April 12, 2007
Where do they Play Midnight Movies?
DEATH PROOF
Quentin Terantino’s “Death Proof” film is meant to be the second half of a “double feature” project with director and friend Robert Rodriguez. Both films will be shown under the name “Grindhouse” and it is in theatres now. I meant to go see it last weekend, but an epic journey got in the way. Anyway, this album has sound clips from the movie, vintage 60’s and 70’s rock n’ roll, and some instrumental tracks. If anything, this album is a classy time warp. There are songs here that would still work wonderfully for contemporary TV ads. I could see girls washing a car while a group of guys look on drinking beer happening to “Baby It’s You” (2). Maybe an SUV being advertised to the bouncy back road evoking “It’s So Easy” (13). I’m running out of advertisement situations, but I think that “Chick Habit” (16) would probably work pretty good for a credit card commercial. Listening to this album makes me want to watch the movie. Three cheers for good marketing.
April 11, 2007
Dumb Luck is Just Plain Good
Jimmy Tamborello’s second album under the Dntel banner, “Dumb Luck”, moves along a little more than “Life Is Full of Possibilities” and borrows elements from all the projects that he’s worked on since his debut. You’ll hear elements that sound like the Postal Service and you’ll hear elements that sound like his James Figurine project. Like “Dumb Luck” (1) that he wrote and played himself. He also borrows some friends old and new to contribute vocals on most of the tracks like Jenny Lewis, Conor Oberst, Lali Puna, Grizzly Bear, and various others. The strongest tracks on the album are the songs where the electronic elements bend to fit in with the mood of the song. I never thought I’d hear a keyboard sigh, or perfectly describe a hung over Sunday, but it happens on “Breakfast in Bed” (8) featuring Conor Oberst. Another similar track is the country tinged Jenny Lewis contribution “Roll On” (4) where the electronics work shockingly well within the country song structure. The track most similar to a Postal Service song is “To a Fault” (2) featuring Grizzly Beat which makes use of those familiar soundscapes, blips, beeps, and drum samples to be at once both calming and exhilarating. If the quality of Jimmy Tamborello’s music keeps improving the way it is now, when the new Postal Service album is released, I believe we will be in for quite a treat.
Buy “Dumb Luck”
Rocky Gentlemen and Coyote Bones
Charming from the start using a front porch sound complete with a harmonica and a barking dog enters Coyote Bone’s debut album “Gentleman On The Rocks”. The band is comprised of members from Saddle Creek acts Azure Ray and Tilly and the Wall. The Saddle Creek connection is so strong that part of the album was even recorded in (The Faint Bassist) Joel Peterson’s basement. The sound of the band has that kind of hometown intimate feel, but while they do use acoustic instruments very effectively they don’t limit themselves. They use spare synthesizers to create a powerful mood. Like on the power ballad “39 Forever” (4) which is easily my favorite track on the record. Another powerful track that isn’t as optimistic but is equally as powerful and uses some cool percussive programming is “Buzzing Below” (5) which is built off of gentle strings, guitar and piano, but just explodes into something more. The sheer variety of what Coyote Bones has to offer is remarkable. From synth amped ballads, “Grand Eclipse” (3) to clever little folk numbers, “Print on your jeans” (10) to super melodic songs, “Don’t Lose Your Cool” (8) to all out thrashing, “Your War” (12) they keep you guessing. When the sonic tricks die down the vocals and lyrics are commanding and emotionally relevant enough to keep your attention. Consistency and innovation prompt me to give “Gentleman on the Rocks” two thumbs up.
You can’t beat a dead horse… wait…
This remix EP features contributions from contemporary electronic band Hot Chip, old school techno producer Carl Craig, and various other distinct talents. The songs are definitely expanded upon as some of them exceed nine minutes, but each one has something different to bring to the table. Hot Chip brings their attention to expanding the vocal sound of “In the Morning” (1) while adding subtle bleeps blips and whines. Ten Snake beefs up the rhythm section of “FM” (2) with echo claps and and cow bell. Although perhaps the biggest departure is the Kode 9 Remix of “Double Shadow” (4) which turns the clink clank of the original into a dub beat with new vocals. I’m still a little woozy from all of the trippy editing on the later tracks but the first few are some wonderfully funkadelic mixes for getting down on the town.
Kenna Returns with Less Freetime More Jazz
Kenna still shows their influences from 80’s new wave bands like Depeche Mode, most noticeably in the explosion sampled “Out of Control” (1) which at times has alto backing vocals, spare guitar lines, and blips and synths that build to epic proportions. Certainly sonic properties popularized by Depeche Mode song smith Martin L. Gore. I’m feeling a bit more of a jazz vibe from “The Black Goodbye EP”. The breezy rhythms and jazzy vocal sound probably come from a Police influence, but it comes off sounding more like a frantic Maroon 5 with electronics. It’s not bad if you listen to it without expecting another “Freetime”.
Move it or lose it (Jatun)
Fans of M83 will enjoy Jatun. The sonic drones are epic and the vocals are unintelligible. This down tempo electronica is very cinematic in a reflective way. I would not be surprised if it ended up getting licensed and used in a film. Most people probably would not have the patience to sit through a lot of the ambient work but there is a lot of beautiful expansive electronica here; like album closer “The Temptation of Joy” (13) and the breezy “Bee Bee” (5). The grand melodies of some songs are mobilized to head bobbing status with the use of some shuffling beats like in “Ghost and Grey” (1), “Young Cooks” (8) and “Fashion Whore” (9). There’s even something of a punk beat in “Move it or Lose it” (12) that song would be perfect for the end of a coming of age high school drama. Overall, If you’re in the mood for studying, chilling, or making an experimental student film, Jatun is just the ticket. I encourage you to sit back and just let the sound wash over you. It feels nice.
April 5, 2007
An 8 made from Clouds
A year or two ago I had a friend send me a couple tracks by Cloud Cult; they were mostly ambient tracks with some singing and a beat. At the time I thought that it was an interesting way to invigorate something that would have been typically bland and pretentious. So when I saw the opportunity to review “The Meaning of 8” I jumped, figuring that with time and more money their sound would be more focused both in thought and music. Luckily, my expectations were met. This time around the lyrics are catchy, the beats are fresh (and dense at times) and their heart is in the right place. The sound of the band is hard to describe, there are electronic elements but it still retains an organic instrumental sound that never sounds cold and distant. The most surprising thing about “The Meaning of 8” is how effortlessly they switch from intimate ballads to fist punching anthems. Some examples of the former are the gentle sprawling opener “Chain Reaction” (1) and the acoustic driven building single “Chemicals Collide” (3). Fist pumping anthems include; the bouncy “Please Remain Calm” (2) that reminds me of an 80’s fight song and the optimistic triumph of “Brain Getaway” (5) which would fit just fine next to a Flaming Lips song. The pinnacle of meaningful lyrics and middle ground between light and airy interludes and bass heavy rockiness is “Take Your Medicine” (6) which features violins, bells, spare piano, a commanding beat, and lyrics imploring you to “Make Things Right”. While the last half of the album meanders into experimental territory with mixed results, the first half is rich enough in both style and content for me to give “The Meaning of 8″ two thumbs up.
Cloud Cult Myspace
Watch the video for “Chemicals Collide”
April 4, 2007
Watch your Aim when Loving Songs
Originally conceived as a pregnancy awareness project, The Blow expanded the endeavor into a full concept album in 2004. This is the original album plus several remixes. That said, the album is a celebration of lo-fi hip hop beats and sometimes angst-y sometimes know it all girly lyrics. The mixture of confident and uncertain lyrics humanizes the songs and makes the already cute female vocals even cuter. While some of the remixes bring something different and experimental to the table, it’s the original work that still shines on the album. The situation described in “Hey Boy” (1) is certainly one that many women can relate to in the post date communication shut down stage. I have a soft spot in my heart right now for “The Sky opened Wide Like the Tide” (2) because it’s about feeling lost and separated from your friends and those who would be your friends. The frantic sped up beat conjures the image of someone desperately searching for a special someone. “Come on Petunia” (7) is probably the sweetest song on the album with its breezy beat and lyrics of infatuation. As a whole the album is very hit and miss, but when it does work, it moves both your feet and your heart.
The Time of Kings
I didn’t get into the Kings of
Watch the AOL Live Video for “Mcfearless”
