“Green Naugahyde” (2011) by Primus

October 3, 2011

Primus are… different. After not releasing a single album in the last decade, they’re back with their distinctly Primus sound in Green Naugahyde - and again, if you like Primus, you’ll like this. If you don’t, then, quite simply, you’ll hate it.

Les Claypool and company have always had a reputation for being the weird folk of the music industry, labeled alongside the Residents and Frank Zappa/the Mothers. Green Naugahyde breaks no new ground, but sees Primus embrace what they (and only they) know best – creepy melodies, an abundance of slap bass, chanted vocals and satire of Western culture.

A recurring theme that runs throughout Green Naugahyde is childish humour, delivered by Claypool’s nasally voice such that it truly becomes unnerving. Don’t let it put you off, though. Primus have always been respected as one of the most musically gifted rock groups around, even if they are best known for the South Park theme. Claypool in particular is widely recognised as one of the best electric bass players in the world.

Green Naugahyde plays out like a twisted carnival – loud, terrifying and dark. Primus’ return to music has filled a void in the rock scene could only ever be filled by Primus themselves. And what a glorious return it is.

Don’t let this positive review fool you. You either love or hate Primus. If you have given them a good go before this, and couldn’t stand it, then there’s really no point in bothering with Green Naugahyde. If you are a fan, however, or haven’t listened to them before, then this record comes highly recommended.

7.8

“I like it. I really really like it. I think I’m gonna buy it cause I really really like it.” 


“New Album” (2011) by Boris

May 10, 2011

Creatively titled “New Album” is the first of three full-length Boris records (and one shared LP with Merzbow) so far this year; and, living up to its name, New Album sticks out like a sore thumb in a sea of happy, healthy thumbs that make up Boris’ back catalogue. All traces of Boris’ position as one of the world’s leading noise bands are totally shunned to make way for a melody-heavy, shoegaze, almost Visual Kei record. Yes, it’s a “New Album”, as this is unlike anything Boris has ever done and likely will ever do again.

Every song sounds totally different. There’s ballads, the hardstyle-influenced techno, straight J-Rock; and no drone. Forgive me for preoccupying over that, but the idea of a Boris album without noise is like Brokencyde without awful – it just doesn’t happen. It hasn’t happened, and it never will happen. At least, I thought it never would. This isn’t to say it’s a bad record, just unexpected.

I can dwell upon how different New Album is, or, I can shut up and review it. Boris sound like a band that, after nearly twenty years of having crafted their own ground in the music world, slipped, fell, hit their head, had a laugh about it, and released an album in hindsight. This is the product. The fact that it is one of four released in the space of three months emphasizes just how little time must have gone into the production – instead, it seems like their tongue was firmly in their cheek while they laughed at themselves quietly.

That being said, I don’t want to give anyone the impression that this is a bad record. Because that’s not true. New Album is Boris saying to the world “Hey, yeah, we can play drone, but look what else we can do too!”. And while it’s a huge departure from their usual formula, it’s nice to hear a band break away from expectations every now and again, especially when the expectations are so firmly rooted into one broad genre (no, not as broad as “rock”, I just didn’t know a better way to put it).

Boris’ New Album is just that. New. Once again a veteran band thwarts all expectations of them, presenting themselves in a totally different light. Will it stick? Well, after listening to its two successors (“Attention Please” and “Heavy Rocks”), no. Boris are doing what they do best. But if you can’t get yourself into the noisy goodness of Boris’ traditional style, New Album would be a good place to start. It’s nothing that unique in the grand scheme of things, but for Boris, it’s the white elephant.

7.1


“Forgiveness Rock Record” (2010) by Broken Social Scene

May 26, 2010

It’s always hard to come up with something original about a record. Especially when those devils at Pitchfork Media have already said the funny, clever stuff that you were thinking when you first listened to it. Legendary indie-hipster-favourites-huge-Canadian-musical-collective Broken Social Scene have returned to the scene with album number 4. Is it different? No, not really. There’s plenty of clever, introspective, thought-provoking music on here, reminiscent of everything else that BSS have ever done. But is it good? Yes, dear God, yes, it is. Comparing this to most of the other self-proclaimed “indie” records released this year, it stands out like a golden nugget floating on a sludgy, brown river of shit.

Everything you’d expect from a Broken Social Scene release is on this record. You have the horns, the instrumental, the collaborations, and the grandiose of the music in general. There are hints of Pavement, Modest Mouse, Beck – name an indie music legend, and I’m sure you’ll be able to hear some of them in here. As many bands do as they grow older and mature, BSS have recorded some of their most radio-friendly tracks on this album. Songs like “World Sick”, “Ungrateful Little Father”, and “Texico Bitches” are only one quick edit away from being hits – maybe knock out the swearing, or cut the long instrumental sections, and you’d have yourself a single. The band won’t be planning on doing this, however – for the last three albums, they’ve been content with featuring only on hipster favourite radio stations cool enough to play them such as JJJ, and I highly doubt that they’ll stop this trend.

Forgiveness Rock Record is all about forgiveness and grandiosity. Not heartbreak, not sympathy, not melancholy, but forgiveness. As an emotion, it’s deeper and more sincere, requiring BSS to mature their songwriting. Have they taken this challenge head-0n? Well, yes and no. Musically, they’re tenfold better than they’ve ever been. Lyrically, they’ve evolved and expanded, while still retaining their prized indie cred.

So, yeah, it’s a good indie album. It’s cool enough to be held high by hipsters and yet still accessible enough to be held high by everyone else. Forgiveness Rock Record turned out to be everything I’d expect from a Broken Social Scene record – but hey, I’m not complaining.

7.4
Choice tracks: World Sick; Chase Scene; Ungrateful Little Father; Meet Me In The Basement
If you like: the Polyphonic Spree; Feist; Neutral Milk Hotel; Mercury Rev


"End Times" (2010) by Eels

April 10, 2010

Within the last twenty years, Mark Oliver Everett (a.k.a. E) has recorded some of the most heartbreaking, shattering music ever. Take, for example, the semi-autobiographical Electro-Shock Blues (1998), frequently quoted as one of the most depressing, and greatest, records of all time. As Stylus magazine claimed in 2004, “There’s two kinds of people in the world: Those that understand that Electro-Shock Blues is the greatest album ever put together, and idiots.” But, after a few records that weren’t as critically admired as that one (although they were still well-received), can Mr. E return to his magnificent form?

Eels are known for their devastating, emotionally-heavy lyrics, often about suicide, cancer, drugs, and heart attacks. With End Times, however, Mr. E has gone down a different path altogether, singing about relationships, the failing of relationships and aging. Don’t be fooled by this change in style. E’s vocals are just as pained, growled and lovely as they have ever been, and even while there are more songs about girls than ever before on an Eels record, E still conveys all the right emotions through his perfect voice. Musically, the songs still have that same childish quality they’ve always had, with that eerie, brooding feel to them that E cleverly weaves underneath, that no other artist can replicate. No matter how cheery and innocent the songs may feel, you get a feeling of despair and hopelessness.

E’s vocals really stand out, as always. They sound horribly pained and truthful, as though he is truly baring his soul for everyone to see. As always, his songs have wonderful, pretty melodies and heartbreaking lyrics. End Times is a typical Eels record, and while it doesn’t break new ground in music like Electro-Shock Blues did twelve years earlier, it still stands out amongst the crowd as one of the better records released so far this year, and definitely is a good sign for the future of Eels.

7.1
Choice tracks: The Beginning; A Line In The Dirt; Nowadays; I Need A Mother; Little Bird
If you like: John Lennon; Death Cab For Cutie; Sparklehorse; Grandaddy; The Flaming Lips


"Of The Blue Colour Of The Sky" (2010) by OK Go

March 7, 2010

Boasting the coolest artwork I’ve seen for a very, very long time, OK Go’s third album is a massive change from the pop-rock style of their second, Oh No. But does it work?

Of The Blue Colour Of The Sky impressed me upon first glance, in heaps of ways. ‘Hey, they spelt colour with a u!’; ‘Hey, that album art is reeeeeally cool!’; and ‘Hey, it’s produced by Dave Fridmann! Fricking awesome!’. And it didn’t fail to impress when I actually listened to it. For starters, I’m sure that their record label wasn’t too fond of the idea of their lead single being in 5/4 time, but they did it anyway, and it’s an awesome, awesome song.

The first song that really hit me when I listened was “This Too Shall Pass”. It’s just a good song. Well written, well performed, and massive thumbs up to Mr. Fridmann behind the production desk – you can tell that he’s the Flaming Lips’ producer, and the influences that that’s had on OK Go. The drumming on this track especially… wow. It just encapsulates everything that is awesome about the world. This track is loud, charming, uplifting and absolutely sublime.

But the album doesn’t stop there. It continues on for just short of an hour, but never lets go of your attention. OK Go has done an awesome job on this album – their first few may have been good pop albums, but Of The Blue Colour Of The Sky really is simply an amazing alternative, space rock album. Full of thick, heavy bass lines, distortion filled drumming, and great melodies, it really is a good release. Especially, and I never thought I’d say this about a pop band, for Flaming Lips fans. Lets hope they can keep up this quality of music.

7.8


"The Sophtware Slump" (2000) by Grandaddy

January 5, 2010

The Sophtware Slump, indie band Grandaddy’s second record, is as majestic and grand as it is sleepy and introverted. Similar in style to records such as Radiohead’s OK Computer and Sparklehorse’s It’s A Wonderful Life, Grandaddy’s sophomore effort will both wake you up and put you to sleep at the same time.

Okay, so I know that a comparison to OK Computer is a fairly big claim, but this record is completely deserving of it. Musically, the sleepy and demanding songs, occasionally awkward instruments, melancholy vocal style and production style is very similar to that popularized by OK Computer. The progressive tinge hints towards an early Pink Floyd record. Lyrically, The Sophtware Slump deals with the failure of technology in society, and I’m sure you can make that Radiohead connection all by yourself.

The opener is a 9-minute epic that will blow your brains out. From there, up till about track seven, the album runs slightly-happyish and slightly-optimistic (excluding, maybe, “Underneath the Weeping Willow”), and yet still runs throughout with a melancholy feel to it; however, when we get to the closing four tracks, prepare to end crying. “Jed’s Other Poem” begins with a spoken-word intro, which makes you begin to believe that ‘Jed’ may be an old friend of the band’s who died or something. The creepy interlude after this, followed by the eerie, melancholy and plastically-happy “Miner At The Dial-A-View”, a track in which it’s the lyrics that really impress. The eerie closer, possibly the most Radiohead-y track on the album, ties off the loose ends well; except I simply can’t help but think Radiohead. I know it’s probably my fault, not theirs, but it starts off with an acoustic guitar playing awkward chords and a few dissonant technology-related sound effects, before the vocalist breaks into his best Thom Yorke impression and “No Surprises”-esque chimes enter. Surprisingly, however, when it ends, you’re left not with a cheesy, cringeworthy feeling, but highly impacted upon and emotional. It works. I’m not saying I don’t like the track, but it really has to be heard to be believed.

However I fear that I’m comparing it too much and not pointing out its uniqueness. Because it is unique. And I’m aware that I have just used a conjunctive to begin a sentence three times in a row. The Sophomore Slump is the kind of album that will put you to sleep if you’re not careful enough. Even if it’s playing in the background, it will push itself to the forefront of your senses and demand your attention, then promptly put you to sleep. It’s like Jigglypuff’s song. By no means is this a bad thing, however. The lush and thick texture, beautiful individual songs as well as the flow as a whole record requires that you listen to the album in full, and when you do you’ll want to do it again, and again, until you’re asleep.

8.9
Choice tracks: He’s Simple, He’s Dumb, He’s The Pilot; Underneath The Weeping Willow; Jed’s Other Poem (Beautiful Ground); So You’ll Aim Toward The Sky
If you like: Radiohead;  the Flaming Lips; Sparklehorse


"Lost Souls" (2000) by Doves

January 5, 2010

I heard about this group, um, about three days ago when a friend gave me this record amongst 50 gigabytes of other music while we were sharing (don’t sue). I added it to my 80 other records that I had to listen to to make a credible best-records-of-the-decade list, however I admit that I wasn’t really expecting much.

The first track really impressed me. My friend had tagged the record as ‘indie rock’, so I was expecting a Strokes-esque rocking record. I was completely wrong. Lost Souls is full of lush, string filled ornamentation and thick textures. The opener blew my brain from my skull, not because it was amazing, but because I was totally not expecting it.

The album continues in this vein. The songs seem to be more centered around the instruments than the vocals, but the vocals still play a major part in the work as a whole. The record is really one that has to be repeatedly listened to as a whole to be fully appreciated – it has that ‘epic’ album quality that records by other bands such as Radiohead and Eels possess.

The vocalist’s voice is perfect for this music. He sings powerfully and sounds slightly depressed, adding a melancholy element to the music. In addition, it’s very rare to find a record with no filler, but this one pulls it off near-perfect.

As a record by a British band that originated in the 90’s, critics were quick to lump Doves in with the Radiohead +imitators group – such as Travis, Coldplay, etc. Listening to Lost Souls, however, it is hard to see how they can be compared with such bands. Lacking is the angst and edginess contained in Radiohead’s first three records (the ‘rock’ era); instead, it is full of lush instrumental sections and clean, crisp sounds.

Original, underappreciated, lush to the point of nearly shoegaze-y, and well worth a listen.

7.7
Choice tracks: Firesuite, Sea Song, The Man Who Told Everything, A House


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