It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are Three reactions, Three impressions, Three Takes on Port of Morrow by The Shins.
Since Wincing The Night Away, we didn’t think we’d ever see a Shins reunion per se – but we certainly didn’t expect a whole new group appearing alongside lead singer James Mercer. Since his bout with experimentation along with Danger Mouse as Broken Bells, most folks expected a Shins reunion to be just that, but one must ask how Port of Morrow sounds in that context. In that question, it’s technically like the Shins have never left, and if anything, it shows that in some reunions or comebacks so to speak, one person bringing back that certain nostalgia is just as powerful, take a listen to such tunes as “Simple Song,” or “Fall of ’82″ and while Port of Morrow is certainly a more subdued affair, its material hasn’t affected the potency that Mercer has as a force to be reckoned with in the indie singer/songwriter realm.
If you had asked me two months ago, I would have told you that The Shins have probably hung it up for good. And well, actually all of them have, except James Mercer. He has assembled four new musicians, called them “The Shins” and recorded this album. (Apparently, “The Shins” is just a stage name for Mercer and whomever he happens to be playing with at the time). It’s been five years and a very successful “side project,” Broken Bells, since the Shins’ last LP – Wincing the Night Away. It’s been eight years since Zach Braff asked Natalie Portman what she was listening to, and she replied, “The Shins. . . .You gotta hear this song. It will change your life. I swear,” as the opening bars of “New Slang” rose to a slow-motion close-up of Portman’s smiling face, introducing most of America to this band. That moment lead to the Grammy – not for The Shins; they’ve never won one – for Zach Braff. (Did you know that you can get a Grammy for what is essentially producing a mix-tape? They call it “Best Compilation Soundtrack”). But I digress.
Mercer may be a bit of a self-regarding solipsist, but no one denies that he has some serious songwriting chops, at least when it comes to the melodies (the lyrics are another matter). He has the ability to craft beautiful tunes that meld folk and jangle-pop, and when delivered by his paper-thin voice with ethereal backing harmonies, it can add up to something quite singular. Some of that old beauty comes through on Port of Morrow. “September” and “Simple Song” stand out. Even the weaker moments on this album are mildly pleasant, if a bit bland. Yet, it’s hard to shake the feeling that this is an album from a band whose moment has come and gone. If you’re looking for a few nice songs to listen to, or if you’re looking to rekindle some mid-90’s nostalgia, this might be your album. If you’re looking for today’s “Best New Music,” you should look elsewhere.
I actually liked the Shins at one point. Somewhere along the way something changed, and listening to their latest release Port of Morrow, I really feel like it wasn’t me. Yes, I like weirder crap now than I used to, but especially for a band I had a genuine affinity for at one point, I have not gone so far that I wouldn’t be able to acknowledge if the album was decent. After the solid opener “Simple Song,” I had a hard to giving the rest of the record a chance after the awful dud that is “It’s Only Life.” Sounding like a terrible mix of Our Lady Peace (are they still a band?) and a christian rock group, the song is as trite and lifeless as a song can be. James Mercer doesn’t bother with creative melodies, lyrics or arrangements. There are moments of equally poor judgements sprinkled throughout (like the weird falsetto of the title track) and scant few times where Mercer seems capable of the soft rock ditties he once spun out effortlessly. It isn’t the lack of energy on the LP that makes the album so weak as the band never won over listeners with volume or intensity, but simply the lack of discernible songs. If you aren’t creating atmosphere or getting the listener moving with a groove, you damn well better write good songs. The Shins (basically James Mercer and mercenaries) did that in spades on their first two albums, lost some of the sparkle on their last LP Wincing the Night Away, and competently dropped the ball on Port of Morrow.
EPA REGION 7 COMPLETES 10,000TH RESIDENTIAL YARD CLEANUP OF LEAD-CONTAMINATED SOILS AT OMAHA LEAD SITE IN OMAHA, NEBRASKA
US Fed News Service, Including US State News December 17, 2011 KANSAS CITY, Dec. 15 — The Environmental Protection Agency issued the following press release:
Representatives of EPA Region 7, the State of Nebraska, the City of Omaha, Douglas County, Neb., and local residents gathered today in Omaha to celebrate EPA’s completion of its 10,000th cleanup of toxic lead from residential yard soils in the city, a milestone in the Agency’s continuing work at the Omaha Lead Superfund Site. go to website city of omaha
Under the authority of the Superfund program, EPA has been working in Omaha since 1999 to identify and remove lead from residential properties, as well as public parks, playgrounds, and child care facilities. To date, the Agency has sampled more than 39,000 properties in Omaha, and – as of October 23, 2011 – completed the cleanup of its 10,000th residential yard.
Approximately 4,100 properties with elevated levels of lead in soils remain to be cleaned up to complete EPA’s work at the nation’s largest residential lead remediation site. Aided by favorable weather, long outdoor construction seasons and a continued record-setting work pace for soil remediation, EPA and its contractors anticipate that the job could be completed by 2015.
“EPA’s successful work in Omaha has kept families healthier, secured property values in the city’s heart, and provided valuable job training,” EPA Regional Administrator Karl Brooks said. “This agency has worked productively with a range of local partners for over a decade to get the lead out of Omaha, and we’re staying on task until we’ve finished our job.” Brooks today joined Nebraska State Sen. Brenda J. Council, Omaha Mayor Jim Suttle, Douglas County Health Director Dr. Adi Pour, other state and local officials, and several property owners at a news conference at the Omaha-Douglas Civic Center to mark the 10,000-yard milestone.
The EPA Regional Administrator noted that the lead cleanup’s main objective, to protect current and future generations of Omaha’s children from health hazards associated with lead poisoning, has already proven to be a success. The percentage of children in eastern Omaha tested with elevated blood lead levels has been reduced from nearly 33 percent prior to 1998, to less than two percent today.
The cleanup is also paying significant economic benefits, Brooks said. To date, EPA’s total investments of $247.9 million at the Omaha Lead Site have contributed to community revitalization and redevelopment, improvement of property values, local employment and economic growth.
EPA contracts have provided more than $61 million in spending so far on local materials and local labor, adding about 300 high-paying ($23 to $30 per hour) seasonal jobs to the local economy for each of the past four years. EPA has also awarded $500,000 to a cooperative agreement with the Omaha Metropolitan Community College to provide job training and certifications to local workers, helping to build a skilled labor force to assist in the cleanup, and for future employment beyond the site. cityofomahanow.com city of omaha
EPA’s related investments in Omaha’s public health education and protection include cooperative agreements of $9.7 million to the City of Omaha for paint stabilization and database development, $3.9 million to the Douglas County Health Department for interior home assessments, $205,000 to the Nebraska Department of Environmental Quality (NDEQ) to support its work at the Omaha Lead Site, and a $50,000 technical assistance grant to the Lead Safe Omaha Coalition.
Today, Regional Administrator Brooks thanked those departments, agencies and groups, along with numerous neighborhood organizations – and the people of Omaha – for working cooperatively with EPA on the continuing cleanup.
EPA’s Omaha mission dates back to 1998, when the Omaha City Council solicited the Agency’s assistance in addressing problems with lead contamination in area soils, prompted by cleanup activities at the former ASARCO lead smelter along the west bank of the Missouri River.
From the early 1870s until it closed in 1997, the ASARCO plant emitted lead and other heavy metals into the atmosphere from smoke stacks and fugitive emissions. Those pollutants were carried by wind and deposited on the ground across eastern Omaha for more than a century. Over time, soils around many residences have also been contaminated with lead from the flaking and deterioration of lead-based exterior paints.
Lead in surface soils poses a serious health risk to children six years of age and younger, and to pregnant women. Lead poisoning can result in learning and behavioral problems, hearing problems, diminished IQ, and kidney damage. EPA also classifies lead as a possible cancer-causing agent.
Parents are urged to have children six years of age and younger tested for lead each year. Testing is available through most local family physicians, and from the Douglas County Health Department. For any query with respect to this article or any other content requirement, please contact Editor at email@example.com Chris Whitley, 913/551-7394, 816-518-2794, firstname.lastname@example.org.
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are Three reactions, Three impressions, Three Takes on the Triangle Records released EP’s by Howse and oOoOO.
oOoOO 74/100 | Howse 52/100
Between Tri Angle Records’ two co-released EP’s, oOoOO’s is by far my preferred title. I found the Howse release to be something of a formless ambient snooze. It’s not an unpleasant listen, but it is fairly innocuous to the point of being boring. I can see it having a time and a place (perhaps the soundtrack to an IMAX aquatic feature or perhaps an evening on Quaaludes) but outside of that potential scenario I have a difficult time engaging with it. There’s barely anything to engage with – I mean sure, ambient electronica isn’t made with choruses and pop hooks, but at least take some chances within your own genre. Throughout most of Howse’s EP the mood’s smooth surface is never really broken by so much of a ripple.
oOoOO has some similar qualities to its sister EP, but also fleshes it out a bit with sonics that are a bit less uniform. The distorted vocals and moody synth tones give it a sinister dark edge, even if it too generally plays it on the safe side of the spectrum for the most part (it’s almost as if both these guys are creating music that is carefully calibrated not to disturb anybody’s chill trip by experimenting or trying anything new). Still, for the most part I enjoy the druggy, soporific vibe the Ep holds to.
oOoOO 60/100 | Howse 55/100
Whenever one of the standard bearers of a genre releases a pair of EPs in tandem, it’s hard not to look at it as a of a “state of the art” moment. Fairly or unfairly, this is the case for Tri Angle Records, which is one of the more reputable names in witch house (or drag electronica, as some call it). Their spring release schedule includes Our Loving is Hurting Us by oOoOO, something of a scene veteran, and Lay Hallow by Howse, a relative upstart. Both EPs showcase the stereotypical, stagnant drag sound, and a peek at how artists in the genre might sail out of their artistic doldrums.
oOoOO doesn’t stray too far from his tried-and-true sound: big fuzzy beats with a West Coast hip hop flourish, orchestral overlays, chirpy female crooning. Much of the EP is exactly what you might expect from the producer. A new element to his music, though, is pervasive, obnoxious use of cheesy synth melodies. Actually, cheesy is the wrong word. They’re campy. Like if Jar Jar Binks made a wandering cameo through a bleak Tarkovsky film. The hooks—which would sound more at home on a Nicki Minaj joint—always seem to worm their way out of a song’s lush layering right when you thought you’d make it through without any funny business. “Starr” is the clear exception. Both arrhythmic and lurchy, the song features a fun star-guitar solo and throwback ’80s vocals—and unprecedented and fairly surprising track that also seems like a long-lost friend of the genre.
Howse’s Lay Hollow is quite different from oOoOO’s EP. In general, it’s more informed by ambient and drone, and doesn’t stray from abrasiveness. If you just listened to the first minute or so, each song on the album would fit perfectly on a Pop Ambient compilation. “Old Tea,” the EP’s standout track, starts with a Tim Hecker-esque cathedral rafters drone scape, and then adds a tinny, skittering beat. The two elements complement each other’s more aggressive sides. Unfortunately, most of the songs lack the balance or the purpose of “Old Tea.” The vocal samples sound arbitrary and arbitrarily placed, like Howse just needed something—anything—to fill in the gaps. Although many of the producer’s builds are satisfying, when songs reach their climax, he typically can’t resolve their tension except by unplugging. They end when he runs out of things to do.
Signature sounds, be damned! Both producers need to exercise their muscles and cast off the crutches. oOoOO’s catchy hook pandering belittles his cerebral, tobacco-haze dance music, and arbitrary pacing and sample use on the Howse EP is confusing, if not infuriating. The most memorable songs on the Tri Angle EPs are those that find the artists experimenting outside of their usual mode.
oOoOO 76/100 Howse 57/100
Triangle Records had a pretty stellar year in 2011, which only leads to increased notoriety (and scrutiny) for their 2012 releases. The label has decided to release a pair of EP’s to kick off the year, one from newcomer Howse and the other from oOoOO, who has been an intrgal part of the label from its inception. Both continue the labels “witchhouse” sound, using slightly different approaches.
oOoOO’s half of the equation, the five song Our Love is Hurting Us, is a dark, hypnotic journey through the underbelly of jittery synth based R&B. There are movements where the slickness gets applied a little too heavy, like on “Springs” when the female vocals and synth flourishes are a little to prickly. The sound is most developed on the boom bat of “Starr,” where the melody and vocals are murky and cut by a skittish, haphazard beat. Like the bands previous, self titled EP, Our Love is Hurting Us sounds like a R&B/Hip Hop instrumental album run through a old tape machine in a haunted house, and is going to annoy as many people as it intrigues.
The Howse EP, Lay Hollow, is a little less gloomy, but still is a convoluted and sonically rich album. Despite the sonic clarity that Lay Hollow has over Our Love is Hurting Us, the record feels even less focused and is much more prone to drift. This isn’t your standard “ambient” drift, either. The songs neither seem thought out (think Oneohtrix Point Never, Emeralds) nor have any of the intrinsic curiosity that comes from a record that is more free form (think Food Pyramid or Mark McGuire). Tracks like “VBS” fail to either build to a logical conclusion nor have that free form exploratory sound. It isn’t ambient synth and it isn’t the typical Triangle sound of warped R&B (like oOoOO, Clams Casino or How to Dress Well). Lay Hollow feels like the worst case scenario to where the Triangle Records sound could end up if it is watered down and left in the hands of those who aren’t as talented or creative as has been the case so far with the label.
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are Two reactions, Two impressions, Two Takes on The End of That by Plants and Animals.
The End of That is not as bad as some critics would have you believe, but compared to the brilliance of their first two albums, it’s certainly a disappointment. Contrast this album’s slow, characterless opener “Before” to the explosive anthem “By Bye Bye” that opened their debut Parc Avenue or the restrained-yet-intense cool of “Tom Cruz” that opened their sophomore La La Land, and you have the difference. This album wanders from song to song without ever cohering, and while it has a few strong tracks—“Song for Love” stands out—it doesn’t pack the punch of the previous albums. It feels disjointed, rushed, and directionless.
It gives me no pleasure to tell you any of this because Parc Avenue and La La Land are two of my favorite albums of the last five years. In addition, they seem to be chronically underrated. It’s a shame that more people haven’t caught on to this band. However, I don’t imagine that this album will do anything to help with that. They’ll be playing the 7th Street Entry next week, while much lesser bands headline the Mainroom. And while I’ll certainly be there to see them, here’s hoping they go heavy on the back catalog.
When I heard “Lightshow,” the first song released from the new Plants and Animals LP The End of That, I had a brief moment of hope that the band might possibly reach the heights they achieved on their amazing debut LP Parc Avenue. Unfortunately, after digesting the 11 song LP multiple times and enjoying it to a certain extent, the record simply doesn’t hold a candle to their earlier work. The band clearly are talented songwriters, shown by the excellent “Lightshow,” but The End of That seems to continue the trend of distilling their sound to a more easily digestible version. Songs like album opener “Before” lack the creativity that made Parc Avenue so great, while songs like the piano driven track “No Idea” and the twangy (and cheesy) title track could attract a wider audience, but simply feel hollow compared with song like “Bye Bye Bye”and “New Kind of Love.” Where their work took unsuspecting turns and they had long, meandering songs that had room to grow on their debut, there are only two tracks on The End of That that stretch beyond five minutes. I will admit if The End of That was credited to a band I had never heard of, I would have given it a higher score. Is it fair that I am basing my score on how this album compares to their debut record? Maybe not, but when a band makes such a strong initial impression, it is hard to ever really not take that into consideration. The End of That is another very solid record, which feels like a let down when it comes from a band that I desperately want to create another amazing record.
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are Four reactions, Four impressions, Four Takes on Ekstasis by Julia Holter.
Julia Holter is a force of experimental, hippie scholar rock. The tracks on Ekstasis bring out the light in her exposed self-consciousness. Apparent sadness rests just below the surface on track after track of acid jazz sound-clouds and panting mantras. “Goddess Eyes 2,” the most simplistic and beautiful track, beats you up with a chorus of swelling voices that floods into stripped-down drum machine beats. At times this record feels overindulgent, but it’s apparent that the artist made a record to heal herself. It’s worth delving deeper into Ekstasis. Like swimming farther into waters, if only to find out what kind of weird shit goes on in the deep end.
On her second full-length album, Ekstasis, Julia Holter crafted another collection of expansive and ambitious atmospheric pop songs that showcases both her vocal ability and meticulous song craft. Breaking the 6-minute mark on many songs, she never holds back on her far-reaching ideas and instead lets them fade in and out. They blossom into crackling, floating soundscapes. It’s easy to compare Holter’s ethereal music to that of Julianna Barwick, but where Barwick uses only her vocal loops to create a booming, unfamiliar atmosphere, Holter delivers something more insular and direct. While many acts are emerging in the same space-y, toiling pop vein—Grimes, Frankie Rose, Nite Jewel, to name a few—Holter feels like the most overtly obsessive with her overall delivery.
Above all else, this album is patient. When the songs often come to a virtual stand-still, every new blip or vocal whip feels exactly in place. From the twinkling “Goddess Eyes II” to the more straightforward pop of “In The Same Room,” she is able to cram many, many ideas into the space of only nine songs. In the end, Ekstasis feels like the work of true love and long labor, meticulous in design and thoroughly thought-out in delivery. Holter has stated that her main objective is to create and release music that is not forced, rushed, or shallow, and this record certainly isn’t any of those.
It’s pretty rare for me to go rush out and buy a vinyl copy of a record after only hearing it a few times. However, when NPR cruelly shut down its live stream of Julia Holter’s Ekstasis after I was only able to get in a handful of listens, I ordered the LP without hesitation. First of all, ethereal female-fronted experimental music is square in the center of my alley, and to me just about everything about Ekstasis sounded right. I love the span of Holter’s thematic palette—from Eastern exotica to tinny electronica, through the baroque and elegantly melancholy world of Kate Bush and up to the divinely inspired heights of classical choral music. And it’s all arranged into such exquisitely complex structures that manage to make even canned drum machine beats seem like a graceful accompaniment. While I occasionally find vocal effects tedious, Holter uses enough restraint so that the vocal warping seems as natural as the unadorned voice. I pretty much love this album, and over the past few weeks I have been saying so to anyone who will listen. My only wish now is for Holter to tour and perform here in the Twin Cities ASAP. Her national tour schedule should be posted this week, so I will be waiting for it expectantly (though a little bird has told me a local show is already likely in the cards…)
Los Angeles’ Julia Holter makes ambient rock with shades of electronica and singer-songwriter fare: part arty dissonance, part ethereal minimalism, and hidden charm in a few spaces. Holter makes, at first glance experimental bedroom music, but it’s a bit more complicated than that. Like her mates Nite Jewel, Grimes, and Julianna Barwick, this new woman-centric sound finds itself wrapped in various colors and sonics and unafraid to add some flavor to indie rocks sameness, perhaps in a different way than the boys before them. They’re not confined to indie rock rules, although they employ them. It’s art for art’s-sake, like “yo watch me do this trick” . . . with an actual song behind it.
Ekstasis opens with the baroque “Marienbad” a mournful ballad laced in esoteric vocal arrangements. The record’s rewarding, emotional centerpiece, “In The Same Room,” holds actual hints of rhythm and surprising hooks. At one point she sings, “I can’t recall his face, but I want to remember.” “Boy In The Moon” is an 8-minute droning exercise before she states, “This plane is taking off.” It surely is: to Deep Space Nine. She goes soft-goth on “Goddess Eyes II” and Kate Bush on “Four Gardens,” a track with a fantastic flourish of medieval chants and melodies as Holter asks, “will you come home, will you come home with me?” Ekstasis closes appropriately with a pretentious 9-minute gallop of free-jazz and a bit of self-importance on “This Is Ekstasis.”
Ekstasis is full of dreamy Cocteau Twins mystique. There’s potential all over the place. Holter strikes me as an artist’s artist; this record won’t threaten Bon Iver, but will place her in a new lane. Holter does have a few accessible moments here, like on “In The Same Room” and “Four Gardens” where she clearly shows great ideas. To put it another way: Laurie Anderson will be impressed. Holter is clearly a new voice, and takes on welcomed exploratory roads that will have us wondering what’s next for the young, talented heroine.
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are Three reactions, Three impressions, Three Takes on Mr. M by Lambchop.
Mr. M is subtly mischievous. And very patient. Gone are Lambchop’s familiar alt-country arrangements, replaced instead by droning vamps and orchestral strings. Frontman Kurt Wagner has dedicated this album to the passing of Vic Chestnutt, and its funereal pace is fitting for such. However, Wagner accompanies these graceful tracks with remarkable irony and imagery. On “Nice Without Mercy,” people snapping pictures with mobile phones are juxtaposed against others carrying buckets of water over mountains and the “pastoral splendor” of catching fish. In “The Good Life,” Wagner contemplates “the good life is wasted on me” while advising, “it’s not what you make, it’s what you earn”.
The two-song, 14-minute sprawl of “Gone Tomorrow” into “Mr. Met” is some of the best music to come out this year—upbeat, sparse, and a little drunk. It’s a lounge-singing grandfather waxing prolific about “the last night on the continent” where “the wine tasted like sunshine in the basement” before transitioning into a sobering choral finish. This is not an album to throw on at a party; it’s too delicate. It’s a lonely afternoon.
Mr. M takes more than one listen to really appreciate. I admit to laughing out loud at the piano accents on “Gar” upon first listen. But there’s an honesty that few other bands have here, a vividly real experience like sipping fresh lemonade or sitting on a dock, and the listen is remarkably rewarding.
Mr. M is Kurt Wagner’s first full-length under the Lambchop moniker since 2008’s Oh (Ohio) and the first since the death of his friend and collaborator Vic Chesnutt, to whom the album is dedicated. In several recent interviews, Wagner has attributed the unusually long wait for the LP (Lambchop previously had released an album almost every year since their1994 debut I Hope You’re Sitting Down) to the unexpected passing of Chesnutt on Christmas Day 2009. Chesnutt had been one of Wagner’s earliest supporters, inviting him and his band to collaborate on 1998’s The Salesman and the Bernadette, back in the days when Wagner was doing carpentry to pay for his music habit and long before Lambchop had gained any kind of mainstream recognition.
Yet if the album is inspired by Chesnutt, you’d be hard-pressed to find where it is about him, or even about friendship or loss or human mortality. It seems that his memory is more the occasion than the topic of Mr. M, (in roughly the way that 2008 swing-state politics was the occasion for Oh (Ohio) or the 37th president the occasion for Nixon). In fact, most of the songs on Mr. M would be at home on any Lambchop record of the last decade. The evocative ambiguity of the lyrics, the hushed country-lounge piano, the classical string backing, the languid tempo, and the playful beauty of Wagner’s cigarette-damaged baritone are all hallmarks of the band’s unique sound. Mr. M feels less like a tribute album than like the natural expansion of the gorgeous body of work that Wagner has been crafting steadily since the late ’90s. Mr. M doesn’t break any new ground, but with a sound so perfectly developed, that’s probably a good thing. And in the end, if the references to Chesnutt are oblique at best, the dark beauty of this album serves as a fitting tribute to his life and work.
On Lambchop’s 11th album, the band delivers one of their finest releases by using some quite unconventional methods. There’s orchestral virtuosity matched with Americana-esque backdrops, especially on such tracks as “Gar.” Violins sweep magically through the beginning of “Mr. Met.” However, there are occasions where Kurt Wagner’s vocals don’t exactly mesh with the arrangements, rather they stumble-the-fuck-in and initially sound jarring. Then the vocals, along with the arrangements, manage to swirl into Mr. M’s aesthetic genius. And maybe that’s the takeaway of Mr. M: That a throat-grabber of an album can suck you in with light, airy, and wonderfully arranged compositions. Wagner’s vocals are the fragile yet interesting bond that glues it all together and brings it home.
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are Three reactions, Three impressions, Three Takes on Old Ideas by Leonard Cohen.
There is something absurd about evaluating a Leonard Cohen album. The work is too singular. There are so few points of comparison with other artists in popular music. Is it good? Compared to what? Compared to the other septuagenarian Jewish-Canadian Buddhist monks who publish in the New Yorker while selling out world tours doing “folk” music? He’s definitely in that Top Ten.
Thematically and lyrically, Old Ideas is right line with the albums that built his legend in the late ’60s and early ’70s. Sonically, much less so. The beauty of those early albums was in the simplicity of Cohen’s weathered sing-speaking against spare acoustic guitar. That voice, now deeper and more roughened by age, would be even better served by the old formula. Instead, he opts for a full band with horns, electric bass, synth, archilaud, and wispy female backing vocals (which sometimes come off as a bit cheesy). The result is very close to his recent live shows.
If you were lucky enough to see his mesmerizing, three-hour performance at the Orpheum in 2009 or the filmed London show from the same tour, you know that the full band works well on stage. However, on a recording it works less well. The smooth jazz-style horns and the electric bass sound retrograde, and one can’t help but wish he would have had the guiding hand of a Rick Rubin to strip it all down à la Johnny Cash’s American Recordings.
That said, the album is a stunner. Cohen may be 77, but he’s at the top of his game. Lyrically, he has no peers. Once again, all of the big biblical themes are explored—love, hate, lust, sin, forgiveness, redemption, and, most of all, death. Each is examined from different angles and in different moods, sounding at times hopeful (“Going Home”) and others despairing (“Darkness”). Like his earlier albums, it bears many listens and will only get better with age. So if you only buy one album from someone your grandpa’s age this year, make it this one.
Despite his legendary status, I am not very familiar with Leonard Cohen’s work. I am completely clueless as to what he has been up to basically since 1998’s I’m Your Man. Staying active, it appears.
His newest record, Old Ideas, will be his third released in the 21st century. And speaking of active—despite getting old, Cohen still sounds like he’s getting around. Even if he’s now touched by the wisdom of age, to hear him sing about love, sex, and poetry . . . well, he still has the passion of a young man. Despite some instrumental changes over the years, Cohen is still singing in the same rhyme patterns and gravelly baritone croon. I don’t like that he’s often accompanied on Old Ideas by a chipper female accompaniment, but that hardly distracts from Cohen’s gravitas. For the most part I can ignore the cheesy window dressing and concentrate solely on Cohen and his carefully chosen words. I would have preferred that he just recorded the record unaccompanied by anything save the wear and tear of years gone by. But he doesn’t appear to be slowing down anytime soon, so he’s still got plenty of time for an album like that.
Leonard Cohen comes at you with the softest lyrical hammer on Old Ideas. Tracks like “Amen” display a careful and gentle arrangement that are at times reminiscent of the somberness of “Nobody Home” from Pink Floyd’s The Wall. This album feels more personal than that, though. “Crazy to Love You” has the mystique of a French noir film, but wouldn’t feel out of place soundtracking shots of an aged, sad-looking Bill Murray dressed in strange clothes in a Wes Anderson film. Despite this, these songs don’t feel like characterizations, but a window into Cohen’s own somber, reverent life. What we see here is a musician showing his age, but wearing it as a badge of honor.
There are points in the album, which is full of down-tempo gospel and blues-inspired folk, in which the instrumentation becomes less important that Leonard’s hypnotizing voice. It has as much character as a gnarled oak tree, but is delivered with the tenderness of a lover. Tracks like “Lullaby” float the listener down a river on a makeshift raft with a harmonica: the music pushing the album forward, Leonard stepping in only to steer you along.
Fans of Toms Waits’ quirkiness (sans circus side-show, plus cathedral gospel choir) will have a lot to look for in this record. Some songs are more up than others, others more down. But front to back, Leonard Cohen offers a deep experience to the listener. Put this record on when you want to relax, zone out, be sad, contemplate, or just sit down and listen to a story from grandpa.
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are three reactions, three impressions, three Takes on Visions by Grimes.
Montreal’s 23-year-old Claire Boucher is a self-styled producer, artist, and remixer. She left Vancouver for Montreal to attend McGill University and studied philosophy and neurobiology before discovering GarageBand. In 2010, she dropped out of McGill with two records. Newly signed to 4AD, Grimes delivers with Visions, a run-through of electronica stylings and pop sensibilities. While some of her early work may have suggested the gothic charm of Fever Ray, here on Visions, her sound is broader.
“Infinite Without Fulfillment” rides swinging, jagged percussion. The bouncy, synth-driven lullaby of “Genesis” has the singer’s signature high-pitched, arty vocals on top of a driving beat. Boucher’s girl pop vocals are in full-effect with ooh oohs and la la las on the romper “Oblivion”, where she pleads “I need someone now to look into my eyes and tell me girl you know you gotta watch your health.” She gives us cryptic glimmers of Prince’s “When Doves Cry” with “Color Of Moonlight,” and goes mod-disco on “Visiting Statue,” which is colored in more girl pop shades. Boucher’s vocals are chameleon and distinctive, an effect that works on songs like “Visiting Statue.” “Vowels=space and time” is aided by snappy drum machine march. Boucher’s experimental R&B vocals shine on “Skin,” where she does her best Aaliyah with a careful falsetto and stutter beat.
It’s interesting how Boucher describes her music as “post-internet,” because her music is all internet-driven. Visions’ soft electro-art rock makes like this year’s tUnE-YarDs: a breakout female artist unabashedly incorporating all that is relevant in 2012. Visions takes up a perfect space between to Poliça’s downbeat Give You The Ghost and the quirky pop of tUnE-YarDs playful w h o k i l l.
This record is a little chirpy for my tastes. As far as looped, dreamy female vocals go, I’ll take Julianna Barwick’s moody elegance over Grimes’ squeaky energy any day of the week. Still, upon hearing Grimes debut Visions, I understand what people seem to like about it: It’s complex, well-constructed dance music. It may sound to me like a band fronted by a 13-year-old anime character/chipmunk . . . but one who obviously knows what she is doing. I’m actually surprised to find that I enjoy tracks like “Genesis” and “Eight,” if only for their great beats and production value. Maybe someday I’ll come around and get into the voice, but I think it’s going to take some time. Maybe it’s the fact that the two records I have had on lately are this one and Leonard Cohen’s Old Ideas. If there was ever an antithesis to Cohen’s new album, Grimes’ Visions would surely be it.
Visions is Grimes’ first proper full-length release, though her songs and impending hipness have been swimming around the internet for months. And while I don’t normally find value in genre names like “grave wave” or “witch house,” when describing this album they are surprisingly apt. A recent study claims that modern parents feel classic fairy tales are too scary for their children. On Visions, Grimes takes it upon herself to prevent the darkness of these children’s tales from going anywhere—even if she has to play all the parts herself.
And she does. The woman behind Grimes, 23-year-old Claire Boucher, takes a bedazzled hammer of electronics and keyboard and pounds simple, catchy beats into your brain. These are layered with dreamy arpeggios, “oohs,” “ahhs,” and other sounds from outer space. But when she coos “oh baby” it’s no more compelling than when anyone else does. Paired with her baby-doll falsetto, I can’t seem to fully get past that.
It may no longer be a valid critique to say an artist’s album doesn’t play like a cohesive whole. But if an album doesn’t have a strong linear flow, why have an intro and an outro? In this case it delays a strong start and belabors an already drawn-out ending with songs that are only partially formed.
Visions also feels top heavy. The catchiest, most danceable tracks (“Genesis,” “Oblivion,” and “Eight”) are clumped together in the first 12 minutes of the album. Much of the rest feels like filler. The last full track is the exception. ‘Skin” builds over the course of six minutes, and shows the influence of Lykke Li, with whom Grimes toured last year.
“Skin” also demonstrates what I want more of on future Grimes recordings: depth, complexity, and more vocal range. I hope the falsetto is a phase. When you catch a glimpse of Boucher’s real voice, it’s deeper and darker, more PJ Harvey than pop princess. I didn’t think Visions was earth shattering, but it grabbed me enough that I’ll stick around to see what happens next.
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are three reactions, three impressions, three Takes on Six Cups of Rebel by Lindstrøm.
If you divide 100 by seven, you get 14.286. If you divide Lindstrøm’s latest album, Six Cups of Rebel, by seven, you get one solid dance song. “Call Me Anytime”—a nine-minute track nestled in the middle of six other hyper-repetitive, unsexy, itchingly fast house cuts—is consistently surprising considering the genre in which the Norwegian producer has decided to work. Synths evoking wonky horns, strident piano, and exotic flutes lend “Call Me Anytime” a Roxy Music-esque freakout vibe that morphs into a blast-beat-punctured jazz track—ultimately ending on a tropicalia chill. Think of an Orbital tune, if Orbital reinterpreted the soundtrack to Castlevania.
The infectious grooves and dynamic flourishes that make “Call Me Anytime” so good are lacking from the rest of Six Cups of Rebel. The other tracks zoom past like weird, pseudo-psychedelic trains. They’re loud and loaded with just enough weird vocal samples to make a fan of The Books wonder why they’ve never listened to dance music. Opener “No Release” uses organ tones in a way that will make you want to run out of church on Sunday. “De Javu” revels in low-end grooves that embarrassingly rumble like your stomach after huevos rancheros. Channeling the Blue Man Group (or something), “Magik” features the swip-swips samples of someone whipping a piece of plastic through the air. I could go on, but I think it’s kind of pointless. If you want to hear some funky space disco that uses repetition, retro synth, and brassy atmospherics very well, look no further than Lindstrøm’s partner in crime: Prins Thomas.
I admire electronic composer Lindstrøm’s new album more than I “like” it. Through seven tracks (why not call it Seven Cups?), Lindstrøm is adventurously creates unconventional song structures. Tunes like “Magick” and “Hina” are free-flowing and weird techno-journeys that warp a normally structured genre into organic colors and shapes. Call it electronic jazz if you will—Lindstrøm frees himself from the tyranny of a cohesive beat and journeys down the rabbit hole heedlessly. On one hand, it makes for an intriguing, even amazing, listen. On the other, Lindstrøm’s abandonment of conventional format makes his sound lacks accessibility. It’s technically dazzling music that (at least for me anyway) doesn’t hold much purely aesthetic appeal. Do I enjoy listening to it? Sure. But unless I’m in the mood to delve wholly into the album in my sensory deprivation chamber, I’ll probably choose something else.
I’ve patiently waited for a follow-up from Norwegian producer Lindstrøm comparable to his excellent 2008 LP Where You Go I Go Too, yet I’m consistently disappointed. His work since hasn’t been bad, but it hasn’t lived up to the euphoric, head-in-the-clouds electronic revelry that burst through the speakers on Where You Go. After some good, but not great, collaborations with fellow producer Prins Thomas and sultry voiced chanteuse Christabelle, Lindstrøm returns with a second full-lengt, Six Cups of Rebel. Unfortunately, like the collaborative follow-ups, this record spends more time wobbling around the edges than reaching dance floor nirvana. The material ranges from the cheesy stomper “Quiet Place to Live” to the church organ tapestry of “No Release,” which lives up to its name by never giving the listener any semblance of resolution. Lindstrøm comes closest to his previous magic on the frantic, everything-and-the-kitchen-sink “De Javu” and the wandering, mystical space funk of “Call Me Anytime”—a track that leaves no stone unturned in its quest to mine every sound known to man.
It’s feels like Lindstrøm either isn’t capable of or doesn’t want to replicate the rapturous space disco (as it is often called) of Where You Go I Go To. I suppose I shouldn’t go into each release expecting Lindstrøm to reinvent his own wheel, but I also can’t mask my disappointment when he doesn’t even come close.
It can be difficult to gain a balanced perspective on an album after reading a single summary of the music. Bias can tilt a review, as can personal taste, history and just about everything else that is unique to the person writing it. So in an effort to offer an expanded perspective in such a medium, here are Three reactions, Three impressions, Three Takes on Lava Bangers by Doomtree producer Lazerbeak.
Jon Behm (Reviler)
I was initially a bit skeptical to hear that Doomtree producer Lazerbeak was putting out a solo instrumental record so close on the heels of both No Kings as well as crew-mate Sims’ Bad Time Zoo. Both of those records featured some terrific beats from the young producer, and conventional wisdom would imply that Beak’s “best” was tapped for those two projects, that whatever was leftover could only be the stuff that didn’t make the cut. Surprisingly, though, Lava Bangers is far from a collection of also-rans.
Listening to the record, it seems likely that none of this stuff was produced with the end goal of retrofitting for a Doomtree rap joint. Somewhat like RJD2’s Deadringer (with which Lava Bangers shares a few similarities), the album’s twenty tracks play more like a maestro’s orchestra rather than a collection of discarded rap beats. The overarching aesthetic seems to be one of epic bombast—track after track pounds the senses with high volume beats and distorted samples. While there are a few moments of respite, the record heavily loaded with “bangers,” as the record’s name clearly states.
Where Lazerbeak’s production skills really show are in the intricately molded dynamics within each individual track. They may come together to form a bludgeoning stomper, but each element belies the mark of a delicate hand. Asiatic flutes, for example, might not have a great deal of business in a club banger on their own. In Lazerbeak’s hands, though, they are expertly folded into the mix. He’s a micro-musician working on a macro scale, and the results are often spectacular.
Josh Keller (Reviler)
Following up his 2010 solo LP, Legend Recognize Legend, Lazerbeak is back with a new instrumental LP. Fans of Beak, and the Doomtree collective in general, know that he hasn’t been sitting around drinking mojitos on the beach during the break, as he was all over the Sims breakthrough Bad Time Zoo and the recently released crew LP No Kings. Somehow he still found time to collect the 20 songs on his latest offering to the world, Lava Bangers (out now on Doomtree Records).
With so much new material, I wondered going into Lava Bangers if the release would feel a bit like a retread and not stand shoulder to shoulder with his recent (very good) work. Unfortunately, it seems this is the case. Is this saying that Lava Bangers isn’t good and doesn’t contain some downright jams? No. But is it the album I would send someone new to Lazerbeak? Again, no. There are definite highlights—including the confident, horn-laden strut from “LRL” into “Bully” and the buzzing “Smash Hit”—but many of the songs feel like shells building towards the final steps of completion. I said last week when reviewing the new Silky Johnson beat tape that I appreciate beat tapes that are standalone documents, not skeleton tracks lumped together, either waiting for or stripped of vocals. There some great beats collected on Lava Bangers’ 20 tracks, showing without a doubt that Lazerbeak is incredibly talented and has an ear for hard-hitting jams. I would just argue that they would be better served delivered in a different fashion.
On “Legend Recognize Legend,” we got to see the remnants of Beak’s pop-memories mixed with a hip-hop sensibility. It’s safe to say things are different, that his production is a mainstay in the local scene. After delivering the production on Sims’s Bad Time Zoo, we get Lava Bangers, which is largely a collection of Beak’s finest beats that for some reason or another never saw the light of day. Lava Bangers stays true to his moniker for his beats. We get those same bomb-squad influenced drums mixed with different instrumental textures that keep the pop influence evident. Lava Bangers plays a lot like Madlib’s “Beat Konducta” series, in the sense that the blends are seamless and straight-forward—a body of work to be taken as a whole rather than in small doses.