What a surprise that this record is a little slow. It’s not too sleepy, though. “Two Cousins” makes me think of Sinead O’Connor vocally, only with a lot more accompaniment. There’s some synthy stuff, too, which reminds me of Warpaint. I think I’m finally starting to understand what “art rock” is.
Fans of Hope Sandoval will enjoy “Never Look Back.” It’s warm, and it’s inventing. I also like “Hackney Marsh” for the lush melodies, especially in the chorus, which reminds me of Tilly and the Wall.
“You, Earth or Ash” reminds me of Camera Obscura. It’s really easy to listen to, and the song just flies by. The last track has a hidden track at the end. First there’s “Horses Jumping,” which is slow, uninspiring and more than six minutes long. Without delay, “Paradise” comes on — it’s only a hidden track by definition because it’s not on the CD. It’s more experimental, but I can get behind it. If you’re the kind of person who only gets a mocha because it comes with whipped cream, then this is the track for you.
Archive for the ‘Music reviews’ Category
Slow Club “Paradise”
October 16, 2011International Waters “1994”
October 16, 2011It’s an EP. The title track is first. The drums are mixed very strangely, especially if you have misophonia. “I’m in Love With the Oni Gallery” is much more innocuous than being in love with the onani gallery. I like the strings.
“Do I Ever Get So Shy (Murphy)” has an organ and really brightens my day. I really like this one. Unfortunately, “Goodbye, Never Be” is a mixed up mess. The strings are shrill, the guitar is too high, and the vocals are off key. The only part in which the music works is during the bridge.
The last track is “Green Lights Forever,” a song title that really hits home with me. The song is also well-synchronized, a must for hitting several green lights in succession. It’s a little long, but it’s a good track.
Southerly “Youth”
October 16, 2011Another indie band from Portland, not that there’s anything wrong with that. “Suffer” sets the tone with Krist Krueger singing and providing his own accompaniment. It’s a one-man band in many respects.
The title track is fine. More guitar but otherwise indistinguishable. Southerly’s sound doesn’t really vary much, but it’s fine because they’ve figured out what they’re good at.
Slightly slower is “Her Name Is Forward.” They might as well have pep, because the reduced tempo just causes the band to drone on. “Sacrifice” starts quietly and slowly builds.
“Going Down” is another slow one. I think it’s about going down to Voodoo Doughnut. No need to listen to “Without a Cause” if you’re a rebel. It’s a very straight-ahead rock song.
The drumming reminds me of Smashing Pumpkins. The guitar is all over the place, in a good way. Vocally it’s average at best. If you’re a fan of the Portland sound, give it a try, but there’s nothing overly exciting about this record.
Neon Indian “Era Extrana”
October 9, 2011More bleeps and bloops for the pioneers of the 16-bit era, Neon Indian. “Polish Girl” reminds me of Mega Man for the SNES. So nice to have a video game system in stereo. That was quite the accomplishment in those days.
If you like yelling into a dark hallway, “Hex Girlfriend” provides great inspiration. I think if Catherine Wheel ever got into the synths that they’d sound like this. I also like “Fallout.”
New Order fans will enjoy “Halogen (I Could Be a Shadow).” The other good track is “Suns Irrupt,” although really they’re all good. The last track is “Arcade Blues (Single).” I don’t know whether it’s the single, or if it means when you’re single you spend all your time depressed in arcades. If there’s one thing we know, it’s that we know one thing.
Grouplove “Never Trust a Happy Song”
October 9, 2011So this is what the fuss is about. Grouplove are in fact pretty good. “Itchin’ on a Photograph” gets the album off to a good start, with what perfectly exemplifies today’s college rock sound.
This is music that makes you smile in its innocent goodness. “Lovely Cup” inspires hope that the girl across the hall will not only sleep you with but meet your parents at Thanksgiving. Let them worry about your brother being gay. Finally.
“Slow” has a frenetic percussive beat even if the song itself isn’t overly fast. It sounds like something Rihanna would sample when she had a special guest MC, or whatever it is they call MCs today.
Vocals that yell more than sing dominate “Spun.” This band reminds me of Sunnyvale (the city) because the song names, like Sunnyvale’s street names, are either really long or really short.
“Chloe” has a similar beat as “Rock This Town” by “Stray Cats,” and the melody vaguely hints at Dolly Parton’s “9 to 5.” If it’s a ballad you want, “Cruel and Beautiful World” delivers the goods.
These guys continue their rise to the top. Enjoy the ride.
Laura Marling “A Creature I Don’t Know”
October 9, 2011I’ve played her stuff before. A little better singing than Ani DiFranco, and the writing is good enough for me. Laura Marling is truly a righteous babe. The only downside is that the songs all sound about the same. I liked “The Muse,” “Don’t Ask Me Why,” “The Beast,” and “Sophia,” which has a similar melody as “Thank God I’m a Country Boy” by John Denver, but again not much differentiates the songs.
Except for “My Friends.” This one stands out like a beacon above the rest. Like a lot of young singers, she’s still figuring it out. The sky continues to be the limit.
Sarah Jaffe “The Way Sound Leaves a Room”
October 9, 2011I’ve played her other stuff before. Still can’t pronounce her last name. But that kind of gaffe I can get over in a jiffy.
So it’s a bunch of covers and demos, plus an “alternate” (should be “alternative”) version of “Clementine.” The Cold War Kids’ “Louder Than Ever” is done in a decidedly different way.
The demos are all really short. That’s just the way it is, I guess.
Mitten “See You Bye”
October 9, 2011Mitten: now more than Ralph Wiggum’s favorite swear. This is an EP, by the way. It has a lot of late ’80s synth style to it, as well as some 8-bit sounds on the side. Fans of Ming & Ping will appreciate what’s done here.
“All That I’ve Got” makes me feel cooler than today’s kids, because I understand why this sound exists. I’ve heard something like “Cavalcade” before, but I can’t place it. Now today’s kids feel cooler than me, because their memory still works.
A more indie sound gets “742” off to a different start. Real guitar and no synths showcase the band’s diversity, I guess. Really, that tells me this is the modern-day Big Audio Dynamite.
The two styles collide well on “Similar Sense.” The only problem with that is now it sounds like 30 other bands out right now. Maybe they should just be dorks and play music inspired by days gone by.
“Solitary Moves” is fine but pales in comparison to the other tracks. The last song is “You’re the Runner.” It’s another throwaway synthy modern indie effort. Again, nothing wrong with it, but I prefer it when they embrace their inner Roland, or is it Moog?
Sleep Over “Forever”
October 9, 2011Rate this as ethereal music with a woman singing, similar to Cocteau Twins and Dead Can Dance. “Romantic Streams” has an ’80s intro, in the Atlantic Starr style. Then the vocals start, and it’s a blanket of velvety goodness. Your uncle likes this sound.
I’ve never found a good replacement for Dot Allison’s efforts in One Dove. Sleep Over don’t fill the void, either, but tracks such as “The Heavens Turn by Themselves” do help mend the heart. I could listen to this forever.
I thought I knew all there was to know about “Crying Game,” but iTunes wants me to think it is one word with one “g.” The song itself is an instrumental but sounds like a variation of a remix of Electronic’s “Feel Every Beat.”
I like stickers, and I like “Stickers.” The vocals are extra haunting here. This is another winner on this record. The last track is “Don’t Poison Everything.” It’s got more of a psychedelic feel, trip-hop if you well. The vocals border on Siouxsie as well.
Definitely a record designed for me, it will be one of my favorites for album of the year.
Primus “Green Naugahyde”
October 9, 2011We can skip the Primus pretense and just go to the songs, right?
“Hennepin Crawler” has the distinctive smart-ass guitar sound that only Primus can offer. Vocals are the same. This is exactly what fans have been waiting for. Slightly less weird, and slightly more funky, is “Tragedy’s a’Comin’.” The bridge is a lot of fun on this one.
“Jilly’s on Smack” is unsurprisingly trippier. Although it meanders for nearly seven minutes, you never feel bored. I always thought the Grateful Dead would eventually go in this direction, if only they weren’t so old.
You almost feel set up when you see a song titled “Moron TV.” The bar ends up set a little high, but it’s still a good song even if it doesn’t meet the lofty expectations. And if you’re a reject in high school with funny hair who draws on his arm with a pencil to pass the time, you’ll be quite proud to embrace this as your anthem.
I like “Extinction Burst” because it makes a reference to Takeru Kobayashi. That’s all it takes for me.
You get what you want on this record if you want to get something from this record. Primus continues to suck, 20 years later.
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