This is a record that leaves me starstruck. The Boston sound impresses me every time I hear it, even today. The creativity musically reminds me of Talking Heads, but there is no David Byrne to distract me. If this band has an ego, they do a remarkable job keeping it under wraps.
“Fireflies” has a Northwest power pop feel to it. I guess that’s what they mean by a very accessible sound.
“Misanthrope” has a solid harmony and I guess a clarinet. I am not so good with my instruments. You should listen to this one and tell me how dumb I am. Someone has to. “I Saw You First” has the same accompaniment as a lot of Lush’s greatest. It works well with Noel Kelly’s lyrics here.
“Constellations” is the best track on an album full of great efforts. It’s time to clear off a space on the mantel for whatever goodies you want to toss their way, because The Hush Now deserve it — and how.
Archive for the ‘KSCU’ Category
The Hush Now “Constellations”
February 19, 2010Bettie Serveert “Pharmacy of Love”
February 19, 2010Bettie Serveert have definitely tried to keep up with the times. This presentation is almost completely modern and sounds little like the efforts that made them famous during the Clinton administration. However, it’s unforced and provides a natural transition, and that makes sense. As the band has matured, surely so has its fans. We could do well with more of these cradle-to-grave rock bands.
“Love Lee” has smart guitar and holds my hand, as if to say, “Don’t worry about those newfangled bands like Vampire Weekend and Hot Chip. The only thing you need is the new Bettie Serveert and a bottle of Zima.” We all need this kind of reassurance from time to time. I’ll admit it, at least.
“Calling” is ridiculously long but provides some entertaining psychedelic environs. This one has to be played loud; don’t argue with me. The keyboard in “Change4Me” sets it apart from the rest. Someone out there is going to hear this and think they’ve discovered some hot new band. No joke. It’s that’s fresh.
“Deny All” is good, too, as is the last track, “What They Call Love.” The songs have a distinct style to them, and if this is the direction the band is going in, then I hope they spend another 24 years together.
Balbec “Rise and Fall of a Decade”
February 17, 2010I found it hard to believe that I had never heard of Balbec until I realized they were from France. That explains a lot. But I won’t hold it against them; the sound is that good.
The album’s title makes me think that the decade to which they are referring is the ’90s, because this sound is straight outta Matador Records. It doesn’t try to overpower you. The unassuming nature just makes you want it that much more. “How to Achieve God-Like Status” is very approachable in this fashion. I also want to vote for “Pedro Bonita” for Song of the Year. It has everything you could want from a Velocity Girl-era track.
“Drifting” sounds like a refined Eve’s Plum track. I knew somebody would be able to do it eventually, and I am glad that it was Balbec.
This album does a lot of things for me, and I look forward to being in the loop about upcoming releases.
Quasi “American Gong”
February 17, 2010Joanna Blome has joined the duo, but don’t expect that to mean more female singing. Sam Coomes rocks the mic on “American Gong.” The results are quite nice, although the melody is a lot less cheerful. The band has evolved plenty, even since albums such as “Hot Shit.”
We have a song with French in it, “Laissez les Bon Temps Rouller,” which makes me want to play Mille Borne. The soft organ keeps it going, and you’re no worse for the wear listening to this one.
“Bye Bye Blackbird” is less psychedelic than the others and gives you six minutes of pop sensibility. “The Jig Is Up” isn’t a jig at all, but it doesn’t make it any less fun.
Nothing too groundbreaking here, but it’s a fine example of the Portland sound. Quasi is still cool after all these years.
Brooke Waggoner “Go Easy Little Doves”
February 12, 2010There’s a lot of texture in what otherwise would be consider a simple and stripped down piano record. “Go Easy Little Doves, I’ll Be Fine” runs on pretty well. These songs have lots of string instruments including a double bass.
“Chromates Soft Love” has an older feel to it. I keep expecting Bugs Bunny and Elmer Fudd to poke their eyes into the room when the intro to this one comes on. The music on this album is as beautiful as it comes. It isn’t something to listen to while driving all night to Las Vegas, but it certainly is called for when you’re taking the cat to the vet.
“Find Her Floods” has a little more energy behind it and is more in the Jenny Lewis or Slumber Party vein. “Body” is a little more dated and reminds me of Sinead O’Connor.
“Burden of Our Courage” has an oboe in it. Anytime you can use a word that is 3/4 vowels (there’s an idea), you should take advantage of it. This song makes me think of Peter and the Wolf for some reason.
Although it is not entirely groundbreaking, this is a solid effort for fans of the genre and deserves their consideration if they want more stuff in their iPhones.
Via Audio “Animalore”
February 11, 2010This album has its emergency brake on. There’s plenty to like, with entertaining guitar and a music box on “Goldrush.” It has a vaguely late-’80s feel. But there is something dragging the album down. I can’t quite put my finger on it.
You know how sometimes you just didn’t get enough sleep, so you sort of space your way through the day, bumping into things and making verbal commitments to social events that you’ll just flake on later? That’s what this album is. It focuses on natural talent, but you feel that they are holding back, as if they are recovering from a night at the Hemlock Tavern or something.
“Babies” is another fun one, carrying a melody reminiscent of Men at Work or A.M. Sixty. “Lizard Song” doesn’t make me want to save 15% on my car insurance, but the alternating tempo or whatever it is that it’s doing provides the hooks you need to be fully successful.
The last track is called “Happening.” It’s very quiet and slow, but it does leave you wanting more or at least hoping that the next record will have a sense of urgency.
I like this album because it sounds like something I can listen to over and over again. I can’t help but think, though, that the potential is there to be so much more.
Soft Cotton County “Soft Cotton County”
February 10, 2010I like what they’ve done here. And just like the Shitty Beatles, it’s not just a clever name. “On a Roll” should be called “Jelly.” The lead singer channels Dot Allison and Kate Bush here, and praise doesn’t get much higher than that.
“Ursa Minor DJ” reminds me of Stereolab, only with all-living band members. It’s a little faster than the other songs, or at least it has percussion. I don’t know how these things work. But what you have here is something stripped down yet compelling to the ear.
“Cosy Little Life” has a dude singing, and he kind of sounds like Peter Gabriel. There’s no way you can get through this entire album without finding something that you like. The guitar sounds like Gin Blossoms. It’s just an early ’90s celebration, it is.
“Live in Town” features both singers and has haunting synths to keep you up late at night. There is a Peanuts reference here, but I can’t quite formulate it. But suffice it to say I love Peanuts, and I love this band.
“I Can’t Sleep (Sleep Stations)” is also a good song, but I have nothing clever to remark about it. Everything is good on this one, really. I wish they hadn’t released this on Christmas (who does that?), because I would have loved to have given this a shot at Album of the Year. Oh well, at least I can still enjoy the record.
Bob Blank “The Blank Generation — Blank Tapes NYC 1975-1985”
February 9, 2010So this is some sort of disco/new-wave-era compilation from the late ’70s and early ’80s. It’s the stuff my otherwise cool uncle was listening to in high school and college.
Bob Blank is actually pretty famous in his circles and rightfully so. New York City is better for having him, and it seems that anyone from that era who knows or worked with him deserves your respect.
This retrospective is 13 tracks that he must have produced or something. I don’t know. But Gladys Knight is here with “It’s a Better Than Good Time,” which is a great name for a song from that era. And Lydia Lunch, who I can’t stand but have a lot of respect for, gives us “A Cruise to the Moon.” Those are the two best on this record. (It’s nice not to be ironic when I refer to the album as a record.)
Debby Blackwell has a great hot pants kind of song with “Once You Got Me Going.” I’m going, I’m going. The mid-2000s-era Beatmania disco songs were inspired by this track, surely.
“Crystalized” by Milton Hamilton could be about cocaine. I mean, it’s the right era and location, yeah? They even sing about ecstasy, but the concept, I believe. So who cares that they spell it wrong?
La Chansons “King and Queen of the Dance Floor”
February 5, 2010The cover art is entertaining and perpetuates the dance music stereotype of the douchebag DJ and unnecessarily hot diva. However, considering that they are married, it’s clearly an attempt to be ironic. I can play along with that.
This is the kind of music I was trying to make in high school when I was in Residue with Dinnhy D, the original rubber monkey. The difference is that La Chansons have actual equipment instead of a few pencils, a tape recorder and some tax forms.
“X Marks the Spot” has the same beat as “The Dominatrix Sleeps Tonight” but focuses on vocals instead of keyboards. That’s fine. It’s still a good track. “Workout Love” sounds like a Ming & Ping song, only with two whiteys from Atlanta doing all the work.
“Sparklin'” is not manufactured by the Coca-Cola Company but instead is a fun song. But the best track follows it: “Beauty Queen.” They’ve taken the best part of early Peaches and late-’80s Book of Love and put it into a single song. This track is a deep drive at Fulton County Stadium. “Leotard Stories” also has a Peaches vibe to it, but much cleaner (if cheesier) lyrics.
“You Put the Moves in Me” also has a late-’80s feel, dominated by a Lisa Lisa and Cult Jam feel, with hints of Kraftwerk and the Jets here and there.
There are songs about malls and candy bars too. I really like this record because if I am going to be reminded of my childhood, I want to only be reminded of the good things, namely music and packs of 1989 Score baseball cards. They’ve done all they can to help me out here. Now if I could just do something with these Luis de los Santos rookie cards.
Gigi “Maintenant”
February 3, 2010If you like the girl groups of the early ’60s then you will love this record. It stays fairly true to the era and presents an amazing list of guest singers. It has a slightly British feel to it with its liberal use of horns. Damn liberals.
“No, My Heart Will Go On” leads off and reminds me perhaps of the Dixie Cups. “Impossible Love” does the same thing. “The Hundredth Time” is to die for. Male vocals with female backing, and it reminds me of a stack of pancakes with Smuckers Boysenberry Syrup on top.
“Alone at the Pier” has guest Rose Melberg and is awesome. “Won’t Someone Tell Me?” features special guest Mirah Yom Tov Zeitlyn, who you are more likely to know, simply, as Mirah. What’s not to like?
“The Marquee” features guest Katie Eastburn and is a bit of a departure. With strings to go with the horns, it has a grownup feel. If you’re a secretly miserable yuppie having the people from accounting over for cheese, this song is the one you play in the background. Just remember not to get into an argument with your wife while you’re entertaining guests. It can wait.
Two things I don’t like about this album: The track listing is completely wrong, and the cover art has egregious errors. They show what we are led to believe is an old-timey intersection with a pre-hoopty-era car parallel parked on the street, while a young couple decked out and looking boss are walking up the street. However, you can see a newer-model vehicle parked further up the street, and it seems the male half of the couple is wearing a messenger bag over his skinny tie. In addition, I think they are talking about American Idol.
Early nomination for album of the year!
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