Tuesday, July 31, 2012
Video: TNGHT - "Bugg'n"
Watch the paint-splattered video for this collaboration between Lunice and Hudson Mohawke.
Jam of the Day: Alt-J - "Tesselate (BlackBox Remix)"
It's goofy and silly, but it's also catchy as hell and somehow perfectly works.
Album Review: Shed - The Killer
Shed
The Killer
Rating: Grrrr
The distressed speaker on the album cover for The Killer evokes music at its most primitive and primal, taken to the verge of collapse but still there. Over the course of now three albums, Berlin based techno producer Shed, nee Rene Pawlowitz, has taken techno to that point of collapse, crafting eerie snapshots of sound fragments, blended into dense compositions. 2010's The Traveler upended Shed's usual long-form tracks for a more pointed and direct exploration of what makes his music tick. It was an icy cold record that somehow transcended its arms length approach to draw you in and captivate. Shed's latest release The Killer, begins in the same frosty climes as The Traveler, the point of collapse reached, leaving nothing but a clear path to explore.
The Killer starts off obliquely with "STP3/The Killer," a heavily filtered voice intoning "If you do not hear this/Or that/You will not feel it," as rumbling and rolling electronics scatter over a murky, beat-less soundscape.
From there, the tracks move from the polite insistence of "Silent Witness" with its swirling synth washes over a clompy beat,
the rolling, buzzy thump of "I Come By Night,"
to the edgy, paranoid atmospheres of "Day After," disembodied robotic voices attempting to communicate but failing.
This struggle from degradation and collapse to something more stable and elegant is a theme working its way from the beginning of the album to the end. Where at first, tracks are unstable, glitchy, and lacking purpose, over time, this evolves into something more structured and meaningful. Vocals, like on "Ride On," while still clipped and repetitive, are cleaner and more direct, the rise of the synths an awakening.
Which moves the record into its back half where amorphous structures make way for planning and direction. "VIOMF/The Filler" opens the door into a heavenly battle between organs, keyboard flights, and an off-kilter two-step beat,
while closing track "Follow The Leader" climbs for methodical piano chords into an epic blast of airy techno beauty.
The Killer is a fascinating journey from the edge of destruction to the beginnings of hope. While it might sound like a clinical, depressing set of music to listen to, it is to Pawlowitz' credit that it never comes across that way. Along with Actress' masterful release R.I.P, The Killer is in league with the best techno albums of the year.
Rating Scale:
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 piques 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.
Monday, July 30, 2012
Jam of the Day: Prolix - "The Shakes (BadTaste)"
Thanks to Kurt for pointing out this sick track to me.
Album Review: Eternal Summers - Correct Behavior
Eternal Summers
Correct Behavior
Rating: Grrrr
Roanoke, Virginia indie/dream poppers Eternal Summers have recently expanded from a duo to a trio and have slightly polished their bratty take on the typical early 20s view of relationships and life in general. Musically, their sound draws from a lot of 80s/90s alt-rock bands, from Lush's Brit-Pop phase, Primitives, Darling Buds, and Belly. There is a charming confidence to these tracks which storms out of the gates quickly with the brilliant, shimmering rush of "Millions" which is truly one of the great singles of the year.
While nothing else on Correct Behavior quite hits those giddy heights, there is a remarkable breadth of sounds here that carry the record and make it quite the little gem. From the brash, scuzzy guitars of "Heaven and Hell,"
beautiful, drum machine propelled shoegazey track "Summerset" which sounds like a cross between early Cranberries, Saint Etienne, and The Cure,
to the bratty kiss off track "I Love You," Eternal Summers plays with their sound and and change things up to keep you on your toes.
This is very evident from the new wavey strains of "Girls In The City" sung by male member Daniel Cundiff, which scrolls and winds its way around herky jerky guitars, with Cundiff's vocals getting more and more paranoid and shifty.
This definitely shows the band has some other avenues to explore and points to another direction, but for the most part, Correct Behavior's bread and butter are the 2-3 minute power pop track. Tracks like the dueling guitar chug of "Wonder,"
cool and fuzzy "You Kill,"
and the sunny and chipper "Disappear,"
are just perfect little pop songs that never overstay their welcome.
Correct Behavior is not a game changing or watershed moment, it is simply a really solid pop record that shows a band with a nice base sound that they enjoy taking on interesting tangents. It is a slow building record that keeps finding its way back onto your playlist. What a wonderful surprise.
Rating Scale:
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 piques 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.
Sunday, July 29, 2012
Jam of the Day: Purity Ring - "Grandloves"
Ok, I know I am going a little overkill on the Purity Ring posts, but damn, every song on the album is perfect. "Grandloves" is an amazing slow jam ballad that just breaks my heart every time.
Saturday, July 28, 2012
Jam of the Day: Purity Ring - "Amenamy"
Purity Ring's debut Shrines is just practically perfect. Each day has me loving a new song to death. Today is "Amenamy."
Friday, July 27, 2012
Jam of the Day: Vitalic - "No More Sleep"
Intensely brutal slap of electro-rave from producer Vitalic's upcoming album Rave Age.
Album Review: The Antlers - Undersea EP
The Antlers
Undersea EP
Rating: Grrrr
The Antlers can never be accused of being a party band; their music remaining decidedly serious and somber, dwelling on the darker sides of existence. Their breakout record Hospice was a searingly intense song cycle about hospitalization as an emotional private prison, while the slightly brighter follow up Burst Apart still focused resolutely on the pitfalls of relationships. With their new EP Undersea, The Antlers find themselves still on a decidedly morose trajectory, but where Hospice and Burst Apart have an almost brutal honesty and directness, the lyrics on Undersea are more opaque and impressionistic, open to more interpretations than allowed previously. In keeping with the water theme of the title, musically the tracks all meander and wind slowly and methodically, everything cast in a gauzy haze. There is a almost epicness to these tracks, as if the spirits of Sigur Ros and Spiritualized somehow took over the proceedings.
Languid opener "Drift Drive" pairs mourning slide guitars, piano, and harps to the tale of the earth ending, or perhaps just a relationship, accepting that there is no need to hold on, singing "Slow it down, wait it out/We can't run, but we can go swimming/Diving in late at night, we come together/Dissolving into/A million pieces in a billion places."
The 8 and 1/2 minutes of "Endless Ladder" is like a Sisyphean hurdle, ever climbing higher but never really getting anywhere. The lack of catharsis is at once oppressive and also exhilarating.
"Crest" adds a more psychedelic tone to the EP, incorporating liquidy atmospherics to the bed of trippy guitars and 50s horn blasts.
Ending with the hauntingly beautiful ballad "Zelda," Undersea goes out on a high note, taking the previous tracks' mood and incorporating them all into one concise package. The song is a rumination on the overwhelming vastness of life and ultimately how insignificant we all are, with lyrics like "Zelda/It's just not important/The small things we suffer/They're infinitesimal/We swim in an ocean/It swims between us."
EPs are always an interesting prospect for bands; either as a way to test out new directions or just bide time in between full length releases. The Antlers wisely chose the former approach and made their sound more expansive and cinematic, while also choosing to tackle their lyrics in a less direct manner. If their intent was to really spark interest in a new direction for the band, they have easily won me over. Undersea is another feather in their cap.
Rating Scale:
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 piques 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 are the latest and greatest videos:
Stunningly gorgeous song from Bat For Lashes.
Hysterical video from Torche.
Awesome video from my hometown faves Baroness.
Roller derby themed video from the upcoming Pet Shop Boys album.
This track from Le1f is just killer.
Stunningly gorgeous song from Bat For Lashes.
Hysterical video from Torche.
Awesome video from my hometown faves Baroness.
Roller derby themed video from the upcoming Pet Shop Boys album.
This track from Le1f is just killer.
Thursday, July 26, 2012
Jam of the Day: Jason Lytle - "Tomorrow Started" (Talk Talk Cover)
From the upcoming Talk Talk tribute album The Spirit of Talk Talk (curated by Alan Wilder of Depeche Mode) comes this gorgeous cover of "Tomorrow Started" from Jason Lytle of Grandaddy. You can listen to it and download it from Stereogum.com's website here.
Album Review: TNGHT - TNGHT EP
TNGHT
TNGHT EP
Rating: Grrrr
TNGHT, the collaboration between Montreal producer Lunice and Glasgow producer Hudson Mohawke, release their self-titled 5 song EP, a blast of thick 808 beats and juicy old-school rap synths. While neither producer comes from the hip-hop scene per se, the focus here is definitely on a hip-hop party vibe, each of these tracks stuffed to the gills with as many sounds as possible, sounding completely schizophrenic, but thankfully due to the producers' talent they somehow keep it all in check.
Opener "Top Floor" skitters and slides under a rat-tat-tat drum pattern and thumping 808 blats as vocal samples are twisted and turned into a ghostly Indian wail.
"Goooo" ratchets things up considerably with a monstrous thudding beat, blurts of analog synths and ping-ponging air raid keyboards that ricochet all over the track.
Album centerpiece "Higher Ground" hits Diplo territory with a furious clapped beat, horn samples, and a delicious diva vocal.
"Bugg'n" glides along a chill beat like Timbaland of old, baby samples, ice-cold synth stabs, and a minimal drum program.
The only real misstep comes in EP closer "Easy Easy" which is a little too cluttered for its own good, and features one of the world's most annoying samples ever.
TNGHT is a consistently good EP that showcases both producers styles while incorporating them seamlessly in the mix. At a brisk 16 minutes it is a good appetizer hopefully for more good tracks from them to come.
Rating Scale:
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 piques 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.
Wednesday, July 25, 2012
Jam of the Day: Young Galaxy - "Youth Is Wasted On The Young"
Just a brilliant escalation of their sound. Really pumps me up for their next record.
Album Review: Wild Nothing - Nocturne
Wild Nothing
Nocturne
Rating: Yeah Daddy Make Me Want It
Wild Nothing's 2010 debut album Gemini wore its influences on its sleeve, drawing comparisons to 80s alt-guitar bands like Cocteau Twins, Smiths, The Church, and about any of the shoegaze titans. What set that album apart was the obvious love for those influences yet their dogged determination not to specifically ape them. There was a charming ruggedness and edge to the songs on that record, a willingness to just try something for the hell of it and see if it stuck. With follow up Nocturne, Wild Nothing, led by Jack Tatum, don't really step out on any limbs with their sound, the guitars are still shimmery and dreamy, and Tatum's vocals are firmly fixed in a state of bemused airiness. it is obvious from the opening tracks that the production budget was greatly increased, each note hanging in the air precisely and delicately. Gone, however, is that go-for-broke quality that made Gemini such a gem. Nocturne's 11 tracks float along in a hazy ether of reverb, which makes these tracks flow in and out of one another deliberately, coming together as more of a series of variations on a theme. While this isn't necessarily a bad thing, by record's end you are not really left with the distinct notion that the songs were different. But all the same, one cannot deny that these songs are beautifully produced and rendered.
The album starts off with the glossy shimmer of "Shadow," the crystalline guitars pushed along by haunting strings.
"Midnight Shadow" draws from the first album's approach, adding a echoing set of drum patterns and slightly darker guitar spin.
But from there, the album sort of gets stuck in neutral, with too many tracks sharing the same mid-tempo beat and reliance on shimmering guitar chords. "Nocturne," while gorgeous, hits its high point early before foundering in a flatline,
"Only Heather" coasts along on a chugging guitar line but doesn't really do much with it,
while "Disappear Always" draws a gorgeous picture straight from the Go-Betweens' playbook, its initially melody is disrupted too often by discordant bursts of electric guitar.
Things only pick up in the details of a few tracks. "Through The Grass" adds some delicate Fairlight CMI sounding keyboard washes throughout which adds a haunting quality to the track,
rising and falling synth washes along with a meaty bassline push forward with 80s funk guitars on "Paradise,"
and the guitars are more direct on "The Blue Dress" which adds some interesting percussion to the mix.
These types of more texturally interesting songs come few and far between to make a more distinct impact on Nocturne. The layers and layers of pristine guitar chords wash over you as you are listening to it, and lulls you into a bit of a fog. It made me long for the everything but the kitchen sink approach of Gemini. While this album is not a disaster in the least, or even a sophomore slump, it's just enough to tantalize you until the next record, when hopefully Wild Nothing with get a little more wild.
Rating Scale:
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 piques 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.
Tuesday, July 24, 2012
Album Review: arrange - New Memory
arrange
New Memory
Rating: Yeah Daddy Make Me Want It
On 2011's Plantation, arrange, the moniker of teenager Malcom Lacey, tapped into something idiosyncratic and new, merging the confessional singer/songwriter with bedroom pop/chillwave into a sound that was as distinctive as it was brutally honest. In my review, I noted that listening to the album was "akin to rummaging around a stuffed attic, coming across old photo albums, journals, and keepsakes, being washed over by the floods of memory: the triumphs and failures, the joy and sadness, the important and the mundane." On his latest full-length New Memory, there is still that feeling of sifting through the contents of Lacey's mind, but in place of Plantation's diffuse impressionism, there is a slight change to the more direct, at least lyrically. But this being arrange, the songs are all about dealing with family, domestic dramas, and the search for one's place in the world. While the songs don't stand out as freely as tracks like "Tiny Little Boy," "Veins," or "Medicine Man," as a whole, there is a more cohesive production that binds the songs together.
Starting off with the lovely piano ballad "Ivory Pt. 1," a tender plea to a parent to not give up, singing "everything I'd ever known/Won't cast doubt on these hands that hold me."
The haunting track "Caves" mixes piano and ambient electronics over skeletal drum programming, Lacey's voice open and raw. Lyrics like "My hands are porous things filled up by anything/They know the way to go but haven't had the chance to show them," reveal a wounded self doubt.
Within this tracks is always a search, for reconciliation, for forgiveness, or just for peace. The delicate electronics of "Where I Go At Night" underpin Lacey's search for a mother to help and also find some help for his own sadness,
in "North" he sings of his search for his true self, "I won't become myself undone/I've learned that I'm important to someone,"
and in the gorgeous "When We Saw," Lacey relies on his family for peace in the wake of doubt, "Always there to help me find a way to never lay near/Or give life to the hate I keep within."
While New Memory is a really good record, there is always the nagging notion in the back of my head that Lacey just didn't quite push himself farther on this record. Not that it is a carbon copy of Plantation, it just has a similar sonic impact, but without the distinction of having standout singles like the aforementioned ones. New Memory is an interesting holding pattern, but one I would like to see him transcend in the future.
Rating Scale:
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 piques 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.
New: Tamaryn - "I'm Gone"
New single from their upcoming album Tender New Signs out on October 16th.
Monday, July 23, 2012
Video: Bat For Lashes - "Laura"
Here is the first single and video from Bat For Lashes' upcoming album The Haunted Man.
Jam of the Day: TNGHT - "Higher Ground"
TNGHT, a collaboration between Hudson Mohawke and Lunice, put together a hot dance track "Higher Ground."
Album Review: Holograms - Holograms
Holograms
Holograms
Rating: Grrrr
Although these days Sweden is probably better known for its bright pop confections from artists like Robyn, Peter Bjorn & John, Swedish House Mafia, and Avicii, there is still, owing to the bleak Scandinavian winters, a darker side to the Swedish music scene that is often forgotten. The quartet, three of whom work monotonous jobs in a factory, travel along the darker roads of classic post-punk, drawing influence from early Cure, Joy Division, Gang of Four, Wire, and PiL. Their music is full of driving beats, angular, scraping guitars, and deep, pulsating basslines, broken up every now and then with blasts of aging synthesizers. While there is nothing extraordinarily new with this type of sound, like Danish peers Iceage, it is all about attitude and musicianship in order to overcome any claims of being pale comparisons.
From the opening, ominous chug of bass and scrawling guitars on "Monolith," Holograms could easily come across as a Joy Division cover band until the song takes off into a fury of garage punk elements.
But just when you think you have their sound pegged, they find a way to throw a wrench into things, like on the synth driven "Chasing My Mind" which sounds like a clash between The Cars and Ramones.
Or putting together a hook laden punk-pop track like "Orpheo."
But there are also plenty of bread and butter angular post-punk tracks to wind anyone up into a frenzy. From the frantic two minutes of "Transform,"
bass and organ driven "Stress,"
and the dark, grinding pulse of "Memories of Sweat."
But it is always when they just throw something crazy to the wind where things get really interesting. The ridiculously catchy "ABC City" which blends chanted vocals along with gritty guitars and blooping keyboards,
the Modern English meets Cure scrawl of "Fever,"
and even on the roaring closing track "You Are Ancient" which shows that these boys know their way around a hook.
Holgrams is just a tight, well-rounded debut that knows what it is and how to make it stand out in a crowded field of similar bands in the genre. These little quirks that you find within the tracks makes you come back for more, and also points the direction in which these guys can take their sound. I doubt this will be the last time we hear from them.
Rating Scale:
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 piques 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.
Saturday, July 21, 2012
Friday, July 20, 2012
Jam of the Day: Le1f - "Wut"
About the gayest rap video you will ever see. It's pretty much completely awesome.
Videos of the Week
Wow, that was a roller coaster of a week. Here are some videos to slide you easily into the weekend:
Weird, fun video for the new Passion Pit single.
You might just get a little high from this Hot Chip clip.
The return of No Doubt.
Slick video from The Dream.
Strange video for this angular rocker from Ramona Falls.
Weird, fun video for the new Passion Pit single.
You might just get a little high from this Hot Chip clip.
The return of No Doubt.
Slick video from The Dream.
Strange video for this angular rocker from Ramona Falls.
Thursday, July 19, 2012
New: Two Door Cinema Club - "Sleep Alone"
New single from Beacon, the upcoming second album from Two Door Cinema Club.
Album Review: The Invisible - Rispah
The Invisible
Rispah
Rating: Grrrr
The Invisible, a London three-piece fronted by Dave Okumu, nearly ran off with the Mercury Prize for their eponymous debut album, which the band tongue-in-cheek described as "Experimental Genre-Spanning Spacepop." Returning for their sophomore release Rispah, Okumu has said that the recording was overshadowed and influenced by the death of his mother. He mentioned in an interview that "One evening, during the wake, my grandmother Zilpa, my mother’s mum, arrived at our home accompanied by a group of women singing traditional spirituals. They approached my mother’s body and sang over it, dancing around her coffin. It was the most beautiful sound I’ve ever heard. They transformed the atmosphere with sound and the spirit they brought to it. They were celebrating life and death, grief and hope, all things." This mood infiltrates the album in every pore.
Gone are the sprightly jams of the debut album supplanted for a more somber, melancholy tone. Instead of the usual references to Bloc Party, TV On The Radio, and LCD Soundsystem, Rispah seems deeply influenced by Radiohead at their most searching. There is a languid, dreamy quality to these somber tracks, like you are inside the head of the griever, all their emotions swirling in a mix of sadness paired with all the good and bad memories of their loved one. The album is bookended and infused with samples of the traditional spirituals that Okumu referred to, adding a personal touch to these tracks. "A Particle of Love" begins the record with those samples surrounded by a whooshing array of analog synths, creating a disjointed, haunted start before leading into "Generational" where echoing guitars ping over burbles and bleeps of dark electronics.
Okumu's voice, supple and calming, floats within the mix as pianos and electronic and acoustic drums keeps up the pace. There is a clinical nature to the songs, as if they are almost afraid to show any sort of crack in the facade, else all the emotions spill out at once. Single "Wings" almost breaks free, the drums seeming agitated, brushing up against a nervous bassline and whirring electronics.
One of the subtle highlights of the record is "Lifeline" a desperate plea to hide from the pain with pills. The dreaminess of the song perfectly suits the mood of the track with lines like "the lifeline only comes when you are on the verge of drowning."
Things take a darker, post-punk edged turn on "The Great Wound" with growling basslines and clattering drums.
But there are moments of contemplative quiet, like on the ringing "Surrender" whose guitars gently caress Okumu's whispered vocals,
the gorgeous "The Wall," which has Okumu trying to remain upbeat in the presence of overwhelming truths; the guitars echoing in a fog of despair,
and the liquidy eloquence of "The Stain."
All coming to a close with the brilliant single "Protection" which moves effortlessly from a muted opening to a full throttle shoegaze outro laced with the haunting African vocal samples.
Some might say that Rispah leans too heavily on its Radiohead influences and also that it strikes a too even pace and keel throughout. For me, these worked in the album's favor, never been too showy or too aloof. It's an album that immediately strikes you yet takes its time getting in your system. It was an interesting surprise for me, and highly recommended.
Rating Scale:
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 piques 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.
Wednesday, July 18, 2012
Jam of the Day: The xx - "Angels"
The first single off of Coexist gets better and better with each listen. Brilliant.
Video: Passion Pit - "I'll Be Alright"
One of the many, many amazing tracks off their new album Gossamer.
New: Menomena - "Heavy Is As Heavy Does"
From their upcoming album Moms, you can hear the new Menomena single "Heavy Is As Heavy Does" at P4K.
Album Review: Merchandise - Children Of Desire
Merchandise
Children Of Desire
Rating: Yeah Daddy Make Me Want It
Tampa trio Merchandise, comprised of multi-instrumentalists Carson Cox and David Vassalotti and Patrick Brady on bass, apparently have flitted around that city's underground hardcore, goth, and post-punk scenes for a while in other bands such as Neon Blud, Cult Ritual, and the Dry County. With their second LP Children of Desire, the band seems to have taken their various backgrounds and combined them into a much more fully realized beast. Strangely, this also creates the almost impossible task of trying to pigeon hole the band into any one genre. Stylistically, Children of Desire is all over the map, touching on a lot of their influences, from shoegaze, dream pop, 80s alt-rock, folk, and neo-psychedelia. It is a testament to the band's fortitude that they are able to blend all these disparate styles into such a compelling mix.
Starting off with the lovely "Thin Air," Cox's deep, evocative voice begins in almost a spiritual way, with floating electronics buoying the short intro track, before leaping into the jangly first single "Time." Drawing from the Smiths, Railway Children, The Sundays, and a whole host of other 80s alt-rock heroes, the track feels well-settled but completely of the now. The wistful air of the music goes well with the cynical nature of lyrics like "I took a lover just to kill some time."
But the album truly kicks into gear with the mesmerizing brilliance of the 10 minute "Become What You Are." A stately guitar track that builds from a steady beat and scrawling guitar chords into a fantastic mesh of guitars, organs, and forceful drums. The track is a beautiful testament to remaining true to one's self, Cox reflecting "The music started, I realized it was all a lie/ The guitars were running out/ Last year's punk," and crushed that someone doesn't believe in him with the lines "did you ever listen to my words/or did you just want to memorize the chords."
It is startling how easy the tracks flow through to one another even when they are of different styles. The almost shoegaze-trance of "Become What You Are," neatly segues into the industrial goth of "In Nightmare Room," which sounds like the perfect marriage of Sisters of Mercy's goth cool with Jesus and Mary Chain's brash attitude.
And the sweet piano ballad "Satellite" is the perfect refresher leading into the other 10 minute track "Roser Park." Although not as sublime as "Become What You Are," the track still closes the album on a high note, its celestial organs driving the reflective melancholy along before it drifts out into a haze of echoing, shoegazy guitars.
Children of Desire was such a wonderful discovery for me. Seeing a band capable of so much diversity while still remaining true to their individual sound and approach is a rarity these days, and makes me very hopeful for even greater things from this promising band.
Rating Scale:
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 piques 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.
Video: No Doubt - "Settle Down"
10 years since their last album, No Doubt return with the first single off their upcoming reunion album Push And Shove.
Tuesday, July 17, 2012
New: Other Lives - "Tamer Animals (Atoms For Peace Remix)"
Thom Yorke's Atoms For Peace project redoes Other Lives' track "Tamer Animals," changing the organic nature of the original into a hyper glitchy electronic track. You can listen to it here on Soundcloud.
Jam of the Day: Hot Chip - "Look At Where We Are (Major Lazer Remix)"
Awesome remix of an already awesome song from Hot Chip. The original track is below.
New: How To Dress Well - "Cold Nites"
Gorgeous track from the upcoming second album from How To Dress Well, Total Loss.
Album Review: Passion Pit - Gossamer
Passion Pit
Gossamer
Rating: Woof Daddy
Where Passion Pit's debut album Manners was a technicolor Disney cartoon, follow up Gossamer is the Pixar animated 3-D IMAX extravaganza. The album is both brighter, darker, subtler, over-the-top, and basically every other dichotomy you can imagine. In lesser hands, this approach would come across as schizophrenic and slap-dash, however, lead singer Michael Angelakos along with Manners producer Chris Zane have all the balls in the air and masterfully keep them at play. The album veers wildly between electro-pop raveups, everything but the kitchen sink production numbers, to beautiful takes on modern R&B, all of it anchored by Angelakos' supple voice. Where in the past he could lean too heavily on his screeching falsetto, here, it is used sparingly, allowing Angelakos to use his wide range to excellent effect, bringing out subtle nuances throughout.
Gossamer is structured almost like a musical, starting out with strong numbers, moving through a sea of emotions, ebbing and flowing perfectly, reaching a strong crescendo, before heading out into uncharted waters. Not that there is really any sort of story or through-line with the record, it just has the feeling you are on a journey. The flow of the record is just mixed perfectly, starting out with the anthemic first single "Take A Walk," a blistering take on financial worries transcending time and class.
Ratcheting things up higher with the soaring brilliance of "I'll Be Alright," glowing synths bursting through the pounding beats and goofy samples and vocals.
Slowing things down with the gorgeous blue-eyed soul of "Constant Conversations," Angelakos offering up one of his most understated vocal turns, letting his guard down, singing lyrics like "I never wanna hurt you baby, I’m just a mess with a name and a price/And now I’m drunker than before, they told me drinking doesn’t make me nice."
Waking things back up with the furiously pounding "Mirrored Sea," its glistening synths pulsating over the beats,
which leads up to the epic "On My Way" which allows Angelakos' voice to climb and climb as strings, horns, and massive choir vocals swirl around him. The song feels like that stirring number that closes out the first act of a musical.
The second half of the record starts with some experimental sounding electronics bleeding into a piano pumping rocker "Hideaway," which in our fictional musical, brings the lovers to the crossroads.
Of course, this leads to darker roads ahead, from the doubts of "Love Is Greed," with lyrics like "Don’t wanna love, don’t wanna hurt/If all that loneliness requires/Just another’s comfort/Better off being alone on the road/Cause the beauty in being alone," to the stunning "It's Not My Fault, I'm Happy" in which the narrator realizes to make do with what he has and just be happy. The skyscraping synths, drums, and vocals almost overpower you with their perfection.
Gossamer goes out on a note of introspection with the haunting "Where We Belong," which finds Angelakos searching for his place in the world. His voice aches with genuine pain, eventually coming to point where he can be at peace. The music is just perfect, burbling electronics, tribal drums, and twinkling synths, taking the album out on a very high note.
Gossamer gets better and better with each subsequent listen. Angelakos and Zane have truly outdone themselves with the production work, each song having its right place and feel within the record proper, but also working just as well on their own. In a year where I thought Beach House's Bloom was a sure-fire bet for my best of list, this amazing record (along with Purity Ring's debut Shrines) is putting up a hell of a fight.
Rating Scale:
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 piques 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.
Monday, July 16, 2012
Album Review: Frank Ocean - Channel Orange
Frank Ocean
Channel Orange
Rating: Yeah Daddy Make Me Want It
Of course, Frank Ocean's official debut album is going to be overshadowed by his revelation that he is gay/bisexual and that his first love was a man. And yes, there are lots of lyrics to be read in light of that admission, but Channel Orange is definitely not a "gay" record. In fact, one of the interesting things about the record is just how inclusive it is, touching on relationships both homosexual and heterosexual, as well as on issues affecting Ocean and society in general. This makes Channel Orange a very humanized record, but also seems to keep the listener at arms' length at times, Ocean only letting you into see the real Frank in brief snippets and glimpses. Reading over the other basically glowing reviews of the record, it surprised me a little bit about the consensus, as for me, this record, while still very good, lacks the cohesiveness and thrill that his mixtape Nostalgia, Ultra had for me. The songwriting seemed stronger and his voice in better form.
Where Nostalgia, Ultra seemed precisely of its moment in time, Channel Orange has a distinctly old school, Stevie Wonder meets Marvin Gaye feel to it. Even the sketches that litter the record are infused with a vinyl/AM radio vibe. This goes a long way in creating that cohesiveness that I think is lacking lyrically. Channel Orange works best when Ocean is pouring out his soul about something personal to him. "Thinkin Bout You," perhaps the one overtly "gay" track, is a remembrance of the man Ocean first fell in love with, who apparently did not feel the same way about him. Ocean trying to make light of the situation "No, I don't like you, I just thought you were cool enough to kick it/Got a beach house I could sell you in Idaho." And later still let's out he's still in love "I've been thinkin' 'bout you
Do you think about me still?"
The gorgeous and haunting "Crack Rock" details his experience watching someone he cares for descending deeper and deeper into drug addiction. Ocean's voice filled with regret and fear: "How you feeling girl/How's the gutter doing."
Which continues in the drug mule tale "Lost," the character losing sight of her goal in life "Girl you know you're lost/Lost in the thrill of it all."
On "Bad Religion," one of the standout tracks, has Ocean baring his soul nakedly and honestly, running from his troubles:
"Taxi driver, you're my shrink for the hour
Leave the meter running.
It's rush hour,
so take the streets if you wanna.
Just outrun the demons, could you."
Which flows into the stunning ballad "Pink Matter," a regretful tale of love lost, which gives you goose bumps with the power of Ocean's voice and and understated rap from Andre 3000.
And on "Pyramids" Ocean finally flexes his creative muscles, and puts together an amazing almost 10 minute track, tracing the power of sex over generations from Cleopatra to the present. The track effortless moves from R&B come on to funk workout and back and forth.
But for me, the album is just not consistent enough. Too many tracks feel like sketches that needed to be edited heavily. "Sierra Leone" flows along a porn movie soundtrack vibe with almost no melody to spare. "Super Rich Kids" is an indictment of rich kids enjoying the high life without any parental supervision. But from the track, there really doesn't seem to be much fallout from this lifestyle, which makes it more of a recommendation than a scold. While "Monks," a glittery tale of groupies doesn't really add much to the genre, and its tepid funk-lite backing does little to improve things.
Channel Orange is a good record, just not as great as the hype would lead me to believe. I was expecting to be blown away, and instead, was left shaking my head, to be honest. Ocean's voice is in fine form, but lyrically he seemed all over the place, not focusing enough to make something sublime. Channel Orange, to me, is like that pesky sophomore slump, where there is enough to keep you wanting more, but not enough to merit repeated listens.
Rating Scale:
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 piques 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.
Sunday, July 15, 2012
Jam of the Day: Baroness - "March To The Sea"
I've been on a metal kick lately. I'm really enjoying this track off the Savannah band's new double album Yellow & Green.
Saturday, July 14, 2012
Friday, July 13, 2012
Jam of the Day: Azealia Banks - "Esta Noche"
Slick, filthy track from sassy Azealia Banks and her mixtape Fantasea, which can be downloaded here. The track was produced by Munchi.
Album Review: Gojira - L'Enfant Sauvage
Gojira
L'Enfant Sauvage
Rating: Woof Daddy
When asked about the meaning of the title of their 5th album, frontman, guitarist and songwriter Joe Duplantier said “When you become a musician, you don’t have a boss telling you what to do so you have to be very responsible.” Then notes that, “With freedom comes responsibility, so I’m asking myself, ‘What is freedom? What does it mean to me?’ L’Enfant Sauvage reflects on that. There’s no answer though. There’s just life and questions.” Through 11 blisteringly precise tracks, Duplantier and company touch on many themes of self-reliance vs. dependence and how ultimately we are all in control of our own lives and how we live it.
On the title track, Duplantier lets out through guttural howls how he's taken control of his path: "I've killed a part of me that was raging/The pain is gone/The denial/I've run away from institutions/I own myself, life." The guitars and jack hammer drums increasing in intensity and fury.
On "The Axe," another furious blitzkrieg of monster riffs and thunderous drums, wallowing in a mire of self-doubt and pity is no longer an option, "I lost my fears and the notion of time/I healed my sorrow/All boundaries are illusion."
On album highlight "Liquid Fire," sounding like the metal equivalent of a Killing Joke track, the guitars wail and plunder over a martial beat, Duplantier trading vocals a back and forth with the voices in his head, relying on nothing but himself and the natural world for his beliefs and direction: "This is how we talk to the world/Pure liquid fire running through our veins/We're in this alone, we bow to no one/Carved by the waves, our sacred temple."
The technical precision on display here is almost overwhelming in its intensity. The stop start time changes and roaring guitars and drums of "Planned Obsolescence" are a master class in metal.
"Mouth of Kala" and album opener "Explosia" both unleash furious torrents of air-raid siren guitars as backing for Duplantier's haunting vocals.
Thankfully, the album is not just one blur of overwhelming fury, there are a lot of subtle moments and textures. From the opening, delicate notes that flow in and out of "The Gift of Guilt," the hauntingly sad opening to "Pain Is A Master," to the almost mainstream sounding "Born In Winter," Gojira knows that you need to mix things up properly to get your message and point across.
L'Enfant Sauvage is a brilliant metal album that I highly recommend checking out if you are even remotely interested in the genre at all. Aside from the usual intense guitars, guttural howls, and machine like drumming, there is a focus here on melody, texture, and impact that raises it above mere technical proficiency to something bordering on the sublime.
Rating Scale:
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 piques 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
Another Friday, and another batch of hot videos:
Creepy, black and white shot video for the new Walkmen single.
Gorgeously shot video for one of the many standout tracks on Purity Ring's debut album Shrines.
Pretty cool futuristic sports hybrid video from Justice.
Goofy, 80s inspired video from Crocodiles.
Fun, summery skateboard inspired clip.
Fun, return to form sound from Bloc Party.
Creepy, black and white shot video for the new Walkmen single.
Gorgeously shot video for one of the many standout tracks on Purity Ring's debut album Shrines.
Pretty cool futuristic sports hybrid video from Justice.
Goofy, 80s inspired video from Crocodiles.
Fun, summery skateboard inspired clip.
Fun, return to form sound from Bloc Party.
Thursday, July 12, 2012
Album Review: Dead Can Dance - Anastasis
Dead Can Dance
Anastasis
Rating: Yeah Daddy Make Me Want It
Sixteen years since their last record Spiritchaser, Lisa Gerrard and Brendan Perry have reformed Dead Can Dance and have released their 10th album Anastasis. Back in the 80s, when they recorded for the inimitable 4AD record label, each one of their releases was almost shrouded in mystery, as if they resided in some ancient castle tower making music only they could make. From their earliest, goth-post-punk sound on their debut, the haunting soundscapes of Spleen and Ideal and Within The Realm Of A Dying Sun, to the world music and classical underpinnings of The Serpent's Egg and Aion, Dead Can Dance have always pushed their sound into new and exciting territory. It wasn't until Into the Labyrinth and Spiritchaser where others had leeched off their signature sound explorations and Dead Can Dance no longer sounded as original and ground breaking. In the interim between their last album, Gerrard focused on film scores while Perry mostly stayed out of the spotlight, recording some solo works and doing minimal touring.
The least shocking thing about Anastasis is how little has changed in their sound in 16 years. In the flow of their catalog, it fits in seamlessly with their progression from challenging sonic architects to more mainstream world music influences. As always, the album is impeccably produced and recorded, the sounds rich, warm, and inviting. But in its stead, the songs, while all beautiful and moving, lack something, the element of risk and danger that permeated their best works. I can honestly remember the first time I heard "Persephone (The Gathering Of Flowers)" off Within The Realm Of A Dying Sun and how my goosepimples got goosepimples; or when I saw them live back in the 90s and being brought to tears by the haunting vocals of "Sanvean." To my great disappointment, no such moments occur on Anastasis, but still, one is always going to be disappointed to some degree when a long revered band gets together and doesn't meet one's expectations. As a result, I had to sort of divorce this album out of their catalog in order to look at it somewhat objectively. Overall, I will still say Anastasis is a very minor work for them, but is not to say it is without its ample charms.
Strangely, Anastasis relies more on Perry for the vocal heavy lifting. The foreboding, almost glacial pace of "Amnesia" focuses on Perry's rich baritone, while lush, haunting strings and piano glide alongside.
Dense percussion and vibes also propel the gorgeous soundscapes of "Opium;" Perry's voice sounding world weary and haunted. The song recalls an updated version of "Black Sun" from Aion, the strings winding around the track in a vise-like grip.
"Agape" finds Gerrard using her still pliable voice to amazing effect, taking the Middle Eastern flavors of the tracks and throwing her voice at the rhythms with wild abandon. The later addition of echoing guitars adds a modern sheen to the song, which would have been a good idea for the rest of the album. As such, a lot of the tracks feel like Dead Can Dance lite at first, as if some cover band took over for them, aping them down to the last note. For example, "Kiko" plods along at first to clattering percussion, droning strings, and fairly standard Middle Eastern flourishes until almost the 4 minute mark where the music takes a slight turn into a swirling fantasy of strings and dulcimer and some life is finally injected into the track.
While "Return Of The She-King" begins as an almost Irish parody with typical strings and hand organs before the end of the track where Perry and Gerrard's vocals mesh and merge with one another as a bevy of lush strings winds between them
But too often, the tracks just never achieve any sort of lift-off, remaining chained to their earthly roots. Final track "All In Good Time" should be a roof raiser, but features a fairly listless Perry vocal and a bed of generic strings that tries but never seems to go anywhere, while opener "Children of the Sun" suffers from rather ponderous/cliched lyrics. Further, Gerrard's distinctive voice is not used as much as it should be, only really coming to the forefront on a couple of tracks. And when it is used, sometimes it is squandered by a listless accompaniment, as on the treacherously dull "Anabasis."
When bands get back together again after a lengthy hiatus, I am always hesitant to listen to their new work, more out of fear their legacy will tarnished by inferior work. So it was with high trepidation I listened to Anastasis, and, initially, it did nothing for me, sounding too much like Gerrard's film work, as if it were meant for short, punctuated scenes. But over time, the craftsmanship and gorgeous production work were enough to win me over. As such, Anastasis does not in any way lessen Dead Can Dance's legacy, but at the same time, it really does nothing to propel it forward.
Rating Scale:
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 piques 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.
Wednesday, July 11, 2012
Album Review: Beat Connection - The Palace Garden
Beat Connection
The Palace Garden
Rating: Yeah Daddy Make Me Want It
Someone must not have told Seattle electro-poppers Beat Connection that Seattle is grey and rainy, what with their collection of bright, sun-kissed pop confections that have far more in common with summer days spent at some fabulous Mediterranean resort than with the rain soaked plaidness of their city. Taking equal parts Friendly Fires, Cut Copy, Tough Alliance, and even Foster the People, Beat Connection have crafted a pretty savvy debut that expertly rides the line between pop experimentation and pop mainstream, presenting a deliriously sunny set of tracks that are the perfect soundtrack for beaches and picnics everywhere.
Opening with the gorgeous analog bubblebath of "New Criteria," it is apparent from the beginning of The Palace Garden that this is not going to be a gloomy affair, with waves of warm synths caressing your ears before swooning into the glorious title track, a wonderful slab of Balearic dance pop.
The percussion heavy "Saola" buoys sparkling synths and horns and gets more infectious with each spin.
"Further Out" builds into a heavily Caribbean accented rave up.
"Sometimes Wonder" swirls against its bright four to the floor rhythm.
While closing track, and album highlight "En Route" shows how Beat Connection can easily merge their pop/experimental leanings into something close to perfect.
There are more experimental leaning tracks that, while usually something I look forward to on a record, do tend to take the focus away from the task at hand. "Invisible Cities," which is a lovely reggae tinged number with some lovely harmonies, tends to slow the pace of the record a bit,
as do tracks in the middle of the record, like the droning "Trap House" and the repetitive "Think/Feel," which glides along nicely but never really makes much of a lasting impression.
Aside from this mid-album slow down and a couple of interesting but forgettable instrumental interludes, The Palace Garden is a very solid debut from this Seattle quartet. Funny how, in contrast to my usual predilections, I was more drawn to their poppier songs. They seem to flourish more when they just let go and not try to be so serious. Here is hoping they continue down that sun blessed path.
Rating Scale:
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 piques 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.
Video: Purity Ring - "Fineshrine"
Gorgeously shot video for one of the many highlights on their brilliant album Shrines.
Tuesday, July 10, 2012
Video: Bloc Party - "Octopus"
First single and video from Bloc Party's upcoming 4th album entitled simply enough Four. Sounds like they are going back to a more guitar-centric sound.
New: The Killers - "Runaways"
First single from The Killer's upcoming album Battle Born finds the band returning to their Bruce Springsteen fixation again.
Video: Twin Shadow - "Patient"
Not one of my favorite tracks on his new album Confess, but it continues the storyline of the video for "Five Seconds" taking it into sort of a Pat Benatar "Love Is A Battlefield" meets Mad Max area.
Jam of the Day: Birdy Nam Nam - "Goin' In" (Skrillex Goin' Hard Mix)
Killer remix.
Here's the original track.
Album Review: Supreme Cuts - Whispers In The Dark
Supreme Cuts
Whispers In The Dark
Album Review: Yeah Daddy Make Me Want It
Chicago duo Mike Perry and Austin Kjeultes, who make up Supreme Cuts, could be accused of being scattershot and schizophrenic as producers; their debut album Whispers In The Dark flies all over the place, touching on cloud-rap, witch-house, two step, R&B, juke, and footwork, never really slowing down to explore one genre thoroughly. It is a testament to their talent that the album is not an unholy mess as there appears to be a method to their madness that works more often than not.
Whispers In The Dark gets off to a shaky start with the brief opening instrumental "Whispers Part 1" which doesn't make any sort of grand statement as to where the record is going, leading into the equally confused "Lessons of Darkness (Apology)" which meanders in a haze of droning analog synthesizers.
The album finally kicks into gear with the two step excursion "(Youngster Gone Off That) Sherm," gliding over drum programming, soaring synths, and displaced vocal samples.
The moodier tracks work the best on Whispers In The Dark. The rolling drama of "E2" which marries a hurried juke beat with witch-house like synth fanfares, the Clams Casino-esque cloud rap of "18th," and the Dirty South beats punctuating the disembodied vocal samples of "Belly.
Other standouts are the delicate soundscape of "Ciroc Waterfalls" that recall the more ambient side of witch-house purveyors like Balam Acab,
and the rumbling, thumping tribal beats of "Val Venus" that sparks some needed urgency to the album.
But too many tracks come across as sketches or ambient noodling that don't provide any direction or focus to the record. "Intermission" is a pointless :30 interstitial that I suppose is meant to provide a bridge to the second half of the record, which would be fine, if the two sides felt like two separate and distinct halves. Oddly, this instrumental leads directly into another short instrumental "Whispers Part 2," which is equally perplexing. Likewise, the placement of other plodding tracks kills the momentum as well. "Epitome" is not a bad track, it has a nice rambling quality, but in the context of the flow of the record, it stops things dead in their tracks. While the closing title track ends things on a down note, its 8+ minute run time and promising piano intro that is squandered by an aimless trajectory, the track never building itself into anything until the very end when the drums and synths kick up, only to fade again into nothingness.
Pacing and diversity of genres aside, Whispers In The Dark is still too well produced to dismiss lightly. It is an interesting debut that shows what this duo is capable of and, with the right focus, shows that they can take their sound to the next level should they so decide.
Rating Scale:
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 piques 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.
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