Album Review: The Idler Wheel...

The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do by Fiona Apple (Clean Slate, Epic, 2012. 43 minutes)

Born in New York City, Fiona Apple is a singer-songwriter and pianist. Apple first gained notoriety for her debut album, Tidal, winning a Grammy Award for Best Female Rock Vocal Performance. The Idler Wheel… is Apple’s fourth studio album.

Instability 

I can’t say I’ve known a truly unstable person and I want to be careful about labeling Fiona Apple as such—I don’t know her and it would be rude to assume. But, I imagine friendship with such a person would be a roller coaster. Words might be volatile; you’d walk on pins and needles. If this person told you they were trustworthy, would you trust them?

Again with the reminder that I don’t know Fiona Apple, I’ve found her lyrics to signify someone with a screw loose. I love her honesty but she seems like an erratic person.

In her latest release, The Idler Wheel…, Apple continues to write with a bare honesty unmatched in the world of pop music. Melding jazz, alternative rock, and some new electronic flourishes, The Idler Wheel… might be Apple’s best.

A Fight with Her Brain 

The album opens with “Every Single Night”, a jazzy single with Apple’s neuroses in full effect. She sings,

“Every single night / I endure the flight / Of little wings of white-flamed / butterflies in my brain / These ideas of mine / Percolate the mind / Trickle down the spine / Swarm the belly, swelling to a blaze / That’s where the pain comes in / Like a second skeleton / Trying to fit beneath the skin / I can’t fit the feelings in”

Through all of this tension both musically and lyrically, Apple sets up an aggressive chorus where she croons,

“Every single night’s a fight with my brain”

Everything about The Idler Wheel… unsettles. In particular, “Jonathan” stands out with its tense piano chords and boxy counter melody. Nothing about the song adds comfort to the listener.

Similarly, “Left Alone” waddles along with an unsteady chord progression. The song has energy but it feels like a tipsy sort of energy—the kind right before a blackout after a heavy night’s drinking.

The Outside Looking In 

In “Periphery”, Apple continues expressing her doubts about life and promotes herself as an outsider. She sings,

“Oh, the periphery / I lost another one there / He found a prettier girl than me / With a more even-tempered air / And if he wants her, he should get her / Cause I think he thinks she’s worth it / And maybe they’ll move from the periphery / Buy themselves their own plot of land / And I’ll care in a different capacity / I’ll just be hoping he makes a good family man”

Acting the jilted lover, Apple sings with her heart on the page and the music funnels her feelings into an agitated state.

With Music to Match 

The end of the record, however, shines the brightest. With odd percussion and even stranger chord progressions, “Anything We Want” continues the theme of unsettledness.

Over a discordant-then-resolved progression, Apple ponders,

“My scars were / Reflecting the mist in your headlights / I looked like a neon zebra / Shaking rain off her stripes / And the rivulets / Had you riveted / To the places that I wanted you to kiss me / When we find some time alone / And then we can do anything we want”

Perhaps most impressively, Apple composes a catchy chorus over the strangest chord progression. While the first two chords represent standard pop, Apple runs off the charts using augmented chords and strangely placed sevenths.



In sum, the song feels catchy-yet-off.

Is Everything Alright? 

Finally, Apple concludes The Idler Wheel… with “Hot Knife”. With syncopated a capella lines, she sings about a volatile relationship between male and female where each person is butter to the other’s hot knife. Lyrically, the most interesting part of the song occurs toward the end of the tune. Built over a cinemascope of lyrics, Apple suggests,

“You can relax around me”

Perhaps she means it in an ironic way but I find it fascinating how Apple spends the entire span of The Idler Wheel… introducing the listener to the wide scope of her neuroses and yet the last thing she tells us is that we can relax around her.

In her liner notes, on stage, and in interviews, Fiona Apple has presented herself as quite the iconoclast. In The Idler Wheel... she continues to promote this notion, yet she asks us to relax around her? Such a turn in lyrical narrative interests me. I continue to enjoy Apple’s art and if I must relax to hear more, relax I shall.

The Idler Wheel… is an excellent contribution to Apple’s discography—perhaps even her best. If you like singer-songwriters, difficult music and lyrics, or interesting characters, check out Fiona Apple’s The Idler Wheel...

Verdict: 4.5 out of 5

---

Posted by: Donovan Richards

Affiliate Links:
Amazon

Album Review: Ten Stories

Ten Stories by mewithoutYou (Pine Street Collection, 2012. 40 minutes)

mewithoutYou is an American rock band from Philadelphia, Pennsylvania. The band includes Aaron Weiss (vocals), Michael Weiss (guitar), and Rickie Mazzotta (drums) with a carousel of supporting musicians. mewithoutYou signed with Tooth and Nail Records releasing their first four records with the label. Ten Stories is self-released and offers a return to the band’s earlier sound.

Circular Narrative 

“All circles presuppose they’ll end where they begin, but in their leaving can they ever come back round.” – Aaron Weiss adapted from Hegel’s Phenomenology of Spirit.

Looking back on the music that defined my teen years, not much of it carried staying power. I liked ska, but the genre died in 1995. Punk rock had energy, but the lyrics are pointless and I have nothing to angst against. Hardcore and Metal, for the most part, exist as a medium by which talented musicians prove their worth; I don’t want to listen to their unending quest for technical superiority.

Of the bands in my teenage years, mewithoutYou is the only one sticking around. While my teenage-self rocked to energetic music caring little about the lyrical content, the rich narratives penned by Aaron Weiss supplement my current passion for the band.

Background Narrative 

In truth, Aaron Weiss has always been narrative-heavy. In fact, my first introduction to the band emerged from the most interesting band blog post I’ve ever read.

To be concise, mewithoutYou—a Philadelphia-based band—played a show in Baltimore. Ever seeking introspective solitude, Aaron urged the band to depart for Philadelphia without him—he wanted to walk home. What ensued was a half-hilarious, half-existential account of this singer’s 3 day hike back home.

I’ve been a fan ever since.

Circus Narrative 

With Ten Stories, we find mewithoutYou flourishing underneath rich lyrical stories. The album’s opener, “February, 1878”—an inside joke since the band has a song titled, “January, 1979”—depicts a horrific circus train crash.

“February 8th, 1878 south of Trout Creek west of Cedar Lake on a winding mountain trail of the North Pacific Union Rail, the snow arrived on time the circus train was running late rip spot’s past and all the knuckles worn firebox bursting to the running boards a pounding in his chest crushing like a cider press the Hogger rode the throttle round the bender like a flank-strapped horse”

Some animals flee in the melee; some remain in the opened cages, afraid of change.



The rest of the album, then, tells the stories of these escaped animals.

While the animals experience a wide spectrum of life, my favorite tracks are “Aubergine” and “Fox’s Dream of the Log Flume”.

Romance Narrative 

Literally, a love song between a labrador and an aubergine, “Aubergine” also unveils the inner fears of Weiss.

“Sugar down the syrup in the Queen Anne’s lace shining in the light of the nightshade cultivating unsophistication in my face trying to think of nothing to say / grapes gone sour and the spinach went to seed (it was spindly and sick from the outset) / waiting for the hour with the wherewithal to leave, patient as a dog for its master. / The Labrador was locked to the promontory rocks, she called down ‘time is an illusion.’ / An inconsequential shift as the continents drift but my confidence was crushed and I miss you regardless.”

While certainly ethereal, such pointed observations can only exist with experience. I can certainly relate to waiting with the wherewithal to leave.

Philosophical Narrative 

Additionally, “Fox’s Dream of the Log Flume” provides a sublime example of Weiss’ brilliance:

“FOX: Provisionally, ‘I’ practically alive mistook signs for signified and so since have often tried to run them off the cliff like Gadarene swine and tied my though-ropes in anchor bends wondering whether we were someone better, then, or maybe just better able to pretend (and what better means to our inevitable end! BEAR: No, I don’t know if I know, though some with certainty insist ‘no certainty exists’ well I’m certain enough of this: In the past 14 years, there’s only one girl I’ve kissed”

“Provisionally ‘I’” and a “provisionally ‘you’” from later in the song emerge from existentialist thinker Martin Buber. The “I” and “You” only have meaning in relationship with each other. Yet, at the same time, we are individuals. We aren’t “I” unless there are others in relationship with us, but, only as an individual can we even consider the idea of “I”.



Weiss’ mention of Gadarene swine paints a vivid metaphor. Weiss is referring to the story in the Synoptic Gospels where Jesus casts a legion of demons out of a man and into a drove of pigs sending them careening of a cliff to their demise.

Weiss unlocks a classic philosophical fallacy when he states, “some with certainty insist ‘no certainty exists’”. Any collegiate level course on epistemology will communicate the difficulty of finding certainty. Blame it on Descartes but we can never find conclusive proof for any claim. Yet, to state with certainty that we can’t find certainty is a fallacy. We can only talk in terms of what is most likely to be true.

Circular Narrative 

With Ten Stories, mewithoutYou has come full circle in connection to my listening experience. While as a teenager I focused almost exclusively on the music, my journey led me away from the band as I grew and expanded my tastes. But like any circle, progress brings me back round again as I find enlightenment in another aspect of the band’s sound—namely, the lyrics.

mewithoutYou is not for everyone. If you need a beautiful singing voice or sweetly tuned instruments, I suggest you steer clear. But, if your sweet spot in music surrounds brilliantly deep lyrics, give Ten Stories a listen.

Verdict: 4 out of 5

---

Posted by: Donovan Richards

Affiliate Links:

Amazon

Album Review: By the Horns

By the Horns by Julia Stone (Nettwerk Records, 2012. 38 minutes)

Julia Stone (b. 1984) is an Australian singer and songwriter. She is most known for the work with her brother in the band Angus & Julia Stone, which began in 2006. By The Horns marks her second solo record.

Airy and Light = Good or Bad?

Julia Stone’s voice airily permeates her newest solo album By the Horns, with a light and easy quality which is hard to ignore. But, I wish I could ignore it. Her voice grates on me, I think. It’s frankly hard for me to tell, as I love the music, the melodies, the mixing, and everything else on the album. The question has become for me, can I take Julia Stone one her own without the more mellow voice of her old counterpart, Angus Stone?

A National Influence

Steeped in the influence of The National, Julia Stone’s newest album By the Horns is even produced by Thomas Bartlett and has a guest appearance from drummer Bryan Devendorf, both from The National.  In a cover of The National’s “Bloodbuzz Ohio”, Stone sings the all-too-familiar lyrics.

“Lay my head on the hood of your car, I take it too far”

By The Horns

The title track, “By The Horns” shows duality in the album. Strewn with mellow tones from a Rhodes, strings providing a simple texture in the background, and an easy groove from the drums, the song sounds beautiful. Then you add Miss Stone’s voice and you’re forced to listen to emotional lyrics. Her voice is so aggressive and nasal, yet light and easy. I hate to admit it, but it works.

“I believe in love / No, darling, you can’t take that away from me”

It’s All Okay

The final track of note is “It’s All Okay”. The track to me suggests that Julia Stone’s solo career may in fact be all okay. A simple piano riff starts the song, while a drum beat creates a toe tapping atmosphere. Guitars swoon in the background in semi-Explosions-in-the-Sky style. And the lyrics; they’re fantastic.

“The story is different now the records are playing in the living room / And you might say you’re wounded, and I might say I’m hurt / But, we knew the difference then between the fire and the earth / And we may say we’re broken, we may say we’re weak / But, we knew before we started oh the secrets we would keep”

So, the more time I spend with By the Horns, the more I like it. I think Julia Stone may have a promising solo career ahead of her, and I urge you to try out By the Horns. You may not like it at first, maybe like me due to the quality of her voice, but let it marinate, and the album may grow on you.

Verdict: 3 out of 5
---
Posted by: Andrew Jacobson


Affiliate Links:

Amazon.com

Album Review: Strangeland

Strangeland by Keane (Island Records, 2012. 45 minutes)

Keane is a piano-driven pop band lead by front man Tom Chaplin. Formed in 1997 in East Sussex, England, the band has achieved wide acclaim. Their most successful album is Under the Iron Sea, which topped charts and peaked at number four in the Billboard 200 in 2006.

Melody Is Dead

Melody is dead. Extinct. No more. It’s pushing up daisies. Melody takes up residence in the great musical beyond. The culprit? You. That’s right, you are solely responsible for grossly mangling melodic content to the point where it simply gave up and breathed its last.

It’s sad really—mostly because you had no idea you were doing it. The current shift in quality melodic content—what I’m going to call the “pop snippet”—has been so glacially paced you never noticed. In fact, you rather like the poppy tunes of late don’t you? 

In all truthfulness, melody isn’t dead. Melody, however, is a rarity. Melody, as I’m choosing to define it, is a musical phrase or motif which stands out at the forefront of a song, and has considerable shape, distinction, and length. Pop tunes only have the former part of the definition: a motif which stands out at the forefront of a song. Without the latter part of the definition, it’s just something that’s catchy. The “pop snippet” has no substance. 

The pop snippet emerged because record companies wanted the radio quickly to court you to love a song. Think of Katy Perry or Rhianna and how catchy their tunes are. However, there is no lasting substance. When you think of it, there is one little part of the song that repeats over and over again in repetitive motion. A good melody, however, lasts for a while, takes up considerable real estate in a song, and even though it’s long, you could sing it back. There is substance. If you want an example of a current good melody, think Gotye. If you want an example from longer ago, think Stevie Wonder, or better yet, Elton John.

There is no substance in Keane’s Strangeland. How do I know this? It’s boring as hell.

Silenced by the Night

Here’s a classic example of why this Keane album is awful: “Silenced by the Night”. In taking a listen to the verse structure of the band’s latest single, the melody does the same thing over and over. If you assign the melody numeric value representing distinct tones within a key, it goes like this: 2-3-2-1 (repeat ad nauseam). In listening to the chorus melody, it’s slightly more interesting! 6-4-2-3-2-1, (once again, repeat). In truth, you will never forget the “melody” of the song, because it’s terribly repetitive. Notice that both the verse and the chorus melody end in 2-3-2-1. 

At this point, it must be noted that I’m not trying to discredit the musicianship of the band, but rather of their compositional style. Keane has phenomenal musicians, to be certain. However, the lack of variation and substance on the album isn’t sustainable for a lasting future as a band.

You are Young

To the band’s merit, they have interesting hooks. However, that’s where the pleasantries end for me. At the band’s conception, I was intrigued by a fully-keyboard-driven band, and the lead vocals are quite good. In the song “You are Young”, the listener once again runs into the same barricade. The verse repeats one theme constantly, as does the chorus. The vocals, however, carry the track well; they are powerful and meaningful. The keyboards, however, only do the same percussive quarter note rhythm the whole time, and the drumbeat has little variation. 

Now, in the end, if it’s catchy, you can feel free to have a listen. I cannot dissuade a listener from what they like, or what they perceive as quality. Music is somewhat relative, but I firmly believe that a good melody makes a good song. Little pop snippets don’t make a good song, and songs made up entirely of said snippets do not make a good album. I’ve found a lack of quality in Keane’s Strangeland especially in regard to melody, and I urge you to find a better record with which to spend your time if at all possible.

Verdict: 2 out of 5
What do you think?  Is melody truthfully dead or dying?  Is there a difference between melodies of old and current ones?  Conversely, do you still like Keane, or like me have you become less enamored over time? Share your thoughts below.
---
Posted by: Andrew Jacobson

Affiliate Links: Amazon.com

Album Review: Valtari

Valtari by Sigur Rós (Parlophone, 2012. 54 minutes)

Sigur Rós is an Icelandic band, originally formed in 1994. The band is known for ethereal sounds, and falsetto singing by lead singer, Jónsi. The band was named after Jónsi’s sister, Sigurrós. 

Art and Song

Most bands have to find a natural compromise between the art of the song and the ability to make money. Some bands fall into the full on “pop” world, while others try to fight the mainstream and do something completely original. Sigur Rós falls into the latter category. The band has created an art-form which is completely unique, and a song style which I would argue cannot be replicated. The band, and lead singer Jónsi have formed art: something that I think will defy contemporary music and stand the test of time.

Unique Sound

Now, normally, I praise bands for evolving and moving on from their past. I have trouble doing so with Sigur Rós, as the band has carved out a niche so deep that I’m sure it’s hard to climb out. Jónsi emerged into the pop world with his solo career, but it seems as though he and fellow bandmates are happy to crawl back into their supremely distinct sound. Frankly, I have trouble blaming them for doing so. I’m even somewhat thankful that the band hasn’t begun poking around major keys and faster, upbeat themes.

Varúō

Valtari (the Icelandic word for steamroller) marks the band’s first album in four years, and carries the same sonic textures we’ve come to know from them. Minor key gloom washes over the album, with the exception of the song “Varúō”, which takes approximately four minutes to get to a smashing, ear-bleeding climax of percussive explosion. What I do enjoy most is there is little of the indie-pop charm of “Gobbledigook” on this track, and on the album in general. Perhaps Sigur Rós is intentionally and carefully crafting art now.

Varōeldur

Another song of note has a quiet, almost stereotypical soundtrack piano playing in the background on the major downbeats. “Varōeldur” spans over a behemoth six minutes in length, much like on the rest of the album. The song is deceptively simple, with guitars slowly swooning, Jónsi quitely cooing, and chimes distantly ringing in the background. It conjures an image of a sweet moment, a past love, or a favorite incident. 

Hypnosis in Sound

“Valtari”, the title track, emerges as the penultimate track, with almost eight minutes in length, slowly enveloping the listener’s ear in hypnotic sound.

“Varōeldur” and “Fjögur píanó” are similar in theme. While I do want to criticize Sigur Rós for not developing their sound any, it’s hard to. I think the fact that the band doesn’t move past their previously developed sound perhaps just proves how original the band is. While the album isn’t exactly what one would call exciting, it’s beautiful. 

A steamroller is exactly what the album is: a beautiful, slow-moving, minimalist steamroller. The band has long dealt in the expansive, repetitive, and minimalist world, where vocals gradually accumulate to a climax, and where reverb reigns. The band’s sound is artful. Valtari is perhaps more calming than anything, something to listen to while you sip a bit of scotch or cocoa and sit by a fire while you gaze outside into the beauty of the world.

Verdict: 3.5 out of 5
What do you think of the album?  Do you find it original, or something similar to the band's past? Do you enjoy the artful take of the band, or find it boring? Share your thoughts below.
---
Posted by: Andrew Jacobson

Affiliate Link:

Amazon.com

Album Review: Bloom

Bloom by Beach House (Sub Pop Records, 2012. 50 minutes)

Beach House consists of French-born Victoria Legrand (vocals and organ) and American Alex Scally (guitars and keyboards). The band is often labeled as “dream pop” due to the slow, atmospheric progressions within its songs. Bloom marks the band’s fourth studio album.

What’s in a Name?

In hearing the name of the band, Beach House undoubtedly causes images of beaches, summertime, or perhaps sangria-filled afternoons. However, despite the name, Beach House’s music is stereotypically dark, monotonous (in a good way), and hypnotic. In a musical world that tries to remain under the same standard, Beach House has attempted to create a unique and artistic sound. On first glance, the newest album, Bloom, doesn’t diverge from the hypnotic feel of albums past. That’s not quite right, however.

In an interview with Pitchfork, the duo revealed that they intentionally decided not to change their sound, but rather their lyrical content. Their sole desire is to maintain an artistic and unique sound, in an industry that chooses to intentionally have music cut from a cookie-cutter mold.

Myth

If you listen to the first track on the album, “Myth”, you can hear the signature hypnotic sound almost instantaneously. Victoria emerges with her typical soulful voice, with some deep, and thought-provoking emotions intertwined.

“What comes after this momentary bliss? / The consequence of what you do to me”

Lapis Lazuli

Photo by R. Tanaka

Perhaps the deepest lyrics come from the song “Lazuli”, one which Legrand admits is also her favorite track on the album. The song begins with a drum-machine and music-box synth, dreamily hinting at something to come further in the track. After the first thirty seconds or so, you can hear an entire spectrum of sound emerge in one beautiful moment. When I researched the term lazuli, all of a sudden the track came together. Lazuli is a blue variety of the mineral lazurite, and it has an impeccable brilliance to it.   

“In the blue of this life / Where it ends in the night / When you couldn’t see you would come for me”

The song ends with repetitive lyrics, further enunciating the beauty of the deep blue gemstone.

“Like no other, you can’t be replaced”.

Momentary Poppy

But, all songs can’t be deep and introspective in today’s musical landscape. The fan base knows what they like, as the current radio scene evidences. Sometimes, a lack of introspection just makes people enjoy music without intellectual basis. Still keeping the textured and hypnotic feel of the rest of Beach House’s repertoire, the song “Other People” just has a certain element of pop to it. With a head-bobbing chorus, the lyrics ring,

“Other people want to keep in touch / Something happens and it’s not enough / Never thought that it would mean so much”

Subtlety

Beach House has created an album of subtle nuances and an evolution in their sound. The same dark-themed, largely hypnotic, and sultry sounds of albums past are still very much present. But, when listening to the album overall, I think there is a new depth and solidarity to the sound. With lyrical evolution, the album seems both the same and somehow different from the past. I find it intriguing that Beach House chose to evolve lyrically rather than musically, as it hints at their philosophical stance on music. Perhaps they believe that music is only as powerful as the lyrics which inspire it. Perhaps they’re right, at any rate they’re making me ponder the question. Bloom is true to its name: the band is assuredly blooming into its own.

Verdict: 4 out of 5
Do you think that lyrical content is important to a song? Or is it ancillary? Do you enjoy Bloom or find it the same as past albums? Share your thoughts below.
---
Posted by: Andrew Jacobson

Affiliate Links: Amazon.com

Album Review: Fear Fun

Fear Fun by Father John Misty (Sub Pop Records, 2012. 41 minutes)

Father John Misty is the moniker of singer-songwriter and former Fleet Foxes drummer, Joshua Tillman. After dropping out of college, Tillman moved to Seattle and began recording demos. Damien Jurado, a Seattle-based singer-songwriter, discovered Tillman and took the budding songwriter on tour. Tillman has released 7 full-length albums under the name, J. Tillman. After four years of drumming with Fleet Foxes, Tillman has returned to solo work with Fear Fun.

The Marketing Narrative 

Sometimes, the marketing campaign surrounding a new album dives into the backstory behind said record. Justin Vernon of Bon Iver locked himself in a secluded cabin during a dark, Wisconsin winter to forge For Emma, Forever Ago; Bruce Springsteen wrote The Rising to cope with the September 11 attacks.

With a backstory, the listener finds context for the sonic textures and heartfelt lyrics. The songs become more than songs; they transform into a manifesto.

Why do we care about a backstory? Even more, how should we respond to a backstory when the album itself doesn’t seem to connect?

These questions populate my mind when I listen to Father John Misty’s Fear Fun.

Drug Tripping and Day Tripping 

For this album’s backstory, Joshua Tillman resigned from a successful position as the drummer of Fleet Foxes to focus on a solo career. Already prolific under the moniker, J. Tillman, he began a drug-induced expedition to California hoping to reinvent his sound.

Fear Fun and the new pseudonym, Father John Misty, is the product of his psychedelic journey.

Nothing in this album reinvents the wheel, but Fear Fun marks a change in Tillman’s previous brooding solo work. Tillman’s latest record is energetic and fun, carefully borrowing tones from classic bands such as The Beatles.

High in Hollywood 

Thematically, Tillman accentuates drug references and constantly reminds the listener of his Californian journey.

In the jangled single, “Hollywood Forever Cemetery Sings”, Tillman sings,

“Jesus Christ, girl / I laid up for hours in a daze / Retracing the expanse of your American back / With Adderall and weed in my veins”

If the backstory wasn’t clear enough, Tillman ensures, with this song, you get the point: Fear Fun is a drug-induced record.



In terms of location, Tillman provides multiple references to California in the remarkably exciting country-twanged romp, “I’m Writing a Novel”. Tillman ululates,

“Now everywhere I go / In West Hollywood / Is filled with people pretending / They don’t see the actress / And the actress wishing that they could / We could do ayuhuasca / Baby, if I wasn’t holding all these drinks”

Lastly, Tillman goes self-referential with Fear Fun’s closing song, “Everyman Needs a Companion”. In the last verse of the record, Tillman ponders,

“Joseph Campbell and the Rolling Stones / Couldn’t give a myth / So I had to write my own / I got hung up on religion / Though I know it’s a waste / I never liked the name ‘Joshua’ / And I got tired of ‘J’”

Offering an explanation for changing his moniker to Father John Misty, Tillman expresses honesty regarding his search for meaning. He’s still looking for his name; he’s still searching for a religion. Isn’t a drug-induced trip a physical manifestation of these existential worries?

Non-Druggy Music 

Despite the thematic connections to Fear Fun’s drug-induced backstory, I thought the sharp production values and well-crafted compositions offered an argument against this fantastical story on the album’s creation. I credit the Pitchfork Media review for planting this seed of doubt.



Musically, Fear Fun is crisp and melodically rich—not a sound I would expect to emerge from such rampant drug use.

Songs like “Funtimes in Babylon” and “Nancy From Now On” offer complex melodies and unexpected chord progressions. The guitar riff in “Misty’s Nightmares 1 & 2” sweetly settles in a composed and produced manner.

Additionally, Tillman’s smart and witty observations on global sustainability in “Now I’m Learning to Love the War” seem like the product of a well-researched songwriter, not a doped-out individual.

The back-story of Fear Fun holds some tension with the album I hold in my hands. If the story holds true, Fear Fun ought to sound sloppy. Aside from Tillman telling me about his drug use, I see no evidence of it in his sonic textures. Tillman wants us to view him as a 1970s-style rock star a moment’s notice away from his next score.

I don’t think Fear Fun requires such a story to sell records. It is enjoyable on its own.

Verdict: 4.5 out of 5

What do you think? Does Tillman's backstory increase or decrease your enjoyment of the record? Is there value in creating a backstory? Do you like Fear Fun?
Share your thoughts below.

---

Posted by: Donovan Richards

Affiliate Links:

Amazon

Album Review: Beware and Be Grateful

Beware & Be Grateful by Maps & Atlases (Barsuk Records, 2012. 43 minutes)

Maps & Atlases is Shiraz Dada, David Davison, Erin Elders, and Chris Hainey. The Chicago-based band blends pop and technical musicianship into a unique flavor of indie rock.

In Praise of Songwriting 

A good song requires an interesting rhythm and melodically rich instrumentation. Even more, a song requires a catchy melody, which soars over the well-crafted music. Perhaps most importantly, the song needs to say something. “Doo be doo be doo” lyrics might have a catchy melody but they do not provide a modicum of lasting depth. If, by chance, an artist succeeds in all three categories, an impeccable song is born. Good luck writing 9 more of them.

For Maps & Atlases, musicianship has never been a problem. The guitars have always conveyed febrile tones while the bass and drums lock in a frenzied fever. The band’s Achilles heel, in previous works, has surrounded vocal creativity.

Luckily, Maps & Atlases have taken measures to right the proverbial ship with Beware and Be Grateful. With music complimenting lyrics and melodies instead of overpowering them the new album feels mature; it grows in richness with each listen.

An Album of Introspection 

To observe the band’s growth, look no further than the first single, “Remote and Dark Years”. The song expands upon motifs of introspection central to the album as a whole. The chords gently cascade creating a backdrop for the melody, while lead singer David Davison impressionistically reminisces on a failed relationship.

“I started thinking about myself like I always seem to do / I couldn’t stop myself from saying what might seem theatrical to you”

Davison’s repetition of the words “remote and dark years” carries dual meaning. First it feels like a plea for a relationship to replace time spent alone. Yet it also expresses the acceptance of a failed relationship as a remote and dark place.



Beware and Be Grateful expresses feelings on relationships with equal parts nostalgia and doubt. In “Old & Gray”, Davison croons,

“Somewhere there’s an orange on the table / Somewhere there’s a robe on the floor / And our writing on the wall is under three coats of paint in an apartment we don’t live in anymore”

Haven’t we all imagined the places where we once experienced joy? How have those physical spaces changed over the years?

Likewise, “Old Ash” looks back at similar agoraphobic neurosis that defined the relationship.

“We’re both afraid of public things / We’re both afraid of public things”

An Album of Virtuosity

Aside from these thematic jewels, Maps & Atlases maintains the musical virtuosity, which has likened them to bands such as Minus the Bear.

Of particular note, “Winter” explodes with jaw-dropping technical ability. While singing a gorgeous melody, Davison finger taps separate-but-simultaneous melodies (Check out the video below to see this technique in action) on his guitar much like Dave Knudson of Minus the Bear. The tune is a technically difficult but melodically rewarding listen and the perfect mix of matured production and Guitar-Center-show-off technicality.



Similarly, “Fever” illustrates the band’s virtuosity in its finest form while keeping the instruments subservient to the lyrical melody. A close listen reveals layers upon layers of musical complexity and yet the instruments never overpower the voice.

The Next Step 

Writing a good song is unimaginably difficult, but Maps & Atlases are perfecting the songwriting process. Where the band relied on musical talent in previous albums, Beware & Be Grateful is, to date, the closest thing to a complete album. The next step is writing the perfect record. Good luck.

Verdict: 4.5 out of 5

What do you think? What makes a good song for you? Are you a fan of Maps & Atlases?
Share your thoughts below.

---

Posted by: Donovan Richards

Affiliate Links:

Amazon

Album Review: Neck of the Woods

Neck of the Woods by Silversun Pickups (Dangerbird, 2012. 59 minutes)

Silversun Pickups is an alternative rock band based out of Los Angeles. Formed in 2002, the band is comprised of Brian Aubert, Nikki Monniger, Christopher Guianloa, and Joe Lester. Neck of the Woods marks their third studio album.

Horror!

I’ve always loved when albums are albums, not single tracks put into a last-ditch mélange of sound. With Neck of the Woods, Silversun Pickups makes a whole album, in the classical sense, by playing on the listener’s sense of fear. When listening to the album, images of horror movie scenes overwhelm and attack, causing the listener to reminisce the adrenaline-pumping scenes of past.

After a listen, it’s understandable why Brian Aubert, the frontman for Silversun Pickups, likened the newest album to a horror movie. Songs such as the six-minute track, “Skin Graph”, offer a definite horror quality. The lyrics are deceptively sweet and introspective, but the pulsating, angrily strummed and percussed instruments convey creepiness.

“All I think about is why / the skin I’m in feels ordinary”

While “Skin Graph” could have been a sweet song by lyrics alone, the introspective nature and the mention of skin, inferring scalping, mass murder, and the like, makes the song one of the most unsettling tunes on the album.

Horror Vibes

To continue the Friday the 13th, Slasher-film vibe, “Bloody Mary (Nerve Endings)” utilizes the often-used urban legend of Bloody Mary. Do you remember? If you say “bloody Mary” three times in a mirror, what happens?

“You can stay here long enough / We can play with Bloody Mary / Say her name into the dark / Activate our nerve endings”

Seemingly evoking the horror thrill, Brian Aubert seems to be explaining why so many enjoy the horror genre. When the adrenaline starts to pump, when one is scared, nerve endings activate and suddenly you feel the rush of horror. 

While perpetuating the horror genre with some fairly angry instrumentation, Silversun Pickups still manage to emulate eighties-sounding bands. In a listen to “Here We Are (Chancer)” you hear a drum machine, electronically murmuring straight from another decade. But, the gloomy, dark, and sinister themes in the songs keep the album together, not to mention a catchy melody.

Anticipation 

The last track of note is “Simmer”. A delay-enhanced arpeggiated guitar intersperses with fuzzy bass to open the song. The instrumentation gives the feeling of unwanted anticipation, as it’s scarcity leaves you expecting something more, but it’s not coming yet. It conjures the classic horror scene of someone behind the door, the audience knowing, and the obliviousness of the main character. Ghostly “ooh’s” permeate the background, infecting the atmosphere with horror.

While the band has seemingly stayed in their rock-out-in-the-nineties formula, I applaud them for using horror as a theme. It’s refreshing. It takes courage for a band to negotiate the waters of commitment and concept. All in all, the album doesn’t mark a huge debarkation away from the norm for the Pickups, but Neck of the Woods is a wonderfully executed concept.

Verdict: 4 out of 5
---
Posted by: Andrew Jacobson


Affiliate Links:

Amazon.com

Album Review: The Lion's Roar

The Lion's Roar by First Aid Kit (Wichita Recordings, 2012. 43 minutes)

Formed in 2007, First Aid Kit is Johanna and Klara Söderberg from Enskede, Sweden. A 2008 viral YouTube cover of the band, Fleet Foxes, gained the duo wide notoriety. First Aid Kit signed to Wichita Records in 2008 and released their debut record, The Big Black & the Blue, in 2010.

A Starbucks on Every Corner of the Globe 

The world is shrinking. 100 years ago, an inter-continental trip was tedious and dangerous. Today, a jetliner connects us anywhere in the world within a day.

This ease of travel, while presenting the modern world with the ability to engage in a myriad of culture, offers a melting pot for business and creativity.

One can patron a Starbucks just as easily in Germany as in Seattle. Moreover, globalization represents a shift in art. While Alan Lomax could traverse rural areas 100 years ago collecting folk tunes, the modern world transports musical stylings across the globe.

For example, The Lion’s Roar, the latest album from the Swedish duo, First Aid Kit, sounds remarkably similar to Fleet Foxes, a well-known Seattle-based band. More to the point, the similarity surrounds the use of textured vocal harmony and acoustic instruments. Historically, the mélange of sound originates from California and the rootsy Americana of the Southern United States. So to review, Tennessee→California→Washington→Sweden.

Pop Culture Potpourri 

Even more, First Aid Kit’s lyrics signify the global ubiquity of pop culture. In the pristinely crafted single, “Emmylou”, the duo croons:

“I’ll be your Emmylou and I’ll be your June / If you’ll be my Gram and my Johnny too / No, I’m not asking much of you / Just sing, little darling, sing with me”

Citing Emmlyou Harris and her collaborator Gram Parsons as well as June Carter Cash and her husband Johnny Cash, First Aid Kit delves into the dense history of American popular music, despite living a generation removed in Scandinavia.

A Melody Needs a Word and a Rhythm 

Melodically rich, The Lion’s Roar offers a variety of listenable songs but the lyrics are a stumbling block. Clearly, English is not the primary language of the duo. Lyrical inconsistency arises, especially during the verses.

Truthfully, First Aid Kit could use some work on meter. Too often, the rhythms of the lyrics feel off. One syllable is too long, the next too quick. For example, the first verse of “The Lion’s Roar” proclaims,

“Now the pale morning sings of forgotten things / She plays a tune for those who wish to overlook / The fact that they’ve been blindly deceived / By those who preach and pray and teach / But she falls short and the night explodes in laughter”

Upon careful listening, it seems like more consideration of word choice would alleviate some of the rhythmic worries.

Nevertheless, The Lion’s Roar is an enjoyable and global record. Despite my worries about lyrical rhythm, First Aid Kit’s melodies require a purchase of this record. If you like Fleet Foxes or indie folk in general, check out The Lion's Roar.

Verdict: 3.5 out of 5

What do you think? Is musical globalization a good thing or do you miss location-rooted music? Do you like the first single, “Emmylou”?
Share your thoughts below.

---

Posted by: Donovan Richards

Affiliate Links:

Amazon

Album Review: Little Broken Hearts

Little Broken Hearts by Norah Jones (Blue Note, 2012. 45 minutes)

Norah Jones (b. 1979) is the daughter of famous sitarist, Ravi Shankar. She launched her career in 2002 with the release of Come Away With Me, which won her five Grammy Awards, and sold over twenty million copies. She is listed as Billboard magazine’s 60th best selling artist and the top jazz artist of the 2000 decade.

Evolution

A lack of evolution is my main complaint of most musical artists. Take famed smooth jazz saxophonist, Kenny G., as an example. He has found a formula and exploited it for thousands of middle-aged housewives all around the country. His music has plagued elevators for at least a decade, and why? Because it works and makes money. What’s sad is Kenny G. is a legitimate jazz saxophonist with some amazing chops. 

Until Norah Jones’ last album, ...Featuring , my complaint was exactly the same for her. It became evident that she was trying to leave the sultry, easy world she had created with her earlier albums. Now, with her newest release, Little Broken Hearts, Norah Jones is seemingly telling the world she will always be growing, challenging preconceived notions, and evolving as she sees fit. No longer do we have to hear her lightly sanded voice that became synonymous with her Come Away With Me release in 2003. The ballad friendly, unobtrusive sound is no more! I’m thankful to be freed of my previous expectations.

A New Sound and a Breakup

Jones hired Danger Mouse (Brian Burton) to produce Little Broken Hearts. He is also credited as a co-writer on a few tracks. Burton has worked on projects with Gnarls Barkley, Broken Bells, and The Black Keys. With that knowledge, you should already have a fairly good idea how this album plays out; it has funk roots, acoustic emphasis, intriguing guitar rhythms and captivating vocal melodies. 

The album comes from the aftermath of a breakup with musician Lee Alexander. Each song on the album signifies a different feeling one encounters during a break up. So, the listener receives a cinematic view of an ending relationship. You can hear the dark depravity of a breakup on the track “She’s 22”, where Jones asks repetitively over a dark and muted shuffle of an electric guitar,

“Does she make you happy?”

Say Goodbye

But, a dark track isn’t the only way Jones shares her breakup. If it was, the album wouldn’t be much of a departure from her past. In a listen to the track, “Say Goodbye”, you’ll immediately hear something different from “She’s 22”, starting with a simple groove, and a catchy hook.

“It’s alright, it’s okay / I don’t need you anyway. / You don’t have to tell the truth, cause if you do I’ll tell it too / Oh, I’ll tell it too. / Well, it ain’t easy to stay in love if you can’t tell lies, / So I’ll just have to take a bow / And say goodbye.”

Heartbreaking lyrics, certainly. But, what makes this song different is that immediately you are forced to tap your toes, listen intently, and enjoy. With an R&B beat, a gentle organ tremolo in the background, and a catchy guitar riff throughout, “Say Goodbye” certainly marks a departure for Jones. This song isn’t something you play in the background at a party; this tune is something you blare on your car radio.

Happy Pills

The antepenultimate track is perhaps my favorite of them all. Entitled “Happy Pills”, the song consists of a simple rock formula. Chunked guitar on eighth notes, snare hits on two and four, and a catchy guitar riff is a prescription for success. The tune almost sounds like The Black Keys just hired a new vocalist. The lyrics tie in with the rest of the songs on the album, but the vibe is different.

“Would you please just let me go now? Please just let me go”

No longer should you see Norah Jones as the demure girl who took home a ton of Grammy’s for her sultry performance on Come Away With Me. Jones has evolved into her next stage. Alternative Rock now graces her album, Little Broken Hearts, kindly assaulting our senses with a brand new, evocative sound. Rhythmically complex, melodically intricate, and lyrically thorough, this album is worth ignoring any preconceived notions you may have about Norah Jones.

Verdict: 4.5 out of 5
---
Posted by: Andrew Jacobson

Affiliate Links: 

Amazon.com

Album Review: Ashes & Fire

Ashes & Fire by Ryan Adams (Capitol Records/Pax Americana Record Company, 2011. 43 minutes)

Ryan Adams is a singer-songwriter renowned for his contributions to the alt-country genre. Originally a member of the band Whiskeytown, Adams began his solo career with Heartbreaker in 2000. A prolific songwriter with 13 albums released since 2000, Adams garnered the most commercial success with Gold. In addition to music, Adams has published Infinity Blues and Hello Sunshine, books of poetry. Adams married Mandy Moore in 2009 and took an extended hiatus—for him, at least—from music. In 2010, Adams founded a record label, PAX AM and has released has latest two releases on the label.

The Rubric of Great Art 

There are times when music pauses reality with a unique melody or a noteworthy phrase. A song penetrates the soul at far from objective depths. These moments intrigue a listener; one wants to unveil the songwriting process, connect to the artist at the most basic of levels.

What if, having queried an artist, you learn your emotional connections to a song mean little to nothing, the deep movement protruding from the sonic textures translate to nothing more than a paycheck for the artist instead of a moment from a personal diary? Would such a result alter the way you think of the song?

On one hand, I want art to forge the connection between creator and consumer. Yet, beautiful art remains exemplary regardless of authorial intent.

Given these quandaries, Ryan Adams’ Ashes & Fire intrigues. Emotionally honest and abstemious alternative country, Ashes & Fire feels like a counseling session. In this openness, I feel a personal connection with Adams. Whether or not the person emerging from the lyrics equates to Ryan Adams in reality, the lyrical content on openness to a successful relationship and the fears of its quick demise provides the foundation for an outstanding record.

Dancing in the Dirty Rain 

Ashes & Fire opens with “Dirty Rain”. With a thin acoustic guitar and piano accompaniment from Norah Jones, Adams introduces the overarching themes of the album with his first verse:

“Last time I was here it was raining/It isn’t raining anymore/The streets were drowned, the waters waning/All the ruins washed ashore/I’m here, just looking through the rubble/Tryin’ to find out who we were/Last time I was here it was raining/It isn’t raining anymore”

With a history of self-afflicted drug abuse and alcoholism, Adams views his current successful relationship with doubt. How long will it last before the rain drowns everything of value? When Adams sings, “And you and I are out dancing in the dirty rain,” it feels like a plea to stick together through thick and thin.

To Wait in Uncertainty 

“Do I Wait?”, another highlight of Ashes & Fire, continues the theme of doubt. A descending chord progression, similar to “The Shadowlands”, my favorite Ryan Adams tune, suggests the dread of a relationship in peril. Adams commences the song with questions:

“Do I want to say the things that I say?/When I know that they are wrong?/Do I wait here forever for you?/Did you ask me to?”

As the uncertainty in the song builds, Adams’ voice feels more strained until a gorgeous guitar solo introduces the song’s climax.

The Pros and Cons of a Boundary 

The next song, “Chains of Love”, announces a shift in emotion. Perhaps the commitment of a relationship does not mean an inevitable slide into discord.

“I can see the chains of love/The chains/Talking about the chains of love/Can’t take us away”

Even though the use of a chain as a metaphor for a relationship conjures the feeling of love as a prison, Adams’ voice suggests the possibility of chains as a metaphor for healthy cementedness in a relationship.

Steadfast Despite Doubt 

With this shift in place, the back half of Ashes & Fire carries more hopefulness, culminating in the final song, “I Love You But I Don’t Know What to Say”.

Including reserved and bare instrumentation, the track acknowledges the difficulty of a relationship while maintaining the commitment of moving forward.

“I promise you/I will keep you safe from harm/And love you all the rest of my days/When the night is silent/And we seem so far away/I love you/And I don’t know what to say”

Do We Need Confessions from a Personal Diary?

Whether or not we are receiving glimpses of his personal diary, Adams writes convincing songs; they feel genuine and the hopeful-despite-scared quality resonates with any relationship.

If I met Ryan Adams tomorrow and he told me Ashes & Fire exists for a paycheck alone, the quality of the music and the emotional pull would not change. I like imagining Adams as a tortured songwriter but a good song is a good song no matter the process behind its creation. If you like emotionally honest singer-songwriters and find affinity with alt-country, check out Ashes & Fire.

Verdict: 4.5 out of 5

What do you think? Are you a fan of Ryan Adams or alternative country? Do you want your music to have a level of honesty? Does the artist’s intention matter to you? Share your thoughts below.

---

Posted by: Donovan Richards

Affiliate Links:

Amazon

Album Review: Port of Morrow

Port of Morrow by The Shins (Columbia Records/Aural Apothecary, 2012. 40 minutes)

The Shins are an indie rock band originally from Albuquerque, NM, now located in Portland, OR. The Shins consist of James Mercer (vocals, guitar), Joe Plummer (drums), Jessica Dobson (guitar), Yuuki Matthews (bass), and Richard Swift (keyboards). The band is most widely known for their third album, Wincing the Night Away, which debuted at number two on the Billboard Charts and nominated for a 2008 Grammy award, as well as the Garden State soundtrack.

The Purge

Ok. Port of Morrow is good. It shows sometimes a purge is necessary, as only one of the original members of The Shins remains. In 2008, when the band announced their contract with Sub Pop was up, it became evident that the next album, Port of Morrow, would be produced on lead singer James Mercer’s Aural Apothecary label. With the new backing band featuring Jessica Dobson (Deep Sea Diver), Richard Swift (Starflyer 59), Joe Plummer (Modest Mouse), and Yuki Matthews (Crystal Skulls), the overall sound is much more refined and detailed than past albums. 

Personality and Meaning

I had trouble finding a track on the album I didn’t enjoy. Port of Morrow has a more downtempo feel in general, but there are some inspiring upbeat tracks in the album as well. Port of Morrow refers to Portland, Oregon. Because it refers to Mercer’s adopted hometown, the album has more personality and meaning than his past albums, which I think makes it much more intriguing and exciting to listen to. The sense of place provides personality by housing the songs in reality. These aren’t banal love songs but semi-biographical works of art.

Overall the album carries a similar tone throughout, but I’ll highlight what I consider the “best tracks”. The opening track “The Rifle’s Spiral” is one of particular note. Starting with ominous atmospheric filigree, the track then explodes with a catchy pop guitar riff and simple snare hits. With introspective, complicated lyrics, this song thoroughly thought out to say the least.

“Listen, now, we won’t tell anyone/But you gonna tell the world/This whole life ain’t been any fun,/Let your viscera unfurl “

The song then dissolves almost seemingly into the next track, the single “Simple Song”. One of the strongest tracks on the album, it reverts back to previous Shins albums, especially the album Wincing the Night Away.

Thankfulness for a Sister

“Fall of ’82” is one of the more catchy tunes on the album taking influence from Bob Dylan in the lyrical content and The Beatles in the intermediary guitar riffs and vocal melody. A Chuck Mangione-like trumpet occurs during the half point in the song. Telling the story of Mercer and his sister while they grew up, and how his sister saved him from himself in the fall of ’82, Mercer is the man he is because of her. This song is a must-listen.

“I do relate to you in so many ways/But, I didn’t go through what you must have in those early days/You had to be strong at such a very young age/A new life from lemonade. So won’t you listen to me now?/There’s something I never told you./And I’m about to try,/See you were my lifeline when the world was exploding”

Rammstein

Another favorite track is “40 Mark Strasse”, the nickname for the street where American servicemen at Rammstein Air Force Base in Germany can pick up prostitutes to relieve them of their “pressures” during their long service to their country. The song tells the story of a local German in love with a girl who whores herself out willingly to the servicemen. Her mom isn’t there for her; her dad is a drunk; she has no future. The man (singer) says she doesn’t know what she’s getting herself into; she needs to not let the American boys put another dent in her life. 

To go deeper, the lyrics are a metaphor for how James Mercer feels about American foreign policy—he believes it to be destroying the lives of people around the world with their childish notions, and how they inevitably allow the Americans to put another dent in a foreigner’s way of life.

“Cause every single story/is a story about love/both the overflowing cup/and the painful lack thereof/You got the heart of a dove./But you play in the street at night,/blow just like a broken kite./My girl, you’re giving up the fight,/you’ll have to lose all them childish notions/if you’re gonna let these American boys/put another dent in your life”

I’ve highlighted just a few of the songs (my favorites) on Port of Morrow, and have hopefully showed how lyrically deep and expressive the entire album is. I think the band member purge helped focus the album. With freshness came a sense of new inspiration for the band. Mercer puts just as much thought into the musicality of each song as he does the lyrics, and it shows. Port of Morrow is thoughtful, and only gets better with each listen. I think you should try it out.

Verdict: 4.5 out of 5
---
Posted by: Andrew Jacobson


Affiliate Links:

Amazon