This Montreal ensemble's fiery debut is marked by surging guitars, soulful strings, driving drums, brilliant bass lines, and the quavering vocals of married couple Win Butler and Regine Chassagne. The group's song structures careen through a vast territory of musical and personal history, with lyrics warm with memories of childhood neighborhoods and deceased loved ones, resulting in an alternating current of joy and sadness. Favorably compared to the Flaming Lips, Mercury Rev, and Broken Social Scene, the Arcade Fire's sound seems to come from a lifetime of listening to the Cure, Talking Heads, Elvis Costello, and many others--even a dose of soul gets worked into these grand anthems. Chassagne delivers some spellbinding vocals on "Haiti," while the tinkling piano and strings on "Crown of Love" conjure up a heartbroken surfside prom. In 2004, this made many critics' year-end lists, and it's no wonder--the songs on FUNERAL are so packed with unique instrumentation, mesmerizing build-ups, and galvanizing tempo changes that they seem culled from some enigmatic, decade-spanning rock anthology. (FTP)
Friday, 2 February 2007
Arcade Fire - Funeral
This Montreal ensemble's fiery debut is marked by surging guitars, soulful strings, driving drums, brilliant bass lines, and the quavering vocals of married couple Win Butler and Regine Chassagne. The group's song structures careen through a vast territory of musical and personal history, with lyrics warm with memories of childhood neighborhoods and deceased loved ones, resulting in an alternating current of joy and sadness. Favorably compared to the Flaming Lips, Mercury Rev, and Broken Social Scene, the Arcade Fire's sound seems to come from a lifetime of listening to the Cure, Talking Heads, Elvis Costello, and many others--even a dose of soul gets worked into these grand anthems. Chassagne delivers some spellbinding vocals on "Haiti," while the tinkling piano and strings on "Crown of Love" conjure up a heartbroken surfside prom. In 2004, this made many critics' year-end lists, and it's no wonder--the songs on FUNERAL are so packed with unique instrumentation, mesmerizing build-ups, and galvanizing tempo changes that they seem culled from some enigmatic, decade-spanning rock anthology. (FTP)
The Charlatans - Tellin' Stories
Like Blur, England's Charlatans started out as seemingly slight "Madchester" wannabes: Remember the organ-driven hit "The Only One I Know," which nicked its hook from Deep Purple's "Hush"? But the group has matured over the last seven years, becoming a gutsy rock band with a penchant for psychedelicized blues, not unlike the Rolling Stones of Aftermath and Between the Buttons. Sadly, organist Rob Collins was killed in a car crash in Wales in July, 1996, midway through recording this album. His bandmates drew on their pain to complete a cathartic set of songs such as "With No Shoes" and "How Can You Leave Us," which serve as a fitting tribute. (RS)
Thursday, 1 February 2007
Lloyd Cole - Anti Depressant
Lloyd Cole's mixture of jangly guitar pop, memorable melodies, and razor-sharp wordplay containing rich details and biting, sometimes cynical observations is difficult to resist. 2006's Anti Depressant is as good, if not better, than any album in Cole's discography (and there have been a lot of good ones since his debut in 1984), proving the Scot's songcraft and pop instincts have only grown keener with time. Whether on the wistful, dancing melody of the piano-driven "Woman in a Bar" or the knowing nod of the title track, Cole examines the hopes, fears, and disappointments of life, love, and aging with relentless precision and ingratiating style.(RS)
Primus - Pork Soda
While some longtime Primus fans feel that 1993's Pork Soda was the beginning of the end of the group, it was Primus' biggest commercial success to date, making them part of the 90's alternative rock royalty. Claypool's usually lighthearted lyrics take a turn to the dark side on the murder tale "My Name Is Mud" and the suicidal "Bob," but his biting sense of humor resurfaces on such tracks as "Welcome to this World," "DMV," "Nature Boy," and "Mr. Krinkle." Pork Soda was Primus first album to be recorded in the cushy confines of Les Claypool's house, giving the album a more "made at home" feel and sound than previous releases.(FTP)
The Album Leaf - In a Safe Place
The Album Leaf is the recording moniker of guitarist Jimmy LaValle.
Though LaValle's main commitment is as a member of San Diego-based post-rock outfit Tristeza, he has found time to record as a solo artist, creating lush, meditative instrumental albums that fall somewhere between Erik Satie, John Fahey, Brian Eno, and the Sea & Cake. In a Safe Place, LaValle's third full-length release and his debut for SubPop, builds on the spare, trance-like qualities of his first two albums, fleshing out the repetitive patterns and delicate textures with the help of digital shading and instrumental support from members of Icelandic rock group Sigur Ros. The wispy, airy strains of the opener, "Window," put one in mind of Eno's AMBIENT 1: MUSIC FOR AIRPORTS, luring the listener into a bright netherworld. A soothing digital pulse backs a gentle, chiming guitar pattern in "On Your Way," while the hypnotic "Over the Pond" features a simple piano refrain repeated, then detailed with strings and Sigur Ros's accompaniment. The effect is a powerful one, giving dimension and contour to LaValle's already developed musical vision and, ultimately, making In a Safe Place the artist's strongest statement to date.(RS1)(RS2)
Though LaValle's main commitment is as a member of San Diego-based post-rock outfit Tristeza, he has found time to record as a solo artist, creating lush, meditative instrumental albums that fall somewhere between Erik Satie, John Fahey, Brian Eno, and the Sea & Cake. In a Safe Place, LaValle's third full-length release and his debut for SubPop, builds on the spare, trance-like qualities of his first two albums, fleshing out the repetitive patterns and delicate textures with the help of digital shading and instrumental support from members of Icelandic rock group Sigur Ros. The wispy, airy strains of the opener, "Window," put one in mind of Eno's AMBIENT 1: MUSIC FOR AIRPORTS, luring the listener into a bright netherworld. A soothing digital pulse backs a gentle, chiming guitar pattern in "On Your Way," while the hypnotic "Over the Pond" features a simple piano refrain repeated, then detailed with strings and Sigur Ros's accompaniment. The effect is a powerful one, giving dimension and contour to LaValle's already developed musical vision and, ultimately, making In a Safe Place the artist's strongest statement to date.(RS1)(RS2)
Dinosaur Jr. - Bug
Relatively cleaner-produced and more accessible than You're Living
All Over Me, Bug expanded on the strengths of its predecessor, and established Dinosaur Jr. as a major band in the American underground. Although the majority of the album is firmly situated in the sprawling, noisy metallic fusion of hard rock and avant noise, Bug also demonstrates that J Mascis has a talent for winding folk-rock, particularly on "The Post" and "Pond Song." Like its predecessor, the songs on Bug are quite uneven, but it does represent a major step forward for Mascis, particularly on the masterpiece of the record, "Freak Scene," a surprisingly catchy song encapsulating the appeal and pitfalls of indie rock within three minutes. (FTP)
All Over Me, Bug expanded on the strengths of its predecessor, and established Dinosaur Jr. as a major band in the American underground. Although the majority of the album is firmly situated in the sprawling, noisy metallic fusion of hard rock and avant noise, Bug also demonstrates that J Mascis has a talent for winding folk-rock, particularly on "The Post" and "Pond Song." Like its predecessor, the songs on Bug are quite uneven, but it does represent a major step forward for Mascis, particularly on the masterpiece of the record, "Freak Scene," a surprisingly catchy song encapsulating the appeal and pitfalls of indie rock within three minutes. (FTP)
Dinosaur Jr. - Green Mind
After temporarily suspending the band, J Mascis first snuck out
"The Wagon" as a Sub Pop single, then a little while later released the group's first major-label album, Green Mind. More of a solo project than a group effort -- Lou Barlow was out and then some, Murph only drums on three tracks, a few guests pop up here and there -- it's still a great album, recorded and performed with gusto. Such a judgment may seem strange given Mascis' legendary image as the überslacker, but clearly the man knows how to balance how to convey himself with getting the job done. "The Wagon" itself kicks off the album, an even quicker and nuttier sequel to the peerless "Freak Scene" -- Don Fleming of Gumball fame adds some of the music and background vocals, but otherwise it's Mascis and Murph cranking it and having a blast. When Mascis goes into one of his patented over-the-top solos, it all feels just right -- this is loud rock music for putting a smile on your face, not beating up people in a pit. The remainder of the album floats and rumbles along in its uniquely Dinosaur Jr. type of way, as apt to find poppy hooks, singalongs, and soft strumming as it is to blow out the Marshalls. Sublime moments include the contrast of sweet acoustic guitar and loud drums on "Blowing It," the fun thrash of "How'd You Pin That One on Me," and the Mellotron-as-flute-tinged stomp "Thumb." If nothing on the album is completely as freaked-out and over the top as "Push" from Bug, it's still a fine translation of Mascis' art for the commercial big boys. The song titles alone sometime say it all -- "Puke + Cry," "I Live for That Look," "Muck." Mascis throughout sounds like his usual self, cracked drawl ever as it was and shall be. (FTP)
"The Wagon" as a Sub Pop single, then a little while later released the group's first major-label album, Green Mind. More of a solo project than a group effort -- Lou Barlow was out and then some, Murph only drums on three tracks, a few guests pop up here and there -- it's still a great album, recorded and performed with gusto. Such a judgment may seem strange given Mascis' legendary image as the überslacker, but clearly the man knows how to balance how to convey himself with getting the job done. "The Wagon" itself kicks off the album, an even quicker and nuttier sequel to the peerless "Freak Scene" -- Don Fleming of Gumball fame adds some of the music and background vocals, but otherwise it's Mascis and Murph cranking it and having a blast. When Mascis goes into one of his patented over-the-top solos, it all feels just right -- this is loud rock music for putting a smile on your face, not beating up people in a pit. The remainder of the album floats and rumbles along in its uniquely Dinosaur Jr. type of way, as apt to find poppy hooks, singalongs, and soft strumming as it is to blow out the Marshalls. Sublime moments include the contrast of sweet acoustic guitar and loud drums on "Blowing It," the fun thrash of "How'd You Pin That One on Me," and the Mellotron-as-flute-tinged stomp "Thumb." If nothing on the album is completely as freaked-out and over the top as "Push" from Bug, it's still a fine translation of Mascis' art for the commercial big boys. The song titles alone sometime say it all -- "Puke + Cry," "I Live for That Look," "Muck." Mascis throughout sounds like his usual self, cracked drawl ever as it was and shall be. (FTP)
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