The blog fell into disuse; It was difficult to find the time to do the blog as I originally wanted on any kind of regular schedule. New tactic, a quick look at all the new music I acquired during that week. Some weeks get less than others.
Week 1; 7 Albums (3 with bonus content)
KMFDM - Krank
label: Metropolis / KMFDM Records
Release: 3/12/2011 (New Release)
Genre: Industrial; Industrial-Rock
Krank is the first actual single from KMFDM since Boots. By actual single I mean a single that precedes the album the tracks come from, with new music. Like all KMFDM singles (and most singles at all these days) it's multiple Remixes of one new song. Krank is that song - A Remix by Sascha, Kommor Kammondo, and Tim Skold. It also has two remixes of Day Of Light, a single released only as a limited edition vinyl single and a digital single. One by Bill Rieflin and one remaster. Krank is a typical KMFDM song, name checking, solid industrial-rock beat, nothing particularly outstanding about it. But it does remind me of the late 90s era more than recent albums, which I'll take as a good sign. Tim and Bill are KMFDM alumni, each producing a remix that is definitely showcasing their own styles. The last track Day Of Light (24/7 Mix) is really a remaster for the CD, if you have the vinyl or digital it doesn't sound very different.
Legion Within - Aeons and The Empty Men
label: KMFDM Records
Genre: gothic-rock
Legion Within are a Seattle based gothic-rock outfit, with some industrial rock leanings every now and then.
Aeons - released 2004
Actually, absolutely nothing about this album stands out as above the norm. It's a good album, and I've tossed it into a regular rotation in my goth-rock playlist. It fills things out nicely, fits right in with a lot of my collection from the early 80s before Goth started to infuse itself into the Darkwave/Coldwave movements.
The Empty Men - released 2006
This LP, on the other hand, has a little more oomph to it, they flex some industrial muscles in here a little more. Coming up with a punchier sound, an evolution and pick up from their previous releases. Another one I tossed into the Goth-Rock rotation to add some color there.
Rough Guide To ...
label: World Music
Genre: various
I like the Rough Guide compilations, they always bring an infusion of music that's otherwise hard to find and obtain in the US: stuff from outside the US. Each compilation focuses on a particular genre. Some of them come with a bonus disc that showcases a single artist only as a standard album. Like any good compilation, if you want to get into a musical genre these are awesome places to start getting artist names you'll like.
... Bhangra
This one focuses on Bhangra music out of India. More traditional than the big-beat infused Bhangra Dance that passes through clubs. I can see where dance cuts slide right into this genre, even without the big-beat behind it Bhangra bounces and moves, begging for the listener to dance (almost daring them not to...). The Bonus Album is from the group Achanak, with a 20 Year Retrospective Best Of album.
... Blues And Beyond
This takes most of its music from Africa, where the blues has traveled back over to and infused itself with the traditional music there. The result is nothing short of gorgeous. This comes with a bonus album from Nuru Kane, and while it's less Blues and more his Traditional African, it still has a heavy blues influence.
... Gypsy Music
I'm not sure I can place Gypsy music beyond 'Eastern European in feel but not completely' but this is another grouping of music that is easily danced to, though lacking the heavy drum beats of other styles. The bonus album is Bela Lakatos, which moves from bouncing dance tunes to dirge sounding ballads.
... Asian Underground
This is a lot of South and South East Asian music, mixed with modern dance and other styles. It's a good album, but not quite as fully bouncy as a straight dance-club cut album, and not quite as Traditional as a more focused grouping might be. This one, being much less focused on a small region or specific genre, has no bonus album to accompany it. It feels unfocused, so I tossed it in with a playlist that's set to random, mixing it into music to play in the background.
Saturday, March 12, 2011
Wednesday, August 4, 2010
N.A.S.A. - The Spirit Of Apollo
Released: Early 2009
Availability: stores, online, easily found.
Label: Spectrophonic Sound/Anti- (independent labels)
N.A.S.A. - North America South America - is two DJs (Squeak E. Clean ad DJ Zegon) and an idea. The idea was to collect as many different people as possible, and start recording music. Certainly not a new idea, I have a number of collaboration albums in my collection. This one is only slightly different - the collaboration in question wasn't primarily the DJs and Another Artist. It was Two Different Artists, that the DJs mixed together. The genre is primarily Hip Hop - as are the majority of the artists (Kanye West, KRS-One, Kool Keith, RZA, and others) but a few aren't (Tom Waits, George Clinton, Lykke Li). The albums swerves through Hip Hop, Funk, Samba, and Drum & Bass like a slalom course. For the most part it stays pretty on target with Hip Hop as the MC is the primary song style here - almost no traditional vocal singing is done, mostly rap.
But the genius is sometimes in the pairings, the way various parts of put together. And that a few new artists popped up onto my radar as they didn't stick exclusively with the Popular/Known Ones.
They didn't stop at the artists, they even commissioned five different artists for five (six if you count the booklet with lyrics) album covers. And thankfully did not commit the grievous sin of five different releases - all five pieces of art work are included on cards so you could switch the one you like best to the top of the jewel case (I scanned my favorite into iTunes and left them in order when putting it on the CDs shelves to look pretty). Each card - on the back - covers the artists who contributed to each song - which is the kind of thing I really look for in a booklet and why I avoid digital downloads if possible that don't include one.
Intro - This is not a song, it's not even really an introduction. It's a mission statement. I can imagine that they asked each artist to read the statement, and then hacked it apart and put it back together so it sounds like everyone said a word or two in sequence. Onto the music.
The People Tree - David Byrne (Talking Heads), Chali 2na (Jurassic Five, Ozomatli), Gift Of Gab (Blackalicious), DJ Z-Trip (Turntablist). The track is a mix between a smooth beat and a Top-40/Pop-Rock track. Chali and Gift Of Gab trade verses while David provides the chorus.
Money - David Byrne, Chuck D (Public Enemy), Ras Congo (I don't know - I need info!), Seu Jorge (Brazilian Samba artist), DJ Z-Trip. Combining David Byrne and Chuck D is an interesting mix here, especially when you pull in the Reggae (Ras Congo) and Samba (Seu Jorge) elements. It mixes well, the Reggae elements take over musically even as David brings a lighter elements and Chuck D a heavier one. The song it self is about the evils of money. . . I just like the beat.
N.A.S.A Music - Method Man (Wu-Tang Clan, among other acts), E-40 (rapper), DJ Swamp (turntablist). Pretty much straight up Hip Hop as Method Man and E-40 trade off while DJ Swamp provides a very danceable beat.
Way Down - RZA (Wu-Tang Clan, plus others), Barbie Hatch (unsigned singer), John Fruciante (Red Hot Chile Peppers). Now the collaborations are starting to flex some muscle. The ethereal lyrics of Barbie and RZA's rapping mix together with John's guitar bringing an extra layer to the backing electronica. The song is about a girl who falls in love with the devil. Musically it starts to show what the project is about - meshing wildly diverse elements.
Hip Hop - KRS-One (hip hop artist), Fatlip and Slim Kid Tre (The Pharcyde). Another purely hip-hop track, as the name says. KRS-One brings a lyrical smoothness rarely seen, but the song itself isn't very diverse. Almost a step backwards from the previous tracks raising of the bar.
Four Rooms, Earth View - Squeak E Clean & DJ Zegon, a short piece playing a recording from somewhere... nothing really interesting and I think maybe it could have been left out.
Strange Enough - Karen O (Yeah Yeah Yeahs), Ol' Dirty Bastard (Wu-Tang Clan; posthumously), Fatlip. Ol' Dirty Bastard makes an appearance from old recordings opposite Fatlip as they switch back, Karen O provides a switch as she changes the tempo with the chorus considerably, and the whole attitude of the track. Another flexing of mixing muscles here.
Spacious Thoughts - Kool Keith (rapper), Tom Waits (singer). If there is a musical equivalent of a nuclear weapon this is it right here. None of the lyrics make much sense as Keith and Tom move back and forth, but there's an inevitable landscape created, something dark, urban, bright, and loud. Keith's very smooth style with Tom's very rough singing does exactly everything this album set out to do in my opinion - bring widely opposite styles into synch. These two need to be unleashed to record an entire album together, the song is gorgeous. I had the chorus stuck in my head for days.
Gifted - Kanye West (rapper), Santogold (rapper), Lykke Li (singer). While Kanye and Santogold are both rappers, their styles are both opposing and complimentary. His lyrics are nearly as smooth compared to her almost sung verse. Lykke provides one hell of a chorus and its too bad she didn't contribute a third verse to pull this song further apart and knit it closer together. The song is beautifully listenable, warm and upbeat.
A Volta - Sizzla (reggae artist), Amanda Blank (singer/rapper), Lovefoxxx (singer of Brazlian group Cansei de Ser Sexy). Again, the album finds the right groove of mixing styles, a smooth Reggae beat swings along while the versus move at a much faster pace than the beat would lead on. Again, I think they missed just off the mark by not giving Lovefoxxx a third verse, only a chorus appearance. Still, this track belongs on a dance floor.
There's A Party - George Clinton (funk), Chali 2na. George Clinton (everyone in his band really) leads a classic funk track here, Chali brings in a hip hop element that crosses and bridges the genres cleanly. It's a slower track, just the slow side of a dance floor track. A light hearted element on the album, complete with group clap along section.
Wachadoin? - Spank Rock (rapper), M.I.A. (rapper), Santogold, Nick Zinner (Yeah Yeah Yeahs). This is a bit of foot-stomper track, M.I.A. leads with her typical staccato beat, while Spank Rock provides a more classic rap. Nick's minimal guitar in the background prevents the track from falling into only drums and beats.
O Pato - Kool Kojak (DJ, producer), DJ Babao (turntablist). A swinging little samba number, with a lot of samples. The whole thing sounds a bit silly, but it's a really smooth dance track behind it all. Even with the weird pornographic Donald Duck imitation on it. . .
Samba Soul - Del Tha Funkee Homosapien (MC), DJ QBert (turntablist). Two powerhouses in the hip hop world put together a pretty standard track here, not quite as samba as the previous track (despite the name), though Del by far has the most verbose style of rap on the record. Always a good listen, while not really opposing musical styles, it's good to put these two together and see what happens.
The Mayor - The Cool Kids (hip hop duo), Ghostface Killa (Wu-Tang Clan, among others), Scarface (rapper), DJ AM (DJ). The last mix on the album here is another pretty straight forward hip hop track, nothing spectacular here in all honestly. There's talent here for sure, it just isn't a mix of opposing styles like some of the songs preceding it.
N.A.S.A. Anthem - The album closes out with the same kind of mash up as the intro provided. Though instead of cutting up everyone's contributions the artists here (and it's not quite everyone) harmonize a single long verse on repeat. It's a very happy together type verse.
then there's a lot of minutes of silence where I curse the entire concept of hidden tracks where there's no real information provided and be thankful I live in the Internet Age where I can find this information out so I don't have to spend days wondering. . . .
Electric Flowers (hidden track!) - Nina Persson (The Cardigans), RZA. The only saving grace to this as a hidden track is that is saves the album from ending on the pap of the "NASA Anthem" thing (which, while nice, is a crap 'song'). It allows the album to go out with a mellow, upbeat, track that juxtaposes RZA's rapping against Nina's smoothly sung chorus.
All in all - the experiment of bringing together these artists (from mega-stars to nearly unheard-ofs) is a success. It doesn't come off as Artist + Guest like so many of these do, but a series of collaborations. Some of which would never have happened were it not for NASA. Overall - the album is more than worth adding to a collection.
Availability: stores, online, easily found.
Label: Spectrophonic Sound/Anti- (independent labels)
N.A.S.A. - North America South America - is two DJs (Squeak E. Clean ad DJ Zegon) and an idea. The idea was to collect as many different people as possible, and start recording music. Certainly not a new idea, I have a number of collaboration albums in my collection. This one is only slightly different - the collaboration in question wasn't primarily the DJs and Another Artist. It was Two Different Artists, that the DJs mixed together. The genre is primarily Hip Hop - as are the majority of the artists (Kanye West, KRS-One, Kool Keith, RZA, and others) but a few aren't (Tom Waits, George Clinton, Lykke Li). The albums swerves through Hip Hop, Funk, Samba, and Drum & Bass like a slalom course. For the most part it stays pretty on target with Hip Hop as the MC is the primary song style here - almost no traditional vocal singing is done, mostly rap.
But the genius is sometimes in the pairings, the way various parts of put together. And that a few new artists popped up onto my radar as they didn't stick exclusively with the Popular/Known Ones.
They didn't stop at the artists, they even commissioned five different artists for five (six if you count the booklet with lyrics) album covers. And thankfully did not commit the grievous sin of five different releases - all five pieces of art work are included on cards so you could switch the one you like best to the top of the jewel case (I scanned my favorite into iTunes and left them in order when putting it on the CDs shelves to look pretty). Each card - on the back - covers the artists who contributed to each song - which is the kind of thing I really look for in a booklet and why I avoid digital downloads if possible that don't include one.
Intro - This is not a song, it's not even really an introduction. It's a mission statement. I can imagine that they asked each artist to read the statement, and then hacked it apart and put it back together so it sounds like everyone said a word or two in sequence. Onto the music.
The People Tree - David Byrne (Talking Heads), Chali 2na (Jurassic Five, Ozomatli), Gift Of Gab (Blackalicious), DJ Z-Trip (Turntablist). The track is a mix between a smooth beat and a Top-40/Pop-Rock track. Chali and Gift Of Gab trade verses while David provides the chorus.
Money - David Byrne, Chuck D (Public Enemy), Ras Congo (I don't know - I need info!), Seu Jorge (Brazilian Samba artist), DJ Z-Trip. Combining David Byrne and Chuck D is an interesting mix here, especially when you pull in the Reggae (Ras Congo) and Samba (Seu Jorge) elements. It mixes well, the Reggae elements take over musically even as David brings a lighter elements and Chuck D a heavier one. The song it self is about the evils of money. . . I just like the beat.
N.A.S.A Music - Method Man (Wu-Tang Clan, among other acts), E-40 (rapper), DJ Swamp (turntablist). Pretty much straight up Hip Hop as Method Man and E-40 trade off while DJ Swamp provides a very danceable beat.
Way Down - RZA (Wu-Tang Clan, plus others), Barbie Hatch (unsigned singer), John Fruciante (Red Hot Chile Peppers). Now the collaborations are starting to flex some muscle. The ethereal lyrics of Barbie and RZA's rapping mix together with John's guitar bringing an extra layer to the backing electronica. The song is about a girl who falls in love with the devil. Musically it starts to show what the project is about - meshing wildly diverse elements.
Hip Hop - KRS-One (hip hop artist), Fatlip and Slim Kid Tre (The Pharcyde). Another purely hip-hop track, as the name says. KRS-One brings a lyrical smoothness rarely seen, but the song itself isn't very diverse. Almost a step backwards from the previous tracks raising of the bar.
Four Rooms, Earth View - Squeak E Clean & DJ Zegon, a short piece playing a recording from somewhere... nothing really interesting and I think maybe it could have been left out.
Strange Enough - Karen O (Yeah Yeah Yeahs), Ol' Dirty Bastard (Wu-Tang Clan; posthumously), Fatlip. Ol' Dirty Bastard makes an appearance from old recordings opposite Fatlip as they switch back, Karen O provides a switch as she changes the tempo with the chorus considerably, and the whole attitude of the track. Another flexing of mixing muscles here.
Spacious Thoughts - Kool Keith (rapper), Tom Waits (singer). If there is a musical equivalent of a nuclear weapon this is it right here. None of the lyrics make much sense as Keith and Tom move back and forth, but there's an inevitable landscape created, something dark, urban, bright, and loud. Keith's very smooth style with Tom's very rough singing does exactly everything this album set out to do in my opinion - bring widely opposite styles into synch. These two need to be unleashed to record an entire album together, the song is gorgeous. I had the chorus stuck in my head for days.
Gifted - Kanye West (rapper), Santogold (rapper), Lykke Li (singer). While Kanye and Santogold are both rappers, their styles are both opposing and complimentary. His lyrics are nearly as smooth compared to her almost sung verse. Lykke provides one hell of a chorus and its too bad she didn't contribute a third verse to pull this song further apart and knit it closer together. The song is beautifully listenable, warm and upbeat.
A Volta - Sizzla (reggae artist), Amanda Blank (singer/rapper), Lovefoxxx (singer of Brazlian group Cansei de Ser Sexy). Again, the album finds the right groove of mixing styles, a smooth Reggae beat swings along while the versus move at a much faster pace than the beat would lead on. Again, I think they missed just off the mark by not giving Lovefoxxx a third verse, only a chorus appearance. Still, this track belongs on a dance floor.
There's A Party - George Clinton (funk), Chali 2na. George Clinton (everyone in his band really) leads a classic funk track here, Chali brings in a hip hop element that crosses and bridges the genres cleanly. It's a slower track, just the slow side of a dance floor track. A light hearted element on the album, complete with group clap along section.
Wachadoin? - Spank Rock (rapper), M.I.A. (rapper), Santogold, Nick Zinner (Yeah Yeah Yeahs). This is a bit of foot-stomper track, M.I.A. leads with her typical staccato beat, while Spank Rock provides a more classic rap. Nick's minimal guitar in the background prevents the track from falling into only drums and beats.
O Pato - Kool Kojak (DJ, producer), DJ Babao (turntablist). A swinging little samba number, with a lot of samples. The whole thing sounds a bit silly, but it's a really smooth dance track behind it all. Even with the weird pornographic Donald Duck imitation on it. . .
Samba Soul - Del Tha Funkee Homosapien (MC), DJ QBert (turntablist). Two powerhouses in the hip hop world put together a pretty standard track here, not quite as samba as the previous track (despite the name), though Del by far has the most verbose style of rap on the record. Always a good listen, while not really opposing musical styles, it's good to put these two together and see what happens.
The Mayor - The Cool Kids (hip hop duo), Ghostface Killa (Wu-Tang Clan, among others), Scarface (rapper), DJ AM (DJ). The last mix on the album here is another pretty straight forward hip hop track, nothing spectacular here in all honestly. There's talent here for sure, it just isn't a mix of opposing styles like some of the songs preceding it.
N.A.S.A. Anthem - The album closes out with the same kind of mash up as the intro provided. Though instead of cutting up everyone's contributions the artists here (and it's not quite everyone) harmonize a single long verse on repeat. It's a very happy together type verse.
then there's a lot of minutes of silence where I curse the entire concept of hidden tracks where there's no real information provided and be thankful I live in the Internet Age where I can find this information out so I don't have to spend days wondering. . . .
Electric Flowers (hidden track!) - Nina Persson (The Cardigans), RZA. The only saving grace to this as a hidden track is that is saves the album from ending on the pap of the "NASA Anthem" thing (which, while nice, is a crap 'song'). It allows the album to go out with a mellow, upbeat, track that juxtaposes RZA's rapping against Nina's smoothly sung chorus.
All in all - the experiment of bringing together these artists (from mega-stars to nearly unheard-ofs) is a success. It doesn't come off as Artist + Guest like so many of these do, but a series of collaborations. Some of which would never have happened were it not for NASA. Overall - the album is more than worth adding to a collection.
Friday, July 23, 2010
KMFDM - Day Of Light
Released: Spring 2010
Availability: online download from band
Label: KMFDM Enterprises (independant label)
Just a moment to pause and say a few words on releases, tracks, and limited edition.
Day Of Light is a two-track single from KMFDM originally released only on 7" vinyl, limited pressing (250 I believe). Which when I first found out infuriated me. There's just something utterly anti-music about Limited Edition tracks.
I don't mind a LE package with shirts and posters and sweatbands and the like. But LE Music tracks truly annoy me. I thought artists made music to be heard by as many people as possible, at least I like to think that. I like to think that all music should be perpetually and easily available.
After all in the modern day it seems to me for very little overhead a label could keep massive catalogues of music perpetually available for digital sales and downloads. Small, steady, streams of income can't be a bad thing. It just can't.
It was several months before KMFDM relreased the tracks digitally for download. The collectors (and while I'm a very hardcore fan, I'm not a hardcore collector of KMFDM) get their LE vinyl, I get my music.
Don't even get me started on Bonus Tracks only for specific stores - that's an even bigger scam.
Day Of Light - A pretty solid industrial-rock track, positive and upbeat. Good on the dance floor.
Beach - three and a half minutes of waves crashing on the beach. The B-side on the vinyl, it's not music, but it is relaxing. If I need to take a quick break at work due to stress I put this track on and take a quick walk outside.
It's the principal of the idea - music for an audience, why limit the audience artificially.
Availability: online download from band
Label: KMFDM Enterprises (independant label)
Just a moment to pause and say a few words on releases, tracks, and limited edition.
Day Of Light is a two-track single from KMFDM originally released only on 7" vinyl, limited pressing (250 I believe). Which when I first found out infuriated me. There's just something utterly anti-music about Limited Edition tracks.
I don't mind a LE package with shirts and posters and sweatbands and the like. But LE Music tracks truly annoy me. I thought artists made music to be heard by as many people as possible, at least I like to think that. I like to think that all music should be perpetually and easily available.
After all in the modern day it seems to me for very little overhead a label could keep massive catalogues of music perpetually available for digital sales and downloads. Small, steady, streams of income can't be a bad thing. It just can't.
It was several months before KMFDM relreased the tracks digitally for download. The collectors (and while I'm a very hardcore fan, I'm not a hardcore collector of KMFDM) get their LE vinyl, I get my music.
Don't even get me started on Bonus Tracks only for specific stores - that's an even bigger scam.
Day Of Light - A pretty solid industrial-rock track, positive and upbeat. Good on the dance floor.
Beach - three and a half minutes of waves crashing on the beach. The B-side on the vinyl, it's not music, but it is relaxing. If I need to take a quick break at work due to stress I put this track on and take a quick walk outside.
It's the principal of the idea - music for an audience, why limit the audience artificially.
Thursday, July 15, 2010
Kerli - Love Is Dead
Released: Summer 2008
Availabilty: easily found in actual music stores
Label: Island Records (major label)
Kerli Koiv is from Estonia, moved to the US in 2005 and managed to get a contract to cut a few records. Her debut album is a mix of goth, darkwave and europop swirled into a mix of danceable tunes and off-beat ballads.
Love Is Dead - The album starts with some hard snare hits and a pretty cool guitar riff. I'm pretty sure this is a love song, even if it's not it's a cool track to listen to.
Walking On Air - This is a really cool goth-rock track. A bit creepy, a lot about living ones dreams. I love the lyrics whole bunches.
The Creationist - A very pretty little piano track, another song about the power of self belief. There's a spiritual message in here, how you take it is based on how you look at life. I'll leave it in your hands, no matter the song is pretty.
I Want Nothing - Picking up the pace with a guitar riff, it comes off as very old-school goth-rock to me, and fast like punk rock.. I like. Also, I think this song is about a girl telling a guy off.
Up Up Up - I love this song, it's happy and upbeat, and manages to keep a medium tempo. It reminds me of laying about on a sunny afternoon.
Bulletproof - A slow ballad type song with fuzzy guitars all over the place. Not much of a fan of this song actually. It's the guitars, too much fuzzy here.
Beautiful Day - Another slower song, but more percussion and less fuzzy guitars. And also, happier in tone. I like songs that are uplifting and positive.
Creepshow - This one belongs in a club scene, at high volume. One of those high energy dance-tempo songs. The lyrics are also a bit non-sensical, but fun. Kerli also sings in her native tongue for parts of the song, the only track on the album she does so. The song almost feels like an album opener instead of stuck on the back end like it is, but it's also a good break from the more subdued tracks around it.
Hurt Me - Not quite fast, not quite slow. The song seems self-destructive in nature. Not really a fan of this one either to be honest. It seems to be missing some much needed Punch to the tone.
Butterfly Cry - Not a light song, but soft and airy. Ultimately, it's a sweet ballad that belongs on a playlist for rainy days.
Strange Boy - Another track that would be at home in a club, a hard pulsing beat with a neat little riff. The chorus is also fun, almost something to chant along to. Very danceable song, just turn it up and let it carry.
Fragile - And we end the album with a slow track, about that we're all vulnerable despite ourselves, and that we can carry on regardless. There are strings that appear here, and I think the song could have been stronger if they backed the entire song instead of being mixed in as they are. Also, I would have removed the guitar in favor of violins.
The album as a whole has its ups and downs, it doesn't really keep a pace going across the whole length. Lots of good pieces to add to playlists of various moods though. And Kerli has a voice that's pleasant to listen to.
Availabilty: easily found in actual music stores
Label: Island Records (major label)
Kerli Koiv is from Estonia, moved to the US in 2005 and managed to get a contract to cut a few records. Her debut album is a mix of goth, darkwave and europop swirled into a mix of danceable tunes and off-beat ballads.
Love Is Dead - The album starts with some hard snare hits and a pretty cool guitar riff. I'm pretty sure this is a love song, even if it's not it's a cool track to listen to.
Walking On Air - This is a really cool goth-rock track. A bit creepy, a lot about living ones dreams. I love the lyrics whole bunches.
The Creationist - A very pretty little piano track, another song about the power of self belief. There's a spiritual message in here, how you take it is based on how you look at life. I'll leave it in your hands, no matter the song is pretty.
I Want Nothing - Picking up the pace with a guitar riff, it comes off as very old-school goth-rock to me, and fast like punk rock.. I like. Also, I think this song is about a girl telling a guy off.
Up Up Up - I love this song, it's happy and upbeat, and manages to keep a medium tempo. It reminds me of laying about on a sunny afternoon.
Bulletproof - A slow ballad type song with fuzzy guitars all over the place. Not much of a fan of this song actually. It's the guitars, too much fuzzy here.
Beautiful Day - Another slower song, but more percussion and less fuzzy guitars. And also, happier in tone. I like songs that are uplifting and positive.
Creepshow - This one belongs in a club scene, at high volume. One of those high energy dance-tempo songs. The lyrics are also a bit non-sensical, but fun. Kerli also sings in her native tongue for parts of the song, the only track on the album she does so. The song almost feels like an album opener instead of stuck on the back end like it is, but it's also a good break from the more subdued tracks around it.
Hurt Me - Not quite fast, not quite slow. The song seems self-destructive in nature. Not really a fan of this one either to be honest. It seems to be missing some much needed Punch to the tone.
Butterfly Cry - Not a light song, but soft and airy. Ultimately, it's a sweet ballad that belongs on a playlist for rainy days.
Strange Boy - Another track that would be at home in a club, a hard pulsing beat with a neat little riff. The chorus is also fun, almost something to chant along to. Very danceable song, just turn it up and let it carry.
Fragile - And we end the album with a slow track, about that we're all vulnerable despite ourselves, and that we can carry on regardless. There are strings that appear here, and I think the song could have been stronger if they backed the entire song instead of being mixed in as they are. Also, I would have removed the guitar in favor of violins.
The album as a whole has its ups and downs, it doesn't really keep a pace going across the whole length. Lots of good pieces to add to playlists of various moods though. And Kerli has a voice that's pleasant to listen to.
Monday, June 21, 2010
Melissa Auf Der Maur - Out of Our Minds
Released: Spring 2010
Availabilty: still new - still available
Label: Phi Group Inc (independant label) and Road Runner Records (major label, outside North America distro only)
Melissa Aud Der Maur started her solo career in the early 2000s, formerly the bassist for Hole (and the farewell tour for the Smashing Pumpkins). Her first album in 2004 was a straight forward rock album, her second album Out Of Our Minds is both just as much a rock album as it is an experimental album. It comes accompanied with a short movie, a comic book, and other media aspects.
I own just the CD, measuring it on the merits of music alone, and it took me a while to sit down and just listen to the album. The album finds a great balance between hard rock and light meldies.
The Hunt - more an instrumental solo than a song, the introduction to the album comes in like a hearbeat, though it's almost too long. Maybe a full minute could have been cut off this track is it sounds more like an intro-track than it does a song.
Out Of Our Minds - The title track here sets up the album as one filled with lush sounds, enchanting vocals, and a solid sense of rock basics.
Isis Speaks - We continue with a song that feels mystic in nature, the bass literally hums through this song, it feels like electricity set to rhythm. The chorus is extra catchy in this one.
Lead Horse - A slow instrumental, not much more than a rather extended guitar solo. Mellow, though like the intro a little too long.
Follow The Map - Images of ships, piracy, lost treasure, and broken hearts. Or something like that. A nice melody and a good beat.
22 Below - My favorite track, I love the cadence of the lyrics. A single guitar carries most of the song, only erupting into a full ensemble as the song repeats the bridge phrase and finally ends.
Meet Me On The Dark Side - Nothing particularly special about this song, it doesn't feel like filler exactly, but it isn't remarkable either.
This Would Be Paradise - More a lullaby than a song, the only lyric is a repeated quote about man's achievements and shortcoming.
Father's Grave - A duet with Glen Danzig, his baritone is a perfect offset to Melissa's own voice. This may be a conversation with the grim reaper, or a more literal killer. Either way, the two create haunting imagery as they switch off lines. The imagery reminds me greatly of Nick Cave.
The Key - A very different take on finding one's true love. Catchy tune, ends before it carries on too long.
The One - Struggling to connect with those around us, both alone and with someone. Soft, slow song. This borders on a love song, but doesn't quite make it there. "Someone's gotta love him / Someone's gotta love him" sounds more like bleak acceptance than anything noble.
1000 Years - Another song where the cadence of Melissa's music carries the song, creating the rhythm as much as anything. The song feels constantly like it wants to pick up the pace, suddenly take off an gallop instead of the steady trot it goes at.
There's dead air and silence after the last track ends for about a minute before the album provides a piano outro.
A good album to put on and let play in the background, especially with a whole group of other mellow rock albums on a shuffle.
Availabilty: still new - still available
Label: Phi Group Inc (independant label) and Road Runner Records (major label, outside North America distro only)
Melissa Aud Der Maur started her solo career in the early 2000s, formerly the bassist for Hole (and the farewell tour for the Smashing Pumpkins). Her first album in 2004 was a straight forward rock album, her second album Out Of Our Minds is both just as much a rock album as it is an experimental album. It comes accompanied with a short movie, a comic book, and other media aspects.
I own just the CD, measuring it on the merits of music alone, and it took me a while to sit down and just listen to the album. The album finds a great balance between hard rock and light meldies.
The Hunt - more an instrumental solo than a song, the introduction to the album comes in like a hearbeat, though it's almost too long. Maybe a full minute could have been cut off this track is it sounds more like an intro-track than it does a song.
Out Of Our Minds - The title track here sets up the album as one filled with lush sounds, enchanting vocals, and a solid sense of rock basics.
Isis Speaks - We continue with a song that feels mystic in nature, the bass literally hums through this song, it feels like electricity set to rhythm. The chorus is extra catchy in this one.
Lead Horse - A slow instrumental, not much more than a rather extended guitar solo. Mellow, though like the intro a little too long.
Follow The Map - Images of ships, piracy, lost treasure, and broken hearts. Or something like that. A nice melody and a good beat.
22 Below - My favorite track, I love the cadence of the lyrics. A single guitar carries most of the song, only erupting into a full ensemble as the song repeats the bridge phrase and finally ends.
Meet Me On The Dark Side - Nothing particularly special about this song, it doesn't feel like filler exactly, but it isn't remarkable either.
This Would Be Paradise - More a lullaby than a song, the only lyric is a repeated quote about man's achievements and shortcoming.
Father's Grave - A duet with Glen Danzig, his baritone is a perfect offset to Melissa's own voice. This may be a conversation with the grim reaper, or a more literal killer. Either way, the two create haunting imagery as they switch off lines. The imagery reminds me greatly of Nick Cave.
The Key - A very different take on finding one's true love. Catchy tune, ends before it carries on too long.
The One - Struggling to connect with those around us, both alone and with someone. Soft, slow song. This borders on a love song, but doesn't quite make it there. "Someone's gotta love him / Someone's gotta love him" sounds more like bleak acceptance than anything noble.
1000 Years - Another song where the cadence of Melissa's music carries the song, creating the rhythm as much as anything. The song feels constantly like it wants to pick up the pace, suddenly take off an gallop instead of the steady trot it goes at.
There's dead air and silence after the last track ends for about a minute before the album provides a piano outro.
A good album to put on and let play in the background, especially with a whole group of other mellow rock albums on a shuffle.
Friday, May 21, 2010
Broken Bells - Broken Bells
Released: Spring 2010
Availabilty: still new - still available
Label: Colombia Records (major label)
Broken Bells is a collaboration of producer/musician Danger Mouse (Brian Burton) and Indie Rock musician James Mercer (of The Shins). The result on the debut album is a nicely mellow rock album with a very rich undertone and a subtlety that is nothing but elegance.
The High Road - The opening song comes in with a slow beat that almost leads you to believe it will break into something more of a dance beat. When Mercer's vocals come in it turns to a simple melody. An excellent song to lead the album with, setting the mood nicely.
Vaporize - A slow acoustic song with continuing a set low key mood, the album is shaping into something to listen to as the day winds down.
Your Head Is On Fire - Mercer's guitar takes a bit of a background to more complex instrumentation here, the pace picks up a little bit in this quick song.
The Ghost Inside - By this albums standards this is a bit of a hopping dance track, though not up to club-pulse speeds it's a catchy tune, one you can't help but tap your foot along to.
Sailing To Nowhere - Any other band would probably overlay far too many guitars here, as it has a kind of bluesy-rock feel to it that wouldn't be out of place on a Led Zeppelin album. It's not nearly so overproduced, using just enough to draw you into the soundscape.
Traps Doors - A complex rich song, still slow and understaded. Another track that speaks more with the strength of what it doesn't have (more instrumentation) than what it does.
Citizen - For some reason this song just reminds me of walking aimlessly down city streets and alleys looking for nothing in particular. Slow afternoons and cool air.
October - The opening piano is very cheery, an upbeat melody that sits in the background of the tune. A line in the song "don't run, don't rush" neatly expresses the way the song (and album) gently rolls along.
Mongreal Heart - A little bit of a brisk pace in this song, but not too fast for the album. Almost at the end it does slow down and a rich string section comes in to carry the tune out.
The Mall & Misery - A quiet slow start to the final song builds up slowly with mostly strings, when the beat comes in it feels like a continuation of the previous track a little bit. A nice guitar riff dances in and out.
The album ends as quietly as it started, fading out in a soft lull.
The whole album is like a slow afternoon, unhurried and patient; still full and rich with sounds. Danger Mouse shows that creating a soundspace is more than just creating sound, it's an atmosphere that carries through the entire album.
It finds itself along side the likes of Robin Guthrie (Cocteau Twins) and even subtle hints of Gorillaz - though less bounce and more melody.
Availabilty: still new - still available
Label: Colombia Records (major label)
Broken Bells is a collaboration of producer/musician Danger Mouse (Brian Burton) and Indie Rock musician James Mercer (of The Shins). The result on the debut album is a nicely mellow rock album with a very rich undertone and a subtlety that is nothing but elegance.
The High Road - The opening song comes in with a slow beat that almost leads you to believe it will break into something more of a dance beat. When Mercer's vocals come in it turns to a simple melody. An excellent song to lead the album with, setting the mood nicely.
Vaporize - A slow acoustic song with continuing a set low key mood, the album is shaping into something to listen to as the day winds down.
Your Head Is On Fire - Mercer's guitar takes a bit of a background to more complex instrumentation here, the pace picks up a little bit in this quick song.
The Ghost Inside - By this albums standards this is a bit of a hopping dance track, though not up to club-pulse speeds it's a catchy tune, one you can't help but tap your foot along to.
Sailing To Nowhere - Any other band would probably overlay far too many guitars here, as it has a kind of bluesy-rock feel to it that wouldn't be out of place on a Led Zeppelin album. It's not nearly so overproduced, using just enough to draw you into the soundscape.
Traps Doors - A complex rich song, still slow and understaded. Another track that speaks more with the strength of what it doesn't have (more instrumentation) than what it does.
Citizen - For some reason this song just reminds me of walking aimlessly down city streets and alleys looking for nothing in particular. Slow afternoons and cool air.
October - The opening piano is very cheery, an upbeat melody that sits in the background of the tune. A line in the song "don't run, don't rush" neatly expresses the way the song (and album) gently rolls along.
Mongreal Heart - A little bit of a brisk pace in this song, but not too fast for the album. Almost at the end it does slow down and a rich string section comes in to carry the tune out.
The Mall & Misery - A quiet slow start to the final song builds up slowly with mostly strings, when the beat comes in it feels like a continuation of the previous track a little bit. A nice guitar riff dances in and out.
The album ends as quietly as it started, fading out in a soft lull.
The whole album is like a slow afternoon, unhurried and patient; still full and rich with sounds. Danger Mouse shows that creating a soundspace is more than just creating sound, it's an atmosphere that carries through the entire album.
It finds itself along side the likes of Robin Guthrie (Cocteau Twins) and even subtle hints of Gorillaz - though less bounce and more melody.
Wednesday, May 5, 2010
KMFDM - Angst
Released: Fall 1993 (rereleased Fall 2006)
Availability: usually in record shops, easily online, through KMFDM.COM
Label: KMFDM Enterprises (originally Wax Trax!/TVT Records)
KMFDM (Kein Mehrheit Für Die Mitleid - you get to translate the bad German grammar) started as an Art-Music installation group in 1984. It didn't take long to become a full-on musical group. Easily one of the founding groups of Industrial Rock.
Light - the opening begs you to find the loudest stereo you can, crank it all the way up and sit tight. Building up to a crescendo it hits you with a solid guitar riff and pounding beat.
A Drug Against War - Easily one of the hardest, and best, songs ever recorded.
Blood (Evil Mix) - The beat slows down, but the social commentary becomes more scathing with each verse.
Lust - Love through physical need, the song is in German so unless you translate or speak it there isn't much here. Even so, it's a soothing song that's low and quiet.
Glory - Speaking out against Corporate Capitalism and similar social commentary. The song starts out in a slow pulsing rhythm and quickly moves into a catchy dancable beat. Comes with a call to arms to unite against oppression. A KMFDM stock in trade.
Move On - Slow, pulsing, this one gets under my skin, into my blood. Inward reflection on past mistakes and moving beyond into the future.
No Peace - Another call to arms against oppression and bigotry, almost an anthem track but doesn't quite have the energy.
A Hole In The Wall - The most off-beat love song I've ever heard, instead of how they want to live with a lover, how they want to die, and oddly affectionate.
Sucks - The other KMFDM staple is self deprication, and this is the ultimate expression, KMFDM Sucks. The lyrics are definitely amusing.
The Problem - The album ends with a slow down tempo beat, and a fairly serious note on how many 'problems' are dealt with in society, removing the focal point instead of finding the cause.
Angst is easily my favorite KMFDM ablum, it keeps momentum throughout the entire thing, not a bad track in the bunch when taken as a whole. Consistently heavy, if not overly fast or dance laden.
Availability: usually in record shops, easily online, through KMFDM.COM
Label: KMFDM Enterprises (originally Wax Trax!/TVT Records)
KMFDM (Kein Mehrheit Für Die Mitleid - you get to translate the bad German grammar) started as an Art-Music installation group in 1984. It didn't take long to become a full-on musical group. Easily one of the founding groups of Industrial Rock.
Light - the opening begs you to find the loudest stereo you can, crank it all the way up and sit tight. Building up to a crescendo it hits you with a solid guitar riff and pounding beat.
A Drug Against War - Easily one of the hardest, and best, songs ever recorded.
Blood (Evil Mix) - The beat slows down, but the social commentary becomes more scathing with each verse.
Lust - Love through physical need, the song is in German so unless you translate or speak it there isn't much here. Even so, it's a soothing song that's low and quiet.
Glory - Speaking out against Corporate Capitalism and similar social commentary. The song starts out in a slow pulsing rhythm and quickly moves into a catchy dancable beat. Comes with a call to arms to unite against oppression. A KMFDM stock in trade.
Move On - Slow, pulsing, this one gets under my skin, into my blood. Inward reflection on past mistakes and moving beyond into the future.
No Peace - Another call to arms against oppression and bigotry, almost an anthem track but doesn't quite have the energy.
A Hole In The Wall - The most off-beat love song I've ever heard, instead of how they want to live with a lover, how they want to die, and oddly affectionate.
Sucks - The other KMFDM staple is self deprication, and this is the ultimate expression, KMFDM Sucks. The lyrics are definitely amusing.
The Problem - The album ends with a slow down tempo beat, and a fairly serious note on how many 'problems' are dealt with in society, removing the focal point instead of finding the cause.
Angst is easily my favorite KMFDM ablum, it keeps momentum throughout the entire thing, not a bad track in the bunch when taken as a whole. Consistently heavy, if not overly fast or dance laden.
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