Emilie Simon Live À L'Olympia

Just a short post tonight friends.

Emilie Simon is an absolutely amazing French singer/electronic musician. Unlike many electronic artists, she is as good, if not better, live than on her fantastic albums. Some YouTube saint has posted her entire 2006 concert at the Paris Olympia in several parts. I have posted them after the jump for convenient viewing.

If you love Bjørk, don't miss Emilie Simon, they have a lot of similar characteristics both vocally and in their layered, multi-insturmental music. In this show, Simon has enlisted a huge range of musicians to create the range of sounds seen on her albums. Watching them perform on everything from cellos to theramin to power tools is fascinating.

Plus she's cute as a button.

And thank you "snakewall."


"Dame de lotus"
"Fleur de saison"


"Rose hybride de thé"
"In the lake"


"Sweet blossom"
"Annie"


"Swimming"


"Opium"
"Le vieil amant"


"Ice girl"
"All is white"


"I wanna be your dog"


"Never fall in love"
"Désert"


"Alicia"
"En cendres"


"My old friend"


"Graines d’étoiles"
"Flowers"


"Come as you are"


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REVIEW: "This Was"

Jethro Tull
This Was
© 1968 Island

Jethro Tull’s music is known primarily for their incorporation of folk and traditional elements and the use of the flute by lead singer Ian Anderson. Their two most renowned albums, Aqualung and particularly Thick as a Brick are grand, prog affairs packed with concepts and musical experimentation. However, their beginning—seen here on their debut, This Was—was as a very different band.

This Was, for all it’s little flourishes, is ultimately a fairly straight-forward blues-rock affair. The folk elements and progressive concepts of later works are non-existent. In large part, this is due to the influence of Mick Abrahams, the band’s original guitarist who, wrote many of the album’s songs along with Anderson. After this album, he left the band due to creative differences and Anderson would never share songwriting credit again.

“Beggar’s Farm” (no video)


While the album is largely by-the-numbers, there is, nonetheless, a fair amount of promise shown. The vocals possess a dirty, ragged quality that works well, Abrahams’ aggressive guitar work is highly competent, and the heavy incorporation of the flute—though Anderson’s skills were somewhat more primitive at the time—is as unique an element in the blues-rock field as it would be in the prog-rock world.

“Serenade to a Cookoo” (no video)


The real question, however, is not whether this was a successful debut. Like Bowie’s David Bowie, it was—regardless of quality—enough to get the band a second album—Stand Up—which more accurately forecasted the sound of the band. The question is if the album still has relevance today. Unlike Bowie’s debut, which—for all its flaws—presented some of the chimerical quality and wit Bowie fans love, there is nearly nothing of the Jethro Tull of Aqualung on This Was.

“Dharma for One” (no video)


This makes it difficult to recommend the album in relation to Tull’s other works. It is almost better to think of this as an album by a different band altogether; the departure of Abrahams makes this interpretation quite accurate. No, an appreciation for Tull is not the accurate meter for this album, but rather an appreciation for blues-rock.

“A Song For Jeffrey” (fan video)


RECCOMENEDED IF… you enjoy bands such as Cream, The Yardbirds, and even early Led Zeppelin and Rolling Stones. Fans and haters alike of Tull’s later work may appreciate this album on it’s own merits, or they may not; This Was is not the Tull they would have pre-conceived opinions of.

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REVIEW: Third

Portishead
Third
© 2008 Island Records

I don’t know about you, but Portishead’s Dummy and Portishead were two of my top high-school albums. So I was disappointed when, apart from the release of their phenomenial live album Roseland NYC Live, the band’s hiatus stretched on and on. I had long since given up hope when I caught wind of the release of the band’s follow up album Third. I wasted no time in getting my hands on it, but tried to not have any illusions; few bands have ever returned after so many years of silence without major change. I am glad that I had prepared myself.

Their first two albums were marked by a blend of smoky, torch-singer vocals, turntablism, and warm, shadowy trip-hop that drew heavily on jazz and R&B. Singer Beth Gibbons’ distinctive voice was the centerpiece to their sound, giving life to tragic lyrics that often bordered on the surreal.

“Only You” off of Portishead


Third is a very different album. Evidently unconstrained by their past releases, the band forged into new avenues, allowing for something new rather than simply a thing for patient fans. The biggest change is the loss of most of the jazz stylings. Instead, Third makes heavy use of a blend of harsh mechanical noise and indie-folk elements. The role of Gibbons’ voice—which has acquired a quieter, more delicate character over the years—has been shifted to more a part of the music. The result is less trip-hop and more of an experimental indie-electonic feel like múm’s Go Go Smear the Poison Ivy or Bjørk’s Volta.

The album contains a wide range of sound, from the harsh to the mellow and is well represented by its three singles, “Machine Gun,” “The Rip,” and “Magic Doors”

“The Rip” is one of the harshest songs on the album, with simple, shatteringly distorted percussion and fragile vocals that weave through the noise. The sound may be new, but the bleak, yet provocative darkness of the song is pure Portishead,

“Machine Gun”


“The Rip” will be more familiar to Portishead fans as it gives considerable focus to the vocals and, while the music uses a folk—rather than jazz—base, it displays many of the elements of the classic Portishead sound.

“The Rip”


“Magic Doors” is, in some ways, a midpoint between “The Rip” and “Machine Gun.” While featuring the heavy percussion of “Machine Gun,” it tempers it with a softer sound and a rising presence of atmospherics, piano, and horns.

“Magic Doors” (no video)


With Third, Portishead have managed to do something very few bands are able to do: reinvent themselves without loosing their identity. While the differences between the Portishead of 1998 and that of 2008 may be jarring at first, further listening reveals more and more connective threads, more familiar themes. We can only hope that this is a true return for the band. I would love to see where they go next.

STRONGLY RECCOMENDED IF… you enjoy contemporary electronica. Those nostalgic for 90s Trip-Hop may be initially disappointed, but are encouraged to give Third a second listen; this is one of those albums that really grows on you. (Similarly, those who are i unfamiliar with the band’s earlier work may find going back through the catalog odd as well.)

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REVIEW: "Even In Darkness"

The Dungeon Family
Even In Darkness
© 2001 Arista Records

Atlanta-based Hip-Hop collective The Dungeon Family includes some of the city’s heaviest hitters, such as Outkast and Goodie Mob (extending to Cee-Lo as a solo artist), and are noted for blending strong elements of soul, funk, and R&B into their music. In 2001—possibly spurred by the success of Outkast’s Stankonia—The Dungeon Family came together for their first and only collaborative album Even In Darkness. The result not only contains some hot tracks, but provides an interesting snapshot of the Atlanta Hip-Hop scene at the time.

Including at least twenty-one individual artists, from Bubba Sparxxx to Andre 3000, the album packs a lot into its fifty-eight minutes. Most songs feature several MCs—up to nine on “Six Minutes (Dungeon Family It's On)”—with most of them getting at least a verse in. It is a true testament to the skill of producers Organized Noise and Earthtone III that the album not only avoids becoming a complete mess, but provides some genuinely entertaining tracks.

Doubtless, the showpiece of the album is the “Trans DF Express.” Featuring some of the Family’s biggest talents, as well as some of the biggest beats, what the album lacks in originality it makes up for in sexy hooks and lyrics that are far cleverer than the typical party-type song.

“Trans DF Express” (feat Cee-Lo, Andre 3000, Big Gipp, Backbone, Big Boi)


Musically, one of the most notable tracks is “Crooked Booty” a dance-song a lá Digital Underground’s "The Humpty Dance." The song uses a bouncing, syncopated beat and sci-fi FX that illicit dancing as silly as that described in the song.

“Crooked Booty” (no video) (feat. Cee-Lo, Andre 3000, Sleepy Brown, Khujo Goodie)


Which brings me to a good point: In general, this album is strongest where it is clear that the artists are enjoying themselves. The album contains a lot of the wit tongue-in-cheek humor associated with many of the component artists and it serves the album well.

Not every song demonstrates this and these tracks often falter under the lack of a clear voice. For example, “They Comin’…” is fairly straightforward, both musically and lyrically, with a fairly general anti-authority message. It is nothing we haven’t heard before and comes across as redundant and derivative.

“They Comin’…” (no video) (feat. T-Mo, Khujo Goodie)


That is not to say that every serious song fails. The notable exception is the dirge-like “Excalibur.” Where “They comin’…” faltered under somewhat derivative message, “Excalibur” bypasses this through the use of stream-of-consciousness style rhymes, allowing each of the four featured MCs to flex their muscles and show their strenghts.

“Excalibur” (no lyrics) (feat. Big Gipp, Big Rube, Khujo Goodie, Cee-Lo)


Albums by super-groups and collectives are always a crapshoot. For every Cream or Wu-Tang Clan, whose whole is greater than its parts, there are several who fail to cohere into anything meaningful. While the talent of the artists may be evident, the result fails to use that in any notable way. As the only unified album from The Dungeon Family Even in Darkness falls closer to the later, though it is well produced and frequently entertaining, nothing new is brought into play by any of the component members and the album as a whole comes across more as a sampler. But it is a very good sampler; the talent is strong and a few excellent songs make this album worth a look for any Hip-Hop fan.

RECCOMENDED IF… you are interested in Southern Hip-Hop. The strong presence of the widely appreciated Cee-Lo and Outkast help make this a very accessible album; it is an excellent place to start learning more about the scene. Those who already have a strong representation of Dungeon Family members in their collection should give the album a preview listen, while they may not find much new, it is a surprisingly tight, fun album..

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Kid Metropolis: The Synchronicity of Radiohead's Kid A and Fritz Lang's Metropolis

I’m sure I’m not the only person to have discovered this but, back in 2001, in a fit of boredom, I made an exciting discovery: Radiohead’s “Kid A” makes a phenomenal soundtrack to Fritz Lang’s 1927 silent Science Fiction masterpiece Metropolis.

While at times, particularly later in the album, the mood of the song does not always match the scene exactly, there is an incredible amount of synchronicity. To share this, I have uploaded it to youtube to share with all of you. The following footage/audio is unaltered (though I have started the audio a few seconds after the movie) and cut at the ends of the tracks, so any periods of silence are as represented on the album. Also, this is the unrestored version of the film.

Part 1: “Everything In Its Right Place”

The opening track coincides with the opening credits, expressionistic imagery, and the changing of the shifts of workers and trails to silence as we see the worker’s city.
I love the way the lyrics synch with the expositional text:
Far away from them.
Everything…
High in the heavens.
In its right place
The sun. Life……
In its right place

Part 2: “Kid A”

The quiet, dreamlike air of the first part of song laid over both the workers returning home and the wealthy frolicking only emphasizes the disparity in class, particularly when the drums kick in. And the way the song cuts to almost nothing at the moment Maria and Freder make eye contact is perfect.

Part 3: “The National Anthem”

Freder takes action at the moment the song, the first truly intense sounding piece on the album, kicks in. As he watches the horrors of the workers city, the distorted horns and increasingly frantic noise intensify as he hallucinates his nightmare vision of the devil swallowing the laborers. Even as the vision fades, the music falls into greater chaos; Freder’s world has been shattered.

Part 4: “How to Disappear Completely”

Quiet, music transitions from the last song to this as we are given a montage of the marvelous future city. The lyrics (“This isn’t happening/ I’m not here,”) adds a particular resonance to this scene, as Freder reaches out to his father, Joh Fredersen, only to be ignored.

Part 5: “Treefingers”

An slow, sad instrumental as Fredersen surveys his city and contemplates his sons words and tells him the harsh “truth” of his world. Towards the middle of the track, it falls out of the mood of the scene, but the timing of it’s increasingly dissonant end leads flawlessly into…

Part 6: “Optimistic”

With a casual gesture, Fredersen destroys the life of his assistant, Joseph as the music jumps to action. A quiet rage starts to build in Freder’s mind as he watches his father through his new eyes, realizing that, as the lyrics say “The big fish eat the little ones” even “If you try the best you can.” The music kicks up a notch as he as Freder, with Joseph’s help, leaves for the undercity. The song comes to a climax and its extended outro as Freder takes on a laborer’s post.

Part 7: “In Limbo”

The change in scene to Rotwang’s laboratory coincides with the beginning of the song. Then, back in the undercity, Freder assures the laborer “I’m on your side.” Is it he or Rotwang who is “Living in a fantasy?” Either way, it is clear that Fredersen has “lost [his] way.” The dissolve into dissonant noise comes as the robot stands from her chair, stepping forward in ominous quiet.

Part 8: “Idioteque”

The music, all glitchy electronics and mechanical percussion underscores Rotwang demonstrating the robot’s versatility, the madness of the lyrics fitting not only Rotwang’s dangerous intellect, but the insanity of Freder’s workday and Fredersen’s cold, evil decision to replace the workers with robots and “Take the money [and] run.” But a change in the song forecasts something new, a worker tells Freder about a secret event to occur that evening. As the monotony of the work day bears down on Freder, the song falls into a simple, repeating patter, ending as he cries out in agony to either his mortal father or god.

Part 9: “Morning Bell”

The beginning of the song marks the end of Freder’s day. Again, the middle of the song falls out of key with the sentiment of the film, but catches up to it at the end of the track, where increasing discord and waves of distortion coincide with the laborers entering the “chapel,” drawing to a quiet close as Freder, clutching his heart, finally looks up to see Maria, standing in holy grace in front of her crosses.

Part 10: “Motion Picture Soundtrack”

Organ music drives home the impact of the sight to Freder as a look of hope and ecstasy falls over him. The lyrics become a cynical counterpoint, causing the beauty of the scene to stand even sharper in contrast before the song falls to silence while Maria describes the plight of the laborers in her parable. But the silence doesn’t last; the music rise up as the workers do, only to fade out again, allowing Maria’s moral a silence to sink in.

And that’s the end of the album. If you haven’t seen the rest of the movie, you should. It’s an amazing piece.

Also, I’ve already checked; Amnesiac does not cover the rest of the movie.

Also, sorry for the delay on this post. It was going to be a simple thing, but quickly got big. Future Friday posts will generally not be this extensive, though every now and then, I may go all out again. Thanks for reading!

Kid A
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Metropolis
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REVIEW: "The Black Parade"

My Chemical Romance
The Black Parade
© 2006 Reprise

With their first two albums, Brought You My Bullets, You Brought Me Your Love and Three Cheers for Sweet Revenge, My Chemical Romance quickly carved out a place for themselves in the pop-punk world. The critics were generally favorable, sales were strong, and they wound up with a legion of teenage fans, but nothing about them seemed unique. With their 2006 album The Black Parade, they sought to change that through a massive expansion of their sound.

Their raw, bouncy, post-punk style is still present, though it is augmented by big, multi-layered arrangements and a hard rock edge that is highly reminiscent of late 70s rock, partiuclarly Queen. Accompanying this musical expansion is a strong thematic current to the album, that theme being the fairly broad one of death. Lyricist Gerard Way does his best to wrangle such a general concept with attitude, frequently playing the part of parade marshal to “the Black Parade,” an, at times, bitterly sarcastic, at others, wholly empathetic, psychopomp to a legion of tragic souls.

This approach and attitude is demonstrated to a varying degree through the album, with the excellence of the song often depending on how well these aspects are incorporated.

The track “Welcome to the Black Parade” is a particularly strong example of the “big” sound of the album. It starts quietly, setting the story of the song, and rapidly grows in intensity and scale. Eventually, about two minutes in, it explodes into a full-on post-punk sound, before smoothly blends back in the epic, showy elements from earlier. The video is well suited to the song, paralleling the story and attitude without stating it outright.

“Welcome to the Black Parade”


Other tracks do not diverge quite so far from the previously established My Chemical Romance formula. “Dead,” for example, is mostly done in a straight, staccato punk style. But even here, we see signs of their harkening back to 70s style rock which, interestingly, results in a purer punk sound than we have previously seen from the band.

“Dead”


The album is not all big songs though, and includes some of the mellow, emotional songs that have previously resulted in people branding the band “Emo.” Whether or not you take that appellation as a slight, it certainly fits for a few of the tracks, particularly “I Don’t Love You” and “Cancer.” In the context of the album, these songs, with their trend towards sentimentality, seem slightly out of place. Your opinion of them will depend heavily on taste. I find them maudlin and bland, but some love this sort of stuff.

“Cancer”


Another awkward fit is “Teenagers.” While musically it fits smoothly into the album—with a very effective use of hard rock elements—the overt statement behind the song does not. Independently, it is not a bad song and has, arguably, a good message (regarding teen violence), but it stands out like a sore thumb in the rest of the album, which is otherwise devoid of such proselytizing.

“Teenagers”


To wax personally for a moment: Until recently, I never cared much for what I had heard of My Chemical Romance. I found their music to be competent, if generic, pop-punk and their fans to be whiny emo-kids. However, I enjoyed The Umbrella Academy—Way’s Dark Horse Comics debut—so I decided to give them another chance. Though I remain unenthused by their earlier albums, The Black Parade is an excellent work, not only of pop-punk, but of contemporary rock. It shows a band who is testing the boundaries of their style and identity and succeeding. If you are like me and had written off My Chemical Romance based on their earlier output, give the The Black Parade a chance. You might be pleasantly surprised by what you hear.

RECCOMENDED IF… you are looking for some good mainstream rock. Though the album occasionally delves too far towards melancholy, it is largely a resounding success.

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REVIEW: Before the Robots

Better Than Ezra
Before the Robots
© 2005 Artemis Records

Many people are familiar with Better Than Ezra (or BTE) only for their 1995 hit “Good.” This is a tragedy, really, because these people have been missing out on the career of a skilled, consistently entertaining band, a career that nearly ended in 2001. The band’s fourth major album Closer was released shortly before the bankruptcy of their label, Beyond Records. The album fell out of print (though is still available as a reasonably priced import; see the previous link) and the band was beset with legal difficulties. Extensive touring and the release of a live album helped maintain interest, ultimately resulting in signing with Artemis Records and the release of 2005’s Before the Robots. All this backstory, however, quickly slips away when listening to the album. For better and worse, with Before the Robots, BTE picked up right where they had left off with Closer.

Before the Robots shows a band that has matured over the years and those who haven’t heard a BTE song since “Good” may be surprised by what they hear. Gone is the grungy, 90s guitar sound; instead the band has developed a broad vocabulary, mixing funk, soul, and some light electronic/synthesizer elements into a much more robust, full-bodied sound.

The opening track, “Burned” is a good introduction to the Better Then Ezra sound. It has a little bit of everything: guitar-driven rock, background layers of violins and atmospherics, lyrics that tell a story, a catchy chorus that begs to be sung along with, and a fun, nostalgic pop edge.

“Burned” (No video, includes links to the rest of the album)


As well as energetic songs like “Burned,” BTE also takes it down a notch now and then for a nostalgic ballad. This includes a reworked version of “A Lifetime,” which was featured in a simpler, slower form on Closer. Initially this may be a little disappointing to fans, but fortunately, “A Lifetime” is one of their best ballads and this new version is even stronger than the last.

“A Lifetime”


BTE’s fun side is represented as well, particularly by “Juicy.” This is a peculiar little song, on it’s Funky surface bearing little in common with the rest of their repertoire. But the undercurrents of New Orleans rock and sheer fun of this song help forgive it’s oddity.

“Juicy” (Fan video)


Before The Robots is a smooth, enjoyable CD. But, unfortunately, it isn’t much of a step forward for the band. Their first three albums marked evolutions in the bands style, which came together neatly in Closer. Here, however, they have advanced little past that mark. It is disappointing that the band has chosen to tread familiar ground here as, in the past, their experimentation has tended to yield good results.

RECCOMENDED IF… you are feeling a little nostalgic for the heyday of alternative rock. While the band has evolved considerably since their earlier days, they have retained a core of pop-infused rock that should warm the heart of any child of the 90s. Word of warning: if you did not enjoy Closer, this album will not change your mind.

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REVIEW: Ultra Beatdown

Dragonforce
Ultra Beatdown
© 2008 Roadrunner

Most bands have a gimmick, a hook to pique listeners’ interest from album to album. If successful, this often becomes band’s biggest draw, such as intensity, recurrent themes, or showmanship. If unsuccessful, it is often the thing that damns the album. With the power metal band Dragonforce, their gimmick is clear from the seconds of their fourth album Ultra Beatdown: blistering, high-speed virtuosity. But, this time, have they taken it too far?

What Dragonforce lack in subtly, depth, and innovation, they have compensated for by plaing faster power metal than pretty much anyone out there. Their songs are epic affairs, packed with fantasy-themed lyrics, soaring synths, and frantic drum-work invariably serving as foreplay to the inevitable, extended, dueling solos. Of course, fans of Dragonforce will already know what to expect from Ultra Beatdown. Dragonforce is not a band who reinvents the wheel with every album, instead pushing forward on the same path to yet another plateau of epic shred.

The album starts off on the right foot. The opener “Heroes of Our Time” wastes no time before launching headlong into furious metal. The song is Dragonforce at their best, with heroic lyrics, jaw-dropping solos, inspiring breakdowns, and a video that really doesn’t make much sense.

“Heroes of Our Time”
(Unfortunately, this is the radio version, which is a shorter than the album version. Watch for the solo(s) starting at 2:00.)


Another fine example of Dragonforce’s style is “The Last Journey Home,” whose video is a nod to their large, gamer fanbase. (Guitar Hero III featured their song “Through the Fire and Flames” as a special track, widely acknowledged as the hardest in the game.)

“The Last Journey Home” (radio version)


As well as these epic, shredding tracks, Ultra Beatdown features another Dragonforce staple: the power ballad.

“A Flame for Freedom” (no video)


While even these power ballads include the high-octane solos Dragonforce fans crave, they often come across as overwrought or even false. Ultra Beatdown’s “A Flame for Freedom” is one of their better ballads, but until the guitars really kick in at 2:50, your patience will be tested. If you like power ballads, you’ll do fine. I could live without them.

The album also sees the continuing rise of Dragonforce’s “other” gimmick: retro-videogame style electronic noises. First notably experimented with in their previous album, Inhuman Rapage, they have returned in Ultra Beatdown with even greater force. While newcomers might not notice, those who did not like them then will hate them now, where nearly every break is filled with a MIDI squawk.

“Reasons to Live” (no video)


These effects are particularly strong in the Special Edition bonus tracks so, if they aren’t your thing, don’t bother with the it. If you do like that sort of thing (And I do.), you shouldn’t miss out on “Scars of Yesterday,” which sounds like a Final Boss fight on amphetamines.

“Scars of Yesterday” (no video)


Ultra Beatdown’s biggest flaw—whatever your thoughts on the synth—is that this is nothing we have not heard before. There is some growth seen on this album, but, as I have mentioned, no reinvention. Aside from their speed and skill, nothing new is presented; in other words, if you already own a Dragonforce album, you might be better off saving your money.

RECCOMENDED IF… you like power metal; every metal fan should have one Dragonforce album. Their music is like a rollercoaster: a fast, exhilarating experience that is a lot of fun despite it’s inherit shallowness. If you like electronic/synth elements thrown in with your shredding, Ultra Beatdown is the album for you. If that’s not your cup of tea, check out Sonic Firestorm.

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Week 4

Welcome back!

From this point on, I will be following the following schedule:

Monday — Review
Tuesday — Review
Wednesday — Nothing
Thursday — Review
Friday — I will be posting post something short and sweet, such as a collection of music videos, a funny story, or a discussion of something else music related, such as book or article.

So that’s three reviews a week, plus one extra article. It’s a step down from my previous attempt, but a much more sustainable level of activity for me at the moment.

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Week 3

So far, week 3 of blogging is not going so well. I'm not going to burden you with excuses, I'll cut to the point.

I'm going to take tonight and the rest of the week off. Monday 2/16 I will return in full form, including some buffer built up so we can avoid some slipped posts.

In the meantime, feel free to follow my twitter for plenty of tweets about music.

Thanks for sticking around so far, and I hope to see you all again next week! In the meantime, enjoy some fun music videos after the jump.

Snoop Dogg's "awesome" live cover of Metallica's "Sad But True"

Dare we pray that we will see this on Rock Band?

Bjork "All if Full of Love"

Sexy Bjork robots bein' sexy. Don't blame me if you need new pants.

Royksopp "Poor Leno"

Both cute, heartwarming and sad. Not to be missed.

UNKLE "Rabbit In Your Headlights"
Embedding is disabled for this video. Follow the link:
http://www.youtube.com/watch?v=Z3ClCwcCvdQ
One of the best music videos I have ever seen.
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REVIEW: Bunkka

Paul Oakenfold
Bunkka
© 2002 Maverick

Love ‘im or hate ‘im, Paul Oakenfold is one of the most successful DJs in the world and at no time has his star been higher than at the turn of the millennium. And so he evidently decided that the only way to grow was to become more than a DJ; to become a musician in his own right. The result of this experiment was Bunkka his debut as just “Oakenfold.”

Instead of taking the easy route of producing an album of original music in the style he had become so known for, he stretched in a more populist direction. The album features a wide range of vocalists, with each track suiting that vocalist’s style, such as the hip-hop styled “Get ‘Em Up” featuring Ice Cube or the electro-rock “Time of Your Life” featuring rock vocalists Perry Farrell and Grant-Lee Phillips.

This, of course, leads to the question: how does a DJ—an artist not known for his voice or skill with an instrument—make an album where he deviates from his typical style and retain a musical identity? The answer is, he doesn’t. Long time listeners will find very little Oakenfold-ness to this album. But perhaps that was Oakenfold’s intent; to use his name as little more than a hook in the establishment of a new musical identity. In this, he is slightly more successful.

If, then, we take as the album’s mandate to create a sort of exciting, dance-pop party mix rather than full on dance album, perhaps the greatest success of the album is “Starry Eyed Surprise” which features rock-rapper Shifty Shellshock of Crazy-Town. The vibe of this song, as clearly reflected in the video, is one of a summer party. Upbeat lyrics play over melodic sounds, turntablism, and an eminently danceable hip-hop back-beat. Is it the best song ever made? No. But it is a fun song no iPod-DJ should be without.

“Starry Eyed Surprise (feat. Shifty Shellshock)”


Sandwiched between the almost-trance “Hypnotised” and “Starry Eyed Surprise” lie a trio of down-tempo tracks. Even compared to some of the pure dance songs on the album, these may seem the most familiar to Oakenfold fans; none would be wholly out of place as a build-up or come-down track on one of his trance mixes. This set also gives us one of the strongest and one of the weakest songs of the album.

Good news first: The last of the three, “Hold Your Hand” (featuring Icelandic artist Emiliana Torrini), while taking a different route, meets the album’s directive as well, if not better, than “Starry Eyed Surprise,” blending rock, pop, and down-tempo house stylings into a sultry, mysterious sound that perfectly compliments Torrini’s distinctive voice.

“Hold Your Hand (feat. Emiliana Torrini)” (Fan video)


The bad news? Before “Hold Your Hand,” comes “Nixon’s Spirit,” an awkward attempt at relevancy. The song features gonzo journalist Hunter S. Thompson reading a section of his obituary to Richard Nixon. Seen on it’s own, the track isn’t actually that bad; the tense music compliments Thompson’s withering appraisal Nixon’s post-mortem impact on American culture.

“Nixon’s Spirit (feat. Hunter S. Thompson)” fan video


However, in the context of an album that otherwise fosters a positive atmosphere, this harsh negativity is drastically out of place, its strengths corrupting into a glaring weakness right in the middle of the album. The inclusion at the opening of the song of an answering message from Thompson’s agent (presumably) indicating his interest in contributing to this album gives the impression that Oakenfold was aware of this problem, but decided to ignore it in favor of the thought “Hey look! Hunter S. Thompson’s on my CD? Pretty cool, eh? I know, right? I never thought he’d do it.”

(The third of this down-tempo trio is “Zoo York,” which features Pakistani musician Nusrat Fateh Ali Khan and a sample of Clint Mansell's Winter: Lux Aeterna. It is a mostly atmospheric song that provides a nice come-down after the first third of the album, but doesn’t particularly stand out.)

“Hold Your Hand,” “Starry Eyed Surprise,” and “Nixon’s Spirit” aside, most of the songs on the album fail to leave a strong impression on the listener. None of them are particularly bad, but in general they are all things that have been done better. Oakenfold does prove he is capable of producing music that is not trance, but fails to convince us that this is a worth while endeavor.

“Ready Steady Go (Feat Asher D)” (fan video)

Oakenfold tries to sound like The Crystal Method. A strong start, but doesn’t go anywhere new.

“Get Em Up (feat Ice Cube)” (fan video)

Ice Cube is good as always, but as a fusion of rap and techno it is fairly middle-of-the-road.

“Time of Your Life (feat Perry Farrell and Grant-Lee Phillips)

A competent blend of house and rock but, again, there are better options (such as Fatboy Slim).

RECCOMENDED IF… you are looking for a good party mix. While other artists may do most of these styles better than Oakenfold, this is still a fun, danceable album. It simply is not one that holds up to close scrutiny.

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REVIEW: The Mouse and the Mask

Dangerdoom
The Mouse and the Mask
© 2005 Epitaph

MF Doom is known for his dense, witty raps and clever use of samples from classic cartoons. Danger Mouse is known for his unique production style, skillfully shaping music with a directorial vision full of humor and deft experimentation. A collaboration between the two would seem to be natural fit. However, rather than through an independent effort, such as Doom’s Madvillain or Mouse’s Gnarls Barkley, the union that is Danger Doom’s album, The Mouse and the Mask, is centered around the Adult Swim line-up, raising the concern, “Does the album rise to the level of talent we would expect from its principle artists, or does it falter beneath its license?”

The Mouse and the Mask largely succeeds. In fact, this may be the best original album/advertisement for current television that I have heard. Not the most distinguished competition, to be sure, but a success is a success. Adult Swim fans who enjoy hip-hop would be remise if they did not purchase this album. In addition to clips and sketches featuring the Adult swim characters interspersed throughout the album, many songs are specifically about the Adult Swim shows. For example, check out “A.T.H.F,” Danger Doom’s track dedicated to everyone’s favorite mildly sociopathic fast food, the Aqua Teen Hunger Force.

“A.T.H.F.”


But what of those who do not care for the misadventures of the Sealab crew or the quest for perfect hair? Is there enough here to entertain non-fans? Unfortunatly for them, the album—beyond the sketches—is often overt in its Adult Swim references, though this is not a consistent trait. The Mouse and the Mask tends to swing between the heavy referentiality (with “A.T.H.F.” standing as the extreme) to none at all (as in “The Mask”).

“The Mask (feat. Ghostface Killah)” (Fan video)


Those familiar with Doom’s work, particularly Mm… Food and its effective use of samples that worked within a metaphor or joke, rather than defining the song, may be disappointed by these extremes. There are moments where Danger Doom is able to balance these traits effectively—such as “Basket Case” which, while using clips from Harvey Birdman: Attorney at Law, is not about the show—but they are in the minority.

“Basket Case” (Fan video)


It is worth noting that The Mouse and the Mask includes guest vocals—an often abused gimmick—from Ghostface Killah, Cee-Lo, and Talib Kweli. Fortunately, both Doom and Mouse are no strangers to working with guest artists. Ghostface’s appearance can be seen above in “The Mask” and his voice and style meshes smoothly with Doom’s. I would have liked to Cee-Lo as more than a backing voice on “Benzie Box,” but it is nonetheless an effective use of Green’s distinct voice. Talib Kweli’s appearance is a little less cleanly integrated, but the song, “Old School” provides a commentary on the importance of cartoons that resonates well with the album’s theme.

Beyond the lyrics, the music of the album flows nicely. Interestingly, Danger Doom has avoided sampling music from the cartoons themselves, instead relying heavily on a mixture of complex, layered beats and samples from 70s Funk and Jazz. This is for the best, as these are the sounds both MF Doom and Danger Mouse typically work with. In fact, the music is Hip-Hop of the highest caliber and easily the album’s strongest point. It forms a connective tissue that never lets down, even in songs with weaker vocal tracks.

Ultimately, The Mouse and the Mask is a solid album. The combined skill of MF Doom and Danger Mouse prevent this album from being shameless fan-service, but the inconsistent use of Adult Swim properties result in a sound that is not enough for Adult Swim fans, but still too much for the uninitiated.

RECCOMENDED IF… you are at least familiar with the Adult Swim lineup. Though not all songs lean on the them heavily, there are so many Adult Swim references and jokes that it is difficult to recommend The Mouse and the Mask to those who could care less about Brak’s antics.

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REVIEW: The Crow: New Songs for the 5-String Banjo

Steve Martin
The Crow: New Songs for the 5-String Banjo
© 2009 40 Productions

Steve Martin has incorporated the banjo into his sets since his career’s early days. One thing that many people may have overlooked amongst all this comedy is the simple fact that Steve Martin is a very talented banjo player. But no more! Martin’s latest album The Crow: New Songs for the 5-String Banjo is not a comedy album, but a collection of original folk and bluegrass songs written by Martin and heavily featuring himself on the banjo.

In the hands of a lesser musician, this album could have been a pure vanity project. But Martin has long since proved himself a capable musician and has frequently performed (and held his own) alongside bluegrass greats, such as Earl Scruggs and Tony Trischka—many of whom have joined Martin on this album. In fact, the title track of the album, “The Crow,” was originally written for Trischka’s Double Banjo Bluegrass Spectacular.

“The Crow” (performed with Bela Fleck and Tony Trischka on Letterman 4/26/07)


While Folk and Bluegrass aficionados may enjoy this album, fans of Martin’s comedy will be disappointed. Though many of the songs feature clever lyrics, which play with traditional Bluegrass themes, the album’s only attempts at overt humor (and one of the few instances of Martin himself providing vocals) is the poorest song on the album. “Late For School” features the wacky adventure of a child trying to get to school on time, material that would have been well suited to talents of Shel Silverstein, but which Martin fails to deliver with any genuine humor. The song stands out awkwardly in the otherwise straight-faced album, further exacerbating the problem.

“Late For School”


Apart from “Late For School,” The Crow is a solid effort. Unfortunately, Martin has perhaps played it too safe in his songwriting. Many of the songs are derived from Bluegrass standards; there is little musical innovation here. The result may seem overly familiar to Bluegrass fans. On the other hand, newcomers may find this album “just right.” The star-studded arrangements and smooth production of this album render it an excellent introduction to the genre.

Oh, and it is possible to play a sad song on a banjo.

RECCOMENDED IF… you enjoy Bluegrass. Serious Bluegrass fans may not be overly wowed by the songwriting, but the skill behind this album is undeniable. Additionally, as I said, this album makes a good starter Bluegrass album; if you are interested in finding out more about this style, check it out!

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REVIEW: Datarock Datarock

Datarock
Datarock Datarock
© 2005 Young Aspiring Professionals

Datrock Datarock, the debut album form the Norwegian group Datarock hit the states in 2007 (though it was released in Europe in 2005) like a tidal wave. It came on fast, went everywhere, and then was gone. Unlike the kind of disaster that destroys houses, however, we can only hope that we haven’t seen the last of Datarock.


Tracksuited kings of the dance-punk/nu-disco scene, Datarock have blended their raw, indie aesthetic, classic disco backbeats, and clever lyrics to perfection. Even the weaker tracks on the album still shine with fun and dancability. Just try not grooving to the jangling beats of “Fa fa fa.”

“Fa Fa Fa”


For my money, the best showcase for the band’s style and wit is “Computer Camp Love,” a take-off of “Summer Nights” set to a driving beat. And the video is fantastic:

“Computer Camp Love”


As I said, though, the album is not all shining perfection. Some tracks, such as “I Used to Dance With My Daddy” and “Princess” fail to achieve a smooth identity and, instead, come across as bland or awkward. Fortunately, these moments are few and, at least, manage to remain danceable.

Interestingly, the US version of Datarock Datarock features several songs that are not on the earlier release and is missing two of the original tracks. Completionists may be interested in what their version is missing.

US listeners miss out on:
“Nightflight to Uranus” — The joke may be all in the pronunciation of Uranus, but that doesn’t make it less funny…
“Maybelline” — There’s an entertaingly creepy edge to the earnestness of this song, which quotes the “Maybe it’s Maybelline” ads.

...but they gain:
“Ganguro Girl” — A Shibuya love song about the Japanese alt-fashion.
“See What I Care” — Less a dance song than a solid bit of heavily distorted electro-rock.
“The New Song” — A rockin’ anthem.
“I Will Always Remember You” — A lounge-y duet with Norwegian pop artist Annie.

“The New Song” and “I Will Always Remember You” are somewhat weak, but “Guanguro Girl” and “See What I Care” are at least on par with the two absent tracks. All in all, a slight net gain for the US release.

STRONGLY RECCOMENDED IF… you like to shake your groove thing. This is a very strong album whose weaker tracks still manage to fall in as “better than average.” If you don’t like to dance, well, this album may not change your mind, but it may also have enough wit and rock-edge for you to enjoy it all the same.

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REVIEW: David Bowie

David Bowie
David Bowie
© 1967 Deram

David Bowie is, without a doubt, one of the most prolific and influential figures in the world of popular music. Over the course of his lengthy career, he has constantly revised his image and sound, his talent and successful brand often helping to shape the landscape of popular music. Today, he is such a musical landmark, it is almost difficult to imagine that, at one time, “Davie Jones” was a unknown musician, playing in a variety of mod acts such as The Manish Boys.

In theory, Bowie’s relative anonymity should have changed with his debut album, David Bowie. This was not to be, however. Though critically well received, sales of the album and its singles were poor and, instead, it would be 1969’s Space Oddity that would bring Bowie into the realm of stardom. Since then, David Bowie has fallen into a void, often overlooked by fans and dismissed by historians. But is this obscurity earned, or is the album a hidden treasure?


Unfortunately, the truth is more the former. David Bowie is a clunky mishmash of mid-60s pop, psychedlia, and vaudeville, a collection of novelty songs that bears little resemblance to the more confidently experimental Space Oddity. Unlike Bowie’s later genre-bending efforts, this album fails to ever find a cohesive voice, with most of the songs coming across as a sort of generic 60s mush.

“Sell Me A Coat”


It reminds me of the scene in Spinal Tap where they flashback to their 60’s hit “(Listen to the) Flower People.” While that scene is hilarious, the comedy comes from parody of the Flower Power ethos. David Bowie, unfortunately, is no parody.

This is not to say that the album is all bad, or even entirely serious. Indeed, its greatest strength is the album’s demonstration of Bowie’s quirky wit, with a few songs overcoming their blandness to be genuinely funny or, at least, intriguingly weird.

“Rubber Band”


“Please, Mr. Gravedigger”


Ultimately, the album’s highlights are not enough to render this genuinely worthwhile, particularly compared to some of Bowie’s other albums. Additionally, while it is interesting to listen to the album as the humble beginning to a titanic career, even the historical context fails to render the album worth much attention to any but fans.

RECOMMENDED IF… you are a Bowie fan; Amazon has the MP3 album for sale for a reasonable price that may help offset the album’s weak listenability.


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REVIEW: Dona Got A Ramblin' Mind

Carolina Chocolate Drops
Dona Got a Ramblin’ Mind
© 2006 Music Maker
www.carolinachocolatedrops.com

The Carolina Chocolate Drops stand out in the world of old-time string bands for many reasons, with two of the most prominent being age and race; in a field widely associated with older, Caucasian performers, this trio of young, African-American musicians bring not only a much-needed vitality, but a deliberate reminder of the importance of black musicians to American folk music.


The Chocolate Drops’ retinue is composed mostly of traditional African American string band music; the music of a tradition that has nearly died out. Indeed, many of their songs were learned directly from one of the only surviving masters, Joe Thompson. It is this sound—which relies predominantly on fiddle, guitar, and banjo—that is most represented on Dona Got a Ramblin’ Mind. While the album lacks some of their more recent original tunes and their concert-favorite cover of Blu Cantrell’s ”Hit ‘Em Up Style”, it is nonetheless a good sampling, ranging from energetic dances, to Piedmont-style blues, to folk ballads.

A band renowned primarily for their live shows, The Carolina Chocolate Drop’s greatest strength is not simply that they play these classic songs well, but that they play them with a passion and energy rarely heard from old-time musicians. Most of these songs are dance songs, and they do not let you forget that. Give at least the first song of the below video (which contains an entire live concert) a listen. Don’t be surprised if you have trouble sitting still...


They have attempted to bottle lightning with Dona Got a Ramblin’ Mind. The simple problem is that this style of music—like all forms of dance music—is intended to be enjoyed live. Compared to their live performances, this studio-recorded album is shorn of much of The Chocolate Drops’ spontaneity, energy, and sheer passion. It is a testament to both the band’s skill and the quality of the source material that, even with these handicaps, Dona Got a Ramblin’ Mind remains a well-crafted and highly enjoyable album.

STRONGLY RECCOMENED IF… you enjoy folk music in general, and particularly old-time. As well as being competent, enthusiastic musicians, The Carolina Chocolate Drops serve as folk historians, preserving a nearly lost style of American folk. See them live if you can. Buy the album if you can’t.

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REVIEW: Songs From The Big Chair

Tears for Fears
Songs From The Big Chair — Remastered
© 1985 Mercury Records

Tears For Fears’ second album, Songs From The Big Chair, is not only their best selling album, but is widely regarded as an 80s classic. But how has the album held up? Is it truly the type of album that no collection can be without? Or has it, like much of the pop music of yore, become irrelevant? (Popularity of the hilarious literal video aside.)

The general answer is that, yes, this album is deserving of much of its status. Though not every track is a gem, this nonetheless contains some of Tears For Fears’ best songs and is a well-crafted piece of pop-rock.

The album opens with one of its strongest tracks, the anthemic “Shout.” As well as being an impressive single, its layered, guitar-backed sound creates the expectation that the listener is not in store for just another synth-pop album.


This expectation is largely met, though there are some stumbling blocks, often in the form of the album’s mellower songs, such as the jazzy “The Working Hour” or the minimalistic “I Believe.” While not unpleasant, they seem unfortunately ordinary compared to high points such as "Everybody Wants to Rule The World" and "Head Over Heels." Their saving grace comes from serving a role within the larger tapestry of the album; even if they aren’t the best songs, they fit.

In 1999, a remastered version of Songs From The Big Chair was issued featuring a selection of b-sides, many of which are instrumentals. While some of these are enjoyable tracks on their own, they do not fit well with the album as a whole. Several are hold-overs from the period surrounding their previous album The Hurting and reflect the more somber and simplistic sound featured then. Also included include are some missable remixes. These bonus tracks do not devalue the preceding album, but in terms of value-adds, they leave some to be desired.

There was also a 2-disc deluxe edition issued in 2006. This version includes a different set of b-sides on the first disc (following the album proper) and a collection of remixes on the second disc. While some of these mixes are decent, they fail to justify the additional cost of this edition.

STRONGLY RECOMMENDED IF… you enjoy the pop music of the 80s; no 80s fan should be without this album. If your familiarity or interest in the music of this period is low, check out the videos linked in this review. You may hear something you like.

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