Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
Firstly, let me apologise for the lack of proper blogging around here recently, I've been rather busy. But I'll be back in the saddle in a couple of weeks. In the meantime, here are some random thoughts I managed to squeeze in...
Track 1 (Zero): It begins with pretty dynamic synths, drum machines and Karen emoting away over the top. In fact it sounds like the entire thing was created synthetically, apart from the singing of course. This is not necessarily a bad thing, it's just that Nick Zinner's an amazing guitarist so he won't be wasted. I suppose Johnny Greenwood on keyboards didn't make Kid A a bad record, so...
Track 2 (Heads Will Roll): It sounds like an early 90's rave record at the beginning. This too is a splendid thing. Oh, this is pretty groovy, sounds a bit like DFA remix from 2005, which can only be good. A little more guitar in there , but none of the whirlwind that Zinner offer creates. This is very dancey, and rather fine.
Track 3 (Soft Shock): There's more of Karen's proper singing on this track. I like her voice a lot, she's got a great rock voice, expressive, individual and identifiably her own. Much like her wardrobe.
By the way, don't expect much lyrical focus in this. Unless I'm forced to, lyrics are not what I find particularly interesting. Music lives in my hips, not my brain.
Track 4 (Skeletons): She's crooning again, over an Autobahn era Kraftwerk electronic pulse. Then there's some drumstick action like Adam & The Ants, and some almost bagpipey action (I HATE BAGPIPES, but this is okay). They've got to make a video for this on a clifftop somewhere, November Rain style. I'd be dead impressed if they did.
Track 5 (Dull Life): So this is probably closer to what people expect from the YYY's, i.e. it's more indie. Still, they do this sort of thing really well. Really really well.
Track 6 (Shame and Fortune): Kanye would like this beat. Not sure he could do much with that thick guitar hook though, but he's a cool guy, so he'd probably dig it. Much like I dig that terrific cover. More eggs in rock, says I.
I have a feeling that this album is a grower. I like it, but it hasn't blown me away yet. There hasn't been a Maps or Date With The Night yet. There's still time though.
Track 7 (Runaway): Oooh, that's a nice piano sound, could be time for a ballad. This is rather lovely, and features some great shimmering guitar from Nick Zinner. I'll say it again, the man's a brilliant guiatrist, God knows how he makes those sounds.
Track 8 (Dragon Queen): Kudos for the title, anything that sounds like a C64 game sounds good to me. There is a element of 80's pop to this album, but don't be deceived, it's only a touch. Maybe it's all those synths, although this chorus is pretty breathy (an 80's sound, if ever there was one).
Track 9 (Hysteric): This track is pretty unremarkable. I mean, I like it, but it's probably the weakest so far. So next month it'll be my favourite.
Track 10 (Little Shadow): Church organs? Acoustic guitars. Check out the Arcade Fire over there. For about 5 seconds. It's end the album with an epic ballad time. The YYY's are different from other 'indie bands' (I felt dirty just typing it), in that despite their occasional forays into noisiness, especially live, they have a real pop sensibility. The album is crafted, with just the right balance of styles to keep everyone happy. Apart from the hipsters, but they're never happy.
Post-amble: It's definitely a grower. On first listen, although I liked it, it's a little underwhelming. But I'm going to give it time, and I would urge you to do the same. Unless you're a hipster, of course.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
Every week I post a song, for no reason other than it's fabulous. It may be old or new, obscure or over-exposed. No explanation, no fancy spiel, just solid gold popular music. Oh, and it's a secret, so you'll just have to trust me.
I said to myself that there should be less David Byrne / Talking Heads stuff on this blog, but then he keeps releasing really good new stuff in obscure places and I feel a responsibility to provide a conduit for it. Okay, it's not as if he's really unknown and needs the help, but I can't help it. Blame him not me.
First up, is a duet with Brazilian genius Tom Zé on his new album Estudando A Bossa. Unfortunately this album is only available in Brazil, so you can either buy it on eBay, or steal it off the Internet:
Secondly is his participation in the N.A.S.A. album. It's not too surprising to find him on the album, as it does feature half of the people who have ever released a record. In the world. This track also features Chuck D, Ras Congo, Seu Jorge, Z-Trip, the Outhere Brothers, John Lennon, Alvin and the Chipmunks, Miles Davis, Chaka Demus and the Everton football squad of 1984.
Thirdly, he's on backing vocals on a new track by the Dirty Projectors. It's on the new Red Hot Aids charity album, which I would obviously beseech you to buy. But here's a taster:
Preamble - So around the time of Britpop it was decided, in a board room somewhere, that indie music was to become the new pop, and in the last decade or so, the distinction between guitar bands and popular bands ceased to exist. And, as it has seemed to me that British indie rock has been god awful since that day, I have subsequently looked to the other side of the Atlantic to provide me with my guitar based pleasures. There have been a few, well, very few exceptions to this rule, most notably for me are Super Furry Animals and Franz Ferdinand (who are the last really good English indie band? Discuss). The former weld indie pop sensibities with 60's psychedelia, folk, electronica and anything else that happens to be lying around. Franz Ferdinand are a different proposition. Their early stuff was thought of as part of the whole new post punk movement, but unlike their peers Bloc Party and the Futureheads, they had the ability to combine this aesthetic with the dynamic of 70's pop-rock, your Bowies, Bolans and Ferrys. Seeing them live was more akin to witnessing Ziggy Stardust (without the wardrobe) then Gang Of Four, undoubtedly, because while they used some of the latter's sonic effects, it was the formers swagger and bravado that made them so captivating.
So I'm very interested in this new album, because by the third album the hipsters have decided that you are no good no matter what you record, and the public are seemingly losing interest in British rock, and who can blame them when the best that could be mustered was Razorlight. But I get the feeling that Franz Ferdinand are not too worried about clinging on to past glories, and more concerned with making a great record. I hope they have.
Track 1 - The single, Ulysses, kicks things off. It's got a really nice synth sound, and lalala singalong chorus, so it was a good choice of first single I think. You know it's them instantly too, they have developed their own sound which of course means that eventually they will have to reinvent themselves. Or split up.
Track 2, Turn It On, has another of my favourite things in pop music, distant group backing vocals. Listen to it and see what I mean. More nice synths and a yeah yeah yeah chorus.
Track 3, No You Girls, remember folks, that this is a pop record, so don't go digging around here for lyrical depths and references to Can, it's all about waving your hands, guitar solos, and singing along. Don't be deceived by their sharp suits and skinny ties, their Guardian columns, and definitely by their age. This is a terrific glam rock stompathong.
Track 4, Send Him Away, is slower and vocally reminds me of the Mama's and Papa's for some reason. There's some excellent production here too.
Track 5, Twilight Omens, is a bit spooky, and a million miles away from the bland indie pop that dribbles out of the rest of the British isles on a regular basis. Is that a banjo I can hear?
Track 6, Bite Hard, begins as a ballad. Just Alex and a piano. Then, bang, here comes the pop. When that decision to make indie the new pop was made, this is what they should have insisted upon. Dynamic, sexy, catchy and fun, inspired by David Bowie, as great a pop star as ever existed.
Track 7, What She Came For. The production on this album is superb. It's crisp and tough. The quality of the drumming, the character of Alex's voice, the guitar hooks, and the synth squeals are emphasised and add to the songs, which were pretty good to begin with.
Track 8, Live Alone. I guess some people will criticise this album for being samey, and it's true to say that there isn't much variety from one track to another. However, this has to be a minor complaint, when you consider how good the songs are. This is one of the weaker songs thus far, and still I can imagine myself singing along at a gig like someone half my age.
Track 9, Can't Stop The Feeling, shows the influence of dance music on the album. It has a bizarre hook straight from some kind of crunky Turkish electro (anyone wishing to capitalise on this new genre should feel free), and a killer bassline, straight from the disco. God I love a killer bassline, they get me every time.
Track 10, Lucid Dreams, stands out because it's nearly 8 minutes long, breaking their 3 minute rule (the next longest track is 3:52). He just mentioned Istanbul, so maybe I was right about that Turkish influence. So far, this track is another indie pop winner, over a pretty juddering electro background. It's a fine combination, and I'm keen to see where it's going to keep going after the 3:52 mark.
This is just 100% electro now. Very Justice. No vocals at all, this is pretty admirable stuff. Actually reminds me of when the Super Furry's The Man Dont' Give... collapses into a techno frenzy. As an electro fan, I'm very impressed, but I'm not sure what the rockists will make of it. The criticism of repetition can no longer be leveled, that's for sure.
Track 11, Dream Again, calms us down after our rave nation exploits, a bit like when the Flaming Lips put one of those lovely instrumentals in the middle of their albums, but more pop. It even has a theremin in it. It's a bit like Susan's House by the Eels.
Track 12, Katherine Kiss Me, is the first acoustic lead track and the albums closer. A tale of romance in a sordid environment, it's a fine song and shows that Franz Ferdinand know how to write a pop song, in all it's various guises.
Post-amble. I think this album is very, very good, possibly their best. You're going to hear these tracks around, and when you do, be grateful that you are listening to something which is so much fun, instead of all that mediocrity that pervades our lives. Hat's off, says I. Franz Ferdinand - Ulysses (Beyond The Wizards Sleeve Remix)
Prelude: There's been a buzz around this new Animal Collective album for a while now, and I have to say I am expecting big things from it. I thought their last two releases were very fine, and they have been improving year on year. Here goes:
Track one - Mmm, dense and spooky. In comes a lighter melody. It reminds me immediately of old Mercury Rev, as they always do. This is a very good thing. Great, loud drumming and distant spacey vocals is always a winner.
Track two follows straight on from track one without any audible spaces, I hope the whole album does that. There are lots of vocal tracks here, all singing different things, just like the end of by the Beach Boys. It creates that wonderful effect of feeling underwater, and of being surrounded by the sound. Sorry if that sounds a bit new age, but it's true.
Track three - As, primarily, a fan of popular music it's thrilling when a band as experimental as Animal Collective marry their amazing sonics to pop songs. It's what they are doing here. Layers of sound and dense and loud drums are coupled with hooks and harmonies. This is exciting me.
Track four is See You On The Other Side era Mercury Rev, but with a singalong chorus. It's backed with a driving electronic pulse. Damn, this is funky, and could make me dance about like an old hippy, all arms swirling and bendy legged. What a beautiful sight that would be.
Track five begins like an amazing pinball machine. This is the first slow-jam, and it's real pretty, with multilayered distorted strummy guitars and echoey vocals.
Track six. I'd love to hear someone to a cover of this. Underneath all of these layers is a really pretty song, possibly quite romantic by the sounds of it. The chorus is particularly lovely. These were not adjectives I was expecting to use.
Track seven. So you may have noticed some recurring themes here. Density, multi layered vocals, distortion, catchy melodies, loud drums, early to mid period Mercury Rev. These themes are repeated throughout the album (thus far), but that shouldn't be taken as a negative thing, that's the Animal Collective SoundTM and I love it.
Track eight has got a popping sound in it that is identical to the new message noise in Yahoo messenger. I'd like to think that this is some sort of elaborate ruse to wind up anyone listening on a computer. It worked on me.
This repetition I mentioned before means that this is one of those 'proper' albums that need to be listened to all the way through, from beginning to end, without any interruption if you want the full experience. That said, I'm just going to make a cup of tea.
Track nine. Ahhh, that's better. I've just realised that that popping noise was, in actual fact, Facebook messenger and I am silly. Sorry. This is the track with the strongest vocals, which have impressed me throughout. Characterful and unique.
Track ten. I was lucky enough to see Animal Collective in 2003. It was just Avey Tare and Panda Bear, at their first ever UK show, and just a pair of acoustic guitars. They were amazing as you can see below:
Track eleven. I feel fortunate to have watched them grow from that to now. They have advanced their sound with every record, twisting, adding new dimensions, never standing still, constantly challenging themselves and their audience. This final track is magnificent, continuing the feeling that this is a very satisfying sonic experience, just like our parents listening to Kraftwerk's Autobahn echo around their living room. Play it out and play it loud. Fantastic.
Two things that are customary at this time of year: new years resolutions and best of lists. For me these two things are colliding this year. My resolution is to listen to less music, and listen to it more often. Because it is ridiculously easy to acquire new music, I seem to have been on a one man mission to listen to every new release by any band or artist who has even the remotest chance of being interesting, and while in theory it sounds great, what has happened in practice is that I never listen to an album more than once. I also never get to listen to any old music. It's become frankly stupid, and needs to stop.
Subsequently, how can I list my albums of the year? I haven't had time to develop a relationship with any of them, to fall in love or become tired of them. But I do know these things:
Is it even really dance music? I'm not sure, but the idea definitely comes from dance culture, and it is pretty funky, so, I reckon so. And it's no Junkie XL, that's for sure. Find out more about the always excellent Pilooski here.
Preamble: I was never the biggest Guns n' Roses fan, although I did spend a very memorable scout camp sitting on a ledge on a rock face listening to G n' R Lies on a walkman with two little speakers attached when I was about 12. It was a a formative experience in my musical education, a memory which I genuinely cherish, although I can't say I've listened to that album since. But I have listened to Appetite For Destruction, which I didn't care for at the time (I was not a rocker as a child), but in later years have come to appreciate as one of the greatest rock albums of all time. So I approach Chinese Democracy with fear and a bemused anticipation. I fully expect it to be rubbish, like everyone else, but maybe this means it will pleasantly surprise me. Okay, here goes...
Track one doesn't begin with a bang, but with a whimper. Sound effects, one of which is possibly the sound of Rober Plant screaming 200 feet away. Here come the guitars, could be Nine Inch Nails, or more likely, one of their numerous copyists. The chorus has a strange multilayed vocal which sounds like Axl is duetting with a helium voiced version of himself. Or a woman. According to the lyrics, all the Chinese have to rule their nation, is an iron fist. Sounds like quite a lot to me. Axl is only offering time to counter this, so I'm betting on the Chinese.
Track two continues with the nu-metal sound, which means that the album doesn't sound outdated and like it was written 14 years ago. But it also means that it sounds rubbish. Guns N' Roses classics are so good because they tapped into the classic rock tradition, and stand with all those seventies classics. This sound will date real fast.
Track three. Well at least he is singing properly now. There is no doubt that Axl Rose has one of the great rock voices, until it goes into a sub-Soundgarden (Audioslave, then) chorus and he's doing the speaking/singing thing that will probably ruin this album. But when he actually sings, he's up there with Ozzy.
Track four is a piano led ballad with great singing, sorry screeeeaming. I hope it's like November Rain, rubbish but brilliant. This is definitely old school, even the title, Street Of Dreams is like an Kevin Costner movie. Big guitar solo there, although not a particularly good one. Lighters aloft everyone. Well, I prefer this to the nu-metal, which isn't saying much.
Track five begins all ethnicy, then those horrible synthy strings they use on every Bond movie theme nowadays. This is bizarre, it has a drum machine background, like the Thievery Corporation gone rock. That is a very, very bad thing.
Track six starts with a choir, which is always troubling, but a damn sight better than the last track. The guitars on this album are very pedestrian, chugging out the same old riffs, while poor old Axl is belting out over the top, without much support. Unless he doesn't want them to distract from him, of course.
God this track going on, 6 minutes according to my Itunes, but 20 minutes according to my brain.
Track seven, Catcher In The Rye, is not very interesting. Sorry.
Actually, I've changed my mind. it's quite catchy, I like the 'la la la' chorus.
Track eight. Oh dear, it's gone Audioslave again. But, I have to say it again, Axl's singing is magnificent. It's rare these days to here someone singing in such an unadorned, powerful way, and subsequently raises these otherwise pretty mediocre songs to a new level. Unfortunately, that level is fairly mediocre.
Track nine, Riad N' The Bedouins (nice title!) is a straightforward head down rocker with lyrics about "sweet salvation", which is the kind of lyric I want him singing. It does it's job okay.
Track ten, ballad time, but not particularly interesting, so I think it's time to talk about the cover. Considering this album has been fourteen years in the making, I don't think the cover could possibly be more underwhelming. This album is supposed to be the great rock album of our times, at least in Axl Rose's mind, and the cover expresses this to the world with a picture of a rusty bike and a giant basket. I think it's one of the strangest covers I've ever seen, not because it's stupid or tacky, but because it's so boring. I like to picture Axl Rose flicking through a book of photos, seeing this one, and having a Eureka moment "Yes, that sums everything I'm trying to say with this album. The bike, the basket, the rusty pipe, the wall, the traffic diverter sign thingy. Lets add some graffiti to the wall, so people know we are still rebellious. Perfect!"
Track eleven. The thing that is bugging me about this album is the production. Vocals, no problem. Songs, not bad, but I don't think there's a Paradise City anywhere to be found. But the production? It's too clean, too digital and there's too much sound, too many parts. This kitchen sink style coupled with all the synthasized elements make it sound, musically at least, pretty souless. But rock musicians have been making that mistake for nearly thirty years, and they don't seem to show any sign of learning.
Track twelve, Madagascar, is the theme song from the new motion picture Madagascar 2, and features the voices of Ben Stiller, Chris Rock, Jada Pinkett Smith, and David Schwimmer. It is the song of the story of the sequel to 2005's "Madagascar", in which New York Zoo animals, Alex the Lion, Marty the Zebra, Melman the Giraffe and Gloria the Hippo, still stranded on Madagascar, start to leave the island. All of a sudden, they land in the wilderness of Africa, where Alex meets the rest of his family, but has trouble communicating with them after spending so much time at the Central Park Zoo.
Track thirteen, This I Love, seems like full on power ballad time. I wonder if the big crushing guitars will come in anytime, or if this is real, soul baring stuff.
There's a solo at the end, which is pretty average, but otherwise this real classic G n' R, November Rain style balladeering. It seems that this is probably the track that ends being closest to the sound we really want from the band. Funny that, it being a ballad and all.
Track fourteen, the album closer and classily named Prostitute, begins with another godforsaken drum machine. However, not everyone agrees. Here is my favourite comment from a Guns N' Roses forum:
"It is another classical type of song. I love classical music because it has class. It truly is fire and ice."
Firstly, let me apologise for the lack of proper blogging around here recently, I've been rather busy. But I'll be back in the saddle in a couple of weeks. In the meantime, here are some random thoughts I managed to squeeze in...
Preamble - So around the time of Britpop it was decided, in a board room somewhere, that indie music was to become the new pop, and in the last decade or so, the distinction between guitar bands and popular bands ceased to exist. And, as it has seemed to me that British indie rock has been god awful since that day, I have subsequently looked to the other side of the Atlantic to provide me with my guitar based pleasures. There have been a few, well, very few exceptions to this rule, most notably for me are Super Furry Animals and Franz Ferdinand (who are the last really good English indie band? Discuss). The former weld indie pop sensibities with 60's psychedelia, folk, electronica and anything else that happens to be lying around. Franz Ferdinand are a different proposition. Their early stuff was thought of as part of the whole new post punk movement, but unlike their peers Bloc Party and the Futureheads, they had the ability to combine this aesthetic with the dynamic of 70's pop-rock, your Bowies, Bolans and Ferrys. Seeing them live was more akin to witnessing Ziggy Stardust (without the wardrobe) then Gang Of Four, undoubtedly, because while they used some of the latter's sonic effects, it was the formers swagger and bravado that made them so captivating. 
ke indie the new pop was made, this is what they should have insisted upon. Dynamic, sexy, catchy and fun, inspired by David Bowie, as great a pop star as ever existed.
Elvis Presley - Crawfish (Pilooski Re-edit) 
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