Ben Folds and Nick Hornby have now written an album together.
It happens to contain one of the better sad songs of the past decade.
Picture Window's immediate and obvious reference point is Brick, a song that's now 13years old. Where once the talk was the tale of abortion, now the character has moved inside the hospital.
Hornby's lyrics are what they are: "they checked into the hospital New Year's Eve". Or are they Hornby's lyrics, there are suggestions doing the rounds that this might more accurately be described as an adeptation of a Hornby story.
Folds has been playing the song live for a year, Youtube atests to it.
Tuesday, November 2, 2010
Sunday, June 13, 2010
Unknown Pleasures
Fresh exploration is still possible 31 years later.
It's possible to hear for the first time. But it is difficult. Where could that opening bass line of Disorder possibly come from if it's not from Hook? And it's best not to discuss hearing Curtis "for the first time".
What I can hear, which has no doubt been heard by many before, is the lethargic urgency of four men who understood time was running out. Listen to Day of The Lords in the moments before Curtis arrives. It might be slow, industrial and every adjective already used by better writers and thinkers but there is a shadow of light flitting under the dour. It runs quickly and lightly but it is there, even if for only two moments.
At 3:17 Curtis howls, Stephen Morris rises - I want to say these songs lead to moments but that's ridiculous, all music is headed for a moment. It just feels more so with Joy Division.
Candidate is so different to what has come before it. That legendary sparseness is in full-throttle from the silent first seconds and then that wonderfully under used fade-in technique. On a side note only Radiohead's Black Star uses it as well. Within the context of Unknown Pleasures, Candidate feels like it is covered by brilliance either side of it and only it's coming in under just over three minutes does that.
The first five seconds of Insight might be mistaken for Candidate as silence is silence but from there nothing could be further. The soundtrack of table top video games played in an abandoned warehouse at 3am with a man you know nothing of. Despite the table tennis being played behind him, Curtis remains focused and innately linked in behind Morris' percussion that starts in an easy 4/4 groove and grows ever more complex as the space slowly fills.
New Dawn Fades, in the digital age, seems less important than it is. In 1979 the song finished Side A and for that automatically matters. A thousand bands echo the song along an ever-growing line. It is songs like this that will be the ones that increasingly draw fresh ears to Unknown Pleasures.
It's possible to hear for the first time. But it is difficult. Where could that opening bass line of Disorder possibly come from if it's not from Hook? And it's best not to discuss hearing Curtis "for the first time".
What I can hear, which has no doubt been heard by many before, is the lethargic urgency of four men who understood time was running out. Listen to Day of The Lords in the moments before Curtis arrives. It might be slow, industrial and every adjective already used by better writers and thinkers but there is a shadow of light flitting under the dour. It runs quickly and lightly but it is there, even if for only two moments.
At 3:17 Curtis howls, Stephen Morris rises - I want to say these songs lead to moments but that's ridiculous, all music is headed for a moment. It just feels more so with Joy Division.
Candidate is so different to what has come before it. That legendary sparseness is in full-throttle from the silent first seconds and then that wonderfully under used fade-in technique. On a side note only Radiohead's Black Star uses it as well. Within the context of Unknown Pleasures, Candidate feels like it is covered by brilliance either side of it and only it's coming in under just over three minutes does that.
The first five seconds of Insight might be mistaken for Candidate as silence is silence but from there nothing could be further. The soundtrack of table top video games played in an abandoned warehouse at 3am with a man you know nothing of. Despite the table tennis being played behind him, Curtis remains focused and innately linked in behind Morris' percussion that starts in an easy 4/4 groove and grows ever more complex as the space slowly fills.
New Dawn Fades, in the digital age, seems less important than it is. In 1979 the song finished Side A and for that automatically matters. A thousand bands echo the song along an ever-growing line. It is songs like this that will be the ones that increasingly draw fresh ears to Unknown Pleasures.
Friday, June 4, 2010
At Night we Live
In 1999 Far were my favourite band I'd never heard.
I wish I'd know the guttural honesty of Johna Matranga and his coterie - their riffage and emotional opulence was hidden in a world where the Internet was only a mellow cat on grandma's lap.
More than a decade after the ego-stroking bullshit of the School Certificate here is At Night We Live. I came to Matranga before I arrived at Far and the shock of the difference is only now surmountable. Onelinedrawing was confronting emo proven mostly by Matranga's wail and the weird electronic blips from his R2-D2.
Deafening couldn't start more ironically or with a greater cliche. But sometimes it's worth noting cliches only get that way for a reason. The tick and the tock followed by Matranga whispering "it's deafening" and then drums, guitars, whatever else is lying around locking in behind it - I don't care, I love it and always will.
The meat's further on.
The riffs of Dear Enemy might be from the latest White Stripes album if they went through a different pedal. But with a double kick, flaying percussion and Shaun Lopez threading through it all it is unmistakable, Far has returned and are just as good as they ever were.
Added on to the end for a slice of fun is the wonderful Ginuwine cover, Pony.
Fight song 16, 233,241 would have worked brilliantly in that lobby fight scene from The Matrix. "This is what we do" screams Matranga over a rhythmic beast riding with synths in the back. It's the kind of radio rock that never was, I wish it had of. How much more pure the airwaves would have been for a boy living not far enough from the outback.
The Ghost That Kept On Haunting is the slow, aching work of a band that knows it mines a narrow niche. It's a sign of what might be if Far bothered to do more, to break the rules and experiment. It is all that's needed. Snapping 1-2-1 high-hat and wall-of-slowly-building-sound with Matranga surely drowned by it all.
Synth crushes with rhythm and Lopez lets the riffs bleed for an age, envisaging some sort of post polar world where there is no weather or white - only a blue grey of some sort of trap.
The secret track is the old and wonderfully ridiculous cover of Ginuwine's Pony where Lopez effortlessly plays the tempest to Matranga's seduction. Some of Matranga's most startling work has been cover's. His work on No Ordinary Love with Deftones comes to mind.
Pony is a little nod to the history of a band that needed the lay-off for a thousand reasons but never really stopped.
I wish I'd know the guttural honesty of Johna Matranga and his coterie - their riffage and emotional opulence was hidden in a world where the Internet was only a mellow cat on grandma's lap.
More than a decade after the ego-stroking bullshit of the School Certificate here is At Night We Live. I came to Matranga before I arrived at Far and the shock of the difference is only now surmountable. Onelinedrawing was confronting emo proven mostly by Matranga's wail and the weird electronic blips from his R2-D2.
Deafening couldn't start more ironically or with a greater cliche. But sometimes it's worth noting cliches only get that way for a reason. The tick and the tock followed by Matranga whispering "it's deafening" and then drums, guitars, whatever else is lying around locking in behind it - I don't care, I love it and always will.
The meat's further on.
The riffs of Dear Enemy might be from the latest White Stripes album if they went through a different pedal. But with a double kick, flaying percussion and Shaun Lopez threading through it all it is unmistakable, Far has returned and are just as good as they ever were.
Added on to the end for a slice of fun is the wonderful Ginuwine cover, Pony.
Fight song 16, 233,241 would have worked brilliantly in that lobby fight scene from The Matrix. "This is what we do" screams Matranga over a rhythmic beast riding with synths in the back. It's the kind of radio rock that never was, I wish it had of. How much more pure the airwaves would have been for a boy living not far enough from the outback.
The Ghost That Kept On Haunting is the slow, aching work of a band that knows it mines a narrow niche. It's a sign of what might be if Far bothered to do more, to break the rules and experiment. It is all that's needed. Snapping 1-2-1 high-hat and wall-of-slowly-building-sound with Matranga surely drowned by it all.
Synth crushes with rhythm and Lopez lets the riffs bleed for an age, envisaging some sort of post polar world where there is no weather or white - only a blue grey of some sort of trap.
The secret track is the old and wonderfully ridiculous cover of Ginuwine's Pony where Lopez effortlessly plays the tempest to Matranga's seduction. Some of Matranga's most startling work has been cover's. His work on No Ordinary Love with Deftones comes to mind.
Pony is a little nod to the history of a band that needed the lay-off for a thousand reasons but never really stopped.
Thursday, June 3, 2010
Kings Upon The Main
Thrice has delivered much over albums that came from the remnants of hardcore and have slowly wondered into electronica, ambience and general experimentation with all the genres mentioned. I don't like the term "post-hardcore", it doesn't mean anything because hardcore was short lived.
The four EPs of The Alchemy Index were not great but they did hold some great material. Kings Upon The Main is undiscovered brilliance.
It's Dustin Kensrue's earthy voice droning for wisdom and the gales of the ocean backed by three piano notes and distant, industrial percussion. Wind blows through the recording but only gently, as if the storm is elsewhere but visible. Songs like these can pass you by, unaware of their subtle grit.
The fact not much happens here makes the song so much better. The meditation of an almost drone.
The four EPs of The Alchemy Index were not great but they did hold some great material. Kings Upon The Main is undiscovered brilliance.
It's Dustin Kensrue's earthy voice droning for wisdom and the gales of the ocean backed by three piano notes and distant, industrial percussion. Wind blows through the recording but only gently, as if the storm is elsewhere but visible. Songs like these can pass you by, unaware of their subtle grit.
The fact not much happens here makes the song so much better. The meditation of an almost drone.
Monday, May 17, 2010
Kele Okereke
My man Alex says:
Hi,
Just because he has a solo song out doesn't mean it's any good. Coz
it's not. So tell everybody to stop playing it just because he's "kele
from bloc party".
That's all,
Thanks,
Alex
Hi,
Just because he has a solo song out doesn't mean it's any good. Coz
it's not. So tell everybody to stop playing it just because he's "kele
from bloc party".
That's all,
Thanks,
Alex
Friday, May 14, 2010
Diamond Eyes
These initial thoughts:
It is a consensus record, this is a retelling of six past LPs in one effort.
The Deftones have not written their heaviest and weirdest songs here but it sounds like at least the opener and title track is one of their best.
Gone is any real sense of experimentation (I think a good thing as it reached its terminus with Team Sleep).
If one emotion rules it is sadness. That comes from the obvious place of bassist Chin Cheng's car accident and subsequent coma 18 months ago.
The replacing (filling in) of Cheng with former Quicksand boom man Sergio Vega does nothing to the enormous sound of a band that never really seemed like their nu-metal colleagues. Vega is faithful.
There are three iTunes bonus tracks - Do You Believe, Ghosts and Caress - they're all worthy. Ghosts in particular comes from my favourite Deftones place of slow and aching.
It is a consensus record, this is a retelling of six past LPs in one effort.
The Deftones have not written their heaviest and weirdest songs here but it sounds like at least the opener and title track is one of their best.
Gone is any real sense of experimentation (I think a good thing as it reached its terminus with Team Sleep).
If one emotion rules it is sadness. That comes from the obvious place of bassist Chin Cheng's car accident and subsequent coma 18 months ago.
The replacing (filling in) of Cheng with former Quicksand boom man Sergio Vega does nothing to the enormous sound of a band that never really seemed like their nu-metal colleagues. Vega is faithful.
There are three iTunes bonus tracks - Do You Believe, Ghosts and Caress - they're all worthy. Ghosts in particular comes from my favourite Deftones place of slow and aching.
Sunday, May 9, 2010
Groovin the Moo - Canberra
Some things worth noting:
British India owned the day and are "the next big thing".
Silverchair played new songs and these two songs were dull.
The Slew played, by far, the most original and exciting set of the day to about 200 people.
IN DETAIL
With their third album release last week, the Melbourne quartet British India, have now reached the place their first songs promised. The crowd already knew the words to songs from Avalanche and the likes of Run the Red Light were greeted as some sort of coming of age anthems. This is the shape of Australian rock in 2010.
The British India set was in sharp contrast to that offered from Grinspoon. The meat and potatoes radio rock really has done its dash. The band looked tired and uninspired while frontman Phil Jamieson delivered very little of what he is capable in terms of hedonistic rock man showmanship.
Further on the whole thing of Aus rock. Let's go to the top and Silverchair. An hour in The Capital with the first band I ever saw was full of promise and it delivered early with the trio/quartet opening with Emotion Sickness. And from there it went downhill.
Songs from the very "of the moment" Dissociatives album are now appearing in the Silverchair set list. The liaison between Daniel Johns and Paul Mac was poorly thought out in the first place and now it smells more like Johns can't recognise his work from his doodling. The two new songs (16 and Machina) were boring. They lacked pop hooks and sounded like Bowie fighting Prince in a bowling alley -uninspiring crap.
If you were looking for inspiration it was, as usual with festivals, far from the guitars. Up the hill DJ Kid Koala had assembled his mates, known as The Slew, to deliver on all the word of (frothing at the) mouth by a few in the know. If you don't already know it's the rhythm section once know as two thirds of Wolfmother alongside Dynomite (sic) D and Kid Koala. As Koala said:
"We are from the future, you will understand us in 10 years."
It was electronic, throbbing and so, so heavy. No rapping, just guitars, drums and live beats that welded together in a completely organic but utterly terrifying melange.
The Slew win.
British India owned the day and are "the next big thing".
Silverchair played new songs and these two songs were dull.
The Slew played, by far, the most original and exciting set of the day to about 200 people.
IN DETAIL
With their third album release last week, the Melbourne quartet British India, have now reached the place their first songs promised. The crowd already knew the words to songs from Avalanche and the likes of Run the Red Light were greeted as some sort of coming of age anthems. This is the shape of Australian rock in 2010.
The British India set was in sharp contrast to that offered from Grinspoon. The meat and potatoes radio rock really has done its dash. The band looked tired and uninspired while frontman Phil Jamieson delivered very little of what he is capable in terms of hedonistic rock man showmanship.
Further on the whole thing of Aus rock. Let's go to the top and Silverchair. An hour in The Capital with the first band I ever saw was full of promise and it delivered early with the trio/quartet opening with Emotion Sickness. And from there it went downhill.
Songs from the very "of the moment" Dissociatives album are now appearing in the Silverchair set list. The liaison between Daniel Johns and Paul Mac was poorly thought out in the first place and now it smells more like Johns can't recognise his work from his doodling. The two new songs (16 and Machina) were boring. They lacked pop hooks and sounded like Bowie fighting Prince in a bowling alley -uninspiring crap.
If you were looking for inspiration it was, as usual with festivals, far from the guitars. Up the hill DJ Kid Koala had assembled his mates, known as The Slew, to deliver on all the word of (frothing at the) mouth by a few in the know. If you don't already know it's the rhythm section once know as two thirds of Wolfmother alongside Dynomite (sic) D and Kid Koala. As Koala said:
"We are from the future, you will understand us in 10 years."
It was electronic, throbbing and so, so heavy. No rapping, just guitars, drums and live beats that welded together in a completely organic but utterly terrifying melange.
The Slew win.
Friday, April 30, 2010
Friday, February 5, 2010
Heligoland
Near the end of Massive Attack's Heligoland, Saturday Come Slow, Damon Albarn is all but unidentifiable as he sings of a "white wall canvas", a place he can go to leave one last piece of himself before he says goodbye. It was possible to dismiss the voice of Parklife as smarmy at best and downright self-righteous at worst. Too precocious, too full of himself. Albarn has changed. Out of tune and scrapping his heart across sandpaper he becomes unimaginably hurt, aching and uber-slow.
It is a minimal, grey effort from a band unafraid by colours even if they are blue hues rather than vibrant rainbows. If this is still trip-hop then it is done differently in 2010, seven years on from the duo's last effort. Samples have utterly disappeared and have not been replaced by anything but air. There is, of course, drum loops and distant electronic flourishes.
And it's oddly beautiful but not Heligoland's highwater mark by any hearing. Maybe the point is early when TV on the Radio's Tunde Adebimpe appears in the opener Pray For Rain. His incandescent and benevolent voice wonders through clouds of street percussion and darkly ominous piano. It truly is an obvious partnership, influenced as TV are by the 20 years of Massive Attack, even if it's not sonically obvious. That influence has also worked back a little. You can hear the Brooklyn band's peculiar approach to playing coming through.
At 4:22 this song has a moment of white light beauty. Adebimpe's voice is choral, the music gone from almost industrial cacophony to luscious, flowered field.
If all this sounds a little the same it's because 20 years ago Massive Attack invented it. It's not overly important to decide where Heligoland fits in a list of the band's five albums, only to realise and remember just how good the sound is.
It's difficult to think of much beyond Tricky and Portishead that matters in the genre although its influence has spread from the obvious noises of Radiohead through the metal of Nine Inch Nails and Deftones and unfortunately on to the dross of the 2010 charts.
At the mid-way point of Heligoland is Psyche. Martina Topley-Bird's appearance reminds ears she remains one of trip-hops finest vocal contributors. It is perhaps the densest moment in an album of ten songs. The nervous tick of something electronic plays against a paranoid riff and equally anxious bass line. Topley-Bird's voice seems to wrap around itself, chasing the music as it slowly builds to an unknown destination.
Paradise City is a spooky, hand clap led song accompanied by the voice of Hope Sandoval. Piano and slowly sweeping strings make the song and it is at its best without Sandoval's voice. That is not meant as a criticism rather a simple statement. The best moments in the song are toward the climax.
Heligoland is, firstly, a welcome return from a band that is needed on the sonic landscape. It offers so much more to digest than the vast majority of albums in 2010. This is not easy music by any stretch, there is warrant for repeated listens. To call these songs enjoyable would be wrong even though they are that. It's much better to just call them good.
Tuesday, February 2, 2010
The Jealous Sound
About time, it's been too long and too difficult.
The Jealous Sound do matter.
I don't know how long What's Wrong is Everywhere has been on the band's MySpace but I know it's good to hear, to tap my left heal to.
In an age where every band must have a website or risk fan abandonment it's been seven years between KIll Them With Kindness and a second album. In 2008 there was an EP, only ever digital and barely mentioned. The Fold Out is enough to maintain the faith in this band that kept some semblance of sense behind that ugly label emo.
I should say something about this new song. The sound of the quartet remains largely intact but it has advanced. Sparser production is evident straight away. Blair Shehan probably went postal a couple of times since 2003 but it doesn't show. His tender timbre remains and the tone of the guitars hasn't been tampered with.
Welcome back.
The Jealous Sound do matter.
I don't know how long What's Wrong is Everywhere has been on the band's MySpace but I know it's good to hear, to tap my left heal to.
In an age where every band must have a website or risk fan abandonment it's been seven years between KIll Them With Kindness and a second album. In 2008 there was an EP, only ever digital and barely mentioned. The Fold Out is enough to maintain the faith in this band that kept some semblance of sense behind that ugly label emo.
I should say something about this new song. The sound of the quartet remains largely intact but it has advanced. Sparser production is evident straight away. Blair Shehan probably went postal a couple of times since 2003 but it doesn't show. His tender timbre remains and the tone of the guitars hasn't been tampered with.
Welcome back.
Sunday, January 31, 2010
Antony and the Johnsons
When Beyonce cavorts in heels and not much else offering up "baby you got me" it does nothing but vaguely offend my olfactory senses. I'm not one of these that appreciates her "head-rush blast of joy" crap, her music bores me and makes me run far away from any thoughts I had for "appreciating" the "pop sensibilities" or whatever that nonsense is.
It all changed last night when Antony Hegarty gave Crazy in Love blue ache, true beauty and somehow a rare candour unseen in music of all kinds. It was only the beginning of a startlingly beautiful performance from a man still far from comfortable in his own skin.
When some prick requested Frankenstein as Hegarty settled in to the Sydney Opera House's gorgeous Steinway grand it only gave the beautiful girl-man more to work with.
"Hmmm, yes, I've been called Frankenstein once before."
He owned a crowd that wanted only to serve, only to applaud. It felt almost greedy to call for an encore, as if somehow it would take too much from Hegarty and the 41 classicially trained musicians playing with him, for him, around him.
Hegarty reached back to a time before his fame to I fell in Love With a Dead Boy and its awkward lyrics of highs and lows set against sombre strings and audience hushed as much by shock as by context.
His rambling intermissions on Murdoch, climate change, art and travel endear him to a crowd of grand parents, uni students, young professionals and Opera House season ticket holders. Hope There's Someone is perhaps the most empathetic song ever written - it sits near Finn's Fall at Your Feet. Hegarty crawled inside the black mass of Steinway and hammered at the strings from in there, too frightened to come out but too frightened at the thought of not playing, off not getting rid of something quite ghastly.
Kiss My Name was perhaps a minor moment of homogeneity, it's easy enough when you're dealing with a voice so readily identifiable but less forgivable when there are 41 strings and drums and horns behind you to differentiate. But the criticism is intended to be ever so light, it mattered little on such a glorious night.
Missing were Her Eyes are Underneath the Ground and Epilepsy is Dancing, both wonderful and fragile and two of the strongest on The Crying Light. But again, it's hard to complain or work to find fault amidst so much magic, an unending stream of beauty.
It all changed last night when Antony Hegarty gave Crazy in Love blue ache, true beauty and somehow a rare candour unseen in music of all kinds. It was only the beginning of a startlingly beautiful performance from a man still far from comfortable in his own skin.
When some prick requested Frankenstein as Hegarty settled in to the Sydney Opera House's gorgeous Steinway grand it only gave the beautiful girl-man more to work with.
"Hmmm, yes, I've been called Frankenstein once before."
He owned a crowd that wanted only to serve, only to applaud. It felt almost greedy to call for an encore, as if somehow it would take too much from Hegarty and the 41 classicially trained musicians playing with him, for him, around him.
Hegarty reached back to a time before his fame to I fell in Love With a Dead Boy and its awkward lyrics of highs and lows set against sombre strings and audience hushed as much by shock as by context.
His rambling intermissions on Murdoch, climate change, art and travel endear him to a crowd of grand parents, uni students, young professionals and Opera House season ticket holders. Hope There's Someone is perhaps the most empathetic song ever written - it sits near Finn's Fall at Your Feet. Hegarty crawled inside the black mass of Steinway and hammered at the strings from in there, too frightened to come out but too frightened at the thought of not playing, off not getting rid of something quite ghastly.
Kiss My Name was perhaps a minor moment of homogeneity, it's easy enough when you're dealing with a voice so readily identifiable but less forgivable when there are 41 strings and drums and horns behind you to differentiate. But the criticism is intended to be ever so light, it mattered little on such a glorious night.
Missing were Her Eyes are Underneath the Ground and Epilepsy is Dancing, both wonderful and fragile and two of the strongest on The Crying Light. But again, it's hard to complain or work to find fault amidst so much magic, an unending stream of beauty.
Thursday, January 28, 2010
Some of the Places I Know
For every moment Gyroscope make you think they might go on to something they provide an equally astonishingly annoying piece of junk best left in the landfill bin. Certainly this quartet can write a chunky, indie radio friendly rock song (see: Doctor, Doctor, Snakeskin) but they're yet to fulfill the generous predictions made by many in Australian press. Some of the Places I know is the first single from the Perth quartet's fourth LP, Cohesion.
You can hear producer Gil Norton clearly. The rock has made way for smoother sounds, the guitars are crisp instead of dirty, singer and guitarist Dan Sanders reaches for melodies amongst the layers of his own voice, the percussion does nothing more than play backing, there is no solo and the bass plods at the back.
It's not particularly catchy as pop or rock or pop rock. It sounds dull and maybe five years late. This was fun around Bleed American, even more than fun but what it is now is derivative, incidental and lacking in heart. Sanders asks "is it obvious I ain't got no rhythm?" Lack of rhythm ain't the problem Dan. It is, so unfortunately, lack of chops. It just seems Gyroscope can't quite get there when it comes to the actual writing of the song.
Tuesday, January 26, 2010
End Times
These 14 mostly short songs mark Mark Oliver Everett's eighth album under the Eels moniker.
E is more defiantly desperate this time, as if it is the only option and he will not go anywhere but down. The press release from Shock rejects the idea it is Eels first "break-up record", pointing back to the 93 Everett LP Broken Toy Shop.
The first effort, The Beginning, is sparse, sombre alt-country with just a lightly strummed acoustic and E's rustic voice talking of how "everything was beautiful and free in the beginning". It's the language of a luckless couple entwined not anymore by love but by habit. "Didn't have nowhere to go, didn't matter that the night was getting cold".
It's countered by Gone Man that's oddly reminiscent of Black Rebel Motorcycle Club when they slow down but maintain the grind. Lyrically E's no happier, pondering "how much longer for this Earth" and find his comfort "in a dying world".
At this point it's clear End Times is what it is, there will be no relent. It puts it beyond a mere break-up album. It sits next to Beck's Seachange. Adjectives likes haunting and beautiful come to the fore but miss the mark.
These songs are honest.
And for that they are very rare and worthy of much admiration. He gets comparison to Springsteen, to the better Oberst work.
Mansions of Los Feliz is an Americana treasure filled with the story of the United States as it stands in 2010. "It's a pretty bad place out there" and E's living on "the edge of my mind". Just like elsewhere there is his voice and a guitar accompanied by the odd strum of a bass. There is no percussion, no call for harmonies or vocal trickery and it's all over in two minutes forty nine.
He finds room for reflection on the piano driven A line in the Dirt with talk of pissing in the yard but soon "things aren't funny" and neither are the minor chords and downcast high hat. It's the finest song amongst a collection of beauties. Gentle horns ache behind a voice marked by the agony of finality.
Given it's only January this is definitely a contender for the album of the year.
E is more defiantly desperate this time, as if it is the only option and he will not go anywhere but down. The press release from Shock rejects the idea it is Eels first "break-up record", pointing back to the 93 Everett LP Broken Toy Shop.
The first effort, The Beginning, is sparse, sombre alt-country with just a lightly strummed acoustic and E's rustic voice talking of how "everything was beautiful and free in the beginning". It's the language of a luckless couple entwined not anymore by love but by habit. "Didn't have nowhere to go, didn't matter that the night was getting cold".
It's countered by Gone Man that's oddly reminiscent of Black Rebel Motorcycle Club when they slow down but maintain the grind. Lyrically E's no happier, pondering "how much longer for this Earth" and find his comfort "in a dying world".
At this point it's clear End Times is what it is, there will be no relent. It puts it beyond a mere break-up album. It sits next to Beck's Seachange. Adjectives likes haunting and beautiful come to the fore but miss the mark.
These songs are honest.
And for that they are very rare and worthy of much admiration. He gets comparison to Springsteen, to the better Oberst work.
Mansions of Los Feliz is an Americana treasure filled with the story of the United States as it stands in 2010. "It's a pretty bad place out there" and E's living on "the edge of my mind". Just like elsewhere there is his voice and a guitar accompanied by the odd strum of a bass. There is no percussion, no call for harmonies or vocal trickery and it's all over in two minutes forty nine.
He finds room for reflection on the piano driven A line in the Dirt with talk of pissing in the yard but soon "things aren't funny" and neither are the minor chords and downcast high hat. It's the finest song amongst a collection of beauties. Gentle horns ache behind a voice marked by the agony of finality.
Given it's only January this is definitely a contender for the album of the year.
Monday, January 18, 2010
Teargarden by Kaleidyscope
A new 44 song project from the Smashing Pumpkins brings too much to mind.
People ask why? I think those people gave up too easy. Corgan most certainly lost his "self-delete" button years ago, the poetry book comes to mind.
But what's to say he's not capable of something grand in 2010? I'm not overly excited by Teargarden, unless I sit and contemplate the latest free song, A Song for a Son is almost understated by Pumpkins standards - a distinct lack of strings in a ballad is a good place for a Corgan ballad to start.
"This is a song for a son, this is a song for a sailor, the best I ever had, he sailed without a map."
It's different, quieter, calmer, somehow more refined.
What might be almost as interesting as the music is how these songs are released. Are we going to download a song a week for much of the year? Another Pumpkins double or even triple album would never sell, there's just not enough belief anymore.
That last sentence risks putting all of this in the land of Smashing Pumpkins eulogy. Let me clarify: there is a whole heap to criticise but that's not as much fun as remembering Tonight, Tonight.
People ask why? I think those people gave up too easy. Corgan most certainly lost his "self-delete" button years ago, the poetry book comes to mind.
But what's to say he's not capable of something grand in 2010? I'm not overly excited by Teargarden, unless I sit and contemplate the latest free song, A Song for a Son is almost understated by Pumpkins standards - a distinct lack of strings in a ballad is a good place for a Corgan ballad to start.
"This is a song for a son, this is a song for a sailor, the best I ever had, he sailed without a map."
It's different, quieter, calmer, somehow more refined.
What might be almost as interesting as the music is how these songs are released. Are we going to download a song a week for much of the year? Another Pumpkins double or even triple album would never sell, there's just not enough belief anymore.
That last sentence risks putting all of this in the land of Smashing Pumpkins eulogy. Let me clarify: there is a whole heap to criticise but that's not as much fun as remembering Tonight, Tonight.
Subscribe to:
Posts (Atom)