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!
Friday, August 31, 2012
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...
Subscribe to:
Posts (Atom)