Rantings, reviews and lists from a person who structures half his life around obsessing over music.

Wednesday, June 25, 2008

Coldplay - Viva La Vida or Death and All His Friends (2008)

4.0 ★/8.0 - 8.9

...or "Brian Eno Snatches up Coldplay from the jaws of arena mediocrity." Yes folks, after 7 years of pounding their cheap streamlined versions of U2 and Radiohead into the ground, Coldplay finally decides to make some artistic growth! Well...sort of. They're still basically easier-to-listen-to versions of U2 and Radiohead, but in and of itself, I don't think there's anything wrong with that. What matters is whether or not they deliver the pop goods and on Viva La Vida, they introduce enough new elements to recapture the guilty pleasure that was Parachutes, the biggest of which is Brian Eno's signature stamp of sound manipulation. His influence is apparent in every aspect of the album's making, whether you're looking at the heightened density of atmosphere, the wider variety of songs (something X&Y had virtually none of), or the new and interesting song structures ("42" moves from genuinely haunting to uncomfortably vicious and feral with stunning ease, and the middle section of the album from "Lovers in Japan" to "Chinese Sleep Chant" moves like a series of melodic sketches). Most important though, is the way that, for once, The piano or guitar isn't used as the main songwriting origin. "Lost" is primarily a triumph of production over substance, but the hand claps, gospel organs and hoove-clopping rhythm form a melodic tapestry of sound that is irresistible enough to overcome the simplicity of the song itself. This is typical Brian Eno behavior at work, where songs are based on sounds alone, as with the tripped out guitars on "Strawberry Swing" or the walls of piano on "Lover in Japan". In conjunction with the deal-breaking fact that Chris Martin's lyrics actually manage to resist obvious, gooey cliches, Viva La Vida prevails as a worthy spiritual successor to The Joshua Tree. Read more...

Saturday, June 21, 2008

Sigur Ros - Með suð í eyrum við spilum endalaust (2008)

4.0 ★/8.0 - 8.9

Often, Sigur Ros' music sounds like the stuff that gods might listen to. Their oozing symphonic excess and patiently paced crescendos enhance an unearhtly vocal performance that could only be that of an Angel's. But this reliance on divine weightlessness is not necessarily the element of Sigur Ros' music that makes them so good. ( ) seemed to pile on that formless atmosphere to no end, yet the album as a whole didn't quite reach the startling heights of their prior album, Agaetis Byrjun. Conversely, their new album, With A Buzz in Our Ears We Play Endlessly (English Title), feels much more grounded, yet it's probably Sigur Ros' strongest work since their sophomore breakthrough. The down to earth qualities of the album probably comes from the fact that many of the tracks blatantly take cues from other modern bands. From the moment "Gobbledigook" bursts out of the door, parading through an Animal Collective drum circle, Sigur Ros seems to be finally showing a passion for music other than their own. Besides the 3-minute acoustic pop glory of the aforementioned single, "Inni Mer Syngur Vitleysingur" tacks a Sufjan Stevens-esque wall of glockenspiels and horns onto a driving, passionate rhythm. The combination of symphonic touches and rock-song structure makes it feel like a twin to Arcade Fire's "Keep That Car Running". Meanwhile, "Vi Spillum Endalaust" is a picture perfect ascending anthem that recalls Mercury Rev circa All Is Dream, and "Festival" wanders through familliar holy territory for it's first half, but very suddenly adopts a more earthly progression that is an exact replica of the outro for Titus Andronicus' "Fear And Loathing in Mawnah". This similarity is probably a complete coincidence, because the aesthetic here is completely different, enhanced by a more affecting build-up and bigger pay-off, but the fact that any connection can be made between the celestial Sigur Ros and a filthy bar-band that's pure Grassroots, is saying something about how far the band has come to do away with the pretentious qualities that's made them so hated by their dissentors. Admittedly, the songs gradually and completely return Sigur Ros to the sound that they're known for by the end of the album, with the breathtaking heights of tracks like "Ara Batur" and "Fljotavik", so this mainly feels like a transitional album. Nonetheless, the effect remains the same, and is only further established by the inclusion of their first english-spoken song, "All Alright". With A Buzz in Our Ears We Play Endlessly borrows it's warmth from Takk... and it's creative layers of coos and voices from ( ), but the craft and accessibility of it's songs suggest something that their last two albums didn't (besides the post-rock friendly title) and that is tangible growth. Sigur Ros always tended to sound, on some level, like they were going through the motions just to maintain their heavenly reputation. But on With A Buzz... Sigur Ros' sincerity cannot be questioned. They've transcended their profile to become a magnificent, fun symphonic pop band. Read more...

Thursday, June 5, 2008

Alla - Es Tiempo (2008)

3.5 ★/7.0 - 7.9

While Stereolab's past two or three albums have proven that Tropicalia-tinged, Electronica leaning, polyrhythmic groove-oriented indie pop will probably never die, the acclaimed French super-groop has been known to fail in the past. And in the event that this year's Chemical Chords turns out to be one of those unfortunate instances, a practically unknown Chicago three-piece with latin origin is already prepared to take the reigns. But even if Stereolab finds enough of a variation to keep their style sounding vital, there's still something distinctive about Alla that makes them equally enjoyable as, rather than overshadowed by, the highly regarded band that they'll undoubtedly be compared to. While Es Tiempo begins in the same polyphonic, hook-laden ballpark with "Una Dia Otra Noche," the album soon breaks apart and reforms in tangles of soothingly narcotic instrumental stretches. They become more post-rock in terms of song-structure and more prone to jam out, clear from tracks such as the spiraling "Tu y Yo," the druggy "Sazanami," and the relaxing "La Montana Sagrada." On tracks like "Tu Vida!" and "El Movimiento" they reveal a fondness for trip hop with touches of samples, scratching and high energy drumming, like their Chicago neighbors, Tortoise. The Sea and Cake makes a similar cameo apperance on ""No Duermas Mas," which adopts jazzy chords to induce an inescapable tranquilizing warmth. The end result is that, compared to the usual desensitization of emotion and exhaustion that comes out of listening to too much Stereolab, Alla's psychedellic washes of sound leave behind a startlingly fresh, subtle and substantive mark. There's variety here, and an attention to album craft that is usually lacking even in the "Krautpop" godfathers' best albums. Read more...

Tuesday, June 3, 2008

Opeth - Watershed (2008)

2.0 ★/4.0 - 4.9

You can be rest assured that a band that's developed as devoted a cult following as Opeth has, hardly needs to worry about their latest being received as anything less than monumental. It's not even out yet and bloggers have already begun to lob it excessively ecstatic praise. But here's just hoping that Opeth doesn't listen to their listeners, because after the irrational fandom that so many have for Opeth settles, the bottom line is that they're really gonna need to focus in order to bounce back from the disappointment that is Watershed. Essentially, Watershed retreads the balance between brutality and beauty that Ghost Reveries achieved, except with half the inspiration. "Heir Apparent" and "The Lotus Eater" form the meat of the first half and they're depressingly typical for Opeth, filled with all the expected death metal chops and progressive structures but none of the heart. If a song is gonna waste 9 minutes of your life, it should at least be sincere and coherent, but these songs never come together as much more than demonstrations of dexterity. It's volume and misplaced intensity without any memorable dynamics or soul. The slow-paced "Burden" is much more basic, but probably even worse. Opeth have always hinted at their dreams of being featured on Monster Ballads, but they've usually had the sense to reign in their hair metal urges by balancing them with a sense of the arcane and attention to composition. "Burden" throws this rule completely out the window for an extremely predictable and cheesy power ballad. The solos are admittedly, accomplished, but hardly are enjoyable thanks to how easy it is to imagine Steve Vai jamming along. It's after the dissonant Spanish guitar noodling that separates the two halves, that the possibilities of Watershed become apparent. "Porcelain Heart" is the first song on the album that stops messing around and takes Opeth's legacy seriously, with consistent quiet-loud dynamics that are continually breathtaking for the full 8 minutes. The hair trigger riffage of "Hex Omega" and beautiful landscapes of "Hessian Peel" are even more exciting and both rank among Opeth's finest. But since the album is only 7 tracks, it picks up the pace a little too late to save itself from mediocrity.

Many critics will probably cop out and blame the drop in quality on the departure of guitarist, Peter Lindgren, but that's just laziness. Mikael Akerfeldt is the main songwriter and he shows he hasn't lost anything on the album's second half. Maybe the near-perfection of Ghost Reveries set a standard that was too intimidating. Or perhaps writing songs between the nearly 200 performances of the tour are what resulted in the rushed feel of the album's first half. Critical analysis aside, Watershed is quite simply a listening experience that frustrates as much as it thrills, made all the more infuriating by the fact that it's come from one of the best death metal bands of the decade. Read more...
"How many times must a man look up
before he can see the sky?"