Yeah, thought I ought to do something like this to make up for the inactivity over the last few months, not to mention the first couple of months before the blog started. Although I divided the albums into genres as to avoid direct ranking there is definitely some overlap to be had. If you consider yourself to be a fan of a particular genre, I highly recommend checking out each of the albums displayed under the relevant heading. Only albums and EP's from January to June 2011 have been included, and no decision is ever final, more of just an idea of what I think of right now (a few might be the result of being recently passed through my speakers, but hopefully I've eliminated a great deal of bias). I'm bound to have missed a few good ones, so this is a great chance to start leaving me comments. Also apologies if the images are a little small, its the best my creative skills could manage.
Pop
(l-r)Lykke Li - Wounded Rhymes, Gruff Rhys - Hotel Shampoo, The Go! Team - Rolling Blackouts,
Givers - In Light, tUnE-yArDs - w h o k i l l
Rock
(l-r) TV on the Radio - Nine Types of Light, Fucked Up - David Comes to Life, Radiohead - The King of Limbs
Punk/Post-Punk
(l-r) Times New Viking - Dancer Equired, Iceage - New Brigade, The Pains of Being Pure at Heart - Belong,
Deerhoof - Deerhoof vs. Evil
Rap/Hip-Hop
(l-r) Death Grips - Exmilitary, Beastie Boys - Hot sauce Committee Pt.2, Big K.R.I.T. - Return of 4Eva,
Shabazz Palaces - Black Up, Tyler, the Creator - Goblin
Dance
(l-r) Cut Copy - Zonoscope, Junior Boys - It's All True, Metronomy - The English Riviera,
Gang Gang Dance - Eye Contact
R&B
(l-r) The Weeknd - House of Balloons, Frank Ocean - Nostalgia, Ultra, Beyoncé - 4
Singer/Songwriter
(l-r) Thurston Moore - Demolished Thoughts, Julian Lynch - Terra, PJ Harvey - Let England Shake,
Kurt Vile - Smoke Ring For My Halo
Electronic
(l-r) Burial - Street Halo EP, Prefuse 73 - The Only She Chapters, James Blake - James Blake,
Africa HiTech - 93 Million Miles, Panda Bear - Tomboy
(l-r) Thee Oh Sees - Castlemania, Black Lips - Arabia Mountain, Dum Dum Girls - He Gets Me High EP,
Unknown Mortal Orchestra - Unlnown Mortal Orchestra
Instrumental/Other
(l-r) Battles - Gloss Drop, Colin Stetson - New History Warfare Vol. 2: Judges,
...And You Will Know Us by the Trail of Dead - Tao of the Dead,
Clams Casino - Instrumental Mixtape/Rainforest EP
Here are a few electronic, hip-hop and dance tracks I've been playing this month. Pretty broad for a playlist but I think it matches the quality of the music I feel the need to compile, much of which will feature on albums I'm really looking forward to hearing.. Although I'm bound to regret this later I've embedded a load of players linking to appropriate tracks, and many of these tracks are downloadable, in particular those with *asterisks. I'll let the music do the talking for me:
And just in case that multimedia onslaught is too much, here's the list again without any fancy distractions:
Nas - "Nasty"
Gold Panda - "MPB"
Jamie xx - "Far Nearer"
YACHT - "Utopia"
Thundercat - "Daylight"
Zomby - "A Devil Lay Here"
Balam Acab - "Oh, Why"
Ford & Lopatin - "Channel Pressure"
SBTKT - "Wildfire"
Clams Casino - "Treetop"
John Maus - "Head for the Country"
Washed Out - "Amor Fati"
Shabazz Palaces- "Swerve... The reeping of all that is worthwhile (Noir not withstanding)"
The Rapture - "How Deep Is Your Love?"
Sun Airway - "Wild Palms"
Brian Eno - "Pour it Out"
Apologies for any mistakes, or any number of things at could go wrong. Enjoy.
To begin with, this isn't the most comprehensive or "pure" list of the genres of noise or drone music, and I'm aware that elements of both can be traced back to classical and pre-twentieth century origins, which I would know next to nothing about. But here by naming ten disparate instances where music of these kinds can be found I will attempt to arrive at a definition for both noise and drone music, and come up with a comprehensive introduction to the genres.
John Cage - Experiments with "chance" (1950's, 60's)
By the time the words "noise" and "drone" were being used as descriptors of music in the early 1980's, composers such as La Monte Young and John Cage had already released some of their greatest works and experiments in early forms of the genres some twenty years previous. Cage, perhaps more renowned these days for his "silent piece", 1952's "4'33"", was one of the most forward-thinking composers of his time, relying less on the rigid score and incorporating any unexpected found sound into the piece. For Cage, anything that was a sound was music, be it prepared piano, radio static, running water, his audience's laughter, or indeed apparent silence. Cage has often been cited as an influence on later noise musicians, as his redefinition of music reverberated throughout the twentieth century, and is still a major cornerstone for music study today. Below check out the grainy clip of Cage performing "Water Walk" on the show I've Got a Secret, from 1960.
The Beatles - "Revolution 9" (from The Beatles (The White Album), 1968)
Just in case further proof was necessary that the Beatles were the defining band of their generation (or quite possibly ever) they can also be credited for being one of he first bands to embrace and experiment with the experiments of Cage, Young, et.al., and use their popularity to freak out a whole generation of listeners. Although the Fab Four had previously toyed with tape loops ("Tomorrow Never Knows"), sustained chords and "orchestrated chaos" ("A Day in the Life"), nothing is quite as "out there" as The White Album's "Revolution 9", the band's longest, most challenging and "scariest" combined effort. Well by "combined" I refer to the credits, but "Revolution 9" was specifically John Lennon's brainchild, fresh from recording Unfinished Music No.1: Two Virgins with Yoko Ono, herself an acquaintance of Cage and Young. The responses were, as one might expect, mixed: Paul McCartney wished to have no association with it. Genius or madness, it's one of the ballsiest statements of the Beatles career.
The Velvet Underground - White Light/White Heat (1968)
The second Velvet Underground album, though not quite as influential as the first, is notable for being one of the harshest, challenging listens in rock music's canon. From the first few seconds of its opening title track it promises a 40 minute punishment through the realms of the avant garde, and the origins of punk and indeed noise. Singer Lou Reed picks up where the previous album The Velvet Underground & Nico left off in pursuing themes of eroticism, violence, murder, urban mysticism and debauchery, accumulating in the chaotic finisher "Sister Ray", a 17 minute improv so distorted it would make today's shitgaze musicians cringe with excitement. It's no wonder that the band's subsequent self-titled album would be considerably cleaner and accessible. Lou Reed would also release an album in 1975, Metal Machine Music, a composition of pure feedback, being one of the most infamous rock 'n' roll career decisions in history.
Iggy and the Stooges - Raw Power Iggy Pop Mix (1996, original release 1973)
Not a noise/drone record in itself per se, but a definite precedent to noise rock, as well as virtually every punk album, the Stooges' Raw Power is infamous not only for it's gargantuan influence on every late 70's musical fringe movement, but also for being one of the loudest albums ever. Particularly the 1996 Iggy remix: the original album was produced and mixed by David Bowie, however due to limitations on label Columbia Records' part he was given only a day to do so. Stooges frontman Iggy Pop was asked by the label to remix the album for it's 1996 reissue, and he used the opportunity to push the boundaries of volume and gain to extremities, creating the true punk masterpiece he'd intended. He spoke of it in the liner notes as being "a very violent mix", and it's live feel was made to match the destruction of the band's legendary live shows. Opinion is still divided whether which is the preferable or definitive record, even amongst members of the band. Through the other end of punk came several other movements, one of which was New York's No Wave scene, one of the few to match the fury of the Stooges' protopunk, and one which later evolved into noise rock.
The Jesus and Mary Chain - Psychocandy (1985)
On UK shores noise was finding it's way into other post-punk movements. Glsagow's The Jesus and Mary Chain's trademark sound borrowed the early noise efforts of the Velvet Underground, and used them to push the melodies of 60's girl bands and the dreamy textures of another Scottish band The Cocteau Twins. The original lineup consisted of brothers Jim and William Reid and Bobby Gillespie, who later left to front his own band, Primal Scream. They immediately became a cult band, in part thanks to their early single "Upside Down", and their debut album Psychocandy is regarded by many to be a classic, cited as a precursor to shoegaze, Britpop, and later British indie.
Sonic Youth - Daydream Nation (1988)
Sonic Youth came from NYC's underground music scene; guitarists Thurston Moore and Lee Ranaldo were members of No Wave composer Glenn Branca's guitar ensemble. The band's wide range of influences, including the alternative tunings of Joni Mitchell and admiration for avant garde composers, incorporated into their No Wave and post-punk beginnings (as well as the roots of those genres) to become one of the most respected and influential of their day. Although the band released many great records in their early years (Evol, Sister), Daydream Nation was a game-changer, a true underground artistic statement that has since become one of the most celebrated records of the 80's. A real triumph for noise and drone, as the record ranges from blasts of feedback to long, rolling waves of distortion, backed by otherworldly lyrics and memorable punk melodies.
My Bloody Valentine - Loveless (1991)
My Bloody Valentine's first (second?) album, Isn't Anything, was an entirely new breed of guitar-based indie music. Although the "You Made Me Realise" single marked a change in the band's style from straightforward, twee indie-pop, few would have predicted the outcome of their first studio LP. It became perhaps the first of a genre later known as shoegaze, a highly-amplified and distorted version of Phil Spector's "wall of sound", with a more "alternative" feel, owing to influences from Sonic Youth to Dinosaur Jr.. As many British indie bands decided to release shoegaze records of their own, it was up to MBV to reassert themselves as originators of the movement. After a lot of time, effort and expense a sequel was released in 1991. Loveless was more than anyone could hope for, and is frequently described as one of the greatest albums of the 90's, so much so that the band have yet to release a follow up in the 20 years that have followed. Probably because they've realised they're unlikely to beat it.
Boredoms - Super æ (1998)
Boredoms are nuts. Fronted by enigmatic frontman Yamantaka Eye, the Japanese noisemakers began releasing recordings from the mid 80's, and sound like no other band before or since. Eye's screams sound as if they're propelling the whole chaotic wave of sound he and the rest of the band produce, showing some sort of great yet incoherent virtuosity buried underneath the vastly eccentric and nihilistic haze. Super æ showed Boredoms' change in attitude from their zanier early albums, working more towards a glorified, powerful vision of their own. Yet this vision was vibrant, energetic and intense, as in through the destruction something new and positive could be made, a marked difference from many of their contemporaries, stepping out of the shadows of grunge.
Wilco - Yankee Hotel Foxtrot (2002)
Wilco's fourth album, Yankee Hotel Foxtrot, was mixed by famed noise producer Jim O'Rourke. Jeff Tweedy's beloved alt-country outfit had started to experiment with darker lyrical themes on previous album Summerteeth, and presumably Tweedy was interested in matching these themes with a noisier aesthetic. As recording sessions progressed it became evident that the band's label Reprise Records (owned by Warner Bros. records) were dissatisfied with the change in direction; as a result Wilco bought the album's master tapes and left, finishing YHF and releasing it on Nonesuch Records. The finished result is a real triumph: a post-9/11 indie success story, and an exercise in how far Wilco could push their traditional sound into another, in the Kid A template set out only shortly beforehand. A demonstration of the effectiveness of noise in a seemingly unconnected genre, and how this merging of sounds became a trend throughout the 00's.
The future of noise and drone (2000-
Yeah, perhaps too easy a way to finish off the list. But to choose one band to represent 21st Century noise and drone would be a real injustice, as the influence they've had upon independent music in particular is incalculable. The last couple of years alone represent decades of change in the diversity and experimentalism of these types of music. No Age combine more traditional noise rock with power pop song structures. Sleigh Bells have taken it to bratty dance-punk. Deerhunter have recently done the opposite, subverting their former noise sound into "ambient punk". The electronic soundscapes of Oneohtrix Point Never, as well as Daniel Lopatin's work with Emeralds rely on synthetic drones, as do Fuck Buttons; whereas drone metal band Sunn O))) create terrifying, very "real" drones using just guitars and huge stacks of amplifiers. Colin Stetson has found a way of exploring noise using traditional instrumentation, namely saxophones, purely by being inventive and skillful. The vast number of lo-fi recordings over the last few years can be directly attributed to noise rock. And one of the biggest indie rock releases of recent times, Animal Collective's Merriweather Post Pavillion may have been "too mainstream" for some, still was miles more experimental than anything it shared its chart position with that year.
Attitudes too have changed towards noise as its spread has increased, no longer perceived as the refuge of the oddball music fan and the masochist as they once were. The examples listed are sufficient reason in themselves why. They are the results of the innovations and inventiveness of the minds who perceived and enlightened new ways of composing, recording and performing music. In turn new musicians are likely to innovate and produce strange, harsh, dissonant and unconventional sounds in the future in new ways. Which is proof, if ever needed, that today's music scene is as great as it has always been.
Been slowly working on a feature, which I hope to post in a couple of days. In the meantime, three cool hip-hop videos have come out in the last few days, so I thought I'd post them. Watch the clips for Big K.R.I.T.'s "Country Sh*t (Remix)" (ft. Ludacris and Bun B) and Tyler, the Creator's "She" (ft. Frank Ocean) below. The finished version of Kanye West's "Monster" (ft. Jay-Z, Nicki Minaj, Rick Ross and Bon Iver) is up over at his website, and comes with a disclaimer attached.
I'm expanding this blog slightly, as you can tell. on-Tenori-on is far from a hotbed for the latest musical occurrences, but if I find a cool thing or two to share this'll be where I do so.
My Morning Jacket
Firstly, Southern-tinged rockers My Morning Jacket's new LP Circuital arrives on the 31st of this month (on ATO), and to tie in with that release the band will stream a live concert from The Louisville Palace Theater that same night from their Vevo channel on Youtube, directed by acclaimed filmmaker Todd Haynes. The webcast is part of American Express' Unstaged series, in partnership with Youtube/Vevo, which has seen artists team up with directors; in the past these have included Arcade Fire and Terry Gilliam, John Legend and the Roots and Spike Lee, and Duran Duran and David Lynch. Todd Haynes' previous forays into musical work have included his music video for Sonic Youth's "Disappearer", and the movies Velvet Goldmine and I'm Not There, the latter of which featured MMJ frontman Jim James singing "Goin' to Acapulco" with Calexico in one scene. I can vouch for that film. It's very good. And so is Circuital, which you can stream for a limited time via NPR here, as well as download the title track below (after giving your email address). The live webcast starts at 9pm ET, 6pm PT and 2am GMT (therefore on 1/6/11), by the way, stream it from here closer to the time, but for now there are a few trailers and other tidbits to enjoy.
Yuck
Last Tuesday 90's indie revivalists Yuck featured on the BBC2 show Later Live... with Jools Holland, playing an excellent rendition of their debut album opener "Get Away". Although when I reviewed that album a few months ago I may have painted it as less than flattering, "Get Away" was definitely a highlight of which I was more than happy to be reminded of. Chances are I might decide to see Yuck when they play Reading Festival later this summer, still undecided whether I'm to do a feature on the blog about that yet. Watch Yuck's performance below, the whole show is available to UK, licence-paying residents at the BBC iPlayer (i.e. here) which also featured Friendly Fires, Beverly Knight, Donovan and others. The Friday show (technically Saturday, 00:20) will feature new live (prerecorded) performances from all of the above too,
Battles
As my excitement for the new Battles LP Gloss Drop becomes ever more palpable, (6/6/11 on Warp Records) the band release the video for the first single "Ice Cream", featuring vocal contributions from Matias Aguayo. The single is has now also been released on limited edition 12", appropriately in three flavours: Vanilla, Strawberry and Chocolate, with 1000 copies of each. The as-of-yet unreleased "Black Sundome" features as the B-Side. Find out more about that release here.
Though that's not the only Battles news. The band also featured in the latest instalment of La Blogotheque's Take Away Shows, performing a new song "Wall Street" in Paris' Hôtel De Ville, fine wine included. It kicks ass. Look for it below.
Finally, although it was announced a while ago, Battles will be one of three curators to host one of the two Nightmare Before Christmas All Tomorrow's Parties events in December. The weekend, which will run from 9-11th December sees Battles curate Saturday's events, with Les Savy Fav and Caribou hosting the Friday and Sunday respectively. Other musicians appearing across the weekend include Flying Lotus, Gary Numan, Four Tet, No Age, Marnie Stern, Toro Y Moi, Surfer Blood and others. There's a small chance I'll be attending, but if not at least I'll probably see Battles take down the HMV Institute on the 27th June. Info on the ATP weekend is here. Tour dates and info on everything I just mentioned can be found on the band's website here.
last.fm
Finally, something which I failed to mention sooner, is that on-Tenori-on is now on last.fm, though there's not a lot to see there other than my playlist for the top songs of this year and my Radiohead fetish :P I found that I generally suck at making playlists so don't expect to see too many, although if there are any I'll probably make space for them here as well. The 2011 song playlist will be reduced to form the basis of my end-year list. Just don't expect me to update too regularly. Here I am anyway.
Haven't been able to get onto the blog for a while now, and that isn't likely to resolve itself for a number of weeks, so regulars such as Mini Reviews will be put on hold for the indeterminable future. However I have just added a couple of nifty "Song of the Day" and "Album I'm Currently Enjoying" gadgets, which I will be able to update regularly, even if they do look ridiculously out of proportion for the time being. I'm learning, slowly.
There may just be a feature of two in the near future, so stay vigilant. Less regularity means more to come back to, right?
Due to the fact I never get to talk about a large amount of music I enjoy on this blog (A bunch of great albums with high scores wouldn't be very interesting) I've decided to compile my favourite albums, singles, EP's, etc. over the past month, mostly to recommend them as they all have something to offer. They're listed in no particular order, from memory if anything else. I might mention these elsewhere, the door isn't closed because I've listed something here. Recommendations would be appreciated. Thanks.
Top 3 albums:
Fleet Foxes - Helplessness Blues (stream here)
Those who were concerned that Fleet Foxes would be unable to match their astonishing debut album can rest assured. Helplessness Blues is every bit as magnificent as it's predeccessor, on the grand, epic scale ("The Shrine / An Arguement", "Grown Ocean"), as well as the intimate and contemplative ("Blue Spotted Tail", "Helplessness Blues"). Every detail, instrument and vocal sound close to perfection; diverse yet consistently awesome, and a warm and natural progression for Robin Pecknold and co.. Helplessness Blues sounds much more like a journey and an adventure than Fleet Foxes, with many songs taking several turns in volume and tone yet remaining engaging and compelling. A truly great album, earthly yet ethereal, Helplessness Blues demands to be heard for years to come.
tUnE-yArDs - w h o k i l l
The second album from Merril Garbus's unique Afro-pop project expands greatly on the lo-fi recordings of her debut BiRd-BrAiNs, which in retrospect sound sorely limited compared with w h o k i l l. The new album was recorded in the studio with the assistance of bassist Nate Brenner, resulting in an accomplished, mature, powerful yet playful album, integrating hip-hop beats, rock and funk into the mix. Garbus's voice is very striking and dynamic, as she addresses violence, race, gender, sexual desires and parenthood. Nate Brenner's presence is felt most on "Gangsta", complementing aggressive drum beats and distorted vocal loops; the music feels immediate, confrontational and empowering. The single "Bizness" is perhaps the best infusion of all these elements, and although the album as a whole may not be every person's idea of fun, w h o k i l l is a bold, uncompromising statement.
Times New Viking - Dancer Equired
There's no way I should enjoy this album as much as I do. Times New Viking are usually associated with the "shitgaze" genre, attemping to create the poorest recording quality possible, however for Dancer Equired the Ohio three-piece have made at least some effort to clear up their sound. Vocalists Beth Murphy and Adam Elliott are often flat, and sound like a a tuneless Kim Deal and Robert Pollard respectively, but due to the nature of the music that dosen't put me off in the slightest. There are a number of less well-writen songs agreed, and since the album finishes at 31 minutes it would make sense to cut those and relabel Dancer Equired as an EP, but there are many fantastic songs, particularly in the final quarter beginning with "Fuck Her Tears". I would even go as far to call Dancer Equired Times New Viking's Halcyon Digest. Give it a try.
Albums:
Explosions in the Sky - Take Care, Take Care, Take Care
Beastie Boys - Hot Sauce Commitee Pt. 2
The Antlers - Burst Apart
Thao & Mirah - Thao & Mirah
Prefuse 73 - The Only She Chapters
Cut Copy - Zonoscope
Big K.R.I.T. - Return Of 4Eva
Frank Ocean - Nostalgia/Ultra
The Pains of Being Pure at Heart - Belong
TV on the Radio - Nine Types of Light
Metronomy - The English Riviera
Jamie Woon - Mirrorwriting
Clams Casino - Clams Casino
Bill callahan - Apocalypse
Crystal Stilts - In Love With Oblivion
Burial - Street Halo (EP)
Dum Dum Girls - He Gets Me High (EP)
Mono/Poly - Manifestations (EP)
Tracks/Singles:
Cults - Go Outside/Abducted
Kate Bush - Deeper Understanding
Fucked Up - The Other Shoe/A Little Death/Ship of Fools
My Morning Jacket - Circuital/Holdin on to Black Metal
Radiohead - Supercollider/The Butcher
Brian Eno/Rick Holland - Glitch
Death Cab For Cutie - You Are a Tourist/Home is a Fire/Some Boys
Beyoncé - Run the World (Girls)
Lady Gaga - Born This Way/Judas
Foo Fighters - Rope
The Joy Formidable - Whirring
The Morning Benders - Better in Blue
The Go! Team - Buy Nothing Day (feat. Bethany Consentino)
Kurt Vile - Baby's Arms/Jesus Fever
Cold Cave - The Great Pan is Dead
Bass Drum of Death - Young Pros
Nine Types of Light has been described by many as an album of love songs, which is a valuable way of looking at it on the surface. After TV on the Radio’s incredibly successful run, from humble beginnings with OK Calculator through to their highly acclaimed major label releases Return to Cookie Mountain and Dear Science the band decided to take a hiatus in 2009, with individual members pursuing side projects. This is a typical and often necessary move for many busy, spotlighted bands, of which TV on the Radio seemingly fit the description perfectly, so it was hardly a surprise. Nine Types of Light was announced only February of this year, and was recorded in Los Angeles, a much more relaxed setting than their native New York. The jittery tension of much of the previous two albums is largely absent here, replaced with a typically warm, Californian atmosphere, adding another dimension to the already unique musical outlet.
In reality only maybe half of the material here is specifically love-orientated. The band’s first single, "Will Do" is one of the more direct songs to address the matter. It’s a bright, soulful and seductive affair, owing much to Tunde Adebimpe’s warm vocal delivery. "You" is similarly bright, with joyful guitar and synth lines and drumbeat. It also has a fantastic video at the end of the Nine Types of Light film which partners the album, which is definite Video of the Year material. Contrasting these is the more calming "Keep Your Heart" which is sung by Kyp Malone. Malone stretches the lower and higher registers of his voice, and with the backing strings the band create one of the most delicate moments of the album.
On the opposite end of the scale there are more energetic moments a-plenty. "Repetition" builds tension before beginning a furious descent, hung onto Adebimpe’s vocal. "Second Song" works in much the same way, though it begins in a much calmer place, and ends with blasts of funk horns and grooving drums. "No Future Shock" is one of the more accessible moments, and is a definite nod to Dear Science’s more danceable tracks. And the album ends with "Caffeinated Consciousness", a straight-up garage rock number that stands almost isolated from the album’s remainder, such is the difference.
The more melody-driven songs are definitely what makes up the core of Nine Types of Light. "Killer Crane" is a stunning prog-like airy ballad, with guitar, banjo and vocal hooks keeping it breezy and afloat. "Forgotten" addresses a darker side to the band’s newfound Hollywood surroundings, and has nice violin and sleigh bells which present the narrative as it progresses. On the other hand "New Cannonball Blues" relishes in the electronic, though it makes room for more guitar and horn blasts.
The experimental nature of TV on the Radio has always been one of the band’s greatest assets, and it is largely retained in Nine Types of Light, although it presents itself differently. Instead of loading each song with several ideas from the worlds of art-rock, post-punk, soul, funk, jazz and hip-hop they instead choose to develop ten separate, singular pieces. As a result the album can feel uneven and incoherent. Also it emphasises the fact that not all songs are of equal quality. However like Bibio’s Mind Bokeh the individual moments are fantastic, and unlike that album there are no truly terrible tracks. A Californian TV on the Radio album is just another string in their bow, with no assured loss of musicianship from their previous efforts. 8/10
Colin Stetson is a highly talented, highly experimental saxophonist, and aside from vocal contributions from My Brightest Diamond’s Shara Worden and spoken word in the form of the ever-ominous Laurie Anderson the entire album is made up of Stetson’s bass saxophone, covered with microphones inside and out, and with the tracks recorded in single takes with no overdubs. The results are astonishing and unique in equal measures, and show Stetson’s immense skill as both a composer and instrumentalist, in part owed to mastering the circulatory breathing technique. The cover shows rampant horses and are a good pictorial representation of the sounds achieved: menacing bass-end flourishes of notes; short percussive taps from the mic’d instrument’s keys; anguished, primal screams; sounds of running water, etc. The depth of the instrument’s tone and the stark reverb, and also Anderson’s lines create a really dark, powerful, warlike atmosphere which the title suggests. Such skills have earned Stetson a reputation and is now highly sought after, and he has worked with a diverse group of musicians as Tom Waits, TV on the Radio, the final LCD Soundsystem shows, and will also feature on the new Bon Iver album. Cynics may call this gimmicky but the music has a real, unique style of songwriting, and Stetson’s efforts really need to be seen and heard to be believed. 8/10
Speaking of TV on the Radio, yesterday a statement on the band's website that bassist and keyboardist Gerard Smith has lost in the struggle against lung cancer was posted. Sympathies go out to the rest of the band and Gerard's family and friends. Gerard was a highly valuable member of the band and made a great contribution to music, and he will be missed by many. TV on the Radio's latest album Nine Types of Light was released on the 11th of this month and was on the Mini Reviews list but never surfaced. As we've now reached the end of this feature for this month tomorrow I will post a full review of the album as a tribute. Below check out TV on the Radio's visual accompniment to the album, and a Live on Letterman 40-minute performance recorded just last week.
Since reaching their commercial peak with 2006’s Writer’s Block (and the still ever-omnipresent single "Young Folks") Peter Bjorn and John have struggled to find a totally satisfying sequel, not even for themselves it appears. Gimme Some is the Swedish indie-poppers third album since Writer’s Block, and their third change in direction, as more of an effort is placed on a cohesive sound than ever, perhaps as a result of Bjorn Yttling’s production duties on Lykke Li’s two albums. The band have opted for a punk aesthetic for many songs such as "Cool Off", "Black Book", and best of all "Lies". The bass-heavy love song "Eyes" and the Paul Simon-like "Dig a Little Deeper" show rare signs of optimism. However there is a feeling of repetition creeping in; many songs contain similar drum-led intros for example, and this familiarity means there isn’t anything that really sticks out other than the aforementioned songs. Which is a shame because the direction of the individual song was once one of Peter Bjorn and John’s greatest assets. At least their career between albums shows more diversity. 6/10
For a group with one of the most refreshingly optimistic sounds of recent years, the Go! Team show no signs of decline. The Ian Parton-headed project burst out of Brighton in 2004 with a debut that fused Avalanches-like sample knowledge with sounds of 80s television shows, cheerleaders, and just about everything to create vibrant, unabashed tunes. Their third album Rolling Blackouts, although possibly guilty of repeating old sounds, does a great deal to continue the band’s legacy, from the unapologetic opener "T.O.R.N.A.D.O." to the shoegazey title track. The collaborative tracks are some of the most impressive: "Secretary Song" features the sugary-sweet Satomi Matsuzaki from Deerhoof, and Best Coast’s Bethany Consentino steps in to "Buy Nothing Day" to create a C86-inspired fuzz-pop number. The Go! Team can be a headrush at the best of times, but this is modern pop music, the way it’s supposed to be made. And enjoyed. 8/10
In a world where there is more music available than ever, Lil B finds his own ways of standing out. Calling himself "The Based God", showing his passion for cooking and releasing a phenomenal amount of mixtapes and videos are three of those, and as a result has become a real divisive figure in modern hip hop. His latest effort, the aptly titled Illusions of Grandeur starts promising but quickly it becomes apparent his Youtube persona isn’t entirely separate from his "serious" efforts, a defence many a loyal fan has argued. Though he covers a range of topics including drugs ("Cocaine Killer") and his upbringing ("Live Form Da Hood"), he doesn’t inspire the attentiveness he assumes, especially not across a whole mixtape. The beats are often strong however, and Lil B makes some good choices (from Kanye West to Toto), even if his rhymes don’t hold up so well. 4/10
This leads me to a mixtape by a producer called Clams Casino which has been getting noticed on a few blogs, and contains surprisingly beautiful instumentals of tracks by Lil B (including one of his biggest hits "I’m God"), Soulja Boy and others, which you can download here (and I would advise doing so).
Holy Ghost!’s debut sounds like a slice of vintage 80s heaven, as the duo incorporate disco, New Wave and synth pop into the ten track set, showing masterful knowledge and familiarity with the era. Aside from the production however the songwriting is rather mixed: many songs seem to miss the mark when it comes to memorable, catchy hooks. Though this certainly isn’t true for all the songs here, perhaps the biggest counterexample is the first track "Do It Again" with its slick New Wave feel, or the Wham!-like disco tune "Slow Motion". In fact there are many creditable moments on the album when they’re taken singularly, which is probably why the overall experience feels a little disappointing. Holy Ghost! will continue to create excellent singles (and be in high demand for quality remixes), and just because they haven’t totally mastered the long-playing album on their first try doesn’t mean we’re never going to enjoy another future release from these talented guys. 7/10
Stream Panda Bear - Tomboy here Download Panda Bear - "Last Night at the Jetty" here
Cult favourite Panda Bear (aka Animal Collective’s Noah Lennox) releases his new album Tomboy, the follow-up to 2007’s Person Pitch, one of the most celebrated records of the last decade, so naturally expectations are high here. Those who have been following the progress of this album up to it’s release will be aware of the singles released over several months, and all those singles and b-sides feature on Tomboy, though some with improved mixes. Aside from those singles there isn’t much left that hasn’t been heard before, only four new tracks are here, and if you‘ve not particularly enjoyed the songs before Tomboy you‘re not likely to change your mind because of them. Compared to Person Pitch the songs are much shorter and sparser. Many retain the sunny Beach Boys melodies such as the bouncy "Last Night at the Jetty", whereas others take a darker tone like the ominous title track. I wasn’t too keen on the finished album to begin with but it’s beginning to grow on me. It’s an insular, solitary experience and sounds unlike anything else out there, and in that respect it’s classic Panda Bear. 8/10
Stream Bibio - Mind Bokeh here
Stephen Wilkinson may just be one of the most diverse and fun artists on the Warp label. On the latest Bibio LP Mind Bokeh Wilkinson serves up twelve completely different tracks, each oozing with their own personality and character, and the album is very portfolio-like in its range and presentation. Mind Bokeh is a credit to Wilkinson as both a producer and multi-instrumentalist, crafting every aspect single-handedly, and just because you don’t enjoy a particular track doesn’t mean you won’t find another. A number of these songs show real care, depth and beauty, be it the hazy start "Excuses", the soulful Dilla-like "Wake Up!", or gorgeous extended ending instrumental "Saint Christopher". This is likely to be a divisive album however. Due to the versatility of the tracks there is virtually no continuity between them. I also get the feeling that the more interesting shorter tracks could go on for longer (e.g. "Feminine Eye") and the longer ones are often too long ("Pretentious"). And there’s one track that stands out far even from this mixed bunch. I’ve heard a lot of negative comments about "Take Off Your Shirt" and I’m yet to make up my mind about it. Mind Bokeh can be jarring in places, but there’s plenty to enjoy nevertheless. 7/10
Stream Low - C'mon here
If you’re familiar with the genre of slowcore you’ll probably appreciate that for me to fully absorb this album in a day is going to be next to impossible. It’s a style that takes a while to get under the skin, yet it can be as rewarding and enjoyable as many forms of fast-paced music given proper care and attention. Low have been around since 1993 and are considered one of the pioneers of the genre, but naturally their sound has changed quite a bit during that time and now. Their ninth LP C’mon is likely to be as good as any other as an entry to slowcore, as there are many new incorporations to the formula, be they in the twinkly glockenspiel of the first track Try to Sleep (reminding me of the latest DeVotchKa LP), the weaving banjo touches of Witches, or the steel guitar of the stormy Nothing But Heart provided by Wilco’s Nels Cline, which reaches almost theremin-like warble towards the tracks colossal finish. The main gripes of this album are probably in the shorter tracks Done and the closing Something’s Turning Over, which fail to make much of an impression unlike the graceful lengthier tracks. It’s not going to cap off your perfect day but if you’re stuck inside in the rain (physically or otherwise) the sullen harmonies of Alan Sparhawk and Mimi Parker could be the catharsis you’re after. 8/10
You'll notice I put an album stream at the beginning of the review. I'll be doing that for any whole album streams and downloads I can find from now on, though keep in mind if the post has been up for some time the chances are the content may no longer be available. But it's there for now, and after all it's all about your opinions on music that matters, so I'll share with you whatever I can find a relevant download/stream.
For a band who never really seemed to work well to the British public’s taste - perhaps more famous (or even infamous) for their 1986 pro-atheism assault "Dear God" than anything - XTC managed to create for themselves a niche for their dedicated fanbase. They were also a transitional band, and as a result outlived many of their post-punk peers. Drums and Wires was their third album, released in 1979, and captures them between the Talking Heads meets Gang of Four vibes of their first two albums and the melodic pop they eventually perfected on their Todd Rundgren-produced 1986 opus Skylarking. Although guitarist Andy Partridge remains as the figurehead and main creative output for the band it is actually the singles written by bassist Colin Moulding that are the true gems here, not least of which the band’s first hit "Making Plans For Nigel". A large part of the angular, Captain Beefheart-inspired guitar lines can be credited to the addition of a second guitarist, Dave Gregory, who initially was a replacement for keyboardist Barry Andrews. There’s a few misses amongst the string of inventive tunes, and it’s definitely not an album for everyone, but if you admire any of the artists already mentioned, who knows? 8/10
I’m looking to make the mini reviews a lot more "mini", so I’ll try to wrap this up in a few sentences. Lupe Fiasco’s long delayed third LP, Lasers, shows the star potential many saw in the rapper’s 2006 debut Food and Liquor, but since his label Atlantic decided to interfere so heavily with the production you’d be hard pressed to find many songs to enjoy. Virtually all the beats sound messy, brash and over-poppy to the point of cacophony, burying Fiasco’s social wisdom until his ideologies are rendered almost meaningless. "All Black Everything" contains arguably the most interesting, thought-provoking lyrics but the noisy, Disney-like beat prevents me from wanting to go back. "The Show Goes On" may be the most enjoyable, despite the lifted Modest Mouse hook, but the rest is unfortunately not worth your time. Go elsewhere. 3/10
Yeah I'm doing this again. The 5 I didn't review last time are here along with a number of albums I haven't yet listened to, another retro, and four I felt ought to be included because of a certain feature I ran not too long ago. I found that the albums I have listened to since last month don't really fit into this feature, yet I still want to talk about some of them because of the fact a few were pretty good, so I'll think of a way to do that. Here's what we have for now:
Akron/Family - Akron/Family II (The Cosmic Birth and Journey of Shinju TNT)
Lupe Fiasco - Lasers
The Go! Team - Rolling Blackouts
Tim Hecker - Ravedeath, 1972
Colin Stetson - New History Warfare Vol.2: Judges
Bibio - Mind Bokeh
Bill Callahan - Apocalypse
Foo Fighters - Wasting Light
Holy Ghost! - Holy Ghost!
Lil B - Illusions of Grandeur
Low - C'mon
Panda Bear - Tomboy
Peter Bjorn and John - Gimme Some
TV on the Radio - Nine Types of Light
[Retro Review] XTC - Drums and Wires
Once again it'll be one per day or as close as I can, and the choices are randomly drawn out of a hat. If for whatever reason an album becomes unavailable to me I'll change it for a different one and update asap. Any recommendations for next month? Leave them in the comments.
Download The Weeknd - House of Balloons here
Very little is known about the Weeknd, except that it’s the name given a project headed by Abel Tesfaye, a Canadian R&B singer who has managed to generate a considerable amount of buzz in a relatively short timeframe; having only released three songs before the release of the official first (free!) mixtape House of Balloons: "Loft Music", "The Morning" and "What You Need" (all three appearing on House of Balloons) in a few short months. Of course part of the hype can be credited to Drake (whose producer Noah "40" Shebib was not involved in producing House of Balloons, despite speculation), however the quality of the material cannot be overlooked as a contributing factor to the wildfire coverage of the album. Tesfaye and producers Doc McKinney and Illangelo have crafted a superb, noirish 50 minute journey that celebrates not only a new underground appreciation and interest in R&B (see Frank Ocean, The-Dream, How To Dress Well) but the genre’s mainstream torch-bearers also (the aforementioned Drake, and to some extent Kanye West).
The tension between the two sides of the Weeknd’s coin give Tesfaye’s aching voice a fitting home, and it tells of a very complex, confusing and emotional character, fictional or not. The themes of lust, sexual tension, druggy disorientation, and ultimately dissatisfaction become the ever-increasing push as the album progresses, set against a brooding, atmospheric, almost lo-fi backdrop of keys and pulses. The title and colourless cover artwork perfectly convey these ideas in the way the title track "House of Balloons - Glass Table Girls" showcases them. The clear Siouxsie and the Banshees’ "Happy House" sample seems a fitting thematic choice on which to base the song, and also a suitably indie nod. The first half of the song, driven by John McGeoch’s famous guitar line is the high part. The words "This is a happy house" are sung along to with clear irony. The second half takes a much darker, more frightening tone which is as fascinating as many more disturbing moments of the album.
There are a great deal of hooks on this album which counterbalance the unsettling tones nicely. "The Morning" sticks particularly strongly, with it’s soaring guitar clipped by claustrophobic beats standing out a little from the ultimately synthy default position. "What You Need" is another fantastic track due to it’s sparse, implicit approach overtaking many of the more overt tracks in terms of creepiness, mirrored by the lyrics: "He’s what you want/I’m what you need". And "Loft Music" might be the emotional high, to repeat the lyrics will spoil them.
To receive so much attention does raise other questions however. The Siouxie nod was already picked up on, but the Beach House sample here is even stronger evidence for the "hipster R&B" argument which seems to have perhaps inevitably begun. In reality the buzz of this release can be seen just as much in mainstream circles as it’s been noted in indie circles. The Weeknd shows signs of a unique change to the R&B formula, the darkness, bleakness and debauchery of which can be seen to parallel the rise of hip-hop collective Odd Future in terms of public interest. House of Balloons already feels like an established classic, and positive signs of a major label release seem not too distant. Expect more, because the Weeknd surely can deliver. 9/10
