http://blogcritics.org/ A sinister cabal of superior bloggers on music, books, film, popular culture, politics, and technology - updated continuously. en Copyright 2005-2007 by the authors Sun, 9 Jan 2005 17:10:12 EST http://backend.userland.com/rss Blogcritics.org custom software http://blogcritics.org/ Phillip WinnSunday, August 26, 2007, marks the switch of all Blogcritics.org article feeds from full-content to short-content. This is the result of several converging factors, and is unfortunately a permanent decision (as permanent as any decision can be on the web, that is). We are aware of all of the reasons that this is a Bad Idea, and we are aware that some of you will be quite upset about having to click on something to read the free content, and we're sorry. Unfortunately, despite great effort, full-content feeds are not currently economically viable. Two other factors are involved: full-content feeds have resulted in an unprecedented level of content theft, with BC content appearing on many websites, usually spam sites, without attribution or permission. This duplicate content causes a cascading set of problems, not the least of which is that search engines generally aren't favorable to duplicate content, and don't always guess correctly. Finally, our RSS advertising partner is strongly in favor of short-content feeds. We hope that you'll continue to subscribe to BC via RSS, and when an article grabs your eye, it's only a click away, still free on the BC website. Thank you for your understanding. Administration0@blogcritics.org Sun, 26 Aug 2007 12:00:00 EDT http://blogcritics.org/archives/2005/01/09/171012.php Jen RajkowskiIn total, The Mutts sound a heck of a lot like every other Motor City rock imitator- a little White Stripes without the hype, a little Libertines without the crazies. Their homage to the MC5 and the Stooges is evident with in seconds of "Blasted", the self titled EP's opener.With a heavy foot to the fuzz pedal, gain that goes to 11, and riffs reminiscent of 2002's "The ..." band explosion, The Mutts manage to convey the generic hodgepodge implied by their name.Press on the band suggests that they united as "a reaction to all the shite rock and roll out there." That "the whole rock and roll thing was all about the hype and nothing about the music...that's where we come in." A statement as such suggests to the first time listener that they'll be treading in new territory. Instead the Mutts deliver cock-rocky speed blues veiled in scratchy lyrics and delivered with an extra serving of frontmanship.That said, while lacking in any genre-breaking tunes, The Mutts EP, released on FatCat records, is consistent in its stripped down style and swagger drenched delivery. The vocals are urgent and echo the raw frenzy of a quartet of hormonal teens left in a crowded garage with some instruments and a beer ball. It's the type of music that you'd expect in the background of a frat party or at a suburban music venue. It urges one to crack open a Natty Lite, play a game of quarters, and contemplate escaping to the Big City. The strongest track on the six-song EP is "Neon Lights," which despite its title, is not a Kraftwork cover. Murtagh channels Jim Morrison circa LA Woman and growls to a Supersucker-esque guitar track strummed by Bryan Shore. Lyrics lay claim to having more power than a national grid. If power implies "loud" as opposed to jaw-dropping rock, than Murtagh may be onto something. The Mutts, hailing from Brighton, UK, are Chris Murtagh (Vocals), Bryan Shore (Guitar), Sam Burgess (Bass) and Adam Watson (Drums). The band expects to release a full-length debut early this year. Perhaps if they can expand their "power grid" into new neighborhoods they'll stand out from an already crowded substation. Music24071@blogcritics.org Sun, 9 Jan 2005 17:10:12 EST http://blogcritics.org/archives/2004/12/21/214059.php Jen RajkowskiIn lieu of holiday cards that I am horrible at selecting, and which tend to linger on my desktop rather than make their way to a mailing, and seeing that music is the best expression of celebration, what better way to wrap up the year than a compilation. So that's what I did for my friends an family this year.I am hesitant to say that this is representative of my thoughts on the top 10 albums released this year, though several fit that description, more it is a sampling of my favorite releases of this year, in no particular order or ranking. This is followed by a selection of songs from albums reissued this year and wrapped up with a smattering of songs from bands that have reunited for tour this year, or in the case of the Feelies, announced their intent to reunite. Luna-"Speedbumps"; Rendezvous, Jetset 2004. Luna is hands-down my favorite band, and Speedbumps is the most frenetic and addictive off of their swan song, Rendezvous. Aloha- "Summer Away"; Here Comes Everyone, Polyvinyl Record Co. 2004. Simple rock arrangements and discernible pop hooks laced with a dose of vibes and restrained longing for youth. Camera Obscura- "Keep It Clean"; Underachievers Please Try Harder, Merge Records 2004. Hailing from Glasgow and embracing the textures of Phil Spector's Wall of Sound, Camera Obscura has made a home on my ipod hot list. "Keep It Clean" showcases the Ellie Greenwich/Jeff Barry- Lee Hazelwood/Nancy Sinatra styling of its lead songwriters. The Arcade Fire- "Neighborhood 1"; Funeral, Merge Records 2004. Believe the hype. This is the first band (since Luna) to catch me uttering profanities out of shear amazement. Seriously. Holy Effing Fill In the Blank. I screamed myself speechless. Calexico- "Alone Again Or"; Convict Pool EP, Quarterstick Records 2004. Technically an EP, assuredly a cover (Love) but an incredible offering from Tucson's finest. Sonorant, decked with conversing trumpets and topped-off by Joey Burns' tenor and John Covertino's smooth command of the throne. Fiery Furnaces- "Chris Michaels"; Blueberry Boat, Rough Trade 2004. Almost a rock-opera, the weaving of different musical parts alongside apt storytelling make the sophomore release of Brooklyn-based brother-sister duo Fiery Furnaces a top contender of many critics year end lists. Where did your for lunchtime go? AC Newman- "Drink to Me Babe Then"; The Slow Wonder, Matador 2004. Frontman for indie supergroup the New Pornographers follows up last years most excellent Electric Version with his first solo effort- chock-full of stellar songwriting and rock candy structure. Death From Above 1979- "Romantic Right", You're A Woman, I'm A Machine Vice 2004. Noise rock at its screeching metal best. Danceable odes to frustration and angst. Perhaps the best act on the Vice label. Blonde Redhead- "Falling Man", Misery Is A Butterfly, 4AD 2004. Biggest musical surprise of the year. Band transitioned from noise rock to sweeping, orchestral mood music. Almost indefinable but definitely incredible. Franz Ferdinand- "Take Me Out", Franz Ferdinand, Domino 2004. I almost didn't want to include this, what with the MTV2 and the hype and all. But gosh darn, it is down right addictive. It's even my ringtone.Reissues Galaxie 500- "Blue Thunder (w/Sax)", Uncollected, Rykodisc 2004. Seminal shoegazer band Galaxie 500 entered this year with a career-spanning DVD, "Don't Let Our Youth Go To Waste". To follow the frenzy, Uncollected, which was originally packaged only in the hard-to-obtain box set. Full of covers, demo takes and rarities it is a completists dream. Blue Thunder appears in this version with sax solo, a version originally procured from the 12inch single. Haunting, shattering and perfect. I'd drive so far away. Talking Heads- "Stay Hungry", The Name of This Band Is the Talking Heads, Rhino 2004. David Byrne, et al commanded a lot of playtime on my first Sony. I credit this song, and Tina Weymouth's infectious and urgent bass line with convincing me to save for a fender four string. Lou Reed, John Cale, Nico- "Pale Blue Eyes", Bataclan 72, Pilot 2004. A lo-fi unplugged version of one of my favorite Velvets songs from a pre-solo Paris show. Beautifully simplistic, who can argue- "Down for you is up". Pavement- "Cut Your Hair", Crooked Rain Crooked Rain, Matador 2004. Pavement was a band that I had to my own in high school. My friends, a group of equally obsessed music fanatics, skirted the shoals of industrial and mope rock, while I danced closer the edge of indie. Malkmus convinced me that college boys could be punk too. The Go-Betweens- "The House that Jack Kerouac Built", Tallulah, Jetset 2004. The Go-Betweens were always just under the radar, despite having an arsenal of tunes that threatened to launch them into relative notoriety. Critics adore them, and for good reason- they are quite the gem. Former bassist Rob Vickers now run's Jetset records and had re-issued the band's middle catalog this November.Songs from bands reuniting in '04 (In part or whole) Feelies- "Higher Ground"; Only Life, Coyote 1988. The Feelies just may be the best thing to ever come from New Jersey. Reuniting sans Bill Million these Maxwell's mainstays create intricately woven tapestries of sound with frantic drumming and wailing guitars. Higher Ground is a glimpse at their hookier soft side. Mission of Burma- "Progress"; The Wasted Years. Always intense and captivating, and always loud MOB were a great cult band that is finally getting proper attention this go-around. I swear that seeing their reunion tour prior to On/Off/On, coupled with seeing the Stooges reunited had me shaking that those men could rock as hard as they did when they were my age. Pixies- "Broken Face"; The Purple Tape. 2004 is the year of the Pixies. 'Nuff said. Music23517@blogcritics.org Tue, 21 Dec 2004 21:40:59 EST http://blogcritics.org/archives/2004/11/18/202050.php Jen RajkowskiLet's first acknowledge the two-ton pachyderm in the room. Camera Obscura is a seven piece from Glasgow. Yes, like the other seven piece from Glasgow with a touch more name recognition. Stuart Murdoch (familiar?) produced the stellar single "Eighties Fan"-including the sweeping string arrangements-and has been romantically linked to front woman Tracyanne Campbell. Did I mention that Richard Colburn once warmed the drum throne? Outside of media's overwhelming tendency to address the likeness to Belle and Sebastian, Camera Obscura is much more than a little brother in the shadows of a relative indie rock behemoth. Steeped in the early rock traditions of Phil Spector's Wall of Sound, Camera Obscura brews a blend of lush and traditional indie-pop; dusted with a touch of twee. Biggest Bluest Hi-Fi is the perfect soundscape to a post-brunch Sunday spent flipping through review copies at the Strand while eyeing fellow bed-headed lit-crit fans through the lenses of your tortoise shell frames.The seeds for Camera Obscura were sowed in the dorm of songwriters Tracyanne Campbell and John Henderson, who first collaborated while collegiate cohorts. They were then joined by Gavin Dunbar on bass and autoharp. Colburn provided percussion for initial live performances and was later replaced by Lee Thomson in 2000. The current incarnation of the band also includes Kenny McKeeve on guitar, Carey Lander on keys, and Nigel Baillie on trumpet. Once limited to the import section of well-stocked indie music emporiums, Biggest Bluest Hi-Fi (which was first released on Spain's Elefant Records in 2001) is now available wherever you do your real time music browsing and purchasing. The success of Underachievers Try Harder (who's single "Teenager" appeared in the WB's Gilmore Girls) firmed up the bands reputation in the states and prompted Merge to grant a proper US release to their debut. The album, engineered by Geoff Allan, who has worked with the likes of Mogwai and Teenage Fanclub, offers hints of the band's lyrical beginnings and displays the musical foundation built upon in their stellar sophomore release. Bolstered by two bonus tracks ("Shine Like A New Pin", and "Let's Go Bowling"), Biggest Bluest Hi-Fi is an excellent introduction to the band.The album opens with "Happy New Year"- a velvet wrap-around with tasteful embellishments and jangly baubles. Imagine if VU were inspired by caffeine and chewing gum instead of the grittier muses of rock and roll- that best imparts the bright and shimmering guitars and fluid interplay of all the instrumentation in this release. "Eighties Fan", the albums first single, brought them to the attention of John Peel who went on to select the song as the #8 single of the year for his Festive 50 list (and propelled the band into relative indie rock fame). Tracyanne pleads with the gripping heartache so representative of unripe love. She pines to her obstinate lover, "I'm gonna tell you something good about yourself/I say it now and I'll never say it 'bout no one else". "Shine Like A New Pin", another stand-out, starts with the same opening chord progression as "Take the Skinheads Bowling", though instead of a punk anthem it echoes the quiet wishing of the rabbity chap in homeroom. "If all your wishes in the world came true/You'd be as good as new". Are you lonely? Isolated and misunderstood? This song speaks for all the tormented thoughts in your head. "Crestfallen and boys are boring/I don't know which way I'm going anymore/And I can't be sure". A perfect musical bridge, filled with a glinting guitar solo makes this one of the strongest songs in Camera's catalog.At some point in a fledgling adult life, you play the role of lovelorn chump. You spend your pocket cash on Captain Jack and scratch away your heartache in a marble notebook. Regardless of it's destructive tendencies, you pine for lost love and all of the loneliness it entails. "Pen and Notebook" sums up this shattered effect best..."You saved for a bass guitar/You know you made a mistake when you first saw Marr/With your pen and notebook you blow me away/It's the smallest words that we can't say/Your favorite color is that of red wine/Which brings me around to your favorite pastime". The lyrics emote the vice grips of a relationship tainted with hurt and swallowed pride.John leads in "Anti-Western", tangling with Tracey as he tries to convince her to go home with him. She taunts that he "listens to rubbish/I really despise" and he counters, I'm taking your boots off/I'll keep them with mine". This is a fun rock song, reminiscent of the writings of Ellie Greenwich and Jeff Barry. The Bacharach horns razz along in response and highlight the bands flirtations with the sounds of the sixties. Campbell and Henderson are a honey-dipped version of Hazelwood and (Nancy) Sinatra.Another favorite, "I Don't Do Crowds", could well be my personal anthem. "I laughed out loud/Can you all see that it was sadness/Please come to save me from myself again/to shield me, to disguise/In my heart lies a secret". As an introvert who plays a convincing extrovert, I can relate to the myopic contemplation and contradiction of urges expressed through the characters in the song. "Arrangements of Shapes and Space" is a sliding instrumental that showcases McKeeve and Campbell's guitar interplay and Dunbar's melodic noodling on bass. The piece soars in a plugged-in crescendo and then ebbs into a quiet and unassuming resolution. In Biggest Bluest Hi-Fi, Camera Obscura does a great job giving a timid voice to unripe love, confusion, alienation, and longing (all delivered though cleverly pedantic lyrics) while building a framework of shiny strumming and glimmering indie-pop perfection. Music22383@blogcritics.org Thu, 18 Nov 2004 20:20:50 EST http://blogcritics.org/archives/2004/11/11/150504.php Jen RajkowskiWith the relative bummer news of Luna disbanding, comes some downright fantabulous news.... The Feelies reuniting sans Bill Million ( I was far too young to have ever seen them at one of their rare live performances the first time around)- Even if this doesn't amount to touring, it is a tasty enough to imagine new output from such a seminal act.Although the rumblings for this started early this summer when Gedge and company recorded what is now their final Peel Session as Wedding Present rather than Cinerama (Gedge was always a favorite of Peel's, making his festive fifty many times over, and performing what may be the largest number of radio sessions with the beloved icon) Three new songs were recorded: "Ringway To SeaTac", "Queen Anne" and "Shivers" along with a cover of "White Horses" which was a hit for Jacky in 1968 and the title music for the children's TV program of the same name. The Wedding Present also recorded "Blue Eyes" which was the first of their twelve hit singles of 1992. Straight from the mouths of Scopitone is the following statement "The Wedding Present release INTERSTATE 5, their first single for over seven years, on Monday 15 November 2004. Scopitones will release the three track CD in the United Kingdom. All three songs were written by David Gedge and Simon Cleave, and recorded in Seattle by Steve Fisk, who also produced The Wedding Present's Watusi album a decade ago. Interstate 5 is taken from TAKE FOUNTAIN [a new Wedding Present album] which will see the light of day in February 2005."The new Wedding Present line up consists of David Gedge (guitar & vocals), Terry de Castro (bass), Kari Paavola (drums) and Simon Cleave (guitar); Simon was a member of the previous Wedding Present line up in the mid-late nineties, and has played with Cinerama since their inception.All I know, is I am majorly excited, and if it takes traveling to London to hear Brassneck live, so be it. Music22132@blogcritics.org Thu, 11 Nov 2004 15:05:04 EST http://blogcritics.org/archives/2004/10/27/210222.php Jen RajkowskiMaplewood- Maplewood, Teepee Records 2004Canyon rock, though not dark and sandy a la Howe Gelb/Giant Sand, nor reverberating the Sonorant mariachi and trumpet call of Calexico. Maplewood's desert is more aligned with casino lights and guilty pop pleasure. I can't claim to be familiar with many of their press-release-touted influences, save for Crosby, Stills, Nash and Young and a passing acquaintance with America and The Byrds. On first listen to the self-titled LP, I expected the lyrics to be more tongue-in-cheek, to provide balance to the sweet California pop vocals and twanging twelve string guitar. It wasn't until I listened to the promo the old fashioned way (on my antiquated Discman) while on a lunch time stroll through the fallen leaves in central park, did the music click. Somewhere amongst the earthy scent of autumn and the crisp fall air, I let loose the bindings of work and put my thumb on how Maplewood fit in my personal mosaic of music. The sincere vocal emoting, cloying yet honest harmony, and jangle-pop strumming nudged awake a more youthful me.Imagine yourself at 16- crowded five across in the back seat of a borrowed car, barreling down Ocean Parkway, punch drunk and high on life. Thick with the thrill of escape and heady with adolescent omnipotence, we reveled in music. More often than I'd admit beyond the veil of the internet, we dabbled in CSNY, along-side Simon and Garfunkel, and (embarrassingly enough) The Grateful Dead. In retrospect, it seems this was our way of balancing musical plates- a nice contrast to the mope rock, grunge, and heavy industrial music we devoured as a testament to our righteous youth. When it came time for a high speed sing-along, we wanted bright harmony and buoyant strumming. "Judy Blue Eyes" as opposed to the pain-stricken Cure lyrics we devoted our days to carving into notebooks. Even the most studied cynic amongst us needs to fancy our sweet tooth from time to time.This is not a release I'd place in every-day rotation- not to its discredit, rather its something that best hits target when you are feeling wistful and reaping the leaves of autumn (while pining to sow the seeds of youth). Maplewood tickles the quiet part that lingers on "classic" rock stations on lengthy road trips and unabashedly sings along to "Uncle John's Band" (though you'd never admit this to friends). Embracing the Beach Boys and Scott Walker, reminiscent of CSNY and the Allmans', the band finds its roots in music mostly ignored by contemporary indie bands.Maplewood is extremely unique in the context of the musical landscape that is the New York scene. This Brooklyn based band, whose members comprise other respected indie acts (Champale, Koester, Nada Surf, Cub Country), is un-standard as you can get. While the guitar soloing and pop orchestration often reflects outside-the-scene Brooklyn brethren such as The Essex Green and Mendoza Line, Maplewood is even further removed from the borough. My best attempt at describing their sound in the context of modern indie rock is that Maplewood is most complimentary to a handful of acts on the Merge label. Upon listening, you can hear a little Lambchop, a smattering of The Ladybug Transistor, a taste of The Essex Green. At the same time, there are hints of mid-era R.E.M and the Stones circa "Ruby Tuesday/Wild Horses". On a whole, Maplewood is musically adept. The resonant bass playing is as melodic and soothing as Naomi Yang or the Clientele's James Hornsey. Superman drummer Ira Elliot lends pendulant percussion and Alan Weatherhead (Sparklehorse) adds to the mix on pedal steel. Maplewood's self titled debut was mixed by the stellar Bryce Goggin (Luna, Pavement, Clem Snide) and Geoff Sanoff (Luna, Secret Machines)."Indian summer's" opening progression seems to echo that Filter song popular in the late '90's (you know...let go my airplane/let go my airplane), then quickly (and thankfully) segs into a Gary Olsen worthy baritone. How many songs are there about Indian summer anyway?- The Doors, Beat Happening (and Luna's cover), Lee Hazelwood, Pedro the Lion, etc have all mused on this quasi-season. There must be something lyrical about late September air. In her beauty mother nature makes us proclaim our love. From one to another/here to discover/Indian summer."Darlene" is my favorite track from the release, jangley, harmonic, and evoking that part of pastoral America that prompted Michael Stipe to sing of power line floaters, maps, and legends. Rozzo sings of the California that exists outside of the intersection of "Hollywood and Vine". The following song, "Gemini is On the Way" is drenched with Kurt Wagner- style falsetto and slide guitar and supported with a brightly strummed solo that ties it all together."Little Dreamer Girl" paints another picture of the change of seasons and is reminiscent of the pop-orchestration and California dreaming of The Essex Green (particularly "The Late Great Cassiopeia") Sing-song rhyming supports the meandering music; 4am again awake/wish I could give more than I take...5am again asleep, wish I could give more than I keep. The fluid guitar interplay hints to excellent live treatment. Contrary to its title, "Pocono's" does not call to mind pre-packaged mountain vacations marketed towards the suburban set. Wistful of romance past, the song laments lovers had and lost. Sometimes the harmony is too cloying, like treacle on a sore tooth, but when it is on target it is as perfect as sweet cream dolloped on a tart peach. In this case lush strings and bittersweet lyrics round out the dueling tenor harmonies.Another album stand out, "Morning Star", has that slow, descending progression oft repeated in rock, this time sporting what may be the albums only plugged-in guitar at the front of the mix. The verses of "Desert Queen" almost insist that you belt "Wild Horses/ wouldn't drag me away" at the chorus. Luckily, Mark Rozzo's voice is without gravel or grit and the song stands on its own (despite its haunting similarity). Oddly enough, this song most honors the desert rock descriptor- you can imagine the tumbling weeds, swinging-door saloons and moonshine tears of the desolate west. "Bright Eyes" is another winner. Sad and pensive, with lyrics and singing that evokes the desert as painted through the eyes of David Lowery. The new tragic figure/falls out of his chair/and rolls around on broken glass bottles/throws insults into the air.Maplewood will be supporting Luna as they kick off their U.S. tour on October 30 at Maxwell's NJ. They will also warm the stage for dearly departing Luna at the Middle East in Boston on November 5. Their sunny daytime pop should provide a nice contrast to Luna's nighttime dreaminess. Music21511@blogcritics.org Wed, 27 Oct 2004 21:02:22 EDT http://blogcritics.org/archives/2004/10/07/204605.php Jen RajkowskiThe Go-Betweens: Liberty Belle and the Black Diamond Express, Tallulah, and 16 Lovers Lane- Jetset Records 2004When Lee Remick b/w Karen was released as a debut single, I was barely attuned to the music of the wind-up mobile above my crib. The Go-Betweens started their slow but steady ascent up music mountain during the tiny years of my life spent mesmerized by The Jackson Five and The Beatles lp's spinning on my plastic Fisher Price. I had hardly heard of them, much less heard them until their 2000 release of The Friends of Rachel Worth, yet upon pressing play, I knew I needed more. The band history is scopic and is well-fleshed out in the recently updated and expanded biography written by David Nichols (and available here) but by means of introduction for the uninducted here is a brief summary:The Go-Betweens formed in 1978 in Brisbane and subsequently expatriated to London. The band first consisted of Robert Forster and Grant McLennan and saw their first full length release, Send Me A Lullaby (where they were joined by drummer Lindy Morrison), on the supersonic Rough Trade label in 1982. (Though, in 1999, former bassist Robert Vickers' molto fabulous label Jetset released ex post facto "78 Til '79: the Lost Album consisting of the aforementioned single and other home recordings). Send Me A Lullaby is redolent with the post-punk shine of state-side bands such as the Gang of Four and the Talking Heads. The Go-Betweens also have general similarities shared with New Zealander bands The Bats/The Clean. There must be something extra tasty in the water that side of the southern hemisphere (Though that does not account for horror shows such as the Outfield and Men and Work).The band enjoyed skirting the shoals of notoriety for 12 years, splitting in 1988 to focus on solo efforts (though Robert and Grant continued to play together) and reuniting in 2000 to release their incredible comeback, Friends of Rachel Worth. Friends incorporated indie rock stalwarts Sleater Kinney as backing musicians. This release was followed by 2003's solid Bright Yellow Bright Orange. Rumor has it they are currently writing and gearing up for a third post-comeback cd.Honestly, the history is such that I could fill pages just getting the unfamiliar up to speed. Their lore is filled with interesting quirks, such as the double LL inclusions on early album titles and the tasteful arrogance paramount in their brushes with media. One of the most compelling charms is the bands two distinct songwriters, Forster and McLennan. Each has quite different strengths and style that allow The Go-Betweens to go from racing in songs like Man O Sand to Girl O Sea, to a more meandering in Clouds. Robert Vickers appeared as bassist for Liberty Belle and Tallulah, though upon moving to the States was replaced with multi-instrumentalist John Willsteed for 16 Lovers Lane. Also in the line-up for these releases was Amanda Brown, providing lush orchestration on strings.1986's Liberty Belle and the Black Diamond Express is graced with Grant McLennan's lyrical quill (as opposed to the more chisel-etched of Forster) with a set of songs more along the lines of Cattle and Cane, which was nominated in 2003 by the Australian Performing Rights Association as one of the ten best Australian songs of all time, and the equally beautiful Bachelor Kisses. Liberty is a strong album; enhanced by Vickers' return-to-the-roots bass playing. Highlights include the pastoral opener Spring Rain and the thick-with-desire Head Full of Steam. Liberty Belle, while not my favorite release (Spring Hill Fair earns that title), is consistently praised as the most accessible of Go-Betweens releases (a position I would delegate to 16 Lovers Lane)Spring Rain is a buoyant song, the guitar plinking like clean drops of rain. "Falling like just sheets, coming down like love, falling at my feet". Toothy and melodic soloing as bouncy as is titularly suggested. Head Full of Steam is poptasticly laden with lustful unrequited love; "I never met her type she ignored me and that's all right, never to be friends ah my body lie on her floor" This song is sexy and tormented, "104 degrees with a head full of steam"- a trademark of my favorite Go-Betweens' songs.Don't Let Him Come Back (here in new form) is another favored tune, it reminds me much of early Bat's material; sunny yet blistering with a darker melty interior. Pleasantly veiled lyrics ("Lookout for that mouth it will make you jump from the roof") and potent guitar soloing worthy of Sterling Morrison (or at least Sean Eden). The battleship is almost sunk by the unfortunate 80's keyboarding, though in this case it's forgivable.Tallulah has not been treated well by time's revisionist musical ear. Much of the orchestration belongs along with Green-era REM- banished to some circle of hell reserved for bad choices made by otherwise good bands (though REM is banished entirely post-Automatic). Saturated with seagull-flocked synth and sticky with the sheen of that decade. When People Are Dead is sufficiently bittersweet to counter balance the saccharine Right Here and I Just Got Caught Out. It is as much of a dirge as the title suggests, with a lyrical load of funereal reference. The House that Jack Kerouac Built is the real winner of the cd, blatantly sexy at the start "You and I together, with nothing showing at all, in a darkened cinema, I'll give you pleasure in the stall" it melds into more of a lust drenched torch song of the kind that thrills as much as it sends you to your knees. Much of Tallulah is entrenched in 1987, but it is worthy of purchase if not for The House alone.A Little Romance, is a light song with simple chords and structure that betrays wickedly funny lyrics such as "It was winter, no summer we swam in Veronica Lake with your friend the male model who I tried to burn at the stake" making it another meritable song.16 Lovers Lane is a pillow sack of candy treats. The guitaring is so glossy and bright, it is downright edible. Streets of Your Town, despite it's Shiny Happy People backing vocals, is a damn catchy gem. It has a haunting choruses you'll whistle on your way to work and "Round and Round, Up and Down, through the streets of your town". Rock and Roll Friend is another number best left along with legwarmers and Bon Jovi; though I can imagine it would take well to a re-working to remove the curse of the Casio.It always amuses me to have songs of heartbreak such as the shimmery Clouds, but to have them so damn beautiful you almost don't care about the ring of fire around your heart. Bittersweet and tender, the lyrics say it all "I have to see straight, that will make me unkind. Visions of blue, I'm angry and wise and you, you're under cloudy skies". Love Goes On! has what may be the most fantabulous bass lines of any song on 16 Lovers Lane. It sticks in my craw until I must get home and play along, and even then it taunts me in my sleep. This is easily the hookiest song in their entire catalog, so catchy you even sing along to the " bah bah bah's"."Lovers want the moon", indeed. Dive for Your Memory is mournful and trenchant; a lover pleading for reconciliation and reconnection: "When I hear you saying, that we stood no chance, I'd dive for your memory, we stood that chance". Awash with subtle yet aching guitar, this song rival's Cattle and Cane for the most lauded Go-Betweens song. 16 Lover's Lane, while shattered and laced with melancholy, remains romantic and opulent. Another album standout is the serene lullaby, Quiet Heart.If you are already a Go-Betweens fan and an owner of the original versions of these cds, Jetset is offering some tasty additions as incentive to add the re-mastered versions to your collection. Each title (inclusive of the earlier re-released Send Me A Lullaby, Before Hollywood, and Spring Hill Fair) is a two-cd set bolstered by an extra cd of rare and previously unreleased songs, a 28 page book with extensive liner notes and photos, and if you are the sort, 3 videos per release. Jetset's Go-Betweens re-releases, unlike the Camper Van Beethoven re-releases, are not preceded (and smartly so) by an expansive box set, so this material will be the first released bonus/archive material of these three titles. If you are completely new to the group, I suggest starting with 16 Lovers Lane (and then greedily buying up all the other releases). Music20738@blogcritics.org Thu, 7 Oct 2004 20:46:05 EDT http://blogcritics.org/archives/2004/10/04/111045.php Jen RajkowskiCamera Obscura- Underachievers Please Try Harder- Merge Records 2004Let's just get this little part over with, acknowledge the elephant in the room as it were. Blah, blah, blah, Belle & Sebastian. Blah, blah, blah, Stuart Murdoch. Blah, blah, blah, Scotland. Blah, blah, blah, Richard Colburn once on drums. Feel better? Did I meet your needs to address the obvious? Good. Now let's forget about all that nonsense and focus on this release in and of itself. Not a "new release", rather released this past winter on Merge after an initial release abroad on Spain's most excellent Elefant Records (which is also responsible for a relatively solid Galaxie 500 tribute album "Snowstorm" that I picked up while in London earlier this year). For every in-your-face act like the Franz coming from across the pond, there is an underappreciated, lush, traditional indie-pop outfit that deserves to command more listening time on your ipod. Enter Camera Obscura (also gracing this category, the quite stunning The Clientele and The Aislers Set).Despite the fact that Camera Obscura seems to meet every element in the LIRC formula for bands that command both the ipod and my concert budget, they are a relatively fresh addition to my collection. I thankfully discovered them thanks in part to a few mp3's and recommendations forwarded to me from friends in England and an odd free night in my schedule when the band played at Maxwell's pre-Merge fest. Normally it takes a band of a level like Luna's for me to make the trek to Hoboken. It's really a shame that Maxwell's is such a stellar venue, offering a great line-up of shows, solid pre-show food and reasonably priced drinkage (not to mention the ability to light-up indoors for those that smoke). The price you pay is the frightening walk from the PATH down the semi-urban outdoor yuppie mall that Washington Ave has become (and that is just on the way there). After the show, if you happen to live in NYC (or, worse, a part of Brooklyn accessible by the L) you then have to repeat the march to the PATH which now runs about as often as the weekend G and then make at minimum two subway transfers during the MTA disco hours where they suspend service and run trains on random tracks for shits and giggles. However, after cueing up a few of the MP3's while deciding how to spend the evening, I took the gamble. Although the opening band, The Rosebuds, were a stale White Stripes sound-alike, I was more than impressed with Camera Obscura.Under Achievers Please Try Harder is the band's second full length release and is a quite solid album. The cd is a sort of antidote for a night at loud show. You know, the next morning when your ears are ringing enough to make you want to leave the headphones behind, but you realize how cranky your commute will be without them? Enter Underachievers' lush and glistening ear aspirin. Camera Obscura have studied their Phil Spector and early 60's rock/doowop and tapped into the clean guitar jangle backed by simple but melodic bass sound of their obvious forefathers, and arguably they do it better. Traceyann Campbell has the slightly sweet, bookish, light voice you'd anticipate from looking at the thick-framed spectacle and knit cap wearing album photo. She is the honey to band mate, and contributing vocalist John Henderson's milk. Album highlights include the glittery Suspended from Class with it's keyhole-crush of lyrics "I can be a friend to you, I won't pretend I am not interested in breaking your heart; it's not love, no its nothing like that, I leave that to lookers like him" and shimmering sweet candy hooks.Knee Deep at the NPL is another winner providing well paired (more peas and carrots than Dean and Britta) counterpoint between John and Tracey that ends in a surprisingly cheeseless round. In Keep it Clean the band outdoes big brother Belle and Sebastian with perfectly self depreciating candor. This song is preciously orchestral and jangly in all the right ways. Camera Obscura weaves tales of immature adult love, heartbreak, and longing with a countryesque tinge and a more than a taste for the "wall of sound". Under Achievers Please Try Harder is a perfect salve for a mild heartbreak, and a lush soundtrack to a lazy Sunday with the papers and a large latte. Music20618@blogcritics.org Mon, 4 Oct 2004 11:10:45 EDT http://blogcritics.org/archives/2004/09/28/161303.php Jen RajkowskiLuna- Rendezvous: Jetset 2004This review has been sitting on my desktop since the day I received the promo in the mail, waiting for a date closer to the October 26th release to post. Things have changed, as many may have recently read, Rendezvous is to be the LAST Luna release (announced last Thursday). There has been speculation deep within the Luna fan world of a swan song for some time, though I don't think any of us really suspected a pending breakup. There has been surprisingly no official word as to the why and how's- with Dean being in France to promote the soundtrack to Olivier Assayas' newest film Clean. Word has it we'll hear (or at least there will be interviews) next week.I could go on for pages spouting how sad I am about the pending end of what has been the most influential band of perhaps the most tumultuous span of years in my life. I have found my thoughts on the cd to be changing since hearing the news; I suppose I started to think of it as a completely different work rather than a release on its own. This is not as refined as I had hoped, but it is my original thoughts on the cd. For what it's worth, my dopamine receptors are shot to hell, my thoughts are spongy, I can't see well. 12 years, 7 proper releases, 3 Eps, 1 live release and a plethora of compilations, singles, and rarities (as well as a few line-up changes) is a respectable career, and they seem to be disbanding while still near the top of their game. With Rendezvous, Luna took a different approach to recording, this time putting the tracks down with all band members playing live in the recording room. Also different in approach is the lack of guest musicians, limited use of guitar effects, and less use of layering. The cover art for the release takes Luna's fascination with the tiny hours between the evening and the day a step further, using the erotically kitsch photography of motelfetish.com. It's been a busy year for Luna front man Dean Wareham, supporting the limited release of Alison Bagnall's film Piggie (where he plays the lead role of a bungling ex credit card thief as well as contributing music to the soundtrack). Dean has also contributed to the soundtrack of Olivier Assayas' Clean, with two new solo pieces (supported on bass by Britta Phillips) Strawberry Stain and Wait for Me. This year has also seen the release of faboo Galaxie 500 retrospective video "Don't let our Youth Go to Waste" Guitarist Sean Eden has also been rumored to have lent his ax wielding talent to Elk City for a few live performances, and bassist Britta Phillips starred in an overseas commercial for cigarrettes. Luna/Dean and Britta material has also been featured in a few commercials (Drunken Whistler in Amex and Night Nurse in (gulp) Bud).Romantica benefited lyrically from Dean's relative dark period, Rendezvous, while musically achieved, seems lyrically lacking in comparison. Rendezvous is distinctly different from prior Luna releases, seeming to bask more in the afterglow than in seduction.In the interest of full disclosure, Dean Wareham is one of my heroes. As I have recounted in the past, he could huff helium and yodel show tunes and I would buy the result and probably embrace more than half of it. He's never really been off and even in what is arguably their least album, Days of Our Nights, they are on game at over 65%.. and that's hard to beat for a band with such longevity. Hell, a hero is not easy to have, as a wise man once said, to paraphrase ,"the most exhilarating parts of admiring someone for their artistic accomplishments is that they never live up to your expectations" (though he also expounded to include resentment.. I can never resent Luna, because they somehow manage to deliver at a level while less than I want, more than I get from others I admire similarly)The opener, Malibu Lovenest, has been a crowd favorite at recent live performances. It is a bit sunshiny for a Luna song, sort of lacking in the wryness one expects from Dean. Lyrically it is lazy "In the bathroom on the plane, on the bus and on the train, I'll write your name/In Malibu" Musically, however, it is a great opener, the band gels together in a similar fashion to Lovedust and it is one of the most accessible songs on the release (making for a logical single).Cindy Tastes of BBQ shows off Luna's musical maturation and is one of the more obvious examples of Eden and Wareham's shimmery strumming that is their trademark. Very childlike lyrics, almost impetuous " your purple mouth tastes of snicker snack, I'm turning round I'm turning back" Cindy also contains one of the few "Deanisms" of the cd "North of North Dakota east of Easter egg" I look forward to seeing the band rock out ala Black Postcards while performing this number live.In my opinion, Speedbumps is the "California (all the way)" of Rendezvous. Since hearing it live on New Years, I have been singing it's chorus..." On the way to Kansas City, tell me who I'm supposed to be" Though, concerning are the lyrics "I don't want to ride your bus, I am tired of all of us" (for those calling this a swan song) (Postscript, I found this particularly striking post-news) The lyrics and melody of this song are very similar to Dean's contribution to the 6ths Wasp Nest, the stellar, Falling Out of Love With You. Speedbumps may be that classic moment when all the components of Luna steep together in wonderfulness and the outcome is one tasty sangria. Oddly enough, its quick pace suggests... well, bumps of speed; anticipatory, slightly agitated, seeking resolution. mostly thanks to Lee Wall's most excellent drumming.In a surprise upset, The Owl and the Pussycat vies as runner up in the contest for best song of album. Catchy melody played on the low E string of Sean's Fender. The Owl struck me as an obvious parallel to the Slow Song- this being a Bossa to it's waltz. Dean (as others have already noted) lifts from the Edward Lear poem of the same name, but to stunning effect. If this is the direction Luna (or, now I suppose Dean solo) is going, I am excited by the prospects. It seems like a post coital walk along the shore on an Indian Summer evening. This is not a song of lust, but of soul-bearing midnight conversation with someone of long-term significance. A little visit to "the land where the bong tree grows".Luna includes on Rendezvous a touched up version of Astronaut, a worthy song that did deserve a proper release, and a song that just may tie the album together. You can read my review of the song here. This is Luna at the top of their game. My eyes are peeling.The first thing I have to say about Broken Chair is the following- Sean can sing. This is the first of two songs sung by Sean Eden (who does sound quite like a less nasal version of Dean's upper register, but also much like Jim James of My Morning Jacket, a band that has acknowledged Sean's support in their liner notes). This was quite surprising, perhaps because most of Sean's onstage banter is in some odd affected tongue (or animal sound), it seemed hard to imagine him seriously singing. Broken Chair is almost Grandaddyesque in its chorus. Britta Phillips' sugary backing vocals tie the song together.. It was hard as a diehard fan to accept a non-dean fronted song,. but it grew on me; Broken Chair is still Luna shimmery and the first of a collection of Rendezvous songs that lean closer towards "alt-country"...Star Spangled Man continues the more "alt-county" sound though is slightly reminiscent CCBS's closer The Alibi.. Dean pens another interesting lyrical parallel (though one veiled so much that you pretty much need regular exposure to children to complete) journeying from Stephen Sprouse (NY counterculture artist), Chairman Mouse (fictional unless you link with Geronimo- in which case it is a often read children's book about a identity changing mouse)..Chao Young Phat (link between Deanism of Chairman Mouse), Geronimo Pratt (Black Panther leader) Chairman Mouse could just be a Deanism, or it could be a clever lyrical game, who knows, I found the trail interesting. This is another likely contender for excellent live Luna treatment.I was surprise to hear Motel Bambi following Star Spangled Man, as the have strikingly lyrical methods (half sung/spoke) It actually sounds a tad repetitive and may have come across as a better song if differently placed. Despite the reverb laden yumminess, the lyrics leave much to be desired.. "I like flowers, I like sex".. yeah Dean, who doesn't.Still at Home is the better of the two "Sean" songs that is also very countryesque and beautiful. This is very UnLuna, if you apply the standard Luna Litmus Test ™. Sean has a very pretty voice, it will be interesting to hear more of him should his side project (potential new project?, note also with Luna's Lee Wall) the Weeds of Eden take off.Buffalo Boots reminds me of a wankier Drunken Whistler. Dean employs more speak/singing and the lyrics are as wanky as the playing they support. Too technically played to be a "Fuzzy Wuzzy", but similarly sexual in vein. Very voyeuristic; "Girl in the window that I really want to snuggle, and at the supermarket I have to bite my knuckle... mother of a girl, spill in my spill." My first thought was, could this song be influenced by those horrible Ugg boots people have taken to wearing with mini-skirts (or at least they did earlier this summer), and that made me sad.The album closes with Rainbow Babe, which has a very sleepy post-sex vibe...This song sounds like the aural equivalent of lazy vacation sex in a South American motel after a day lounging in the sun. I have to say that this is Luna at their worst lyrically, for example, "Midnight fell at 12:00" or."2 and 2 makes 22" Somehow though; the lyrics seem to match the half asleep mutterings the song implies and as a whole the song survives.Rendezvous is a somewhat efficient but generous 40 minute journey from the couch to undress to sex to cozy almost sleep, allowing for two peaks and a, slow descent to a relaxed cuddle that drifts towards slumber... could this be love? Whatever happens next, I look forward to seeing the output of each soon-to-be former Luna member. Let's hope the parts can be as magical as they were when whole. Music20379@blogcritics.org Tue, 28 Sep 2004 16:13:03 EDT http://blogcritics.org/archives/2003/06/27/120348.php Jen RajkowskiGuardian "... the lovely melody that emerges halfway through Kids Will Be Skeletons is New Order via the Cure's Disentegration, while Stop Coming To My House recalls My Bloody Valentine. Occasionally muffled vocals whisper through the noise; if they know the secrets of this majestic music, they're not telling."Music OMH "It's immediately clear that the word "happy" in the title would be better replaced by "blissful", for the overwhelming vibe of this record is chilled. The songs exist largely as looped refrains which progress by collecting extra layers of instrumentation rather than by exploring interesting musical paths. Sticking together all manner of noises, from guitar and piano through vocals digested by a vocoder and regurgitated, owl-like, as though mouse droppings, the band serenely create the kind of music that's best heard on a CD player late at night with the lights off."BBC "While bright dawn bursts of electronica that gradually build to soaring climaxes of sheer emotional release only prove how empty words can seem in comparison."No Ripcord"In all it's an album that sees Mogwai doing all of what they've done well over the years - endorphin-guitars, strange yet fascinating avant-garde percussion, and spiralling, complex song-structures. Perhaps, with their greater experience, they're taking on a greater range, and maybe, just maybe, they're a bit cheerier than before. Regardless, Mogwai are an institution, and unlike the Royal Family or the Electoral College, don't need to be put up against the wall."Pitchfork"When the world comes to whatever ignominious end we choose, Happy Songs for Happy People will be playing somewhere. It'll be the instrumental soundtrack to everyone's collective thoughts of anger, resentment, acceptance, and then, ultimately-- after everyone's had time to reflect and make peace with whatever the hell it is they're trying to reconcile at that particular moment-- it'll also be the soundtrack to great big letdown of, y'know, the world ending."Play Louder"This is Mogwai distilled to their essence, and the result is an album of huge power, emotional depth and feeling, with vocals submerged under a claustrophobic blanket of effects and guitars battling with viola, cello, violin and piano. It's just as Eno as it is S***t, and all the greater for that." Dot Music "Despite the multifarious sounds and orchestral arrangements, the music on 'Happy Songs For Happy People' feels easy, due to Mogwai's acute grasp of melody. Unlike many of their post-rock contemporaries, their poised compositions are capable of attracting more than a handful of post-rock aficionados. Just don't expect them to be surging up the singles chart any time soon. They're much too good for that."Drowned in Sound"This is new, measured and condensed Mogwai, where a song formerly set for 8 minutes has been concertinaed into three-and-a-half, like one bit hit of psychotropics rather than a drip feed of morphine. The intensity remains the same, the ferocity equally unequalled, but it's created through deft use of multi-instrumentation and a high-developed appreciation of scope and impact rather than a reliance on those Fender Blender guitar pedals and a post-Tap Marshall amps that goes up to 12."Cool Noise"...Mogwai manage to create music that has the same emotional impact and melodic yearnings as some of the great guitar-based songsmiths such as Sonic Youth."Umbrella Music "On only three tracks (the slow-build-and-release "Ratts of the Capital", "Stop Coming to My House", and "Killing All the Flies") do they ever really let fly (albeit briefly) with some heavy guitar intensity. The rest of the record is comprised of blissed-out, mellow and oceanic soundscapes, soft and dark and a little scary."Junk Media"In actuality, time spent identifying a standout track among this nine-song collection is futile. Happy Songs for Happy People is a great record due in no small part to its cohesion, its uninterrupted flow"NME"It's often complex, but this isn't over-studied music that appeals only to people with a PhD in Beards. Mogwai aren't the sort of band to harp on about how they achieved a neat atonal effect by restringing their guitars with Jim O'Rourke's pubic hair." Music6554@blogcritics.org Fri, 27 Jun 2003 12:03:48 EDT http://blogcritics.org/archives/2003/06/26/110512.php Jen RajkowskiPitchfork"Pastoral, sanguine, and oddly buoyant, the album is far less sinister (and certainly less adventurous) than Grandaddy's former studio experiments, but still comes complete with its own curious set of demands: the first six songs are strikingly (and, presumably, deliberately) similar in timing, tone and strum. Luckily, the band avoids the sameness that often comes with such a consecutive string of spacious midtempo pop songs; instead, the effect is a dreamily cohesive half-hour of music, the perfect extended metaphor, a big warm blanket to curl up in and chew on."The Guardian"Here, honey-throated, simple-hearted frontman Jason Lytle is still grappling with the uneasy relationship between science and nature - in I'm on Standby, he plays a sad computer, full of human frailties in an inhuman environment - but now he is deconstructing the deadening depression of success."Indie London"Kicking off with the brilliant first single, Now It's On, which captures the brighter outlook of the band in lyrics such as 'I got not reason to be weathered and withery, like in the season of the old me', the album then proceeds to deliver a laidback journey through some of the best space-rock since last year's equally sumblime Flaming Lips album."BBC "Sumday takes up the brilliance of the band's last album, The Sophtware Slump, and runs headlong down a sun-beaten coast with it, picking up gentle melodies and angelic harmonies along the way."Play Louder Heresay"There's just something about the songs: they're a little rough around the edges, but really sweet at their core. I think you've mastered that technique. But on your new album, Sumday, it seems like you're treading water."Drowned in Sound"Y'see, "Sumday" is all about 'busting the lock off the front door' (new single "Now It's On"), cracking open the shell of solitude and going trekking in the sun. At its best, it's like walking on a beach eating an everlasting packet of cold Skittles, but mostly the record meanders around the same beats, same chord patterns and without a lot of the touching nuances which we grew to love them for. The lazy, hazy acoustics of "I'm On Standby" just underwhelm. The band have moved on to a slightly more guitar based sound, but forgotten to take the killer tunes."Rolling Stone "...while the melodies have grown catchier and the arrangements more focused, Lytle has leapt into the lyrical big leagues with unassuming songs about entropy and epiphany."Universal Buzz "All that I'm asking tonight is that I make it back home alive. No explosions, no crashes, no fights. I want to get back home," Grandaddy frontman Jason Lyte exhales weerily towards the close of Sumday. Amidst Orange Alerts and Operation Iraqi Freedom, it's a wonder that anyone feels in control of their lives anymore. Modesto, California's Grandaddy sees this and has scaled back its ambitious designs with its third release, bringing the focus back down to reality as the world rises up in turmoil around it."Glorious Noise "Sumday, the band's fourth studio release, finds Grandaddy traversing their back catalogue. No one familiar with the band's material will be shocked by the sound on Sumday--quirky pop that is distinct, endearing, and fun, using modern synths and samples to accentuate songs rooted in vintage rock." Music6519@blogcritics.org Thu, 26 Jun 2003 11:05:12 EDT