Minus the Bear make me think of college. This is odd in that they were not around when I was in college. But their music makes me think of a band I would have obsessed over when I was in school (being older and more mature now, I only slightly obsess over them). Then there's Jake Snider's lyrics, which more often than not have to do with hanging out with your friends, drinking, and overly dramatized sex. If that's not college, I don't know what is.
I wasn't thrilled with Minus the Bear's last album, "Planet of Ice." There seemed to be something missing on that album, or rather there was something there that I'd heard before. I love this band, but at a certain point it's time to move forward, to expand beyond what you're used to doing. The saving grace of that record, for me, was "Lotus," a nearly nine minute epic that saw the band begin to drift into acid rock/classic rock areas for the first time.
I was more impressed with the releases Minus the Bear put out between "Planet of Ice" and "Omni." The first was "Acoustics," which, as you might expect, was a collection of songs done in the "Unplugged" vein. This showed me that while I might not have liked "Planet of Ice," the songwriting was still there -- the production just needed to change, to evolve.
And evolve it did, with the next release, the single for "Omni," "Into the Mirror," with the b-side "Broken China." If "Acoustics" had begun to get me excited for the new album, the "Into the Mirror" single finished the job. No other band could make such an off putting keyboard part not only work, but work well. I honestly didn't see their future moving in the keyboard heavy direction, but the more I thought about it the more it made sense, since it fit with the hints of acid rock heard on "Planet of Ice."
It's clear from the first track on "Omni," "My Time," that Minus the Bear aren't afraid to give this whole keyboard thing a shot. While the jerky rhythms and finger tapping of Snider and Dave Knudson's duel guitar attack are still there, they're now swirling around Alex Rose's more prominent keyboard parts. It's a fine balance, and thankfully one Minus the Bear knows how to maintain. Rose never forces his parts where they don't belong, and often chooses to simply provide texture in the background, like on stand outs "Hold Me Down" and "The Thief."
If Minus the Bear does make the mistake of overdoing experimentation, it comes not with keyboard parts, but with guitar effects. "Summer Angel" is a wonderful song, but the warbly flange effect on the lead guitar line is distracting. Minus the Bear's dueling guitars don't need effects because they are just that good; leave the manufactured sounds to the keyboards.
"Omni" does lose steam towards the end. "Animal Backwards" is filler and "Fooled By The Night" doesn't have enough hooks to warrant being a seven minute song. But the finish doesn't detract for the overall quality of this album, particularly in comparison to Minus the Bear's last effort. If "My Time," "The Thief," and "Into the Mirror" are an indication of things to come, I can't wait for the follow-up.
Friday, July 23, 2010
Thursday, July 22, 2010
Album Review: The New Pornographers, "Together"
From the first few notes of "Together," you know that The New Pornographers are back to form.
The New Pornographers' last album, "Challengers," was something of a disappointment. It felt pedestrian, a strange word to associate with a band like this. It was The New Pornographers A-B-C's. Perhaps it was a subconscious affliction as a result of the masterful "Twin Cinemas." Whatever the reason, "Challengers" came across as uninspired and not the least bit challenging.
The same can't be said for "Together." This is everything you love about The New Pornographers: the great melodies, the intertwining vocals, the quirky lyrics, and dynamic instrumentation. This is a band that will record anything, no matter how strange, if they think it sounds good. They are shameless servants to rhythm and melody.
The first track, "Moves," kicks the album off perfectly, with a string/guitar combination that is strangely wonderful. At various moments, you'll hear what sounds like a cello drowning out the guitar, only to then hear the guitar drowning out that supposed cello. And at a certain point they throw some keyboard and piano in there for good measure. Truly remarkable, this pastiche of instruments never drown out the vocal lines, yet only serve to lift them up.
There's also a cohesion to "Together" (appropriately enough) that was lacking on their last album. The aforementioned cello carries us into "Crash Years," the first song on the album to feature Neko Case as the main vocalist. Case has an avid following and I always wonder how The New Pornographers manage to maintain a balance between her vocals and those of Carl Newman, Kathryn Calder, and Dan Bejar. It would seem tempting, on some level, to place the focus on Case, given her popularity, but if The New Pornographers are doing that, it's not obvious, as the songs feel completely organic.
If "Together" ever feels less than together, it's the growing distinction between the Newman penned songs and those by Bejar. Aside from the obvious vocal difference, Bejar's songs tend to be more pop oriented, almost like they're actively wishing for a simpler time. Bejar's tracks, "Silver Jenny Dollar," "If You Can't See My Mirrors," and "Daughters of Sorrow," are spread throughout this album, but in a way that makes their positioning seem premeditated by their creator, not their tone, as a way of making sure his songs are scattered equally from beginning to end.
"Up In the Dark" is perhaps my favorite song on "Together," with it's choppy acoustic rhythm guitar and twangy lead guitar that lead to a driving chorus featuring "What's love?" over and over again (I'll give you a hint: it turns up in the dark). The dueling vocals between Newman and Case remind me of everything that's great about The New Pornographers.
The slower numbers, like the aforementioned "Daughters of Sorrow," "Valkyrie In the Roller Disco," and the fantastic "We End Up Together," show The New Pornographers at the top of their game. I've never been sold on their less energetic tunes; there was always something missing, something that prevented them from working for me on a purely sentimental level. That isn't he case here, just another indication of how great this record is.
I was nearly convinced that The New Pornographers' well had run dry after "Challengers." I'm happy to see that I was jumping the gun, and that the water on "Together" runs deep.
The New Pornographers' last album, "Challengers," was something of a disappointment. It felt pedestrian, a strange word to associate with a band like this. It was The New Pornographers A-B-C's. Perhaps it was a subconscious affliction as a result of the masterful "Twin Cinemas." Whatever the reason, "Challengers" came across as uninspired and not the least bit challenging.
The same can't be said for "Together." This is everything you love about The New Pornographers: the great melodies, the intertwining vocals, the quirky lyrics, and dynamic instrumentation. This is a band that will record anything, no matter how strange, if they think it sounds good. They are shameless servants to rhythm and melody.
The first track, "Moves," kicks the album off perfectly, with a string/guitar combination that is strangely wonderful. At various moments, you'll hear what sounds like a cello drowning out the guitar, only to then hear the guitar drowning out that supposed cello. And at a certain point they throw some keyboard and piano in there for good measure. Truly remarkable, this pastiche of instruments never drown out the vocal lines, yet only serve to lift them up.
There's also a cohesion to "Together" (appropriately enough) that was lacking on their last album. The aforementioned cello carries us into "Crash Years," the first song on the album to feature Neko Case as the main vocalist. Case has an avid following and I always wonder how The New Pornographers manage to maintain a balance between her vocals and those of Carl Newman, Kathryn Calder, and Dan Bejar. It would seem tempting, on some level, to place the focus on Case, given her popularity, but if The New Pornographers are doing that, it's not obvious, as the songs feel completely organic.
If "Together" ever feels less than together, it's the growing distinction between the Newman penned songs and those by Bejar. Aside from the obvious vocal difference, Bejar's songs tend to be more pop oriented, almost like they're actively wishing for a simpler time. Bejar's tracks, "Silver Jenny Dollar," "If You Can't See My Mirrors," and "Daughters of Sorrow," are spread throughout this album, but in a way that makes their positioning seem premeditated by their creator, not their tone, as a way of making sure his songs are scattered equally from beginning to end.
"Up In the Dark" is perhaps my favorite song on "Together," with it's choppy acoustic rhythm guitar and twangy lead guitar that lead to a driving chorus featuring "What's love?" over and over again (I'll give you a hint: it turns up in the dark). The dueling vocals between Newman and Case remind me of everything that's great about The New Pornographers.
The slower numbers, like the aforementioned "Daughters of Sorrow," "Valkyrie In the Roller Disco," and the fantastic "We End Up Together," show The New Pornographers at the top of their game. I've never been sold on their less energetic tunes; there was always something missing, something that prevented them from working for me on a purely sentimental level. That isn't he case here, just another indication of how great this record is.
I was nearly convinced that The New Pornographers' well had run dry after "Challengers." I'm happy to see that I was jumping the gun, and that the water on "Together" runs deep.
Monday, July 19, 2010
Album Review: Band of Horses, "Infinite Arms"
I didn't want to like Band of Horses.
My then-girlfriend-now-wife introduced them to me by way of the song "Funeral." I thought it was nice enough, but reminded me of the The Shins a bit too much, so I decided they were unworthy of my precious musical time. Besides, my then-girlfriend-now-wife had discovered them, and I had a tendency to make all new music mine, so I wanted to let her have this one.
She didn't really care.
I heard a few more songs by Band of Horses and soon they no longer sounded like The Shins to me. Their simplicity appealed to me. "Is There A Ghost" has a chorus that consists of two chords! There was just something so endearing about their music.
"Infinite Arms" pushes and pulls Band of Horses, sometimes taking them forward, sometimes reeling them back, neither approach a complete success, yet neither a complete failure, either. It's easy to see why, as Brian Bridwell's band has undergone multiple line-up changes since he started it. So while it might be trite to say, there's basis beyond the music for why this feels like a band in transition. But they manage to push through their growing pains while still producing a pretty great record.
"Infinite Arms" opens with "Factory," a concentrated dose of everything to love about Band of Horses. The song could be off any of their records, and could probably work nicely in a mash-up of their previous work. The second track is "Compliments," and this is when the first hints of greatness come through. Aside from Bridwell's alternatingly abstract and specific lyrics, there's the fantastic bass line that runs through the chorus. This song sticks with you from first listen.
There are a few moments on "Infinite Arms" when Band of Horses pushes the limits of believable earnestness. They start to wander into the "my woman left me and my dog is dead" territory, both lyrically and musically. "Laredo" is a good example of this, but it's outdone by "Blue Beard," which doesn't seem to be able to decide if it's a country music song or an AM gold 70's hit. Note to songwriters: rolling the dice is never a good image. Never.
"On My Way Back Home" takes us back to classic, "Funeral" style Band of Horses. It's a great song that builds nicely all the way through. Going back home, while totally cliche, makes for a much better story than, say, rolling the dice.
There are two songs that deserve special note on "Infinite Arms." The first is "Dilly," an absolutely fantastic song featuring a Strokes-esque guitar line and a borderline disgustingly sweet vocal line. I say "borderline," because Bridwell manages to walk that line without going over the top, and the song is unforgettable because of it.
Then there's "Older," far more in the folk vein than most of the other songs on the record, and sung by Ryan Monroe, with backing vocals by Bridwell. Is this an indication that this iteration of Band of Horses might stick together for a while?
"Infinite Arms" is a great addition to the Band of Horses catalog. I'm looking forward to seeing where this album takes them.
My then-girlfriend-now-wife introduced them to me by way of the song "Funeral." I thought it was nice enough, but reminded me of the The Shins a bit too much, so I decided they were unworthy of my precious musical time. Besides, my then-girlfriend-now-wife had discovered them, and I had a tendency to make all new music mine, so I wanted to let her have this one.
She didn't really care.
I heard a few more songs by Band of Horses and soon they no longer sounded like The Shins to me. Their simplicity appealed to me. "Is There A Ghost" has a chorus that consists of two chords! There was just something so endearing about their music.
"Infinite Arms" pushes and pulls Band of Horses, sometimes taking them forward, sometimes reeling them back, neither approach a complete success, yet neither a complete failure, either. It's easy to see why, as Brian Bridwell's band has undergone multiple line-up changes since he started it. So while it might be trite to say, there's basis beyond the music for why this feels like a band in transition. But they manage to push through their growing pains while still producing a pretty great record.
"Infinite Arms" opens with "Factory," a concentrated dose of everything to love about Band of Horses. The song could be off any of their records, and could probably work nicely in a mash-up of their previous work. The second track is "Compliments," and this is when the first hints of greatness come through. Aside from Bridwell's alternatingly abstract and specific lyrics, there's the fantastic bass line that runs through the chorus. This song sticks with you from first listen.
There are a few moments on "Infinite Arms" when Band of Horses pushes the limits of believable earnestness. They start to wander into the "my woman left me and my dog is dead" territory, both lyrically and musically. "Laredo" is a good example of this, but it's outdone by "Blue Beard," which doesn't seem to be able to decide if it's a country music song or an AM gold 70's hit. Note to songwriters: rolling the dice is never a good image. Never.
"On My Way Back Home" takes us back to classic, "Funeral" style Band of Horses. It's a great song that builds nicely all the way through. Going back home, while totally cliche, makes for a much better story than, say, rolling the dice.
There are two songs that deserve special note on "Infinite Arms." The first is "Dilly," an absolutely fantastic song featuring a Strokes-esque guitar line and a borderline disgustingly sweet vocal line. I say "borderline," because Bridwell manages to walk that line without going over the top, and the song is unforgettable because of it.
Then there's "Older," far more in the folk vein than most of the other songs on the record, and sung by Ryan Monroe, with backing vocals by Bridwell. Is this an indication that this iteration of Band of Horses might stick together for a while?
"Infinite Arms" is a great addition to the Band of Horses catalog. I'm looking forward to seeing where this album takes them.
Sunday, July 18, 2010
Album Review: Nada Surf, "if I had a hi-fi"
No, not a typing mistake, that's how they titled it. It's very e.e. cummings of them, although I don't know why the "I" gets capitalized when the rest doesn't. Seems self-important to me.
Honestly, Nada Surf could have just told me this was a new album and I would have believed them, at least until I heard the cover of Depheche Mode's "Enjoy the Silence," but even then I probably would have considered it a one off. Aside from "The Anger of Laffitte," a rather obscure Spoon song, I don't know any of the songs on this album of covers. Points to Nada Surf, though, for doing their fellow song writers a service, because now I'm determined to go find the original versions of all of these tracks.
This should be no surprise, given my documented love of covers.
I do have to wonder, though, given that "Enjoy the Silence" is the most well known of all these songs, why Nada Surf decided to make Bill Fox's "Electrocution" the single. Everyone knows that cover songs get regular air play on whichever MTV still shows music videos (just ask Alien Ant Farm). It's been long enough, too, that I can't imagine many people seeing that theoretical video and saying "hey, didn't those guys sing 'Popular?'"
They are, in fact, the band that sang "Popular," and they're a damn good band who have put out their fair share of damn good albums. "IIHAH-F" is no different (not only is it impossible to start a sentence with, it's also impossible to abbreviate). While I might not be able to easily distinguish between the original and the Nada Surf version (only because I haven't heard most of these originals), a good song is a good song.
Stand outs so far include the aforementioned "Enjoy the Silence" and "Electrocution," as well as the oh-so Nada Surf sounding "Love Goes On," originally performed by the Go Betweens. The Moody Blues' epic "Question" feels like multiple songs crammed together, but ultimately works on its own. Mercomina's "Evolution" gives us yet more indications that Nada Surf will be experimenting with orchestration in the future, something I couldn't be happier about.
For the band's standpoint, it's the willingness to add keyboards and strings to these songs that will have the most long term impact. The band has on sparsely expanded beyond their power trio trappings, but IIHAH-F at least suggests that experimentation on their originals is on the horizon.
Honestly, Nada Surf could have just told me this was a new album and I would have believed them, at least until I heard the cover of Depheche Mode's "Enjoy the Silence," but even then I probably would have considered it a one off. Aside from "The Anger of Laffitte," a rather obscure Spoon song, I don't know any of the songs on this album of covers. Points to Nada Surf, though, for doing their fellow song writers a service, because now I'm determined to go find the original versions of all of these tracks.
This should be no surprise, given my documented love of covers.
I do have to wonder, though, given that "Enjoy the Silence" is the most well known of all these songs, why Nada Surf decided to make Bill Fox's "Electrocution" the single. Everyone knows that cover songs get regular air play on whichever MTV still shows music videos (just ask Alien Ant Farm). It's been long enough, too, that I can't imagine many people seeing that theoretical video and saying "hey, didn't those guys sing 'Popular?'"
They are, in fact, the band that sang "Popular," and they're a damn good band who have put out their fair share of damn good albums. "IIHAH-F" is no different (not only is it impossible to start a sentence with, it's also impossible to abbreviate). While I might not be able to easily distinguish between the original and the Nada Surf version (only because I haven't heard most of these originals), a good song is a good song.
Stand outs so far include the aforementioned "Enjoy the Silence" and "Electrocution," as well as the oh-so Nada Surf sounding "Love Goes On," originally performed by the Go Betweens. The Moody Blues' epic "Question" feels like multiple songs crammed together, but ultimately works on its own. Mercomina's "Evolution" gives us yet more indications that Nada Surf will be experimenting with orchestration in the future, something I couldn't be happier about.
For the band's standpoint, it's the willingness to add keyboards and strings to these songs that will have the most long term impact. The band has on sparsely expanded beyond their power trio trappings, but IIHAH-F at least suggests that experimentation on their originals is on the horizon.
Album Review: Spoon, "Transference"
I love Spoon in theory.
Like Pavlov's dog, when I hear a new Spoon album is coming out, I get excited. And just like Pavlov's dog, I should know better. It's not that "Transference" or any other Spoon albums are bad, because nothing could be further from the truth; they're all perfectly enjoyable. It's just that I always assume a new Spoon record is going to be better than it is.
In my defense, part of this is due to Spoon's undeniable ability to produce a single with a crazy hook. If it weren't for "I Turn My Camera On," they were probably still be, to me, that band that people always talk about but that I never bothered to check out.
I'm far from innocent, though. As with most people who are obsessive about music, I'm constantly on the look out for my new favorite band. So when I did hear "I Turn My Camera On," I dove into the world of Spoon like Scrooge McDuck into money. My expectations were high, perhaps unfairly so.
Again, going into "Transference," I had high hopes. The only song I'd heard was "Got Nuffin," which, with it's driving rhythm and devil may care lyrics instantly won me over. But I should have known better.
They find it periodically, but as whole, there's something missing on Spoon's albums. There's a disconnect from urgency and emotion to craft and production. It remains me of the complaints we'd hear when CDs were first becoming popular. Vinyl enthusiasts pointed out that the sound on records had more range, while the sound on a compact disc was compressed; the extremes were eliminated. That's the impression I get when listening to a Spoon album.
None of this is to say that "Transference" doesn't have some strong songs. "Is Love Forever?" is the kind of jolting, danceable track that Spoon has nearly perfected over the course of their career. In fact, it's track like this -- "Writing In Reverse," for example -- that keep Spoon alive. It's their bread and butter; it's what keeps them interesting. "Got Nuffin" and "Trouble Comes Running" are both catchy and driving, but neither seem to expand beyond their trappings, which is fine for a song or two, but encompasses the state of the entire album -- of Spoon's entire catalog.
In many ways, it seems like Spoon is playing it safe. There's no sense of danger or experimentation. Their music is great, it just feels very paint by numbers. And perhaps that's enough for them, and enough for their legion of fans. At the very least, they're going to have one killer "Best of" album someday.
Like Pavlov's dog, when I hear a new Spoon album is coming out, I get excited. And just like Pavlov's dog, I should know better. It's not that "Transference" or any other Spoon albums are bad, because nothing could be further from the truth; they're all perfectly enjoyable. It's just that I always assume a new Spoon record is going to be better than it is.
In my defense, part of this is due to Spoon's undeniable ability to produce a single with a crazy hook. If it weren't for "I Turn My Camera On," they were probably still be, to me, that band that people always talk about but that I never bothered to check out.
I'm far from innocent, though. As with most people who are obsessive about music, I'm constantly on the look out for my new favorite band. So when I did hear "I Turn My Camera On," I dove into the world of Spoon like Scrooge McDuck into money. My expectations were high, perhaps unfairly so.
Again, going into "Transference," I had high hopes. The only song I'd heard was "Got Nuffin," which, with it's driving rhythm and devil may care lyrics instantly won me over. But I should have known better.
They find it periodically, but as whole, there's something missing on Spoon's albums. There's a disconnect from urgency and emotion to craft and production. It remains me of the complaints we'd hear when CDs were first becoming popular. Vinyl enthusiasts pointed out that the sound on records had more range, while the sound on a compact disc was compressed; the extremes were eliminated. That's the impression I get when listening to a Spoon album.
None of this is to say that "Transference" doesn't have some strong songs. "Is Love Forever?" is the kind of jolting, danceable track that Spoon has nearly perfected over the course of their career. In fact, it's track like this -- "Writing In Reverse," for example -- that keep Spoon alive. It's their bread and butter; it's what keeps them interesting. "Got Nuffin" and "Trouble Comes Running" are both catchy and driving, but neither seem to expand beyond their trappings, which is fine for a song or two, but encompasses the state of the entire album -- of Spoon's entire catalog.
In many ways, it seems like Spoon is playing it safe. There's no sense of danger or experimentation. Their music is great, it just feels very paint by numbers. And perhaps that's enough for them, and enough for their legion of fans. At the very least, they're going to have one killer "Best of" album someday.
Friday, July 16, 2010
Comic Book Review: Batman and Robin #13
Written by Grant Morrison
Art by Frazer Irving
Published by DC Comics
I know just enough.
I won’t pretend to know everything that’s going on in Batman and Robin #13. I’m not sure I’d believe anyone who said that they conclusively know everything laid out in these pages. But I know enough to understand the basics of what’s going on, and I know enough to know that I want to know more. It’s a rare commodity in a comic book these days to tell a story and leave your reader wanting more, but Grant Morrison has been doing that with Batman for years now.
If and when they repackage Morrison’s run on the various Bat-books as multiple Absolute collections, I can only hope they include a #0 volume containing Morrison and Dave McKean’s Arkham Asylum, because that’s where the story begins. Many people are probably confused by Morrison’s depiction of the Joker in Batman and Robin #13, but it’s in keeping with the view of the character Morrison laid out in Arkham Asylum. I’m thrilled to see that come to fruition.
Morrison also continues to show that he understands the difference between Bruce Wayne and Dick Grayson, and does so without being heavy handed. At no point do we get an issue filled with “this is what Bruce was like, this is what Dick is like.” Morrison gives us their differences in smaller ways, like how Dick calls Commissioner Gordon by his title as opposed to “Jim,” or how Gordon tells him that the members of Gotham PD like Dick better than Bruce. Both moments ring true to the characters, and indicate that the title of this series might not be a reference to Dick and Damien, but to Bruce and Dick.
Frazer Irving is a fantastic artist and well suited for a book of stark contrasts. His Joker harkens back to Bob Kane’s original depiction. Here, he looks like someone who could really exist, deformed, yes, but not exaggerated to the point of being absurd.
On one hand, I don’t want this series to ever end. I really enjoy reading about Dick Grayson and Damien Wayne. I love the dynamic that Morrison has set up. But on the other hand, I can’t wait until it reaches its conclusion, just so I can go back and read it from the beginning. I can only imagine all the wonderful new moments and fantastic revelations I’ll pick up on when I can read the story as a whole.
I can remember the last time I was ever so eager to go back and read my back issues. Oh, wait, yes, I can: it was the last time a Grant Morrison written Batman title was released.
(Originally published at www.comicbulletins.com)
Comic Book Review: Atlas #2
Atlas #2
Written by Jeff Parker
Art by Gabriel Hardman, Ramon Rosanas, and Elizabeth Breitweiser
Published by Marvel Comics
If there’s one problem I have with Atlas it’s that I’m always worried it’s going to get canceled (this often seems to be the case with the comics I read). My worry is based upon the average sales numbers for the incarnations of this title and compounded by the types of stories that Jeff Parker is telling. Because while conventional wisdom would suggest keeping to small, self-contained arcs given Atlas often market challenged history, Parker refuses to sell his audience short and instead gives us complex, layered stories that beg to be told for years to come.
This is Parker’s third Atlas series and it feels more like the first series than the rather erratic second series. Agents of Atlas, the second series, suffered from a lack of focus, not to mention repeated attempts to connect to Marvel’s “Dark Reign.” It also suffered from rotating artists.
But just as with the first, limited series, Atlas is focusing squarely on the characters, in this case the apparent new team member, 3-D Man.
The connection between the team in the 50’s and the team now is central to this story, just as it was in Parker’s first Atlas book. There’s also emphasis placed on the characters, something that was hit and miss up until now.
But perhaps the most important aspect from the original series to be replicated in this series is the formation of a different team: the creative team. The Agents of Atlas limited series featured fantastic art by Leonard Kirk throughout every issue. Now, Parker is joined by Gabriel Hardman, the artist who joined up over the course of the last series, and who has now become synonymous with these characters.
Hardman’s work has a classic feel to it, as if he’d be comfortable drawing books about talking animals, killer robots, aliens, or super spies – all of which make up this team. There’s a certain pop sensibility to his art, a reverence for what has come before mixed with a desire to push storytelling forward. For as tried and true as the archetypes behind Atlas are, Parker is always giving Hardman new and crazy menaces for them to face, usually in the form of divisions of their own company.
The characters that make up the Atlas team are rife with potential, and Jeff Parker seems determined to delve into as much of their stories as he can, full speed ahead. The complexity of this book is one of the things I love most about it; I just hope it’s around long enough to tell all those stories.
(Originally published at www.comicbulletins.com)
Album Review: The Stills, "Oceans Will Rise"
I can see some people pointing to this as a step back towards the sound of "Logic Will Break Your Heart," at least on certain tracks. I can see some people being happy that it doesn't sound MORE like "Logic Will Break Your Heart." Personally, I loved both "Logic" and "Without Feathers."
And while "Oceans Will Rise" sounds almost like an amalgam of sounds from those two albums, rest assured that it stands on its own.
Stand outs, to me, include:
"Snow In California" might have been a better choice to open the album and sounds like it could have been a b-side to "Logic."
"Snakecharming the Masses" is a fantastic song and shows some really inspired songwriting. There's nothing really easy about the progression in this song, yet it still feels natural. They seem to avoid what's expected, though.
"Being Here" is the first single, I believe, and it's easy to see why. Actually, THIS was probably a more obvious first track, but hindsight being 20/20 I think it might have given a false impression of the record. It's a good, catchy tune.
"Everything I Build" is the first definitively somber song on the album and it's a winner. That's actually probably the most distinct part about this record -- the mellow tunes. They're all very good.
"Eastern Europe" is insanely listen-able. In parts it reminds me of the Foo Fighters, in fact. It's just a catchy pop song. It's strut worthy.
"Hands On Fire" is perhaps my favorite song on the album at the moment. It's mellow and catchy and has a good groove.
"Dinosaurs" is yet another mellow song and maintains the quality. That's not to say that these mellow songs move. They do. But they all have a fairly somber tone more fully realized than earlier releases.
"Rooibos/Palm Wine Drinkard" feels more like a "Without Feathers" tune but, really, it's just a rockin' song.
All in all, good stuff.
And while "Oceans Will Rise" sounds almost like an amalgam of sounds from those two albums, rest assured that it stands on its own.
Stand outs, to me, include:
"Snow In California" might have been a better choice to open the album and sounds like it could have been a b-side to "Logic."
"Snakecharming the Masses" is a fantastic song and shows some really inspired songwriting. There's nothing really easy about the progression in this song, yet it still feels natural. They seem to avoid what's expected, though.
"Being Here" is the first single, I believe, and it's easy to see why. Actually, THIS was probably a more obvious first track, but hindsight being 20/20 I think it might have given a false impression of the record. It's a good, catchy tune.
"Everything I Build" is the first definitively somber song on the album and it's a winner. That's actually probably the most distinct part about this record -- the mellow tunes. They're all very good.
"Eastern Europe" is insanely listen-able. In parts it reminds me of the Foo Fighters, in fact. It's just a catchy pop song. It's strut worthy.
"Hands On Fire" is perhaps my favorite song on the album at the moment. It's mellow and catchy and has a good groove.
"Dinosaurs" is yet another mellow song and maintains the quality. That's not to say that these mellow songs move. They do. But they all have a fairly somber tone more fully realized than earlier releases.
"Rooibos/Palm Wine Drinkard" feels more like a "Without Feathers" tune but, really, it's just a rockin' song.
All in all, good stuff.
Album Review: Weezer, "The Red Album"
Note: In an effort to make this blog more of a hub for all of my writing (as should be clear by the sudden increase in posts, if nothing else), I'm going to copy some of the things I've written elsewhere over here.
Ideally, I'd like this to go beyond music reviews (or comic book reviews,which is the next step) and encompass snippets of my short stories and books, but I'll start small. Onward!
Is this Weezer's best album? No. It is their worst? No. Is it their strangest? Definitely. It would seem to me, though, that people are either so enamored with the band or so enamored with the past they've lost a critical ear. But let's take it song by song:
1. Troublemaker -- Fairly standard Weezer fare, really, although a bit more pop than perhaps their earlier stuff. Enjoyable, but not really memorable.
2. The Greatest Man That Ever Lived -- Yes, it's strange and rarely repeats -- save for the main chorus -- but each section is pretty catchy on it's own. They lyrics are pretty hilarious.
3. Pork and Beans -- Again, fairly standard Weezer fare, backed by a great video. It's pretty catchy, but not really that interesting.
4. Heart Songs -- Yes, it sounds a bit cheesy when it starts, but it's a great song, backed by an experience we all share: those songs that never leave you, that will always be important no matter how much time passes. It builds really nicely, too.
5. Everybody Get Dangerous -- For what it's worth, I liked "We Are All On Drugs," which probably informs my opinion of this song. I enjoy the heck out of it. The chord changes are great and the lyrics are hilarious -- a great job of taking me back to my youth and a legitimate question: what do we do when our kids act like we did?
6. Dreamin' -- An obvious single, made less obvious by the outro, which is really cool. A good song and classic Weezer.
7. Thought I Knew -- Yes, Brian sings lead on this. And, yes, it doesn't sound like a Weezer song at all, even on a album that's redefining what a "Weezer" song is. On it's own merits, this might be a great song, but it's simply too jarring to hear on the album.
8. Cold Dark World -- Scott sings lead on this one and it's much less jarring to me. I actually like this song. It's fairly driving and Scott delivers his vocals a lot like Rivers (who sings on the choruses).
9. Automatic -- I think this might be Pat on vocals here. Again, a twist from Weezer, but not completely different. It's an okay song. I think a big problem people might have with this album is the fact that these three songs come in a row.
10. The Angel and The One -- This is a great song. This is classic, heartfelt Weezer. I read a review where someone said this album didn't have the emotional appeal that previous Weezer albums have had, and while that might be true on a whole, this song (and Heart Songs) just really hit home.
BONUS TRACKS
11. Miss Sweeney -- I agree with a previous reviewer -- this song makes the bonus album a required purchase. It's just a great song and Rivers' vocal delivery is just so great. It's songs like this that make you realize just how creative Weezer can be.
12. Pig -- Another good one, kind of folksy, kind of earthy, but still quirky in that Weezer way.
13. The Spider -- Yeah, it's a little bizarre and kind of sounds like one of Rivers' home recordings. It might grow on me in time, but now it's just kind of there.
14. King -- Man, I don't know if Scott writes the vocal lines and lyrics or if Rivers handles that and just has Scott sing it, but I have to say that he's pretty freaking great. This is probably better than "Cold Dark World."
Overall, I think it's a good album. I'd have given it 3 and a half stars initially, but I'm sure it will earn the extra half a star going forward.
Ideally, I'd like this to go beyond music reviews (or comic book reviews,which is the next step) and encompass snippets of my short stories and books, but I'll start small. Onward!
Is this Weezer's best album? No. It is their worst? No. Is it their strangest? Definitely. It would seem to me, though, that people are either so enamored with the band or so enamored with the past they've lost a critical ear. But let's take it song by song:
1. Troublemaker -- Fairly standard Weezer fare, really, although a bit more pop than perhaps their earlier stuff. Enjoyable, but not really memorable.
2. The Greatest Man That Ever Lived -- Yes, it's strange and rarely repeats -- save for the main chorus -- but each section is pretty catchy on it's own. They lyrics are pretty hilarious.
3. Pork and Beans -- Again, fairly standard Weezer fare, backed by a great video. It's pretty catchy, but not really that interesting.
4. Heart Songs -- Yes, it sounds a bit cheesy when it starts, but it's a great song, backed by an experience we all share: those songs that never leave you, that will always be important no matter how much time passes. It builds really nicely, too.
5. Everybody Get Dangerous -- For what it's worth, I liked "We Are All On Drugs," which probably informs my opinion of this song. I enjoy the heck out of it. The chord changes are great and the lyrics are hilarious -- a great job of taking me back to my youth and a legitimate question: what do we do when our kids act like we did?
6. Dreamin' -- An obvious single, made less obvious by the outro, which is really cool. A good song and classic Weezer.
7. Thought I Knew -- Yes, Brian sings lead on this. And, yes, it doesn't sound like a Weezer song at all, even on a album that's redefining what a "Weezer" song is. On it's own merits, this might be a great song, but it's simply too jarring to hear on the album.
8. Cold Dark World -- Scott sings lead on this one and it's much less jarring to me. I actually like this song. It's fairly driving and Scott delivers his vocals a lot like Rivers (who sings on the choruses).
9. Automatic -- I think this might be Pat on vocals here. Again, a twist from Weezer, but not completely different. It's an okay song. I think a big problem people might have with this album is the fact that these three songs come in a row.
10. The Angel and The One -- This is a great song. This is classic, heartfelt Weezer. I read a review where someone said this album didn't have the emotional appeal that previous Weezer albums have had, and while that might be true on a whole, this song (and Heart Songs) just really hit home.
BONUS TRACKS
11. Miss Sweeney -- I agree with a previous reviewer -- this song makes the bonus album a required purchase. It's just a great song and Rivers' vocal delivery is just so great. It's songs like this that make you realize just how creative Weezer can be.
12. Pig -- Another good one, kind of folksy, kind of earthy, but still quirky in that Weezer way.
13. The Spider -- Yeah, it's a little bizarre and kind of sounds like one of Rivers' home recordings. It might grow on me in time, but now it's just kind of there.
14. King -- Man, I don't know if Scott writes the vocal lines and lyrics or if Rivers handles that and just has Scott sing it, but I have to say that he's pretty freaking great. This is probably better than "Cold Dark World."
Overall, I think it's a good album. I'd have given it 3 and a half stars initially, but I'm sure it will earn the extra half a star going forward.
Wednesday, July 14, 2010
Careego the Unstoppable (That's "Career" and "Ego")
I have not made this little per hour in 8 years, and that, at least, was a full time, salaried job (so not really per hour, but I did the math) with benefits and commissions. But here I am.
I just left a job that paid 20% more, was full time, had benefits, and also paid commissions. But I can say that I have never hated a job so much in my entire life. To make matters worse, it was in property management, a field I rather dislike. I don't hate it -- it's given me a lot of good things over the years -- but this last job was the epitome of everything that's wrong with that industry.
So when I got the opportunity to not only leave my job, but leave property management, I jumped, even if it was less money...and fewer hours...and no benefits...and a longer commute...
Why did I do this?
Ah, yes, for my career, or at least some semblance thereof. The new job isn't just NOT in the property management business, but it's also in a field I'm kind of interested in, something I could see myself doing if I'm able to get a little further up the food chain.
And I am definitely at the bottom of the food chain right now.
Besides the aforementioned lack of pay, I would guess that I'm at least 10 years old than all of my co-workers. This actually doesn't bother me, even if the girl with all the piercings actually said to me "You're not joking? You really like metal?" Nicole has suggested I tell them all what it was like to grow up without a computer.
No, my problem at the moment is my ego.
My last job was bad, but I survived it for nearly a year because of my ego. I was needed at my last job. I knew I was needed. If I had a dollar for every time someone there asked me a question, I wouldn't have to work at all. I knew my boss would always ask me to do things because he had faith in me to do them, and because he couldn't really trust anyone else. Honestly, there were probably times when he considered firing everyone and just having he and I run the place, given that the others often created more work than they did.
I've had that to a certain extent at all my jobs -- that feeling of being needed, of being essential in some way. I don't have that at the new job.
Now, it's only been two days, so that could all change. I don't see it changing any time soon, though, as the job -- like most jobs at large companies -- is designed for the lowest common denominator. It's also pretty tightly defined, which means there's not much room for me to show off my essential-ness.
If I had my druthers (you know, I have no idea what "druthers" are, so for all I know I have actually had them already and totally blew it), I'd be writing for a living. I don't mean the type of writing I'm doing now, or even the "for a living" I'm doing now, since I really can't make ends meet without the Mrs. No, I'd spend the morning working on my book and the afternoon working on my short stories, then maybe dinner with my agent/editor/publisher, and my nights doing readings and signings.
Yet even my ideal job has its roots in ego. Clearly, if I'm writing for a living, that means someone is paying me to do so. And if someone is willing to pay me enough to live on, then I must be making them some money, which I must be selling something at a fairly good pace.
Even with my great Midwestern work ethic, it's hard to get up for a job that doesn't feel important. But I take comfort in knowing/hoping that it's just the first step towards something better.
I also take comfort in knowing it's not freaking property management.
I just left a job that paid 20% more, was full time, had benefits, and also paid commissions. But I can say that I have never hated a job so much in my entire life. To make matters worse, it was in property management, a field I rather dislike. I don't hate it -- it's given me a lot of good things over the years -- but this last job was the epitome of everything that's wrong with that industry.
So when I got the opportunity to not only leave my job, but leave property management, I jumped, even if it was less money...and fewer hours...and no benefits...and a longer commute...
Why did I do this?
Ah, yes, for my career, or at least some semblance thereof. The new job isn't just NOT in the property management business, but it's also in a field I'm kind of interested in, something I could see myself doing if I'm able to get a little further up the food chain.
And I am definitely at the bottom of the food chain right now.
Besides the aforementioned lack of pay, I would guess that I'm at least 10 years old than all of my co-workers. This actually doesn't bother me, even if the girl with all the piercings actually said to me "You're not joking? You really like metal?" Nicole has suggested I tell them all what it was like to grow up without a computer.
No, my problem at the moment is my ego.
My last job was bad, but I survived it for nearly a year because of my ego. I was needed at my last job. I knew I was needed. If I had a dollar for every time someone there asked me a question, I wouldn't have to work at all. I knew my boss would always ask me to do things because he had faith in me to do them, and because he couldn't really trust anyone else. Honestly, there were probably times when he considered firing everyone and just having he and I run the place, given that the others often created more work than they did.
I've had that to a certain extent at all my jobs -- that feeling of being needed, of being essential in some way. I don't have that at the new job.
Now, it's only been two days, so that could all change. I don't see it changing any time soon, though, as the job -- like most jobs at large companies -- is designed for the lowest common denominator. It's also pretty tightly defined, which means there's not much room for me to show off my essential-ness.
If I had my druthers (you know, I have no idea what "druthers" are, so for all I know I have actually had them already and totally blew it), I'd be writing for a living. I don't mean the type of writing I'm doing now, or even the "for a living" I'm doing now, since I really can't make ends meet without the Mrs. No, I'd spend the morning working on my book and the afternoon working on my short stories, then maybe dinner with my agent/editor/publisher, and my nights doing readings and signings.
Yet even my ideal job has its roots in ego. Clearly, if I'm writing for a living, that means someone is paying me to do so. And if someone is willing to pay me enough to live on, then I must be making them some money, which I must be selling something at a fairly good pace.
Even with my great Midwestern work ethic, it's hard to get up for a job that doesn't feel important. But I take comfort in knowing/hoping that it's just the first step towards something better.
I also take comfort in knowing it's not freaking property management.
Thursday, July 1, 2010
Kyle's Bizarre Fascination With Cover Songs
I have a bias against singers who don't write their own music. If I had a dollar for every time I'd gotten into an argument with my parents about the merits of Celine Dion, I'd be writing this from a gold plated tower in Maui. I suppose she can sing, but she doesn't write her own songs, and the ones she "co-writers" consist of her writing lyrics. Bully for her.
In my mind, this means she's a performer, not a musician; they're very different things. Not only that, but she's getting all the fame (and most of the fortune) for something someone else created.
But, you know, it's freaking Celine Dion, so let's move on.
Strangely, I love cover songs, otherwise known as songs performed by bands that did not write them. In my defense, most of the cover songs I love are by bands I already listen to, so it's not as if they're making their names based on these covers. And, more to the point, they're very clearly covers; none of these bands pretend they wrote these songs.
Anyway, here are a few of my favorite cover songs:
In my mind, this means she's a performer, not a musician; they're very different things. Not only that, but she's getting all the fame (and most of the fortune) for something someone else created.
But, you know, it's freaking Celine Dion, so let's move on.
Strangely, I love cover songs, otherwise known as songs performed by bands that did not write them. In my defense, most of the cover songs I love are by bands I already listen to, so it's not as if they're making their names based on these covers. And, more to the point, they're very clearly covers; none of these bands pretend they wrote these songs.
Anyway, here are a few of my favorite cover songs:
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