2011, albums, groovemine, music, reviews

Album review: Yuck – "Yuck"

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Finally, after all the hype of indie culture coming to the mainstream, with Arcade Fire winning the Album of the Year Grammy and every band everywhere looking for a unique sound, we get an album that gives us exactly what we need. Yuck has delivered an album that has garnered a lot of attention for its fresh sound that, ironically, is captured by going back to sounding like the music of the 1990’s.

It is funny to think that we can actually refer to this music accurately by saying that it sounds reminiscent to the songs of late last century. A time when MTV actually played music. When shows like “120 Minutes” would showcase music that was up and coming, college radio fare that was not getting much, if any, mainstream attention. I’m sure I am not the only one that remembers staying up late as a kid to catch a glimpse of all the cool, obscure music that was coming out so that I could slyly reference it later in school when talking to my friends. Man, they would think I was so cool. Not that Yuck’s music embraces obscure acts of a bygone era. On the contrary, it captures the essence of the indie rock scene of the 90s that we all know and love but may have passed by those who were not paying attention. This music is a celebration of a time gone by, though its return is more than welcome.

I read a description online of Yuck as a “rock revival” act. Though I know the point that this particular review was getting at I still find it frustrating that the very people that listen to and love rock music are constantly claiming that it is a dead artform. Take for example every time that The Strokes, or any member of The Strokes, releases an album. The magazine covers seem to always ask, “Can The Strokes save rock?” as if it is a genre that is gone, or at least deteriorated and in need of rescuing. I don’t know if Yuck has the power, or even the willingness to “rescue” rock music but they have crafted a beautiful album that is large in scope and certainly charming in its reminiscence of music that music fans of my generation grew up listening to.
Yuck
Yuck - "Yuck"
Strands of early Sloan, early Smashing Pumpkins, Thrush Hermit, Hum, Sebadoh, The Burdocks and Dinosaur Jr. (in the album’s noisier moments) shine through track after track. The album doesn’t come off sounding like some unearthed relic, nor does it feel or sound old or stale in the slightest. Ideas and sound taken from the 90s are developed a bit with tighter rhythm section behind the initial wall of shoegazey noise.

I’m sure that there will be plenty of people tossing around the term “post-modern” in reference to Yuck. Sure, if the shoe fits, but those that dismiss this album as a simple throwback are missing the point. This album and this band seem to be reminding a tired, fractured and disenfranchised indie-rock fan base, that is constantly pulled from one direction to the next, of where we have come from. Perhaps this album can serve as a reset point where we can ponder the roots of all that is coming out today. Or, perhaps this album can serve as a direct line connecteing the music of today to the music of twenty years ago as an alternate reality where an overabundance of easily reproducable, easily attainable music never came to be and therefore never forced fans to choose one of a mulitude of made up genres to which they pledge their unflagging allegiance. Imagine good music stripped of hipster culture. This, I believe, is the world in which Yuck longs to exist.

The album is an “album”. By that I mean that it is a complete journey from beginning to end. Noisy rockers such as album opener “Get Away”, “The Wall” and “Holing Out” are broken up by quieter, more contemplative material such as “Stutter”, “Suicide Policeman” and “Rose Gives a Lilly”. All the songs feature prominently catchy hooks and layered guitar work. “Shook Down”, with its duetting boy/girl vocal, is especially effective as is the up-tempo distored folkiness of “Georgia”.

It seemed to come at us out of nowhere but now we are 20 years past the Seattle “grunge” explosion and just as far are we from the surge of great music that came out of the Halifax scene around the same time. It seems that this is just about the perfect time for a band like Yuck to bring us right back to the comfort of our indie-rock roots.

Soundgarden has reformed, Sebadoh and Dinosaur Jr. have been playing shows, and Beavis and Butthead is returning to television. It seems that a full on 90s reboot is taking shape. It’s a good thing that a band like Yuck can make something new amidst all this looking back.
[audio:http://quartertonality.com/wp-content/uploads/2011/03/01-Get-Away.mp3|titles=Get Away]
[audio:http://quartertonality.com/wp-content/uploads/2011/03/08-Stutter.mp3|titles=Stutter]
[audio:http://quartertonality.com/wp-content/uploads/2011/03/04-Holing-Out.mp3|titles=Holing Out]
2011, albums, groovemine, music, reviews

EP review: of Montreal – "The Controllersphere"

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This EP picks up exactly where “False Priest” left off. I mean that in the most literal way possible. This release can be viewed as an addendum to their last full length offering that was released not 7 months ago. “The Controllersphere” is 5 full tracks worth of Kevin Barnes trying out some of his more daring ideas, heading off in directions that aren’t explored in previous albums and possibly giving us a look at what is to come. This seems to be the way that of Montreal likes to do things now, releasing an album and not too long after its release more tracks that might appeal to their more ardent fans are presented. It was the case with “Hissing Fauna, Are You the Destroyer?” of 2006 where “Icons, Abstract Thee” followed. Also “Sunlandic Twins” featured a bonus EP as did “Skeletal Lamping”.

This release is the third that takes its name from one line of “Faberge Falls for Shuggie”, which appears on their breakthrough release “Hissing Fauna, Are You the Destroyer?” In a way one can draw a line through these three releases, “Skeletal Lamping”, “False Priest” and “The Controllersphere”. This trilogy can really represent a new direction for of Montreal that saw Kevin Barnes becoming significantly more influenced by psychedelic rock and funk and allowing those influences to really take shape in his songwriting.

The opening track, “Black Lion Massacre” takes the ideas of “False Priest”’s “You Do Mutilate?” and creates another freakishly frightening sonic landscape with the spoken word coming down to us through a backdrop of apocalyptically overdriven noise and feedback. A sort of live energy side of of Montreal that is rarely captured on disc is evident here, drenched in the noise of caterwauling guitars and drums that are wild and  more present than usual. As is usual with of Montreal releases some of the tracks have rather eccentric titles, such as “Flunkt Sass vs. The Root Plume”. The track starts off innocently enough with a gently strummed acoustic guitar appearing for all of ten seconds before exploding into a tripped out, layered nightmare that is perfectly depicted by the cover art, which is done again by Kevin’s brother David. The song continues to build as Barnes screams out in his best Ziggy Stardust, sounding like he is re-entering the atmosphere after space travel without the aid or protection of a shuttle. The screaming, loud, live sound is present in this track as well, like the first.

of Montreal - "The Controllersphere"

Lyrically the themes that of Montreal has been exploring for some time now like loneliness, unrequited love, feelings of insanity and obsession, are explored throughout this EP. The line “Even this ghetto world that has nothing, doesn’t want me” appears in “Flunkt Sass vs. The Root Plume” explores themes previously broached, but the added volume and noise adds a new dimension and desperation to the sadness. The insanity is dialed up to a breaking point, it’s like Kevin Barnes’ primal scream captured on record.

“Holiday Call” is a soulful, spiritual track that is based on folk elements, though those elements are somewhat buried beneath quite a bit of the usual panoply of psychedelia. At over 8 minutes long it is the lengthiest track, allowing for a very interesting turn of events at about the halfway mark that conurs up the sounds of middle eastern folk music with a repeated fiddle gesture, placing the usually busy, up-front bass in a more secondary role. Barnes mentioned via his twitter stream (@xxofmontrealxx) upon release of this EP that it was heavily folk influenced, and that was the direction in which he was going to be heading. He is certainly a man of his word, as odd and unbelievable as that word may often be, he manages to make it happen.

The changes in mood on this EP are more sudden, like the entire “Skeletal Lamping” album, which comprised songs that were seemingly comprised of several short songs melded together. Unlike “Skeletal Lamping” the songs here are still cohesive, and more or less similar in sound to those that appear on “False Priest”. “L’Age D’Or” and “Slave Translator” are definitely spawns of the funk of that album.  Each track is rather wordy. Barnes rushes to fit them all in, even more so than usual. He screams like his body is being torn apart from the inside out one minute and the next is harmonizing sweetly with himself. “The Controllersphere” ends where it began, in a wall of noise. This is a powerful 5 track EP that delivers exactly what was promised not too long after “False Priest was released. of Montreal is great at creating a world of their own both on record and live where their shows are theatrical spectacles concocted from the mind of Kevin and David Barnes. It seems fitting that Polyvinyl is releasing this EP concurrently with a book of David Barnes’ artwork entitled “What’s Weird?”, which I’m sure would be a perfect companion to this release.

[audio:http://quartertonality.com/wp-content/uploads/2011/03/02-of-Montreal-Flunkt-Sass-vs-the-Root-Plume.mp3|titles=Flunkt Sass vs the Root Plume]
2011, groovemine, music, reviews

Album review: Queens of the Stone Age – "Queens of the Stone Age" (re-issue)

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Re-issues are a touchy subject to some. Who decides whether or not an album is deserving of a 2nd look? Does an album have to be a runaway hit and become hard to find in order for it to be deemed re-issue worthy or is it more that later success in a band’s career may assist earlier recordings in being resurrected from obscurity? In the case of Queens of the Stone Age it is more so the latter than the former.

Josh Homme, the lead singer, guitarist and mastermind behind Queens of the Stone Age seems to be popping up all over the place. He seems to be the journeyman of heavy music involving himself in as many projects as he can including The Eagles of Death Metal and Them Crooked Vultures with fellow omnipresent rocker Dave Grohl – a friend and former Queens of the Stone Age drummer appearing on their 2002 release “Songs for the Deaf”. To many this is where QOTSA started to be a band to watch. The song “No One Knows” was an oft played bona fide college radio hit that introduced their hard driving sound to the masses. That album, though, is much more polished and “radio-friendly” than their first, self-titled release. The self-titled release features the stripped down sound that later efforts blossomed into.

Each song on this first effort espouses a simple formula that drills one riff into the ground with little to no variation at all. Homme is a prolific riff-writer; it seems as though he can go on for days at a time churning out short little ideas one after the other. Think of krautrock mixed with metal. There are super crunchy guitars that present highly repetitive motifs that surge ahead like a freight train. Most of the songs on this first release really are one idea, one riff, pounded to death like a jackhammer into the ground. The riffs that comprise the songs are, more often than not, short little snippets, some only a measure long. It seems that the band is transfixed by them, and as a listener I can only just turn it up all the way and bob my head in time, equally transfixed. At times the idea that is the foundation of a song will be moved up and down the guitar, but the accent and rhythm remain unchanged. It’s as if they are trying to shake the idea loose but are unable, or unwilling to completely let go.

Queens of the Stone Age
Queens of the Stone Age "Queens of the Stone Age"

The guitar tone is pure and clear with a perfectly buzzy heavy sound while the solos tear through with laser like precision. The band, as a unit, locks into a mode where they feel like an unstoppable machine or like a tank bearing down on you slowly and there is no way to stop them. The lead lines are matched in their clean, laser like precision by Homme’s voice that is unmistakeable; cutting right across everything. The vocals sit somewhere between a monotonous drone and a sweetly sung melody that help to balance out the hard driving effect of the rest of the band. The whole package works so well and has a unique sort of balance to it.

With re-issues it is almost expected that there are at least one or two bonus tracks that were previously unreleased. Such is the case here and we are given the tracks “These Aren’t the Droids You’re Looking For” which is nearly a complete throwaway and “The Bronze”, which starts out sounding like Van Halen’s “Little Guitars” before opening up into a full on rocker. Final bonus track “Spiders and Vinegaroons” is a bit too lengthy and wandering, clocking in at over 6 minutes which is far more than this band is capable of holding our attention for. The track does lead nicely into the equally trippy and incoherent “I Was a Teenage Hand Model”, which takes us completely out of the zone of heavy riffage and more so into the realm of a hangover followin a night of hard partying.

This first release shows us where Queens of the Stone Age began, as an idea, as an exercise in heavy riffs and minimalist motorik repetition. It is good to see these ideas taking shape and developing into something more fully formed on later releases and even finding their way onto the radio. Josh Homme’s non-stop work ethic has become turned him into a one man revolution in hard rock.

2011, groovemine, music, reviews

Album review: The Two Koreas – "Science Island"

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Sometimes a straight forward rock album is exactly what the doctor ordered. Noisy, sloppy, balls to the wall rock has the power to erase any traces of trend-mongering buzzbands that exist only to grab a quick piece of the action. The Two Koreas don’t seem to be interested in any of the current trends and instead are slicing right through the middle of it all with pure rock verve. Literate lyrics shouted atop a noisy, energetic garage rock band.

Every song is forthright in its earnestness, and pushes forward with such aggression that the honesty and effort shines right through. The singing is delivered in a speech-like, declamatory style that slips in and out of the beat similar to Eddie Argos of Art Brut’s style, but with the rock attitude of Sammy James Jr. from The Mooney Suzuki.  The lyrics are all shouted, and yearn to be shouted along to. It sounds as though they are writing anthem after anthem. Continuing with the comparisons I could say that they are like a noisier, more garage rock oriented Tokyo Police Club that is rough around the edges, or like Surfer Blood in their fondness of catchy hooks. I can even hear strains of Wire’s post-punk throughout. The point being: The Two Koreas aren’t trying to re-invent the wheel, and that’s fine because this is rock music done well with all the energy and catchiness one could ever possibly desire.

The Two Koreas - "Science Island"

There is nothing hidden in these songs, it’s all out there in the open. The band is able to continually build up the energy, sustaining the tension for as long as possible until reaching a near breaking point. The entire album is chock full of jangling, noisy guitars and ill fitting melodies with shaky vocals. I don’t mean that in a negative light at all. The guitar matches the vocals in its ability to slip far behind the beat, giving a general feeling of looseness throughout. Much of “Science Island” is sinister in its sound.The echoey vocals make it sound like a one man gang vocal. It is dark and serious; defiant with the sound of an angry mob riotously marching through the streets, growing in numbers as they do.
The band is at their strongest on the tracks “Haunted Beach” and “Karl Johans Gate” where the music steadily builds, unchanging except for increasing dynamics with verses and choruses blending into each other over top. “Diamond Geezer” is a standout track with a lead line that cuts through the bass and drum backbeat, sounding similar in tone to East Bay Ray of The Dead Kennedys. The track also matches the sort of sinister, yet upbeat sound that was characteristic of so many Dead Kennedys tunes.

The lyrics are plentiful and fast paced. It’s nearly impossible to catch them all as they come flying at you. The lyrics seem to do one of two things: either speak down to someone or provide the listener with some sort of fortune cookie type advice. Take for example, the song “Withering Heights”, which is a great example of their ability to start with high energy yet continuously build past it. It sports the lyric,“You take the wrong advice, you pay the highest price.” That has got to be one of the best lines on the album, shouted through the dissipating reverb of the guitars after they abruptly stop only briefly enough for this to be spoken. After that the energy picks up exactly where it left off. “Disco Slave Song” is another noisy one chord romp with a shout-along hook and organ solo in the breakdown.

The Two Koreas’ “Science Island” is a welcome return of jangly, loud garage rock. Sometimes music that is formed from the simplest, most honest of ideas is the best music.

2011, miscellaneous, music, news, songs, Uncategorized

New Wonder Wheel on the way…

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Friend of the blog, Wonder Wheel, has dropped a line to inform the internet public (that’s you) that their first proper full-length release is coming via a cassette release available through Burger Records in the coming months. Said release will be titled Total Bundy, and they have made available a free 2-track sampling through their site. The single, featuring a re-working of “IMHO” (originally found on Wonder Wheel 23 “Brave New World“, which I discussed in greater detail back in October, 2010) that not only quickens the tempo but clears up the production, and steadies the pulse. The B-side, a track called “Deep in the Bottle”, is a 3 minute blast of energy. Wonder Wheel mastermind Paul A. Rosales seems to be working at warp speed lately with countless production credits and Wonder Wheel demos, bootlegs and live performances under his belt.

Grab the single for free here.

And by all means if you like what you hear check out all of the other music that they have made available for download on their site, here.

You can purchase their “Brave New World” cassette from Sixteen Tambourines for only $7. Get it here.

Wonder Wheel - "IMHO b/w Deep in the Bottle"
2011, albums, contemporary classical, groovemine, jazz, music, reviews

Album review: Colin Stetson – "New History Warfare Vol. 2: Judges"

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Colin Stetson is a saxophonist that is clearly out of his mind.

Sax players, in my experience, are a divided lot. They usually either stay on the side of jazz or classical and never the twain shall meet. More accurately, they will stick with party lines and immediately show their loyalty to their chosen side by hating the other group with every ounce of expendable energy that they have. This means that any energy that is left over after obsessive study of all things saxophone is dedicated to speaking down to the other side. I feel as though Colin Stetson may be an exception to that rule, or maybe he just didn’t get the memo. He clearly doesn’t think that there is a need to take a side. Perhaps he is creating a new side, because his music sounds like nothing I have ever heard before. If all contemporary composition for the sax sounded like this I would actually pay attention to contemporary compositions for the sax.

His music is a non-stop barrage of sound that searches for, and finds, ways to make a unilinear instrument such as his sound polyphonic. It’s not that it just sounds that way, it is. Stetson employs not only a complex melodic line that pops out over a sea of supporting, textural, notes; he uses everything that his instrument and he himself physically has to offer. Percussive key clicks serve as not only drums of sorts, but mimic the pitch and timbre characteristics of the pizzicato plucking of a double bass. Multiphonics, or complex clusters of pitches sounded simultaneously as a result of overblowing certain key combinations, help to not only thicken the sound, but provide unique colors to certain parts of a song.

The circular breathing technique, which is essentially breathing out while breathing in concurrently, means that there doesn’t have to be a single break in his melodic line. Ever. For minutes at a time the notes just flow. It’s remarkable.

Colin Stetson - "New History Warfare Vol. 2: Judges"

While all of these things are great, they don’t make a song in and of themselves. All of these things would mean so much less if they weren’t coming from a virtuosic performer of such a high caliber.

“A Dream of Water” takes off like a rocket and doesn’t let up. Melodies are hidden inside other melodies, weaving in and out of each other. There is a constant flurry of septuplets rolling through the air while a plain-spoken voice enters, noting observations and asking some questions: “There were those who knew only the sound of their own voices, there were those who knew the rules, there were those who freed their bodies…what was it? What was it?” The voice doesn’t simply make the track more accessible to a certain extent but also serves to haunt the listener, making the pervasive rapid notes carry more weight.

With “Home” the percussive techniques are amped up while the general mood is considerably more sedate. Colin sings through his instrument, humming in a way that transforms the saxophone partially into a theremin in its thin and straight tone. He also sings on the track “Judges”, but there it is a bit more like a growl or a choked scream. His ability to circular breathe isn’t just used to crank out a million notes without stopping, but also to lay down a single foundational pitch like the flat bass pedal tone that remains throughout “Lord I just can’t keep from crying” while a soulful spiritual is sung over top. His inhaling can be heard while the bass note continues to grow louder and more intense while this time the sax seems to take on the sound of a didjeridoo.

An entire ensemble of percussive tongue slaps, key clicks, and growls are summoned in “Red Horses” while “The righteous wrath of an honorable man” is pure blazing virtuosity, fingers flying all over across (this time) silent keys. The notes pop and squeal, leaping out of the furiously fast line. The work on this piece is truly awe inspiring. Starting from nowhere and then soaring for two and a half minutes at breakneck speed before abruptly stopping. The end comes suddenly as a car slamming into a brick wall at 80 miles an hour with nary a note out of place.

The album closes with a track that layers multiphonics atop an endless pedal tone, just as in “Lord I just can’t keep from crying”. Here, however, multiphonics slowly turn to a growl as the volume grows, sounding like something between an overdriven guitar and a siren, until eventually the track slowly fades away.

One of the many great things about this album is that Stetson’s bag of tricks doesn’t grow tired by albums end. His technique is flawless and his songs are multifaceted. There is just so much to listen to and so much to listen for. On the one hand it’s great to just sit back and listen to all of the notes fly by in some of the tracks. Another listen and one can begin to hear the different melodies weaving through each other; another ten listens can easily be spent marveling at how he put this all together without recording over himself a million times.

This album has me spellbound in amazement at his superhuman abilities. “New History Warfare Vol. 2: Judges” is quite an astoundingly daring, creative and virtuosic masterpiece of an album.

[audio:http://quartertonality.com/wp-content/uploads/2011/02/05-From-no-part-of-me-could-I-summon-a-voice.mp3|titles=From no part of me could I summon a voice] [audio:http://quartertonality.com/wp-content/uploads/2011/02/07-Home.mp3|titles=Home] [audio:http://quartertonality.com/wp-content/uploads/2011/02/12-The-righteous-wrath-of-an-honorable-man.mp3|titles=The righteous wrath of an honorable man]
2011, albums, music, reviews

Album review: Chikita Violenta – "Tre3s"

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Chikita Violenta is a Mexican indie rock band that is trying to make waves in a very crowded scene right now. They have the sound and the songs and, mostly, the production backing them up. Unfortunately they are about 6 years behind the times in their efforts making this album sound nearly exactly like what Broken Social Scene was doing back in 2005 with their self-titled release.

It’s not just the sound itself that reminds me of the Broken Social Scene album, or that the same sort of spirit is captured on this album; it is that they pretty directly steal from that album. For example there are spots in “All I Need’s A Little More” that sounds as if it was lifted directly from “It’s All Gonna Break”. Parts of “Tired” are pretty damn close to “Handjobs for the Holidays”. I was wondering what the hell was going on with this album so I started doing a very cursory look around the internet. Normally I don’t look up anything about the band online when I am writing a review, other than to find out member’s names and exact dates of albums for accuracy’s sake. I don’t ever read other people’s reviews of albums and I usually don’t care about how an album was produced unless something really interesting strikes my ear, for example with Women’s albums. I like my reviews to be completely 100% based upon what I hear, but this time I couldn’t let it go. Curiosity got the best of me.

Well….guess what? Chikita Violenta is on Arts & Crafts, the label founded by the main men behind Broken Social Scene. If that wasn’t enough, this album was produced by the very same guy, David Newfeld, that produced Broken Social Scene’s 2005 self titled album. After I patted myself on the back for having such good ears to pick that out (not that it was too difficult being that it was made completely obvious) my appreciation for this album quickly waned. If I would have written a review upon my first few listens, it would have been fairly positive, but then those little things started becoming more noticeable and before long they were spreading like a pox and I couldn’t keep myself from paying attention to them.

Chikita Violenta - "Tre3s"

The sound is molded perfectly to fit that “anthemic” sort of “new wave of arena rock” that none other than Broken Social Scene, and I suppose to some extent those “other” (well, they were the “other” and now are the ones that are more relevant) Canadian arena rockers Arcade Fire, popularized in the early 2000’s. Who could blame them? It’s a great sound. Memorable, emotional, loud and busy. It’s great at filling up all the spaces where music should go with all sorts of wonderment and awe. It’s the sound that could describe that feeling one gets when confronted with something completely amazing, and profound; some grand sight that makes a person feel a oneness with humanity for a fleeting moment. It is the sound of that experience that they are attempting to bottle and make last forever.

Don’t get me wrong, or do get me wrong if you’d like. I don’t like to rip on bands. I don’t really do it that much, or ever. Chikita Violenta is not a bad band. They have written some really catchy tunes, but it seems as though we are prevented from hearing them after all this mimicry is piled on top of it. This places them squarely in the very long shadow cast by some trailblazing indie rock bands. “The Monster (Was Last Seen Approaching the Power Plant)” begins promisingly enough with some Spanish guitar that momentarily breathes new life into the album before everything is once again covered up by a mass of loops, samples and effects in a great whoosh of sound that envelops everything in its warm, stale cocoon.

There are some shining moments on the album, beginning with “Siren” which is a truly affecting song with some emotional power behind it. The latter third of the album seems to strip away at least some of the overdone production and gives us at least some clue as to the group’s abilities as a band. “My Connection”, the album closer, is about as stripped down as it gets here and, unsurprisingly, it is one of the highlights of the album.

Being influenced is one thing, but coming off as almost completely derivitive is another. It is my opinion that this is a band that truly wants to get their music out there, and to be honest, what band doesn’t? The way that Chikita Violenta has chosen to do this though was to attach themselves to the successes of another group and totally relinquish control to the producer in order to capture that certain “sound”, a sound that has already been captured by others.

They need more confidence in their songs. If their songs can stand on their own without the studio wizardry then they will stand out in the crowd. Today’s music scene demands a certain amount of originality. I think that the songs contained within this album may have that desired level of originality, but again, it is hard to tell with all the production piled on top of it. Music shouldn’t be produced like in a factory.

[audio:http://quartertonality.com/wp-content/uploads/2011/02/08-Siren.mp3|titles=Siren]
2011, albums, groovemine, music, reviews

Album review: Deerhoof – "Deerhoof vs. Evil"

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Deerhoof, the ultra-quirky indie math rock/pop/irony heavy band is back with an album cheekily titled “Deerhoof Vs. Evil”.

To me Deerhoof is a band that I am constantly curious about. They seem to be combining things that one wouldn’t necessarily think go together. To me they are a study in opposites. Their singer – a tiny Japanese woman with a super-cute (almost too cute) high pitched vocal style – is backed by an at times very heavy hitting team of guitars and drums that explore disjunct math rock meter shifts. The lyrics are often quite simple and repeated over and over again, take for example their infamous song “Panda Panda Panda” where the lyrics are mostly just the song’s title. “Deerhoof Vs. Evil” has Deerhoof sticking to these principles and adding some depth to their music.

The usual noisy and angular guitars are playing a noticeably smaller role, traded instead for acoustics, there is a reliance on quieter aspects of songwriting notably in “No One Asked to Dance” and “I Did Crimes for You”. “No One Asked to Dance” displays a Spanish influenced guitar style that we haven’t heard from Deerhoof before, and is followed, funnily enough, by a song called “Let’s Dance the Jet” which sounds more like something that might be heard on their “Milk Man” album, which to me, is an album that showcases their typical sound. Usually math rock isn’t this sweet and at times this album can be really beautiful. Some songs open up into some really gorgeous, dreamy melodies. There are still a lot of places that pack quite a powerful punch.

Take for example the track “Behold A Marvel in the Darkness” where the lyric that is repeated is “What is this thing called love?”. That line is underpinned by a gentle guitar line, a few bass guitar plucks and sparse drums. It is soon followed by an explosion into a joyous and celebratory sound with a full wall of guitars, drums and cymbals shattering the silence like an atomic bomb. This band can go back and forth from contemplative and sparse to exuberant and loud instantly. They can turn on a dime. The fact that the music is commenting on the lyric is also something that shows a growth in their songwriting.
Sticking with the theme of opposites there is the fact that Deerhoof is adept at creating pop songs that are extremely dense and quite complicated but still fit inside a pop song idiom. The layered, polyrhythmic arrangements that are part of their sound point to drummer/founder Greg Saunier as a major part of the writing process. The complexity is pulled off in such a way that it never seems to belt one over the head. I hardly even noticed the first few times that I listened to the album until I really started to try to pull apart the songs as I listened. That is saying something, considering that it is one of the first things that I will usually listen for when I hear an album, especially coming from a band like this where I have come to expect it.

Deerhoof - "Deerhoof Vs. Evil"

Pop sensibilities are on display in the standout track “Super Duper Rescue Heads!”. First though, that title. The title of the song alone can give someone who has never heard the band before a pretty good idea of what they are all about. It’s that outward quirkiness that helps to make Deerhoof so accessible. Despite the sense of humor, the music is written and played with a confidence and seriousness, though it’s never too much. They don’t take themselves all that seriously, but there is nothing goofy about them. It’s a fine balance and they manage to keep it always in check.

“Secret Mobilization” starts off sounding like a Stereolab track before drifting into artier territory with the guitar wandering across neighboring harmonies while the drums and bass remain rock steady. The lyrics are repetitive, as usual for this album, which makes me think of another interesting contradictory juxtaposition within the music: it is like complex minimalism with shifting layers that repeat cyclically. The ending of this song explodes as the lead guitar shreds and squeals out a brief lick. The song “Hey I Can” opens percussion heavy with mallet instruments densely layered before schizophrenically jumping into somewhat more clear territory for the verse, and again to the chorus with a drastic shift in tempo that is pulled off so smoothly that it almost passes undetected.

Even the title of the album, “Deerhoof Vs. Evil” is a contradiction. Deerhoof is not the first thing that springs to mind when one thinks about fighting anything, especially something as looming and dangerous as, well, evil itself. They may write songs about superheroes and fighting crime but they are usually remembered for songs about, as mentioned before, pandas or seeing a dog on the sidewalk. Whatever it is that they are doing, all of the elements seem to work well together. Each time that I listen to this album I am only disappointed by the fact that it is over so quickly. The music is so well constructed that the apparent incongruities and maze of contradictions don’t hinder but instead become a part of Deerhoof’s charm and style. It’s why nobody can help but love Deerhoof.

[audio:http://quartertonality.com/wp-content/uploads/2011/02/06-Deerhoof-Super-Duper-Rescue-Heads.mp3|titles=Super Duper Rescue Heads!]
2011, albums, music, reviews

Album review: Sonic Youth – "SYR 9: Simon Werner a Disparu"

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I should start this post with a full disclosure: I am just about the biggest fan of Sonic Youth that there can be. This is not to say that I instantly love everything that they do. Even I can admit that NYC Ghosts and Flowers is a god awful album. They have been around long enough that they are allowed to have a few missteps, phases of greatness followed by brief periods of mediocrity. You definitely can’t blame them for it though, they are always willing to try something new and they are always busy creating.

Ever since buying their early DGC releases “Goo” and “Dirty” off of a friend in middle school I have been in love. Soon after my purchase “Experimental, Jet Set, Trash and No Star was released and I was hooked. They have always been able to get away, in my mind anyway, with anything. They are unabashedly experimental with one foot planted firmly in the “rock” world and the other in the world of “serious” contemporary composition. With Sonic Youth though “serious music” isn’t too different from their rock music. They are responsible for successfully merging the two.

Saying that they have “merged the two” is a bit unfair though, to be honest. There really is no such separation, nor should their be. Music is music. Sonic Youth is one of the most prolific acts in existence today. While they are creating music for Matador they are also creating music to be put out on their own, the SYR series, not to mention the myriad side projects, collaborations, and extra-musical activities that each of the members partake. The point is: they are busy. Busy creating.

The numbered SYR releases usually showcase the more experimental side of the band such as “Goodbye 20th Century” that featured works by John Cage, Yoko Ono and Pauline Oliveros among others performed by the band with help from several musician friends. Kim Gordon, DJ Olive and Ikue Mori collaborated on an SYR release with an experimental album of improvisatory compositions as well. This album, the ninth in the SYR series, is no exception to the experimental rule. It is completely instrumental. At times delicate (“Les Agnes Au Piano”), at other slightly more abrasive (“Chez Yves (Alice et Clara)”) but never crossing into very distant territory.

The tracks err on the side of caution in their brevity with few exceptions (notably the 13 minute closing track). Not that as a rule they aren’t able to make longer compositions sound amazingly beautiful, take for example the extended version of The Diamond Sea off of their “Washing Machine” album. That is 20+ minutes of astounding beauty. It seems that with this album they remain focused on one or two clear ideas per track and they know exactly when enough is enough. The brevity of the songs seems to blur the line of what is improvised and what is laid down as a foundation. Sometimes it appears things are hanging on by a thread, only to be pulled back together again. The improvisations have a great deal of substance and direction. All of this is no doubt the result of them playing together for over thirty years.

Sonic Youth - "SYR 9: Simon Werner a Disparu"

To those familiar with Sonic Youths oeuvre the most apt comparison to their earlier work would be found on the soundtrack that they scored to the movie “Made In USA” (apropos of nothing, that soundtrack features my favorite song title ever, “Mackin’ for Doober”) and far from their live improvisations for some Stan Brakhage films that were released as “SYR 6: Koncertas Stan Brakhage Prisiminimui”. That these songs are used as a film soundtrack seems perfectly fitting.

“Escapades” has some really great changes, and generally creates a dark mood. Persistent guitar rhythm doesn’t allow for too much room to move and explore, whereas “Théme de Laetitia” is probably the most spacious song on the album with a buzz that grows to a throbbing hum of guitars. Disjointed echoes emerge from the distance in the left channel while a feedback drone builds in the right among atmospheric cymbal swells. As far as tight vs. loose compositions on the album, where tight would be characterized by little improvisatory noodling and loose being more aleatoric in nature I would place these two tracks at opposite ends of the spectrum. There are tracks such as “Théme de Laetitia” that seem to be concerned more with creating a mood whereas “Escapades” and tracks like it have more of a standard melodic and harmonic nature.

The final track, also the lengthiest cut, “Théme d’ Alice”, has the most clear delineation of the songs structure. The band works so well together throughout the album, but to me it is especially noticeable here. The final 4 minutes is a loosening of that structure, as the song slowly caves in on itself accompanied by a slow fade out.

Through the entire album Steve Shelly’s steady backbeat serves to hold everything together, preventing the work from becoming too much of an all out spacey jam. While the guitars are reaching out into the unknown it is Shelley’s constant that keeps things from going too far. There is a very slight bit of echo on his snare drum. The recording sounds as though it is taking place in a small room, helping to make the album a bit more of the intimate affair. Thurston and Lee’s guitars are pretty sparsely effected with only a touch of delay here and there and light reverb, but nothing that gets in the way of the music and mic’d pretty close; their sound is pushed up front.

It’s not surprising that it is Sonic Youth that finally creates an album that goes its own path, and does so exceptionally well. There is no “wall of sound” production”, no super crazy amounts of reverb on everything, drenching the music beyond the point of recognition. Not that being trendy is high on their agenda. Sonic Youth have been the vanguard of new popular music for a long time now. They have always been the leader and never the follower.

When I was an undergraduate music composition major my professor used to tell the class repeatedly that composition was merely “edited improv”, and I read in an interview once a long time ago where Thurston Moore said that improv was simply “instant composition”. I suppose these things go hand in hand. Sonic Youth does “instant composition” perfectly. It is improvisation with purpose and shape, forethought and direction, all of this that my composition professor referred to as “causality”. This is exactly what is created with this album.

Listening to SYR releases is like getting a peek into Sonic Youth’s notebooks and it is always interesting to hear what they are working on.

[audio:http://quartertonality.com/wp-content/uploads/2011/02/05.-Jean-Baptiste-+á-la-fen+¬tre.mp3|titles=Jean-Baptiste à la fenêtre]
2011, albums, groovemine, music, reviews

Album review: The Insane Warrior – "We Are the Doorways"

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Music has the ability to take on a character of its own and often the musicians that are creating it feel that they are a different person while in the studio. This much is quite true for hip-hop producer RJD2 whose instrumental album “We Are the Doorways” was released under the moniker The Insane Warrior.

According to an entry on his blog he wants us to think of The Insane Warrior as “a completely different dude”. He even goes as far as imagining that he wanted, at one point, to create different names for the artists that are responsible for creating all of the material that he himself is releasing. This makes sense; if an album is written, performed and produced all by the same guy, but the music changes wildly from one album to the next why not change the name of the artist accordingly? The binding element is that they will all be released, as “We Are the Doorways” is, as an RJD2 production. Similar to how Kevin Drew and Co. have released solo albums in association with Broken Social Scene. This could be a great gambit for getting consumers to become fans of a certain “brand” of music while allowing performers and producers to indulge their every whim of creativity. But I digress.

“We Are the Doorways” is a keyboard driven instrumental album with improvisatory, jazz inflicted breaks contained within a usually steady dance  groove that serves as the foundation. The lead synth sounds are thick and fat with a crunch that is reminiscent of something from 1980’s television like Knight Rider, especially on the track “Within the Maze”. The character of much of the music holds equal footing in kitschy 80’s vintage and ultra-modern jazz/prog-rock fusion with a lot of energy. There are spots that border on the chugging motorik rhythm of krautrock as well, but there is more of a looseness in the compositions than krautrock would normally allow.

There is a lot of sonic ground covered in the course of the album. This only seems appropriate considering his desire to create enough differing music to substantiate a name change for each release. It is exciting to hear from an artist that is a prolific musician with a need for incessant creation. The album just sounds good. There is space in the mix, and nothing is ever crowded or overbearing. The drum sound is clean and dry with no reverb that I can detect on anything. This flies in the face of most records coming out today. I think that it is this dry sound that keeps the synth sounds from being cheesy or over-saturated with some sort of sentimental emotion. The dry sound has the extra added effect of tightening up the sound, giving it a more mechanical feel but still maintaining a looseness in the music, much like a jazz ensemble. The Insane Warrior is both tight and loose in all the right places.

The Insane Warrior - "We Are the Doorways"

Despite the change in sounds from track to track RJD2…errr The Insane Warrior does not usually mess with the structure of the songs. They are usually in a sort of Verse/Chorus/Verse setting. Stagnation can be more noticeable without lyrics to fall back on, and rather than have a constant solo he chooses to vary the “Verses” slightly and places some interesting diversional sections in between familiar material and never goes on too long. It seems as though he is aware of the limitations of instrumental music in that regard.
Tracks like “Black Nectar” and the aforementioned “Within the Maze” are studies in contrast in and of themselves. “Black Nectar” begins with a recurring ostinato over which a jazz flute solo appears. The flute only makes a brief showing in this one track, thankfully. Following the forgivingly brief flute solo is a spacey, amorphous section whose dark tone contrasts sharply with the majority of the album; it sounds like something that could have appeared on the Blade Runner soundtrack. Meanwhile “Saint Ignatius Belsse” features calimba, glockenspiel and vibraphone in a thin texture that makes the music seemingly float on air. As soon as the drums kick in the piece begins to swing like Milt Jackson’s Modern Jazz Quartet.

There is no better way to describe “The Mountain” than to say that it sports a raunchy 70’s porn groove before zooming into a slick guitar lead. The guitar here, used sparingly on the album, adds another interesting timbre to the increasingly complex sonic landscape being created across the album. The guitar tone and style sounds like “Three Friends” era Gentle Giant with a combination of the crunchy synth. The album, at first listen, reminds me to a certain extent of the work of Squarepusher with the fast paced virtuosic bass playing replaced with the soundworld of the late 70’s and early 80’s krautrock and prog of Triumvirat and Gentle Giant combined with the improvisatory nature of more recent act The New Deal.

The Insane Warrior’s “We Are the Doorways” is an ever changing, synth heavy, instrumental surge of energy with a virtuosic zeal that seems to hop gleefully from one genre to the next while maintaining a truly unique sound all its own.

[audio:http://quartertonality.com/wp-content/uploads/2011/02/02-The-Water-Wheel.mp3|titles=The Water Wheel]

Better than Pitchfork.