Preoccupations are a Canadian Post-Punk band that ever since their incarnation, I've been massively obsessed with. And when I say incarnation, I mean alllllll the way back. Yes, Preoccupations was once Viet Cong, and Viet Cong were born out of the ashes of Canadian legends Women. Honestly, it's all gravy to me man. Preoccupations made their official debut in 2016 with "Preoccupations". This album ended up being on of my favorites of the year, packed with out of control, DarkWave flavored Post Punk tunes like "Stimulation" and "Zodiac", but also had tons of slow burners like "Anxiety" and monolithic journeys like "Memory". Preoccupations came off so finely oiled. Their lyrics were grim, and when vocalist Matt Flegel really got into his groove it literally sounded like he was singing from inside your brain. Needless to say, this is a really fantastic album. So needless to say I've been absolutely DYING to hear some new material from Preoccupations. And outside of one track, I've been obsessed with the sound of these singles. I can't wait to dive deeper, let's chat!
(A personal favorite of mine!)
This album starts off with “Espionage”, and man oh man is it good. It’s dirty, hectic, and has that great anxious feel that a lot of the band’s early stuff excelled in. Yes, they have traded in wailing guitars for 80’s synths that belong more on the “It Follows” soundtrack than anything. But still, this is true to the legendary form of Post-Punk. Especially in Matt Flegel’s vocals, as half the time he sounds like he’s descending into his own mental prison. I love the intensity of this and just how murky it all is. My friends, “Espionage” is great, and tailor-made for late night drives. However, is it just me or there a little more real-world horror to this? That’s not a bad thing, but it’s certainly present. The very tense performances continue onto “Decompose”. I love the sort of spiritual sounding guitar fluttering throughout this one, it’s something Preoccupations have incorporated for years and it’s almost a signature sound of theres. I continue to love just how frantic this all is. Preoccupations may take their time recording, but when they release material, it’s always so urgent which only adds so much to their atmosphere. Now, let’s talk about these vocals. Matt’s vocals are still a perfect fit for the band. But they’ve come down a little bit from the harsh, ghoulish vocals of their early material. “Decompose” is still a solid tune and all, but I do miss the harshness. On the other hand, you can argue that these more Synth heavy tunes like “Disarray” are even further away from what made Preoccupations so great, to begin with. But I feel like so much of this track is still true to form. It remains very dangerous sounding and frantic, but it’s also atmospheric and almost breezy in a way. Which yes, for some fans is going to be hard to swallow. But I for one really love this track, it almost has a semi-hopeful feel to it. It’s warm and sort of inviting, and yes I’m away I’ve probably never used any of these words in describing Post Punk in my life. But for a more human sound to Post Punk with the same wild instrumentals and dense atmospheres, this is fantastic. On the other hand, “Manipulation” is probably the truest to the Preoccupations sound we get here. I love the drawn-out verses that are just so unbelievably dismal and chilling. Here, Matt sounds right back to his old self, with most of his vocals sounding right inside your head. This one isn’t warm or inviting, and most of all it’s not hopeful by any means. However, I do have to point out that Matt once again in his lyrics is bringing in so much more real-world problems and issues, something that’s still foreign to Post Punk. I dig it though.
“Antidote” on the other hand, brings things back to a seriously glitzy, 80’s feel once again. And once again, I actually sort of am into it. It’s tense and almost has a weird dance groove deep down. And you know what that means New Order fans, you can shut up now. Honestly, I feel like everyone I know has compared New Order to Preoccupations and I never got it, but sure now I see it I love the shouted, passionate vocals during the chorus, and just how hypnotic the verses come off. I do stand by my thoughts though that this is easily Preoccupations most human release yet. While there’s still a great deal of darkness to this, the lyrics of Matt don’t really come off nearly as foreign to feelings we’ve practically all had. This continues to be a fascinating new direction. “Solace” on the other hand takes us right back in a more upbeat direction. I have to say, as far as a sound that I really love to hear Preoccupations work with, it’s this. I love hearing them at their most frantic and tortured, and that’s certainly what we get here. Matt may still come off a little more easy to pinpoint, but his performances say otherwise. Preoccupations may be really getting further and further away from that once classic Post Punk sound. But if they’re going to make totally viable alternatives to it, I don’t really see the problem. However, if that’s the case, their music is going to just get more and riskier. Meaning, whenever we hear from Preoccupations next it may be the biggest flop in the history of the genre. This album continues with “Doubt”, and Preoccupations can still really bring in a truly great atmosphere, which is a damn miracle. I love just how dreary this one is and how post-apocalyptic this comes off. If the rest of this album has been a decline in society, this is absolutely the aftermath. Here, Matt’s vocals are just so fantastic. He gets inside your head in times like this, and really puts on one hell of a performance. This is the sound that I’m always going to love the most coming out of Preoccupations, even if I still do wish this was a little heavier. The greats of Post Punk would certainly be proud. Oh GOD, but then we have “Compliance” to round this album up, which sounds so intense right off the bat. I love just how noisy and seriously exciting this one is. I have no idea where this sound is, but next album, this sound, let’s do it, boys. This track is brutal, it’s practically Doom Metal with even more atmosphere. It’s tense, seriously paranoid and seriously well rounded. And that’s all without Matt because of this one all instrumental. The intensity of this one is just so unmatched. I love the drones, the patient drums, the noise, all of this. What a freakin’ tease this is though as an ending, I just want more!
Rating: 8.4/10
Give a Listen To: “Espionage”, “Disarray”, “Compliance”, “Doubt”
Genre: Post Punk / DarkWave / Art Rock
Overall Thoughts: Hey, what do you know. Preoccupations are still one of the most interesting and intense bands in Post Punk, truly shocking. All kidding aside, this is actually a really interesting album. This is far from just another Post Punk album, this is one that breaks all the rules. Preoccupations have traded in their legendary noisy guitars for shimmering 80’s synths. Not to mention, lyrically this is a much more human and less tortured album. Preoccupations work though, and create a series of their most accessible tunes, while still remaining dark and heavy. And yes, it’s a little short, and yes, it’s not nearly as heavy. But Preoccupations remain one of the more interesting and artistic of the Post Punk revival. Not to mention, that last tune here, “Compliance”, gives us an exciting look into the very noisy future of Preoccupations.
Ok, so a few years back a lot of people were really REALLY hyping up Sunflower Bean to me. But then I saw them open up for Foxygen in early 2017 and I was honestly really underwhelmed, to the point where I almost never really cared to check out their 2016 debut "Human Ceremony". But, recently I did, and to be honest I'm really glad I did. I dunno if they were having a bad night that night, but their debut album really enchanted me. I love the band's fusion of Psychedelic Pop, Dream Pop, Psych Rock, Indie Rock and even some Post Punk. Now, that's a LOT, but on this album, I really feel like it was very fluent and seemingly shifted from one sound to the next without losing any steam. Needless to say, yes they won me over. Now, it's been a few years since we've heard from Sunflower Bean. But here's something odd, I feel like now that they've got their sound they're focusing much more on writing Pop tunes then these clashes of style. And that's not a bad thing, these opening tracks from them have been really charming. Let's chat about this album.
This album starts out with “Burn It”, and right off the bat this is a really solid sound. I love the strong groove, as well as that slight Glam Rock, feel that we heard on their first album. Vocalist Julia Cumming’s performance as well is just so fiery and intense, between her and Nick Kivlen I’ve always felt she sticks out a bit more. This is just a really great, funky opener. But one thing I do have to point out, which isn’t really a bad thing, but it’s something to note. In between the fiery bars as well as some of the Glam and Indie Rock riffs, Sunflower Bean is focusing much more on crafting a Pop tune. To be honest, though, it gives them so much more of a focused sound, which I totally dig. On the other hand, “I Was a Fool” reminds us just how versatile Sunflower Bear are. This is much more of an “Indie” direction, but it’s got a breezy atmosphere and just enough of a Psych Rock feel. Julia’s vocals are so much breezier and not nearly as impassioned, but the result is honestly one of her most charming performances I’ve ever heard. Even Nick’s backing vocals here are just the right amount of weirdness this track needs. For a few short minutes, I remember what really captured me about Sunflower Bean, to begin with, but this is still a damn fine Pop tune. Up next is “Twentytwo”, and you really have to hand it to Julia, her vocals have seriously gotten incredibly lavish. I mean, ever since I first heard her a few years ago it was obvious that she had a voice. But it’s just gotten gigantic since then. Not only that, but I love just how confident she’s become. “Twentywo” almost has a little Vintage Pop thrown in, if that’s something you're into you’re going to want to hear this. Not to mention, I feel like this one has such an elegance to it. Almost a little too much elegance for my liking to be honest. I always though Sunflower Bean’s constant clashing of styles was exciting, plus they always had sort of a Punk attitude. That’s far from what I’m getting here, but this is still a very pleasant Pop tune. On the other hand, “Crisis Feet” brings back in that very attitude that I loved from Sunflower Bean in the past. This one has some serious fire to it, even if we’re not dealing with necessarily the heaviest material. It’s catchy, determined, and really well written. I have to say, Sunflower Bean sound incredibly focused. You can argue that in the past that the band were trying out a slew of different sounds. But with this album, so far it’s been pretty clear that Sunflower Bean has their sound narrowed down. “Crisis Feet” is a seriously anthemic and impassioned tune, and I love it.
On the other hand, “Memoria” is much more dreamy, opposed to their usual very cleanly polished Indie Rock. But, it’s moments like this that continue to not sell me. This doesn’t sound like Sunflower Bean have their own sound, this sounds like a cover. I wouldn’t say there’s anything wrong with this as a whole, because the vocals are absolutely charming, and it’s pretty well written too. But almost nothing about this track really tells me who Sunflower Bean is. On the other hand, I actually seriously love the much more punchy, intense performances on this one. Ironically, this a little more of a heavier track instrumentally then we’ve heard here, but it may just be their catchiest and most accessible tune here. I really love this track, compared to their more dreamy and elegant tunes, this is so intense. I love just how hypnotic the chorus is too, and just how grimy this is at the end of the day. Sure, it’s presented all flashy, but there is this thick blues vibe here that’s just so likable. Is this super straightforward compared to other tracks here? Sort of, but sometimes that’s all you need. But these dreamier tracks like “Only A Moment” are just not cutting it for me at all. They can pull off a ton of genres as it’s been obvious in the past. But this dreamy, breathy singing here is just not doing anything for anyone. And even this instrumental is just is just so uneventful compared to what we’ve got on the rest of this album. At this point, I would honestly welcome some flashy Indie Pop instrumental, because this is just boring. And while the repetition in the last track really made it sort of intense, this one is just underwritten. But then we have “Human For”, and would you look at that, Sunflower Bean still have plenty of energy left. This one is just so crunchy and seriously one of the wildest tunes here. This is easily the most anthemic and rebellious track here. All of that Punk feel on their previous album is right here, wrapped up in this one tune ready to attack. I love the intensity of this instrumental, I have no idea where this has all been, but I’ll take it all and more, please.
Now, “Any Way You Like It” is an interesting turn because for the first time this album we’re actually getting a LOT of Nick Kivlen on vocals, which is nice. But I just can’t shake the feeling that this track is a little underwhelming again. I feel like every time Sunflower Bean give us a really intense, upbeat tune that I can really get into, they come back after that with a tune that’s way too dreamy for its own good. However, I do give credit where it’s due, and as this one rolls on it becomes this incredibly charming vintage sounding Pop tune, which is a sound they can really pull off. It’s sweet and charming, and there’s actually a lot of really cute back and forth bars between Nick and Julia here. This is pleasant, but Sunflower Bean really have to watch tracks like this. Then we have “Sinking Sands” which literally sounds like an early 70’s cover. Which, I wouldn’t say is a bad thing. But why do I get the feeling that they’re not giving this track nearly as much as they could have. The chorus is charming and sweet and all. Nick’s vocals on the verse are seriously goofy, almost to the point that I feel like he’s not taking this entirely serious. It’s weird, but it’s just sort of an alright track. But there certainly is a lot to like about this one, and you have to respect Julia for really stepping out into her own on this album. On the other hand, I have no idea where the energy of “Oh No, Bye Bye” has been this entire album. I actually really like the sort of dreary, Low-Fi, almost Post Punk inspired sound here. It’s just so gloomy and drawn out but to be honest it really stands out so much. Not to mention, it gives us some of Julia and Nick’s best duet vocals of the entire album. This honestly sounds like a track they would have gives us on their debut, and I love everything about it.
Rating: 7.8/10
Give a Listen To: “Burn It”, “I Was A Fool”, “Crisis Feet”, “Puppet Stings”
Genre: Indie Rock / Indie Pop / Psychedelic Rock
Overall Thoughts: Sunflower Bean on this album sound so much more focused, and clearly are much more in tune with their sound these days. It's interesting, their debut was a revolving door of Indie sounds that all seemed to compliment them. But this time around Sunflower Bean is much more interested in making a straight-up Pop album. Don't worry, it's on the classy side of things. There's a lot of Vintage Pop flair and a lot of dreamy ballads, and most of the time this really works out for Sunflower Bean. Some of the dreamier tracks get a little too hazy and end up coming off way too much like covers, but still, Sunflower Bean has a great sound and I can't wait to see where they go from here.
Yo La Tengo! New Jersey legends and Indie Rock icons, and one of the most successful Indie bands of all time. Right from their beginnings in 1986 with "Ride The Tiger", it was obvious that Yo La Tengo was onto something, and more importantly that they were very much so ahead of their time. The songs on this album range from Folk, to traditional Indie Rock, with some Noisey Pop jams thrown in here and there. But instantly, they just had so much character and charisma, and frontman Ira Kaplan just seemed to be a seriously a dynamic frontman. I loved the band's songwriting and energetic performances. Overall, I thought this was a seriously great debut. Through the rest of the 80's Yo La Tengo continued to expand their sounds, to include even more energetic performances and increasingly better production. But Yo La Tengo really started to take off with 1990's "Fakebook". This album was so incredibly charming, even though it was almost completely stripped down. That's right, this album was comprised of upbeat Folk tunes, but so many of them came off well done. Yo La Tengo seemed to respect the sound of these tracks so much, and while some of these tunes came off like covers, man did they ever sound good. Yo La Tengo returned in 1992 with "May I Sing With Me", their most wild and off the rails set of tracks to date. The tracks here were actually seriously noisy and energetic, and often times gave me the feeling that I really didn't know what to expect next, and I loved that. "May I Sing With Me" proved that Yo La Tengo were one of the more interesting and varied bands around. Also, this album showed them working with some near 10-minute tunes and handling them just fine. Yo La Tengo continued to evolve in 1993 with "Painful", which actually may be their most daring outing to date. This album showed the band trading in their energetic jams for a much more atmospheric and Shoegaze oriented sound. And honestly, it sounded great. It was beautiful at times, but the band really didn't give up any of their ferocity with plenty of noisy tracks as well. 1995's "Electr-O-Pura" however, showed Yo La Tengo going back to basics. And yes, if you haven't caught on, their career is very varied, and you're never too sure about which Yo La Tengo you're going to hear. This album was back to basics, guitar-driven album, much like their early work. There obviously were some more Indie tones and some interesting directions shifts, and as a whole this album was actually really fantastic. Some of the later tracks like "The Ballad of Red Buckets" sort of put me to sleep, but there was much more good here than bad. Now, I'm gonna sound like a broken record for sure, but for my money, it really doesn't get much better than 1997's "I Can Hear the Heart Beating As One". Yea yea, it's the one that people talk about the most I know. But it's really hard not to. This album doesn't stick to one particular sound, as Yo La Tengo sprawl across every sound they've conquered up until this point. There are jittery guitar jams, atmospheric ballads, even some funk out of nowhere. But it all flows so nicely. It doesn't come off like some compilation or experiment in about 6 other directions, it just sounds like a really solid victory lap. On the other hand, and I know this isn't popular opinion, but I'm not a fan of 2000's "And Then Nothing Turned Itself Inside Out". Yo La Tengo here experimented in Dream Pop. And they certainly succeed, but my GOD is this album boring. It was so boring in parts, that the funk of "Lets Save Tony Orlando's House" woke me right up (and is a brilliant Simpsons nod at that). But all jokes aside, some of the later, groove-oriented tracks really worked for me. Ironically, those tracks were actually more relaxing. Plus, there were some tracks thrown in like "Cherry Chapstick" and "You Can Have It All" that were straightforward Yo La Tengo tracks, so this album wasn't all bad. But of course, this was a BIG look into what was coming. 2003's "Summer Sun", is B O R I N G. There isn't anything charming about Ira's whispered vocals or these half-written instrumentals. Now, I don't know it's probably just me. But by this point I just really wasn't that interested in hearing much more new Yo La Tengo. People LOVED 2006's "I Am Not Afraid Of You And I Will Beat Your Ass". But it was just so painfully average sounding to me. Hell, I feel like this album didn't even really get started until halfway through it. However, I really enjoyed 2009's "Popular Songs". This albums blend of classy pop on tracks like "If It's True" and "Nothing To Hide", as well as a series of tunes that sounded like some of their most energetic and passionate in years was just what I wanted to hear from the band at this stage. But every time I feel like Yo La Tengo sort of won me back with a semi-decent late-career album, they would drop something like 2013's "Fade". There's nothing really truly awful about this album, but I've listened to it numerous times and can barely remember anything about it. But with Yo La Tengo's last album, "Stuff Like That There", they mixed things up and gave us an album of dreamy, stripped-down covers. And while this is far from the groups most peppy and exciting project, I thought the material here was solid. Some covers were forgettable, and it may have gotten a little too dreamy sometimes, but this was an OK album. So Yo La Tengo are back after a few years, and I'll be honest these singles are certainly OK. Not the best, but certainly OK. Let's chat about this album, shall we.
This album starts off with “You Are Here”, and it’s a very serene, sweet intro. We’re certainly going to be getting a LOT of this here though. There is a slight Shoegaze feel to this and all, that’s something that’s always sort of stuck with them since the early 90s. This is a very charming intro, one that’s jolly and positive too. The sleigh bells and strings are a really nice touch as well. But for the most part, this track is nothing more than a near 5 minute instrumental. Which is fine, it’s very cozy, and Yo La Tengo does a great job of keeping it interesting. I mean, it’s a little long, it really didn’t need to be over 5-minutes long, and this certainly doesn’t give me the feeling that there is a “riot” going on. But “You Are Here” is a solid intro. Now, after a 5-minute instrumental, I actually feel like the playful, bouncy “Shades of Blue” is actually on the exciting side of things. And that’s fine, instrumentally this one is actually really sweet. But as far as these vocals go, I’m sorry but I can’t take this seriously at all. As a matter of fact, just the opposite, these vocals are way too sugary for me. There’s nothing necessarily wrong with that, but so far I’ve heard no energy come out of this project. Yo La Tengo has done entire albums that are softer than this but played with more heart and passion. “Shades of Blue” just isn’t for me. “She May, She Might” on the other hand is one of the best tunes here. It remains at peace seemingly and has an equally blissful atmosphere. But there’s actually some instrumentals to get wrapped up in here, and I love that. Ira’s vocals here, while they aren’t his most exciting or invigorating, are actually on the mysterious side. In a way, this one almost comes off like a Velvet Underground voter from their later days. “She May, She Might” is easily one of the coolest tracks here, and is the perfect example of how Yo La Tengo can certainly keep things soft but also compelling. “For You Too” however, really catches me off guard with Yo La Tengo bringing in a lot of their classic sound. And I mean really, this track literally sounds like something they would have done 20 years ago. It’s upbeat, got plenty of jangly guitars, and tons of distortion. In a way it’s weird, and in plenty of ways totally does stick out like a sore thumb, especially within an album filled with hazy Indie tunes. However, while it has energy and passion, still seems a whole lot more at peace than some of the music they were released way back when. “For You Too” is streamlined and confident, and this point in their career, probably the best they can give us. But it’s also such a damn teaser. I loved hearing Yo La Tengo in a more upbeat way at this point in their career. And they follow it up with “Ashes”, their literal attempt at elevator music. Of all the tunes here, I feel like there is almost nothing going on here. The instrumental is just so boring, and the vocals when they DO show up are way too breezy. The only thing I really like about “Ashes” is how nice and short it is.
This continues to be a very bizarre album with “Polynesia #1”. All of a sudden we’re getting these sweet, almost bubbly Indie Pop ballads. It’s insanely cute to be honest, even if it is a little straightforward. But the fact that this is even a Yo La Tengo album is bizarre. They’ve done soft albums before, hell some of their best work is atmospheric. But this is just so stripped down, I feel like this was recorded live in a coffee shop. “Polynesia #1” isn’t a bad tune, it’s actually quite catchy. But I feel like this is just so tough to figure out for an album. On the other hand, for a stripped down track from Yo La Tengo, “Dream Dream Away” is so much more straightforward. This one is sort of folky, but I love just how breathy and atmospheric it is. It’s actually really beautiful and majestic for a folk tune. I don’t even mind that it takes so long to really get going. It’s just so sweet to listen to, and I get the feeling listening to this that I’m sitting inside on a rainy day, relaxing with nowhere to go. Now, I’ve yet to find the “Riot” in this album, which is a little bizarre. But for a Folk tune that slowly dissolves into a seriously beautiful ambient piece, this is REALLY good. Even the very airy vocals in the last minute are pleasant. The very breathy, atmospheric feel to this album continues in a big way with “Shortwave”. In a way, I actually think this is a little more pleasant than the more folk centered material we’ve been getting here. It’s peaceful, and actually really otherworldly. I’m still looking for all that Riot goin’ on though. The human speech that they sample and plop in the background is interesting and gives this almost a sort of Sci-Fi feel. Now I’ll be honest, this is pleasant and all. But is this a Yo La Tengo album or an ambient release? I can deal with either, but Yo La Tengo seems unsure. So much of this album is far from what I expected to hear. But hey, “Above the Sound” brings in some funky bass licks and some intense drum rhythms. You would think that this would be really exciting, but it’s more confusing than anything. What even is the point of this album? This doesn’t come off as weird or experimental, this literally just sounds like a really sloppily improvised jam. Not only that, but the production on this track is terrible, it sounds like it was recorded over the phone. It’s a shame that this is literally the most character that we’ve gotten in the last few tracks. It literally takes almost 4 minutes to get “Above The Sound” rolling. And when Ira eventually does come in, he just sorts of rambles for a while. Thankfully, “Let’s Do It Wrong” is certainly pleasant. But I feel like so much of this album is that and nothing else. Pleasant, nice to listen to while it’s on, and that’s all. Sure, this track is sweet, but I can barely decipher this from other tunes here. There’s almost a little vintage pop thrown in here, among the very sweet instrumentals and airy atmosphere. It’s pretty darn gloomy, and no, I haven’t found that riot yet. So yea, “Let’s Do It Wrong” is nice to listen to, and I’m impressed with just how much Yo La Tengo are still able to make a few nice atmospheres here and there. But absolutely nothing about this is compelling me to give this a second listen.
Hey, what do you know, this album continues with a very chilled out and airy, stripped down folk tune with “What Chance Have I Got”. I certainly get that Yo La Tengo are decades into their career at this point, and they’ve proven that they have a little energy left in them. But it’s far from this track, that’s for sure. I like some of the elements, like the repeated use of bongos and the very sweet atmosphere. But I’m literally slowly falling asleep. I feel like some of the early tracks here were likable, even though they’re not the most memorable tracks in the world. But this one my friends is just putting me to sleep. Thankfully, I do actually get a little wake up with “Esportes Casual”. The upbeat, practically Spanish sounding folk instrumentals here is just what the doctor ordered. This track is sweet, upbeat, with some of the more colorful instrumentals of this entire album. I actually couldn’t be happier with “Esportes Casual” even though it’s so short, it’s honestly just what I needed. My lord though does it not last long, because with “Forever”, Yo La Tengo are right back to fall down that super hazy rabbit hole that they can’t seem to get out of. This is easily one of the most boring tracks on the album. There’s no rhythm, and without that usual great atmosphere, there’s really not nearly as many interesting elements to this. “Forever” just comes off way too hazy and not nearly as sweet to listen to. This isn’t even pleasant to listen to, and while that last one woke me up, this one has me dozing off again. Then we get “Out of the Pool” which is a straight-up funk track, why the hell not at this point. I mean, it’s certainly an interesting shift. But this is just so bizarre for Yo La Tengo. After all of these very breathy, atmospheric tunes, to come out with a straight-up funk track that has a really bizarre voiceover blaring over it all, it’s just weird. And no, I haven’t found that “Riot” going on yet either. This album ends off with “Here You Are”, and it’s a little more pleasant on the ears. Apparently, that funk isn’t out of them entirely, as they work a little into this much sweeter tune. This is a really weird finale. The pacing of this one is really hard to pinpoint, and I can’t help the feeling that Yo La Tengo really didn’t know how to end this album up. There’s a little funk here, a little ambient over there, as well as some stripped-down folk. So yes, this is an honest to God recap of every underwhelming sound we’ve gotten here. And honestly, they don’t sound too bad together, if I got the feeling that this was a little more planned out and less random I would be so much more into this.
Rating: 6.8/10
Give a Listen To: “You Are Here”, “She May, She Might”, “For You Too”, "Dream Dream Away"
Genre: Indie Rock
Overall Thoughts: Christ is this ever a mixed bag. For the most part, this is a completely stripped down album from one of Indie's finest. That being said, if you're not into some of their more softer material, this isn't going to be an album you want to check out. But, there are a handful of really pleasant, atmospheric and beautiful tracks here. The problem is, after a while, it just get's really boring. A lot of these tracks literally float into one another and it really becomes hard to decipher which is which. With tracks like "For You Too", it's obvious that Yo La Tengo can still string together a cohesive track, I just want to hear more of that and much less of them trying to put me to sleep, because it's certainly working.
I mean, Jack White barely needs an introduction, but here goes nothing. Jack in the early 2000's meant everything to me as guitarist and singer of Bluesy, Hard Rock legends The White Stripes. Literally, I practically worshiped this duo and was absolutely heartbroken when they broke up. But in 2012, Jack began to release some solo music with his debut album "Blunderbuss". And for the most part, if you know Jack and the direction he was taking the White Stripes towards the end, you should know what to expect here. This album was very Roots-Rock-ish. Elements of the Blues, Southern Rock, Soul and Garage Rock were all over this album, as well as Jack's unbelievably cool demeanor. So for a solo debut, I actually thought "Blunderbuss" was everything I wanted to hear from Jack. Jack returned in 2014 with "Lazaretto", which is honestly a decent follow-up. Some of the heavier, bluesier tunes were actually really great, like "Three Women" and "That Black Bat Licorice". But the flow of this album wasn't nearly as concise as Jack's first solo album. Also, while some of the country-tinged tunes like "Entitlement" were good, why did the majority of them here sound like honest to God Conor Oberst covers? So it's been a while since we've heard from Jack in studio. And oh boy, I mean oh BOY, these new tracks are all over the place. Like, Jack sounds like he's actually lost his damn mind. Let's uh, just talk about this.
( A personal favorite of mine!)
This album starts out with “Connected By Love”, and honest to God this one overtime has actually grown on me. While that woozy synth in the background is just really awkward and something I wasn’t expecting to hear, I actually don’t mind Jack’s very bluesy performance. Like, he really sounds emotional, and his lyrics are some of his more endearing that I’ve heard in a while. But stylistically, while this is a straightforward moment for the album, this is really out there. Jack’s done some weird stuff in his career, but this is REALLY out there. But outside of that, this does seem a little stiff at points, like Jack’s not having nearly as much fun as he lets on. But I do like how colorful this all is, and that solo is fantastic. “Connected By Love” is very different for Jack, but I’m actually sort of OK with this all around. Then we have the much bluesier and slower “Why Walk a Dog?. Which honestly, sounds like it should be pretty solid on paper. It’s everything else here that’s just plain weird. For one, Jack’s performance is instantly not nearly as interesting. He doesn’t sound as passionate, and while he clearly has a lot of thoughts on Pets here, he doesn’t sound nearly as invested. And then we have this instrumental which is just so damn boring, I can barely get what Jack’s going for. Jack’s been an Alternative oddball for years, but this is too much. At the very least, “Corporation” has a little bite to it. Jack is actually sort of sounding like his old self here. Or at the very least, is vocal snippets actually sound like he’s passionate about this one. So far, we’ve heard a few really bizarre tunes that are had to place. But to be perfectly honest, while this one does seem disjointed, it actually has some of the most cohesive thoughts yet. Yes, the song with one line repeated over and over is the most cohesive here, that’s terrifying. But some of these grooves are actually really incredible. Jack’s incorporation of much heavier guitars as well and bongos and other World Music influences actually gives this a seriously wild feel. So yea, “Corporation" works, really well too, even if it’s very simple. “Abulia and Akrasia” is up next, and it’s instrumental actually comes off like some material off of “Lazaretto”, or even “Blunderbuss”. But am I missing something with these lyrics? Or this performance? You see, it’s moments like this that I’m terrified of Jack’s sanity. This track isn’t necessary to anything and is just plain boring as an interlude. Now, the fact alone that Jack White is focusing so heavily on a more electronic sound along is practically a sin. And trust me, this album actually could have been tasteful. But “Hypermisophoniac” isn’t tasteful, it’s awful. I’m down with breaking the rules of Alternative Rock, that’s what makes these genres so wonderful. But this track is trash. There’s no rhythm in sight, and 90% of this one sounds like Jack screwing around in the production booth. I just don’t get this track at all. Jack’s already one of the more creative and innovative names of our time. But with “Hypermisophoniac”, he sounds like he’s experimenting, but not because he wants to. This album is practically career suicide.
Now, at the very least I have to commend “Ice Station Zebra” for having a little rhythm and bounce to it. Not to mention, some of the instrumentals are genuinely intense. But what I find so funny about this, is that in between all of the wild instrumentation there are clearly still bits and pieces from both of his prior solo albums. But that’s where my compliments end, because good LORD does this track suck. This was the track that originally was supposed to be a collaborative effort with Jay-Z, which could have been a spectacle. But Jack took it upon himself to pick up the slack and rap the verse himself, and yea it’s as bad as you could imagine. His lyrics here are literally a cry for help from the little bit of the old Jack White left deep sown. Sure, they’re a little quirky, but not quirky enough. I’m not interested in this track, not even close. But then we get “Over and Over and Over”, and I have absolutely no clue where this one came from. This literally for the most part, sounds like an unearthed White Stripes classic. I love the sheer heaviness of this one, and just how unhinged Jack sounds. Once axing, this is a whole lot more straightforward as far as this album is concerned, but it works. The backing vocals are just enough, and Jack really seems actually wild. I have no clue where Jack picked this one up from, but I want some more of this. Not to mention, even in his performance, Jack sounds like he’s having so much more fun with this track. For Jack’s sanity, I really wish we get more of this. But with “Everything You’ve Ever Learned”, it’s clear that Jack’s instantly going right back down the rabbit hole. I feel like with so many of these tracks he’s trying so hard to be Frank Zappa. Now, I actually do think some of the instrumentals here are sort of exciting, and I love the continued inclusion of World music influences. However, Jack’s performance is just painful. His ramblings don’t come off as edgy or even experimental, they just come off as obnoxious. And it’s a shame, because I think the instrumentals here are really fantastic. “Respect Commander” however has Jack going back down that much bluesier path once again. This one is seriously interesting though, and even early when I heard it months ago I thought of all the tunes Jack was working with this was the most interesting. There’s certainly a very wild sense to this, and Jack is really branching out still. But he’s not straying too far from his Blues roots. In other words, yea Jack’s still clearly losing it, but there’s so much of this that reminds me of what I loved about Jack in the first place. So much so, that all of the experimentation here actually comes off truly wild and interesting. The solo is great, his performance is quirky, and if we got more tracks like this I feel like all around there wouldn’t be much to complain about. But just like the earlier “Abulia and Akrasia”, “Ezmerelda Steals The Show is an interlude that does nothing for Jack. This isn’t ballsy or even weird, this is just plain annoying. There are so many awkward decisions throughout this project.
Now, I actually think the atmosphere on “Get In The Mind Shaft” is pretty damn cool. Not to mention, the very shimmery production here is pleasant as well. I don’t know how true this track is, but its biographical themes of Jack at a young age is actually really interesting. But of course, it dissolves into this sort of ugly gunk that I guess isn’t the worst thing in the world. There are elements of this track that are actually some of the more solid of this album, like the choir vocals and the real emotion behind some of these instrumentals. But so much of this track is “weird” just for the sake of being “weird”. I really don’t get the feeling that Jack is doing this to broaden his horizons, he just sounds like he’s doing all of this just to do it. So many of these tunes have some interesting thoughts deep down, but Jack literally sounds dead set on making them unlistenable. Then we have “What's Done Is Done”, which is absolutely heartbreaking. This literally sounds like a B-Side from Jack’s “Blunderbuss” album. The result really isn’t that bad, and as far as an easily digestible track goes, this is by far the most accessible tune of the bunch. There are some really sweet harmonies, and Jack’s usual weird sense of humor is out in full force. But even outside of that, the very classy instrumentals that pop in just sort of seem like exactly where Jack should be at this point in his career. “What’s Done Is Done” is a truly bizarre tune, one that shows that Jack is certainly himself deep down. But with this album’s finale, “Humoresque”, it’s clear that Jack really has no idea what the hell he’s doing anymore. And that’s the only thing I can honestly say for sure at the end of the day. After all this wild experimentation and 40+ minutes of an artistic statement that goes nowhere, Jack just wants to sit down at a piano and give us a charming ballad to send us off? I don’t buy it, at all. It’s sweet and all, but it comes off like a cover that Jack just whipped out to save his ass. And while it’s pleasant to listen to, nothing about “Humoresque” is saving anything from this album.
Rating: 6.4/10
Give a Listen To: “Connected By Love”, “Corporation”, “Over and Over and Over”, “Respect Commander”
Genre: Blues Rock / "Experimental" Rock / "Art" Rock
Overall Thoughts: I'm all up for breaking the rules of Alternative Rock. Hell, that's what makes a lot of the genres that Jack dabbles in really interesting. But this is barely a rule-breaking album, it's not really experimental, and it's certainly not Jack "losing his mind". This is just an album that has a lot of questionable choices to it. A lot of the tracks here at the end of the day, do have some interesting concepts and even some genuinely strange ideas. Not to mention, some of the instrumental shift towards a more Electronic sound aren't terrible. But it's the structure of this album that just gets on my nerves. Jack isn't going "crazy", he just sounds like he's rambling, often about nothing of interest. This could have been a little more of an interesting album if it wasn't so damn gimmicky.
Ahh Bishop Nehru, the longtime "Protege" of underground legend MF Doom. Bishop made his debut in 2013 with "Nehruvia". Now, this album I had a lot of issues with but also I dug a lot about it as well. For one, I seriously dug the production and the beats. Sure, there were times where they sounded like "Madvilliany" leftovers, but Bishop worked well with them. Tracks like "Moon & Stars" and "Y.E.T." had such glistening production and a real appreciation for its source material. But at the same time, I had an issue with Bishop himself. Now, let's be clear, as far as technique goes, Bishop clearly had a ton of talent. But most of this album I just felt he wasn't always saying a lot of interesting things. He sounded great rapping over these beats, but I had such a hard time really narrowing down who he was personally. My issues continued with his "Strictly Flowz" mixtape. Once again, I thought a lot of the production here was really great, and the beats were really classy. But some of the skits were so corny, and seriously painted Bishop in this light that he was the most forward-thinking Rap artist. And while tracks like "77" and "Introvertz" were really REALLY good, so much of this album was just boring. But man oh man, I really feel like Bishop came into his own on his "Nehruvia: The Nehruvian EP". The production here was just as glistening and hip, and the beats were just as Jazzy. But Bishop himself was so much more charismatic. I feel like his wordplay was so much more on point, and he didn't come off nearly as much as some bratty kid trying desperately to be MF Doom. Just the opposite, he sounded like a seriously fiery young man with a huge future. And while the more R&B-tinged tracks like "[JustFriends]Zone" were a little off, I felt like this EP was a gigantic step in the right direction. But just when I thought Bishop was heading in the right direction, 2016's "Magic 19" was absolutely terrible. His wordplay and technique was still ridiculous and he showed seemingly endless promise. But the Sci-Fi themes of this album were cheap and seriously awkward. Then we have 2017's "Emperor Nehru's New Groove", which is seriously a bizarre album. Now, I actually like some of the production on this album, and the beats were back in the jazzy direction I wanted to hear them. But, come on Bishop, come on. This album, maybe you couldn't tell by the title and album artwork is heavily influenced by The Emperor's New Groove. Yes, the animated film. And yes, there are seemingly countless cheesy moments and bizarre narratives thrown in. And you're absolutely right, that does sound bizarre. And guess what, it absolutely is. But call me crazy, I really think these new singles from Bishop are actually really ear-grabbing and classy. Let's chat about this!
This album starts out with "Act 1: Ascension”, and I honestly don’t want to take too much away from this intro. Because you know, it’s just that, an intro. But how are we 1 minute in and I’m already questioning why the hell I should care about Bishop. This may be a one minute intro, but Bishop is already making it sound like he’s a name we should know. News flash, you haven’t proved anything to anyone, no matter who you know. I’m already just grumpy as hell about this. Thankfully, I do think “Driftin’” is a very classy track that can really give us a good look at what Bishop has been up to. Kaytranada’s production gives this a very bouncy, airy feel that I think is actually really interesting. But, let’s talk about Bishop’s performance because he sounds fantastic. Here, he has the swagger that he usually has on plenty of his early tunes, but he sounds so confident here that he ends up coming off like the essence of cool that he’s always strived to be. Some of his wordplay may be some of his best, and here I can honestly say for a few minutes, I certainly get the hype. The very obtuse, left field beats to continue with “No Idea”. But I’m not nearly as into this one. Bishop for a few minutes was carrying himself so well, here he just sounds like an outsider in the worst way. There’s nothing cool or classy about this, he just sounds like some kid again to me. And while the previous track had so many memorable bars, “No Idea” isn’t nearly as interesting. The same old problems still plague Bishop so much.
Now, I do like the sort of low-key groove on “The Game of Life”, and the much more laid back beat. The horns are a classy touch as well, and while the last track seemed just so desperate to be “Alternative”, this one comes off legitimately left-field. I absolutely love when Bishop gets a little more aggressive, and here he just comes off so much more confident. But why the hell are there so many cheesy moments here? Like that chorus, are you absolutely serious Bishop? I can’t take that seriously, not even if I wanted to. I think his technicality is actually out in full effect as usual. But structurally Bishop is still a fish out of water. “Get Away” once again brings Bishop back to the more laid-back sound of early tracks here. But I just can’t take so much of this seriously still. Bishops verse here isn’t nearly as skillful as I’ve heard him in the past. Just the opposite though here, cause he sounds like a straight-up Odd Future reject, in the worst way. So much of this track is just idiotic and a wasted of my time. And not for nothing, I’m not crazy about the beat either. If there’s supposed to be a sort of narrative here, I’m lost. But just like every other Bishop Nehru project, there are some moments of serious greatness here. “Up, Up & Away” featuring Lion Babe is an absolutely soaring anthem out of nowhere. Bishop here doesn’t just sound confident, he displays every skill he’s ever talked about endlessly. That, alongside a seriously classy beat and an incredibly memorable hook by Lion Babe, actually makes for one of the best tunes Bishop has penned. He doesn’t sound bratty or conceited, he just sounds really talented. There are some memorable lines, some really creative wordplay, and this track as a whole just puts me in such a great mood. Obviously, Bishop CAN write a great tune.
Act 2 of this concept album, let’s not forget there is some concept here, starts off with "Act II: Free Falling”. And I’m not going to take anything away from this mere second's long intro, but like, what is this doing? This whole concept, what the hell even is this album Bishop? However, the low-key funk and solid grooves of “Taserz” actually wakes me up quickly. Bishop’s performance here is easily his most up-front and no-nonsense verse here. He’s just so intense and seriously aggressive. And a lot of the effects on his voice here honestly could have been so cheesy, but I’m actually floored by this, even if it feels a little incomplete. But with “Again & Again”, I’m right back to seriously not being into a lot of this. No, his half-baked mumblings here aren’t doing him any good, and this beat isn’t nearly as interesting as it could have been. By the way, did I mention MF Doom himself produced the entire second half of this album? Oh boy. The fact that Bishop can go from totally charismatic to laughably boring and repetitive this quickly is actually ridiculously. I feel like a 10-year-old could have written a more interesting and memorable verse. Not to mention, he really can’t handle this beat at all, as it’s literally eating him alive by this tracks finale.
But in true Bishop Nehru fashion, he really bounces back with “Potassium” and comes through with a very sleek, interesting Alternative Rap jam. I have to be honest though, some of the beats from MF Doom aren’t nearly as up to snuff as they should be. But as far as Bishop goes, he sounds like he can really handle himself here. It’s upbeat, there are some really great bars, and it doesn’t overstay it’s welcome. Like, there are actually some ridiculously tongue-twisting moments towards the end of “Potassium”, I’m impressed. But “Rollercoasting”, like so much of this album and Bishop’s career in general, is painfully average. This isn’t the worst track I’ve heard, not even close. But there’s just nothing special about this track. Half of the time, the production, and the beat is so much more interesting than anything Bishop is doing. Like he really thinks that this is the next big, epic Hip Hop masterpiece. And you know what, I honestly think he COULD make that in the future. But this album isn’t it, not even close. Thankfully, “Rooftops” is just a fairly straightforward, classy Hip Hop tune to end this off. There are some real moments of brilliance here. Bishop doesn’t sound like he’s winding down, he’s just getting started practically. Not to mention, this is just the sort of hip, the interesting beat he should be on 24/7. Not for nothing, this may be one of the best tunes he’s ever come out with. It’s upbeat and confident, and most importantly, there’s no gimmick in sight. Bishop one day is gonna be a real start, but he’s not quite there yet.
Give A Listen To: "Driftin'", "Up, Up & Away", "Taserz", "Rooftops"
Genre: Hip Hop / Alternative Hip Hop / Jazz Rap
Overall Thoughts: Once again, and I'm really not shocked to say it, but it honestly seems like Bishop Nehru has all the tools to succeed. His flow is great, his wordplay is stellar, and he hops on a lot of really great production. But this is like his 5th project, and I still have absolutely no clue who he is. He may have the technique down, but Bishop's personality is nowhere to be found. And it's really a shame because some of his catchiest and best-written tunes land here. But overall this album is awkward and has so many tunes that just don't work for me.
San Diego natives Hot Snakes since the early 2000's have really made some big waves in the Post Hardcore world. With their 2000 debut "Automatic Midnight", Hot Snakes instantly put the world on notice with their grimy, explosive brand of Post Hardcore. But this wasn't more of the same gutless Post-Hardcore going around. This was Post Hardcore blended with all sort of surprising genres. There were elements of Garage Rock and Punk, as well as a serious underlying theme of Surf Rock. Needless to say, this was easily one of the most exciting debut albums of this time period, and Hot Snakes seemed to have seemingly endless potential. Hot Snakes returned with a much cleaner sound in 2002 with "Suicide Invoice". Now I guess I really shouldn't say cleaner sound because this album was still a seriously off the rails and intense Post-Hardcore album. But the production here really got cleaned up. Overall, this is a very solid follow up, and a really great Post-Hardcore album. Hot Snakes knew how to use tension to their advantage, and embraced their Punk side on this album too. And while granted, I sort of wish there was more of that Surf Rock undertone, I couldn't say no to this. 2004's "Audit In Progress" showed Hot Snakes had PLENTY of gas left in the tank. This album was their tightest and most intense yet. Some of these riffs and rhythms were seriously crippling beyond belief, and the tension was at an all-time high. Tracks like "Hatchet Job" and "Audit In Progress" were some of their punchiest yet, so overall this worked great for them. So it's been a very casual 14 freakin' years since we've heard from Hot Snakes. But from the sound of these singles, they really haven't slowed down at all. Let's chat about this, shall we!
This album starts off with the absolutely throttling “I Need a Doctor”. I love just how wild Rick Froberg sounds in his vocal performance. I mean, we literally haven’t heard anything from Hot Snakes in 14 years, and this sounds easily just as blood pumping and off the rails. It’s intense, heavy as hell, but it also has just enough melodic areas to really make this stick with you. This may be Post-Hardcore by the books, but it’s done expertly. But I think what makes me love Hot Snakes the most is their unpredictability. Post-Hardcore is such a cool genre, but if you can get your listener to never know what to expect from one note to the next, that’s special. Then we have the much more sluggish, chugging “Candid Cameras”, which brings in some very jagged Math Rock rhythms. It’s just as intense, even if it isn’t so balls-to-the-wall. This track is a pressure cooker, often sounding like a tea kettle seconds away from exploding. Personally, I like hearing Hot Snakes a little more upbeat, mostly because it makes things a little more out of control. But “Candid Cameras” is still a blood pumper for sure. Then we have “Why Don’t It Sink In?”, which is much more upbeat and off-the-rails. But I have to say I’m not nearly as into Rick’s vocals here. It’s just a little too zany sounding for him to be honest. While it’s certainly fun to hear him freak out and go absolutely nuts, this really isn’t that interesting sadly. Instrumentally, it’s one of the more colorful tunes here, but Hot Snakes usually package their tracks so much better. On the other hand, “Six Wave Hold-Down” is 100% what I like to hear. This is just as wild and throttling and Rick’s performance is at it’s most wild. But this is the sort of controlled chaos that works amazingly. It’s certainly a Post-Hardcore tune, but it’s still got some Rock N Roll and Surf Rock undertones. This one is all gravy folks, it’s catchy and memorable, but also heavy enough to be legit. Not to mention, Rick’s vocals are easily at their grittiest and toughest. All around “Six Wave Hold-Down” is one of the best tunes here.
On the other hand, “Jericho Sirens” brings in a real sense of mystery that I’m really digging. I just love the slow-paced, almost bluesy riff that you honest to God have no idea where it’s going. It’s certainly a little more calculative and not nearly as out of control. But Hot Snakes makes up for that with just how hard-hitting this one is. Rick’s performance is just the right mixture of mad-man who can really keep his cool if he needs to, and someone who really doesn’t care if he’s a madman or not. And while I usually don’t like Hot Snakes slower tunes nearly as much, “Jericho Sirens” is easily one of the best tracks here. I have no idea where these guys have been for 14 years, but I feel like they haven’t strayed far from their original sound at all. On the other hand, “Death Camp Fantasy” gets the blood pumping in a big with one of the most intense tracks here. I love just how smooth this one is, and I’ve always been a big fan of their subtle nods to surf rock underneath their chaos. I may sound like a broken record with that, but it sets Hot Snakes apart, and I love that. The group vocals here actually make this one of the catchiest tunes here and dare I say most fun. But just how intense this one remains is what makes it obvious that Hot Snakes really haven’t lost their touch. “Death Camp Fantasy” absolutely rips. “Having Another?” on the other hand, is a little more jagged and explosive right off the bat. The Math Rock vibes are alive and well in a big way here, and I love just how intense this one gets once things get going. Like, once this really gets rolling it’s an absolute onslaught. Now, it’s not nearly as catchy as some of the other tunes, which is a little disheartening. But the sheer intensity of this one really does work nicely for Hot Snakes, and I still think it’s a damn fine tune. I have no idea where all of this energy is coming from, but Hot Snakes are doing awesome things. “Death Doula’ shows the band once again really slowing things down for a much more calculating slow burner. But of all the tunes here, this one sadly doesn’t hit me nearly as hard. Hot Snakes have taken care of other slow burners just fine here. But this one just seems unfocused, even if these breakdowns are intense. That’s the only real shining light one “Death Doula”, I love just how heavy everything is. But as far as memorable tracks go, this is a low point for me.
Clearly, Hot Snakes aren’t done just yet, because “Psychoactive” is immediately right back in that much more upbeat, intense direction. I love the guitar-driven passages and just how wild Rick sounds in his performance. This is one of the more straightforward tracks here, and you could say that in a way this is a little bit on cruise control. But for me, it works, and this track remains catchy as hell, memorable, and intense. This album wraps up with “Death of a Sportsman”, which is one of the cooler performances here. And when I say cool, I mean this one has some serious swagger. I love the intense bass opening, and even though Rick on vocals sounds a little too much on his best behavior, I actually think this is a fitting ending. It’s not nearly as out of control as other tracks here, and for once Hot Snakes really end up focusing more on melody, which you may dig or may not. But at the end of the day, it’s still upbeat, wild and filled with Punk attitude.
Rating: 8.2/10
Give A Listen To: “Six Wave Hold-Down”, “Jericho Sirens”, “Death Camp Fantasy”, “Psychoactive”
Genre: Post-Hardcore / Math Rock / Punk Rock
Overall Thoughts: Hot Snakes return after 14 years and somehow really haven’t missed any beats. That’s a long hiatus for any band, but the material here is surprisingly right on par with the album’s that got them to be big names in Post-Hardcore to begin with. In most parts, it’s actually even a little better. This album is brimming with intense, Post-Hardcore gems with catchy choruses and a slight Surf Rock undertone. Some tunes have some Math Rock vibes, and others in another time may have been a solid Hardcore Punk tune. But the real story here is that after all these years Hot Snakes just sound so damn vicious. They don’t sound like they’ve rested at all, they just sound like they’ve been plotting their comeback and ready to take over Post-Hardcore once again. And yea, they succeed.
Since the early 2000's, Portland-based Indie Folk band The Decemberists have been dishing out tons of theatrical and well thought out albums. In 2002 they made their full-length debut with "Castaways and Cutouts". This album, actually really took me by surprise. Going into it I was sort of expecting a series of very drab and full-of-itself folk. But the material on this album is sort of quirky and fun. While it's very heavily narrative based, it's also got a lot of interesting instrumental choices to make it easier to swallow. There are glimpses of Psych Folk and Freak Folk, as well as Baroque Pop. It's an elaborate album, one that comes across almost like you're watching some stage show, but it's seriously entertaining. By the time 2015's "Picaresque" rolled around, it was obvious that The Decemberists were much more than just another Folk band. This album was bigger and cleaner sounding, which in this case made Decemberists come off so classy. Tracks like "We Both Go Down Together" showed us that the band could write a catchy single, but tracks like the dramatic "The Infanta" or "The Sporting Life" showed just how decent they were at creating albums as a whole. Not to mention, Colon Molloy to me just seemed like such a dynamic frontman. He had the mystery and wile streak of a Jeff Magnum, but he also had the quaintness and likability of a James Mercer. But at the end of the day, what I loved about The Decemberists was there ability to tell stories, which they mastered on 2006's "The Crane Wife". This album was their longest yet, with Decemberists bringing in a ton of Progressive elements. There were heavy tunes like "When The War Came" and instantaneous, catchy gems like "O Valencia!". But it really wasn't that far of a stretch from what Decemberists had been doing. It just seemed like everything the band was doing right and more of it. Like it or not, this was Decemberists most ambitious album yet, and honestly made them household names of the Indie circle. The Decemberists in 2009 returned with "The Hazards of Love", an album that I feel like the majority of people had issues with. And to an extent, I do understand why this album is FAR from the quaint Indie Folk that made up their early work. ANd in its place, we have Progressive Indie Rock with some surprisingly Sludgy, Heavy moments as well. Now, personally, I thought that was really interesting and creative. And while the plot Decemberists pieced together here was truly their most bizarre and strangest one yet, I felt like they handled themselves just fine. So far, I had been totally cool with everything Decemberists had been doing. However, I have to be honest, I really wasn't into 2011's "The King Is Dead" at all. This album was just faceless folk music for the most part, with zero narration or interesting personalities. On the other hand, I did like some of the more country-tinged rock tunes here. But overall, this wasn't for me, not even close. And 2015's "What A Terrible World, What A Beautiful World" had even less memorable moments. Sure, some of the classier songs like "Cavalry Captain" and "The Wrong Year" were passable. But the majority of this album seemed so tame to me, and not nearly as quirky and fun as some of the band's early work. The Decemberists are back, and honestly by the sound of these opening singles, tamer than ever. Let's chat about this new album.
( A Personal favorite of mine!)
This album starts up with “Once In My Life”, and sonically, let’s be real boys, the band doesn’t sound terrible. If they actually showed some guts in some of these songs, I feel like they could once again be the very groundbreaking band they once were. But Decemberists continue to stick to the very lukewarm and incredibly tame Indie Folk they’ve been dishing out the last few years. There was a time where Decemberists were saving Indie Folk with quirky performances and truly well-written narratives. But this intro could have been written by anyone. “Once In My Life” is incredibly faceless and dreadfully underwritten. And it’s a shame because I do to an extent enjoy just how lavish this track is. Some people are criticizing how this one comes off as some arena ballad, but I think that’s honestly something they can pull off. It’s the sheer majesty we need in folk, to be honest. But sadly, I can’t deal with this songwriting, and Colin Meloy just sounds lifeless. Now, on paper, this album really shouldn’t be nearly as tasteless as it is. Up next we have “Cutting Stone”, and Colin’s performance is actually solid, and still has him coming off as a dynamic frontman. But why the hell is this track so underwritten? There was a time where Decemberists were pushing out some of the most refined Indie Rock around, period. But this track sounds like it could have been written by any Art School student desperate to get into music. I honestly don’t think the synths are the problem, and I actually think that some of the harmonies here are pleasant. However, I can’t get past just how much personality this band used to have compared to what they’re dishing out now. Now, “Severed” is going to be hard to swallow for most. The fact that Decemberists have turned to upbeat, intense, semi-Post-Punk tracks is absolutely hilarious. But call me absolutely nuts, but I actually commend their intensity here. Like I said, I really don’t think the synths are the problem. And I actually really don’t mind hearing Colin have a little aggression in his vocals, it’s certainly more interesting than whatever the hell he was doing earlier. There’s some intense bass on “Severed’, and an all around swagger to this that I don’t mind at all. Is this Decemberists? Far from it. I mean it MAY sound like something The National would touch, but if they want to go for a new sound, I’m sort of OK with this. But I continue to feel like so much of this material is just so faceless with “Starwatcher”. Once again, we’re right back to stripping back everything which should be gold for Decemberists. But literally, all this one does is expose how laughably underwritten this album continues to be. Those epic drums don’t do anything, and Colin’s vocals just end up becoming repetitive and really obnoxious. When I was younger and I got into Decemberists, it was like an Indie Folk stage show. Now, I just feel like I’m going to visit Indie Folk on its deathbed.
At the very least, “Tripping Along” has a little more grit to it and isn’t nearly as lifeless. And while I still think that Colin needs to go back to square one as far as songwriting goes, this is the lesser of many evils here. Yes, it’s a little repetitive, and I could find more genuine emotion basically anywhere else. But at the very least, there’s some respect in this performance. There’s an actual performance here for once which is really the first time I’ve been able to say that. And while it’s a little goofy, if I got an album of stuff like this it would be sure as hell more interesting than 90% of the material here. Decemberists, however, do have a few tricks up their sleeves. For one, “Your Ghost” is actually seriously determined and upbeat, which is the exact opposite of so much of this album. I love the galloping rhythms and pounding drums here. And on top of that, there’s such a grandness to this that actually does remind me of an early Decemberists project. But all of that being said, it’s actually a pretty straightforward and simple tune, and it works nicely. But for every halfway decent tune, there’s a track like “Everything Is Awful” lurking. This track is the epitome of everything awful that Decemberists have become, pun absolutely intended. It’s idiotic, bland, and easily the most ridiculously underwritten song here. Honestly, where have Decemberists been for like 3 years? Surely it’s not been writing this garbage. Even when things pick up and get a little heavy, this track is laughable. On the other hand, “Sucker’s Prayer” really isn’t that bad at all. It’s a little bit more toned down, but this is certainly more emotional than a lot of the tracks here. Colin actually sounds halfway invested in this performance. Is this as interesting as their early work? Absolutely not. But this track is seriously OK, not great, but above average for sure. There are still some really cheesy moments, like that singalong chorus which doesn’t have nearly as much energy as it should. But even as far as the writing goes, this track isn’t terrible. I wouldn’t say it’s an absolute standout here, but this is a reminder that Decemberists CAN write a tune still.
Now, I was actually almost into the sort of upbeat feel on “We All Die Young”. But as this one rolls on, I’m sorry but I can’t take this seriously at all. This isn’t The Decemberists, this is the worst Black Keys rip off I’ve ever heard in my entire life. But it’s more than just that, this track is just pathetic. It’s trying so hard to be a little gritty and bluesy, and there’s nothing actually interesting in sight, not even close. The gang vocals once again should really save this, but just end up being a laughable shadow of how epic they once were. And the kid's vocals, no thank you. I have to stop thinking about “We All Die Young” because it’s just getting on my nerves. There are just so many elements that don’t belong. And while I know every band is going to have to progress and change, this is far from acceptable. But bizarrely enough, The Decemberists come through with “Rusalka, Rusalka / The Wild Rushes”. Right off the bat, I’m floored by just how dramatic this is. This is by far the longest tune here. But as a result, nothing seems rushed, nothing seems gimmicky, this literally just sounds like where the band should be. Each piano note and pounding drum has so much emotion than what we got on the rest of this album. For a few short minutes, I actually feel like I’m at some Indie Rock stage show once again. And as “Rusalka, Rusalka / The Wild Rushes” goes on it just gets bigger and bigger. Like, I actually would seriously love to listen to more of this track, which I haven’t been able to say once this entire album. Towards the end, things go from epic and emotional to straight up beautiful. I have no idea where this track came from, but I’m not complaining. But clearly, a finale that’s just as interesting and forward thinking is out of the question. “I’ll Be Your Girl” finishes this album off, and lyrically this one isn’t that bad at all. As a matter of fact, it reminds us that Colin and company are certainly clever. But instrumentally, after all of the absolute trash we’ve gotten here, this is not what I wanted.
Rating: 6.3/10
Give A Listen To: “Severed”, “Tripping Along”, “Your Ghost”, “Rusalka, Rusalka / The Wild Rushes”
Genre: Indie Folk / Indie Rock / Not-so-Progressive Folk
Overall Thoughts: Ladies and Gentlemen, Decemberists have hit an all-time low. What was once one of the most creative, exciting and forward-thinking acts of the Indie world, have been reduced to bland Folk Rock with no direction. This band used to be so strong with narratives and creative ideas, and sitting down to one of their album’s was like sitting down to an Indie Rock stage show. But listening to this, I just feel like I’m going to visit Indie Rock at the hospital. And you would think with the much more epic and “Arena-sized” direction this album was going in, there would be some seriously interesting and exciting moments. But this is just so incredibly bland and underwritten, I literally have no idea what they’ve been doing for a few years. Because outside of a few tracks, this is trash.
Of Montreal is the long-running Indie Pop act fronted and masterminded by Kevin Barnes. I've been following them forever, and in the long run they've released some of my favorite albums in the genre. Of Montreal came to fame in the late 90's and early 2000's with their Twee-Pop years, mostly with their "The Gay Parade" and "Cherry Peel" albums. These albums were innocent, sweet, and seriously catchy. But throughout the 2000's and up until today, Of Montreal has been a constantly shifting organism. They've toyed with Glam Rock on "Hissing Fauna, Are You The Destroyer?", Country on "Lousy With Sylvianbriar", and seemingly everything else in between. Alternative R&B, Synth Pop, Art Pop, it's all been fair game for Kevin and Of Montreal. But in these later years, I feel like Of Montreal have just gotten further and further from the sound I fell in love with years ago. Now, this album seems to fall in the same light, with Kevin going for very Spacey, immense Synth Pop sound. But, call me crazy, but he sounds more focused than he has recently. Let's chat about this.
(A personal favorite of mine!)
This album starts off with “Soft Music / Juno Portraits of the Jovian Sky”, and right off the bat, I have a lot to say. First off, I’m actually seriously in love with this production. Like, I love just how heavy and futuristic this one is. And by the looks of this album art, there’s going to be a LOT of this. But let’s get back to the heaviness, because the production here is suffocating. But Kevin’s performance here really brings this down a few notches. I’m seriously not into his chilly, robotic performance that shows him not showing any emotion. I get that like most of the time, Kevin loves being in character. But here, I’m just not nearly as captivated as usual. And on top of that, what the hell is going on with these lyrics? Obviously, Kevin’s lyrics have been on the the more bizarre side of things seemingly forever. But this is a new level completely for Of Montreal. Outside of that though, I actually do enjoy a lot of “Soft Music / Juno Portraits of the Jovian Sky”. The almost industrial beat, the vast atmosphere, all of this is really enjoyable. If Kevin was a little more on the sane side, I’d be totally into this. And I do think his more intelligible vocals are actually great, but overall this is just OK. Then we have “Paranoiac Intervals / Body Dysmorphia”, and once again I am really into a lot of the production. I literally feel like this is just so heavy and intense. This one has a lot more of a dance groove to it. Not to mention, I actually really love Kevin’s seriously funky performance. Here, his ramblings come off just as bizarre for sure, but because he’s putting a little bit of emotion in there this is so much more enjoyable. There’s a really great driving beat, and the Sci-Fi theme actually comes off really fantastic. In a way, this comes off like some lost dance mix from the 80’s, one that was highly experimental for its time. And at the end of the day, I feel like that’s what Kevin was going for. “Paranoiac Intervals / Body Dysmorphia” is punchy, and has a really great groove, and compared to the first track is absolutely dripping with personality. As far as the narrative goes, I really am just baffled still, and I’ve been clueless for years with Of Montreal. But still, I’m fine with this, and even that sort of chilled out groove towards the end is really interesting. “Writing the Circles / Orgone Tropics” is up next, and once again I’m really into just how glistening the production is, and that pulsating groove is fantastic. I mean, it’s pretty wild when you think that Kevin Barnes has done so much with different sounds and he literally is just touching down on these sounds for the first time. But once again, these vocals are bringing me down. I feel like when Kevin gets set on these characters he will go to any extreme to bring them into the narratives. Which usually has made Of Montreal such a spectacle in the past. But on “Writing the Circles / Orgone Tropics”, this is just obnoxious. This one just has so many bizarre production choices throughout to the point where when Kevin’s normal vocals pop in for the chorus it’s seriously exciting. Kevin’s got himself stuck in a corner with this one. There are so many good ideas, but these small details are just so ridiculous and make it hard to take it seriously. Thankfully, the shimmering production and instrumentals makes this easy to swallow to some extent.
Now, “Plateau Phase / No Careerism No Corruption” is much more my speed. It’s still got a whole lot of Sci-Fi elements, that’s for sure. But there aren’t nearly as many cheesy moments that make you question what Kevin was thinking. Honestly, this one is seriously funky and interesting. There are actually some fantastic production choices here, and I love just how hulking everything comes off still. “Plateau Phase / No Careerism No Corruption” has a solid beat, and while the instrumentals are fairly straightforward it gives Kevin a little more of the stage. And I know, at this stage in the game that sounds terrible on paper, because most of the time that’s the last thing we need. But call me crazy, but I really think this one works out well. It’s groovy, futuristic, and most importantly, not absolute garbage. Then we have “Sophie Calle Private Game / Every Person Is a Pussy, Every Pussy Is a Star!”, and honestly, I don’t even want to know where Kevin got these titles. This is by far the lightest tune here yet. The hulking production takes a step back, and in return, we get a very playful, fun instrumental. When this one picks up, it’s actually one of the best performances here. The beat is driving and just as intense, but the synths give this one a much more carefree feel. Even Kevin just seems like his guard is down. This one is an absolute blast and actually seems like one of the more “Classic” sounding Of Montreal tunes here. Even though this track is still full of narratives and Kevin going on about God knows what, this is actually one of the most straightforward tunes here. I love the anthemic horns, the booming beat, and seemingly everything about this instrumental. Even the much sleazier and kinky last few minutes really isn’t that bad at all. But most importantly, never once does “Sophie Calle Private Game / Every Person Is a Pussy, Every Pussy Is a Star!” seems like a stretch for Kevin. And for an 8-minute tune, I actually think this is one of the most accessible tracks here. This project ends off with “If You Talk To Symbol / Hostility Voyeur”, which is a strange one, to say the least. Right from its opening, Kevin has taken a big step back from some of the more dance-oriented material. It’s still a very mechanical sound, but it’s much more rigid and cold. But with that, Kevin’s performance get’s seriously uninteresting. Kevin tries so hard to bring in some emotion with some of these lyrics, but that’s not happening. And some of these lines are easily some of the most cringe-inducing lines I’ve heard in a wild. “When we made love I gave you a pet name, that doesn’t mean I want you to be my dog”, really Kevin? That’s where we are now? Fuck off dude, seriously. I do still like a lot of the production choices, and instrumentally “If You Talk To Symbol / Hostility Voyeur” does get intense in parts. I actually think that instrumentally, Kevin once again is seriously on to something. And if he strips down a lot of the fluff he can really get something going. But can we address quickly how ironic it is that on Of Montreal’s last album “Innocence Reaches”, Kevin was practically making EDM and I bashed him for it. But not he’s making synth-heavy Dance Rock and it literally sounds like the most refreshing sound Of Montreal have touched in years. I’m torn on this entire project. There’s some really great sounds and all, but Kevin’s performances end up taking more away from this than he’ll ever realize.
Rating: 7.0/10
Give A Listen To: “Paranoiac Intervals / Body Dysmorphia”, “Plateau Phase / No Careerism No Corruption”, “Sophie Calle Private Game / Every Person Is a Pussy, Every Pussy Is a Star!”,
Genre: Synth Pop / Art Pop / Progressive Pop
Overall Thoughts: So this is a weird one. First off, if this is an EP Kevin, and it's 41 minutes, you sir are certainly losing it slowly. This project is a weird one, which isn't saying much, because Of Montreal's output recently has been downright bizarre. But this one takes the cake. Kevin Barnes here goes old school, is apparently inspired by 80's dance mixes and brings in some of his most interesting instrumentals in years. The production on this album is ridiculously heavy, the synths are chilly and the dystopian atmosphere is right up my alley. But all of that leads to this project's downfall as well. Kevin half the time sounds like he's way too in character, and at times just sounds so freakin' boring and dead. And don't get me started on his narratives, I lost track of them with 2015's "Aureate Gloom". However, I do think this is probably the best thing they've done since "Lousy With Sylvianbriar". Kevin Barnes IS on to something, but it's not quite there yet.
Mexican Summer's "Myths" series continues on, this time with a split between Psych Folk legends Woods and Swedish band Dungen. Now, I'm a BIG fan of Woods in general, and I always enjoy their output. But, I've always been a very casual fan of Dungen. But from what I hear in the singles they've released, this is actually really promising. Let's chat about this EP!
This album starts off with “Loop”, and right off the bat I actually seriously love just how breezy and sunny this one is. This is, to an extent the sound that Woods has been working with for years, but it’s not nearly as hazy and trying desperately to be some Hippie band as they did on “Love IS Love”. Nom surprisingly for a light and fluffy Folk instrumental, there’s actually some serious determination. I love some of the jam aspects of this, and the more electronic instrumentals that flutter in are really done well too. Now, this is a near 3-minute instrumental track, so I can’t really ask for a life-changing track. But on all ends, this is a seriously pleasant track that’s not nearly as half-baked as it could have been. Already, I’m impressed with this EP, even if it this does come off like a live jam, it’s a good one. On the other hand, “Turn Around” comes off like the sort of “Fried by the desert sun” tune that Woods got on their “City Sun Eater In the River of Light” album. Now, yes, Jeremy Earl’s high pitched vocals are still just as polarizing. But personally, I love just how haunting they can be when he does them right. While I’ve had a problem with Woods going “Full Hippie” on their last album, I actually really love just how far-out and how unapologetically Psychedelic this one is. It’s fluffy and spacey, but there’s still such a sense of emotion behind these performances. And honestly, with these genres, it’s something you don’t always get. Not to mention, the very wide instrumental and some of those killer solos are a seriously nice touch. “Marfa Sunset” up next strips things right back in a big way. This one, however, is much more centered around a cosmic jam from its start. I do think it’s pleasant to listen too though, with Dungen influencing the sounds of this one a whole lot more. It’s been a long time, and I mean a LONG time since I heard Woods come out with anything this freaky. But I just think this one is a little underwritten for what it is. It’s interesting, and if you’re just chilling like this EP is surely made for, you may dig this a little more than me. It’s certainly not bad, but of all the collaborations here this is by far the least interesting. Then we have “Morning Myth”, which right off the bat has the same very dreary and hazy atmosphere. There’s always been such a haunted feel to Woods music, which yes has certainly attracted me to it in the past. But instantly this one is so much more compelling than the last track. Yes, it still has a rather cosmic feel to it. But more than anything, Dungen and Woods really seem like they’re on the same page, playing off one another and really getting into some ridiculous grooves. “Morning Myth” is simply entrancing and incredibly enjoyable. So much of the material on this EP is instrumental, but in cases like this, it’s just so pleasant. The grooves are dead on, and the woodwinds give this such a majestic touch. All around, I’m totally into “Morning Myth”.
This EP continues with “Jag Ville Va Kvar”, and while this track is just as sunny, it has a ridiculously thick funk that I’m seriously into. Hell, this one almost has some Reggae vibes. Now, obviously, this is a big moment as far as Dungen’s contributions go. And it really goes over nicely, to be honest. It’s bright and just as pleasant on the ears. But it continues to really show just how great of a bond Dungen and Woods have. On the first few Myths EP’s, all of them sounded great on paper. But at the end of the day, they ended up coming off rushed, even awkward. But this EP sounds like two friendly bands jamming together and having great chemistry. I just can’t get enough go how fluffy and easygoing “Jag Ville Va Kvar” is, even though it has a lot of cosmic influences. But if that very light Psychedelic sound isn’t you’re cup of tea, “Saint George” is a much heavier Psych Rock tune that’s much more upbeat and determined sounding. As far as a straight up Jam goes, this is near perfect. There are parts here that I actually completely forget that two different worlds are coming together. This could have been solo track of either one of these bands, but together it’s magnificent. And Dungen and Woods continue to really play off each other so well. I mean year, this easily could have been a Woods jam, but having Dungen around to back them up gives this a gigantic sense of depth. Not to mention, there’s still a very cosmic feel to this, and I love how freakish it gets in its closing minutes. At the end of the day, “Saint George” is an awesome jam. And if you don’t have that whole Jam aspect down, “Just For The Taste” is the sort of straightforward finale that you’ve been looking for. There are still some very freaky elements in just how wailing some of those guitars are, but this one is smooth and really doesn’t stray too far from the Folk base of this track. I just find it ironic that all around this is some of the most interesting material either one of these bands has put out in a few years, and 90% of this EP is instrumental. But both bands keep in interesting by changing things up just enough, making for a very pleasant EP.
Rating: 8.0/10
Give A Listen To: "Loop", "Turn Around", "Morning Myth", "Just For The Taste"
Genre: Psychedelic Folk / Psychedelic Rock / Folk Rock
Overall Thoughts: Woods and Dungen really come through on here with surprisingly pleasant and concise set of tracks. The "Myths" series in the past has been such a disappointment to me, often sounding like two acts thrown together and rushed to record. But here, Woods and Dungen actually get like half an hour of a recording together, and the result has some fantastic chemistry. More times than not, the Cosmic jams these two offer up are so concise that you forget this is a collaboration between two artists. Now, the majory of this EP is instrumental, just warning you. But if you can get past that, this EP is seriously pleasant and has some serious jams on it.
