Death Cab For Cutie: Codes And Keys

Death Cab For Cutie
Codes And Keys
Rating: Yeah Daddy Make Me Want It

Ever since Death Cab For Cutie became popular, as well as Ben Gibbard's side project with Dntel, The Postal Service, the band has been a bit on auto-pilot. Transatlanticism was the last truly great Death Cab record, moving to almost monotony on 2008's Narrow Stairs. The three year wait, in addition to Gibbard's marriage to Zoey Deschanel, seems to have mellowed out the songwriter, and, dare I say it, have made him happy? While there will always be an undercurrent of melancholy on a Death Cab record, this album is decidedly in a major key. Gibbard's also allows his work with Postal Service to be a greater influence; Codes and Keys being a far more electronic record. It is this pull between the acoustic and electronic that provides the needed tension Death Cab has always relied on, but it also hurts the record in the long run as, especially toward the end of the album, Gibbard's ideas seem to run out.

The first half of the record is classic Death Cab For Cutie (literate lyrics and memorable melodies) married with a sonic adventurousness. Lots of buried electronic effects and programmed percussion. "Home Is A Fire," almost apes Kid-A era Radiohead.



The title track starts off with barroom piano and drums and takes off with gorgeous strings, erupting into one of the most joyous choruses Gibbard has ever written.



"Doors Unlocked And Open" takes Gibbard's new optimism to another level. Singing lyrics like: "Somewhere down, down/Down in the ocean of sound, sound/We'll live in slow-motion/And be free." The track is one of the few on the album that is almost keyboard free, relying on a driving, metronomic beat, tight bassline, and crystalline guitars.



"You Are A Tourist" uses soaring guitars and washes of atmospheric feedback to compliment the beautiful lyrics:

"When there's a burning in your heart
An endless yearning in your heart
Build it bigger than the sun
Let it grow, let it grow
When there's a burning in your heart
Don't be alarmed"



Which unfolds beautifully into "Unobstructed Views," a haunting ode to love and atheism.



After all these highs, it is incredibly disappointing that the album loses its focus and meanders almost all the way to the end. Retreating from the subtle experimentation at the beginning of the album, the remaining songs get lost in uninspired backings. "Monday Morning" plods along on a turgid beat and forgettable melody. "Portable Television" vamps to another barroom piano roll, but doesn't add much to the track. "Underneath The Sycamore Tree" recycles ideas from other tracks to lesser effect. "St. Peter's Cathedral" breaks the pattern thankfully, and puts the experimentation back to good use; taking ambient washes of keyboards and building them up with spiralling string synths and guitars.



"Stay Young, Go Dancing," however, is slight ballad that ends the album on an underwhelming note.



Codes and Keys is not the brilliant masterpiece that Death Cab For Cutie has lurking within them somewhere. I suppose we will have to continue waiting for them to take their sound up a couple of notches. But there are plenty of charms on the record to make it recommendable.

Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

30 Day Song Challenge

There is a challenge going on Facebook these days taking 30 days and asking a question about songs you like/dislike, etc. I'm so swamped this month with work, I am looking for something to post for awhile that will take the pressure off of posting full reviews. I will still be doing them when possible, but there might be a lull here and there this month. I will begin the posts tomorrow.

At any rate, here is the full list of questions in the challenge:

Day 01 - Your favorite song
Day 02 - Your least favorite song
Day 03 - A song that makes you happy
Day 04 - A song that makes you sad
Day 05 - A song that reminds you of someone
Day 06 - A song that reminds you of somewhere
Day 07 - A song that reminds you of a certain event
Day 08 - A song that you know all the words to
Day 09 - A song that you can dance to
Day 10 - A song that makes you fall asleep
Day 11 - A song from your favorite band
Day 12 - A song from a band you hate
Day 13 - A song that is a guilty pleasure
Day 14 - A song that no one would expect you to love
Day 15 - A song that describes you
Day 16 - A song that you used to love but now hate
Day 17 - A song that you hear often on the radio
Day 18 - A song that you wish you heard on the radio
Day 19 - A song from your favorite album
Day 20 - A song that you listen to when you’re angry
Day 21 - A song that you listen to when you’re happy
Day 22 - A song that you listen to when you’re sad
Day 23 - A song that you want to play at your wedding
Day 24 - A song that you want to play at your funeral
Day 25 - A song that makes you laugh
Day 26 - A song that you can play on an instrument
Day 27 - A song that you wish you could play
Day 28 - A song that makes you feel guilty
Day 29 - A song from your childhood
Day 30 - Your favorite song at this time last year

Happy Memorial Day!

Go hug a soldier today!

Videos of the Week

Praise Jebus it is Friday and we have a three-day weekend upon us. Here are a few of the videos I was hyped about for the week.



I loved Grimes' last album, and this is a single off her split EP Darkbloom with d’Eon. I like the Bjorkian/Fever Ray feel of the video.



Fractured art-funkers Gang Gang Dance's new album is still a puzzle to me. I can't decide if I love it or hate it. I do like single "Mindkilla" though and this is video from a live session.



Gauzy clip from the new Ravonettes album. Half of the album is great, but the other half puts me to sleep.



My favorite new band, Denmark's Iceage. Brings back great memories of early Wire and Joy Division.



Gorgeous new song from Bon Iver.





Radiohead released two songs from the King of Limbs sessions that didn't make it onto the finished album. Strange, because these two songs are really great. I actually made my own version of the album with these tracks on it, and it makes the album far more cohesive.



I like Death Cab For Cutie, but am not a diehard fan. But from what I have heard from the new album, I am kind of impressed. I love how this song starts so simply and just builds and builds.



And I love the first single and video.



As most people know, I am completely obsessed with Wild Beasts. Their new album Smother is the current front-runner for album of the year. This is a beautiful acoustic trio of songs with just Hayden Thorpe and Tom Fleming (in the hat). This video really highlights how gorgeous both of their voices are.

The Horrors: Skying

Goth post-punkers The Horrors are set to release their follow up to Primary Colours (which was one of my favorite albums of 2009) on July 11. Skying was self-produced and recorded in their own home studio. As a preview, they have released the first single, "Still Life," which appears to be taking the band from the shoegaze/krautrock of the last album to a more synth-friendly sound. You can listen to the song below:

Iceage: New Brigade

Iceage
New Brigade
Rating: Woof Daddy

In this age of excess and bloat, it is refreshing to find a band that gets to the point. Danish punk/post-punkers Iceage draw from Wire's precise minimalism and Joy Division's icy, cathartic despair. In a spare 25 minutes, New Brigade's 12 songs never overstay their welcome, quickly getting to the point, never containing a superfluous note. While they are really not bringing anything new to the table in terms of sound, what makes this band special is the energy they bring. It brings to mind The Strokes' Is This It? in terms of pure swagger and attitude. The band's live shows are apparently extremely aggressive affairs, the audience members referred to as "victims" and photos of the aftermath of gigs are usually posted to the band's website.

From the distortion of opener "Intro" beats a pulse of pure aggression, churning into the white hot, militaristic "White Rune," which is all scraping guitars and blind fury.



The songs rush forth at a blistering pace, barely getting into your brain before the next one comes. Most of the tracks hover around the 2 minute mark, with only one going over 3 minutes. The songs shuttle between outright punk ragers to more streamlined, minimalist guitar explorations.

"New Brigade"'s guitars scrape and threaten to overtake the pell-mell beat.

Iceage - New Brigade by What's Your Rupture?

"Rotting Heights"'s roaring guitars recall the fury of early Jesus and Mary Chain. "Broken Bones" lets snatches of melody peak through the angular mix.

Iceage - Broken Bone by What's Your Rupture?

"Collapse"'s air raid siren attack of guitars descends into pure distortion at the chorus.



"Count Me In" barely slows down in its brief 1:15 running time.



The album is not all one-note furious rage, there are moments of starker clarity, allowing the bands' sense of rhythm and pacing to shine through. Album standout "Never Return" is full of stark, angular guitar notes, featuring tight interconnected work between the drums and bass. "You're Blessed," is practically a power punk pop song with a deliciously catchy chorus.



"Remember" features kicking drum work and slashing guitar riffs, and allows for the music to drop down to focus on the vocals. "Total Drench," another highlight, storms along on a Hook-esque bass line, keeping barely on the rails. "Eyes"'s stop-start guitars and chugging drums keep razor sharp focus as the various elements snake around each other.



New Brigade is a stunning debut from Iceage, that blows the dust off this year's so far underwhelming slew of new releases. Time will only tell if Iceage will expand on their sound. But they are very young (all are between the ages of 18-19 (apparently they can't tour the US until the summer because they have to finish high school), so they have plenty of time to grow. So far, based on this record, they are flying out of the gate. I am excited to see what is up next for them.

Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Chad VanGaalen: Diaper Island

Chad VanGaalen
Diaper Island
Rating: Grrrr

In addition to his solo output, Chad VanGaalen is probably best known as the producer for Women's last two albums. He records out of his home studio and infuses a homespun, earthy quality to his records, yet always throws in some curve balls, like weird synth freakouts, and use of quirky instrumentation. Diaper Island, his fourth full length, and his most fully formed, is such a shockingly well-produced record, it provokes audio equivalents of a double-take. While there is still a homey quality to the production values, the record as a whole is musch more clear and concise. VanGaalen records primarily in a low-fi, late 80s early 90s alt-rock manner, evoking artists as diverse as Pavement, Miracle Legion, Grizzly Bear, and early post-punk Cure. The album veers back and forth from gorgeous, almost country-folk ballads, and raucous guitar raveups; linked by his wry lyrics.

Diaper Island starts off deceptively quiet. The one-two punch of "Do Not Fear" and "Peace On The Rise" show VanGaalen's gorgeous use of harmony. "Peace On The Rise" is buouyed along on chiming guitars and VanGaalen's lusciously supple voice, descending into a coda of synth drones.



The core of the album is its driving guitar tunes, and what really takes the album to another level. "Burning Photographs" uses a steady beat and one of the hookiest guitar lines in recent memory to imbed itself in your cranium.



"Replace Me" has an insistent beat and fuzzed out guitar line that echoes early U2.



"Blonde Hash" thrashes and careens like an out of control party guest.



"Freedom For A Policeman" bops along on a 60s surf vibe.



The quieter tunes are no less spectacular. Overall the album has a very melancholy tone, and these tracks fit well in the whole scheme, allowing VanGaalen's lovely voice to stand out. Angelic harmonies color the delicate "Heavy Stones."



His voice is particularly haunting on the sublime "Sara."



"Wandering Spirits" evokes the brilliance of Grizzly Bear's ambient meanderings. It is ghostly and spine-tingling.



The final track is certainly the most devastating. "Shave My Pussy," with its provocative title, is a haunting song about self-worth and the toll pressures of living and relationships have on someone. The man singing feels less than nothing, closing the song with the lines:

"Maybe if I shave my pussy
Then you'll love me
Baby, will you love me?
I'm really feeling ugly"



At first listen, Diaper Island seems haphazardly put together, as if he threw the tracks in the air and put them in order by which they landed. There is almost a distinct, non-flow to the sequencing. Only by repeated listens to you get the ebb and flow of the tracks and see how brilliant a songwriter/producer VanGaalen has become.

Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Lady Gaga: Born This Way

Lady Gaga
Born This Way
Rating: N/A

There really is no reason for me to give this album a grade. It is going to be monstrously successful regardless of whether I praise it to the heavens or damn it to hell. To be honest, I didn't even plan on reviewing it, because it is an album you are predisposed to either love or hate. And I do have a love/hate relationship with Gaga. I agree anyone that writes and performs their own music has a lot of talent, however, at the same time her talent appears to be primarily based on extracting bits and pieces from other artists and fashioning them to meet her own ends. Her constant attempts to one up herself with her outlandish videos and outfits are exhausting, and can be incongruous to the music they are supporting, seeing as her music is fairly uninteresting pop music sticking to a rigid formula. What seemed fresh back in 2008 with the release of "Just Dance" (which is actually a song I really enjoy), has become something rote and uninspired. After this long, drawn out wait for the follow up to The Fame/The Fame Monster, I guess I expected, and secretly hoped for, a progression in her sound. Listening to Born This Way is frustrating because I can see where she should have taken it, but instead the slight innovations always bump up against that rigid formula and get beaten down in the process.

"Judas" takes a hard edged, dubstep-esque bassline and drum pattern and creates one of her catchiest tracks, even though the weak chorus (aping "Bad Romance" a little too closely) threatens to derail the song.



"Heavy Metal Lover" builds slowly, growing into a throbbing disco pulse, actually bucking trend and exploding into a memorable chorus. It also features a fairly subdued vocal track, Gaga sticking to her mid range, which is her strong suit.

Lady Gaga - Heavy Metal Lover (alternate version) by beautynumber2

And despite a dated sounding crunch metal guitar, "Electric Chapel" is surprisingly catchy, milking its "Can't Get You Out Of My Head" repetitive beat to maximum effect. Again, Gaga's restrained vocal fits well with the mood of the track.

This restraint doesn't always work. "Bloody Mary" is a slight downturn, where the vocal actually works against the track. The plodding beat and simplistic keyboard melody cry for something slightly outre.



The rest of the tracks vary wildly in quality, from generic Gaga dance tracks to over-the-top, ridiculous messes. Lead single and title track "Born This Way" is definitely catchy, but it is far too reminiscent of Madonna's "Express Yourself," and the lyrics, which were written in ten minutes, are laughably simplistic.



"Scheiße" ruins its promising Euro-electro-trash beats by taking itself too seriously.



Which becomes a common problem throughout the album. Gaga creates this empowerment backstory that doesn't match up with the end product. Too many times her message is overpowered by ridiculous music or, vice versa, her backing is marred by silly lyrics. The wildly inconsistent tone of the record becomes exhausting.

"Bad Kids" thinks of itself as a crunchy, be-yourself anthem, which buries any alternativeness with standard, by-the-Gaga-books synth meanderings. "Americano" is as laughably bad as any one of Madonna's attempts at Latin music.

Lady Gaga - Americano by abel-germanotta-hrndz

"Hair" is one of the worst offenders, thinking itself a personal freedom anthem, and spewing forth so many cliches I lost track; believing that lyrics like "I'm as free as my hair," are the height of brilliance. Making matters worse are the stock disco beats and horrific 80s style sax solo.



Even though Born This Way wants to be an important record about self-worth and acceptance, ultimately, the point of view gets overshadowed by scattershot production and half-assed lyrics. What should have been a collection of related tracks merely comes across as a grab bag of songs, which unfortunately don't linger long in the memory. But it doesn't matter what I think. If you love Gaga, you love her, and will not be swayed by my protestations. So enjoy your time with this album, because in my opinion, based on the lack of forward momentum it creates, I am not expecting there to be a long shelf life on her career, unless she surprises us next time.

And hell, who am I kidding, of course I am going to rate it, and it is a definite Meh.

Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Videos of the Week

What a week it has been. Didn't think I would get through it with my sanity intact. Here are the videos that made this week much less insufferable:



Wild Beasts' album Smother is fast becoming my album of the year. I listen to it about 5 times a day and am always discovering something new. Here is a live performance of "Bed of Nails" on Jools Holland.



New Beyonce video for the Major Lazer sampling track "Run The World (Girls)." The song is very lazy, but the video is kicking.



Strange video from the Swedish artist known as iamwhoiam, who last year, released a slew of weird, arty clips that had people thinking it was new material from Fever Ray, Goldfrapp, or even Christina Aguilera.



Video for the combined single "Lindesfarne" from post-dubstep prodigy James Blake.



New track from Joker. Slamming track.



Second video from EMA's album Past Life Martyred Saints. She is drawing comparision to everyone from PJ Harvey, Courtney Love, and Patti Smith. Her album is a difficult listen, but ultimately very rewarding.



90's alt-rock revivalists The Vaccines video for "If You Wanna."

Austra: Feel It Break

Austra
Feel It Break
Rating: Meh

One of my strange quirks in listening to an album is that I generally know from a first listen if I like every song on the album, I will most likely end up hating the album later. I suppose my brain enjoys a bit of a challenge, and wants to have the songs grow in my consciousness. I recently gave a Yeah Daddy Make Me Want It review to Craft Spell's new album, not really caring for most of the album at the time, and subtly, it has become one of my favorite albums of the year. Unfortunately, unlike Craft Spells, Austra's debut album is not heading down that path. I loved it on the first listen, but subsequent passes have been less fruitful, with the quirks I enjoyed becoming more annoying.

Deep within Feel It Break are the bones of a promising band. Katie Stelmanis has a strong, supple voice that reaches almost operatic heights at times, and feels akin to artists like Florence and the Machine, Kate Bush, and Bat For Lashes. Musically, Austra is square in the goth/electro field, sounding like a cross between early Nine Inch Nails and more modern female electronica in the vein of Fever Ray, Glasser, and Grimes. When the band is on, the songs are forceful and engaging, but too often, the songs lock into weak musical grooves that play against the strong vocals.

"Beat And the Pulse," the first single and arguably one of the best songs of the year, has a throbbing, electronic beat that takes over your central nervous system.



Likewise, "The Villian" is all spooky menace, Stelmanis' voice getting more and more unstable as the chorus hits.

Austra "The Villain" by Fred Hystere

Austra really shows its potential range on album opener "Darken Her Horse," a slow building track quietly moving from dense pulses of synthesizers to a galloping beat, with edgy wails of keyboards punctuating her frantic vocal.



And on "Spellwork" the clunky, early Depeche Mode-like synths counterbalance her more formal vocal.

AUSTRA_Spellwork by cha_

Too often though, the musical backing is not up to the challenge of her remarkable voice. "Lose It" finds Stelmanis' voice in glass breaking territory, showing off a lovely vibrato, but dashing it with Garageband preset-like twinkling keyboards.

Austra - Lose It by tuckshop

"The Choke" again ruins a strong vocal with simplistic keyboard lines.

Austra - The Choke by brettnaul

"Hate Crime" is one of the few songs where Stelmanis' voice actually loses the brilliant control shown over the majority of the album; though the song is somewhat redeemed by a memorable chorus.

Austra - Hate Crime by slowtumb

The one major complaint about the album is how I really like a lot of the individual elements, but that they never coalesced into something more. Just as some cohesion was coming in, the band would ruin it with a strange aside or weak instrumentation. And then just when I would get ready to throw in the towel, they would pull together a great song like "The Beast," which is the most organic sounding track, and shows a promising direction for the band to pursue.

Austra - The Beast by pipedreamin

Feel It Break is a frustrating debut from Austra, as it becomes painful over the course of the tracks to see so many missed chances. Austra's strengths are very evident and had they used those as a base to launch from, I could see this being a very striking debut. As it stands, however, we are left with a series of almost there but not quite songs that could have used a more firm handling.

Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Videos of the Week

Here is my latest roundup of videos I thought were cool:



Uniquely bizarre video from Battles which fits the song perfectly.



James Blake performing "The Wilhelm Scream" on Later with Jools Holland.

Herman Dune "Tell Me Something I Don't Know" from Jon Hamm

I can't say I care for this song all that much, but the video is seriously sweet. It was directed and stars Jon Hamm, helping out a lost little puppet.



Shot in the towns surrounding the Salton Sea, here is the latest video from dubstep star Rusko. I like the original mix of the song, but don't love it. Below is the Netsky remix which I vastly prefer:





While Swedish dream poppers jj will always be one of the worst live shows I have ever seen, I still enjoy their drugged out Baleric pop. This is a video shot in Hong Kong and Singapore for the single "Angels" from their mixtape Kills.



More creepiness from Planningtorock. This is the second single and video from her upcoming album set for release on May 24th.



Bizarre fan made video for Clams Casino song "I'm God" which samples Imogen Heap.

Moby: Destroyed

Moby
Destroyed
Rating: Meh

Moby always gets a bad rap, accused of being too mainstream by most of the electronic music community, and not being mainstream enough by the pop music lovers. And ever since Play, he has been trying over and over to please everyone, and also recreate the success of that album. It wasn't until 2009's Wait For Me, that Moby stopped making music for other people, and made an album he wanted to make (influenced by a conversation he had with David Lynch). It was a stunningly personal record, and was one of my top albums of the year. Based on that record, I thought Moby had gotten back on track. The follow up, Destroyed, is, unfortunately, not much more that a combination of Play and Wait For Me, without the cohesiveness of either record. In his words, the album is "broken down melodic electronic music for empty cities at 2 a.m." There is a loneliness and dreaminess to the record, and it gets off to a promising start, but halfway through it loses focus completely, with Moby resorting to his old bag of tricks, that was old enough 10 years ago.

Destroyed is made up primarily of ambient instrumentals, a couple of mid tempo pieces, and the rest his usual mix of dreamy electronic tracks coupled with samples or female vocals. The best of the instrumental pieces are forlorn and echoing, really capturing the feeling of moving through silent city streets. "The Broken Places" opens the album feeling like a ride in a cab to a hotel, the streetlights flashing coldly through the windows.



"Rockets" utilizes dreamy synth strings coupled with snippets of female vocals.



"Stella Maris" evokes most of the great moments from Wait For Me, pairing haunting, dark synths with gorgeous, semi-operatic vocals.



Other highlights of the album are the slow building "Be The One" that starts creepily with Moby's treated voice droning over ambient electronics, methodically building over drums and guitars.



"Sevastopol" is another great upbeat instrumental track that Moby can do in his sleep.



Moby is still good at picking out the right, dreamy female vocalist to pair with his songs. "The Low Hum" is perfect in its moodiness.



But aside from these standouts, the rest of the album just sounds uninspired and, quite frankly, lazy. You can pretty much pick any remaining track and pull it from some other Moby era. There are the standard Moby sung tracks, like "The Day" and "Blue Moon" that borrow from other acts, like Bowie and New Order, and come across as mere parroting.





And there are far too many lazy songs and instrumentals that sound more like background music for a trendy boutique. "The Right Thing" could be Play by numbers.



The final three tracks are all so bland as to be almost silent. The tracks are all pretty, but lack any sort of bite, texture, or interest to make them anything more. "The Violent Bear It Away" and "When You Are Old" are particularly generic, sounding like incidental music to a bad art film.





I had high hopes for Destroyed after the return to form of Wait For Me, and perhaps I judged this album too harshly on that basis alone. If Destroyed had ventured a little more outside of Moby's comfort zone, it would have probably worked much more effectively. Instead, we are left with a just ok Moby album, which, based on his best work, is just not good enough anymore.

Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Friendly Fires: Pala

Friendly Fires
Pala
Rating: Yeah Daddy Make Me Want It

Friendly Fires self-titled debut album was a nice surprise in 2008. Ostensibly an indie-rock/dance record, the album showed the band unfraid to borrow from and update an 80s sound, using banks of glossy synths, dense percussion, and a boat load of thick pop hooks to lure you in. Pala, the follow up, finds Friendly Fires joining Cut Copy in further delving into a broad, 80s sound, with Friendly Fires leaning more to lush pop acts like Heaven 17, Spandau Ballet, Kajagoogoo and the like. Each track is and feels dense, as if one more piece of instrumentation would likely topple the whole thing over. Pala is not a huge reinvention of Friendly Fires' sound, but more of a slight tweaking, which basically means if you liked Friendly Fires, you will most likely feel the same about Pala. The problems with the album go more to the fact that the songs, the majority of which are really good, just don't function more than just a set of songs put together. Nothing really ties them together, which makes for a pleasant, yet not a thrilling, experience.

The album is most successful when it appropriates a late-night, club on the beach party vibe. Lead track and single "Live Those Days Tonight," has a furious percussive bed, which escalates with swirling synths and pianos, turning into an Ibiza banger.



"Running Away," steals off a classical riff on piano, folding into a chiming keyboard punches, and a monster disco groove; while "Hawaiian Air," whizzes and buzzes with odd electronic effects, and is possibly the goofiest song ever written about fear of flying.



"True Love" could have been on an early Spandau Ballet or ABC album. Full of driving, crisp drums, tight rhythm guitars, and slap bass.

Friendly Fires - True Love by kisstiger

Carribean rhythms punctuate the lush "Show Me Lights."



If the rest of the album had stuck to this mood, it would have been a great summer party album. But often, the band ventures into more moody ruminations and stops the feel good vibe.

"Hurting" gets bogged down in squelchy synths and dated 80s electronic percussion.



"Pala" threatens to derail the whole album, a moody and murky track that is all mood and no substance. And "Helpless," which should take the album out on a high note, is just breathy and rushed.



"Blue Cassette," is a notable exception, matching the wistful lyrics with upbeat, soaring dance rock.



And "Chimes," has a nice steady build, the keyboards climbing ever higher.



The minor quibbles with the album are not enough to derail the fact that I like it a lot. The production values are great and the songwriting, for the most part, is strong. I just never felt that these songs went together to tell a story which keeps it from being more than just a good album. But, if you want an album to play with the car windows down, or at a backyard BBQ, Pala is a perfect companion.

Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Videos of the Week

Here is my latest roundup of videos I thought were cool:



Uniquely bizarre video from Battles which fits the song perfectly.



James Blake performing "The Wilhelm Scream" on Later with Jools Holland.

Herman Dune "Tell Me Something I Don't Know" from Jon Hamm

I can't say I care for this song all that much, but the video is seriously sweet. It was directed and stars Jon Hamm, helping out a lost little puppet.



Shot in the towns surrounding the Salton Sea, here is the latest video from dubstep star Rusko. I like the original mix of the song, but don't love it. Below is the Netsky remix which I vastly prefer:





While Swedish dream poppers jj will always be one of the worst live shows I have ever seen, I still enjoy their drugged out Baleric pop. This is a video shot in Hong Kong and Singapore for the single "Angels" from their mixtape Kills.



More creepiness from Planningtorock. This is the second single and video from her upcoming album set for release on May 24th.



Bizarre fan made video for Clams Casino song "I'm God" which samples Imogen Heap.

Memory Tapes: Player Piano

The sophomore album from hazy/trippy act Memory Tapes, Player Piano, is set to be released on July 5. Up above is the bizarre cover art. Below are two tracks you can preview from the album, as well as the final track list.

Wait In The Dark by Memory Tapes

Today Is Our Life by Memory Tapes

Player Piano

01 musicbox(in)
02 Wait in the Dark
03 Today Is Our Life
04 Yes I Know
05 Offers
06 Humming
07 Sun Hits
08 Worries
09 Fell Thru Ice
10 Fell Thru Ice II
11 Trance Sisters
12 musicbox(out)

DJ Shadow: "I Gotta Rokk"

DJ Shadow's eagerly awaited next album, The Less You Know The Better, is set for release sometime in September. To whet people's appetites he is releasing a preview EP entitled I Gotta Rokk. It is available for sale on his website.

Here is the full length track, "I Gotta Rock:"

Dj Shadow-I Gotta Rokk (LP Version) by oli02

The tracklist for the EP is below:

01 I Gotta Rokk (LP Version)
02 I've Been Trying (LP Version)
03 Def Surrounds Us (LP Version)
04 I Gotta Rokk (Irn Mnky Swagger Mix)
05 I've Been Trying (Various "I'm Done Trying" Mix)
06 Def Surrounds Us (Rockwell Remix)

The Antlers: Burst Apart

The Antlers
Burst Apart
Rating: Grrrr

The Antlers' debut album Hospice was one of the most intimate, haunting records of 2009, a desperate song cycle about the journey through the illness of a child. The songs were simultaneously hushed and widescreen, the lyrics oblique and impressionistic, frequently blunt and always heartbreaking. It was a difficult album to listen to, but one that was impossible to ignore or forget.

Hospice was such a fully formed, almost perfectly paced record, it was difficult to imagine where The Antlers could take their sound. Now a full-fledged trio, their sound still remains shockingly intimate, more due to Peter Silberman's evocative falsetto, however the music is far more urgent and less ambient. Unlike Hospice, here The Antlers aren't afraid for more volume and cacophony. The first song on the album is just a preview of where the band intends to go, featuring a strident beat and twilight guitars and twinkling synths seeking the clouds. "I Don't Want Love," is a shockingly direct song about a masochistic relationship.



"Parenthesis" contains oil can, reverbed drum rolls and heavy waves of guitar feedback.



You can even say The Antlers are practically jaunty on the driving track "Every Night My Teeth Are Falling Out."



"French Exit" has an insistent beat under an impossibly sunny bed of keyboards, contrasting with the bitter lyrics about a dysfunctional relationship:

"Everytime we speak
You are spitting in my mouth
If I don't take you somewhere else
I'm gonna pull my teeth right out."



The Antlers haven't completely forsaken their signature sound. The majority of the tracks are still hushed and eerily quiet.

Silberman's gorgeous falsetto punctuates the lovely winding guitars of "Hounds."



The gorgeous acoustic and treated guitars of "Corsicana," frame an achingly beautiful vocal. The song equating a desperate relationship with being trapped in a burning house.



Which all leads up to the best song on the album, "Putting The Dog To Sleep." The song starting slowly, in almost waltz time, getting more and more frantic as it reaches its climax. Silberman singing to his partner who he thinks doesn't respect relationships enough, crying out "Put your trust in me/I'm not gonna die alone"



I am glad Burst Apart is not just another Hospice, however, this album doesn't quite reach the brilliant heights of that album. Without the storyline of their debut, there is nothing really to connect the songs here; it just becomes a set of beautiful tracks collected together. As it stands, Burst Apart is a really good record just short of being the classic Hospice is.

Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Wild Beasts: Smother

Wild Beasts
Smother
Rating: Woof Daddy

"Semen. What is it about that ridiculous white secretion that pulls down the corners of an Englishman's mouth?" Lytton Strachey

Wild Beasts likely have pondered that same question as, over the course of now three records, they have spent their time dwelling on the romantic/philosophical/debaucherous nature of sex, particularly the debaucherous side. Their debut Limbo, Panto, dealt with themes of sexual depravity and vulnerability, lead singer Hayden Thorpe's ear-shattering falsetto playing with expectations of gender. It was a striking debut, one of the few records in 2008 that sounded like nothing else out there. Aside from a couple of more pop-oriented numbers, most of the album felt like a cabaret act on crack. It was an exhilarating listen, but also exhausting. Two Dancers, the follow up, was still sex obsessed, but charted new waters, being more subtle in their approach. The album was a major leap forward as the band reigned in their all for broke style and focused on their strengths. The most notable change was Thorpe's voice. While still one of the most distinct voices out there, he showed more control over his wild flights of fancy, even giving over several songs to bassist Tom Fleming's deep bass/baritone, which couldn't have been more different, providing a nice counterpoint to Thorpe's more distinct style. Based on the Mercury Prize nomination and widespread critical acclaim for Two Dancers, all eyes, and ears were on what Wild Beasts would come up with next. Smother finds the band in complete control, slightly altering their sound, creating a set of songs that work as a whole, yet stand alone perfectly. The album shares more with Two Dancers than Limbo, Panto, and while some fans will likely bristle at the band's neglect of its more fanciful sojourns, Smother shows a mature sound (read more complex and agile sound and not boring or fuddy-duddy), placing them, in my mind, in line with Spirit of Eden era Talk Talk, forging a new path ahead for themselves.

Smother is a very quiet album. If this is someone's first introduction to the band, you might be asking yourself what is the big deal about this band. You really need to start at the beginning to understand what makes this album so great; the leaps they have taken in only three albums. The oblique approach they take to their lyrics also involves the listener much more into the song, allowing for a more personal attachment. The songs slowly insinuate themselves in your head, seemingly tame at the onset, with only closer inspection showing the somewhat ribald nature of the lyrics.

The first track "Lion's Share," begins in almost old-style Wild Beasts, Thorpe's voice jumping all over the place in his usual thrilling style, contrasted with Fleming's bass adding the perfect foil. Musically, it is a slow build of pianos and buzzing electronics, born from the bands' new found love of artists like Fuck Buttons. The lyrics are typically debaucherous, the protagonist taking his lover "like a lion takes his game."

Wild Beasts - Lion's Share by Mindcircus

"Bed of Nails" starts with allusions to Hamlet, the narrator overcome with madness over his lover, wanting his "lips to blister when we kiss." Moving to outright insanity, becoming like the creature from Frankenstein, "when our bodies become electrified/together we bring this creature to life."

Wild Beasts - Bed of Nails by Mindcircus

"Plaything," is the most sinister track, lowkey buzzing of synths lurk underneath Thorpe's louche vocal, his words practically dripping with sex, commanding his lover to "take off your chemise/And I'll do as I please."

5 Plaything by catoasapunOM

And on first single "Albatross," the ex-lover akin to the titular bird, "It's my neck around which you hang/Like a chain or a tag/I flinch and you fall through the cracks/To the sea and all it bears." Thorpe puts forth one of his loveliest vocals, the pianos creating a haunting atmosphere.



Although sex seems to be the preoccupation on Smother, it is way more subtle than the band has put forward in the past. And frequently, the songs are more about relationships in general. "Reach A Little Further," is a gorgeous song sung in counterpoint by the two vocalists, Thorpe playing the cad, while Fleming provides the voice of reason, singing:

"I say yes I will do all the things that you ask of me
I say yes I will, come on darling, have no fear

And though the way is dark
And hands will grab our arms

I'll remember this
And only this."

Wild Beasts - Reach A Bit Further by allstarsandrew

While I love Thorpe's voice, I will have to admit that Fleming's voice is the more supple and gorgeous of the two. On a couple of songs, he is the only voice, and it is quietly devastating. "Burning" is by far the highlight of the album. Under a bed of gamalan-like guitars and keyboards, Fleming's voice goes from resignation, desperation and acceptance with such fluidity. The only qualm with the song, is that it should have ended the album. It is so striking and gorgeous, it makes the perfect end page.

Wild Beasts - Burning by khadunio

Fleming's voice is further spotlighted on "Invisible," which seems to be about a man overshadowed by his lover, losing grip on his individuality, "Your lips to my lips/I cease to exist."



Smother is not going to hit you over the head immediately. It is a hushed album that is not afraid to take its time getting to where it wants to go. I liken it a true headphones album, forcing you to enter its world and become part of it. Listening to it without true concentration, the songs can get lost in the background, but once you let nothing else in, the beauty and complexity of this true work of art come racing to the forefront. Smother is a tremendously exciting album, and likely in front for my album of 2011.

Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Austra: "Beat and the Pulse"

Austra is my latest fav new artist, sounding like an early Nine Inch Nails fronted by Florence and the Machine. Her debut album Feel It Break comes out on May 17th. Check it out.

Tracklist:

01 Darken Her Horse
02 Lose It
03 The Future
04 Beat and the Pulse
05 Spellwork
06 The Choke
07 Hate Crime
08 The Villain
09 Shoot the Water
10 The Noise
11 The Beast

Explosions In The Sky: Take Care, Take Care, Take Care

Explosions In The Sky
Take Care, Take Care, Take Care
Rating: Grrrr

It is virtual impossible to mention Austin, Texas quartet Explosions In The Sky without mentioning Mogwai. Both bands are in complete control of their quiet-loud-slow-fast dynamics, which make them both live show powerhouses. Since Young Team, however, Mogwai has broadened and expanded their sound, making it more pop accessible; shortening song lengths, adding some vocals, and sticking to more formal song structures. Explosions In The Sky have basically stuck with their same template over the years, honing and focusing their sound rather that trying to expand it. Unlike their second album, Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever, later releases have been less balls to the wall. On that classic album, the songs veered from outright gorgeous to almost painful to listen to in their intensity. Here, Take Care, Take Care, Take Care, is almost hushed, each track slowly building to a catharsis, heightening the emotion and tension through carefully timed ebbs and flows and false endings.

Pounding drums and swirling, interconnected guitars highlight opener "Last Known Surroundings," dropping off in the mid-section for a delicate bridge to the end of the song, where the guitars climb to amazing heights:

Last Known Surroundings by user6475848

"Trembling Hands," the most driving track on the album, flies under furious drum rolls and hummed melody, the guitars and bass pushing and tugging against the beat, everything coming together for a brilliant climax:

Trembling Hands by user6475848

"Be Comfortable, Creature," is gorgeousness personified; lovely washes of guitar bump up against atmospheric electronics. Midpoint in the song, rolling drum fills are set against treated guitars, the song moving up level by level, never losing control.

Be Comfortable, Creature by Constant Artists

"Postcard From 1952," has a slow build that can be a little too slow, however, the payoff, an almost 4 minute guitar raveup, is definitely worth the wait.

Postcard From 1952 by Constant Artists

The album ends on a definite highpoint with "Let Me Back In," the guitars building and building, shredding into amazing arpeggios, taking the listener on an very emotional journey. You can feel the pleading and desperation in the song. It will bring you to tears.



The only real misstep is the 8 minute "Human Qualities," which takes almost 7 minutes to get to the good part of the song, and then is abruptly over.



Take Care, Take Care, Take Care is a good entry point into Explosions In The Sky's catalog, however, unlike most of their other releases, it is not immediately intoxicating. The songs, most of which hover around the 8 minutes mark, take their time mostly, not in any hurry to get to the final destination. While I have no issue with the pacing, it might prove to be a little taxing to the first time listener. Give the album a chance to work its magic on you. You will soon fall under its spell.

Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Videos of the Week

Been a long, stressful week. Glad it is Friday; I have the new Wild Beasts' album Smother on my iPod, and a roundup of videos I enjoyed this week:

WILD BEASTS // ALBATROSS from dave ma on Vimeo.

Speaking of Wild Beasts, this is the first single and video from their new album, and it is a beautiful song with an equally striking video.

Austra The Beat & The Pulse from The Glitoris on Vimeo.

Sort of NSFW clip from Toronto electronic artist Austra. I'm really digging the electro-goth vibe of this single.

Julianna Barwick - Envelop from Asthmatic Kitty on Vimeo.

Although I felt Juliana Barwick's album was a bit too insubstantial for me, the songs come alive when paired with visuals. This strange, experiemental VHS video really highlights the ethereal nature of Barwick's work.

The Coathangers - Hurricane (OFFICIAL MUSIC VIDEO HD) from Studio 8 on Vimeo.

Gritty clip from the Atlanta based punk-poppers The Coathangers. Sort of feels like a sleazier Sucker Punch, only much much better.



Salem take Britney Spears' single "Til The World Ends" and drag it out to almost unlistenable lengths. Of course, I love it. Video is kinda sorta NSFW.



I am definitely on an Austra kick. Here is another video from their upcoming album.

Manchester Orchestra - "Simple Math" from DANIELS on Vimeo.

Although I am not a huge fan of Manchester Orchestra's music (it's a little too Coldplay meets Elbow wishy washy), this video is really spectacular. As the driver of a car gets in an accident and scenes from his life pass before his eyes.



Crying over spilt milk, literally. Very funny video from Denmark's Whomadewho.



The track itself is just decent, although the addition of vocals from my beloved Roisin Murphy makes the track much more so. Strange video, but I like it.

Gang Gang Dance: Eye Contact

I am really excited about the new Gang Gang Dance album Eye Contact, which comes out on May 10th. Above is the striking cover art. Below is the first video for the single "Mindkilla."



Here is the tracklisting:

01. Glass Jar
02. ∞
03. Adult Goth
04. Chinese High
05. MindKilla
06. ∞ ∞
07. Romance Layers
08. Sacer
09. ∞ ∞ ∞
10. Thru and Thru

Beastie Boys: Hot Sauce Committee Pt. 2

Beastie Boys
Hot Sauce Committee Pt. 2
Rating: Grrrr

Sometimes going back to the basics is a good thing. Beastie Boys last album To The 5 Boroughs was a decent record, but it came across as being a little too preachy, and the album's focus was all over the map. Of course, it has been 7 years since that album and the rap landscape has changed dramatically. That, coupled with Adam "MCA" Yauch's cancer diagnosis, most people rightfully assumed a new release would be a long time in coming. Hot Sauce Committee Pt. 2 (don't even ask me to explain the reason why Pt. 2 was released first, or even why there will likely never be a Pt. 1, as the group can't even explain it clearly) finds the Boys in producer mode, going back to basics, eliminating almost all the second source sampling, choosing to play everything themselves, sometimes sampling their own recordings. Unlike To The 5 Boroughs, this album is far more cohesive, the tracks all working well together, even though sonically, it is not their most adventerous. But at this stage in the game, most groups' envelope pushing days are over, and it is nice to see the Beastie Boys lock into a nice groove.

The first quarter of the album is brilliant in its sequencing. Honestly, based on these tracks I was thinking the album was going to be another classic. "Make Some Noise" begins with some vintage analog keyboards, old school beats, and trademarked Beastie Boys boasting:

Make Some Noise by Beastie Boys

"Nonstop Disco Powerpack" works a slinky, 70s exploitation flick groove:

Nonstop Disco Powerpack by Beastie Boys

"OK" works a sci-fi groove and funky bass-synth line:

Ok by Beastie Boys

"Too Many Rappers" has Nas trading verses back and forth with them, and sounds like the Boys have been listening to some dubstep, with a fiercely deep and heavy bass line:

Too Many Rappers (featuring NAS) by user2132693

Even a collaboration with Santigold, "Don't Play No Game That I Can't Win," is a great dub, reggae throwback:

Beastie Boys "Don't Play No Game That I Can't Win" (Ft. Santigold) by yoshiradio

The Boys still try their hand at putting some hardcore back into the mix, however, instead of the old days, where the songs stood out like sore thumbs, these tracks are concise and poppier, adding to the flow rather than detracting. "Say It" features grinding guitars over thick hip-hop beats and turntable scratches:

Say It by Beastie Boys

"Lee Majors Come Again," burns a furious path, with lightning fast rhymes, raw guitars, and swirling analog synths:

Lee Majors Come Again by Beastie Boys

The album loses a little steam in the back half, with too many short snippet songs that don't really carry the album forward. The last track, "The Lisa Lisa Full Force Routine," is only :49 seconds and ends the album on a ridiculously abrupt note and could have been easily cut. Also, the ideas get a little tired and suffer from sloppy execution. "Multilateral Nuclear Disarmament" is all groove that doesn't go anywhere. "Tadlock's Glasses," is sonically interesting, but just doesn't fit in the grand scheme of the album. But these slips are forgiveable. Tracks like "Long Burn The Fire" show the Boys going back to basics of sharp programming, turntables, and a wicked sense of humor,

Long Burn the Fire by Beastie Boys

which truly comes across on the funky, loopy "Funky Donkey," which could be the 70s funk companion to "Brass Monkey."

Funky Donkey by Beastie Boys

And who can resist an old school head bobber like "A Little Something For Ya?"

Here's A Little Something For Ya by Beastie Boys

The Beastie Boys are well enough into their career where they no longer have to be the innovators; but they are smart enough not to put out something just have a record released. You can sense that they still love recording and performing with each other, and it makes for a loose, enjoyable album that will long be playing on my car stereo throughout the summer months.

Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.