Album Reviews
Album Reviews
Hate, Mantra [2003]
They Formed 1994 in Glasgow, Scotland, but the Delgados first met running the Scotland’s famous Chemikal Underground record label. Home to the legendary Scottish indie band Arab Strap, the label has proven to be fertile musical ground and important to the U.K. music scene in general. Take Belle & Sebastian, who owe much of their inspiration to Arab Strap, and even named an album after them (The Boy With the Arab Strap). With all of this music industry experience and friends in highland places, how could the Delgados go wrong? Their fourth full-length release, Hate is proof that they haven’t.
They’re a foursome: Emma Pollock and Alun Woodward both sing and play guitar, and the rhythm section consists of Paul Savage on drums and Stewart Henderson on bass. Their sound has been referred to as “Indie Adult Contemporary” (yuck! but I’ll get to that later). Without using such an off-putting label, you might accurately describe it as richly produced, moody, heavily orchestrated pop music. Emma Pollack sounds somewhat like an indie-fied Edie Brickell and it’s her songs that are the most interesting. A distinct Beatles comparison can be drawn to the music in general. The tracks tend to climax at the end ala “A Day in the Life” from Sgt. Pepper. In fact, the album’s title track is a twist on the Beatles’ “All You Need is Love.” “All You Need is Hate” has a rousing melody, uplifting tempo and cheerful singing: “Hate is everywhere, look inside your heart and you’ll find it there.”
The writing credits are given to the entire band, something I feel is somewhat disingenuous. Let’s face it: One or two people ultimately write the songs, so why give the whole band credit? If you’re like me, knowing who wrote which song gives more insight into the music. There’s also a weird evens-stevens-ey manner to the arrangement of the tracks on the album that makes its flow a bit awkward. The vocalist alternates from Emma to Alun every other song. After getting a taste for Emma’s voice on a song like “Coming in From the Cold,” you may feel a bit let down by Alun’s comparatively plain singing on the next.
None of this seriously detracts from the record as a whole, especially if you’re the type that likes to listen to your music shuffled. Each of the twelve tracks is really good and the record would be a solid addition to anyone’s collection. As to the “Indie Adult Contemporary” label, I guess that aging indie rock fans, like me, are going to have to get used to our favorite music growing up with us. It’s eventually going to get labeled so that it can be played in car commercials and in shopping malls. At least we can rest assured that something we like will be played when it’s our turn for the old folk’s home.
Sumday, V2 [2003]
Perhaps 1992 and Modesto, CA was the wrong time and place for Grandaddy to come into being. A few bands dominated the mid 90’s indie rock scene, and if there was only room enough for one futuristic, experimental, slacker-college-boys-turned-indie band, Pavement was it. The turn of the century brought about both the demise of Pavement and the rise of the future-pop quartet Grandaddy. The big question then becomes, can Grandaddy fill Pavement’s shoes? Their second major full-length record, The Sophtware Slump, was released in 2000 and garnered them some level of fame in the U.K. Four years later, widespread American fame still eludes them, but their latest release, Sumday, could be the North American breakthrough they’ve been waiting for.
Grandaddy are singer/songwriter/musician extraordinaire Jason Lytle, bassist Kevin Garcia, guitarist Jim Fairchild, keyboardist Tim Dryden and drummer Aaron Burtch. Like pavement before them, they make music filled with brilliant hooks and pop melodies that are hard to dislike. They add futuristic sounds from MOOG synthesizers and other space-age instruments in a way that seems to fit perfectly with their more traditional instruments.
If Death Cab’s songs tell stories of the heart, Grandaddy’s are all about the mind. Jason’s lyrics are ponderous and philosophical, and can have unexpected effects on the listener. For example, I never thought I’d feel sorry for robots, until hearing the dazzling “Stray Dog and the Chocolate Shake” from Sumday. It starts with the line “The supervisor guy turns off the factory lights so the robots have to work in the dark.” I could almost cry.
Sumday is really a great album start to finish and contains sure-to-be-hits like “El Caminos in the West” and “Now it’s On.” I’m a relatively new Grandaddy listener, but after a couple listens, I was quickly hooked. Oh yeah, if you’re an environmentalist, the CD claims to be Carbon Neutral. It states that Grandaddy will plant trees to make up for the carbon dioxide released as a result of the production and distribution process. It does not mention any animal testing, but I’m sure no animals were harmed in the process either. I guess they are futurists after all.
Transatlanticism, Barsuk [2003]
Their fans call them “Death Cab” for short, and they’re probably one of the few non-metal/hardcore/goth bands with the word “death” in their moniker. Actually, Death Cab are about as different from these styles as you can get while still being called rock. The origin of their name is as obscure as the name itself: “Death Cab for Cutie” was the name of the only song in the movie Yellow Submarine, not performed by the Beatles. Death Cab debuted in 1998 with Something About Airplanes, to much acclaim from indie circles. Their fourth and latest full-length CD, Transatlanticism is probably their best yet.
At their core, they’re a traditional four-piece: innocent-sounding songster Ben Gibbard fronts the band, co-songwriter Christopher Walla plays guitar, and Nathan Good plays bass. Drummer Nick Harmer adds precise, syncopated playing which gives them an overall deeply rhythmic tone. The music is sprinkled with electronic sounds, piano, and orchestral components, but the most distinct characteristic of their sound is Gibbard’s voice. No other indie rock front man quite has the pipes of Ben Gibbard. His voice is soft and sweet with that unmistakable indie geek-quirkiness.
Gibbard’s reflective lyrics tell bittersweet stories of lost love to which most anyone can relate. From sad memories triggered after finding pictures in a glove compartment in “Title and Registration” to a one-sided love affair in “Tiny Vessels,” his lyrics are simple and familiar.
I’m a long-time Death Cab fan, having discovered the now classic, “Photobooth” a few years ago. If you have never heard it, grab a copy of the Forbidden Love EP, on which it appears: it’s well worth the purchase. Transatlanticism is definitely Death Cab’s most mature work to date and I have a feeling that their label, Barsuk knows it. Death Cab are scheduled for two major tours, first to Europe (throughout February), and then back to the US for a cross-country co-headlining tour with Ben Kweller in the spring. If you are or become a fan by then, see them live in Charlottesville and DC April 2nd and 3rd.
The collective music press has simply fawned over Brighton, England’s British Sea Power. Accolades for their rock-pop-punk album, The Decline of British Sea Power are a dime a dozen. All Music Guide says, “British Sea Power has composed a brilliant album that's nearly perfect." Gosh. Well, where there’s smoke there’s got to be fire, and what’s certain is that the music is good. There’s an uncanny Pixies resemblance to many of the songs, especially the album’s opener, “Apologies to Insect Life.” On it, lead singer Yan (BSP’s members go by first names only) sounds almost exactly like Frank Black.
They’ve been compared to the Talking Heads and David Bowie for their on-stage performance art shows. But as far as I know, the Davids Byrne and Bowie never dressed in full World War I army regalia as they performed. They’re stage act also consists of people in peasant costumes littering the stage with leaves and fake dead pigeons. You’re not alone if this seems, well, bizarre. It’s a good thing that they’re musicians first, performance artists second, because their stage act is the kind of thing that makes people say “I don’t know much about art but I know what I like.”
BSP’s heady lyrics and arty stage acts puts them on the opposite end of the “Take Themselves Seriously” spectrum from The Darkness, and some may find its intellectual content trying. Songs like “Something Wicked”, which too obviously pulls its lyrics directly from Shakespeare, and another lasting over 14 minutes are examples. And who can really rock out to songs about the history of the Czech Republic? But, there’s more than one great single on the record, and on the whole, it’s very listenable
They’ve toured with The White Stripes and the John Spencer Blues Explosion, but what else do NYC rockers the Yeah Yeah Yeahs have in common with these two bands? They’ve left out the bottom end. That’s right, like these other bass-less bands, the YYYs re-affirm that all you need to make good rock music is drums, electric guitar and someone with strong pipes to scream, moan and belt out the words. Not to bash bass players, but the YYYs may prove once and for all that if the words “bass virtuoso” went the way of “dodo bird” the world may better off - at least in the post-indie rock department. It’s no wonder that they picked the White Stripes as tour mates, because if I had to make a comparison to another band, it would be to the Stripes’ early recordings.
Front-woman Karen O sounds as if she’s about to have a nervous breakdown as she sings and is the obvious star of the band. She makes fantastic noises with her voice as it creaks, trembles, whispers, squeaks and shrieks out the words. It’s this that creates musical texture that really makes the band interesting. If you can catch a live show, you may get to see Karen O chugging beer or falling off the stage. She recently ended a concert early with a trip to the hospital for falling. It’s the stuff that legends of wild rock shows are made of.
Guitarist Nick Zinner joins Brian Chase on drums to back up Karen. The backing sounds are simple, with tribal drums and retro-electric guitar. They definitely resemble the White Stripes at times, but this isn’t to say that the YYYs are entirely derivative. They may just be picking up on the current zeitgeist in urban rock. Fever to Tell is a great album, and it’s gotten rave reviews, but there’s a quality it that leaves the listener wanting more. I can’t wait to hear the Yeah Yeah Yeahs’ next release to see how they evolve.
Most Brits are still deciding if the Darkness’ cheeky stage antics and arena rock image are for real, but this didn’t stop their debut release from soaring to number one on the UK charts. Permission to Land has become so popular that there’s even been a backlash of sorts, with one BBC radio program recently declaring a “Darkness Free Week.” Most bands would kill for even a little backlash.
They’ve seemingly come from nowhere but in fact, brothers Justin and Dan Hawkins have played together for years. A Karaoke performance of “Bohemian Rhapsody” gave them the idea for a arena-glam-rock band, and out came the hairspray, tight-fitting cat suits and on stage high-kicks. Their hilarious video for “I Believe in a thing Called Love” could have been cut directly from Spinal Tap outtakes. The band members appear in a spaceship and fight off and alien giant squid with their guitars. The guitar solo is even played in front of a 50-foot high wall of Marshal amplifiers. How cool is that?
It seems that no one wants to believe that a band could be this over-the-top and serious at the same time. Are they, as the Brits say “having a go” with their audience? They say no, but come on, what else could they say? There’s one piece of evidence that supports the band’s authenticity – they actually rock. The short but sweet guitar solos are the kind that you want to learn from the back of Guitar Player magazine. The songs are catchy retro-metal songs, and Justin Hawkins’ vocal range is impressive. The style varies from true rock anthems like “I Believe in a Thing Called Love” to the poppy, almost new-wave “Dancing on a Friday Night.”
The album has been rush-released in the US because of its popularity in the UK. Personally, I have my doubts that they’ll make it here like they have in the home of AC/DC and Thin Lizzy. Rolling Stone features their videos on rollingstone.com, and Blender magazine lists “Permission to Land” as one of the fifty greatest CDs of 2003. But it seems that for a group in the states to make it, they must fit into MTV’s lineup somewhere and sadly, Headbanger’s ball was cancelled years ago.
Northern State – Dying In Stereo [StarTime; 2003]
Three white girls from Long Island? Doing old-school rap? With literary references? Is it as bad as it sounds? Well, that depends on whom you ask. I think it’s the best thing to come out of New York since sliced pizza, but Pitchfork (www.pitchforkmedia.com) called it “Juvenile, simpering, weak, preachy, pointless and accidentally snooty.” Ouch! Okay, I’ll admit it - a friend of mine laughed in my face when I first played him their single “At the party.” I couldn’t believe he didn’t hear what I heard, and he couldn’t believe that I was serious. So, I guess they’re not for everyone.
What do they sound like? Well, they sound an awful lot like the Beastie Boys, to tell you the truth. That is, if the Beasties were fresh out of some northern Liberal Arts College, and were, well, all female. No, it’s not the next new thing, and it doesn’t fit into the context hip-hop music as a whole, but if you don’t mind your hip-hop being a bit out of touch, you just might love it. Best of all, they’re playing at the NORVA on the 25th of this month so you can judge it for yourself. I’ll be in the front row. I hope I’m not the only one.
Dizzee Rascal – Boy in Da Corner [XL Records: 2003]
Dizzee Rascal is this year’s Mercury Music prizewinner for best new artist in the UK, and unless you’ve spent some time hanging out on the streets of East London you’ve probably never heard anything like Boy in Da Corner. He’s an 18-year old with a checkered past and is currently at the top of London’s hip-hop scene. If you can manage to get your hands on a copy of the import, it’s worth a listen just to hear what the BBC says “encompasses everything that is exciting about British music past and present.” His musical style is most accurately described as garage-influenced hip-hop (garage is a type of up tempo, R'nB-ish house music). The beats are sparse, with sounds you might not normally expect to hear in hip-hop, but it’s the vocals that stand out the most. His voice is, well, very odd. If you’ve seen the movie Trainspotting, imagine a slightly more coherent, trebly version of “Spud” on the mic.
Dizzee’s stories are about as bleak as his surroundings in London’s east end, but his lyrics are a far cry from the macho pimp stuff that is so dominant in American music. Take the single “I Luv You,” for example. In it, he rhymes about teenagers dealing with an unwanted pregnancy: “when you said [I Love You] she forgot other boys / it’s over you better start buying the toys.” He blends harsh music and words together to create a new disjointed musical space that’s captivating - if only for the novelty of it all.
Americans have been exporting hip-hop overseas for years. It’s starting to come back around and I for one am looking forward to the next British invasion. If you can’t wait for the US release of Boy in Da Corner, you can actually download the ring tone version of “I Luv You” for your cell phone at www.dizzeerascal.co.uk. Now how much more European can you get than that?
Outkast - Speakerboxxx/The Love Below [Arista; 2003]
This review probably comes to you a bit late if you’re a fan of hip-hop, but if you’ve been under a rock and haven’t heard, the new Outkast double album is good with a capital G-izzle. Their 4th full-length release since their 1994 debut album (Southernplayalisticadillacmuzik) proves that Atlanta’s Big Boi and Dre 3000 are, without a doubt, a super-duo.
The big buzz about this album (or should I say albums?) surrounds the fact that Big Boi and Dre give us what really are two separate releases sold and packaged together as one. Many have said that the separate releases are signifying a deeper separation between the two artists. Are they splitting up or it just a gimmick? We’ll have to wait and see, but it’s obvious that the artistic split is profound. The two records are as different as Suge Knight and Doris Day.
More mainstream hip-hop fans will like “Ghetto Musick,” Big Boi’s current single from his CD, Speakerboxxx. They’ll keep this one in heavy rotation in their CD caddies for sure. Andre’s The Love Below is more funk than true hip-hop, and his brand of hip-hop is more Pharcyde than 50 cent. And as you might expect from the man that gave us “Mrs. Jackson,” the current single “Hey Ya” is groovalicious. Up beat and poppy, it’s hardly recognizable as a hip-hop song. In my opinion, it’s so good that it’s worth the $17 or so you’ll pay for the whole thing.
Radiohead – Hail to the Thief (The Gloaming)
Capitol [2003]
I bought the Special edition of Hail to the Thief. It comes in a cardboard sleeve with a church hymnal – like lyric book, and a poster of the cover art. The poster is reminiscent of a street map New York City. Painted on the tops of the buildings are words like BEEF, TV, OIL, MEDIA, POOR, FEAR, MONEY and WAR. In the middle of the map is an empty space, which looks suspiciously like 9/11’s ground zero. The word “L A N D F I L L” is inscribed over this area.
Thom Yorke has always been politically outspoken so it’s not surprising that this album is so political. The subtitle of Hail to the Thief is “The Gloaming.” I had to pull out the dictionary to find out that gloaming refers to the period before dusk. He’s suggesting that we are entering a dark period as a culture. The first track, 2 + 2 = 5 (The Lukewarm), takes its name from George Orwell’s 1984, in which the government convinces a man to believe faulty math by giving him an electric shock. In the song, we get yelled at us for allowing ourselves to be convinced of something - presumably that going war with Iraq is a good idea. It starts out slow “It’s the devils way now” and climaxes with him screaming “YOU HAVE NOT BEEN PAYING ATTENTION!”
As a rock group, Radiohead is almost in a class by themselves. It’s difficult to make comparisons to other groups you’ve heard. They work with a variety of instruments and the album even credits the laptop among the usual instruments like guitar, bass, drums and piano. This all creates a complex sound, but its Thom Yorke’s vocals that stand out the most. He has an incredible vocal range, and often he half sings, half moans the words.
There’s continuity and darkness to Hail to the Thief that makes it the kind of album that’s best listened to from start to end. There are certainly some good singles, but in my opinion, it’s better listened to as a whole. I’m not sure that this is my absolute favorite Radiohead album, but it’s definitely one of their best.
Placebo – Sleeping With Ghosts
[2003] Astrelwerks
The British trio of Stefan Olsdal, Steve Hewitt and gender-bending singer and guitarist Brian Molko make up Placebo. My 80’s-loving wife thought Sleeping With Ghosts sounded like the Pet Shop Boys but when I first heard their single “Special Needs,” I thought I was listening to the new REM. An informal poll that I’ve done confirms that Brian’s voice does indeed sound like Michael Stipe. Yes, an Englishman who sounds like Michael Stipe. Go Figure.
The first track, “English Summer Rain” starts out with a live drummer, followed by heavy synthesizer, and vocals. A few bars later, live bass kicks in. I hear a big English influence of the electronic music of Joy Division and New Order. Indeed, the album’s instrumentation centers around synthesizer, but the cool mix of live drums, bass and guitar gives it a rock feel. On some tracks, the synthesizer sounds like a type called a “Moog.” When this happens they start to sound like an Emo band, but a comparison to The Get Up Kids isn’t totally accurate either.
So, if you’re an 80’s fan looking for something new or an Emo kid interested in expanding your horizons, you’re going to dig Placebo. If you’re a hardcore REM fan who can’t wait until the October 28th release of their best-of al