Heavy Rocks
Boris
Sargent House SH 059
2011
I'm a fan of Henry Rollins' radio show broadcast locally on KCRW. I have been listening to him since he was on the regrettably defunct Indie 103.1 ten years ago. I'm not a big fan of his music although I like it okay, but as a record buff he blows me away. He's a much more adventurous and energetic music collector than I am. He has introduced me to a lot of records and artists I probably never would have otherwise heard such as Boris. I'd read about the band but they didn't sound like my cup of tea and I never bothered to check out their music. Then I heard them a few times on Rollins' show and I loved their heavy sound. I started buying their albums and became a fan. Of the Boris albums that I have, this is my favorite, the aptly titled "Heavy Rocks." It is sometimes referred to as "Heavy Rocks II" since Boris released another album called "Heavy Rocks" in 2002. It is a double album and although the cover looks like a plain purple sleeve in my pictures, it is actually embossed with pictures of the band and text listing credits and song titles - I just could not figure out a way to photograph it so they were visible. Side one opens with the ferocity of "Riot Sugar" which is driven by a juicy metallic riff and lots of loud guitar noise. The lyrics (sung in Japanese but translated on the inner sleeve) are rather sweetly crooned in contrast to the violent music. It is an example of one of my favorite things about this band which is their blending of noise and pop in their sound. "Leak-Truth, yesnoyesnoyes-" is an odd ball title for a song that I don't understand at all, maybe it loses something in translation. It is another noisy rocker reminiscent of Dinosaur Jr. particularly in the contrast between the low key vocal and the rocked up guitar noise. I presume that "GALAXIANS" was inspired by the spaceship shooting arcade game although the lyrics are typically cryptic. It is energetic and punky with lots of lightning fast riffing and electronic sound effects. "Jackson Head" continues in a similar vein with a compelling hard rock attack embellished with electronic noise. The lyrics are truly weird bordering on surreal. In contrast to the relentless intensity of side one, the second side begins quietly with the folky intro to "Missing Pieces." The song gradually acquires noisy overlays although it maintains its slow pace until it explodes into several minutes of speaker shredding cacophony at the song's climax which gradually ebbs away and the folky tune reappears. The lyrics are strikingly poetic even though I remain clueless about what they are trying to say. The subdued, introspective sound continues with the brief instrumental track "Key" which stops abruptly just as it is getting interesting. The third side commences with the hard-rocking "Window Shopping." The band kicks out the jams with high speed riffing and screaming guitar feedback. The song is listed as an instrumental but there is some dialogue in it as well as someone repeatedly crooning "doo doo doo." "Tu, la la" is one of my favorite tracks. It is a rocker with dreamy vocals that sounds like over-caffeinated shoegaze. I'm once again flummoxed by the lyrics but I still love the song. The fourth side opens with "Aileron" which begins with a deceptive calmness before erupting into the usual wall of sound. The song is mostly a thunderous dirge overflowing with throbbing bass lines, pounding drums and soaring feedback. As you might expect from the title, the lyrics do evoke flight although it is more of a psychedelic self-fulfillment/love song. The album concludes with the raucous instrumental "Czechoslovakia" which features ear-pummeling heavy riffing and irresistible rock drive. It gives the album a satisfying high energy finish. I'm not much of a metal guy nor am I into noise-rock but I adore Boris. They manage to combine the energy of metal and the thrilling power and dissonance of noise with pop values resulting in some of the most dynamic and exciting rock music I've ever heard. The lyrics tend to be pretty abstruse, but since they sing in Japanese, they are easy to ignore. I play this record a lot and it never fails to get me going. Recommended to people who think it would be cool if My Bloody Valentine jammed with Einstürzende Neubauten.
Better Day
Dolly Parton
Dolly Records 1-528216
2011
Here is a post for Dolly Parton in honor of her recent 70th birthday. I'm a little mortified that she is already 70 but I'll bet she is fine with it. Nothing seems to faze her or diminish her indomitable positivity. I bought this album after seeing Parton during her tour promoting it back in 2011. I liked the new songs when I heard them in concert and I'm happy to say that the rest of the album is good as well. Parton wrote all the songs and is in fine form throughout. The album is appropriately pressed on sunny orange vinyl and is a double album even though it is barely more than 40 minutes long and could have fit on a single album which irks me since it requires getting up to flip the record every 10 minutes. That aside, I'm very happy with it. The record opens with "In The Meantime" which introduces the basic theme of the album - uplifted spirits and an optimistic attitude. It is a "don't worry, be happy" type song which downplays thoughts about the end of the world in favor of exalting our achievements and the good aspects of life. It is a propulsive country rocker with a typically charismatic vocal from Parton. "Just Leaving" asks for God's help in leaving a bad situation and looking for a better life. The song has a strong country flavor driven by a fiddle and a banjo. Despite the anxiety and unhappiness expressed in the lyrics, it is an upbeat song with a warm, comforting vocal from Parton. Side one concludes with "Somebody's Missing You" which is a sweet love song. Parton has always excelled at this type of romantic song. Alison Krauss and Emmylou Harris sing background vocals on the tune which sounds lovely. It is one of my favorite tracks on the album. Side two begins with "Together You and I" which is a love song that uses images from nature to celebrate her relationship. It has a more pop-oriented sound although the fiddle gives it some country flavor. "Country is as Country Does" was co-written with Mac Davis. The song is a humorous paean to her country roots and her core country values. It is a rollicking honky-tonk type song that is very entertaining. The side ends with "Holding Everything" which is an intensely romantic song that resembles her classic "I Will Always Love You" in the verses. The chorus is straight pop delivered with plenty of exuberance. Kent Wells, the album's producer and guitarist, duets with Parton on the song. It is a bit too pop for my liking but it is well done. Side three begins with "The Sacrifice" which I think is one of the oddest songs she has ever written. In it she recalls all the sacrifices she has made in order to be rich and successful. She compares her sacrifice with Jesus' sacrifice and concludes that it was all worth it. I admire her drive and determination but I find her reasoning a little dubious. I don't recall any parts of "The Bible" where Jesus extols the pursuit of riches. In keeping with the spirit of the lyrics, the music is upbeat and energetic. "I Just Might" is about recovering from heartbreak and optimistically moving on. It is a classic country-style ballad with a swelling chorus that derives its strength from Parton's emotional vocal. The side ends with "Better Day" in which she reassures us that though the present may seem bleak, better days lie ahead. She recites the first verse before launching into the song which is a mixture of gospel and rhythm and blues in style. The song shows off her vocal chops and is one of my favorites on the album. "Shine Like the Sun" is another "there will be a better tomorrow" type song that emphasizes moving forward and escaping the people and things that are bringing you down. The song is bouncy sunshine pop that reinforces the song's positive outlook. In "Get Out and Stay Out" she kicks out her unworthy lover and moves on for a better life. The words are surprisingly vindictive and harsh for Parton but true to her good nature, she sings them so sweetly it sounds more like a love song. I guess she just doesn't have it in her to be completely mean in a song. In "Let Love Grow" she encourages someone who has been burned by love in the past to give her a chance to show him how good love can be. The song is slick country-pop but Parton's heartfelt vocal gives the song emotional depth and makes for a stirring conclusion to the album. I don't think any of these songs can match the quality of her work in the early 1970s but all of them are good, making this a consistently satisfying album. I like its personal quality, it strongly reflects her personal philosophy as well as her dignity and strength. I've long admired her as an artist and I'm very pleased to see her still making meaningful records full of spirit and vitality so late in her career. Recommended to people looking for something to cheer them up - if Dolly Parton can't do it, you have some serious blues.
Making Mirrors
Gotye
Universal Republic Records B0016449-01
2011
I first heard Gotye on KCRW which is our local NPR station. I would describe their playlist as hipster-light. The song was "Somebody That I Used to Know" and like most of the world I loved it the moment I heard it. The song was soon in heavy rotation on KCRW and Gotye even did a live set on the air there that I really enjoyed. Then much to my amazement the song took off and soon it was everywhere including the popular stations that my son liked. My son loved the song as much as I did and it made me happy to bond with him over it. In the old days when I was a snob, this kind of massive popular success would have been the kiss of death for me, but now I embraced it. I was glad the song was everywhere. I took my son to see Gotye live back in 2012 and we both had a great time. I think an artist who can bridge generations is special. Some of the hipsters at work poked fun at me when I mentioned liking the Gotye show, but I could not care less. I respect Gotye as an artist and I think this album is terrific. It begins with the introspective "Making Mirrors" which is a dreamy tune that barely lasts a minute. The album kicks into gear with the propulsive "Easy Way Out" which is one of my favorite cuts. This song about ennui and difficulty getting away from past feelings is driven by fuzzy guitar riffs. This song leads into the slinky groove of the "Somebody That I Used to Know" which is the ultimate song about being hung up on the past. As you probably already know, this song is about the emotional wreckage of a break-up. It is one of the most potent break-up songs I've ever heard. Before I heard it a thousand times it used to give me chills with its emotional power. The most inspired aspect of the song is bringing in Kimbra to provide an alternative viewpoint to the self-pity of the main part of the song. The side finishes with another uptempo song, the exuberant "Eyes Wide Open." Powered by resounding drum beats and an impassioned vocal from Gotye, this song chronicles the ecological disaster created by humans indifferent to the consequences. The B side begins with the electronic pop of "Smoke and Mirrors." The song is about selling out and artistic integrity, remarkably prescient considering how Gotye's career took off abruptly taking him from cult figure to international superstar. The song is not directed explicitly at himself and I'm not saying it necessarily applies to him, but I find the issues it raises are interesting in this context. If nothing else it does show Gotye's artistic awareness and introspective nature. The mood lifts for the joyous sunshine pop of "I Feel Better." The song is a paean to love and friendship. It is not deep, but provides some welcome lightness to the album. "In Your Light" continues in a similar vein both lyrically and musically as he celebrates the joy love brings him. Side C opens with "State of the Art" which celebrates Gotye's acquisition of a vintage Lowrey Cotillion electric organ which he uses throughout the song as he lauds its various features. Gotye combines this old technology with modern electronic devices, distorting his voice as well as using samples to flesh out the smorgasbord of sounds that drive the song. It is silly but fun unlike the next song, "Don't Worry, We'll Be Watching You." It is a reggae style electronic song with a plodding, lethargic beat and a foreboding sound to it that matches its creepy lyrics. It is about trying to leave some controlling organization, probably a religion. It makes me think of Scientology but it could apply to a lot of things. Side D begins with "Giving Me a Chance" which is about finding redemption with a loved one. It is low key romantic electropop. "Save Me" has an ebullient world music sound bolstered by prominent percussion and an abundance of instrumental overdubs, both analog and electronic. It is an extremely upbeat song about being redeemed through the power of love. The records concludes with "Bronte" which is not about the famous sister authors, but rather about a dying pet. It is a beautiful and delicate song that gives the album an emotional and sensitive ending. Some people rag on Gotye for being wimpy and whiny, but I admire his emotional honesty and expressiveness. This record is full of self-doubt and angst for sure, but it also features Gotye's will to find his way and overcome his unhappiness. I find it moving and uplifting. Musically it is extremely engaging with a lot more instrumental texture and variety than is typical with electronic music. Recommended to fans of Lorde.
Night of Hunters
Tori Amos
Deutsche Grammophon B0015900-01
2011
If ever there was a pop music artist worthy of recording for the venerable classical music label Deutsche Grammophon, it is Tori Amos. She approaches her music with extreme seriousness and on this album each song is inspired by the work of a classical composer. Furthermore her principle instrument is a Bösendorfer grand piano and on this particular album she is backed by classical instrumentation throughout. When I saw her perform at the Orpheum in support of this record she was backed by a string quartet, but on the record she is also supported by woodwinds. The result is the most sonically impressive and arguably most ambitious record of her long career. It is beautifully recorded and it sounds fantastic on vinyl. It is a concept album that analyzes a disintegrating relationship from a mystical perspective. The opening track, "Shattering Sea," is inspired by a piece by Charles-Valentin Alkan. The song is driven by a dynamic piano riff as Amos looks around at the aftermath of a fight with her lover. The evocative language of the song and the powerful music compare favorably with her best songs. "Snowblind" is taken from a work by Enrique Granados. In this song Amos encounters Anabelle, a magical creature who appears to her in the guise of a fox. Anabelle invites her to travel into the past to see a past incarnation of herself and her lover. Anabelle is portrayed by Amos' daughter Natashya Hawley whose voice blends well with Amos' voice in their duet. "Battle of Trees" comes from Satie. The song depicts the events of 3,000 years ago in which Amos and her lover engage in a battle in Ireland against magical forces using language. The song is a bit too fey for my taste, however it is such a beautiful song that I don't mind. She could be singing gibberish and I'd still be entranced. Amos and her lover lose the battle and take flight upon the sea in "Fearlessness." Dark magical forces stir up doubt in her lover and drive them apart. She returns to Granados again for this song and the interaction between her turbulent piano lines and the orchestration is very stirring, musically creating the sensation of a storm at sea. It is one of my favorite tracks on the album. She created "Cactus Practice" from a nocturne by Chopin and it is another duet with her daughter. In this song she encounters Anabelle in the form of a goose. They discuss the conflicts between Amos and her lover and Anabelle induces her to drink a potion produced from a cactus in order to more clearly perceive her situation. The result is described in the somber "Star Whisperer" which is derived from a Schubert piano sonata. The song uses the natural world to create foreboding and depict alienation as discord rises between her and her lover. The song features more dynamic interaction between the piano and the orchestra that validates Amos' decision to employ classical musical themes in her work. "Job's Coffin" sees the return of Anabelle in the form of a fox. The song invokes nature once more as the stars look down upon the earth to observe the self-destructive power struggle between the sexes. Anabelle tells Amos that she must consult the Fire Muse to put her life back in order and regain her strength. "Job's Coffin" is inspired by her following song "Nautical Twilight" which comes from a song by Felix Mendelssohn. In this song Amos laments that she left her world to follow her lover and thus lost the force of which she is made. She complains of the obsessions that consume her lover and drive them apart. "Your Ghost" is based on a piece by Schumann. The interplay between Amos' piano and the string quartet is particularly compelling in this delicate and bewitching song. In this song she is addressing the memory of her lost love. She continues to ruminate on her lost lover in "Edge of the Moon" which comes from a Bach sonata. The latter portion of the song is very kinetic and Amos double tracks her vocal to great effect. "The Chase" is derived from Mussorgsky's "Pictures at an Exhibition." Anabelle returns once more (as a goose) and she and Amos sing about the relationship between the hunter and the hunted and the duality of the two within people, particularly as symbols in the relations between the sexes. Amos at last meets the Fire Muse (sung by Kelsey Dobyns) in "Night of Hunters" which was created from a Gregorian chant and a sonata by Scarlatti. The song is loaded with religious and mystical language as it further explores the symbolism of the hunter/hunted dynamic among people. Amos again invokes the image of constellations (the Pleiades this time) watching over the human race as the Fire Muse and Amos discuss the dark forces that corrupt people. She takes up Bach again for "Seven Sisters" which is an instrumental featuring her piano and an oboe played by Andreas Ottensamer. It is a lovely passage of music. The album concludes with "Carry" which was inspired by a prelude by Debussy. In this majestic song, Amos celebrates the contributions that the people she has loved have made in her life. She realizes that although they have left her, she will always remember them, "they carry on as stars looking down as Nature's Sons and Daughters of the Heavens." It is an uplifting finale to a rather dark record. I'm not normally drawn to mysticism or spirituality, but I find Amos' use of them in her libretto to be effective. They give her tale depth and resonance and I also admire her symbolic use of the natural world. One rarely finds such artistry and intelligence in pop music and that is just the lyrics. The music itself pushes the boundaries between pop and classical music utilizing the best elements of both. I love this record, I think it is Amos' best album since "Under the Pink." I respect her for taking chances and exploring new avenues in her work so late in her career. Kudos to Deutsche Grammophon for recognizing Amos's special gift and encouraging her to express it. Recommended to Leonard Cohen fans who dig Schubert and Tolkien.
Colour Trip
Ringo Deathstarr
Club AC30 AC308021
2011
This is the debut full-length LP by the Texas band Ringo Deathstarr pressed on avocado-green vinyl. I was initially attracted to the band because of their fabulous name but when I heard some of their music on KXLU, I became an instant fan. They could have called themselves "The Beatles Suck" and I still would have bought this record. The band's mixture of psych and shoegaze is right in my wheelhouse and I play this record a lot. It gets off to a strong start with the noisy "Imagine Hearts." Bassist Alex Gehring has a lovely voice but I can barely hear her over the band's raucous playing. Guitarist Elliott Frazier takes the mike for "Do It Every Time" which is a hard rocking song about breaking up. Gehring and Frazier share vocals on "So High" which is a high energy, poppy song that reminds me of Heavenly and Talulah Gosh. It is one of my favorite tracks on the album. I think it is about getting high on love. "Two Girls" is a dreamy slice of shoegaze reminiscent of My Bloody Valentine. Frazier croons the psychedelic love song "Kaleidoscope." Side one ends with the aptly named "Day Dreamy" which features another lead vocal from Frazier. Like "Kaleidoscope" it also features some trippy lyrics, but it is a considerably slower tune, being more of a drone. I think this group is more effective at high velocity. The song has its moments though and I particularly like the line "she was just a teardrop, I was just a waste of time." Side two gets off to a thunderous start with the pounding "Tambourine Girl" which is sung by Frazier. The song is a paean to the title character and features a nice slow/heavy versus fast/poppy dynamic that I find very stimulating. It is another one of my favorite cuts. Guitar noise carries the day on "Chloe." I can't understand most of what Frazier is singing about but I gather that he digs the girl of the title. I find Frazier's breathy vocal on "Never Drive" even harder to decipher aside from his desire for someone to kiss him. It is a hard rocking cut that reminds me of the Jesus and Mary Chain. "You Don't Listen" is about a disintegrating relationship due to communication issues. It is another rocker sung by Frazier. The side ends with "Other Things" which is a who-needs-money-when-we-have-each-other type song. The band slows down the tempo from their usual high speed pace and tones down the guitar noise as well enhancing Gehring's languid vocal. The usual knock on Ringo Deathstarr is that they are too derivative and unoriginal. I can't argue with that, but it doesn't bother me. I love the music that inspires them and can never get enough of it. The songwriting is more of a problem for me. I don't mind the banality of the lyrics so much (especially since I can rarely understand them) but I think the band could benefit from stronger melodies and more variety in their music. As much as I enjoy listening to their songs, not many of them stick with me when the record is over. On the plus side, I love their sound and the instrumental textures they produce. This record consistently excites me and gets me bopping. Recommended to fans of Black Tambourine.
A Very She & Him Christmas
She & Him
Merge Records MRG 424
2011
This white vinyl record has been spending a lot of time on my turntable this holiday season. When I first read that Zooey Deschanel was making records with M. Ward I didn't expect much even though I like M. Ward's solo work. I assumed it was some movie star vanity project until I heard Deschanel's guest spot at the Living Sisters' Patsy Cline tribute concert at Disney Hall back in 2011. I was amazed by her powerful vocal, she sounded like a young Linda Ronstadt. I finally caught She & Him live over the summer when they played the Hollywood Bowl and I was equally impressed. They've completely won me over. This album features a nice mix of music. It has several traditional pop standards like "The Christmas Waltz," "Have Yourself A Merry Little Christmas," "I'll Be Home for Christmas," "Sleigh Ride," "Silver Bells" and "The Christmas Song" It also has more contemporary rock Christmas tunes including NRBQ's "Christmas Wish" (which features Ward on lead vocal,) Brenda Lee's "Rockin' Around the Christmas Tree," Elvis' "Blue Christmas" and a pair of tunes from the Beach Boys "Christmas Day" and "Little Saint Nick." My favorite song on
the record is the duet performance of "Baby, It's Cold Outside" which I
know best in Dean Martin's lascivious version. Deschanel sings the
seductive part traditionally assigned to male performers of the song to
winning effect. It is a charming performance. The arrangements on the album are tasteful and spare, mostly Ward laying down reverb-heavy guitar licks augmented occasionally by some simple piano runs from Deschanel (as well as a ukelele on "Silver Bells" and "Little Saint Nick") and, on the uptempo numbers, drumming from Jim Keltner. This is the sort of Christmas record that appeals to me the most, traditional without being sappy as well as being cool while still being sincere. Deschanel has a warm, engaging voice and I find that listening to this record inevitably lifts my spirits. It brings back some of the magic of Christmas music that I felt listening to my parents' Christmas records as a child. I know I will be listening to it for many Christmases to come. Recommended to sentimental hipsters.
Veronica Falls
Veronica Falls
Slumberland SLR 153
2011
I bought this from band member Roxanne Clifford after the band's show at the Bootleg Theatre earlier this year, easily the most enjoyable record purchase of my life. If I were a younger fellow I'd be crushing on her big time. It was a terrific performance. They followed Bleached who delivered a typically explosive set and I figured that there was no way they could top that, but they delivered big time with a set that combined the primitive power of the Velvet Underground with the punky charm of the Vaselines and the pop smarts of the Shop Assistants. Awesome stuff. Their music jumped out at me when I first heard them on KXLU last year. Every time they played one of their songs I got all happy and excited. I bought the CD and loved it to death. It was in my car stereo for months. I loved it so much that I had to get it on vinyl. This band pushes all my buttons - cool girl singer with a British accent and a touch of snarkiness, jangly guitars, crisp drumming, and elaborate three part harmonies between guitarist Clifford, guitarist James Hoare and drummer Patrick Doyle. The album opens with their 2010 single, "Found Love In a Graveyard" which humorously recounts a cemetery romance with a ghost, sounding like a goth parody. It is full of hooks and an unstoppable beat. "Right Side Of My Brain" is a bit cryptic, it might be about depression or maybe the singer is just in a bad mood. "The Fountain" is a haunting song about a disintegrating relationship. The lyrics on this song are very poetic and moving. It is one of the best songs on the album. "Misery" is about just that, although for such a downbeat song, the music is almost joyous, with gorgeous harmonies and more juicy hooks. I find myself happily singing "misery got a hold on me" as if I were singing about a picnic in the park. The unhappiness continues on the irresistibly bouncy "Bad Feeling" in which Clifford sings about unsuccessfully trying to forget somebody who did her wrong. Side one concludes with "Stephen," a song about falling for a married guy. It is the most romantic song on the album and the music is more subdued, the pounding beat and rock and roll drive predominant throughout the side are replaced with a more idyllic and mellow sound. Side two kicks off with the band's ferocious second single, "Beachy Head." This pounding hard rock song is about a part of the English coastline, a giant chalk cliff that is popular with people wanting to commit suicide. It is a harsh song, but amusing as well. The highly propulsive "All Eyes On You" seems to be a put down of a narcissist. It is followed by "The Box" which I believe is about a relationship where one person is more committed than the other. Perhaps because the song is written from the point of view of the person who just wants to have fun, the music is upbeat despite the unhappy nature of the song. It starts out sounding garage before becoming poppy with almost a surf-rock feel in its reverb drenched guitar solo and doo-wop style background vocals. "Wedding Day" is another fast paced rocker in which Clifford tells an ex-beau that she skipped his wedding because she knows he loves her more than his bride. This song is full of killer hooks. "Veronica Falls" is not about a waterfall but rather the fall of a girl named Veronica. It is a really pretty and atmospheric song, it reminds me of the Chills. I love the interplay between the guitars, particularly the cascading arpeggios at the end of the song which send me every time I hear them. The album ends with "Come On Over" which was the highlight of their live show for me, it was so devastatingly powerful it sent me into rock and roll ecstasy. The vinyl version is equally yummy. It starts off slow and majestic and then the band shifts into high gear and blows me away with a wall of sound. After rocking out for awhile they slow down for another soft, pretty section before taking off again to bring the song into another breakneck, roaring passage and then slowing down at the end for a lovely finish. The song's brilliant hard/soft dynamic reminds me of the Velvet Underground's "Heroin." Throughout the song Clifford invites the listener to come over and keep her warm although warning that when summer comes around again she'll probably be moving on. This band is not big on sentimentality that's for sure. It is a great song, piling up ringing guitars, throbbing bass lines, pounding drums and girl group-style woo-woo background vocals to create music that I find truly thrilling. If I had a band this is exactly the kind of music I'd want to create. This was my favorite album of 2011 and the best debut album I've heard in some time. The lyrics may be a bit simple and tongue in cheek, the sound may be a bit derivative, but I can't remember the last time a record gave me so much pleasure. The band has taken the best parts of a lot of music that I love and synthesized it into a concoction I find totally intoxicating. I can't wait for the next record. Recommended for fans of Heavenly who wish they had rocked a little harder.
Tarot Classics
Surfer Blood
Kanine Records
2011
Having heard Surfer Blood a couple of times on college radio, I had a picture of them in my mind as being some sort of hipster indie rock band. When I saw them live at the Getty last year, I was really surprised. They were so clean cut and young, they looked more like a group of collegiate Young Republicans than a rock band. Then they started to rock and I saw that images can indeed be deceiving. They delivered a high energy performance, John Paul Pitts can really shred. I was so impressed that I bought this EP when it came out last fall. It is a really nice package. It comes on teal colored vinyl with a bonus live DVD of a gig in Brooklyn. There are four songs on side one and a couple of remixes on side two as well as additional remixes of all the songs available for download including three by Sune Rose Wagner of the Raveonettes. If you count the downloads, there are 11 songs altogether. I'm not into remixes but I'm happy to have them. The four songs that constitute the EP are all really good. They are basically guitar-driven, power pop. My favorite is the fast-paced single, "Miranda." It is about a guy trying to hang onto a disintegrating relationship. It is such a catchy and accessible song, it ought to have made it on to commercial alternative rock radio. Why do people like hearing the same old Foo Fighters and Green Day songs over and over, this is so much better. "I'm Not Ready" is nearly as good. It is loaded with hooks and a steady beat. It dissects a bad friend. "Miranda" segues directly into "Voyager Reprise" via a stimulating guitar break. It is a propulsive song in a similar style to "Miranda" that describes feelings of confusion and repression. The final song, "Drinking Problem" is less super-charged than the other three songs. It features a multi-tracked vocal from Pitts, a lengthy feedback passage and a steady compelling beat. It describes another bad friend. The flip side has Totally Sincere's re-mix of "Voyager Reprise" which substitutes more pronounced percussion and bass for the guitar riffs of the original. I don't approve, but it is definitely better for dancing. It is followed by Speculator's re-mix of "Drinking Problem" which brings the song's feedback to the front of the mix with a heavier rhythm track. This one I like quite a bit. Surfer Blood may not be the most original band around, but I really enjoy this EP and I have been playing it a lot. Recommended to fans of the Posies and Sloan.
Desert Wasn't Welcome
French Quarter
Off Tempo OFF009
2011
I saw a terrific show down at the Speakeasy in Long Beach earlier this year. It featured my faves, the Finches and Key Losers as well as a promising new group called Pageants featuring Rebecca Coleman formerly of Avi Buffalo. The headliner was Stephen Steinbrink who I wasn't all that familiar with. I noticed this large odd-looking fellow who looked like a goofy high school jock helping set up the stage for the Key Losers and I thought "Oh wow, Katy found herself a roadie." I was surprised when he strapped on a bass and started playing stunningly melodic bass lines behind her while contributing some gorgeous background harmony vocals. After her set finished, I was even more surprised when this guy tied a scarf around his head like a Russian babushka and took to the stage to deliver a mesmerizing set of sensitive and beautifully sung songs. You rarely see a rock show where everyone is silent, staring raptly at the performer, but this was one such show. I was really impressed. Steinbrink is the leader of French Quarter and this is their latest LP which I bought from K Records mail order. The album opens with my favorite song on the record, "Goodbye Alligator Skin." Some people think of Indie Rock as being arty or inaccessible, but really this song ought to be on the radio. It has a lovely synthesizer line running through it, a good beat and a sweet pop feel to it despite its sardonic lyrics. Steinbrink sings in a high, delicate voice which seems incongruous when you look at him, but it is totally convincing on record. It is followed by "Unemployed Minor" which has a sparer arrangement. I really enjoy the guitar/piano interplay in the instrumental breaks which are very energetic. Steinbrink's bandmates, Preston Bryant and Chase Kemp, share composition credit on "Dead Flowers." It is a moody song with a wonderful guitar workout from Steinbrink that reminds me a bit of Television. He's an imaginative player and his solos are very clear and fluid. "Lucky Passing Dream" is another lovely pop song. It is light and airy with a compelling hook. With its romantic lyrics, its strong bass/percussion foundation and its elegant guitar riffing on top, one can almost imagine it on a Fleetwood Mac album in the late 1970s. Classic rock does seem to be an influence on Steinbrink, but in his hands it sounds fresh and modern. Side A ends with "Checks & Balances" which is an uptempo song with a driving beat. It is about as close as French Quarter comes to rocking out but in keeping with the band's style it is always very melodic. Side B opens with a weird little instrumental called "50 Lashes." "I Want A New Friend" is my second favorite song on the record. I love the chiming folk-rock style guitar work. It is a majestic tune with a classic rock flavor although I can't really think of any classic rock group that would write a song about finding a friend without trying, Steinbrink's lyrics are typically idiosyncratic. "Red State" is about living in a conservative state (in Steinbrink's case Arizona) and experiencing personal freedom outside it. It is another sweet, poppy sounding song that sounds like it should be on the radio. "Soul Mates" is the only non-original on the album. It fits in well with the other tunes although the lyrics are a lot more direct than Steinbrink's typically are. "Creosote" is a quiet, introspective song that chronicles Steinbrink's thoughts while staying home. It sounds precious and twee, but the low key vocal gives it a little weight making it seem more substantial. The album ends with the group composition "Got Ideas." It has a slight Latin flavor to it and a little bit of funkiness as well. It gives the album a strong finish. I like this record a lot and play it often. Musically the group is very strong, if I have any complaint, it is that the lyrics can be pretty obscure. Steinbrink comes up with a lot of interesting, poetic imagery, but the songs' lyrical impact is muted generally. Recommended for fans of Pinback and Low.
Gravity The Seducer
Ladytron
Nettwerk 0 6700 30924
2011
Ladytron's show last year at the Wiltern was one of my favorite shows ever. I took my wife who knew nothing about them and when she saw that there were four synthesizers set up on stage she groaned. I could sympathize with that, I'm much more of a guitar guy myself, but I've loved this band ever since I first heard "Playgirl" on the radio about ten years ago. Anyway the band completely won over my wife with their dynamic performance and I was putty in their hands. It was evident that the band was embracing a new direction when Helen Marnie strutted out on stage in a vintage style elegant dress with an enormous bow in her hair. She looked like a pop chanteuse from the 1940s, quite a change from the severe quasi-militaristic look the band favored in their earlier performances. This shift in direction is also evident in this, the band's fifth studio album. The first two Ladytron albums were classic synth-pop, a genre I'm not a big fan of, but I was drawn to them by their flair for catchy melodies and by the allure of Helen Marnie's singing. She delivered the songs' dark lyrics with a breathy girlish voice that had all the warmth and empathy of a cyborg. With their next albums "Witching Hour" and "Velocifero" the group embraced rock. The music was harder and used real guitars and drums to bolster their sound without abandoning their synth-pop foundation. The result was two astonishingly powerful albums that mixed the sonic complexity of shoegazer bands with the pop sensibilities of Brit Pop, a dazzling combination that I found irresistible. These were two of my favorite albums of the last decade. I had no idea how the band could follow up such perfect albums, but to their credit they pursued a new direction and delivered their most romantic and melodic album to date. Their four previous albums featured a bleak, almost nihilistic vision of human relations emphasized by an icy detachment in their presentation. In contrast this album is warm and seductive, it celebrates beauty and love. This is evident in the lead track "White Elephant," when Marnie sweetly invites the listener to "surrender with me" I reach for my white flag. With it's multiple layers of synthesizers, it's hypnotic riff and Marnie's soothing voice, the song envelops the listener with beauty and transports me to a state of pop bliss. "Mirage" evokes the dysfunctional relationships that characterized earlier Ladytron records but the tone is less acerbic, the song is sad rather than cutting. It also has a compelling riff coupled with a propulsive beat and the music oozes sensual beauty. Marnie's heartfelt vocal cuts right through me. "White Gold" rejects materialism. It is a slow, atmospheric song that shimmers with sound and boasts one of Marnie's best vocals ever. Despite its cold lyrics, it is a very sensuous song. "Ace of Hz" pre-dates the album having been released as a single in 2010 and its lyrics are a throwback to the band's past as the song dissects a serial heart-breaker. It displays Ladytron's skill at creating catchy, hook-laden songs and bolstering their impact with layers of sound. It is my favorite song on the record. "Ritual" is an instrumental, the best of the three on the album. It has a simple riff driven by a strong beat upon which the band gradually adds layer upon layer of instrumental flourishes so that the song continually builds in strength. I'm not much of a dancer, but when I hear it I want to hit the dance floor. Mira Aroyo takes the mike for "Moon Palace" which is an enticing and dreamy song about desire. Aroyo's heavily accented English enhances the exotic atmosphere produced by the song. Side one of this album is flawless, easily as good as anything this band has ever recorded. Side Two isn't as strong unfortunately. It opens with "Altitude Blues" which is an enigmatic song that I think is about escape. Mira Aroyo is again on lead vocal and apparently she didn't get the memo about the new warmer Ladytron because she intones the lyrics with all the warmth of a Bulgarian Commissar reciting agriculture statistics. Aroyo provides the blues but the rest of the band delivers the altitude with some more soaring sonic splendor. "Ambulances" deals with the travails of love and breaking up. Marnie's vocal is remarkably girlish, she reminds me a bit of Elizabeth Fraser on this song. "Melting Ice" has a similar theme to "Ambulances" exploring issues of trust and the weight of past relationships casting shadows over current ones. I'm really impressed by the colorful imagery of the song, particularly the metaphoric use of ice. It has a highly propulsive melody and a dramatic instrumental sound, it would make a nice theme for a James Bond movie. I think it is one of their best songs ever and it is my other favorite song from this album. "Transparent Days" is an instrumental. I find it a little dull but the synthesized wall of sound it generates has some appeal for me. "Ninety Degrees" returns to the prevalent theme on the album of using the natural elements to describe human relations and its lyrics provide the album's mysterious title. It is a slow song with a splendid Marnie vocal and a gorgeous densely layered instrumental backdrop that I find mesmerizing. The album concludes with another instrumental, "Aces High" which is a reprise of "Ace of Hz." It is superfluous but it doesn't bother me since I love "Ace of Hz" so much, I'm happy to have one more taste of it at the end. This was one of my favorite albums of 2011 and I'm impressed that Ladytron continues to explore new approaches to synth-pop. This high quality album comes in a very handsome record package with stunning graphics within and without (my cover photos don't do it justice.) It is pressed on clear vinyl and it sounds great. Recommended for fans of the Cocteau Twins.
Nine Types of Light
TV On The Radio
Interscope B0015455-01
2011
When I first started hearing TV On the Radio on college radio, I liked them but they didn't knock my socks off. Then "Dear Science" came out and I was impressed enough to buy the CD which I really liked. But it was seeing the band live for the first time last summer at the Hollywood Bowl that finally knocked my socks off. Not only did they rock with style and power, but I was particularly impressed with Tunde Adebimpe's charisma, a quality that doesn't always translate to their records. They played about half of this album at the concert and I was impressed by the anthemic quality these songs acquired live. As you can tell from the title the prevalent theme on this record is light. Within the electromagnetic spectrum there are eight types of light, but this record is about a different sort of light, the ninth type of light is the light of enlightenment and love. This is evident in the first song of the album which is the amusingly titled "Second Song." The song is ambiguous, at first I thought it was a drug song, but then I realized that "the light" in the song refers to love and positive thinking. The song begins slowly but gradually swells in strength and sonic punch and then Adebimpe goes into his falsetto and the song takes off. It is my favorite song on the record. “When the night comes, I’m fiending like a pyrale” is one of my favorite lines of the past year, even if I had to look up what a pyrale means (it’s a moth.) “Keep Your Heart” is about the redemptive power of love against the harshness of the world. It sounds like a more restrained version of 80s synth pop and features a soulful vocal from Kyp Malone. “You” poignantly examines the wreckage of a relationship which the singer wishes hadn’t ended. “No Future Shock” describes the sorry state of the world and advises the listener to dance and live for today as if there were no tomorrow. “Killer Crane” is a gorgeous elegiac song that sets up a sustained feeling of loss and melancholy until it abruptly cuts off, that is a technique I’ve always hated. The Beatles did the same thing with “I Want You (She’s So Heavy) on "Abbey Road," it usually makes me think something is wrong with my turntable. That ends side one. Side two kicks off with "Will Do" in which a lover woos a partner reluctant to take a chance on a new relationship. It is a very seductive song, there is a slinky rhythm track layered with multiple synthesizers over which Adebimpe croons sweetly. He is pretty persuasive, it would take a really strong will to resist his blandishments. "New Cannonball Blues" abruptly shifts direction with a powerful funky tune embellished by a horn section and a smoking duet between Adebimpe and Malone. It is an inspirational song in which love helps overcome adversity. "Repetition" is the most frenetic song on the album, guaranteed to get you hopping. It has a catchy riff, buzzing synths, and a propulsive beat that never quits. It seems to be about a successful, driven capitalist who has qualms about his lifestyle and the people he has hurt. "Forgotten" starts slow, supported by a pretty string arrangement and then gradually builds in strength until it becomes almost cacophonous by the end. The song critiques the artificiality of the good life in Southern California. The noise continues with the booming beginning to "Caffinated Consciousness" which features a heavy, almost metallic riff. It is another inspirational song in which the narrator's "heart shines through" in the "cause of light." It gives the album a strong finish. This is a powerful and emotional record brimming with intelligence and compassion. I really admire the uplifting spirit behind so much of the music which is all the more remarkable considering that bassist Gerard Smith was dying as they were making it. Recommended for Prince fans who wish his lyrics were a little smarter.
Dye It Blonde
Smith Westerns
Fat Possum Records FP 1235
2011
The inner sleeve and record label of this album are covered with smiley faces, which is appropriate since this is the happiest record I've heard this year. When I started hearing cuts from “Dye It Blonde” on college radio earlier this year, they really jumped out at me with their sunshine pop sound. I could hear a strong retro pop influence blended with a big old fashioned glam rock/Spectorish wall of sound. I loved it and bought this album which lived up to all my expectations. I wish I could say the same for their live act, but when I saw them open for the Arctic Monkeys at the Hollywood Bowl, I was a bit disappointed and I don’t think it was just me, because almost no one around me paid any attention to them, they just kept babbling to each other as if they weren’t even playing. I think the Bowl was not a good venue for them, they seemed small and the sound was all murky. It must be a challenge to reproduce that grandiose sound on stage. Anyway they are still pretty young and I imagine the live act will improve with experience. Perhaps the lyrics will improve too because these are pretty slight, mostly silly love songs. The music is strong enough that I don’t mind too much, but hopefully as these guys mature they will find something interesting to say. I love the shimmering power pop of “Weekend” and “End of The Night,” alternative rock does not get any more joyous than this. I feel instantly uplifted whenever I hear these songs. If you don’t listen to the words “Still New” sounds like an outtake from John Lennon’s “Mind Games” album, it even fades out with a Beatlesque segment of the song playing backwards. I also hear Lennon in “Imagine Pt. 3" which I presume is named in tribute to him as well as in the reverb heavy “All Die Young” which also reminds me a little of Badfinger in its guitar sound. Side one ends with “Fallen In Love” which reminds me of mid-1970s Paul McCartney. I dig the glossy folk-rock sound of “Only One” which sounds like the Wondermints covering the Byrds. My favorite song is “Smile.” It is a soaring, ecstatic song that sounds like the Polyphonic Spree jamming with ELO and Oasis, the music is so big and powerful that Phil Spector is probably sitting in his cell planning a plagiarism suit. “Dance Away” is the hardest rocking song on the album. It has a strong beat, bordering on disco at one point, but still features the rich musical sound of the rest of the album. It sounds a bit like the High Llamas doing Bowie's "Modern Love." The album closes with “Dye The World Blonde” which has the cleverest lyrics of all the songs on the album and a nice majestic 1970s power pop feel that brings to mind Todd Rundgren, Big Star or Badfinger. I have a feeling if I checked out these guys' record collection, I'd see a lot of my favorite old records. Maybe they aren't the most original band around, but their music makes me so happy that I don't care. I love the band's enthusiasm and passion and I hope they can hang on to that as they get older. I can't wait to hear where they are going to go in the future. Recommended for fans of Best Coast.
Circuital
My Morning Jacket
ATO 0105
2011
I finally got to see My Morning Jacket live this summer. For years I've been reading about what an awesome live act they are and I have to agree. It was amazing. I don't know how they go out there and deliver such a high energy show night after night. I envy their strength and stamina. Almost every number ends up in a frenzied jam as if they had learned to play by listening to "Free Bird" over and over. I was totally drained afterwards. Not a lot of that energy has been transferred to their records though. I enjoy the records a lot but it is hard to believe that they are made by the same band. I guess that's why my favorite album of theirs is the live one, "Okonokos." I had high hopes for this one though after hearing them run through much of it live. The album gets off to a rousing start with "Victory Dance" which begins with the bang of a gong and a majestic fanfare leading into a compelling song colored with imagery from Native American culture and an almost biblical endorsement of the value of work. Jim James (or Yim Yames as he seems to be calling himself lately) provides an earnest double-tracked vocal that makes the lyrics take on the gravity of a spiritual quest. The song starts slow and gradually builds in power to its soaring climax just like the live act. The song flows seemlessly into "Circuital" which also builds slowly and then rocks out. It reminds me a bit of 1970s era The Who. It explores the various meanings of circuit as they apply to life both in terms of inter-connectivity as well as circularity in the life cycle. I think it is a major song destined to be one of the band's standouts and it gives James a chance to stretch out his amazing vocal cords. "The Day is Coming" has a bit of a sunshine pop feel to it. It begins with language sounding like it is about the day of reckoning but ultimately it is an uplifting "seize the day" type song. The good vibes continue with the optimistic "Wonderful (The Way I Feel)" which is a gentle, folky song embracing positive thinking and peace of mind. "Outta My System" reminds me of "Sunflower" era Beach Boys. It has a strong pop flavor with a catchy melody and a lot of instrumental richness. It is a song about maturity that endorses sowing one's wild oats as a youth in order to avoid temptation when one is older. The group kicks it up a few notches for the soulful and forceful "Holdin' On To Black Metal" which argues that it is okay for a rebellious teen to dig black metal music, but you ought to find something better to listen to as an adult with James mostly taking umbrage with the Satanic elements in black metal. The very upbeat "First Light" is a spiritual song, not specifically religious although it could be interpreted that way. Essentially James is celebrating something that has given his life direction and meaning. It begins with a solitary guitar chord reminiscent of "A Hard Day's Night" and then the group rocks out with one of the most propulsive songs on the record. "You Wanna Freak Out" sounds almost like a paean to hedonism, but I think it is actually endorsing being true to oneself and being uninhibited. It is another upbeat sunshine pop-type song. "Slow Slow Tune" is exactly that, a gentle lullaby for James' future child. The album ends with another slow one, "Movin' Away" which is driven by a simple piano line and a gorgeous vocal. The song shows James committing to settling down with his love although apparently with some ambivalence. It is a perfect ending to an album that is thematically driven by a spiritual and personal quest for happiness and meaning. It is really a wonderful record, endlessly listenable and rewarding. It is also a model for vinyl packaging, a sturdy, elegant cardboard gatefold album with heavy weight paper sleeves covered with pictures and an insert that reproduces the handwritten lyrics which are a bit hard to read but testify to James' frenzied creativity. The record is spread over two 180 gram slabs of vinyl running at 45 rpm. I'm not so crazy about the speed since it requires frequent flipping of the record, but it sounds magnificent, an impeccable pressing. This record may not live up to the power of their live act, but it is a credit to their immense talent and chemistry as a band and I'm not the least bit disappointed in it. It is one of the best albums of the year. Recommended to people who are looking for something more than sex and drugs in their rock and roll.
I Am Very Far
Okkervil River
Jagjagwar JAG185
2011
I bought this at the Okkervil River concert at the Wiltern awhile ago. It was the first time that I saw them live and I was blown away. I like their albums but they only hint at the power they unleash live. When Will Sheff walked out on stage he looked like an assistant professor at a liberal arts college, but when the music started he morphed into Otis Redding. What a passionate performer, he totally rocks. This is their best record to date, which is a good sign, they just keep getting better. My picture does not really show how lovely the album package is. The cover is embossed and the colors are really vibrant. It is a two record set, but side four consists of a beautiful etching rather than music. The music on the record is just as impressive as the packaging. It features erudite and poetic lyrics harnessed to music with remarkable anthemic power to produce extraordinary songs of great depth and feeling. It is a very dark album, full of blood and violence. I count at least three songs that make reference to slit throats. The album begins menacingly enough with "The Valley" where the driving, insistent beat of the music accompanies lyrics describing rock and roll casualties with horror film imagery. The use of strings on this song enhances its creepiness. "Piratess" has a more seductive, sexy vibe to it but the lyrics are just as dark with their depiction of a femme fatale. "Rider" is my favorite song on the album, a soaring and vibrant song coupled with surreal, apocalyptic lyrics. The music on here is really powerful, it practically sounds like an orchestra is playing. It is the bleakest song addressed to an infant that I've heard since Richard Thompson's "The End of the Rainbow." "Lay of the Last Survivor" offers no respite from the gloom as it opens with a girl discovering her father's dead body and continues on downward from there, full of fear, grief and surrender. In contrast to the dark lyrics the music is exquisite even soothing in places full of warmth and rich instrumentation courtesy of the woodwinds. "White Shadow Waltz" is one of the best songs on the record. It sounds nothing like a waltz, the music has a driving beat with surging strings and keyboards and martial drumming that is again symphonic in its splendor and strength. The song seems to be about some monstrous female creature, I'm not sure what it means, but the imagery is amazing. The wall of sound returns for the pounding "We Need a Myth." The grandiose music reinforces the urgency of the lyrics which search for something to believe in. "Hanging From a Hit" is the opposite of its predessor. It is a slow, delicate song driven by an unusual piano sound and a moving vocal depicting an illicit romance. "Show Yourself" continues the stripped down sound of the previous song although with some interesting instrumental effects at the beginning. It is a dreamy song that becomes more intense as it develops. "Your Past Life as a Blast" is an exuberant love song, it is one of my favorite songs on the record, I like the way the lyrics build on each other and it provides some relief from the dark tone of the album. The dramatic "Wake and Be Fine" returns to the recurrent theme of dream versus reality that permeates the album. It is a very impressive song with another passionate almost distraught vocal from Sheff and some lovely instrumentation. The concluding song "The Rise" is again orchestral in its instrumental richness. It's wintry lyrics provide a fittingly gloomy yet majestic conclusion to the album. Despite the darkness, I love this album. I've been listening to it obsessively all summer long and it still impresses me every time I spin it. It is the best album I've heard this year and I would not be at all surprised if it became a classic. It places Okkervil River among the very best bands in America right now and I can't wait for them to make another album (or to come back to town for another show.) Recommended for fans of My Morning Jacket, the Decemberists and the Arcade Fire, this record combines the best aspects of all three of them.
California Lite
Key Losers
P. W. Elverum & Sun Ltd. ELV023
2011
This record came out on Phil Elverum's indie label and was recorded by him although the actual production is attributed to the band. Key Losers is Katy Davidson's new project/group. She was formerly in Dear Nora, actually she was Dear Nora. Dear Nora started as an actual group but after their first album, "We'll Have a Time," their music was basically Davidson with occasional guest musicians. I liked those albums because Davidson is a good songwriter and those albums have a nice intimate vibe to them. On the other hand I like a rhythm section too so I welcome Davidson's return to a group setting. I saw her new group open for Mount Eerie a few weeks ago and I enjoyed her set. They performed as a trio with Nicholas Krgovich on keyboards and Tom Filardo on guitar. Both played on the album as did several other musicians not at the show. I bought this record from her at the concert and she threw in a free download of the Key Loser's first mini-album "Adjust" which alas only exists as a tape or a MP3, my least favorite musical formats. "Adjust" does show the Key Losers to be a departure from Dear Nora. It has a Middle Eastern flavor on "Ancient Plain" and the psychedelic "Thought I Was" which I think is one of the best songs Davidson has ever done. There were some percussion-driven songs that I would never even have guessed were Davidson's if I heard them on the radio. "California Lite" does not sound much like "Adjust" although it doesn't sound much like Dear Nora either. The record is a concept album about Southern California. I believe it was inspired by her experiences living in Long Beach which I think is depicted on the back cover. Southern California has been a muse for countless rock artists over the years ranging from the paeans of the Beach Boys and the Briggs to the ridicule of Frank Zappa and Randy Newman. I don't think I've ever heard anything quite like this before though. Davidson's California is not Brian Wilson's California of surf, hot rods and girls nor the Eagles' California of decadence, sluts and cokeheads. Her vision is more realistic, a dissection of ordinary SoCal life, the kind of thing an outsider might notice but which an Angelino would consider mundane. The song "Metal Masks" describes a trip on the 405 freeway through the westside of Los Angeles while listening to Animal Collective, something I've done but it would never occur to me to write a song about it. The chipper tune almost makes driving on the freeway sound like fun. "Smoggy Mountain High" describes the allure of the local mountains which seem so tantalizingly close but which are so far away when you consider the effort and traffic one must overcome to get to them. "Horizon Line" and "Real Time Here" evoke the local elements, the wind and the ubiquitous sunshine that are the primary features of SoCal weather even in the winter. "Real Time Here" was previously recorded by Davidson in 2007 on the Lloyd & Michael CD "Just As God Made Us," but I like the new version better. "Permanent" suggests to me a trip to the desert where one's sense of isolation and alienation are heightened. I think alienation is one of the key themes in this record which is expressed in songs like "Cheap Display" and "We Are A Program" which describe people isolated from each other and their environment. Davidson sets William Stafford's poem "Bi-Focal" to music in a song of the same name. It is not a poem about Los Angeles, but its discussion of the difference between reality and perception, is certainly applicable to the city with its obsession with appearances. This also is expressed in the music. "Limited Time" seems like a laid-back ballad befitting the album title but then injects bursts of dissonance into the chorus suggesting the tension underneath the bucolic SoCal lifestyle. I hear this also in the sharp bursts of jazz saxophone that punctuate the cheerful music of "Metal Masks" as well as in the musical effects that pop up sporadically through out the mellow "Bi-Focal" which remind me of car horns (in terms of effect not sound.) In "Permanent" the dissonance comes from distorted electric guitars, bubbling underneath the surface of an otherwise lovely tune. I find this dynamic tension within the music to be very stimulating. Because of the size of the band on this record, this music is more muscular than Dear Nora, especially on the bottom with the dominant bass and the direct, almost tribal drumming. I like the groovy 70s funkiness of the music on "Smoggy Mountain High" which is one of my favorite songs on the record. This song like several on the record features multi-layered vocals which creates a richer sound as well. "Real Time Here" also has a 70s flavor to it, kind of like an alternative rock synthesis of Jefferson Starship and Fleetwood Mac. The upbeat music masks the confused feelings of the protagonist struggling to find what is real. "We Are a Program" is the most interesting song on the record. It is a drony, dissonant dirge reminiscent of Nico and shows how much Davidson's music benefits from a full band. "Weight of the World" which closes the album is the only song I don't like very much although it is consistent with the musical style of the record - mellow funky music mixed with incomprehensible distorted vocals and chunks of musical dissonance. It is an interesting song, but I hate the vocals which remind me of a cat in heat. Overall I find that listening to this record gives me pleasure, yet I would not describe it as a happy record, it is actually a rather depressing vision of urban life. I can relate to Davidson's view of Southern California and there have been times when I've felt the things she describes. However the nice thing about Southern California is that it is so large and diverse that it can offer almost any experience you want if you look for it. This is an excellent record that rewards repeated listening. Hooking up with Phil Elverum as a production partner was a great choice, he's a guy who knows how to get a big sound out of very little without overwhelming the songs. I think it is an exciting development in Davidson's career and I'm optimistic about her future recordings. Recommended for post-folk Joni Mitchell fans.
