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Post by pantsgoblin on Jun 16, 2022 23:49:51 GMT -5
Plastikman & Chilly Gonzales - Consumed (In Key) (2022)
Hated it so much I deleted the whole thing on the second track. Why would you try to improve on something whose whole existence is based on its (IMO) masterful inscrutability?
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Post by Jean Luc de Lemur on Jun 29, 2022 17:50:50 GMT -5
Pye Corner Audio. Entangled Routes. It’s good, big thick synth lines and overlayed over nice beats, both medium and fine. It’s successful in invoking a sort of modernized 70s-eco-tech-documentary sound (Radiophonic Workshop? I actually don’t know much of their work directly), and I’m fairly, but not entirely, sure it would have done that even without the 70s-eco-tech-documentary-style album art. The problem is that Boards of Canada’s tread this ground more sophisticatedly, and even if that’s decades ago in only an adjacent genre it’s still close and current enough to feel like you could be listening to them instead.
For Ukraine—Volume 2. I’ve purchased a couple of IRC-Syria compilation albums in the past and I’ve never been totally satisfied with them. This IRC-Ukraine one, though, it’s good, actually raising beyond the level of “musicians you know putting tracks together.” For one thing the selection of musicians is more melodic than the others I’ve bought, and the tracks here don’t sound like leftovers or quick compositions but real, substantive songs. There’s even a flow from plaintive to militant to ambient. This one’s can actually be recommended on musical grounds.
Hinako Omori, …a journey. I liked her contribution to For Ukraine—Volume 2 and decided to check out her recent album. The Ukraine composition reminded me of 80s Japanese ambient-environmental music, but this reminds me more of the new age stuff some of them turned towards in the 90s. Part of that involved the use 1/f frequency distributions, which were seen in early 90s science (my own research involved the overuse of these in the geosciences) and naturally attracted new age interest as “healing frequencies.” I’m not sure if it’s the 1/f or something else, but something about the sound of this music gives me a really pricked-over sensation and I don’t like it.
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moimoi
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Post by moimoi on Jul 25, 2022 18:04:12 GMT -5
Spacemoth / No Past No Future / Wax Nine / 2022
For some of us, there can never be too much experimental / electro / avant / retro / lounge / psych pop in the world, and it's especially welcome from Bay Area producer and sound engineer Maryum Qudus, a child of Afghan immigrants exploring nostalgia and an uncertain future on her debut full-length release as Spacemoth. If Natasha Khan of Bat for Lashes were to replace the late Trish Keenan in Broadcast and form a supergroup with Beach House or Limiñanas, this might be the result. Radio-friendly editing on the chorus of "This Sh*t" diminishes its humor, but pretty much every other track showcases her mastery of analog synth production. Tracks 3, 5, 8, 10 are up-tempo while "UFObird" (4) and "L.O.T.F" (6) are slower psych pop. "Asking for You" (7) is sweeping and cinematic like M83 and "Noise of Everyday Life" (11) is single-ready synth pop. The title track (13) has a shuffling groove that points in infinite directions before coming to a close. A clever sonic statement.
Recommended: 3, 4, 5, 6, 7, 9, 10, 11,13
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Post by Jean Luc de Lemur on Aug 4, 2022 22:57:56 GMT -5
moimoi really enjoyed No past no future as well
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moimoi
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Post by moimoi on Sept 18, 2022 20:56:37 GMT -5
Whitney / Spark / Rough Trade / 2022
It seems Whitney turned into the Bee Gees so gradually, we didn't even notice--which is high praise for this third release from the Chicago duo composed of former Smith Westerns Julien Ehlrich and Max Kakacek. The warm, blue-eyed soul vibe is particularly strong on opener "Nothing Remains" (1), the upbeat "Real Love" (5), and "Memory" (6) which probably has Justin Timberlake kicking himself. Although it gets a little less memorable in the back half, there are also some signature slow jams, such as the gorgeous slow-burn ballad "Twirl" (4), the pensive and majestic "Terminal" (9) and indelibly soulful closer "County Lines" (12).
Recommended: 1, 3, 4, 5, 6, 9,12
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moimoi
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Post by moimoi on Nov 13, 2022 21:16:51 GMT -5
Dumb / Pray 4 Tomorrow / Mint / 2022
Is it dumb to name your band Dumb, or kind of brilliant? Not only is there endless potential for wordplay, but the name also accurately conveys the band's wry and shambolic approach. On their third full-length album, the Vancouver four-piece embraces influences as diverse as The Specials, the Beach Boys, and The Minutemen while still ultimately sounding a-heckuva-lot like tourmates Parquet Courts (at least, on the first four tracks or so). A bit of Pavement can be detected in the chugging, hook-laden "Excuse Me" (3) and the noodly riffage of "30 Degrees" (5). "Strange is the Morning" (6) ups the ambition with backup singers and insouciant vocals that might pair nicely with DEHD. Single "Civic Duty" (15) is straightforward power pop, but the back half of the album gets rowdier with the Spanglish-inflected "Pensar" (13), dissonant "Desolation" (14), and the exuberantly shredded coda of "The Entertainer (18) that closes the album. RIYL: Parquet Courts, BODEGA, Courtney Barnett, early Pavement, Omni, Television, Rush (probably)
Recommended: 2, 3, 4, 5, 6, 13, 14, 15, 18
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Dellarigg
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This is a public service announcement - with guitars
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Post by Dellarigg on Nov 14, 2022 5:03:05 GMT -5
Only The Strong Survive, Bruce Springsteen
Still early days with this one, but I thought I'd add my two cents. On the positive side: he's in great voice and is obviously having a ball with these songs; and it's a nice selection, a few familiar ones sprinkled in with the - to me, at least - ones that haven't been trampled underfoot with overplaying. I'm enjoying Nightshift, Do I Love You (Indeed I Do), and Hey, Western Union Man. On the negative - lordy, it's missing the E Street Band. Their chops are perfect for this sort of thing. I understand it was recorded in the early days of lockdown, when perhaps the band wasn't available and only his producer was, so his producer plays most of the instruments. I mean, it's fine, but my twitter friend Miami Steve would've loved to be in on this. All in all, a nice diversion, but as close to inessential as he's ever come.
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moimoi
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Post by moimoi on Mar 19, 2023 17:55:04 GMT -5
The Arcs / Electrophonic Chronic / Easy Eye Sound / 2023
Originally known as the side project of Dan Auerbach of the Black Keys and Leon Michels of El Michels Affair when they debuted in 2015, sadly The Arcs' second album will probably be remembered as the last recordings of Richard Swift, the gifted multi-instrumentalist, producer, and recording engineer who shaped the work of many indie artists, including The Shins, Black Keys, Damian Jurado, Foxygen, Nathaniel Rateliff, Fleet Foxes, and many others. Following Swift's passing from complications related to alcoholism in 2018, it took the remaining members, including Daptone stalwarts Nick Movshon and and Homer Steinweisse, years to process their grief and cull together this fine blend of retro soul, psych rock, and R&B. From beginning to end, it's a smooth and somewhat wistful listen, from the saucy "Keep on Dreamin'" (1) to the lush single "Eyez" (2, 13 mixed slightly differently), to the cheerfully Muppet-y chorus on "Sunshine" (6) and the charming hypnagogic instrumental "Backstage Mess" (9). Auerbach's evocation of Memphis soul on "Man Will Do Wrong" and the sweeping "Love Doesn't Live Here Anymore" (11) are additional highlights.
Recommended: 1, 2, 5, 6, 7, 9, 11, 13
Steve Mason / Brothers & Sisters / Domino / 2023
Scottish folktronica masters The Beta Band have been defunct since 2004, but happily, frontman Steve Mason is now up to his fifth solo release--a big, utopian celebration of UK diversity and a vocal rejection of the imperial legacy that fueled Brexit. With contributions from Pakistani singer Javed Bashir (JAH-vid Bah-SHEER) (3,9), Kaviraj Singh on santoor (a type of dulcimer or zither), and gospel chants from Jayando Cole, Keshia Smith, Connie McCall, and Adrian Blake, you could say it all goes a bit WOMAD in places, but mostly I'd characterize the sound as Melt-era Peter Gabriel crossed with Loaded-era Primal Scream (see track 6 "Let It Go"). The final tracks are particularly rollicking, with the triumphant title track (11) quoting the influential M/A/R/R/S hit "Pump Up the Volume".
Recommended: 2, 3, 4, 5, 6, 8, 10, 11
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moimoi
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Post by moimoi on Sept 10, 2023 22:38:35 GMT -5
Deeper / Careful! / Sub Pop / 2023
Sub Pop may not be a major label, but one could argue that it tends to nurture certain sounds--notably grunge in the 90s and more recently, the nervy, unhinged (but impeccably recorded) racket of bands like Modest Mouse and Wolf Parade. The latter seems to have rubbed off on their most recent post punk signings, including Omni and Chicago's very own Deeper, who on their third full-length continue to revive the bug-eyed caterwauling of Brock/Boekner just as much as the 'angular' yelping of Devo/Wire. In fact, you really only hear a stripped-down early 80s postpunk influence on the first couple tracks, including the single "Build a Bridge" (1). With "Tele" (4) the band brings in programmed drums, gurgling synths, and coldwave atmospherics that permeate the rest of the album. The opening of "Bite" (5) could be mistaken for "A Forest", especially with Nic Gohl's Robert-Smith-esque vocals, while "Fame" (8) and the instrumental "Devil-loc" (11) flirt with Cabaret Voltaire. For something a little more 'Sub Pop', check out the love song (!) "Pressure" (13).
Recommended: 1, 3, 4, 5, 10, 11, 13 FCC: 7
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Post by ganews on Sept 12, 2023 9:16:39 GMT -5
Jenn Champion, "The Blue Album"I like Jenn Champion. "O.M.G." is an extremely cool song. Clearly she also likes doing covers, to look at the YouTube list, but I'm not going to compare to her other covers. I heard her cover "My Name is Jonas" and I was so perturbed I had to listen to her full Weezer project. In a few more years, you will be able to type in "Weezer's first self-titled album in the style of Jenn Champion" into some engine and the AI will spit out this exactly. I don't know if you can call a genre-swap "slavish", but that's what this is: aside from a couple note changes up pr down, every little element is reproduced exactly. Sometime this sounds very nice, as on the good tracks listed below. Much of the time it's just disappointing because you know something interesting could have been done. Like on "The Sweater Song", you think ooh how is she going to fill up the murmured party line space in between the verses, then it's just a tweaked murmuring. Other times a song sounds like it's about the be the somber movie trailer cover version but then goes in a mildly different direction.
Nice tracks: "The World Has Turned and Left me Here", "Surf Wax America" (do you like The Weeknd?), "In the Garage", "Only In Dreams"
Rather enraging tracks: "My Name is Jonas"
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Dellarigg
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This is a public service announcement - with guitars
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Post by Dellarigg on Oct 20, 2023 7:47:52 GMT -5
Hackney Diamonds, The Rolling Stones
The reviews for this have mostly been very obliging - all of them point out that saying 'It's their best since Some Girls' is a cliche, but that doesn't stop them saying it. My first impression, listening as I type, is that it's not as good as Tattoo You, for one thing, but can nestle comfortably alongside, say, Steel Wheels, Voodoo Lounge, and A Bigger Bang, all albums I happily listen to. (Then again, I'm of the opinion that they've never made a bad album, not even Dirty Work, so stop reading here, if you like.)
There are slightly too many mid-paced soulful tracks, which may or may not grow on me, and they're at their best when they get a bit raucous, a bit country, or - especially - a bit gospel. They play well, Jagger is in good voice, Keith is in tolerable voice, and the guests (McCartney, Elton, Gaga, Wyman) are unobtrusive. Jagger's doomed attempts to chase contemporaneity are mercifully absent*. The production is bright and unsleazy, but when was the last time the Stones sounded as sleazy as they're feted to be? Bits of Some Girls, probably.
Anyway, there's a good few tracks to add to the playlists, and that's all I wanted or expected.
Highlights on first listen: Bite My Head Off, Dreamy Skies, Sweet Sounds Of Heaven. The latter in particular comes closest to former unimpeachable 60s/70s heights - really good.
*I love Miss You, but it being a hit was a disaster for Jagger's writing. So many of the albums that followed are marred by his efforts to be up to date, those tracks unfailingly being the most dated thing on them.
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Post by pantsgoblin on Oct 20, 2023 8:50:09 GMT -5
Hackney Diamonds, The Rolling StonesThe reviews for this have mostly been very obliging - all of them point out that saying 'It's their best since Some Girls' is a cliche, but that doesn't stop them saying it. My first impression, listening as I type, is that it's not as good as Tattoo You, for one thing, but can nestle comfortably alongside, say, Steel Wheels, Voodoo Lounge, and A Bigger Bang, all albums I happily listen to. (Then again, I'm of the opinion that they've never made a bad album, not even Dirty Work, so stop reading here, if you like.) There are slightly too many mid-paced soulful tracks, which may or may not grow on me, and they're at their best when they get a bit raucous, a bit country, or - especially - a bit gospel. They play well, Jagger is in good voice, Keith is in tolerable voice, and the guests (McCartney, Elton, Gaga, Wyman) are unobtrusive. Jagger's doomed attempts to chase contemporaneity are mercifully absent*. The production is bright and unsleazy, but when was the last time the Stones sounded as sleazy as they're feted to be? Bits of Some Girls, probably. Anyway, there's a good few tracks to add to the playlists, and that's all I wanted or expected. Highlights on first listen: Bite My Head Off, Dreamy Skies, Sweet Sounds Of Heaven. The latter in particular comes closest to former unimpeachable 60s/70s heights - really good. *I love Miss You, but it being a hit was a disaster for Jagger's writing. So many of the albums that followed are marred by his efforts to be up to date, those tracks unfailingly being the most dated thing on them. Is Steve Jordan drummer on this or did they use a session guy?
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Dellarigg
AV Clubber
This is a public service announcement - with guitars
Posts: 7,501
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Post by Dellarigg on Oct 20, 2023 9:03:18 GMT -5
Hackney Diamonds, The Rolling StonesThe reviews for this have mostly been very obliging - all of them point out that saying 'It's their best since Some Girls' is a cliche, but that doesn't stop them saying it. My first impression, listening as I type, is that it's not as good as Tattoo You, for one thing, but can nestle comfortably alongside, say, Steel Wheels, Voodoo Lounge, and A Bigger Bang, all albums I happily listen to. (Then again, I'm of the opinion that they've never made a bad album, not even Dirty Work, so stop reading here, if you like.) There are slightly too many mid-paced soulful tracks, which may or may not grow on me, and they're at their best when they get a bit raucous, a bit country, or - especially - a bit gospel. They play well, Jagger is in good voice, Keith is in tolerable voice, and the guests (McCartney, Elton, Gaga, Wyman) are unobtrusive. Jagger's doomed attempts to chase contemporaneity are mercifully absent*. The production is bright and unsleazy, but when was the last time the Stones sounded as sleazy as they're feted to be? Bits of Some Girls, probably. Anyway, there's a good few tracks to add to the playlists, and that's all I wanted or expected. Highlights on first listen: Bite My Head Off, Dreamy Skies, Sweet Sounds Of Heaven. The latter in particular comes closest to former unimpeachable 60s/70s heights - really good. *I love Miss You, but it being a hit was a disaster for Jagger's writing. So many of the albums that followed are marred by his efforts to be up to date, those tracks unfailingly being the most dated thing on them. Is Steve Jordan drummer on this or did they use a session guy? Steve Jordan. Charlie Watts is on a few tracks, also.
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moimoi
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Post by moimoi on Oct 22, 2023 20:50:57 GMT -5
Charlie Vettuno / Lime Juice / Innovative Leisure / 2023
Mentored by none other than R&B legend (and genius songwriter/producer) Raphael Saadiq, the brotherly duo Charlie Vettuno are both heirs to and innovators of some of the most exciting sounds to emerge from the 90s. Among them: the relentless new jack swing of "Slow For Me" (1); the deep house of "Mean" (2) and "Triggered" (3); the blissed-out PM Dawn flow of "French Toast Pt. 2" (6); and the louche acid jazz of "Mr. Druggman" (7). There are also nods to their SoCal contemporaries such as Free Nationals and the West Coast Get Down (only a matter of time before they collab) on "Ase'" (8), which incorporates touches of high life/afrobeat. Come for the smooth, sexy soul vibes, but do stay for amusing rhymes about Haagen Dazs, Telfar, Urkel, and Bjork, occasionally delivered in a fake English accent. This EP could be twice as long without wearing out its welcome.
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