moimoi
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Post by moimoi on Apr 30, 2017 0:08:12 GMT -5
Batteries - The Finishing Line as suggested by MonodroneBackground: Very little info is available about this project of Bis' Sci-Fi Steven, aside from this Facebook page. According to All Music's review, the self-titled debut was more in the vein of Bis, while this album has a heavier sound. Existing prejudices: I listened to Monodrone's post of "Pankhurst" and I was intrigued. They have a distinctive sound that I couldn't easily place, so I'd like to hear more. Track by Track Impressions 1. The Fall-In-Love Club - The Knack comes to mind, as well as Maximo Park's disregard for conventional song structure. It's 'off-kilter', but I can't yet determine if this is a problem. I don't immediately like or dislike. 2. Gather by the Sea - I tend not to like it when the main guitar line follows the melody being sung. This is giving me Wire, I suppose, but also "My Sharona". I like the tom tom breakdown and reverb effect that takes us to the final section with more syncopated guitars. 3. Business as a Euphemism - Can something sound like Kraftwerk and Gang of Four at the same time? This is really interesting - kind of industrial, but less prone to self-parody. It has a cool synth line and beeping effects cut by power chords in a manner that suggests HEALTH. 4. The Finishing Line - Straight up Devo or early XTC, which is more what I'd expect to hear from an alumni of Bis. Still, after the first amiable chorus, the menace starts to build again, with air raid sirens and amped up beats. 5. Pankhurst - It starts out like Big Country but makes an unexpected U-Turn into Alice in Chains. With synths. Even with a conventional chorus, this is a bit of a head-scratcher. 6. Hidden Tracks - Bouncy and power-pop, but still heavy somehow. I think it's the industrial rhythm section. I like this, though I think it could stand a remix. Is he yelling "holla" like Missy Elliot or "hello"? Probably the latter, but on this album, I can't be sure. 7. Pigs - There are conventional punk elements here, but's slightly slower and more dense. Yes, that's the word: dense. I bet you Sci-Fi Steven loves (Joy Division's earlier incarnation) Warsaw. 8. The Rules are Wrong - Great use of punk repetition - reminds me of the Clash doing "I Fought the Law". The dissonance in the bridge dissuades any bopping along to the music, though. 9. Mutual Enemies - Catchy and with enough riffage to get white guys' heads nodding. I'll allow the guitar line following the melody this time, even if it gives me a bit of a Limp Bizkit vibe. 10. Future Studies - I don't get this one. There's a well-developed (to the point of being grating) refrain, but not much besides that. 11. Children Be Normal - There's some interesting rhythmic stuff going on and a variety in tone/texture that I rarely hear in something this 'metal'. This might put off the disco kids, but I'm cool with it. 12. Data Intercourse - I don't love this. The lack of adherence to song structure here results in a weak chorus. General impressions: What the hell is this band? Too synthy for metalheads and too metal for synth poppers, I suppose. But isn't this what hugely popular bands like My Chemical Romance and 30 Seconds to Mars sound like? Why do these tracks have views ranging from 4 to 63 after 18 months on youtube? Nothing I heard was bad; certainly not as bad as "Popstar Kill" or a number of popular metal, industrial, and emo bands. You would think that at least one prominent music blog would cover it, if only out of curiosity about the guy from Bis. It is, of course, possible that I have a different internet than someone in the UK, who may have heard about this band through less obscure means - he does have a couple thousand followers on FB. Still, I wonder if this says something about the ephemerality of certain genres and/or the fickle nature of fandom. Punk, emo, metal, and industrial don't get as much love from the music press as the size of their fanbases would suggest. Is it harder to write about these genres because they aren't taken seriously? And is there a cause-effect relationship there? This album made me think, which is unexpected and perhaps unintended. How good is it? It's not bad. It might even be good, though I feel unqualified to level an assessment. How Scottish is it? It's an odd beast - at once endearing and off-putting. I think it's Ewan Bremner as Spud.
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Post by ganews on Apr 30, 2017 13:46:15 GMT -5
3. Business as a Euphemism - Can something sound like Kraftwerk and Gang of Four at the same time? Very intriguing description! Upon listening...I kind of agree, but not in a good way. The "ahhhh" vocals midway also reminded me of Queens of the Stone Age.
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moimoi
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Post by moimoi on May 10, 2017 0:15:13 GMT -5
The Jesus & Mary Chain - PsychocandyBackground: Psychocandy is the debut studio album by Scottish alternative rock band The Jesus and Mary Chain. It was released in November 1985 on Blanco y Negro Records. The album is considered a landmark recording: its combination of guitar feedback with traditional pop song structures proved influential on the forthcoming shoegazing genre and alternative rock in general. Lead vocals are handled by Jim Reid on this album, with the exception of "It's So Hard", sung by William Reid. Bobby Gillespie, who would later go on to form Primal Scream, plays drums. After quitting their jobs in 1980, brothers Jim and William Reid formed The Jesus and Mary Chain with bass player Douglas Hart. Taking inspiration from German industrial band Einstürzende Neubauten, girl group the Shangri-Las and The Velvet Underground & Nico, they bought a Portastudio in 1983 when their father lost his job in a local factory and gave the brothers £300 from his redundancy money. The band recorded a demo tape containing the songs "Upside Down" and "Never Understand" which was heard by Bobby Gillespie, who in turn passed it on to his friend Alan McGee of Creation Records. The album includes the singles "Never Understand", "You Trip Me Up" and "Just Like Honey". In the end of year-round ups, the album placed at number one in NME's list of best albums of 1985 (tied with Tom Waits' Rain Dogs), number 3 in The Face, and number 5 in Melody Maker. Subsequently, the album has frequently appeared in "best ever" album lists, such as Q magazine's "100 Greatest British Albums Ever", where it placed at number 88 in 2000. In 2003, the album was ranked number 268 on Rolling Stone magazine's "The 500 Greatest Albums of All Time" list. The magazine also ranked the album number 45 on its list of the 100 Best Debut Albums of All Time. Pitchfork listed Psychocandy as the 23rd best album of the 1980s. Existing prejudices: I became aware of JAMC in the early 90s, thanks to 120 Minutes on MTV, which played "Head On" with regularity. I thought it was super cool, and my interest in JAMC was arguably one of the first hints that I might one day be regarded as 'cool'. I bought Automatic on CD used and downloaded Psychocandy around the same time in the early days of Napster and iTunes. I had the pleasure of seeing JAMC perform Psychocandy in its entirety a few years ago at the Riviera on their 2012 reunion tour. Track-by-track Impressions 1. Just Like Honey - Well, this is just the Spectoresque loveliness I remember from the last time I listened to it - perhaps a few weeks ago? Because it has become such a staple, I always fear it will end up in some unfortunate ad for Honey Bunches of Oats aimed at my generation. 2. The Living End - I love how fuzzy and menacing this is, like Cabaret Voltaire crossed with the Velvet Underground. 3. Taste the Floor - The sound is grey and grimy, but the vocals are too clean - maybe technology had not quite caught up in '85 to achieve the truly swampy vocals later shoegazers would achieve (Black Rebel Motorcycle Club's debut comes to mind). 4. The Hardest Walk - This is the more tuneful side of shoegaze that also endeared me to Black Tambourine, Raveonettes, etc. 5. Cut Dead - I can't even tell you how many mixtapes I have put this on. It's just pretty, with a subtle drone that never fails to satisfy. 6. In a Hole - It opens with a great, enthralling feedback squall and puts a sheet of white noise between the band and listener. I appreciate what they're doing, but needless to say, this one sounds better live. 7. Taste of Cindy - The transparent ripping-off of 60s beat groups might become grating or disposable, if they didn't consistently pair it with dissonance. Still, if you've ever heard the acoustic version, you can see how Stephen Merritt might think his work with the Magnetic Fields might lend itself to a shoegaze album. 8. Some Candy Talking - Either simple or simplistic, depending on your perspective. I find the double-time drumming and frazzled guitar solo endearing. 9. Never Understand - This borrows too much of "Up on the Roof" for my taste. In fact, this is the point when it starts to sound to me like they're running out of ideas and filling time. 10. Inside Me - This has a great roiling intro and a heavier sound, which is welcome at this point. The Crystal Stilts (who I love) should probably cut them a cheque. I could also see this influencing grunge (and not just in Jim Reid's fondness for plaid shirts). 11. Sowing Seeds - I always confuse this intro with "Just Like Honey". I'm pretty sure it's the same chords, which is kind of a mark against it, but it has a better outro than Just Like Honey. In my head, I am prone to mash together the beginning of "Just Like Honey" with the end of this to form a sort of hybrid JAMC jam. 12. My Little Underground - The intro reminds me of Pavement "Summer Babe". Perhaps they inspired it? This holds up better than I remember - it might be my new fave. 13. You Trip Me Up - I always thought of this one as filler; the feedback isn't really adding anything to the formula. I can't believe this was a single. 14. Something's Wrong - This is another go-to - something I play all the time. I wish they turned the drums up in the mix a smidge; Bobby Gillespie was really killing it and influencing a generation of bands on Slumberland. 15. It's So Hard - For the finish, they're back in primative Cabaret Voltaire mode, though it cleans up a bit at the end. I would have switched this with "My Little Underground" as the closer. General impressions: I don't get the tracks they picked as singles, aside from "Just Like Honey", and there is a bit of filler in the back half. That doesn't make it less of a classic, though. I can't believe this album came out in '85, considering that they developed and fully articulated a formula that a lot of people could do and do well for decades to come. Just great stuff. How Good Is It? Are you kidding? Legendary. How Scottish Is It? The plaid is kind of a dead giveaway. Can it be this guy? I mean, he was from Aberdeen...
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moimoi
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Post by moimoi on May 14, 2017 10:54:40 GMT -5
Any suggestions on another JAMC album or a random number for me?
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monodrone
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Post by monodrone on May 15, 2017 8:25:33 GMT -5
I am going to listen to The Jesus and Mary Chain. I actually typed "The Jesus Lizard" there which is a problem I I've had for years but thought I'd got over by having actually listened to The Jesus Lizard. OH WELL.
What do I already know about this lot? They love a bit of reverb and are 'influential'. That a guy I used to work with who heard I was in a band used to continually tell me how good they are and that enthusiasm from someone whose opinion I did not trust was enough to put me off giving them a go. I expect this review to mostly be me realising that loads of things I like are nicked from this album.
Just Like Honey - reminds me of Acrobat by Maximo Park which is a lovely song that clearly was partially inspired by this. The vocal melody in the line 'I'll be your plastic toy' is Mark Bolan-esque. Nothing wrong with a bit of T-Rex, I suppose.
The Living End - The Living End are an Australian pop-punk band that I saw 15 years ago at the height of my Green Day megafandom. I'd rather this was that The Living End. Black Rebel Motorcycle Club probably like this song. Again, it sounds like Glam Rock but MORE which I'm into.
Taste The Floor - more of the above. The disgusting guitar squeals that pop in and out are a delight.
The Hardest Walk - a more straight-forward fuzzy pop song. No fuzz on the bass guitar, has that been the case throughout? I'm not going back to check. THIS IS AN OFF THE CUFF REVIEW DANGIT.
Cut Dead - acoustic guitar and tambourine, my worst enemies in music. I can't believe this song is under 3 minutes long such is it dragging. Fuck.
In A Hole - YEAH BUDDY. Faster = better.
Taste Of Cindy - the bass isn't fuzzed up. Would adding fuzzed up bass help or hinder it? I dunno but I'm sure they thought about it and I shouldn't be out here questioning their decisions.
Never Understand - I'm only in this for the squeals. The actual songs at this point are background noise to the piercing guitars.
Inside Me - I don't think there's much else to say now. We'll see if any of the other songs do anything interesting but I'm not expecting it.
Sowing Seeds - I'm starting to get some Stone Roses vibes here and it's making me nauseous because I can't stand that band. Seriously, there's a knot forming in my stomach as I try not to skip to the next track.
My Little Undergound - probably a Velvet Underground reference, yeah? I won't listen to The Velvet Underground because I'm stubborn (see above reference to why I hadn't listened to Psychocandy before) so I don't know.
You Trip Me Up - A song that exists.
Something's Wrong - I've tuned out, sorry.
It's So Hard - going out with a shrug. Good one, lads.
To sum up:
I fully understand why this album is revered and how it spawned so much in its wake. If this had been presented to me when I was 15 there's a chance it would have blown me away (there's also a chance that I'd have dismissed it as 'old' and 'not worth my time' and 'I'd rather listen to Korn', we'll never know). I might put it on again one day.
29.
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repulsionist
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Post by repulsionist on May 15, 2017 15:36:37 GMT -5
While @patrickbatman's choice is admirable, and noting that I ceased developing my taste for the brothers Reid after half-hearing Automatic, Barbed Wire Kisses is also an excellent B-sides/covers album, with such great stuff such as a Bo Diddley cover, a Beach Boys cover, a Can cover, a mangled Jan and Dean song, acoustic version of "Taste of Honey", usw. Also, excellent write-up, moimoi. monodrone, you droll, bro; eager and open musician's ears that close down as soon as you've figured a band out that isn't doing too much musically - which is justified, and you'll hear no beef from me about that. To comment on your notion of adolescent reverie, I did have Psychocandy when I was 15. It blew me away.
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moimoi
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Post by moimoi on May 15, 2017 19:11:32 GMT -5
While @patrickbatman 's choice is admirable, and noting that I ceased developing my taste for the brothers Reid after half-hearing Automatic, Barbed Wire Kisses is also an excellent B-sides/covers album, with such great stuff such as a Bo Diddley cover, a Beach Boys cover, a Can cover, a mangled Jan and Dean song, acoustic version of "Taste of Honey", usw. Also, excellent write-up, moimoi . monodrone , you droll, bro; eager and open musician's ears that close down as soon as you've figured a band out that isn't doing too much musically - which is justified, and you'll hear no beef from me about that. To comment on your notion of adolescent reverie, I did have Psychocandy when I was 15. It blew me away. Barbed Wire Kisses is indeed excellent. JAMC is that weird band where I strongly prefer their (3!) singles/B-sides comps to their actual albums. I agree with you guys - their compilations stand up pretty well against their albums, which tend to have more filler, imo. I think the fact that the Reid brothers took on more production duties as the albums progressed has something to do with it. They needed someone from the outside to pick the best tracks and identify singles. Monodrone - I heed your input and I will proceed next week with...#29, Lonnie Donegan! This should be fun.
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moimoi
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Post by moimoi on May 22, 2017 21:39:59 GMT -5
Lonnie Donegan - Lonnie Donegan Showcase (1956) Background: Anthony James Donegan MBE (29 April 1931 – 3 November 2002), known as Lonnie Donegan, was a Scottish skiffle singer, songwriter and musician, referred to as the King of Skiffle, who influenced 1960s British pop musicians. The British Hit Singles & Albums lists him as "Britain's most successful and influential recording artist before the Beatles". He had 31 UK Top 30 single hits, 24 being successive and three at number one. He was the first British male singer with two US Top 10 hits. Existing prejudices: I only recently - like maybe in the last three years – became aware of Lonnie Donegan through Bob Stanley’s book Yeah Yeah Yeah: The Story of Pop Music from Bill Haley to Beyonce, as well as name-checks by various musicians in BBC music documentaries. I can’t say I really connect with or seek out folk music, but UK pop music from the 50s/60s holds a certain fascination because it had such a huge impact on my dad’s generation in India. He probably never heard of Lonnie Donegan either, but he definitely heard of Donegan acolytes like George Harrison. For a kid in India, it must have been thrilling to hear musicians who shared his love of American rockabilly and country and also brought Indian influences into their music. Track-by-track Impressions 1. Wabash Cannonball – I know this song from my midwestern upbringing; it was a staple of elementary school music classes. The Joe Meek production gives this an unmistakable sense of urgency. Donagan's voice is appealingly spunky and free-wheeling. 2. How Long Blues – Here, Donegan's voice is androgynous and saucy - kind of like Eartha Kitt. It's a swinging tune and I'm enjoying his jazz phrasing. 3. Nobody’s Child – For someone who is known for singing really fast most of the time, his delivery on this ballad is quite effective. Good whiskey-drinking music. 4. I Shall Not Be Moved – As soon as the tambourine kicks in, this goes from a straightforward folk song to proto-Rolling Stones. Pretty cool. 5. I’m Alabammy Bound – This appears to be the blueprint for another Joe Meek production (if I’m not mistaken): “ Yeh Yeh” by Georgie Fame, which is one of my favorite Mod/British Invasion deep cuts. 6. Gamblin’ Man – This starts out crisp and builds into a nice, garage-style racket. I bet Black Lips could do a great cover. 7. Wreck of the Old ’97 – This must be where the Chicago band Old 97s got their name – it certainly matches their sound. Doesn't do much for me, though. 8. Frankie and Johnny – The deep bass, sparse drumming, and guitar tuning in the intro sounds like Yo La Tengo – very contemporary. I don’t love this interpretation, though. It’s a bit shouty and one-note toward the end. Maybe I’m just used to hearing a woman singing, which gives it more of a bite. General impressions: Given the choice between this and Pete Seeger, I’d probably choose this. It hasn't deepened my appreciation for folk music in general - which I can't help but associate with very small children - but I can appreciate why this would sound revolutionary to teenagers in the 50s. The Joe Meek production is what really grabs me. How Good Is It? Pretty good. How Scottish Is It? Not at all. It has more references to the Midwest than anything remotely Celtic. It’s Ewan McGregor in Fargo.
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moimoi
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Post by moimoi on May 28, 2017 20:55:08 GMT -5
Nazareth - Hair of the DogBackground: Hair of the Dog is the sixth studio album by the Scottish hard rock band Nazareth, released in 1975. It was Nazareth's first big hit album (aside from the minor success of Razamanaz), including classics such as the title track, "Love Hurts" (on the US version, but not the Canadian/European, it replaced the original "Guilty"), "Beggars Day" and "Please Don't Judas Me", and it is the band's biggest selling album, having sold two million copies worldwide. The album title is often considered to be a shortened form of the phrase describing a folk hangover cure, "the hair of the dog that bit you". However, according to Dan McCafferty, the title is a play on "heir of the dog", i.e. a "son of a bitch". This was the title the band had intended for the album, but the label did not approve and had the name changed. Existing Prejudices: I know nothing about this band except that they're 70s hard rock and sound completely uninteresting. They placed in the poll, though. So I guess I asked for this. Track by Track Impressions 1. Hair Of The Dog - Starts off with cowbell, so I know what I'm in for. It's got kind of a boogie riff and some amusing lyrics: "now you're messin' with a sonofabitch". LOL. Also talk box, to complete the trifecta of cock rock cliches. 2. Miss Misery - Um, I think Jack White would be into this, but I'm not. This song is long, too. Just one repeated riff. 3. Guilty - A ballad about whiskey and cocaine. Snooze. Backup singers? Is this an SNL sketch? 4. Changin' Times - Wannabe Zeppelin. But this guitarist is no Jimmy Page. I'd rather listen to the Electric Mayhem. 5. Beggars Day/Rose In The Heather - I'm so bored. This is the kind of stuff that used to come on the radio when I was a kid and made me carsick. The last few minutes of bass and space synths isn't bad at all, though. 6. Whisky Drinkin' Woman - This is giving me a Steve Miller vibe. Also, more cowbell. 7. Please Don't Judas Me - I hear some tabla and buzzing synths, so that's different. The lead singer's voice is rough though. Imagine the Macho Man Randy Savage trying to sing a ballad. Only 10 minutes left - thank god! I think I might actually like Lady Gaga's "Judas" song better. 8. Love Hurts - Naw man, you know what hurts? Your voice on this fucking album. I bet the Everly Brothers original blows this out of the water. EDIT: Fuck yeah, it does. Overall impression: Listening to this album was an absolute chore. Are they supposed to be really good musicians? Because what I heard was basic, bordering on self-parody. NEXT! How good is it? Servicable? How Scottish is it? I WISH it were Scottish-sounding! This was pedestrian 70s rock. Mike Myers as Wayne Campbell. Somebody please give me random number for next week!
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monodrone
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Post by monodrone on May 29, 2017 7:17:16 GMT -5
Nazareth. OH NO. Existing Prejudices: Nazareth are my ex-girlfriend's step-dad's favourite band and for the 3 years she and I were together I had to put up with him telling me how great Nazareth were on a weekly basis because I was in a band so would obviously love them too. I managed to largely avoid listening to them and haven't thought about them for at least 5 years. Hair of the Dog - DONKDONKDONKDONK. The cowbell is the best bit* Miss Misery - I, too, have listened to Black Sabbath but you appear to have ignored their best aspects and stodged it the fuck up. There was around 40 seconds of good STOMP in there that got stretched out to 4 minutes. Guilty - BAN BALLADS. Changin' Times - A nice opening riff. Some of these lyrics don't scan well. Too many syllables crowbarred into each line in the spaces between the riff in the verse. I like the breakdown in the middle of the song. Pacy with some guitar harmonies. I'm a sucker for a guitarmony. I'm into the chunky bass keeping things going behind those guitars too. Minus points for the fadeout. Write a fucking ending to your damn song. Beggars Day/Rose In The Heather - STOMP. This is entry level heavy rock but it's also from 1975 so *shrug* Whiskey Drinkin' Woman - a Scottish band spelling whisky whiskey? GTFO. I failed to notice this song. Please Don't Judas Me - edgy song title, guys. This is a prime example of why it's actually good that AC/DC only play one kind of song. Love Hurts - yes, this is definitely a necessary song and great album closer and not something that should have been a b-side to the third single released from it. SOME WORDS: I don't like it. Given all that's come and gone by between now and then it doesn't hold up at all but in the context of the time and place I can see why they'd do alright for themselves. *I really want a cowbell but I don't know if I can commit to spending money on something I'll hardly ever use without laughing. When I was recording drums for an album a few years back there was one song that shouted out for a cowbell but the studio we were in was pretty pokey and didn't have one around. The best facsimile we could get hold of was a saucepan from a charity shop round the corner. (video evidence: www.facebook.com/birdlawpunx/videos/533005173469346. In context: dasmcmanus.bandcamp.com/track/norm)
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moimoi
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Post by moimoi on May 29, 2017 16:18:43 GMT -5
Monodrone - I think you should keep the saucepan, so that at your shows people start chanting "more saucepan!". Also thanks for the links - that track has a nice Dinosaur Jr. vibe that I thoroughly enjoyed :-)
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monodrone
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Post by monodrone on May 30, 2017 8:33:11 GMT -5
Monodrone - I think you should keep the saucepan, so that at your shows people start chanting "more saucepan!". Also thanks for the links - that track has a nice Dinosaur Jr. vibe that I thoroughly enjoyed :-) Thanks for giving it a go, we haven't played that song since we rebranded last year so it was fun to listen back to it. The saucepan retired from public life after recording and now takes pride of place on the stove top in the bassist/lead guitarists' kitchen.
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Post by ganews on May 31, 2017 9:09:40 GMT -5
*I really want a cowbell but I don't know if I can commit to spending money on something I'll hardly ever use without laughing. This sounds like the best possible reason to spend money on anything.
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moimoi
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Post by moimoi on Jun 5, 2017 0:28:31 GMT -5
Franz Ferdinand - Franz FerdinandBackground: Franz Ferdinand is the debut studio album by Scottish indie rock band Franz Ferdinand, released in early 2004 through Domino Records. It was recorded during 2003 at Gula Studios in Malmö, Sweden and was co-produced by the band and Tore Johansson. It entered the United Kingdom album charts at number three in February 2004 and contains the UK top ten singles "Take Me Out" and "The Dark of the Matinée" as well as UK top 20 hit "Michael". Franz Ferdinand won the 2004 Mercury Music Prize and was nominated for Best Alternative Album at the 47th Annual Grammy Awards. The album has since sold over 3.6 million copies worldwide, with over 1.27 million copies in the United Kingdom and at least 1 million copies in the US (Platinum). Existing Prejudices: Being the absolute target audience for this band, I heard about them through various hipster (back when I embraced this term) channels and downloaded the album forthwith. I loved it; played it all the time; and was blown away by the band's performance (a double bill w/Death Cab for Cutie) at the Aragon Ballroom in 2006. One of my most hipster of friends used to tease me for my crush on the drummer (and my general taste for men with 'swimmer's builds'). Something I was recently shocked to learn: I have been listening to this album out of sequence my whole life. Thanks to the planned obsolescence of ipods, I cannot figure out how this happened, but it appears that I had the album on shuffle, and thus my recollection of its tracklist is totally different than the official deluxe edition sequence below. My sequence, which I find vastly superior and highly recommend: 1. All For You Sophia - which is a great opening track and introduction to the whole WWI conceit) 2. Shopping for Blood 3. Van Tango 4. The Dark of the Matinee 5. Cheating on You 6. Tell Her Tonight 7. Darts of Pleasure (I have never heard its alternate take "Words So Leisured" which must have been added on a subsequent release) 8. Auf Achse 9. Michael 10. This Fire 11. 40' 12. Take Me Out 13. Come on Home 14. Jacqueline Track by Track Impressions 1. Jacqueline - This song is like a culmination of Big Country's buzzing guitars, combined with Scottish defiance and surliness. As the album's closer, it's the musical equivalent of 'finishing' if you know what I mean. Seriously, play it as the last track - so much better. 2. Tell Her Tonight - The first thing I picked up was a 'baggy' influence, along with a continuation (in my mix) of the Mittel-europa motif. 3. Take Me Out - Goddamn, that little drummer is a monster. The sound is phat and meaty, with unexpected touches of noise and drone to add texture. Watching them perform that really fast downshift in the bridge is quite impressive. 4. The Dark of the Matinee - This has a bouncy, almost britpop sound, but with a daringly verbose chorus. They toe the line here between clever and obnoxious - better than a few other bands of the time that I could name... 5. Auf Achse - Changing up the pace is something this band really excels at - who would have guessed at the start that this song would be in disco time, amped up like Blondie in their prime? 6. Cheating on You - This reminds me of the Buzzcocks (always a good thing), and yes, I sped this up to 1.25 to check. Kapranos doesn't have Pete Shelley's lovable whine, but the high harmonizing in back is a nice touch. 7. This Fire - This sounds the most like American dance rock of the time, like the Rapture or the Faint. I never noticed the little disco hi-hats in the background. Another reason to love this man, even if he now has a neck tattoo. 8. Darts of Pleasure - The beginning kind of reminds me of Sonic Youth, which would be an interesting direction for FF to try, but then it goes in a much slicker direction. In fact, I often find myself humming this one because it's so tuneful. 9. Michael - A welcome bit of homoeroticism which also dares to be silly, with its talk of "beautiful dance whores" on dance floors. Does anybody know what the subliminal message is before the second chorus? 10. Come on Home - I would have guessed this would be the follow up single to "Take Me Out" in the U.S., since it sounds like a cross between "Take Me Out" and Modest Mouse. Again, we're in straight up disco territory, and I like it. 11. 40' - The shagginess kind of reminds me of something I'd hear on the Muppet show back in the day (which was big on country rock), but then it gets swirly and psychedelic. It even has a touch of melodica, adding to the surprise. *12. Van Tango - Oh so cheeky, with a direct thru-line from the Stranglers to britpop (take your pick) to the dance rock revival. As the third our fourth FF song I ever heard, I could tell from here that they had some range. *13. Shopping for Blood - Who else could declare themselves "the new Scottish gentry" with such menace? The vocals are a nice nod to Mark E. Smith - the whole thing is really in the spirit of The Fall, but with much, much tighter production. As the second or third FF song I ever heard, I could tell from here I was going to love this band. *14. All For You Sophia - This isn't on Itunes latest version of the album's deluxe edition, which means the fuckers stole a song from me. Fuckers. *15. Words So Leisured - I don't think anyone needed this stripped down version of "Darts of Pleasure". Especially if I lost "All For You Sophia" instead. Really pissed about this. Overall impression: Being arguably one of the most important bands to come out of the UK in the last 20 years, I've probably said enough about how cool they are. Reflecting on how much I enjoy listening to this album, it occurred to me that my favorite people in the world can be described as "intelligent and horny". FF captures this spirit nicely, with their knowledge of early 20th century history and Moholy-Nagy aesthetic, coupled with lyrics about shagging. They're like Pulp's surly Scottish cousins. Bless 'em. How good is it? Ohmigod, so good. How Scottish is it? It's fucking Bond-era Sean Connery.
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Post by ganews on Jun 5, 2017 6:19:20 GMT -5
I can't wait to get back and type up for this album. You should do the next three as well!
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monodrone
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Post by monodrone on Jun 6, 2017 8:40:35 GMT -5
I don't think I've listened to this album in full before which is a travesty given how much I love the singles from it
Jacqueline - the intro had me scared. I had visions of close to 4 minutes of crooning over a light acoustic guitar. I could see myself writing uncomplimentary words about how little time I have for such indulgences and then... A bassline... A wiry guitar riff... DRUMS. I was saved. This is good.
Tell Her Tonight - That first minute has left 'Won't you take me to... funky tooown' spinning round my head which is entirely unfair but the brain does what the brain does. I don't think I would have made the 'baggy' connection that you mentioned up there because hot dang do I hate anything with that label but this has it cloaked in enough other stuff that I can deal with it.
Take Me Out - What a fucking tune. I think I love everything about every part of this song. The intro is sublime with the build on the drums while the transition into the first verse is smoother than a really smooth thing. The interplay between the guitars in the verse with that scratchy second part lurking down in the mix is something I don't remember noticing before today but it's great. Drums are interesting without being overly showy which aligns perfectly with my principles and heck, nearly forgot to mention that it's a lot of fun to sing too.
The Dark of the Matinee - of the songs I already knew coming into the run through this was my least favourite. I think, at the time, I thought it was annoyingly catchy rather than the good kind of catchy but with nostalgia on its side I've totally come round. It's Good. The end of the chorus is so Strokes it hurts, though a lot of things in 2003 sounded like The Strokes.
Auf Asche - oooo eeeee oooo. Keys < Guitars. Nice of them to write a new Blondie song.
Cheating on You - those are intro noises I like a lot. This is a fun song. I'm slightly irritated that I've been missing out on this one for 14 years. Better late than never, eh?
This Fire - IS OUT OF CONTROL WE'RE GONNA BURN THIS CITY.
Darts of Pleasure - I was drifting through this one without having much to say then "ich heiße super fantastisch" comes along and knocks me back out of my 'doing work at work' zone. This used to get played at the ol' indie disco back in the day. Lovely stuff.
Michael - I feel like it's always on the verge of falling apart, a bit loose and ramshackle but hanging together by a thread.
Come On Home - Sounds like Matinee v2 to me, I don't have a problem with that.
40' - Gorillaz' Dirty Harry harmonica and some other things. I dunno. I'm going back to Take Me Out.
This is a good album and I feel like a dolt for sleeping on it for all this time.
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Post by ganews on Jun 7, 2017 13:32:55 GMT -5
"ich heiße super fantastisch" comes along and knocks me back out See below.
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Post by Jean Luc de Lemur on Jun 7, 2017 16:42:20 GMT -5
moimoi This feature is excellent and I either have little in the way of feedback or the write-ups make me want to just really dedicate time to each album, so I am very far behind (same can be said to ganews). However, I did read an interview with one of those people I’m behind on: here’s Momus in the Quietus.
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moimoi
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Post by moimoi on Jun 7, 2017 18:31:37 GMT -5
moimoi This feature is excellent and I either have little in the way of feedback or the write-ups make me want to just really dedicate time to each album, so I am very far behind (same can be said to ganews). However, I did read an interview with one of those people I’m behind on: here’s Momus in the Quietus. Thank you! I too fall behind with Ganews and I wish I had more time for your Lupin III, but it's good stuff! I don't remember if I've commented on this elsewhere, but I find it amusing that so many of us who lament the loss of quirky features on AVC have just decided to start our own here. Next year I'm thinking of taking on the music of Scandinavia or Australia/New Zealand, assuming we all survive this Administration...
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Post by Jean Luc de Lemur on Jun 8, 2017 10:50:41 GMT -5
moimoi Luckily I haven’t updated it in months! (Though I might have something in the pipeline, and another depending on how quickly English subtitles materialize…)
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moimoi
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Post by moimoi on Jun 11, 2017 13:23:39 GMT -5
Franz Ferdinand - Right Thoughts, Right Words, Right Action (Deluxe Edition) Background: Right Thoughts, Right Words, Right Action is the fourth studio album by Franz Ferdinand, released four years after Tonight: Franz Ferdinand. The album was recorded in multiple studios in different locations in 2013. Lead singer Alex Kapranos, who provided production on the album, labeled it the band's "most positive record", stating that the album title reflects the mood of the album as well as the mood of the band members during the recording. The album received generally favorable reviews from music critics upon its release. It also had a significant commercial performance, with the album charting in the top 10 in several countries, including the band's home country of Scotland, where it peaked at number 2, and the UK, where it peaked at number 6. The album spawned six singles: "Right Action", "Love Illumination", "Evil Eye", "Bullet", "Fresh Strawberries", and "Stand on the Horizon". Hot Chip band members Joe Goddard and Alexis Taylor produced the opening track "Right Action" and co-produced the final track "Goodbye Lovers and Friends", Norwegian DJ Todd Terje co-produced the tracks "Evil Eye" and "Stand on the Horizon", and Peter Bjorn and John band member Björn Yttling produced "Treason! Animals." and co-produced "The Universe Expanded". All tracks on the album were written by Alex Kapranos and Nick McCarthy, with additional writing from Bob Hardy on "Right Action" and "The Universe Expanded" as well as Alexander Ragnew on "Bullet". Kapranos co-produced the majority of the album under the pseudonym "Prince House Rabbit", with the exception of "Right Action" and "Treason! Animals." Existing Prejudices: With no clear recommendation besides 'do the rest of them', I decided to go with FF's latest in hopes of answering the question of "what next; where does the band go from here?" Considering the number of side projects they've taken on their latest hiatus, it might also be worth asking, "is this the end?" Track by Track Impressions 1. Right Action - I love the industrial intro and I want to make out with the bassline. This is exactly the cheeky, bouncy FF single I was waiting for in the awful year of 2013. 2. Evil Eye - The opening scream is a nice nod to the Clash and I like the swampy feel to this one. The smooth bassline, cracking percussion, and shouty bits are infectious. 3. Love Illumination - Holy shit, this song is an earworm, even if it does remind me a bit of Loverboy's "Working for the Weekend". Or let's say ZZ Top - that's a more respectable reference point. 4. Stand on the Horizon - I am currently in love with this song. It starts out reminiscent of OMD's "So In Love" (another song I love) before pulling out every post-punk-funk trick in the book. It has so many different sections and yet they all work to build something cohesive and stirring. It isn't often that I listen to songs on repeat, but this one I always have to listen to at least twice in succession. 5. Fresh Strawberries - One of the most unlikely FF song titles I've come across, which hints at the more countrified folk rock sound Kapranos is currently exploring with BNQT. I get the sense that they were listening to the Hollies and CSN during this period. There's more harmonizing, jangle, and conventional chord progression in the chorus. 6. Bullet - Now this is the straight-ahead FF sound to which I'm accustomed. Songs like this that make you want to learn an instrument or start a band - they sound so easy and fun to play. 7. Treason! Animals. - This sounds like the Cars, except for the declarative chorus, which is something of an FF signature. It's not one of my favorites, but hardly bad. 8. The Universe Expanded - I get an Eno vibe from the eerie minor key verses, which is leavened by a lovely chorus. Songs like this build my argument that FF is relevant because they take chances that other bands of their stature or ambition don't take. 9. Brief Encounters - I'm surprised - but also relieved - that FF don't have many songs in reggae/rocksteady time, especially given their post-punk influences. This one is fine. The keyboard sections work better than the slabs of guitar, in my opinion. Also, this is one of the rare times you can catch a bit of Kapronos' Scottish accent on how he pronounces "pull". 10. Goodbye Lovers and Friends - Kapranos' lyrical point-of-view is so distinct that it would be a shame to lose his sardonic, swaggering, and often surly voice. Still, if this can be interpreted as FF's swan song - as some critics have - then it's certainly a fitting and satisfying conclusion, both to the album and to this perhaps era-defining band. *11. Bullet (live) - see above *12. No You Girls (live) - I loved this song immediately because it has some of Kapranos' most incisive lyrics. It's also very fun to sing along to. *13. Evil Eye (live) - Played at a slightly faster tempo, this starts to take on a punk-ska feel. That's okay, I guess? *14. Fresh Strawberries (live) - Is it just me, or is Kapranos is a little flat here? *15. Right Action (live) - see above *16. Goodbye Lovers and Friends (live) - see above *17. Can't Stop Feeling (live) - "Can't Stop Feeling Love" is absolutely inspired. I've seen them do this live and it's magnetic. The bit of Chemical Brothers ( ) at the end is just insanity. *18. Treason! Animals (live) - Again, Kapranos is a little flat or tired sounding. He's lacking conviction, which reinforces my lukewarm judgement of this song. *19. Love and Destroy (live) - Yay! This early B-side is one of my favorite non-album FF tracks - sometimes known as "Margarita", sometimes known as "Love and Destroy" as they are wont. The live version is messier, but for FF, that's not a bad thing. *20. Do You Want To (live) - I do love FF's fakeout song intros. This version is more menacing than the swaggering indie club track I'm used to. The guitar solo sounds great here and I guess it sounds a little less dated than the album version. *21. Ulysses (live) - I never liked this song, for the same reason I was never partial to "Do You Want To". Both sound like stale britpop - the "la la la"s, the bouncy keyboards, the pub swagger and Kinks feel. Thankfully, the albums these come from had a lot more to offer. My favorites from You Could Have It So Much Better: "The Fallen", "Evil and Heathen", "What You Meant", "Fade Away". From Tonight: "No You Girls", "Twilight Omens", "What She Came For", "Live Alone", "Lucid Dreams". *22. Love Illumination (live) - I think this sounds better with rawer vocals, without the saxophones, and with comically puny keyboards. *23. Stand on the Horizon (live) - see above Overall impression: With what I know of the music industry, I think we should prepare ourselves for the idea that this may be the last Franz Ferdinand album for some time. I have long maintained that the natural lifespan for a band - including and especially great bands - is around 10 years. Of course, a band may choose to record and play together for much longer than that and many have, but with few exceptions, 10 years is as long a vital period as anyone can expect from the same group of musicians. As a music fan, I'm really okay with this too. I think it's unreasonable to expect an artist, or anybody for that matter, to do the same thing for more than 10 years. So I have more respect for bands that call it off then the ones that slog on out of habit. It's actually quite similar to how I feel about TV shows (particularly the Simpsons) - after 7-10 years, it's just a paycheck, and who has time for that when there's so much great new stuff to explore? How good is it? Solid. Satisfying. How Scottish is it? Connery in Indiana Jones and the Last Crusade - the film that should have ended that particular franchise
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Post by ganews on Jun 11, 2017 15:47:30 GMT -5
Overall impression: With what I know of the music industry, I think we should prepare ourselves for the idea that this may be the last Franz Ferdinand album for some time. I have long maintained that the natural lifespan for a band - including and especially great bands - is around 10 years. Of course, a band may choose to record and play together for much longer than that and many have, but with few exceptions, 10 years is as long a vital period as anyone can expect from the same group of musicians. As a music fan, I'm really okay with this too. I think it's unreasonable to expect an artist, or anybody for that matter, to do the same thing for more than 10 years. So I have more respect for bands that call it off then the ones that slog on out of habit. It's actually quite similar to how I feel about TV shows (particularly the Simpsons) - after 7-10 years, it's just a paycheck, and who has time for that when there's so much great new stuff to explore? "Right Thoughts, Right Words, Right Action" - What a solid opener, so much punch. I love the shouts, which will really be capped by the opening scream on "Evil Eye". "Evil Eye" - Right on with the Clash and the swampy feel - the video even included shots of the crawling, crawling creatures. This one is my favorite to sing along to from this album. This the first piece of atheism on this album, which is more more explicit that previous implications. "Love Illumination" - "Earworm" is right. This is the first one where the guitar riff is really the grabber more than the bass. moimoi, Loverboy has always sucked. But let's talk about the real monster, that synth organ solo, hot off Del Shannon's "Runaway". "Stand on the Horizon" - Very cool, taking it down a notch. Actually, much of this album is down a notch, and that's fine. "Fresh Strawberries" - It's an oddball, alright. A bit of cheery nihilism. "Bullet" - When I saw them on the album tour in 2013, this was the opener and that's how I think of it: pounding and flashbulbs. Actually it's a bit more subdued, if still a rollicking good time. Lovely drum intros to each verse/chorus, great vocal over bare bass, fun backing interplay. "Treason! Animals" - The lead sounds like the intro to William Shatner's cover of Pulp's "Common People", and there's a boingy mouth harp thing in there. Besides the synth organ, my favorite part of it is the extended outro, and a good chunk of that is because I own the shirt from that 2013 show. "The Universe Expanded" - Same Shatner/Pulp intro. It's a light bit, another atmospheric and anti-mystical thing. "Brief Encounters" - Oh right, the one with the tempo. It's fine and a bit silly, "Caaar keys, choose your keys". In retrospect it reminds me of the later FFS song "Police Encounters", I guess just because of the pronunciation of the latter. That keyboard really is nice. "Goodbye Lovers and Friends" - NIHILISM. This song is so damn dark. No one else writes and sings like on these verses. I would have this played at my funeral except I don't hate my family. Final thoughts - Is it the swansong? Well, that closer is certainly suitable for slamming the door shut on literally anything. This album was already a long time after the previous. The side projects have been fine, even really good like the aforementioned FFS ( moimoi you might as well review that one too, as only 1/4 of FF is Scottish anyway). Perhaps no dance punk can pull it out beyond four albums (RIP Yeah Yeah Yeahs; if only you had been this consistent). ...Except FF is going to release a fifth album, albeit with guitarist Nick McCarthy who needed a break for family and agrees this may not be permanent. I've heard four new tracks at the Pittsburgh show, and they were variously solid and head-spinning. I think it isn't done yet and doesn't need to be as long as it keeps trying new things. Just wait until you hear that one track...you'll know it when you hear it, I'll remind you.
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moimoi
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Post by moimoi on Jun 11, 2017 18:49:16 GMT -5
...Except FF is going to release a fifth album, albeit with guitarist Nick McCarthy who needed a break for family and agrees this may not be permanent. I've heard four new tracks at the Pittsburgh show, and they were variously solid and head-spinning. I think it isn't done yet and doesn't need to be as long as it keeps trying new things. Just wait until you hear that one track...you'll know it when you hear it, I'll remind you. Oh this is a most intriguing development! Please do remind me - I'll be keeping an eye out too. Since I'm ahead of schedule by one week, I have time to review one FF side project. I was considering FFS, but also The Yummy Fur and BNQT. Thoughts from the floor?
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Post by ganews on Jun 12, 2017 8:23:33 GMT -5
...Except FF is going to release a fifth album, albeit with guitarist Nick McCarthy who needed a break for family and agrees this may not be permanent. I've heard four new tracks at the Pittsburgh show, and they were variously solid and head-spinning. I think it isn't done yet and doesn't need to be as long as it keeps trying new things. Just wait until you hear that one track...you'll know it when you hear it, I'll remind you. Oh this is a most intriguing development! Please do remind me - I'll be keeping an eye out too. Since I'm ahead of schedule by one week, I have time to review one FF side project. I was considering FFS, but also The Yummy Fur and BNQT. Thoughts from the floor? FFS. Does BNQT have anyone born Scottish?
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moimoi
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Post by moimoi on Jun 12, 2017 8:35:48 GMT -5
Oh this is a most intriguing development! Please do remind me - I'll be keeping an eye out too. Since I'm ahead of schedule by one week, I have time to review one FF side project. I was considering FFS, but also The Yummy Fur and BNQT. Thoughts from the floor? FFS. Does BNQT have anyone born Scottish? Fran Healy of Travis 😀
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moimoi
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Post by moimoi on Jun 12, 2017 8:55:01 GMT -5
Oh and quick edit: the live version of "can't stop feeling" that segues into I feel love ends in the riff from the KLF (not Chemical Bros) "what time is love?" Which is even more genius and insane. Don't know why I blanked on the riff until just now!
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Post by ganews on Jun 16, 2017 11:43:43 GMT -5
Franz Ferdinand - Franz Ferdinand Another entry before we return to our regularly scheduled Prince programming. Franz Ferdinand's debut was the sharpest pivot I have ever had in what I was listening to. Beck, my classical favorite, has been on the scene for as long as I have been listening to contemporary music. I remember being in the backseat in elementary school the first time I heard "Loser", and the Grammy performance (ha!) of "Where It's At" set me firmly on the path for life a couple years later, so I grew up with it. "Take Me Out" on the other hand made me completely stop short when I was in college, when I had been listening to White Stripes and Gorillaz. "Jaqueline" - A soft croon, then the bass thumbs in the and the guitars pick it and we're jumping. The fake-out is going to be a beloved recurrence. It was the show opener for Baltimore this week. The middle of the song is a bit of a hooligan, and the song is pretty mixed up for being so simple. "Tell Her Tonight" - A coy mix of picking and bass with accented singing, "but I sawr it". Soaring backing vocal. Also pretty simple lyrically, but still four identifiable parts. "Take Me Out" - This Song. I first heard it in the car, and as I had not heard their first single "Darts of Pleasure" I was completely blindsided when yet another garage rocker suddenly slowed down and started stomping on my face. Then a few days later my college roommate was watching music videos on TV (what a thought) and called me in as the song started. That foot! That punch! seriously I can't believe I can't find a gif of that shoe from the video, but here's a good one too: How about that bass break down during "I know I won't be leaving here..."? And then the whole thing is over before it overstays its welcome. Musically, it's the simplest song yet, having few lyrics again and only three parts. What a great song. And it's not even my favorite off the album. "Dark of the Matinee" - This one starts darker, but once again much of the song is very different with intimate lyrics. Love the drums in the back of the chorus. R.I.P. Terry Wogan, whose name was not "Terry Woganhow". "Auf Achse" - Ah, the one with the hard-to-remember title. This is one of those songs from the perspective of a Nice Guy, and it's simple and effective. Bob gets an especially easy bass plunk until the disco picks up. Biggest synth part yet. "Cheating on You" - Most guitar-driven song yet. What fun to sing along to. I imagine this has made a lot of night out/break up mixes. Everyone is working overtime. "This Fire" - What a party, and a fine way to close a show as they've been doing. This time it's not a fake-out but a slow-burn. I love the explosion at the end. "Darts of Pleasure" - If "Take Me Out" hadn't caught me, this would have. Great choice for a single. Love the cymbal and the guitar counters to the verse lines. Everything feels so dirty, yet it's musically so crisp. Then that ending! I was most definitely screaming the German lines at the shows, so great. "Michael" - Aw shit, it's hanging out now. "So sexy...I'm sexy!" (The liner notes say "you're sexy" which is not as good.) Adding to the dirt, now we got some explicit gay stuff. I love the "hey you!" calls backing up the rapid-fire chorus lines. "Nothing matters now!" Could mean anything, but we got really nihilistic later. It's all so transgressive. Yeah when some bluegrass players included FF in the "Pickin' On..." series they straightened "Michael" out, so to speak. "Come On Home" - A lovely little song, urgent in spots and sweet in others. Cool synth bridge. I wonder if that 19-year-old-lookin' Julian kid will be playing Nick's synths on the next album. Nick and Alex co-wrote every song on this album except two. The new tracks I've heard live are good but I still get nervous when I think about it. 40' - A plunky little thing, but it's got the FF bop. Alex does more sweet singing (there's actually a lot of that, isn't there?) Things get weird in the bridge. How about that horn sounding synth in between la la las after the bridge? It really sounds like Gorillaz, or perhaps Bowie's "Golden Years". The warp continues late into the song, and then it all ends abruptly. Summary - A great, straightforward album, a good fit for whoever invented the term "dance punk". When they first turned my head around it opened up something for me, but their strong follow-ups solidified them as one of my Favorite Bands.
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moimoi
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Post by moimoi on Jun 19, 2017 22:55:53 GMT -5
I dunno, ganews. I caught a couple bootlegs of new songs from the Governor's Ball and maybe it's just the hair, but Kapronos is giving me a real Jim Kerr vibe. I can only hope they veer in the direction of early Simple Minds rather than stadium-era Simple Minds I dig "Lazy Boy" though. AND since I'm a little behind schedule, my next post will cover both FFS and BNQT!
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moimoi
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Post by moimoi on Jun 21, 2017 12:06:55 GMT -5
[couldn't decide which current side project to cover, so you get both!]
FFS - FFSBackground: FFS is the debut studio album by supergroup FFS, consisting of members from the Scottish band Franz Ferdinand and the American band Sparks. It was released by Domino Records in 2015. Franz Ferdinand and Sparks originally began working on music together in 2004, shortly after the release of Franz Ferdinand's eponymous debut studio album, when it was discovered that the two bands were fans of each other. They had sent each other a few demos, one of which was "Piss Off", the twelfth track on FFS, but the two bands were busy with other activities and they were not able to fully record an album together. Nine years later, it was announced that the two bands were both performing at the 2013 Coachella Valley Music and Arts Festival. While searching for a dentist in San Francisco, Alex Kapranos, a member of Franz Ferdinand, was found by Ron and Russell Mael of Sparks. The Mael brothers invited the band to watch their set at the festival, and later, the two bands agreed that it was time to record an album together. The album was recorded during a 15-day period in late 2014 at RAK Studios in London and was produced by Grammy Award-winning record producer John Congleton. Existing Prejudices: Prior to joining this forum, I was a firm fan of FF, but knew very little of Sparks. In fact, I thought the vocalist on "This Town Ain't Big Enough for the Both of Us" was a lady. But after checking them out for the Anniversary Record Club, I became fascinated. I can't say I deeply connect with their music, but they've produced a fair number of gems. There was a lot of buzz around this album, especially among amateur DJs like myself, so it was nice that we got it in rotation and I got to listen to most of the tracks back when it came out. Track-by-track Impressions 1. Johnny Delusional: Right from the start, there's a a perfect melding of styles and instrumentation: the Sparks keyboards, the FF dance rock pacing, Russel Mael's vocal range on full display, and a great use of Kapronos' deadpan phrasing on "paging Mr. Delusional". 2. Call Girl - I feel like this is an FF song with Sparks lyrics, but again, the transition is seamless. "I gave up blow and Adderall for you" is such a satisfying line. 3. Dictator's Son - The density of lyrics veers into operetta territory, but it's got a great little bassline and I like the dramatic horn jabs. 4. Little Guy From the Suburbs - This one is subtly dramatic and cool, kind of like Lou Reed or Leonard Cohen. I sense that this could have been an FF song, but it's really enhanced by Russell Mael's harmonizing. For some reason, I chuckle at the line about 'Free Quebec'. 5. Police Encounters - Ah yes, my favorite track on this album, which I can tell you from experience segues quite nicely into the Clash's "Police and Thieves". On their own, I don't think FF would do a song this absurd, and when Sparks do infectious, it's usually undercut by the lyrics (ex. "Number One Song in Heaven"). The production on this song is also impeccable. 6. Save me From Myself - A bit of early 90s rave for some reason. The scratchy-cassette production value indicates this is a bit of a goof. 7. So Desu Ne - I was initially skeptical that one of my favorite Japanese conversational phrases (expressing agreement, as one often does when socializing in Japan) would make a good pop chorus, but FFS pulls it off with wonky synths, wonky guitars, and wonky lyrics about a "pamphleteer of love" "carrying a hello kitty uzi". 8. The Man Without A Tan - This one is probably the most Sparksian yet, and to be honest, it's a little too much for me. I do appreciate the harmonizing on the line "our rugged handsomeness is no match for the man without a tan". 9. Things I Won't Get - Simple, wry and funny. If Kapronos is singing on this one, he doesn't sound like himself. It wouldn't surprise me if they handed this off to another member of FF, since Kapranos's voice doesn't lend itself to earnest self-deprecation. 10. The Power Couple - It starts out a bit silly and portentous and it's rather repetitive. I am frustrated by how weak the guitar line is here, because this really could have used some FF crunch to keep it from sounding like plot exposition in an operetta. I like the line, "We close the garage (And hidden our Kia)". 11. Collaborations Don't Work - This is quite a concept song - intentionally self-indulgent - so I don't know how well I can judge its effectiveness. I found it amusing, though. 12. Piss Off - Jolly good fun, this one. The video is delightful as well. *13. So Many Bridges - Here's some FF funky dance rock, with a nice swing to it and warped keyboards. I would have subbed this in for "The Power Couple". *14. King of the Song - Some more great harmonizing and this has a bit of a country rock feel that leads nicely into BNQT. I like how it changes direction midway through. I would have subbed this in for "The Dictator's Son" - especially since they cover similar thematic ground. *15. Look at Me - Yeah...this goes on too long and the repetitive outro makes me think this is on purpose. Too self-indulgent. *16. A Violent Death - I was hoping this would be a goth parody and it is, kind of! The drums are highly sample-able Overall Impressions: I think this is a worthy endeavor and if it should continue, I'd check it out. I wonder how many other artists would benefit from such collaboration and start to think about dream collaborations, like Richard Hawley and Morrissey (who unfortunately can't collaborate with anyone), or Supergrass and the Chemical Brothers... How good is it? Pretty solid. How Scottish is it? Sophisticated, arty, and weird...actually, I think this one is Momus! BNQT - Volume IBackground: Volume 1 is the 2017 debut studio album by indie super-group BNQT, lead by Eric Pulido (Midlake) with Ben Bridwell (Band of Horses), Alex Kapranos (Franz Ferdinand), Fran Healy (Travis) and Jason Lytle (Grandaddy), backed by the other members of Midlake. Each member wrote and sang on two tracks each. The concept came to Pulido while he was touring Midlake’s 2013 album Antiphon. Pulido wanted to gather a number of contrasting yet complementary artists he’d befriended or shared the stage with and establish an environment in which they could collaborate. Pulido said “That’s what art is about for me, creating with other people that you love and appreciate.” Due to members being spread around the world, recordings were either done through travel to Denton or remotely over the internet. Existing prejudices: As an amateur radio DJ, I came across the lead single, "Restart" and enjoyed its glammy strut. All of these are bands I listen to, in order of preference: 1. Franz Ferdinand, 2. Midlake, 3. Travis, 4. Band of Horses, and 5. Grandaddy. So again, I was pleased that this ended up in rotation at the station, where I've gotten to listen to most of it already. Track by track impressions 1. Restart - Starts out stomping and catchy, which is nothing like Midlake, despite Pulido writing this one. It made me excited for this collaboration. 2. Unlikely Force - Amiable indie pop with a country folk-tinge. I'm also getting a serious Chicago vibe from the sax and keyboards. I'd call this great lemonade-sipping music. Unsurprisingly, this was written by Bridwell, though I might have also guessed Pulido or Lytle. 3. 100 Million Miles - This one is kind of meandering. I keep losing my train of thought as I attempt to write. I like the space keyboards, though. This one is written by Lytle, which makes sense. 4. Mind Of A Man - This is my favorite track on the album, written and sung by Fran Healy who is sounding sexy. If most Travis songs conjure images of overcast UK landscapes and coming in from the rain, this one conjures a sun-drenched afternoon hike around Laurel Canyon. 5. Hey Banana - Only Kapranos can write such a silly title and pull it off seductively, but in case things got uncomfortably homoerotic, there's a convenient sound bite in the middle of the song to clarify the recipient of the singer's affection. I like the 60s lounge vibe with the sitar. Cute. 6. Real Love - I'd call this the most ELO track on the album, which to my mind is a good thing. Really loving Eric Pulido's voice here. 7. Failing at Feeling - This one is too repetitive for me. The strings and Beatles-esque tempo are lovely, but it just kind of sits there. Sorry, Jason Lytle. 8. L.A. On My Mind - What do you get when you cross the Rolling Stones with a little Steve Miller? Sheryl Crow. This sounds like a fucking Sheryl Crow song and I am not digging this. That Vonda Shepard backup singer is not helping. I don't know what could save this besides more guitar abrasion. The best part is Fran Healy at the end saying "I've got LA on my mind" in his Scottish accent. 9. Tara - Jammy and melodic right from the outset, with Ben Bridwell sounding like he could turn into Wayne Coyne at any minute...and right at the end he does, with a string of expletives??? Overall, I like the loosey-goosey vibe, with flute loops, bongos, and rambling guitars. 10. Fighting The World - Kapranos is introspective here, which something he doesn't do much in FF. I like the proggy atmospherics, but overall, this doesn't do much for me until the guitars in the fadeout. Overall thoughts - Truly, BNQT is a Traveling Wilburys for our age, only with 70s Stones and Laurel Canyon influence instead of just a Beatles influence. The album is remarkably consistent, but that means it's also fairly tame. I am both pleased and disappointed in Fran Healy for his contributions, underwhelmed by Kapronos, reaffirmed in my love for Midlake and Band of Horses, and sorry for Grandaddy, since they've had an exceptionally rough year. How good is it? It has its moments. I recommend just over half the tracks: 1, 2, 4, 5, 6, 9 How Scottish is it? Not Scottish anymore. It's this pic of Craig Ferguson
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Post by ganews on Jun 21, 2017 13:19:19 GMT -5
My little thoughts on BNQT: moimoi , I just listened to Volume 1 from BNQT. I bet lots of supergroups start with, "Wow you guys also like the Beatles?!" The first few tracks were fine, but I didn't really take notice until Kapranos got on lead vocals over a 60s sound, then Beatles fantasy camp, then some plump California 70s. Enjoyable. FFSI bought the deluxe edition in Denver after it came out, then I saw them tour, and it was an excellent show. "Johnny Delusional" - Solid song. I would also page Mr. Delusional if I had access to an intercom. The piano is not overdone. "Call Girl" - Cute pun concept, and a good song built around it. The opening synth fuzz is very early 2000s. I love the vocal trades of "it's me, it's me, it's me who always wants to meet". "Dictator's Son" - It's the heaviest Sparks song yet, and not just because of the piano. It's OK, but to me it really gets at why this collaboration formed. Russel Mael sings, but this could so easily be a Kapronos character. "I'm into Hugo Boss, dental floss." "Little Guy from the Suburbs" - Ostentatious French, which will be funny later during "Things I Won't Get". Quiet and dark; real dark as Kapronos has become: "No heroes, only those who care for their legend more than their lives". Excellent rhyming with Sartre, which will also get a callback. What a song to stick into this particular album. "Police Encounters" - Ha, what a delightful song to sing along to. This was played live and it was so much fun. Love the bass. "Save Me from Myself" - Sparks organ. This seems like another one to show up in a movie soundtrack, like how Kick-Ass used "This Town Ain't Big Enough for the Both of Us". The verse is cutesy, but the chorus really has desperation. "Sõ Desu Ne" - This one. I don't actively dislike it as much as when I first got the album, but it's still my least favorite. Sparks might have been fetishizing Japan before it was cool, but I don't need it. The "check your blood pressure" lines are good though. "The Man Without a Tan" - Dig the guitar and handclaps. The group chant is like the rockin' version of the Black Sails theme that DangOlJimmyITellYouWhat knows. The synth washes are very 90s. Love the delivery of "our rugged handsomeness..." both on the album and live. "Things I Won't Get" - Yes, moimoi, this is sung by guitarist Nick McCarthy. He sang it live, which I am glad to have seen since he's not in FF right now. It is utterly delightful. And a little sad ("a college degree, a job with some hope" are some of the things). Callback to "Little Guy...", Sartre and French films won't be understood. Love that warbley synth. Strong contender for best song on the album. "The Power Couple" - Cool stomp, great vocal trades. Great spacey washes. "Collaborations Don't Work" - Here's the cheeky opera. It really *is* a great collaboration, the whole album. Live, each member sang a line during the interlude - even death rictus Ron Mael! This single song showcases each band individually and as FFS. As I said before though, late in the song when FF turns it up by themselves you could melt. I played this song for the postdoc I worked with closely in 2015, he got a kick out of it. "Piss Off" - Great rally song, there's a reason they put it on a t-shirt. You know the concert crowd had fun with this one. It's all about those drums. * "So Many Bridges" - Shit, this is why you should always buy the deluxe album. This song kicks ass. What a stomp, and dark in conception just like our recent FF. The Sparks-heavy verse is fine, but that chorus could be a disco hit my itself. * "King of the Song" - Whoa whoa-oh! A fine sentimental song, slightly twisted. The cymbals in the chorus are great. * "Look at Me" - Goddamn, remember how I said to buy the deluxe edition? Do it. I love this. It's the most specifically FF song here, like the opposite of "Sõ Desu Ne". Russell's vocals are great mixed in. Not very original lyrical subject matter, but executed so well. The synth on the chorus is killer. "Screw your iPad, screw your phone!" Pay attention, concert-goers. It stretches into overlong outro, but I'm fine with it. * "A Violent Death" - This pairing of Russell's singing and Kapronos' deadpan has paid dividends for the whole album. Very interesting instrumental behind the verse, kind of 90s dark trip-hop. More songs about death! Franz Ferdinand post-2010, everybody. Summary - It really is a great collaboration. I say it is a far better synthesis in terms of integrating groups than most supergroups. I could do with another FFS album that included Nick McCarthy as well as a new FF album that doesn't.
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