Fast 'n' Bulbous Reviews: Quick Impressions 2006 Archive
Thom Yorke, The Eraser (Capitol)
Junior Boys, So This Is Goodbye (Domino) Sep 12
CSS, Cansei De Ser Sexy (Sub Pop)
Lilly Allen , Alright, Still (Regal)
Graham Coxon, Love Travels at Illegal Speeds (Parlophone)
Razorlight (Universal)
The Mars Volta * Amputechture (Umvd)
Mars Volta had already left behind some of their audience by their second album. Francis The Mute (2005) was like their single-track Tales of Topographic Oceans. Which means that some people would herald it as genius while the rest of us would struggle to focus. It’s gratifying to hear the band tightening up, and so soon after their last album. This isn’t to say they’ve gone pop. Prog trainspotters can still identify bits of Yes, King Crimson, Mahavishnu Orchestra and Van Der Graaf Generator in their sound. After a nice, atmospheric intro (it seems short, even though it’s 7:19), they get their biggest chunk-o-epic underway on the second track, the 16:39 “Tetragrammaton.” Despite its length, it really moves and takes you places, as does “Meccamputechture,” with its frenzied horns and electronics. “Viscera Eyes” contains the most monsterous riff in Mars Volta’s ouevre so far, classic-rock Led Zeppelin-size, topped with a gorgeous bass break six minutes in. This could actually go over big on the radio. It couldn’t happen to a better band.
Thom Yorke * The Eraser (Capitol)
There’s enough Radiohead freaks around that it should be no secret that Thom Yorke had been dabbling with electronica even before Radiohead. While there isn’t any recorded evidence of it that I’ve heard of, it’s come up in interviews. Similarly, The Buzzcocks’ Pete Shelley had recorded the Kraftwerk-influenced electronic album, Sky Zen way back in 1974. So punkers who were surprised by his 1981 synth pop album, Homosapien, should have known better. It was no Buzzcocks, but it was pretty good. The Eraser is not quite as radical a departure from Radiohead, and as an electronica album, it’s as good as anything else I’ve heard in the genre in recent years. It’s still pretty tuneful, especially when the intensity is turned up on the second half. “Atoms For Peace” is a highlight, as is “Harrodown Hill,” which asks some serious questions about the death of British weapons inspector David Kelly. Here Yorke seethes through clenched teeth, and his vocal performance subtly handles the tension with grace. Overall The Eraser is no masterpiece like some have proclaimed, nor a disappointment. It’s just a pleasant surprise that’s intruiging enough to hold us over ‘til the next Radiohead album.
Junior Boys * So This Is Goodbye (Domino) Sep 12
After the hype for their first album, Last Exit (2004) died down, it didn’t quite measure up to the claims of fusing Timbaland style beats with Talk Talk experimentation. Well, it did, but it wasn’t quite as perfect as it would seem in one’s imagination. Free of preconceptions, So This Is Goodbye is an improvement. The stuttering beats are scaled back, but the melodies are more memorable, and the production more satisfyingly lush. Songs like “The Equalizer” hum along like cool air conditioning, while “In The Morning” features some great breathy beat-box vocals. It’s the perfect album for watching the summer haze melt into autumn, chilled cocktail in hand.
CSS * Cansei De Ser Sexy (Sub Pop)
Named after a remark made by Beyonce (“tired of being sexy”), Brazil’s CSS are a lighthearted pastiche-pop band along the lines of Brazilian Girls or, going further back, Cibo Matto. Some tunes (“Let’s Make Love and Listen to Death from Above,” “Meeting Paris Hilton”) reek of sarcasm and topicality of a recycled Williamsburg electroclash group. But there’s enough wit, energy and variety, that they get away with it. Lovefoxx isn’t much of a singer, but her accented broken English are charming enough to carry the band. And there’s enough sonic tricks up their sleeves to surprise, like the fang-baring “Artbitch,” which bangs and clangs like some late 70s NY no-wave. “Patins” is a pretty great piece of indie guitar rock. Of course none of this would work if they weren’t truly having fun with it all. “Music is my Hot, Hot Sex” is a totally sincere, anthemic celebration that mixes the infectiousness of Tom Tom Club with Gwen Stefani.
Lily Allen * Alright, Still (Regal)
There’s a lot of talk about Lilly Allen that has little to do with her music. Apparently it’s because she launched her career using Myspace, and she liberally posts on her blog (rarely a good idea for narcissistic musicians). I could give a rat’s ass. However annoying she might be in person, I don’t have to have her over for dinner. Thank god. Her album is filled with fabulous samples of Jamaican and Calypso riddims, witty lyrical turns, and something that none of her garage cronies have, a decent singing voice. “Smile,” “Knock ‘Em Out,” “Not Big” and “Friday Night” are all great, summery pop songs. Any lack of notable passion or depth is balanced by the lack of any real dud tracks.
Graham Coxon * Love Travels at Illegal Speeds (Parlophone)
What a stupid title. This is Coxon’s sixth solo album. Don’t feel bad if you didn’t know he was making albums—the first four are exceedingly inessential. By 2004’s Happiness In Magazines, the former Blur guitarist finally learned how to write songs again, and sounded less dated than his old band while he’s at it. Not that there’s anything original in this guitar pop. They’re simply terse, Buzzcocks-inspired pop songs about love and loss and alcohol. Perhaps mourning the loss of alcohol. Whatever they’re about, the tunes are a step up from the somewhat overrated comebacks by Cheap Trick and The New York Dolls.
Razorlight (Universal)
It’s hard to tell which is worse for a young British band trying to make an impact in the U.S. —being overhyped and then given a savage critical beatdown, or just being ignored. They pretty much got the worst of everything with no hype, and then were ignored. In the UK, Up All Night (2004) garnered solidly positive reviews, nothing hysterical, and then quietly sold a million copies. It was a great, if not groundbreaking, album of youthful passion and an homage to Patti Smith, the Voidoids and even Bruce Springsteen. The Yankees weren’t having any of it, and bludgeoned it ‘til hardly a quiver was left. I suspect some people are holding a personal vendetta against Johnny Borrell who reportedly has quite a mouth on him, boasting he’s better than Dylan during his first album. Guess I had to be there, but Dylan’s first album really wasn’t all that great, so what’s the big whoop? At any rate, the axes were sharpened even before the new album was released. Q declared Razorlight a timeless classic which is a bit hyperbolic. Stylus burned and buried it like it was toxic waste, which was pretty amusing. The lead-off single, “In The Morning” is very upbeat, poppy tune that’s good enough to generate plenty of anticipation. “Who Needs Love” maintains the intruige with another departure, spare, piano-driven Motown-style soul that reminds me of Crowded House. “Hold On” continues the spare rhythm. It’s a good tune, but I slowly realize what’s wrong. It doesn’t rock. At all. Razorlight lost their original drummer who went bananas all over Up All Night, and they’ve downgraded to mere time-keeping. “America” is truly horrid, with cringe-inducing lyrics and a sacharine melody. From there it’s a shaky, uphill recovery, with “Pop Song 2006” and “Kirby’s House” making up for that disasterous ballad. Overall it’s not a bad little pop album. But what made Razorlight special, the rock energy and sloppy romanticism and passion, are fading memories.
Shack * The Corner Of Miles And Gil (Sourmash UK)
I’m a late comer, having been turned on to their 4th album, 2003’s Here’s Tom With the Weather. This one is another lovely classic, with a big Love (Arthur Lee RIP) influence. Given the lush sounds, you'd never guess the songwriting half of the Liverpool brothers, Michael Head, was a troubled drug addict, although the lyrics and sparse output for 18 years is a clue. This might be their best.
Mission of Burma * The Obliterati (Matador)
It was astonishing enough that Mission Of Burma could come back after 21 years apart and make a truly excellent album that sounded like a true progression from their 1982’s Vs. Now just two years after OnOffOn, they’ve done it again. This time they pick up on the melodicism they haven’t touched since 1981’s Signals, Calls and Marches EP. The sound is still thick, muscular and noisy, but some are nearly downright catchy. See “Man In Decline.” There’s some eerie abstraction, but when it breaks out into a chorus, I swear it could be a radio hit!
Dirty Pretty Things * Waterloo To Anywhere (Universal)
I love the first Libertines album, but once Pete Doherty’s sloppy, junky ways started interfering, not such a fan (though the second Libertines and Babyshambles had a couple good songs). This is Carl Barat, the non-junky, rocking out with remnants of the Libertines. The more I hear it, the more obvious is its superiority than Doherty-related projects in every way. Tight hooks, thoughtful lyrics, and plenty of anger and passion.
Futureheads * News & Tributes (679)
Loved their cover of Kate Bush’s “Hounds Of Love,” but much of their first album gave me a caffeine headache. This is more textured and varied. All the melodic twists and turns remind me of mid-period Jam. They’re becoming a great band.
Phoenix * It’s Never Been Like That (Astralwerks)
On their 2000 debut, United, Phoenix was a promising French synth pop band that had enough hooks to give likeminded countrymen like Tahiti 80 some competition. But on 2004’s Alphabetical, they were already sounding tired and sterile. Ironically, they’ve managed to freshen their approach with tried and true guitar rock—the CBGB ’s variety that’s inspiring other bands like Sweden’s The Horror The Horror and England’s Razorlight. A good half of the album consists of strong candidates for singles, such as “Consolation Prizes,” “Long Distance Call,” and “Sometimes In The Fall.” It’s nice to see a band get better for once.
Primal Scream * Riot City Blues (Columbia)
When I heard they were returning to the “Stonesy” rawk ‘n’ roll of Give Out But Don’t Give Up, I was prepared to hate it. But honestly, I’ve more or less liked everything they’ve done since Vanishing Point, and this is a lot more fun than Give out. Granted, it’s a real pigpile of cliches. The lyrics are literally cut and pasted from really obvious sources like Iggy and Flamin’ Groovies. So they have nothing to say, but half the trashy, clangy tunes sound like a joyous homage to The New York Dolls, Lou Reed, Johnny Thunders & the Heartbreakers and glam. Turn yer brain off for this one and it’ll be just fine.
Sonic Youth * Rather Ripped (Geffen)
I can’t say I haven’t been at least slightly disappointed by any of their albums since 1988’s Daydream Nation. That’s 18 years of disappointment. Having resigned myself to the fact that they will never rock they way they used to, I still enjoy parts of each new effort. This time, Jim O’Rourke has left the band and they’ve returned to a subtly looser sound. The differences are hard to notice though. Some songs are pretty, some are spooky, and they never rock.
The Horror The Horror (Tapete Records)
Finally, probably for the first time since Felt and Eleventh Dream Day, here's a band where Television is cited as an influence, and I can actually hear it! A young Swedish band enamored with VU, Modern Lovers and CBGBs era NYC, they also have hints of 90s British influences like Ride, Swervedriver and Supergrass. They have a clean and spare sound that works well becuase their songs are strong enough to not need to hide behind fancy production. Not that this is underproduced. There are some very nice, shimmery, sparkly moments. Hear "Sound of Sirens," for example. Without distortion, the song still packs an emotional whallop, even without paying attention to the lyrics. There will be inevitable squawking about the fact that they replicate nearly the exact riff and rhythm of "Marquee Moon" on "Twice In A Lifetime." But just like reggae artists used to artfully recycle rhythms since the 60s, this is a playfully creative tribute. It does well to avoid trying to mimic the majesty of the original, and instead inserts their own voice. Released on an indie German label, this kind of hard to find. Tower currently stocks it in the import section for $21, and Rough Trade's site sells it. The label enthusiastically, and without irony, says, "This is your favourite new band!" For myself, this month they're right!
Built To Spill * You In Reverse (WB)
It's weird to think they've been around over 14 years. And even before that Dough Martsch did Treepeople and other bands. A whole five years after their last album, the concise, polished, Ancient Melodies of the Future, You In Reverse finds them in a looser, jammy mode. Their 2000 live album is the closest in feel. Having done a stellar cover of "Cortez the Killer" on the live album, it's not surprising that the Neil Young influence is stronger than ever here. Forget weaker followers like Modest Mouse, Built To Spill will be the one known for consistent, durably classic rock albums.
Ladyfuzz * Kerfuffle (Transgressive/WEA International)
London's Ladyfuzz has a remarkable chameleon in Austrian Gwen Stefani-lookalike singer Liz Neumayr. She starts the album with a startling resemblence to The Slits' Ari Upp in "Hold Up," and goes on to remind me of Penetration's Pauline Murray, The Avenger's Penelope Houston, Nina Hagen, and even Karen O. What keeps Ladyfuzz elevated amongst mere revivalists is not only Neumayr's talent (she'll most certainly grow into her own distinctive voice quickly), but the band's tight yet elastic playing that keeps the songs sounding fresh and danceable.
Wolfmother (Modular/Interscope)
I have to say, it was hard to get excited about another band influenced by Led Zep and Sabbath. Sure, the Darkness were fun for an album, but most bands simply don't have the songwriting chops to pull it off without sounding tired and derivative. Yet from Kyuss to Monster Magnet, there's always exceptions that manage to record some worthwhile new material. This Brisbane, Australia group offer a couple twists that keep things fresh, including some Blue Cheer and, surprisingly, a strong White Stripes influence ("Joker And The Thief"). The album isn't even released in the U.S. yet, and the promotional machine is in full gear. I wouldn't be surprised if DJs get the promos sealed in bags of cocaine. Hence, a backlash is inevitable. It's great fun though. Bring on the tour with the smoke machines and capes!
The Ludes * The Dark Art Of Happiness (Double Dragon UK)
Yet more mates of The Libertines, Razorlight and Dogs, one could get sick of this stuff. But with the exception of the dullards Arctic Monkeys, I'm liking what I hear. Sure, they're obviously enamored with The Clash, but they have some great songwriting that transcends the sometimes cliched idea of "dirty, loose rock 'n' roll." Keep the tunes coming, and I'll keep listening.
Eagles Of Death Metal * Death By Sexy (Downtown)
This is Queens of The Stone Age's Josh Homme's side project. With Homme on the kit, his friend Jess "The Devil" Hughes fronts the band, with a decidedly more whimsical, trashy fun vibe than QOTSA. I saw them open for The Cramps one Halloween and they meshed perfectly. You'd think the raunchy rockabilly ditties would be total throwaways, but this is better than expected.
Quick Impressions Archive 2005
Quick Impressions Archive 2004
Quick Impressions Archive 2003
