Inside Music Album Guide - 9/11/08

Inside Music Album Guide
De la Rocha returns triumphantly, DiFranco sounds tired
By Stephen Mason

Ani DiFranco – Red Letter Year (Righteous Babe) 2 out of 5
DiFranco’s appeal has always been more associated with her words more than the actual music; in the 90’s she was a young woman braving the world of men while lending her unapologetic political insights. But now the world has changed and so has DiFranco, and the changes ripple through Red Letter Year, not in the best ways. Her political shtick is downsized and uninspired; her love songs are empty and insincere. The problem is that DiFranco can never say a lot with a little. Instead, her lyrics are long and extended, and while they may get the point across, they’ve absolutely no fervor. She sings, “You’d think at my age I’d have thought of/Something better to do.” Agreed, Ani. Agreed.

Ra Ra Riot – The Rhumb Line (Barsuk) 4 out of 5
Comparisons to Vampire Weekend are unfair, and it’s certainly a lazy reference, as Ra Ra Riot has their own brand of indie rock. They have colorful string arrangements and driving beats, headlined by frontman Wes Miles’s soft tenor voice. It starts off with a bang on “Ghost Under Rocks,” and the blast of energy is never lost, not even on the practically classical piece “Winter ’05.” To top it off, they may be the only band in recent history to turn an E.E. Cummings poem into coherent lyrics. The Rhumb Line may sound to some like Neon Bible’s lesser cousin, and to some extent it is, but Ra Ra Riot have already cemented themselves as one of the most exciting debuts of 2008.

One Day As a Lion – One Day As a Lion EP (Anti) 4 out of 5
Zack de la Rocha of Rage Against the Machine paired with ex-Mars Volta drummer Jon Theodore may be one of the best pairings in recent music history, maybe more so than Cee-Lo and Danger Mouse (who together make up Gnarls Barkley). The concept is simple and stupendous; a stripped-down, drum-and-keyboard alternative hip-hop approach filled to the brim with spiteful political rhetoric. Theodore’s drumming is outstanding, not only developing an effective and unique beat for each track, but for taking a central stance in filling in a lot of sound. Likewise, de la Rocha’s keyboards blast like sirens, and his message hasn’t changed. One Day As a Lion is an explosive, start-and-stop album, and de la Rocha has shown in his lyrics that he has matured over time – but still has all the fire he did back in 1994.

Apollo Sunshine – Shall Noise Upon (Headless Heroes) 4 out of 5
Shall Noise Upon doesn’t try to act like something new; from the beginning the band and the listener acknowledge that the idea is to emulate late 60’s psychedelic rock. From the Beatles to Cream, from Hendrix to the Byrds, there isn’t any style that they’ve missed. It’s not exactly copying; none of the music sounds like its been directly lifted from anything else, but songs like “Singing to the Earth” are easily identified as George Harrison-esque pop tunes while “The Funky Chamberlain” is a fantastic blend of Pink Floyd prog and Galactic funk. This isn’t a statement of anything new, it’s only for entertainment, and since there’s no one who is unaware of this, Shall Noise Upon works wonderfully.

Okkervil River - The Stand Ins

The Stand Ins (2008, Jagjaguwar) Okkervil River's fifth studio album. ***1/2

Wherever you think Okkervil River derives their influence from, they've proven to be one of the most peculiar bands in recent history. Over the course of their career they've never had a clean solid hit; I don't mean a radio-friendly jingle that makes their name, I mean a completely solid album from start to finish. That's not to suggest the idea that Okkervil River's albums aren't entertaining, but they've never been able to achieve the power that they want to.

The Stand Ins is another example of that. Yet again, the band has crafted an album I'm sure I'll add to my record collection at some point this year, but they've succeeded in maneuvering away from crafting a true masterpiece. They could have done it, particularly on their last two releases, but Okkervil River gets too hokey for their own good. Musically, many moments are breathtaking, and Sheff's emotional vocal delivery never gets old. Lyrically, however, they never match the sincerity or force that the music does. An example is the pounding "Lost Coastlines," whose alternative folk sound rocks hard. It starts off simply with an acoustic guitar, but it accelerates into a sonic whirlwind. And while the words may sound pretty, the ideas don't always shine through clearly.

Even one of the albums prettiest moments, "Blue Tulip," can't escape the stereotype. Sheff's finest vocal performance on The Stand Ins by far, yet bland lines like "I'll feel your feelings crackling" render it emotionally gutless. What's so strange about this failure of individual lines is that the themes are radiantly clear without being didactic; lost love, loneliness, and the like. Overall, The Stand Ins is not a weak entry in a fairly impressive catalogue; rather, it seems to fit right in with the good job that they've done since they've been playing. Okkervil River continues the band that is rarely breathtaking, often genius, mostly good, and never unlistenable. (Lost Coastlines, Blue Tulip, Bruce Wayne)

Duds of 2008: Part Six

Here are a handful of albums that hardly deserve a full-length review. Duds consist of albums that have received a rating of two stars or less.

Recovery (2008, Yep Roc) Loudon Wainwright's nineteenth studio album. **

Loudon isn't bad, he's just cheesy. It's not the music that screws him, it's his own clumsy lyrics that rarely prove to be insightful or funny and instead come off simply bland.

Red Letter Year (2008, Righteous Babe) Ani DiFranco's seventeenth studio album. **

DiFranco has banked on her lyrics over her music time and time again. While fans may soak it up, the routine is quickly a tired one. Her political sights are few and far between and her love songs aren't believable.

Clouded Staircase (2008, Bar/None) Starling Electric's first studio album. **

Clouded Staircase plays more like an extensive demo tape than an album; eighteen songs who average at about two to two and a half minutes. These guys have talent, but this finds them scrambling to be an updated and less enthusiastic version of the Beatles.

Silver Jews - Lookout Mountain, Lookout Sea

Lookout Mountain, Lookout Sea (2008, Drag City) Silver Jews' sixth studio album. ***1/2

Silver Jews is not an immediate sound you latch onto. In fact, it's nearly required that you be a fan of Johnny Cash and the Pixies to get into it. All their albums, Lookout Mountain, Lookout Sea included, are ones that grows with each listen. The opening "What Is Not But Could Be If" sounds like a lecture with lyrics like "What could appear in morning mist/With all associated risk/What is not but could be if." Alternatively, it can be completely idiotic, such as "Party Barge," which ends with Cassie Berman repeating "Send us your coordinates, I'll send a Saint Bernard."

Two moments are truly musically awe-inspiring; the vocally downing "Suffering Jukebox" and the folk sounds of "Strange Victory, Strange Defeat." The former is remarkable for its extended chorus, which again sees Cassie Berman letting loose with pleading lines. While it isn't as introspective as other Silver Jews releases, that's by no means a good or bad thing; if anything, it offers a balance to some of their more melodramatic work and lets David Berman's sense of humor shine through more. This isn't music that you'd hear at a party, but its sound is timeless. Namely, music like this ages very well. (Suffering Jukebox)

Bird Show - Untitled

Untitled (2008, Kranky) Bird Show's third studio album. ***

Experimental artists tend to polarize critics; half feel almost obligated to praise them because they don't understand them and feel like the music could unknowingly be influential in some obscure way. The other half despise them simply because they don't understand them, and the buck stops there. Untitled is an experimental album, no doubt, of world music with a focus on percussion. And as a result, it sounds like an experiment. Take that as you will, but while Untitled is very clean and together, there doesn't seem to be a whole lot of thought going into the extended numbers like "Percussion and Voice." Bird Show has created an album that's not necessarily difficult to listen to, but will certainly only have an acquired and limited audience. A decent effort.

Apollo Sunshine - Shall Noise Upon

Shall Noise Upon (2008, Headless Heroes) Apollo Sunshine's third studio album. ****

I would recommend that everyone listen to this album at least once, especially if you enjoy late 60's psychedelia. No doubt you'll find at least one song you like, because every song sounds like a different band; early Pink Floyd, Cream, the Beatles, the Byrds, etcetera. And while most of the album is fairly captivating, Shall Noise Upon fails to act as a coherent piece. Nothing is really put together, it's like having a puzzle where all the pieces are the same color, making it impossible to figure out how to shape it into one thing.

"Singing to the Earth" moves like George Harrison's work, bouncy and full of sunshine. "666" mixes Aorta with Floyd, reeking of fairly impressive guitar distortion imitation. The beginning of "Happiness" is almost identical to "I Talk to the Wind" by King Crimson. All of this isn't necessarily bad, the music sounds great; but there really isn't a voice to be found anywhere. Shall Noise Upon, then, acts less as art (though it seems Apollo Sunshine meant it that way) and more as pure entertainment for stoners who miss or would have wanted to be a part of Woodstock. I don't scold that. Because even though they do sound like other bands from the era, they're not ripping off anyone's work. I enjoyed it thoroughly, and I highly recommend it to anyone who is a friend of the hookah. (Singing to the Earth, The Funky Chamberlain, Money)

Inside Music Album Guide - 9/04/08

I've started writing for the university newspaper as a music critic... sort of, I guess. I get to review albums. It's a bit frustrating; I've a feeling there will be a lot of misprints (as today was my first article and already there were a plethora of them). Below is how the article was supposed to appear.

Inside Music
The Stills do it right, Jonas Brothers are still learning
By Stephen Mason

The Stills – Oceans Will Rise (Arts & Crafts) ****
There are three things that make Oceans Will Rise work, and none are by accident. First, the Stills know how to be radio-friendly while layering their message into the hooks of their indie-rock driven style (“Being Here,” for example). Second, they’ve mastered the dynamics. There are no points where Oceans Will Rise is too loud for too long like a Muse album, nor does it whisper until you fall asleep. Third, the message they convey – while obvious – isn’t as boisterous as someone like Marilyn Manson. All in all it’s thoroughly enjoyable, and let’s face it; they make global warming sound fun.

The Verve – Forth (RED) ***
Unfortunately for Ashcroft and company, the Verve is ten years too late to reunite and answer the age-old question of “What would the Verve have done next had they not broken up?” Certainly Forth is only partly an answer; the band is older – though not necessarily wiser – and has used any great material elsewhere. There’s no “Bittersweet Symphony” here, only imitators; “Valium Skies” is the only track that features reminiscent string arrangement and truly impassioned vocals by Ashcroft. While other notable tracks like “Love is Noise” (which, not ironically, features a sample of a truly strange barking sound) may be remembered by the few remaining fans or the dedicated music connoisseur, the rest is forgettable. All listenable, but not engaging.

B.B. King – One Kind Favor (Geffen) ***1/2
The hailed “King of Blues” is back again with an array of blues covers, ranging from the legendary Big Bill Broonzy to the equally great John Lee Hooker. There’s no big production values that water One Kind Favor down, it’s still as basic as blues gets (King going so far as to have an upright bass in the recording sessions). It’s lop-sided as well; “Blues Before Sunrise” is the mark where King gets into it. After that, every track is golden, especially his cover of Chatmon’s “Sitting On Top of the World.” He may be old, but he sounds just as fresh as he did in 1957.

The Jonas Brothers – A Little Bit Longer (Disney) **1/2
Teen pop has always been the prostitute of the music industry; it’s easy and it makes a lot of money. You can’t blame the Jonas Brothers for that, their intentions are better. They know their target market and are responsible enough to keep a distance from drug and sex references (something Katy Perry cannot). For that, I tolerate them. As far as the music is concerned, it’s overly-produced, slick, trite nonsense. Strained vocals and excessive hooks. Lyrics about relationships they pretend to have had and understood. Drivel for the most part. I’ll admit, though, the kids can play guitar.

YouTube Update

The latest reviews on my YouTube channel:
www.youtube.com/user/politicianrock

Entry #18: Has Rolling Stone Lost Its Touch?
Entry #17: The Jonas Brothers - A Little Bit Longer
Entry #16: The Mars Volta - The Bedlam in Goliath
Entry #15: Randy Newman - Harps and Angels
Entry #14: Cat Power - Jukebox
Entry #13: Music You Should Be Listening To

"When once you had believe it,
Now you see it's sucking you in."
- LCD Soundsystem

-Stephen

B.B. King - One Kind Favor

One Kind Favor (2008, Atlantic) B.B. King's twenty-fourth studio album. ***1/2

Long hailed as the "King of the Blues," B.B. King is back with an array of blues covers. There's nothing out of the ordinary and his style hasn't changed much, and what's surprising is that even at eighty-two years old, his signature voice doesn't sound weathered at all. It's a bit of a slow-starter, as One Kind Favor eases in with the jazz-flavored "See That My Grave is Kept Clean." The most invigorating and soulful moments don't come until the second act, really opening up with "The World is Going Wrong" and "Blues Before Sunrise." The ensuing songs are equally rattling and rollicking, especially "Backwater Blues" which features King's best and most convincing vocal performance on the entire album. If you love the blues, you love the King, and although it's not his greatest work, it's still enthralling to hear a master make a tried genre sound as good as ever. (Blues Before Sunrise, Backwater Blues, Sitting On Top of the World)

Ra Ra Riot - The Rhumb Line

The Rhumb Line (2008, Barsuk) Ra Ra Riot's first studio album. ****

The tragic death of drummer John Pike in 2007 didn't detract Ra Ra Riot at all. If anything, it pushed them on, almost forcing them to stay on course with a goal they all agreed on; to make beautiful music. The Rhumb Line is mixed with tributes to Pike, but instead of sounding depressive and mournful, they sound inspired. It is clear that the band feels things will never be the same, but they don't make the audience pay for something they can't understand. It starts off with "Ghost Under Rocks," a galloping introduction. The Rhumb Line is full of string arrangements (actually played by band members, imagine that!) and energy, bordering on the cusp of something I can only describe as proto-classical rock. Make sense? Didn't think so. Let me explain:

The Rhumb Line and Neon Bible used strings extensively, and since they could so easily be transposed into classical arrangements - especially "Winter 05," which is almost a classical piece on its own - that they push the boundaries of alternative rock and chamber pop, possibly further into something completely new. Maybe?

If Ra Ra Riot has any shortcomings, it's that their energy isn't always engaging. It doesn't tire, but sometimes a slower moment would be welcome. I unfairly compare The Rhumb Line with Neon Bible (because I do so unfavorably) in pointing out the balance that Neon Bible had. The title track was perfect after the sonic blast of "Keep the Car Running." And while the first three cuts of The Rhumb Line are then thankfully mellowed by the sleigh bells of "Winter 05," the tempo speeds up again for "Dying is Fine" and never again backs down. It doesn't hinder the album horribly. They're so damn good at writing genuinely good hooks that if they ever learned the value of pace, they'd already catapult themselves among today's best artists. But don't fear, Ra Ra Riot have already placed themselves as one of the most exciting and most promising breakthrough bands of the year. (Ghost Under Rocks, Dying is Fine, Oh, La)

Lykke Li - Youth Novels

Youth Novels (2008, LL Recordings) Lykke Li's first studio album. ***1/2

In 2007 I became very tired of minimalism. It had been around since the late 1990s, and only few bands were able to do it successfully, namely blues-based bands such as the White Stripes and the Black Keys. There were others of course, but they seemed to be the only ones who had it down pat. And even then I wasn't crazy about it; Icky Thump, while still an exceptional album, ranked as one of the Stripes' weakest outputs. At the same time, wonderfully flourished albums like Neon Bible were sonically epic in every sense, and that was the direction that I had been waiting for.

And now in 2008, we've been seeing less minimalism in favor of bigger sounds. That doesn't always make things better, but it was a nice change from the norm. Li, however, seems to have missed the memo, and has actually put out one of the few truly great minimalist indie electronic albums (assuming there's more than this one). It's dance music for the kids who are too cool to dance. Youth Novels is disjointed, and it tends to sputter more than it stands solid. Things don't kick in until "Let It Fall," a very simple Prince-esque groove with lapping vocals. Even after this moment, it doesn't always work. The next great moment doesn't come until the robotic "Complaint Department," and appropriately it meanders until the end. There is no bad material here, what's here is just uneven, and Li is merely inconvienced to have a debut that's not quite as proper as it should be. We'll see where she can go from here, because while it's a promising start, the genre she's adopted as well as her sound don't lend to a whole lot of growth. (Let It Fall, Complaint Department, Breaking It Up)