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.
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