Summer 2013 Update Pt. 1

Since it's been a while since I last updated, I just decided to do a mega post and through a bunch of stuff at you and see what sticks. I'd also like to say that it's crazy how cyclical culture is.

Scott Walker - Bish Bosch   

I saw this one when I was perusing Metacritic for new release. I listened to about 2 seconds of the track "Epizootics!" (which starts with a contrabass clarinet) and bought the album. I had NO idea of what I was getting myself into. I'll keep it short and be frank about this one. This album is avant garde and isn't something you sing along with. Very very different from anything else I've been listening to recently or since I had to for class in college.  That being said, I haven't listened to it enough to give an honest review of it. This one takes a little more intentionality in listening to it and is likely going to take more than seven listenings for me say anything intelligible about it. Its is rated highly on Metacritic though

M83 - Hurry Up, We're Dreaming

If you listen to adult alternative radio you've heard the song "Midnight City" which was my first introduction to the band. The song has been played ad naseum on the radio and I still don't mind it when it comes on. This tells me that it's basically a great pop song. Anyway, before we get into the music a little bit about M83.  One thing that I love about M83 is that they got their name from a barred spiral galaxy called Messier 83.  This hits on one of my key random infatuations in that I love space and learning about all things universe related.

On to the album, Hurry Up, We're Dreaming almost sounds like it belongs in the 80's, and that's not a derogatory comment. The title of the album is very appropriate as much of the album does feel like a dream (or that could just be because I'm tired).  You can tell the band takes their music serious, but it's as if they don't ask you to, you can listen to it seriously, but you don't have to. The audience is free to engage with it however they please. In this sense it is very much a piece of art.  I don't know what their intent was with this album but in the proper setting it provides a very complete listening experience. Some albums require the proper setting to be fully appreciated and as I listen through it again with the windows down at 11:45 on a perfect summers night, the album couldn't be any more appropriate.

That being said, if you find yourself in a peaceful state of mind on a late summers night, this may just be the album for you.


Boy - Mutual Friends

This one comes courtesy of Starbucks, the song, "Little Numbers", was one of their downloads of the week.  Boy is a Swiss/German folk/pop duo consisting of two women. Valeska Steiner and Sonja Glass met while they were both attending a university for music in Germany. While they've already started to make a name for themselves in the European, they've just recently made it across the pond to the U.S. with their single "Little Numbers" gaining substantial notoriety already.

The album itself was recorded over the course of 2 and a half years!!! That's a long time to put into one album, but I think it is reflected in the quality of the music. Upon first lesson, the catchy up tempo songs, such as "Little Numbers" and "Oh Boy", are the tunes that come most naturally to the ear.  Nothing wrong with this, but once you listen to it again, and perhaps a little more intently you'll start to be turned on to more of the album.  This is another way of saying that the album gets better every time you listen to it.  Not only that, but the album is accessible on different levels of audibility, let me explain. The first couple of times I listened through the album I had listened to it through my iphone or my earbuds, both ways providing an enjoyable experience, but they don't provide the greatest auditory effects. So then I began listening to it in my car, again, not the greatest way to engage music, but I've actually got a decent 9 speaker system in my car with a 10" sub and it provides for a much better effect than what you get on the earbuds. That being said I felt much more engaged with the music as I drove down the highways. It was much more of an actual experience. Now here I sit with my headphones on, and again not the absolute best option, but they are studio quality Sony's and are giving me a level of insight and detail into the album that I was previously un-privy to. There's much more detail in this album than I originally thought. You might think this is true about most albums, but unfortunately it's not.

The album is excellent. It is very enjoyable, well mixed and produced, and leaves you feeling good. It's not afraid to go deep, but does so in a way that doesn't have you reveling in misery as you listen. Obviously I would definitely recommend this album.

Buke and Gase - Rhythm and Repose

Fun fact about the band name, Buke is taken from a baritone Ukelele and Gase is a hybrid bass/guitar.  Those are two of the handmade instruments the band uses.  The first song I heard on this album was "Revel in Contempt". I had it in my library since at least early 2010 but had never knew it was there until last year. Since then I've downloaded the full album and have been very happy with it since.  I'm not familiar at all with Buke and Gass and haven't heard any of their other work outside of this album, but I love what they did on the album. For nearly every song on the album they use a compound meter, generally 12/8, to offset themselves from anything you normally hear on a regular basis, it gets your attention for sure.

The album is generally driving and keeps you on your toes although the compound meter does get a little overwhelming towards the end. My personal favorite song of the album is "Naked Cities" and for completely musical geek reasons. It had me reminiscing of rhythmic dictation in college. I'll admit it did take me a little while to figure out the patterns but I did figure it out, I have my analysis at the end of the post.

Aloe Blacc - Good Things

Like the previous artist/album this is another one of those albums where I had a song in my library and had no idea why. The song was "You Make Me Smile", which I enjoyed quite a bit but never really took a second look at Aloe Blacc for some reason, that is until someone at work mentioned him. He was actually asking me for advice on music he might like and I happened across the song in my library when he said, "I've got that album and it's great! Definitely worth checking out." So I did.

Again I didn't really know much about the artist or the album with the exception of the one song.  As I listened through the album two things became prevalent. First, Blacc is a talented singer and has a lot of style and soul in his voice, very reminiscent of John Legend. His voice doesn't carry quite as much trustworthiness as Legend's does, likely because it's got a little more edge to it, but it still makes for an enjoyable experience. The second thing I noticed was that the production on the album was, this may seem a little harsh, but it just seemed poor. There were quite a few great ideas expressed throughout the album, but at least once or twice in a song you'd here something that stands out noticeably and just confounds you. Worst yet is when it happens at the end of a song where the ending is abrupt or maybe just slightly unsettling. Either way, one of the worst things a song (or album) can do is end poorly. It just leaves such a bad taste and makes you second guess the quality of the rest of the piece. All that being said, I don't hold that against Blacc, I hold it against the producers for not demanding higher quality. That's their job. So, definitely go check it out, especially if you're in the need for some catchy soul music, you won't be disappointed.

The Strokes - Comedown Machine 

I initially became acquainted with The Strokes in high school. I came across their single for the album, First Pressions of Earth, and was infatuated with it, especially the song "Juicebox". When I got to college I decided to look further into their repertoire and bought the album Room on Fire. I loved that album very angsty and gloomy and but almost jokingly so. Their most heralded album, however, is their first studio release, Is This It, which is an excellent album in of itself (ranked as one of the 500 Greatest Albums of All Time by Rolling Stone).

The band is lead by front man Julian Casablanca who has a fairly distinct and recognizable voice. In total their are five members of the group, which originated from New York. Their sound is multi-faceted, especially on this record, Comedown Machine. The styles can vary from indie rock to synthpop to post-punk revival. All are evident on this album.

The album starts with this quirk and random little guitar riff. It seems to mainly function as an attention getter, and to that effect it works.  I won't go song through song, but there are a couple of songs I'll talk about.  Right off the top is the first track, "Tap Out" with that quirky little solo at the beginning of it. If you've listened to The Strokes much before the first track will grab your attention because it's nothing you've heard from them before. It's more layered and seems a little more intricately woven than most of their music, plus you throw in female harmonies and the way the vocals just seem to slide into the established groove and you get something you're not used to with The Strokes.

One of my favorite tracks on the record, "One Way Trigger", has a much more familiar Strokes feel to it. The tempo is pushed here and it immediately gets you moving with the music. The familiarity also stems from the rhythmic synth loop and of course Julian Casablancas unmistakable voice. This track also kicks off what I feel is the meat of the album. Although the styles vary throughout tracks 3-7 they're all done well. "Welcome to Japan" is another track that establishes its groove quickly and never lets up until the end where it leads into "80's Comedown Machine" quite nicely. The next track, "50/50" is as post-punk revival as it gets. I didn't grow up in the glory days of punk, but this track lets me imagine being a skater in the late 70's/early 80's. Lastly, "Slow Animals" is just a solid track. I could stand the vocal mix to be a little more prominent, but I must say I love the off-beat hand claps in the chorus.

All in all the album is a good listen. If you're not acquainted with The Strokes, I'm not sure I'd recommend it first out of their discography, but it's still worth your time.

"Naked Cities" Rhythmic Analysis:
Intro: 9/8 - 3 measures; 6/8 - 1 measure
A1 Section: 7/4 - 20 measures
B1 Section: Alternating 4/4 and 12/8 - 28(?) measures
A2 Section: 7/4 - 12 measures
C Section: 7/8 - 7 measures before it breaks/ends

Let me know if you count the same thing!

January 2013 PotM: Lupe Fiasco - Food & Liquor II

Sorry it's been a while, a long LONG while, but between the job and not really listening to much new music it's been tough carving out time to sit down and write. Toss in the the fact that there hasn't been a ton of music that I've been excited about, or at least there wasn't. This post started in November and has taken until for me to finish.  Fortunately I've got a couple of albums that are worth checking out. Now on to the music.

DAN DEACON - America 
This album was another recommendation from Relevant Magazine. I had no previous acquaintance with Dan Deacon or his music and thus didn't really know what to expect. Per wikipedia: "Dan Deacon (born August 28, 1981) is an American composer and electronic musician based out of Baltimore, Maryland. " Simple enough, eh? Prior to going to Japan and meeting my good friend and electronic musician, Aaron Dishner, I was without much exposure to Electronic music. Being back in America one thing that has been evident is that  electronic music is gaining ground in the pop culture of America.  I'm not sure how much of a foot hold it will gain, but we are starting to see more and more electronic elements throughout pop music. I'm starting to feel that it will grow along with pop music.

After listening through his album, America, it's obvious that Deacon is a true musician. By that I mean that he actually knows what he's doing and could explain what he's doing if he needed to. Too many times I get the feeling that the musicians aren't capable of doing that. They just play the music because it sounds good. Come to find out Deacon has a degree in music from SUNY Purchase in electro-acoustic and computer music composition.  He was in a number of ensembles while in school including one where he played the tuba. After completing his degree he moved to Baltimore, Maryland where I believe is home base for him today. This is his most recent release and he has six or seven releases to his name. Now, on to the album.

As Deacon describes on his sites home page, and as the title of the album implies, it is about America. 

When I was writing Bromst [previous album], I wanted a title with no pre-existing meaning, something free of any prior associations. For this album, I wanted the exact opposite. America is a word with an infinite range of connotations, both positive and negative. Even its literal definition is open to discussion. In using it as the title of the album, in a small way, I‘m contributing to the discussion. To me, the underground DIY and wilderness are just as American as their evil brethren, corporatism and environmental destruction. It‘s that juxtaposition of fundamentally opposed ideologies that makes up the American landscape.

Given this context it's interesting to listen through the album and take a audible journey through America via a combination of electronic and acoustic music.  It isn't an easy album to take in on first listen, but if you are intentional about it the music will definitely grow on you.  The album does contain a number of minimalistic elements which makes me wonder if that's just his writing style or if he's making a comment on American culture, and if it's the later, what is that comment exactly. The lyrics throughout the album apparently have very intentional and relevant meaning, but they're generally pretty hard to understand. It's partially the style of music and partially the balance, but for the most part the voices seem to just be there for texture.

To end the album he has a suite entitled USA which is in four movements. Each movement has it's own title: "USA I - Is a Monster", "USA II - The Great American Desert", "USA III - Rail", and "USA IV - Manifest" After reading the preface on his home page the album makes a great deal more sense and becomes that much more engaging.

This album won't be for everybody but if you have any electronic music tendencies than I'd recommend checking it out.

SLEEPING AT LAST - Storyboards 
So, according to my iTunes I've had this album since at least the summer of 2010 and I am really just now listening to it for the first time. The band, Sleeping At Last, is actually just one guy, Ryan O'Neal. O'Neal grew up in Wheaton, home of my alma mater, and I'm thinking this is likely how it ended up in my library, but I still can't be sure. The band formed in 1999 with his brother on bass/keys and then a drummer while at Wheaton. I wish I could give you more on their background but that's all I got.

The album is very Wheaton appropriate, especially with the winter season here. O'Neal's voice isn't going to blow you away. It's soft, slightly removed, and unobtrusive. It invites you to listen but doesn't demand that you do. The whole album itself can be described in such a way.  Soft, subtle, unobtrusive. Getting back to my earlier point about being Wheaton appropriate, the album conjures up memories of being at Wheaton during the long winter months, snow on the ground and everything being relatively quiet as the snow absorbs the sound and everyone is inside keeping warm.

The track that represents this idea the best I think has to be "Naive". It's stark and sparse, but leaves you slightly on the edge waiting for something that never comes. This track is followed by a more stereotypical sound for the album where the banjo, mandolin(?), and drums work together to keep the music moving forward. The music sounds complete, yet harmless.

At this point I have to make a confession, and maybe an apology to Sleeping at Last, the lyrics take a back seat for me. Most of the time I'm not paying attention to them. The vocals serve to provide further texture to the music.  Maybe this is something that O'Neal is going for. I can't say for sure. But his voice, in the context of the music, fits well enough that lyrics almost seem not to matter so much.

Probably the most surprising track on the album is "Clockwork" it opens with a nice little orchestral introduction that definitely catches you off guard, even after listening to the album a couple of times. The composition compliments the music well. It serves it's purpose of providing a different setting but not dominating the music rather effectively.

For me, this isn't an album that I can sit and listen to over and over, and can at times feel like it's dragging on or that you've already heard it before. In short spurts it's fine though. And because he's a Wheatie I have to give the seal of approval (I'm not really recommending this because he's Wheatie, but it doesn't hurt.)

GLEN HANSARD - Rhythm and Repose 
This one is slightly different than any other write up because I've actually had the fortune of meeting Mr. Hansard back stage at a The Swell Season concert. It was a brief meeting but I will say that he's a delightful man with charm and a disarming smile. In the concert itself he carries a lot of passion into each performance. I've only seem them twice, but I've watched a handful of videos on youtube as well and the energy and commitment still come through.

Some background info: he's Irish, born and raised in Dublin. At the age of 13 he dropped out of school to become a street musician in Dublin. In 1990 he formed the band that he's spent his professional career with, The Frames.  The Frames have since become one of the more popular folk rock bands in Ireland, especially because of their live shows. His claim to fame in America came with the film, Once, in which he teamed up with future The Swell Season partner, Marketa Irglova to win an Oscar for best original song.

As mentioned above I have had the fortunes to meet him and see them twice in concert. I saw them once in Tuscon, AZ at a theatre that held about 2,000 and again at the Hollywood Bowl along with 20,000 other fans. It was remarkable to see him and the rest of the band, but primarily him, still carry on the passion and energy in both settings.

This album, Rhythm and Repose, is his first official solo album. I haven't had a chance to check out any of The Frames music yet, but you can hear lots of similarities between this album and the music Hansard did as part of The Swell Season.  Much of the album is relaxed and non-confrontational (this is  said in contrast to songs like "Lies" and "When Your Minds Made Up" by The Swell Season). This is evidenced by the first two tracks, which are soft and not the typical way to start an album. It's almost like when you go to a concert and they open up with a slow song to honor somebody or to just get it out of the way. There is some build in the first track, "You Will Become", but not enough get you going too much. The second track, "Maybe Not Tonight" is a little more of what you expect from Hansard. Solid but nothing terribly unexpected.

However, the third track, "Talking With the Wolves", immediately gets you  to perk up. I have been trying to figure out how to describe it for some time now but am failing. The biggest contrasts in the song are likely the driving drum beat and the smooth electronic bass, just a thought. It's a great song, probably my favorite on the record. Not just because of the music, which is highlighted by some really nicely done harmonies, but also because of the chorus. Here it is:

Love that's given freely

It doesn't die, it only changes

And love that's taken easy

It has to hide in these exchanges

It's a well done, thought provoking chorus that I think has some truth to it, at least for me.

The other song on this record that I'll mention has to be "Philander". While the lyrics and the title don't get me excited the music behind it is really intriguing. This is probably the most conflicted song on the album, or at least it feels that way, and he does it musically as compared to the vocal/instrumental methods used while with The Swell Season. Throughout the whole song the piano and strings are stringent. I especially like the contrast between the different parts of the lyrics that the music reinforces. Anytime he's with his philander he's conflicted as shown by the dissonant chords and the plucked piano strings, but there's real emotion there when the strings begin bowing and the piano will use the sustain. Throughout the song he's conflicted and the way it ends you can tell he's still unsure. It's a well done song.

Overall the album is enjoyable. Nothing Earth shattering, but a good experience as you listen through it. Obviously I'm going to recommend it since I'm writing about it, but also check out some of his other stuff too if you get a chance. He's a talented musician and of course well worth your time.

This is the actual album cover.

LUPE FIASCO: Food & Liquor II: The Great American Rap Album, Pt. 1 (E)
Lupe Fiasco is easily the highest profile rapper with a message. His conscientious rap has worked it's way to the top of the American charts and with each album his message becomes more obtrusive and challenging. It's a spectacular example of someone with a gift doing what they can to actively address issues. I'll be honest  with you, as a musician I know there are ways to help people with my music, but it hasn't been my soul focus. It is that way for Lupe and he doesn't have to sacrifice quality to get results. In contrast, Lecrae is a popular name in the Christian community and is likely the most comparable comparison to Lupe the community provides. I thought about reviewing Lecrae's most recent album, but it didn't get me excited. There's no doubt he's talented, but Lupe's music compels you to listen. It's engaging in a way that Lecrae hasn't been able to achieve yet, at least for me.

Sorry, I'll get off my soap box. A little more about Lupe. He's a proud child of Chicago and the concerns facing that city tend to be his primary focus because that's what he identifies with. His first album, Lupe Fiasco's Food & Liquor, was pretty solid but the message was only beginning to be formed. It's a solid album, but it was actually the third album of his that I had heard and it's not as good as his next two.  His second album, Lupe Fiasco's The Cool, has been my favorite album of his. I think that, although the message is still not as consistent as it is on the later two albums, the music is more engaging. It's hard not to get songs from that song stuck in your head. His third album was Lasers. Here his message is strong throughout each song. Addressing issues from government incompetence to racial issues/civil rights and incorporating some inspirational songs encouraging people to struggle through the tough times.

This album continues the trend of directness. I was actually a little taken back about how direct it is. Not only taken back but impressed. For example, the first lyrics Lupe himself delivers on the album is as follows:

Now I can’t pledge allegiance to your flag

Cause I can’t find no reconciliation with your past

When there was nothing equal for my people in your math

You forced us in the ghetto and then you took our dads

The belly of the beast, these streets are demons’ abs

I’m telling you that setup in them sit-ups is so sad

The system is a slab

Corruption is the swinger sittin’ high ridin’ dirty, drag racin’ into danger

And it’s so clean, pine trees smellin’ good

With work off in the trunk and n****s in the hood

So I can’t shed blood on any battlefield of yours

I pray the ugly truth comes and shatters your decor

And as it all falls down and tatters on the floor

I shed tears, I don’t know what really matters anymore

Cause I don’t know what really matters anymore

Now, if that doesn't get your attention I don't know what will, and the album goes on from there. I'm impressed because to be so outspoken and critical on such a large platform requires some courage. Every song on this album will challenge you to think about various issues. The second single from this album is "B*tch Bad". Although it has flagrant uses of the word b*tch, the song is a discussion about the perception of the word and how it's degrading our culture. It's a great song.

The only real caveat I have for this album is that there are a fair amount explicative words throughout the album that some may not appreciate. If that's the case you could go the way of the clean version in iTunes, but "B*tch Bad is a little weird in that context and not only takes away from the strength of the message of the song but plays with it musically as well. I will say that for most rap I do tend to by the clean versions, but not the case for Lupe. He's earned my trust lyrically, but that's my personal opinion. I'll let you make that decision for yourself.

I don't have a whole lot to go in depth about on this album, but each song will get your head bobbing and the lyrics will get you thinking. All in all this album might be my favorite Lupe album to date. I don't know if it has quite the catchiness that either Lupe Fiasco's The Cool or Lasers has, but I feel like it's a more complete album from beginning to end than the other two are. It's well worth the purchase so please go check it out.

That's all for now, I have been listening to more music recently so it shouldn't be so long before my next update. Until then though, take it easy and enjoy the music. As always please comment if you feel lead to and if you have any music you're listening to don't hesitate to share.