This is a different, bigger album from what I might have expected from O River; more ambitious than ever before, but in my humble opinion it's still nothing on the simplicity of 2007's The Stage Names. For all its ambition, the result is a decent album of indie rock, but in my view not much more than that. There's still something about Okkervil River's vocals that strikes me as kind of Killers-ish. I don't know if that should be read as criticism (I don't mean it to be) but it seems to be something that strikes me more obviously than others I've discussed it with. And perhaps it says something about the ambition of this album.
It is a solid, juggernaut of an album, that kind of relentlessly hammers away at its listener - but it wasn't till track 3 'Rider' that I actually got excited about it. This is quite the charasmatic wee number, its excellent keys and thundering rhythm section give it a kind of anthemic feel. In fact much of this album is characterised by that epic sort of feel - I think it's the big dense choruses and sometimes almost breathless vocals that lend that effect. There's some interesting use of synths, particularly the layered effect in 'Your Past Life as a Blast'.
I've liked this band since first listen, but I fear they may be a bit hit and miss for me. This is definitely an indie rock album; there's very little hint of the alt-folk sound that I loved so much about The Stage Names. It's a good album, but I haven't yet found it to be a great album. There are moment of pure beauty - the opening of 'Show Yourself' has a dreamy Jeff Buckley-esque element to it; and the keys, oboes, and layered strings and vocals through the closing track 'The Rise' are just stunning and give a dream-like conclusion to the album - but there are also parts that I can take or leave.
It's new and dense and darker and heavier than Okkervil River as we know them. It's an interesting listen. I like this band, I like their ambition even if I prefer their earlier style. They write cohesive music with flashes of brilliance. So this album may well be a slow-burner, and it at least deserves another few listens to find out.
Wednesday, December 21, 2011
Tuesday, December 20, 2011
The Veils, Troubles of the Brain EP (2011)
I love The Veils, and credit an awesomely awesome former flatmate with introducing me to them. Like everything they do, this is a fascinating, challenging EP.
The contrast between the depth and fullness of opener 'Bloom' (which is probably most faithful to what I'd consider The Veils traditional sound, if they have such a thing) and the second track, 'Don't Let the Same Bee Sting You Twice' - which is a deliberately low-fi, bare kind of sound - is remarkable. The truly interesting thing about is that while the contrast is almost shocking, it works fantastically. And the cleverness of this juxtaposition (and indeed of this band) is that I couldn't decide which of these two markedly different sounds I liked better.
The third track is an upbeat poppy sort of number but retains interesting almost rough guitars overlaid with a cheerful synth. It is delightful. And the all of a sudden 'The Wishbone' returns to the darker, deeper sound that the EP opens with. I bet these guys listened to a lot of Radiohead growing up.
'Don't Let the Same Bee..' vies with the distinctly kiwi 'Grey Lynn Park' - a short, textured, interesting song - for my favourite track. The album is rounded out with the delicate 'Us Godless Teenagers', bare vocals, gentle acoustic guitar, built up with background strings.
A contemporary, interesting listen. The only complaint I have about this EP is that it's not a full-length album. Still, quality over quantity, eh?
The contrast between the depth and fullness of opener 'Bloom' (which is probably most faithful to what I'd consider The Veils traditional sound, if they have such a thing) and the second track, 'Don't Let the Same Bee Sting You Twice' - which is a deliberately low-fi, bare kind of sound - is remarkable. The truly interesting thing about is that while the contrast is almost shocking, it works fantastically. And the cleverness of this juxtaposition (and indeed of this band) is that I couldn't decide which of these two markedly different sounds I liked better.
The third track is an upbeat poppy sort of number but retains interesting almost rough guitars overlaid with a cheerful synth. It is delightful. And the all of a sudden 'The Wishbone' returns to the darker, deeper sound that the EP opens with. I bet these guys listened to a lot of Radiohead growing up.
'Don't Let the Same Bee..' vies with the distinctly kiwi 'Grey Lynn Park' - a short, textured, interesting song - for my favourite track. The album is rounded out with the delicate 'Us Godless Teenagers', bare vocals, gentle acoustic guitar, built up with background strings.
A contemporary, interesting listen. The only complaint I have about this EP is that it's not a full-length album. Still, quality over quantity, eh?
Wilco, The Whole Love (2011)
I'm unfalteringly dedicated to Wilco. I can't imagine life without them. But I don't necessarily love everything they do - despite moments of pure loveliness (witness 'You and I' in collaboration with the endlessly lovely Feist) 2009's 'The Album' fell a bit flat for me.
This particular album required a bit of a mindshift. The opening track 'Art of Almost' is totally unexpected and a real shift in style - Jeff Tweedy's voice is a dead ringer for Tim Finn circa Split Enz, and the opening to the album itself is such a departure from Wilco's traditional style that I simply wasn't convinced I was listening to the right band.
But you know what? It's good. Crikey it's good. Self-produced and Wilco's first album on their own label, it is an experimental rock album, but the traditional underlying components are all still there. Genre aside, the phenomenon that is Wilco is still driven by an insane rhythm section, and the opening track's guitar solo can only be described as a facemelter. Jeff Tweedy's vocal and lyrical talent is as comfortingly evident as ever. And Pat Sansone's jangly, organy keys often overlay the largely bass-driven tracks (I have long thought Jon Stirratt was an overshadowed force in this band and am pleased to see him have his day in the sun here.)
So, scratching beneath the surface, it's not a total departure from Wilco as we know them. Although it's an alt-pop driven sound, the delicate vocals and keys of 'Sunloathe' are as beautiful as we've come to expect from lovely Jeff Tweedy, and features a distinct folk sound too. 'Dawned On Me' is cuteasabutton and kind of reminiscent of Blur or other Britpop of a similar era. The opening riff to the gentle 'Black Moon' is as pretty an alt-folk riff as they've ever done, and is beautifully overlaid by an intense cello and a lovely wailing guitar. I think this is my favourite track. Or wait, it was until I heard the subsequent 'Born Alone', undoubtedly the most faithful to the traditional Wilco sound. Let's just say tracks 4 through 9 (oh go on, and 11 and 12) are my favourites and leave it at that.
'Capitol City' almost sounds like a show-tune in some ways, featuring a sneaky clarinet (or is it an oboe?) it's a cheeky little track and Tweedy's vocals again reclaim that very Finn-esque sound. I adore it. I was interested to read that the earlier 'The Album' was in fact recorded in Neil Finn's Auckland studio - maybe the influence is evident for a reason...
Although the album opens with a heavier psych feel, this is actually quite a gentle album and in many ways less aggressive than much of Wilco's earlier work. To me this album is epitomised by its title track, a pretty, guitar-driven meander through Tweedy's head. So for the most part, its components are endearingly familiar and play to Wilco's core strengths, but the sum of its parts shows a real growth in the Wilco sound. And I like it for that. It does what The Album failed to do, and breaks far enough from tradition to give us a fresh, excellent taste of this superb band.
It's new. It's interesting. I like.
This particular album required a bit of a mindshift. The opening track 'Art of Almost' is totally unexpected and a real shift in style - Jeff Tweedy's voice is a dead ringer for Tim Finn circa Split Enz, and the opening to the album itself is such a departure from Wilco's traditional style that I simply wasn't convinced I was listening to the right band.
But you know what? It's good. Crikey it's good. Self-produced and Wilco's first album on their own label, it is an experimental rock album, but the traditional underlying components are all still there. Genre aside, the phenomenon that is Wilco is still driven by an insane rhythm section, and the opening track's guitar solo can only be described as a facemelter. Jeff Tweedy's vocal and lyrical talent is as comfortingly evident as ever. And Pat Sansone's jangly, organy keys often overlay the largely bass-driven tracks (I have long thought Jon Stirratt was an overshadowed force in this band and am pleased to see him have his day in the sun here.)
So, scratching beneath the surface, it's not a total departure from Wilco as we know them. Although it's an alt-pop driven sound, the delicate vocals and keys of 'Sunloathe' are as beautiful as we've come to expect from lovely Jeff Tweedy, and features a distinct folk sound too. 'Dawned On Me' is cuteasabutton and kind of reminiscent of Blur or other Britpop of a similar era. The opening riff to the gentle 'Black Moon' is as pretty an alt-folk riff as they've ever done, and is beautifully overlaid by an intense cello and a lovely wailing guitar. I think this is my favourite track. Or wait, it was until I heard the subsequent 'Born Alone', undoubtedly the most faithful to the traditional Wilco sound. Let's just say tracks 4 through 9 (oh go on, and 11 and 12) are my favourites and leave it at that.
'Capitol City' almost sounds like a show-tune in some ways, featuring a sneaky clarinet (or is it an oboe?) it's a cheeky little track and Tweedy's vocals again reclaim that very Finn-esque sound. I adore it. I was interested to read that the earlier 'The Album' was in fact recorded in Neil Finn's Auckland studio - maybe the influence is evident for a reason...
Although the album opens with a heavier psych feel, this is actually quite a gentle album and in many ways less aggressive than much of Wilco's earlier work. To me this album is epitomised by its title track, a pretty, guitar-driven meander through Tweedy's head. So for the most part, its components are endearingly familiar and play to Wilco's core strengths, but the sum of its parts shows a real growth in the Wilco sound. And I like it for that. It does what The Album failed to do, and breaks far enough from tradition to give us a fresh, excellent taste of this superb band.
It's new. It's interesting. I like.
Monday, December 19, 2011
Bombay Bicycle Club, Flaws (2010)
From the very beginning of opener 'Rinse Me Down', this album drew me in. The beautifully harmonised, stripped back, stunningly simple song had me at hello. And from that point on I fell swiftly and irrevocably in love with the album.
'Flaws' does everything I love a band to do - layers guitars and vocals to take the straightforward from something quotidien to something special. Classic, well-arranged, and skillfully-executed music will always win me over, and this album is 33-and-a-half minutes of exactly that. I've said it before and I'll say it again: there are few things in life so satisfying as a well-played acoustic guitar - and this album is the best example of this I've heard in a long time. Honourable mention to 'Dust on the Ground' - a compelling, yet almost lackadaisical, country-inspired riff, and a heartbreaker of a song (I mean that in a good way) that has a kind of Badly Drawn Boy feel to it.
As we all know (yes, you can quit rolling your eyes) I'm a sucker for Bright Eyes, and there's something about the occasionally slightly warbly vocals and poetic lyrics of this album that's kind of reminiscent of Conor Oberst. And though it's a cover, I also get a distinct Buddy Holly (circa 'Dearest') feel from 'Fairytale Lullaby.'
Other standouts for me are 'Ivy & Gold' which gave me a sort of Neil Young shiver, and the intimate, ambient 'Leaving Blues' which cuts almost too accurately close to the bone for someone who spends her life on the road. There's a compelling urgency to 'My God'; a banjo-inspired lift to the title track - not to mention the equally superb 'Many Ways'; and an ethereal beauty to the closing track (a Joanna Newsom cover) 'Swansea.'
Above all this album is just so easy to listen to. It is beautifully written. Skilfully executed. I smiled from start to finish. I'm addicted; I want to share this album with everyone I know. I listened to the whole thing twice in a row. In fact I'm not going to lie, even though it's obscene, I actually listened to it three times. In a row. And what's more I can't wait to listen to it over and over and over again. Especially on sunny Sunday afternoons.
Thank you, friend, for the recommendation. Your flawless taste prevails. Also, you should blog more.
'Flaws' does everything I love a band to do - layers guitars and vocals to take the straightforward from something quotidien to something special. Classic, well-arranged, and skillfully-executed music will always win me over, and this album is 33-and-a-half minutes of exactly that. I've said it before and I'll say it again: there are few things in life so satisfying as a well-played acoustic guitar - and this album is the best example of this I've heard in a long time. Honourable mention to 'Dust on the Ground' - a compelling, yet almost lackadaisical, country-inspired riff, and a heartbreaker of a song (I mean that in a good way) that has a kind of Badly Drawn Boy feel to it.
As we all know (yes, you can quit rolling your eyes) I'm a sucker for Bright Eyes, and there's something about the occasionally slightly warbly vocals and poetic lyrics of this album that's kind of reminiscent of Conor Oberst. And though it's a cover, I also get a distinct Buddy Holly (circa 'Dearest') feel from 'Fairytale Lullaby.'
Other standouts for me are 'Ivy & Gold' which gave me a sort of Neil Young shiver, and the intimate, ambient 'Leaving Blues' which cuts almost too accurately close to the bone for someone who spends her life on the road. There's a compelling urgency to 'My God'; a banjo-inspired lift to the title track - not to mention the equally superb 'Many Ways'; and an ethereal beauty to the closing track (a Joanna Newsom cover) 'Swansea.'
Above all this album is just so easy to listen to. It is beautifully written. Skilfully executed. I smiled from start to finish. I'm addicted; I want to share this album with everyone I know. I listened to the whole thing twice in a row. In fact I'm not going to lie, even though it's obscene, I actually listened to it three times. In a row. And what's more I can't wait to listen to it over and over and over again. Especially on sunny Sunday afternoons.
Thank you, friend, for the recommendation. Your flawless taste prevails. Also, you should blog more.
Thursday, December 15, 2011
A beautiful combination....
Two of my favourite things: The Smiths, and Question Time.
Just surprised no one mentioned Bigmouth Strikes Again.....
Just surprised no one mentioned Bigmouth Strikes Again.....
Friday, December 2, 2011
The Avett Brothers, I and Love and You (2009)
On the road once again, for the last time for a while. Being at home has been so good - Wellington has been rockin, being settled in one place has been balm for the travel-weary soul, and for the past few weeks I have just been a thousand percent happy. (That's heaps.)
And I'm discovering new music again, including this little gem. Recommended to me by a friend in Costa Rica I have only just got around to checking it out. And I've, like, totally got a crush on it.
The opening, title track is all pure vocals and clean brotherly harmonies: a gentle piano-driven ballad. It's a sweet start to the album, with a catchy chorus, and I love that it's a perfect 5 minutes in length. It launches into the sweet, banjo-lifted 'January Wedding'; a light-hearted little ditty that I can't get enough of. 'And It Spread' is another catchy little tune, with a bit of a pop vibe to it. There's another infectious little nod to the pop sound in the bridge of 'The Perfect Space' - in an otherwise uncomplicated song, it never fails to makes me smile. And all this pop stuff happens before we even get to 'Kick Drum Heart', which sounds exactly as the title says it should - all fun drumbeats and cutesie pianos, it's just delicious. Nearer the end of the album 'Slight Figure of Speech' draws in some of that really fun Brit Pop sound, mixing it up with dextrous vocals (the album was produced by Rick Rubin who's worked inter alia with the Beastie Boys, and you can really hear it here...) and a riff that's very Violent-Femmes-circa-Blister-In-the-Sun. Infectious.
The album lurches from sentimental acoustic ballads to pop to punk to pure hoe-down bluegrassy goodness (witness 'Laundry Room') but it all works and it just feels so right. And they do something I've been looking for a band to do for a while (and I confess my beloved Bright Eyes did not manage it as well as I'd hoped with The Peoples Key): they've seamlessly integrated a modern organ-driven sound into good old fashioned American folk songs. It never detracts from the undisputed guitar- and banjo-driven nature of the album, but it complements it beautifully, as does the strategic use of strings throughout.
It's not always overly complex music. In fact it's often charmingly uncomplicated, but it's a beautiful marriage of some fun genres, all faithfully underpinned by a folk-country sound. It's an honest album, and it's a rollicking good time.
I did think that Okkervil River was my find of the year, but with one month to go, this album is definitely giving it a run for its money. I have been hooked from first listen. It makes me happy. A thousand percent.
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