A Few Words on Ágætis Byrjun by Sigur Rós, My Favorite Album of All-Time

I just did this thing. I was excited that I'd just received an instant message from this girl I like, so with my arms under my chest, I pressed myself up against the desk with eyes nearing the computer screen, like how an eager boy glues himself to the storefront window around Christmas time. I was listening to "Olsen Olsen" and the cyclical, rhythmic bass that drives the song was vibrating through the desk into my bones. It was incredibly relaxing, and I felt like perhaps these guys had thought about the therapeutic value of their music, even though that seems....well, highly possible actually. It reminded me of this concept I recently learned about, called entrainment, in which heartbeats and brain waves, or even people, become synchronized, beating as one....

This album is at once relaxing and energizing. It strips away my sadness, worry, anger, and grief. The music in this album honestly makes my heart double in size; every time I swear I feel it expanding within my chest. That feeling you get when you love something so much, and you're so happy, that you feel yourself overfilling with joy, like it's somehow about to edge over the brim... I can never get sick of this album, either. It has slowly become my most-listened-to-album of all, because, like the really great books and movies, it's more than a collection of words and scores; it's a memory; an experience. It evokes and creates a set of thoughts and emotions that are too pure to ignore, and too life-affirming to experience once (or not again and again).

It wasn't always like that: the first few months I owned this, I put it on as relaxing, oft times entrancing background music, usually with incense, while reading. It wasn't until I took the time to put my headphones on and let it become the only thing in my consciousness that I realized how divine it was. Hearing this, and seeing Jónsi Birgisson sing makes me wonder if these guys are even human. How can human beings make such beautiful music? It's more than just an amalgamation of noises and sounds and vocals and chords, it's like a living, breathing being...that wakes up and lives, and speaks, and eats and dances and yells and whispers, that ebbs and flows and pushes and pulls....I've listened to thousands of artists, and none of them have created anything quite like this. I've seen dozens of shows, and none of them have equaled the vivacity, the ethereality, and the complete absorptivity of their show.

I think one of the--if not THE--fundamental difference(s) is that they're not singing in English. I'm such an interpreter, such an analyzer and reflector, that I always listen to and decipher the lyrics as best as I can. My favorite sad songs are all by other artists, but for some reason, Sigur Rós makes me feel something bigger and more euphoric than any other band, and that's one reason why: their unreadable (or nonsensical lyrical) music appeals to the more primitive emotion centers of the brain, rather than the higher-order verbal and analytical centers. This is why their music pierces straight through to their listeners' souls. (And why they have such a huge following with non-Icelandic speakers). All conscious censorship and blinding perception is thrown away, leaving an open passage for their otherworldly, spiritual music.

This of course makes me think of classical music, which is non-lyrical, but the calculated, geometric compositions by Bach and Mozart and other geniuses are too technical to bypass the higher brain functions. Also, the lack of vocals entirely creates somewhat of a distance between the nonliving instruments and their living listeners, whereas the simple sound of a voice, inflected up and down into each emotion, creates an inherent bond. Perhaps Birgisson's uniquely high-pitched voice achieves this even more readily: his voice being more similar to a child's, and therefore, harkening back to when our brains were functioning almost exclusively on basic emotions. Obviously, people all over the world enjoy music in languages other than their own, but I suspect that Sigur Rós knew of this visceral power of their music when they created their own instrumental language.

Jens Lekman | Night Falls Over Kortedala

In homage to Lekman's nontraditional approach, a review in three formats:

tragicomic
moving, movable
cow(bells)
happy
smile
snap
recorder
lift / fall
strings
witty
strange, unique
voice
light
contagious
fun
DROLL
CATCHY

ooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo

In The Opposite of Hallelujah, when that ditty-pop piano starts playing under those weightless staccato strings, I feel as if little clouds of joy are jutting under my feet as I skip up into the sun-drenched ether. Such ridiculous, fantastical reverie is exactly the kind of thing this album evokes!

I like Jens's voice; he sounds nothing like Barry Manilow!

Lekman, or the character that he plays, is perfect for his music's dual tragicomic nature (someone else came up with this term, I'm sorry but I don't remember who). He's the seamless combination of rigidly obedient reformatory student and the ludicrous, somewhat self-deprecating class clown, that everybody can't help but like. His hair, the way he carries himself, his voice, and his music all contrast sharply with his lyrics. He writes songs about heartbreak and awkward situations in a comical (sarcastic, absurd, clever, hilarious) way. He's created something so unique in his work because very few have ever thought to combine the elements he does, while nobody has done it so likably.

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

explosions of horns and strings set the tone for the record in the idealistic "and i remember every kiss," in which he explains, "and i would never kiss anyone, who doesn't burn me like the sun..." i love that line. actually makes me think about my life and whether or not this is even remotely possible to achieve.

"sipping on the sweet nectar" is delightfully upbeat, and the minor key choruses simultaneously unsettle and uplift.

"the opposite of hallelujah" could be heartbreaking, but jens won't allow this, not in his music. honest, pessimistic, underlyingly sad lyrics lightly situated over upbeat, jubilant music = lekman coping by at once coming to terms with lyrically but denying artistically the existence of despair, doubt, and disappointment.

"a postcard to nina" is one of my favorite tracks this year. disclaimer-->this is NOT for everyone: i've encountered some pretty negative reactions to this album and this song, while others profess its utter brilliance...me being in the latter camp, of course, this song is incredibly clever, hilarious, and pleasing to the ear, especially for a narrative. (first chorus: "oh, god! jesus christ! i try to focus on your eyes. we're having dinner with your family now, keep a steady look at your left eyebrow. if it's raised, it means yes, if it's not, it means 'take a guess.' hey! you! stop kicking my legs, i'm doing my best, can you pass the figs?") it's the ostensibly true story about his friend nina, who's a lesbian, whose father is a traditional catholic man, whose friend jens lekman acts as her boyfriend so that she can be with her girlfriend. it is a perfect song in so many ways.

"into eternity" provides an interesting dissonance generated by slightly off-key accordian vs. recorder, offset by lekman's dreamily smooth vocals.

"i'm leaving you because i don't love you" is a bit of a diversion, utilizing some electronic synths and samplings which were previously unheard in the album, so obviously anyway.

perhaps the barry manilow comparisons arise from "if i could cry (it would feel like this)", in the high-pitched, wavy strings and especially the backing vocals...this would be the most repetitive of the tracks, one of the ones i skip over sometimes.

"your arms around me" is a perfect pop song, and it gets me moving. instrumentation is slightly more conventional, as is the songwriting (not the lyrics, but the verses and choruses are more distinct here), still undeniably lekman. his voice is the focal point in this track.

ditto for "shirin", but this song has a completely different feel. that's one of the album's virtues: each song, while remaining unmistakably lekman in overall sound, sound much different from the rest--that's a sign of real, voracious creativity. anyway, shirin is much more airy: lighter in feeling, and the lyrics contribute to this considerably, almost onomatopoeically, as the chorus goes, shirin, shirin, shirin, shirin, shirin, down and up and down as if gliding through the air. he comes back down to the ground, treading lightly, for the verses. it's a pleasing little rollercoaster.

"it was a strange time in my life" is pretty strange, probably the butt of any jokes dissenters of the album will make; starts out with some young child "do doo do do doo," over a trilling flute and/or recorder. but when lekman starts going on about some of the weirdest happenings in his what-must-have-been-incredibly-awkward adolescence, the humor makes the song worth it.

"kanske Är jag Kär i dig", the only song title to employ his native swedish, is still in english, and the chorus, gentle inflections of "ooo's" and "ah's" only, comes between verses that contain various snippets from who-knows-what, seemingly nonsensical, stream-of-consciousness ramblings, which lekman no doubt acknowledges, "this has of course nothing to do with anything, i just get so nervous when i'm talking to you, all i think about everyday is just kissing you, you know that feeling that feels so refreshingly new," and into the chorus that actually makes the listener feel refreshed. well done jens.

"friday night at the drive-in bingo" is some of the most fun on this album. so much fun, that every time this song comes on, my fingers start snapping, my arms start moving, and my feet start stomping (because I CAN DANCE!). his singing gets faster as it goes on, and he incorporates a retro-sounding saxophone for the chorus, which melds perfectly with the story of finding some drive-in bingo, in the middle of nowhere, with, of course, old people. *sigh* if only I could live like you, jens.

eeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee

If you like him, check out these tasty links (his official website has some free tracks-"presents"-and a link to his myspace, a diary, among other amusing things):
http://jenslekman.com/
http://www.mapleleaves.se/lyrics.htm
Jens Lekman Strips Down for the Interface

Brett Dennen | Hope for the Hopeless

I just did a listen-through of this, and I don't think I'll be giving it much more attention. This album is BORING. I'm a big fan of "Ain't No Reason," and a fan of "There is So Much More," and overall, I liked his last album; it was nice to have in the background when I was cleaning the apartment, or putting together an office chair, or chatting with a friend. Dennen's never really made in-your-face, tug-at-the-heartstrings music, so I'm sure no one expects that here. But while his previous efforts exhibited some style (often compared to early John Mayer, although I don't think he's talented enough for that), this album is, ultimately, monotonous drivel. Nothing on this album seems to be of any consequence; there's nothing major happening, just half-hearted musings and reflections on politics and relationships, the usual. It's very baseline, lyrically and musically. The backing music is empty, with only a few instruments providing repetitive lines. Like many of you, I'm sure, I was excited about the album when I heard "Ain't Gonna Lose You" on Grey's Anatomy. Well, while that song-the last on the album-starts strong, and offers the most emotionalism of any track on the disc, Dennen eventually repeats "I ain't gonna lose you" 48 times, and that's the majority of the song, and that's it. Despite this, it's still the best song on the album.

Rachael Yamagata | Elephants / Teeth Sinking Into Heart

Yamagata seems to be a real artist who doesn't seem to consider commercial viability as her first priority. She recently released a double album, the first disc which is entitled Elephants, the second, Teeth Sinking Into Heart.

Her first solo album Happenstance had the piano, strings, and guitar, along with the hooks and choruses. It was ultimately a pop album, but had an unmistakable "mature" sound to it; she carved a niche for herself in the adult alternative realm, as well as the pop realm, through the use of affective lyrics over catchy tunes that blurred the line between rock and traditional singer-songwriter material. I feel sorry for the people who have never heard of Yamagata, because that album was so damn good.

Elephants is slow, soft and relatively quiet. It's composed of Yamagata's smokey vocals, acoustic guitar, piano, and a lot of strings. Most of Elephants is like Yamagata's airy voice, breathed out as a wisp of smoke that gently wafts through the air, shaped by the slight vibrations from a slowly-beating heart.

Teeth Sinking Into Heart is its antithesis. Electric guitars, drums, and a more forced voice leaves Rachael's mouth. Like a heart that's been ripped out; still warm. Raw.

Yamagata plays the piano and/or acoustic guitar on every track, and she arranged many of the song's string/brass/woodwind parts. She's backed by a powerhouse of talented musicians that give this album a very sophisticated and impressively orchestrated feel.

This album doesn't really fit into a mold, and is an obvious break from Yamagata's brief past. It's clear she wanted to try something different, because this effort, four years later, is very different. An experimental album. Love it or hate it. She gives you two choices, to better her odds: Elephants is the white to Teeth's black. The quiet to the loud. An elephant to a tiger.

I should mention that "Duet" is a song she did with Ray Lamontagne, and it's pretty good. Also, the entire first disc may be mostly quiet, but it certainly has its moments; she never lets the music become stagnant. Above all, I must stress one thing: the brilliance of the opening and title track, Elephants. This was immediately, and remains, one of my favorite songs that I've heard in a very long time. It floors me. It is incredibly heavy, genuine, and poignant. It is Yamagata at her absolute best. The rest of the album has flashes of its brilliance but ultimately cannot (how could it) live up. If you're on the fence, listen to some samples, or honestly just buy this one song.

http://www.rachaelyamagata.com/
http://www.myspace.com/rachaelyamagata

Kings of Leon | Only By The Night

These guys strike an enjoyable balance between cerebral songwriting and catchy, energetic, rock-pop. Bloc Party meets TV On the Radio meets The Killers.

This is probably my favorite album by them. This is the culmination of a band that has consistently evolved over the last four albums, and consistently improved.

They have slowly replaced a relatively raw, harsh sound for a more polished, deeper, and yes, more commercially accessible and viable sound. They've been huge in Europe, and they're getting huge in the U.S.

I have been listening to a lot of quiet, slow, contemplative stuff in recent months, and this has taken a much-needed role in giving my speakers the workout that they sometimes need. I cannot listen to this album loudly enough!

They show some real passion in their songs (and their videos), and they create some of the best rock melodies I've heard in a long time. Followill's (Caleb's--they're all Followills) voice is unique, and pretty awesome--it opens up so much on the high notes. I found myself noticing the drummer, the bassist, and the guitarist as well, more so than I usually do with this kind of music. The rhythms and individual parts are not simple, and it adds a lot of depth to their music (listen to the opener, "Closer," for the best example).

What really sold me on this album is the closing track, Cold Desert, in which the band does something I almost never hear with a rock band. Listen, you'll see.

Key tracks: Sex on Fire, Use Somebody, Revelry, and Cold Desert.

Turn it Up.

Leona Naess | Thirteens

Meet miss Leona Naess. Five years to the day after her eponymous 2003 release, this English/American songwriter graced upon the world Thirteens, the culmination of the thirteen lo-fi albums she recorded since her last.

I bought this album, which was released September 16th, on the heels of two let-downs I'd bought the week prior, so I was hoping for something substantial. I was not disappointed: from the first track, I knew this girl was for real. I've been listening to a lot of female artists lately, and unfortunately too many of their sophomore efforts have been over-produced, unoriginal radio-pop crap.

Naess is anything but! What's so wonderful about her is (at least) threefold: 1. her variety; 2. her voice; and 3. her songwriting. Now, I should say that this is the only album of her four that I've heard yet; I do intend on getting the rest but I can't compare to her earlier releases--maybe that's a good thing? So. On this album, the variety is superb! The first track starts softly then moves gently, the second ends in a chorus of her screaming friends (a unique inclusion that turns off some, but lighten up people--it's fun, and that's the point), and the rest of the album is fairly chill, laid-back folk/pop--varying from fun and upbeat to soft and slow.

Acoustic guitar and/or piano provides a backing throughout, with bits of light percussion, mandolin, and strings. Fairly stripped-down, nothing is over-done. And that's for the best: at the end of "Learning As We Go" somewhat of a cacophany (for her) seems like just a bit too much going on. She and her beautiful voice (reminded me of early Feist only a little lower), which she manipulates ever so subtly to sound slightly different in each song, sounds purest with less going on. With the exception, perhaps, of the first track.

"Ghosts in the Attic," "Heavy Like Sunday," and "On My Mind" are absolutely my favorite tracks. Having these songs in my head all day for a week made me think about how well they're written, and how Leona Naess has brought back the lost art form of analogy and metaphor. Seriously, I've had enough of the same old "ooh, I want you," "oh no, I lost you," and "I need you but am too proud to admit it," etc. etc. "singer-songwriter" repetitive blather. Naess (with the help of her bandmate/producer Sam Dixon on most) writes real, poetic songs, that, if you listen closely enough, might make you think. Being open to interpretation might make you enjoy it that much more if you're into that kind of thing ;-)

She is touring this fall with Ray Lamontagne!

Please listen:
Ghosts in the Attic
On My Mind

I love this video. So unassuming, so pure, so perfectly about the music and the story.



http://www.myspace.com/leonanaess
http://www.leonanaess.com/

Natalie Walker | Urban Angel

This is definitely one of my favorite albums so far this year. (Sure, it was released almost two years ago, but I just found it on a whim (she's very cute)).

This album is inventive. Unique. Sexy and Elegant. At times haunting. But most of all, beautiful. Her voice is soft and delicate, with a surprising range. My friends who've heard the album agree--the sound of this album is what really lends to its cohesive, perfect feel--these songs fill a lot of space with ease. It's definitely down-tempo, on the chill side; works best at night or at relaxing times.

Most comparable to Kate Havnevik, but slower and deeper. Emotionally Honest. Would probably be classified as electronic, with various samplings used in dense but sweeping orchestrations, while some songs are as simple as her voice and a guitar or a piano. Also provides a pretty good cover of "Colorblind", in a slightly higher octave, and a tiny bit faster; it's interesting to hear a woman's voice if you love the CC version.

If I had to explain why I used the word "perfect" a second ago, I'd have to say it's in Natalie's hooks. In the choruses above all else, she uses her voice to create flowing, gentle phrases that transform these songs into ethereal realms. One listen to "you are my / weak in the knees," the hook in "Rest Easy," and the emotion-laden track-with-a-message (and my personal favorite) "Circles" will make you a believer in this sleeper talent.

Her sophomore album With You is due out August 19th.

Kate Nash | Made of Bricks

Kate Nash is -also- British. She sounds like a combination of Lily Allen, Regina Spektor, and a soft-pop songstress e.g. Catherine Feeny but with a cute accent. The album starts out easy pop, goes harder, goes back down to something gentle. More than anything, her songs are FUN and CATCHY. This is a perfect summer album.

Foundations is a perfect kick-off of the album, and Mouthwash is brilliant; it puts a smile on my face every single time. Kate's biggest talent is her ability to meld clever, catchy lyrics (listeners actually take notice of her lyrics, something that may be rare in today's pop music) with her unique, adorable voice. This is one of the few albums I can remember (with the exception of Lily Allen) in which I'll be listening to a song, and a lyric will make me chuckle or smile, because it's so damn ingenious.

Nash is a pretty gifted pianist, so that provides a substantial backing to the album, but it's not pretentious, it's used perfectly lightly in most of the songs...the other few songs primarily backed by light acoustic/electric guitar. It may take a few listens to really get on board: at first I thought it was a bit over-produced, and although it is undeniably poppy, the lyrics and her inventiveness in songwriting is what shines through after repeated listens.

I grew to like almost every song quite a bit. Highlights (other than "Foundations" and "Mouthwash") are the groovy "We Get On," the poignant rocker (not an oxymoron) "Skeleton Song," "Nicest Thing" (which provides a lush change of pace and might yield some tears if you're in a vulnerable state), and the wonderfully upbeat closer "Merry Happy" which has a 'down'-beat 7-minute-long hidden track at the end (from which the album's title and cover artwork seem to be from) that sold me on Kate Nash as a legitimate talent with a knack for making pop music that actually has something different to offer...and doesn't make us miserable, not even a little bit.*
*This is a reference to High Fidelity. If you haven't seen that movie, do.

Bon Iver | For Emma, Forever Ago

This record really surprised me. I mean, what really good music has come out of Eau Claire, Wisconsin, ever? Yeah, he didn't record the album there, but that's where he's from. Justin Vernon is Bon Iver, pronounced "bohn eevair" which is french for "good winter," and apparently hiver is spelled wrong on purpose. The winter he's referring to is November-January 2006-2007, when he shacked up in an old hunting cabin of his family's in northwestern Wisconsin. He'd just broken up with his longtime band, and decided to surround himself with quiet seclusion to think, write, focus on music, and simply experience the land. His music developed into something that was entirely him at that point; he lost all the songs and journal entries he'd written when his powerbook hard drive fried, which forced him to begin anew. Over the next two-three months he wrote, in his own words, "seven songs that have succeeded to pull me through a hardened shell of myself, suprise me, entertain, impress and even heal me. They are me, and I am them, but, they sound nothing like I have ever really written before. No need to explain, I kind of understand." He describes a completely new feeling for him; a discovery.

With only himself and a collection of modest recording equipment and microphones, he recorded one of the most beautiful folk albums I've ever heard. There is a distinct feeling of sadness behind these songs, but for the most part that emotion doesn't carry over to the listener. More than anything this album has a calming effect. The music is his acoustic guitar, a bass drum, and layers of his voice. That's really about it. It may be hard to convey here what he's accomplished with so little, but first listen invariably entices the response, "that's beautiful." He sings in falsetto almost entirely throughout, and made me think immediately of Daniel G. Harmann, but the intimacy that Vernon creates is simply unparalleled. It's like David Gray's A Century Ends era, when he was recording albums in his certainly-not-soundproof apartment.

There's just something so real about this album. There's no pretense, just honesty. "All of his personal trouble, lack of perspective, heartache, longing, love, loss and guilt that had been stock piled over the course of the past six years, was suddenly purged into the form of song."* The lyrics tell the story of a man who takes time off from his life to evaluate it, and the growth that occurs because of this. In the first single, and one of the most passionate tracks on the album, "Skinny Love," Vernon wavers between regretful pleading to frustrated affirmations, and captures the feelings at the precipice: at both the end and the beginning. From

sold my cold knot
a heavy stone
sold my red horse for a venture home
to vanish on the bow--
settling slow

in "Lump Sum" to

this is not the sound of a new man or crispy realization
it's the sound of the unlocking and the lift away
your love will be
safe with me

in the album's closer "Re: Stacks"...we certainly get the feeling that he's figured something out, and that this album serves as both the catharsis (the process) and the celebration (the result).

Skinny Love.mp3

*Bon Iver on VIRB (listen to the entire album streamed)
JAGJAGUWAR

Radiohead | In Rainbows

I've decided that it's preferable to review an album after I've understood exactly how I feel about it. I say this because after my first listen of this album, on the night of January 5th (I waited to buy the album in-store), I hated it. A couple friends of mine (who'd downloaded it) had told me that it felt more like background music than anything substantial and worthy of attentive listening or excitement. I treated it as such on a drive home, listening to it straight through and never getting into it. I realize now, after listening to it more than anything else since, that this is because it wasn't what I expected at all. I suppose I expected something groundbreaking--something like I'd never heard before, since this has always been Radiohead's method. This album may not be groundbreaking in its other-worldly creativity and electronic sampling, but may be in its cohesiveness and as an exceptionally well-crafted album.

Radiohead's seventh studio album is simultaneously similar to, and very different from their previous six. This album is undeniably Radiohead, but Radiohead at a very different place musically. It's being hailed as "the best Radiohead album since Kid A," and I agree. As for the band's discography, I've always felt that their albums contain both the spectacular and the mediocre, although some obviously with more of the great than others (i.e. OK Computer and The Bends over Pablo Honey and the last two albums). Kid A was the first Radiohead album that sounded perfect in its entirety: every song flowed into the next, and the whole album felt like a wonderfully preserved memory that evoked a strong set of feelings each time. I couldn't help but crave and listen to the entire album straight through every time.

In Rainbows achieves the same synergy. That may be a reason why it is relatively easy to gloss over: it doesn't have the stark contrasts between radically different tracks, and each track sounds like it was meant to follow the one that preceded it. That being said, this album must be listened to: track by track; then you'll hear it come together. Overall, this album is much more band-centered. The musical arrangements focus much less on electronics and much more on the traditional guitars, percussion, and bass. Radiohead thus achieves an "uncomplicated beauty"* on this album that really is quite striking.

----------
What follows are my notes on this album, written about a month or so after listening to this album constantly. I was going to clean them up, but upon reading them just now, I like them the way they are; if you want to know my analysis of and thoughts on each song, take a look:

(1) 15 Step - builds...has so much energy...the low-key guitar in the background really drives the song...the bridge from 1:46-1:58 and 2:24-2:40 and the new backing sound is my favorite...with perfectly placed what-seems-like-children-celebrating...the percussion is what shines most brightly in this song, undoubtedly. being the first impression of their new album, one immediately realizes that this is more band-constructed/centered music than electronic-constructed/centered music. (this holds true throughout the album, for the most part) when it's over you're left wondering, where could this album possibly go from here?...lyric: 15 steps, then a sheer drop. tonight this song made me think of death. . .

(2) Bodysnatchers - harsher, distorted guitar, relatively basic everything (vocals, percussion)..."I've no idea what I am talking about / I'm trapped in this body and can't get out" - they do an excellent job of making you feel like you're trapped in a cage that's being shaken and yelled at by others... "has the light gone out for you? / because the light's gone out for me. / it is the 21st century..." - from 2:07 to 3:10, he takes a step back from the chaos and sees what's really happened to him; this section is what makes this song worth listening to for me. beginning of song pretty cacophonous, but 2:07 to 2:54 is a characteristically ethereal radiohead transition......you definitely (I, at least) have to be in the right mood for this song.

(3) Nude - an older song, unreleased since its conception in the ok computer era; very beautiful: slow, minimalistic, really achieved by yorke's high croon (not like the deeper mellow of Motion Picture Soundtrack, e.g.) the soft, smooth guitar line throughout is really cool. 2:45 to 3:10 is yorke at his best, a transcending solo - in which his most contemptible, or rather, most observant lyric invests all its emotional impact ("you'll go to hell for what your dirty mind is thinking"); "don't get any big ideas / they're not gonna happen." opening lines. gee, thanks guys....but you realize later that it's not a statement of fact, it's a 'motivating suggestion'....allegedly about living in a man's world, the lyrics seem to paint the picture of sexual desire and desistance, and the guilt and inadequacy that can inevitably follow. "Nude" not only physically but emotionally and spiritually/mentally as well.

(4) Weird Fishes/Arpeggi - very positive-feeling song. flowing, swirling music that acquires layers gradually throughout the entire song : percussion, bass, guitar, more guitar, vocals (with enough echo to create space) - one doesn't have a difficult time believing he's at the bottom of the sea on this one - "i'd be crazy not to follow / follow where you lead / your eyes / they turn me"..."turn me on to phantoms / i'll follow to the edge of the earth" -there is a turn in the song here. builds to its height (most layered, most moving) from 2:26 to 3:03...(rest of lyrics are pretty damn good...leaves if they get the chance, this is my chance)...down to the keyboards and guitar accompaniment, yorke alone until 3:41, when we're moving again, but in a much different direction: an almost foreboding backing vocal, dissonance created between the guitars and orchestra now, as yorke sings "i'll hit the bottom / hit the bottom and escape / escape" we realize his weariness and also a sense of finality; . . . it's as if we're sinking the whole time...following at first, taking in the weird fishes we pass on the way, and finally, the end, escaping?...

(5) All I Need - i feel like this is so obviously a favorite song candidate, because it kinda has the 'perfect song' formula. but they've pulled it off. similar to and strangely unlike anything they've ever done in its entirety. reading the lyrics without listening to the song seems so...blatantly...conforming...analogies that express one's dependence on another, while including a piece of imagery that connects the two vividly... but it's the way he sings, and most importantly, the music that creates one of the great moments i've heard in music this year. (many comparisons to Boards of Canada's "Roygbiv," and although there must be an influence, this song kills roygbiv.) the addition of the xylophone and the static is a precursor to the noise that explodes... but on the base level the song remains simple throughout. it's 2:45 to the end (esp. 3:01) that this song takes over your world; yorke, among the noise, sings through, you can feel the effort..."dressing up what begins as a skeletal rhythm section in cavernous swaths of glockenspiel, synths, pianos, and white noise."*

-two sides-i really wish i had this on vinyl, because after All I Need i feel like the next song comes much too quickly. i usually turn my cd player off for a few minutes, because i feel like i need time to bask in what i've just heard, or at least come down.

(6) Faust Arp - therefore feels like a bridge that connects the two sides of the album, although the sides are not equal other than that, not a very substantial track on its own. the orchestral arrangement is very nice, as is near the end when yorke actually starts singing.

(7) Reckoner - very satisfyingly complex beat to this one, which is amplified by the introduction of the bass at 1:28 and yorke's "you are not to blame for..." the first real change at 2:23 (the music stops...and slowly builds, amid repetitions of "because we seperate like / ripples on a blank shore" into a sweeping full-bodied orchestral backing. and back to the original movement/riff at 3:18. . .which now becomes accompanied by the orchestra, until a slow fade-out. overall, something very emotional in the lyrics that yorke sings in this one...

(8) House of Cards - starts out very simple, very feel-the-beat. This was the first song to stand out for me, because of the opening lyrics: "I don't want to be your friend / I just want to be your lover" (Yes! Thank you!) Yorke's voice is nicely echoed, over a pretty minimal guitar pick and ride&rim shot, but the choruses conjure up a set of really cool effects that provide a lot of depth and weight to his "denial, denial" lamentations.

(9) Jigsaw Falling into Place - this song is awesome. it moves so well. the only narrative on the album, in a way. quick guitar riff opens, to a driving force of a beat. yorke intros some backing vocals which repeat, and then the story begins (of course, his lower speaking-like voice) "dance, dance, dance," change at 2:53--lighter guitars....about being in a danceclub at night, meeting someone, and the excitement and euphoria that can be felt losing oneself in the music and the dancing...the chance encounters that happen seem to be jigsaws falling into place...

(10) Videotape - videotape has been a disappointment to many, myself included, since It doesn't really go anywhere; the 4-note piano measure repeats the same throughout the entire song, which is somewhat relaxing in its wind-down but ultimately uninteresting. but truthfully it's a pretty perfect end to this album. it's very clear from its beginning that it's the last song of the album and it would never work any other way; the lyrics are actually pretty profound, although the repetition of the word "videotape" gets a little annoying. it winds down, reminiscent of Motion Picture Soundtrack... but it doesn't take that long, and there's no mind-blowing hidden track; it's pretty deliberate, like they hold no illusions about how straightforward this album is. in so doing, they've basically created the requirement that you start listening to the album again.

*Pitchfork's review.

Keren Ann | Self-Titled

Keren Ann Zeidel's self-titled fifth studio album (third in English) is, if you've never heard her, something new. If you're looking for something a little deeper, varied, and against the norm...look no further. Basically Zeidel oscillates between and incorporates elements of a contemporary Mazzy Star (a la So Tonight That I Might See), an unassuming under-the-radar folk-pop princess, and a guitar-playing chanteuse. The result is an entirely unique sound: one that changes from song to song but remains undeniably her. As Q Magazine (7/01/07) stated, the album "remains resolutely unconcerned with commercial clutter. Its nine songs are introspective and exclusively indifferent to anything outside its own self-created world."

For some reason, this album sucks you into that world; it is essential to listen to the album straight through, because the songs move you from one feeling to another, like stops along a journey through an emotional and imagerial dream. In the first two tracks, I felt like I was trapped in a dark cell, then released into a sun-lit, breezy garden with a view of the sea. She takes you sailing, down a slummy alleyway, into a cabaret, and floating across the sea (in a song that reminds me very much of Moby's "God Moving Over the Face of the Waters"), then reflects on it in a fun and completely carefree epilogue...all in 43 minutes.

Her voice is smokey, laden with a distinct flavor of complexity (in its variations between hopeless depression and euphoria), but also pronouncedly delicate. The instrumentation is somewhat minimal, but very diverse, ranging from typical rock-band elements, to backing orchestral and choral arrangments, beautiful piano, and even some twangy guitar (reminiscent of Nancy Sinatra's "Bang Bang," e.g.). A common criticism that I hear of many bands is that "all their songs sound the same;" well, my feelings on that statement notwithstanding, none of these songs (even her voice in each one) sound alike.

I recommend this album highly, especially since it's best experienced as a whole. Check out the tracks on her myspace, especially the album's first single "Lay Your Head Down," and a video of my favorite track from the album, "The Harder Ships of the World" (it's not an official video, but you get to hear the song).

Band of Horses | Cease to Begin

The opening track of Band of Horses' new release, "Is There a Ghost," was one of the few tracks that I actively sought out after hearing it on the radio. I was immediately hooked on this band's sound, a sound that was familiar but entirely new.

Band of Horses was formed by Ben Bridwell and Mat Brooke in 2004 Seattle. They're currently signed to Sub Pop Records, a Seattle-based independent label which also manages The Shins, Iron & Wine, and The Postal Service. BoH started out opening for Iron & Wine, and on the cusp of their October 2007 release they started playing their own, packed, giant shows.

Their popularity is merited. Cease to Begin is a notable improvement upon their debut Everything All the Time: It is more straightforward, more refined, more likeable. Lead singer Bridwell's voice had me confused upon first listen, thinking I was hearing a new MMJ track, as his voice is sometimes identical to Jim James's (especially in the reverb-soaked stuff James is so well-known for), only less dark and more pop-friendly. They sound like an amalgamation of My Morning Jacket, The Shins, and a little Coldplay. Their myspace bio claimes that "Band of Horses' woodsy, dreamy songs ooze with amorphous tension, longing and hope," and this is very true.

"Is There a Ghost," beginning with slow anticipation, builds into some powerful stuff, while the next three are very beautiful indie-pop songs about loss that are ironically optimistic. I've gotten into the habit of listening only to the first four songs--which are undoubtedly the strongest--but the rest of the album is quite good. The twangier "The General Specific" and the more upbeat "Island on the Coast" would fit perfectly on a Shins album, while "Marry Song" suggests an attempt at singer-songwriter-ism (MMJ, I&W), but suffers from being too repetitive and not seemingly heartfelt. "Cigarettes Wedding Bands" is another rocker, which sports a catchy chorus, and the closer "Windows Blues" is another slow song, which works much better, since they don't play around with harmonies which allows Bridwell's voice to shine through. It's a quick listen, at only 35 minutes, but it's definitely repeat-friendly.

Download "Is There a Ghost" and listen to "No One's Gonna Love You" at their myspace.

Sigur Rós | Hvarf / Heim

Everyone seems to be wondering about Sigur Rós's new release. This double EP, released 11/06/07 is a separate companion to their first live film, Heima, which was released today in North America. Although this collection (11 tracks, two discs, 72 minutes total) doesn't have any new material, most of it hasn't been released before. Hvarf is a collection of studio-recorded rarities, and Heim is a collection of live acoustic favorites. I found the selections on Hvarf to be somewhat repetitive in their sound, although the remake of Von (from their debut) is pretty good. The live material really makes this cd worth buying, however; if you're a fan of Sigur Rós and you haven't seen them live, this is an essential buy. Hearing their material live proves their musical talent: without the help of synthesizers and everything else they still make incredibly beautiful music. These stripped-down versions also confirm the delicacy of their sound, that is, their ability to create emotion-evoking moments without their characteristic 'noise.' The recording quality is perfect, and the familiar songs chosen for Heim take on a new life.

Sigur Rós's official website on the new EP & DVD, including full descriptions of each song:
Hvarf-Heim CD
Heima DVD

Cat Power | The Covers Record

Since falling in love with The Greatest, I've found it difficult to really enjoy her earlier albums. It seemed to me that they were more avenues for her own catharsis than adequate representations of her talent. The focus-being completely independent the first two albums, and on a rather small label up until her newest release-did not seem to be primarily on the music: her lyricism was good-at times astounding-but her musicianship was only moderately interesting and her voice did not sound like it does today. Although there are a few gems in her back catalogue that truly shine, most of the songs are too raw, hard, or unpolished to create a pleasant listening experience (they seem to work on some level in the background, or if you're really down, but they're difficult to love). The nature of her (past) music makes sense, considering her battles with alcoholism and depression. Here's a relatively recent NY Times article and video in which she explains some personal things.

After taking a couple years off from music after her 1996 album What Would the Community Think, she released a collection of covers she'd played on the road between 1998 and 1999. It's very interesting how much different the sound of this record is from her prior releases, and even You Are Free, which came out three years later. Perhaps the main difference is that there is no evidence of any other musicians: it's only Chan. She mostly plays her guitar, sometimes the piano, which allows her gentle, smokey voice to be heard as it should without detracting from its almost unnverving intimacy. She covers The Rolling Stones (I don't know if I've ever heard a more radically satisfying cover of a song than her version of "(I Can't Get No) Satisfaction"), Lou Reed, her (ex?) boyfriend Bill Callahan of Smog, and even herself, transforming each song into something nobody else ever could. The most similar song on The Greatest would have to be "Where is My Love," but somehow the songs on this album each have a weighty significance, like she inspected each of them with her heart and expects us to (i.e. knows we will) do the same. Chan's "Wild is the Wind" is perhaps the most hauntingly poignant, soul-piercing song I've ever heard. I absolutely love this album. It is a supremely satisfying listen straight through, and is best suited for listening at night, with quiet stillness, disturbed only by Chan's hauntingly beautiful voice.

Look for a song in my upcoming mix.

A Fine Frenzy

A Fine Frenzy has been getting pretty popular recently in the mainstream circle. If you haven't heard of her, Alison Sudol is a 22-year-old self-taught pianist/chanteuse. She's quite talented on the keys and her voice is capable and beautiful. I got the album after hearing "Almost Lover," and liked it upon first listen while playing Scrabble, especially the last track "Borrowed Time." But after I listened to it more closely, I have to say I started to cringe at how cheesy this album is. Allegedly her lyrics are based on a number of fantasy works she's read growing up, so it seems appropriate that this album sounds like a four-year-old's cup of tea. The album's backing orchestral arrangements add to its fantastic feel, and it's exceptionally produced, but this just results in a sound that is way too over the top, like a G-rated computer-animated Disney film. I would like to hear her stripped down, just her and her piano, with some more heartfelt lyrics, rather than these bedtime stories.

David Gray Releases Covers Album

David Gray just released his new greatest hits album, which has two new tracks on it including his current single, "The World to Me," available only on iTunes.

But big fans who already have all his albums will be happy to know that he also just released a live album full of covers on his website. I've been listening to it a lot, and it's very good. All the tracks are pretty low-key, most of them just David and his guitar, some backed by Clune and his band. It seems that this is a collection of the covers that Gray plays for a little change-of-pace at his live shows. The sound of the crowds suggests smaller arenas (which is really all he plays anyway--relative to most musicians of his popularity), and contributes to the intimate feel of these songs.

I've always thought of David Gray as my generation's Bob Dylan, because I consider him the best lyricist since Dylan (if you don't believe me, listen to/read his earlier albums especially). It's fitting, then, that this album's title is named after Bob Dylan's song "One Too Many Mornings." It's also very interesting to see what Gray's influences are, at least to the extent that he covers these artists (three by Dylan and two by Springsteen, among various others).

Download the album here on his website's store.

We Are the Pipettes

Being attractive definitely helps in the music business, for better or worse. I checked out this new girl group because I saw their pictures in one of my latest issues of Spin, which had all these accolades littered around their polka-dot dresses and sexy poses. Good decision! (This wasn't the first time I've found a musician I've liked based on their looks, but hey, you've got to sort through all the music out there somehow, right?)

Anyway The Pipettes are Riot Becki, Gwenno, and Rosay. They are backed by a four-piece band called The Casettes, and hail from the UK. Unfortunately I won't be able to see them in Chicago in a couple weeks, but if you have the chance I hear they put on quite the show, complete with coordinated outfits and dance moves.

Okay, their music. Apparently these girls (who write, sing, and switch off on the keyboards) / the band (led and managed by the guitarist Monster Bobby) thought that the music scene in the UK the last few years sucked (I wonder if the local radios over there are any worse than most of the garbage on ours...), and when Bobby was DJing / promoting all over the place he realized that whenever he put on 60's girl band records people just started dancing, and reacted more enthusiastically than with all the other stuff that he'd play. So they came up with the idea of going back to that sound and putting a modern spin on it. They wanted to go back to a time before the Beatles changed everything.

"We Are the Pipettes is a modern indie pop album, and a classic one at that," raves Pitchfork. The U.S. version of the album (the yellow cover) has two additional songs and has been completely remixed so the tracks sound cleaner. It's a short album, with an average track length of about 2:30, but it's a really fun album to listen to, and the variety throughout is surprising. I suppose with music like this the only drawback would be getting sick of it, but the songs are so damn catchy that they'll be in your head for weeks. The songs' subjects suggest that these girls are very confident, and like Lily Allen show their independence and their disdain for clingy guys, as well as their somewhat insatiable sexuality..."Pull Shapes" is definitely my favorite track, because it just makes you want to dance and be happy (I just want to move / I don't care what the song's about)-and who the hell knows what it means to "pull shapes" anyway? Also check out "Judy," "Because It's Not Love" and the rest, streamed at their official website. This is very fresh, inventive stuff that fills a much-needed niche in one's listening repertoire.

Kate Havnevik - Melankton

If you don't know her already, I'm sure you'll recognize her if you've ever watched Grey's Anatomy. Upon my first listen of this album, I immediately likened her to Imogen Heap and her electronica sound. As it turns out, Havnevik and Heap are friends, and Kate worked with producer Guy Sigsworth, the other half of Frou Frou, and a producer with Madonna and Björk under his belt. But Havnevik has a distinct sound, setting her apart from the rest of the electronica songstresses.

Kate Havnevik is a Norwegian musician who describes Melankton, her first major U.S. release, as a "dramatic, beautiful and euphoric"--I might add, hypnotic--record. She was trained as a classical musician, and I'd have to say that much of the beauty on this record comes from the elaborate orchestral arrangments that back most of the songs. For enlightenment's sake, I'll compare her to Imogen: whereas "Immi" uses a lot more electronic samplings and much more voice manipulation to create light and catchy pop tunes (mostly-we cannot forget her hauntingly beautiful Hide and Seek), Havnevik leaves her voice as-is for the most part, and uses it over longer phrases and heavier, more flowing orchestral mixes. Perhaps the weak point of the album is that her voice tends to sound the same throughout, but it undeniably works on a few standout tracks, such as "Nowhere Warm," "You Again," and the finale "New Day," which is an incredible mixed track suggesting the influence of her part-time vocal borrowers Röyksopp and sounds like a combination of Dntel and Björk. Interestingly enough, Kate is supposedly in the studio working on an acoustic album. If that is as successful as this project, this girl's got major talent.

http://www.myspace.com/katehavnevik

"Alright, Still" ...by Lily Allen

By now I'm sure you've heard of this wit of a Brit. So this review is late on two accounts: it's the perfect summer album. But better late than never.

I was introduced to Lily Allen by her "Smile" single and video which made me chuckle a little, and of course ogle at this adorable vixen. But she's got much more than a cute countenance: the hype around her is actually well-founded, for a change.

Allen has composed (well, I'm not sure how much of that she did, but anyway) a pretty brilliant pop record. She infuses pop, R&B, and hip hop, creating an album that is both fun to listen to and perpetually fresh--i.e. it doesn't get old. Maybe that's because of the variety on the album; I played it start to finish countless times over the summer, because I like each track a lot, and they're all so damn catchy.

LDN is my favorite track, a satirical take on the pleasantries of Allen's hometown of London...which simultaneously shows off Allen's talent for rhyming and coming up with uplifting pop hooks and choruses. In fact, a lot of this album comes across as rather ironic, in its sordid subject matter but pleasant backing melodies.

The subject matter of this album is somewhat bitter, mostly disappointed and angry (i.e. downright mean), and occasionally regretful, centering mostly on failed relationships with inadequate men, and also people who aren't as good as Lily. She's got a big, cocky, forward personality, but she's cute, smart, and talented. And she doesn't give a shit what anyone thinks. You love her or you hate her, apparently, taking into account the attention she's garnered from the media.


But it's gotta be impossible to hate her music. Sure, she continuously comes up with increasingly creative ways to deny and denigrate men, but her wit is so sharp you can't help but appreciate it, or at least laugh and sing along. Her music is so fresh and addicting that it appeals to people who like all sorts of music, which is why, if you haven't already, you should give her a listen.

Try out LDN, Everything's Just Wonderful, and Littlest Things streamed at her official website or her myspace page.

Bloc Party's "A Weekend in the City"

Have you ever listened to a song or an album in which the lyrics seemed to define your life perfectly at that moment? This album is that for me right now.

This British foursome had to follow up on a huge debut success. Silent Alarm broke genre barriers, strengthened the argument that European, specifically British-born music is better than American music, and opened discussion about Bloc Party's potential as the next great rock band. Their first album was innovative, smart, catchy pop-rock that was as fresh as it was influenced.

The second album has a lot of the same elements as their first, but it has a distinctly different sound overall. Kele, the lead singer, has said that in this album they tried to capture the various happenings and feelings of the city, which they've accomplished pretty well (if the music doesn't make you feel like you're in the business of a city, read the lyrics). But in general, the album is much darker in subject, a little less varied in sound, but pretty damn good in its completed composition (they do have a new producer...).

The album kicks off with the beat-driven "Song for Clay," which starts soft and ends in a cacophony. It gets the album off to a good start, and serves as an adequate transition from their last album; I like playing this song when starting a night out. "Hunting for Witches" incorporates mixed up radio and noise samples, along with a repetitive and loud chorus, which gets annoying quickly; this seems to be one of the emptiest tracks on the album. "Waiting For The 7:18" has some pretty touching lyrics about looking back, characterized by chimes, a cool drum beat, and full choruses, but bores me a little simply because the songs at this point have all begun slow/soft and eneded fast/loud.

"The Prayer," their first UK single, is one of the fastest songs on the album. It is reminiscent of "Banquet," with a less melodic verse structure, but with a sweeping chorus that almost saves the song from its less-than-genius verses and almost cringe-worthy bridges.

The fifth track, "Uniform," made me think of Coldplay's X&Y. Here's why: after a few listens of Coldplay's third release, I began to realize that all the songs on the album followed a formula, which goes like this: start slow, build up to a fast/loud/emotional middle, and end slow. I call it the X&Y formula (how clever!). It made me lose a lot of respect for Coldplay, although I have to admit it does work in some songs awfully well, such as "Fix You." But here, "Uniform" follows that pattern, which makes it so predictable! And Bloc Party were never predictable. I still kind of like the song though, so they're not all that bad at it.

Finally, Kele allows his vocals to shine through on the sixth track, "On," which, although the lyrics are less-than-enchanting, the music complements the vocals very well, and sounds more like the Bloc Party most people really seemed to like. Still not one of their stronger tracks, though.

"Where is Home?" is another disappointing track, and everytime I listen to this album now, I skip over it, simply because of the first minute or so. Kele's voice is distorted to a higher...screech almost, with ghoulish croonings hauntingly voiced in the background; clearly a mood is trying to be evoked in this song, but I don't care--it's not fun to listen to. Granted the chorus is kind of cool (this is Bloc Party), but the rest, and the "guitar solo" at the end ruins it.

The last four tracks of this album are why I would ever rate this album moderately high; I love the last four tracks. Despite my somewhat dismal reviews of the preceding tracks, here's the thing about this album: it's much better when listened to front to back than it is when listened to in bits and pieces. It's as if the album follows the day, with the first track representing the morning and the last representing the night. The first track looks back on his life and wonders what if, and if given another chance, what he'd do over...then he's waiting for the bus and asserting his "unstoppable" will, after which he eventually comes down and looks back again, then perhaps makes a conclusion about his life, or at least becomes honest with himself about it.

"Kreuzberg" is where he makes a decision:

"I have decided at 25
That something must change..."

And ruminates over his meaningless social interactions and the loneliness that results:

"After sex the bitter taste
Been fooled again, the search continues
Concerned mothers of the west,
Teach your sons, how to truly love."

For me, this is my favorite type of Bloc Party's music, the "Blue Light," "This Modern Love," and "So Here We Are" Bloc Party--the softer, more melodic, lyric-based stuff. This is where their strengths really shine, in my opinion. Kele really sounds like he's figuring it out in this song, and we begin to feel a shift in the music's mood.

"I Still Remember" is an extension of this mood, lyrically at least. The words focus on regrets about a lost love, but the tempo and the instrumentation are paradoxically upbeat; perhaps, despite the regrets, there lies an optimism.

"Sunday" offers a promise to love her in the morning, after all the shit's that happened. Yeah, there are a lot of things going on that suck, and we've definitely made some mistakes, but when we're together everything can be okay. That's basically the message; the song is very layered, with a good melody under Kele's vocals. After the last, and most important verse,

When I'm with you, I am calm
A pearl in your oyster
Head on my chest a silent smile
A private kind of happiness
You see giant proclamations
Are all very well
But our love is louder than words

The guitar cranks up out of nothing, creating quite the moment and really driving home the passion of his love.

"SRXT" is my favorite song on the album. Although the subject is the most morose of all the tracks--he's basically talking about killing himself the whole time, or at least the death of a phase of his life--it presents the best moment on the entire album.

I've always debated with myself whether the best music is made up of almost transcendent moments that take your breath away, or just really good consistency (that's harder to explain). For example, I love the song "Ants Marching" by DMB, but there isn't really a particular moment that takes hold of me, I just love the whole song, and become energetic and happy when I listen to it. But there's a certain pluck of the guitar in "Untitled #4" that gets me every time, and this song has a similar moment.

The whole song builds up to it; he's talking about how he was telling his friend how he's drowning in his sorrows, recounting memories and the reasons why he's sad and discouraged. Then the band stops, and at 3:01, up comes the guitar into an explosion of the band's full power....

Suddenly, the rest of the album makes sense.