much." Because I did.
This is a good album. It's not a knock-your-socks-off, didn't-see-that-coming, what-a-genius-work-of-art album. It's just good. The songs are well written and fun to listen to, the recording is well-done, James Mercer sounds excited and happy to be singing/playing. There's nothing to complain about on this one. It's easy-going and laid-back, and it gives off a pleasant vibe. On several songs you can hear Mr. Mercer's Hawaiian roots shine through, which of course adds an element of general happiness and excellence to the music on the album.
There's not a lot to say about it without doing a full explication of the music and its inspiration (which would probably be interesting, but I don't think I'm entirely qualified to do that). The album doesn't stray too far from what is comfortable and expected (which is, well, expected), but don't let that take away from what this album does well. Here is a collection of good, relaxed songs. Turn them on and go about your business with a little more peace of mind.
Tuesday, March 6, 2012
Concert Review: Scars on 45
And now for another installment of "Bands Allan Loves That You've Never Heard Of." This episode, Scars on 45. Scars on 45 is a really great alternative acoustic/electric band from the UK. They released their first EP in early 2011, and a follow up EP in October of the same year. They've been touring heavily throughout this year, both as support and recently as headliners. I caught them last night at the legendary Troubadour in West Hollywood.
They were great. They're pretty much always great. They have a really wonderful dynamic, and watching them onstage, I can tell that they are all really happy to be playing music with each other. They don't make a big fuss about their performance. They just walk out, smile, and start singing. Between every song they chat with the audience and with each other, giving the whole room a very relaxed and comfortable vibe. I got to meet them last summer after a show in Portland, and I got the sense that they were all there because they really wanted to be.
Last night they played for a little over an hour, which was a reasonable set length. Their set comprised a really good mix of old and new material. They played all four songs from their "Give Me Something" EP, which tend to be the songs people know best. They spaced them out with some tunes from the more recent "Heart On Fire" EP, and a few songs from their upcoming album (April 10). The set had the right balance of loud and soft, big and small, and even though their music is generally all of a single style, there was nothing boring or tiring about the show.
I think what impresses me the most about these guys is how good they sound live. In the age of pitch correction and auto tune, it's really easy to make a perfect recording without much effort. But to follow it up with a live performance that sounds nearly as good as the studio recording is a rare feat. Scars on 45 accomplishes it, and with little ado. Vocal harmonies, song rhythms, and all instrument parts are well-rehearsed and professional, and would easily outdo many practicing performers on any given night.
Scars on 45 is a gem of a band. I've really enjoyed watching them climb the ladder of success over the past 12 months. And their ascent is far from over. Last week they played on Jay Leno, and recently their song "Beauty Runs Wild" was featured in an episode of CSI. Their fan base grows daily. This band is going places yet, don't get left behind.
Scars on 45 will release their self-titled debut album on April 10th, 2012. Pre-order here at the band's website.
Listen to Scars on 45 and "Like" their Facebook page here:
https://www.facebook.com/ScarsOn45?sk=app_178091127385
See more of my photos from the show (including a few of the support acts, Moneybrother and Y Luv) here:
http://www.flickr.com/photos/avanvliet/sets/72157629529863729/
Monday, February 27, 2012
So Many Good New Songs!
AHHHHH there are a bunch of awesome new songs being released yesterday/today. First (as my last two posts have illustrated) is the lead single from John Mayer's new album ("Born and Raised"). The song is called "Shadow Days." I think it's very good. It's sincere in both composition and theme, and it shows a maturity in Mayer's songwriting from a lyrical standpoint. Listen to it here.
Secondly, a new track from Bruce Springsteen. Also really good here. It really just sounds like The Boss sat down for some low-key jamming, and this came out. I'm not in love with the pedal steel guitar solo/lead, but it certainly isn't bad. Have a listen to it over here.
Lastly, new(ish) Regina Spektor. I say "ish" because the song isn't super new, but the recording and release are. It's different than other Regina I've listened to in the past (which is, admittedly, not much), but really good. Listen to that one here on SoundCloud.
Go listen to these tunes! They're really fun! Yay new music!
Secondly, a new track from Bruce Springsteen. Also really good here. It really just sounds like The Boss sat down for some low-key jamming, and this came out. I'm not in love with the pedal steel guitar solo/lead, but it certainly isn't bad. Have a listen to it over here.
Lastly, new(ish) Regina Spektor. I say "ish" because the song isn't super new, but the recording and release are. It's different than other Regina I've listened to in the past (which is, admittedly, not much), but really good. Listen to that one here on SoundCloud.
Go listen to these tunes! They're really fun! Yay new music!
Sunday, February 26, 2012
Update: New Sounds From John Mayer
Sunday, February 19, 2012
New Sounds From John Mayer
Everyone's favorite pop/rock/blues/absurdity star is resurfacing after some quiet time. He recently (October) underwent the same surgery that Adele Adkins had to fix his throat. He apparently had recorded most of his upcoming album before that, and is now putting on the finishing touches in preparation for a release later this year. This sample was posted to his Tumblr along with the message "I’m excited to share the first bit of sound from the album… Been looking forward to a post like this since October 14, 2010, the first day I started writing this group of songs. Enjoy."
I think this sounds like an appropriate follow-up to his 2009 release "Battle Studies," a little bit of pop, country, and blues all rolled together. The lyrics clearly suggest that he is trying to move beyond his younger and more vulnerable days, and get some credit for maturing both as a man and as a musician. I'll be excited to hear his new album and to see if that is recognition he deserves. What do you think?
His new album will be entitled "Born and Raised," and is scheduled for release sometime in 2012. Look for it.
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| John Mayer: Cowboy Edition |
Sunday, February 12, 2012
A Different Kind Of Truth, The Same Kind Of Van Halen
Legendary rockers Van Halen released a studio album of new material this week. It marks the band’s twelfth studio release, and the first since frontman David Lee Roth rejoined the band.
It’s alright.
Long-time VH fans will enjoy the familiar sound on A Different Kind of Truth. The dynamic is really not different at all. This is, in part, due to the fact that some of these are songs that Eddie Van Halen and David Lee Roth were working on decades ago. It’s also partially due to the fact that Van Halen is something of a one-trick pony. Don’t get me wrong, that trick is awesome. But still.
Actually, pretty much my only complaint about this album is David Lee Roth. He doesn’t have any energy, his lyrics are rarely interesting, and his voice sounds tired. There are a handful of moments where he seems to break through and sound like his on self, but it’s never a full track. Most of the time he gets in the way of really strong rock music. Eddie, love him or hate him, hasn’t missed a beat with his guitar work. The guitar solos are actually incredible. The songs are big and loud and enjoyable, but I just can’t quite get past DLR’s vocals. They sound out of place and uncomfortable.
The album is nothing shocking or interesting, nor is it disappointing or boring. The songs all sound similar, but that’s kind of the point when it comes to VH. Aside from the first track (“Tattoo” was the lead single and is arguably the worst track on the album), the album is consistently above-average, with pockets of real intensity and energy. Overall it gets a 6.5/10.
-AV
A Different Kind of Truth is available on iTunes for $11.99 and is streaming on Spotify.
Sunday, February 5, 2012
Super Bowl Music
Isn't the Super Bowl fun? Yeah, it's pretty fun. But you know what would make it more fun? Better halftime shows.
Now I want to preface everything after this by saying that, on the whole, I enjoyed Madonna's performance this afternoon. I thought she sounded good (lip-syncing or no, the sound was clean) and looked great. She's not my favorite entertainer, but I have no complaints about the show she put on.
I do, however, have complaints about a great many Super Bowl halftime shows. It seems like even when a really awesome musical artist is chosen, they're chosen too late in their career and the production is so overdone that it distracts from the quality of the entertainment. I want artists that will deliver an awesome, accessible, non-offensive (AHEM: M.I.A.) performance. Here's my list of artists I would like to see play at the Super Bowl. They are all big acts who play excellent music, and are not (totally) outdated or irrelevant.
AC/DC
The Black Keys
Green Day
Jay-Z
John Mayer
Journey
Kiss
Lady Gaga
Metallica
Muse
Red Hot Chili Peppers
Rush
Paul Simon (and Art Garfunkel)
Pearl Jam
Weezer
ZZ Top
Super Bowl Halftime Show Committee: Please refer to this list for the next decade.
Oh, one more for the list:
Allan Van Vliet
That is all.
Now I want to preface everything after this by saying that, on the whole, I enjoyed Madonna's performance this afternoon. I thought she sounded good (lip-syncing or no, the sound was clean) and looked great. She's not my favorite entertainer, but I have no complaints about the show she put on.
I do, however, have complaints about a great many Super Bowl halftime shows. It seems like even when a really awesome musical artist is chosen, they're chosen too late in their career and the production is so overdone that it distracts from the quality of the entertainment. I want artists that will deliver an awesome, accessible, non-offensive (AHEM: M.I.A.) performance. Here's my list of artists I would like to see play at the Super Bowl. They are all big acts who play excellent music, and are not (totally) outdated or irrelevant.
AC/DC
The Black Keys
Green Day
Jay-Z
John Mayer
Journey
Kiss
Lady Gaga
Metallica
Muse
Red Hot Chili Peppers
Rush
Paul Simon (and Art Garfunkel)
Pearl Jam
Weezer
ZZ Top
Super Bowl Halftime Show Committee: Please refer to this list for the next decade.
Oh, one more for the list:
Allan Van Vliet
That is all.
Tuesday, January 24, 2012
Review: "Resolution"
Lamb of God released their sixth studio album today. It’s called Resolution.
It’s melting my head with rock.
Lamb of God is a band that sort of fell by the wayside after their first few albums for the usual reasons: their sound changed and they became more mainstream. Their fan base changed, and their music changed along with it. Given that fact, one wouldn’t necessarily expect them to be putting out a really great album any time soon. But that’s exactly what they’ve done. I’m even going to go out on a limb here: Resolution is Lamb of God’s best album yet.
The album opens with a breath. A single inhalation packed with anticipation and energy, ready to be unleashed. Then you’re hit with huge blast of sound, a reminder to any who doubted that LOG can still pack a real punch. Through the first two songs, the sound is big, heavy, and utterly brutal. It’s LOG at their finest. Their tone is instantly recognizable; the tuning and EQing of the drums and guitars are, and have always been, one-of-a-kind. They sound just like they always have, but somehow better.
“Ghost Walking” is the third track on the album. It was also the album’s lead single. It kicks in with an adrenaline-inducing acoustic riff, which leads into an adrenaline-releasing electric riff. The album’s first (and one of it’s best) guitar solos hits partway through this track. And with that, the album has everything it needs to take over your speakers: loud instruments, brutal vocals, crushing drum beats, and epic guitar leads.
In most reviews, I talk about each track individually, and what each brings to the table. That is not a particularly useful tactic here because the album is not made to be a series of tracks. It’s made to be an album. (Really good) Gapless transitions make this obvious, but it’s true regardless. Thematically and sonically the album flows from beginning to end, and it’s clear that the band really worked to make a cohesive musical journey, and not a series of sing-along singles.
I will also usually allocate space in my reviews to addressing the lyrical themes explored in the vocals. Often this will be omitted in my metal reviews because, frankly, it’s impossible to understand what the vocalist is saying. This is not the case with Randy Blythe’s vocals. He’s always been one of my favorite metal vocalists, largely because his vocals are easy to decipher. But never fear, metalheads, the clarity is not for lack of brutality. The other reason I love Randy is that the intensity in his vocals is always jaw-dropping. It’s unlike any other band I’ve listened to yet. Now, to be totally honest, the lyrics are nothing special. The ideas are the same ones you always hear in metal songs. I’m not recommending Resolution because of it’s ground-breaking lyrical messages. I’m recommending it because it kicks ass.
Start to finish, this album has my attention. It grabs you by the ears and shakes until you regret ever doubting the boys from Virginia. The album ends with another breath, an exhalation that makes the hour between it and the opening feel like a torrential scream. It’s come full circle. It’s a roiling, rocking, and terrifying melee of sound. The beast that is Lamb of God opened it’s mouth, and out came Resolution. Brace yourself.
Friday, January 6, 2012
Looking Ahead
I'm excited. 2012 is going to be a fun year for music. I've only spent a little time looking ahead, but so far here are some albums I'm stoked to hear in the first half of this year:
First Aid Kit - The Lion's Roar
Lamb Of God - Resolution
Of Montreal - Paralytic Stalks
Paul McCartney - Kisses On The Bottom
Rodrigo Y Gabriela - Area 52
Rush - Clockwork Angels
The Shins - Port Of Morrow
I know that's not nearly everything, so let me know: which albums/artists should I be excited about? Leave a comment/message and let me know, I wanna hear as much good music as possible this year!
First Aid Kit - The Lion's Roar
Lamb Of God - Resolution
Of Montreal - Paralytic Stalks
Paul McCartney - Kisses On The Bottom
Rodrigo Y Gabriela - Area 52
Rush - Clockwork Angels
The Shins - Port Of Morrow
I know that's not nearly everything, so let me know: which albums/artists should I be excited about? Leave a comment/message and let me know, I wanna hear as much good music as possible this year!
Monday, January 2, 2012
2011 Recap
Well, 2011 has officially ended. It was an interesting year for music, and it gave us a lot to consider. It always seems appropriate to take a look back on the best (and worst) of the year in music. That's why we have so many yearly award shows, most notably the Grammys. But, as you already know, I'm a little frustrated with those (that) show(s) at the moment. So here are my thoughts on the subject, sorted into eight simple categories. Please keep in mind that these lists represent my own opinions on the very limited amount of music I got to listen to this year. I haven't seen two top-ten lists that were even close to the same, and I don't expect to.
We'll start with the bad: Worst Album and Most Disappointing Album. These are the only two lists that will have less than five contestants. This is because I tried to only listen to albums that I thought would be good, so I didn't hear a lot that really disappointed me. But there were a few...
Worst Album
Runner-Up: Watch The Throne - Jay-Z & Kanye West
My full review of this album can be found here, and you can check that for all the detailed reasons that I didn't like this album. (TL;DR - Over-produced, one-dimensional lyrics, musically uninteresting and muddled.)
The Worst Album of 2011: Lulu - Lou Reed & Metallica
This was a cool idea, and I commend Lou Reed and Metallica for trying so sincerely to mesh artistically. But it just did not work. Lou Reed is a great poet and songwriter, but he simply isn't a great singer, and this is really not his element. I was glad to hear Metallica writing good heavy riffs, and I'm reassured that they'll be making more good stuff moving forward. This was just a bump in the road for both artists. Lou Reed isn't meant to sing Metallica songs, and Metallica is really not cut out for concept albums about German dancers. Lulu was a failed attempt at musical fusion.
Most Disappointing Album
Honorable Mention: Codes And Keys - Death Cab For Cutie
I was excited for this album, particularly after hearing the single "You Are A Tourist". But the album was all build and no reward. It never got interesting, and I was disappointed.
Runner-Up: Watch The Throne - Jay-Z & Kanye West
I had hopes that this album would be good (mostly because of the hype, but still). And it wasn't. That's about all.
Most Disappointing Album of 2011: Lulu - Lou Reed & Metallica
See above. It was such a neat idea and everyone involved was so excited, I really thought it would be great. And it just wasn't.
Okay, now for the fun categories. Stuff that doesn't necessarily affect the quality of the music, but still is worth noticing. I don't really have much to say about these lists, so here they are.
Best Album Cover Artwork
5. Camp - Childish Gambino
4. That Night A Forest Grew - The Odious
3. Dust Bowl - Joe Bonamassa
2. Helplessness Blues - Fleet Foxes
The best album cover artwork of 2011: Torches - Foster The People
Best Music Videos
5. "Every Teardrop Is A Waterfall" - Coldplay (Mylo Xyloto)
4. "Bonfire" - Childish Gambino (Camp)
3. "Shake It Out" - Florence + The Machine (Ceremonials)
2. "Someone Like You" - Adele (21)
The best music video of 2011: "Marry The Night" - Lady Gaga (Born This Way)
Best Lyrics
We'll start with the bad: Worst Album and Most Disappointing Album. These are the only two lists that will have less than five contestants. This is because I tried to only listen to albums that I thought would be good, so I didn't hear a lot that really disappointed me. But there were a few...
Worst Album
Runner-Up: Watch The Throne - Jay-Z & Kanye West
My full review of this album can be found here, and you can check that for all the detailed reasons that I didn't like this album. (TL;DR - Over-produced, one-dimensional lyrics, musically uninteresting and muddled.)
The Worst Album of 2011: Lulu - Lou Reed & Metallica
This was a cool idea, and I commend Lou Reed and Metallica for trying so sincerely to mesh artistically. But it just did not work. Lou Reed is a great poet and songwriter, but he simply isn't a great singer, and this is really not his element. I was glad to hear Metallica writing good heavy riffs, and I'm reassured that they'll be making more good stuff moving forward. This was just a bump in the road for both artists. Lou Reed isn't meant to sing Metallica songs, and Metallica is really not cut out for concept albums about German dancers. Lulu was a failed attempt at musical fusion.
Most Disappointing Album
Honorable Mention: Codes And Keys - Death Cab For Cutie
I was excited for this album, particularly after hearing the single "You Are A Tourist". But the album was all build and no reward. It never got interesting, and I was disappointed.
Runner-Up: Watch The Throne - Jay-Z & Kanye West
I had hopes that this album would be good (mostly because of the hype, but still). And it wasn't. That's about all.
Most Disappointing Album of 2011: Lulu - Lou Reed & Metallica
See above. It was such a neat idea and everyone involved was so excited, I really thought it would be great. And it just wasn't.
Okay, now for the fun categories. Stuff that doesn't necessarily affect the quality of the music, but still is worth noticing. I don't really have much to say about these lists, so here they are.
Best Album Cover Artwork
5. Camp - Childish Gambino
4. That Night A Forest Grew - The Odious
3. Dust Bowl - Joe Bonamassa
2. Helplessness Blues - Fleet Foxes
The best album cover artwork of 2011: Torches - Foster The People
Best Music Videos
5. "Every Teardrop Is A Waterfall" - Coldplay (Mylo Xyloto)
4. "Bonfire" - Childish Gambino (Camp)
3. "Shake It Out" - Florence + The Machine (Ceremonials)
2. "Someone Like You" - Adele (21)
The best music video of 2011: "Marry The Night" - Lady Gaga (Born This Way)
Best Lyrics
5. "Library Pictures" - Arctic Monkeys (Suck It And See)
4. "Shake It Out" - Florence + The Machine (Ceremonials)
3. "So American" - Portugal. The Man (In The Mountain In The Cloud)
2. "Outside" - Childish Gambino (Camp)
The best lyrics of 2011: "Someone Like You" - Adele (21)
3. "So American" - Portugal. The Man (In The Mountain In The Cloud)
2. "Outside" - Childish Gambino (Camp)
The best lyrics of 2011: "Someone Like You" - Adele (21)
Alright, now let's get serious. Here are the big three categories. My favorites in production, songs, and albums from last year.
Best Production on an Album
5. We Are The Tide - Blind Pilot (Skyler Norwood)
I don't think many people appreciate how difficult it is to produce acoustic music. All tone and level control is done with microphone placement and post-recording processing. The production on We Are The Tide was great anyway, but with the added difficulty, this one was hard to leave off the list.
4. Torches - Foster The People (Paul Epworth, Greg Kurstin, Rich Costey, Tony Hoffer, Mark Foster)
Torches employs a plethora of sounds from a plethora of sources, and each is mixed into the songs to perfection. The writing is good, but the production is the reason this album was as good as it was.
3. Mylo Xyloto - Coldplay (Markus Dravs, Daniel Green, Rik Simpson, Brian Eno)
The production is great. There's really nothing else to say. One doesn't have to love Coldplay's music to appreciate the sonic qualities that are achieved here.
2. Ceremonials - Florence + The Machine (Paul Epworth, James Ford, Charlie Hugall, Ben Roulston, Isabella Summers, Eg White)
Again, nothing too hard to get here. The production is spectacular. Florence Welch and her gospel-style choruses sound as huge as they should. Great album.
The best production on an album in 2011: Bon Iver - Bon Iver (Justin Vernon)
I've never experienced sound like that on Bon Iver. It's a sonic adventure through ten places that paints a vivid picture of each. A whole lot of work went into this album. Like, way more than pretty much every other album this year. It paid off.
Best Songs
Honorable mention: "Perth" - Bon Iver (Bon Iver)
5. "Charlie Brown" - Coldplay (Mylo Xyloto)
I suppose this is as good a time as any to say that my position on Coldplay's album has shifted. I like it more than I previously did. It still is not the best album of the year, but "Every Teardrop Is A Waterfall", "Paradise", and "Charlie Brown" are three great songs that deserve more credit than I previously gave them. "Charlie Brown" is now one of my favorites from the year.
4. "Shake It Out" - Florence + The Machine (Ceremonials)
One of my favorite songs from one of my favorite albums. It's big, it's strong, and it's inspiring. Florence Welch is a boss-lady.
3. "Lonely Boy" - The Black Keys (El Camino)
"Lonely Boy" is just a great song. It rocks. Great writing from Dan Auerbach (as per usual) and classic garage-style guitars and vocals. Plus, the music video is hilarious.
2. "Marry The Night" - Lady Gaga (Born This Way)
After hearing this song, if you don't believe Lady Gaga is a top-notch writer and singer, you are a crazy person. You don't have to love her music, but she's a talented artist with things to say. Start listening.
(Actually, start with this live, solo, acoustic performance.)
The best song of 2011: "Someone Like You" - Adele (21)
Go ahead and add this one to the list of songs that would make me cry if I had emotions. It shows Adele's amazing vocal talent better than almost anything else on the album because it's just her with the piano. Simple composition, powerful vocals, beautiful song. Best of the year.
And now, without further ado:
Best Albums
The order here was tough to finalize, and it changed several times in the last couple days. But here it is.
Honorable Mention: Mylo Xyloto - Coldplay
10. In The Mountain In The Cloud - Portugal. The Man
Portugal. The Man is only getting better. This album is really good. I got to see them live this year, and I saw how much energy they put into their music. These guys are great musicians that write smart songs, and In The Mountain In The Cloud shows it better than anything else they've released.
9. Bon Iver - Bon Iver
It's all in the production here. I mean, the songs are well-written and well-performed, but the production takes it to the next level. These songs are real works of art. Great album.
8. Dust Bowl - Joe Bonamassa
Okay, I'm going to level with you. The fact that Joe Bonamassa still hasn't ever been nominated for a Grammy was like half the reason I decided to make my own list. He is one of the best guitarists alive, and he deserves way more credit than he's given. You can check out my full review of Dust Bowl here for an explanation as to why it's in my top ten. But really you should just listen to it.
7. We Are The Tide - Blind Pilot
This was honestly my #1 album for about a month after it came out. It's amazing. Again, I have a full review here that will explain exactly why it's so good. And again, just listen to it.
6. El Camino - The Black Keys
This is the best album yet from The Black Keys. You don't have to listen for very long before you go "man, these guys rock." Seriously, if they don't win a bunch of Grammys for this next year, I will shoot someone. They create sounds that are clearly modern, but that evoke images of 1960s and '70s garage rock. Listen to this album.
5. Torches - Foster The People
Foster The People absolutely exploded this year. And deservedly so. Torches is fantastic. It doesn't have the flow and continuity of some albums, but every song is great. Really, there are no bad songs on this album. There's something about Mark Foster's falsetto that fits so well with the bouncy songs he writes, and they stick with you for days.
4. Born This Way - Lady Gaga
As I said before, Lady Gaga is a great singer and songwriter whether you like it or not. This album has good continuity and arrangement, and the songs are all excellent. It really shows how much maturity Lady Gaga has compared with her pop music peers. She writes real songs about real things that she really cares about. She cares about the music she publishes, and here it pays off big-time.
3. The King Is Dead - The Decemberists
Colin Meloy is amazing. That wasn't really a secret, but this album gave me a new understanding of just how amazing he is. I do suppose it's not fair to give him all the credit, because this is clearly a full-band effort. Every instrument and every voice has a role, and none is left unfilled. The King Is Dead does pretty much everything while staying comfortably within the comfort zone of all performers. That's a rare feat, and it shows the real talent that these musicians hold. And for what it's worth, I've listened to this album about three times per week for months and I'm still not tired of it.
(Bonus material: they released a follow-up EP in November that's also pretty good. Find it on iTunes or Spotify. It's called Long Live The King.)
2. Ceremonials - Florence + The Machine
Excellent writing? Check. Excellent production? Check. Excellent arrangement? Check. No aspect of this album is not excellent. Some will say that there's only one sound on the album and that it doesn't vary as much as it should. To these people I will say this: Florence Welch and everyone involved intended at the outset to make an album that included all the chamber pop of Lungs, but that centered around soul and occasionally gospel styles. They succeeded. The songs are soulful and emotional, deep and heavy, loud and strong. It's an auditory catharsis for both performer and listener. I didn't write a full review of this album on account of this excellent one beating me to it. It says all the right things. I did speak on it briefly in this video, so you can watch the first bit of that. Go read the review, and then go listen to this album.
The best album of 2011: 21 - Adele
Well, yeah. Was this even a question? Adele is fantastic, this album has more power than just about anything else in recent memory. Adele is redefining pop music for the better with her strong vocal-and-piano style. "Rolling In The Deep" became an instant hit, but don't think for a second that it's the only good song on the album. "Someone Like You" (as noted above), is one of the greatest songs I've heard in a really long time. "Rumour Has It"— actually on second thought, I'm not going to go through all the good songs because that's more or less all of them. This album is a real masterpiece, and there can be no doubt that it is the best of the year.
Phew. There it is. That's what I thought of 2011 in music. Again, I didn't get a chance to listen to a lot of great stuff, and so this review is far from definitive. But of what I did see and hear, these things were the best (or worst). Overall, it's been a fun year. I'm looking forward to hearing all the music in 2012. Thanks for reading. Don't forget to be awesome.
P.S. I think I will be making a video with an abbreviated version of this in the coming days. Watch for that.
Best Production on an Album
5. We Are The Tide - Blind Pilot (Skyler Norwood)
I don't think many people appreciate how difficult it is to produce acoustic music. All tone and level control is done with microphone placement and post-recording processing. The production on We Are The Tide was great anyway, but with the added difficulty, this one was hard to leave off the list.
4. Torches - Foster The People (Paul Epworth, Greg Kurstin, Rich Costey, Tony Hoffer, Mark Foster)
Torches employs a plethora of sounds from a plethora of sources, and each is mixed into the songs to perfection. The writing is good, but the production is the reason this album was as good as it was.
3. Mylo Xyloto - Coldplay (Markus Dravs, Daniel Green, Rik Simpson, Brian Eno)
The production is great. There's really nothing else to say. One doesn't have to love Coldplay's music to appreciate the sonic qualities that are achieved here.
2. Ceremonials - Florence + The Machine (Paul Epworth, James Ford, Charlie Hugall, Ben Roulston, Isabella Summers, Eg White)
Again, nothing too hard to get here. The production is spectacular. Florence Welch and her gospel-style choruses sound as huge as they should. Great album.
The best production on an album in 2011: Bon Iver - Bon Iver (Justin Vernon)
I've never experienced sound like that on Bon Iver. It's a sonic adventure through ten places that paints a vivid picture of each. A whole lot of work went into this album. Like, way more than pretty much every other album this year. It paid off.
Best Songs
Honorable mention: "Perth" - Bon Iver (Bon Iver)
5. "Charlie Brown" - Coldplay (Mylo Xyloto)
I suppose this is as good a time as any to say that my position on Coldplay's album has shifted. I like it more than I previously did. It still is not the best album of the year, but "Every Teardrop Is A Waterfall", "Paradise", and "Charlie Brown" are three great songs that deserve more credit than I previously gave them. "Charlie Brown" is now one of my favorites from the year.
4. "Shake It Out" - Florence + The Machine (Ceremonials)
One of my favorite songs from one of my favorite albums. It's big, it's strong, and it's inspiring. Florence Welch is a boss-lady.
3. "Lonely Boy" - The Black Keys (El Camino)
"Lonely Boy" is just a great song. It rocks. Great writing from Dan Auerbach (as per usual) and classic garage-style guitars and vocals. Plus, the music video is hilarious.
2. "Marry The Night" - Lady Gaga (Born This Way)
After hearing this song, if you don't believe Lady Gaga is a top-notch writer and singer, you are a crazy person. You don't have to love her music, but she's a talented artist with things to say. Start listening.
(Actually, start with this live, solo, acoustic performance.)
The best song of 2011: "Someone Like You" - Adele (21)
Go ahead and add this one to the list of songs that would make me cry if I had emotions. It shows Adele's amazing vocal talent better than almost anything else on the album because it's just her with the piano. Simple composition, powerful vocals, beautiful song. Best of the year.
And now, without further ado:
Best Albums
The order here was tough to finalize, and it changed several times in the last couple days. But here it is.
Honorable Mention: Mylo Xyloto - Coldplay
10. In The Mountain In The Cloud - Portugal. The Man
Portugal. The Man is only getting better. This album is really good. I got to see them live this year, and I saw how much energy they put into their music. These guys are great musicians that write smart songs, and In The Mountain In The Cloud shows it better than anything else they've released.
9. Bon Iver - Bon Iver
It's all in the production here. I mean, the songs are well-written and well-performed, but the production takes it to the next level. These songs are real works of art. Great album.
8. Dust Bowl - Joe Bonamassa
Okay, I'm going to level with you. The fact that Joe Bonamassa still hasn't ever been nominated for a Grammy was like half the reason I decided to make my own list. He is one of the best guitarists alive, and he deserves way more credit than he's given. You can check out my full review of Dust Bowl here for an explanation as to why it's in my top ten. But really you should just listen to it.
7. We Are The Tide - Blind Pilot
This was honestly my #1 album for about a month after it came out. It's amazing. Again, I have a full review here that will explain exactly why it's so good. And again, just listen to it.
6. El Camino - The Black Keys
This is the best album yet from The Black Keys. You don't have to listen for very long before you go "man, these guys rock." Seriously, if they don't win a bunch of Grammys for this next year, I will shoot someone. They create sounds that are clearly modern, but that evoke images of 1960s and '70s garage rock. Listen to this album.
5. Torches - Foster The People
Foster The People absolutely exploded this year. And deservedly so. Torches is fantastic. It doesn't have the flow and continuity of some albums, but every song is great. Really, there are no bad songs on this album. There's something about Mark Foster's falsetto that fits so well with the bouncy songs he writes, and they stick with you for days.
4. Born This Way - Lady Gaga
As I said before, Lady Gaga is a great singer and songwriter whether you like it or not. This album has good continuity and arrangement, and the songs are all excellent. It really shows how much maturity Lady Gaga has compared with her pop music peers. She writes real songs about real things that she really cares about. She cares about the music she publishes, and here it pays off big-time.
3. The King Is Dead - The Decemberists
Colin Meloy is amazing. That wasn't really a secret, but this album gave me a new understanding of just how amazing he is. I do suppose it's not fair to give him all the credit, because this is clearly a full-band effort. Every instrument and every voice has a role, and none is left unfilled. The King Is Dead does pretty much everything while staying comfortably within the comfort zone of all performers. That's a rare feat, and it shows the real talent that these musicians hold. And for what it's worth, I've listened to this album about three times per week for months and I'm still not tired of it.
(Bonus material: they released a follow-up EP in November that's also pretty good. Find it on iTunes or Spotify. It's called Long Live The King.)
2. Ceremonials - Florence + The Machine
Excellent writing? Check. Excellent production? Check. Excellent arrangement? Check. No aspect of this album is not excellent. Some will say that there's only one sound on the album and that it doesn't vary as much as it should. To these people I will say this: Florence Welch and everyone involved intended at the outset to make an album that included all the chamber pop of Lungs, but that centered around soul and occasionally gospel styles. They succeeded. The songs are soulful and emotional, deep and heavy, loud and strong. It's an auditory catharsis for both performer and listener. I didn't write a full review of this album on account of this excellent one beating me to it. It says all the right things. I did speak on it briefly in this video, so you can watch the first bit of that. Go read the review, and then go listen to this album.
The best album of 2011: 21 - Adele
Well, yeah. Was this even a question? Adele is fantastic, this album has more power than just about anything else in recent memory. Adele is redefining pop music for the better with her strong vocal-and-piano style. "Rolling In The Deep" became an instant hit, but don't think for a second that it's the only good song on the album. "Someone Like You" (as noted above), is one of the greatest songs I've heard in a really long time. "Rumour Has It"— actually on second thought, I'm not going to go through all the good songs because that's more or less all of them. This album is a real masterpiece, and there can be no doubt that it is the best of the year.
Phew. There it is. That's what I thought of 2011 in music. Again, I didn't get a chance to listen to a lot of great stuff, and so this review is far from definitive. But of what I did see and hear, these things were the best (or worst). Overall, it's been a fun year. I'm looking forward to hearing all the music in 2012. Thanks for reading. Don't forget to be awesome.
P.S. I think I will be making a video with an abbreviated version of this in the coming days. Watch for that.
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