I remember sometimes waking up in Portland (OR) after a night out, sweating out the events of last night, breathing in the hints of smoke left on my jeans and skin. It wasn’t the best feeling in the world I have to admit, but I can’t help thinking of those mornings when listening to this album. Everything started out sour, but after I got some grub in me and an afternoon shower, I couldn’t have felt better.
Zola Jesus pushed me more than any other artists this year, and I have to admit that I had a really hard time trying to figure out why. The Spoils had similar qualities that made My Bloody Valentine or the Microphones intriguing, but what I have really fallen for is how the keys ride waves of distortion, without being buried underneath them. I keep returning to “Smirenye,” “Soeur Sewer,” and “The Way” like silver antiques hidden under the floorboards in a dusty wooden box with iron trimming, or maybe one buried in your grandmothers garden, made of dented and rusting tin.
This album has been a labor of love for me, and while at moments I lose my train of though, I always come back to a simply melody in the mess. I really dig this album. Check this out if it shines in your direction.
Thursday, February 18, 2010
Sunday, February 7, 2010
Chapters In Good
I am listening to the new Mountain Goats album for the millionth time and wanting to say a few words about the claims surrounding its inspiration. Each song is onThe Life of the World to Come inspired by, though not directly connected, to a particular Bible verse. Mr. Darnielle (songwriter) has spoken publicly describing his own personal faith and how each song relates in various media outlets. What bothers me is that this is a narrative long established that doesn’t need titles from the good book to see where he’s coming from. This is not to condemn the Bible, John, the Goats new album, or even the critics formerly mentioned. I have been stirring over this for a while now and I have come to the conclusion that my argument is over an interpretation and abstraction of religion, not music.
His lyrics have always been, to me at least, stories of redemption spoken through sinful hands. Though not exclusively, this is in many ways a Christian concept that finds reconciliation by allowing suffering to speak. His newest album speaks directly to this, but like I said before, one can look at his older work and see the same themes at play. Sometimes he is bluntly using the Bible on songs like “Love, Love, Love,” when he writes “King Sol fell on his sword / when it all when wrong / and Joseph’s brother / sold him down a river / for a Psalm;” or “Against Pollution,” “This morning / I went to the Catholic Church / because something just came over me. / Forty-five minutes in the pious / praying the rosary.” I want to raise the notion that John has always been able to articulate the same concepts, album after album, without explicitly mentioning religion, but with an understanding of the everyday and mundane.
He finishes the same verse on “Love, Love…” with “And Sonny Liston rubbed some Tiger Balm into his gloves. / Some things you do for money / and some you do for love;” and juxtaposes the “Against” verse with “Decorative grating on my window/ gets a little rustier ever year / I don’t know how the metal gets rusty / when it never rains here.”
The message is that revelations occur, in spite of our moral crisis or lack of understanding. A new way is made, we count our losses, and survive in one way or another. This has been the story, for me at least, while listening to the Mountain Goats and The Life Of The World To Come.
His lyrics have always been, to me at least, stories of redemption spoken through sinful hands. Though not exclusively, this is in many ways a Christian concept that finds reconciliation by allowing suffering to speak. His newest album speaks directly to this, but like I said before, one can look at his older work and see the same themes at play. Sometimes he is bluntly using the Bible on songs like “Love, Love, Love,” when he writes “King Sol fell on his sword / when it all when wrong / and Joseph’s brother / sold him down a river / for a Psalm;” or “Against Pollution,” “This morning / I went to the Catholic Church / because something just came over me. / Forty-five minutes in the pious / praying the rosary.” I want to raise the notion that John has always been able to articulate the same concepts, album after album, without explicitly mentioning religion, but with an understanding of the everyday and mundane.
He finishes the same verse on “Love, Love…” with “And Sonny Liston rubbed some Tiger Balm into his gloves. / Some things you do for money / and some you do for love;” and juxtaposes the “Against” verse with “Decorative grating on my window/ gets a little rustier ever year / I don’t know how the metal gets rusty / when it never rains here.”
The message is that revelations occur, in spite of our moral crisis or lack of understanding. A new way is made, we count our losses, and survive in one way or another. This has been the story, for me at least, while listening to the Mountain Goats and The Life Of The World To Come.
Thursday, February 4, 2010
A Moment Like This
I have been waiting on a full length from Regurgitate to my dissatisfaction for more than a couple years now. No other grind band has mastered the art of how to get so much out of so little as these guys. They have a new split out with Dead Infection and three more killer songs to add to their catalogue.
Their side of the split is titled Yyyaaaaaah, which might make you think, “It seems like a lazy effort, why should I even care?” It might make you think, “How could these Swedish giants be thirsty for blood with a title like that?” It might make you think, “Could this be the same band that gave us Carnivorous Erections?” To this I respond…
1) You should care.
2) This is gore by the gallons.
3) Regurgitate Ain't Nuthing ta F*ck Wit!
It’s gore-grinds audience that limits releases, not talent. This is why you get so many bands creating splits or E.P’s, instead of creating larger, longer bodies of work. That doesn’t change the genius of this band for a second though. In a genre where songs don’t break the two-minute mark, most bands understandably run out of room, but not this Swedish crew. They continually come up with slick and groovy riffs amidst all of the blasting, perfectly balanced out with great vocal arrangements. Rikard Jansson ties pitch shifting with screams like tar on cement, and brings a natural coherence between verse and chorus dynamics. The mere fact that Regurgitate is able to distinguish the two with such ease is cause for thousands grind fans to mosh til their eyes bleed, or maybe just shotgun a few brews on a weekday afternoon.
I am still waiting another Sickening Bliss to be released, but whatever this band pukes out, I will be there to document every second of it, no matter how brief the glory is.
Their side of the split is titled Yyyaaaaaah, which might make you think, “It seems like a lazy effort, why should I even care?” It might make you think, “How could these Swedish giants be thirsty for blood with a title like that?” It might make you think, “Could this be the same band that gave us Carnivorous Erections?” To this I respond…
1) You should care.
2) This is gore by the gallons.
3) Regurgitate Ain't Nuthing ta F*ck Wit!
It’s gore-grinds audience that limits releases, not talent. This is why you get so many bands creating splits or E.P’s, instead of creating larger, longer bodies of work. That doesn’t change the genius of this band for a second though. In a genre where songs don’t break the two-minute mark, most bands understandably run out of room, but not this Swedish crew. They continually come up with slick and groovy riffs amidst all of the blasting, perfectly balanced out with great vocal arrangements. Rikard Jansson ties pitch shifting with screams like tar on cement, and brings a natural coherence between verse and chorus dynamics. The mere fact that Regurgitate is able to distinguish the two with such ease is cause for thousands grind fans to mosh til their eyes bleed, or maybe just shotgun a few brews on a weekday afternoon.
I am still waiting another Sickening Bliss to be released, but whatever this band pukes out, I will be there to document every second of it, no matter how brief the glory is.
Wednesday, February 3, 2010
Everything Is Everything
I remember hearing Sa-Ra’s The Hollywood Recordings back in 2007 and feeling a bit caught off guard. It wasn’t the best thing ever or make my end of year list, instead what made Sa-Ra special was all of the genres that they were able to navigate. Arriving after the neo-soul party had winded down some years ago the album had that kind of feel, and at the same time sounding nothing like the artists of that era. There were more electro flavors, even landing in some minimalist Dub ground at times. If they had shown up circa 2001, when everyone was in the groove, it might have been either too early to appreciate or too crowded get noticed.
Even now I don’t think they are really getting noticed. I would claim that the reason for that is not only the eclectic nature of their sound, which can be distracting, but also how the albums linger on a bit too much. I can understand a group with this much musical talent not wanting to leave any muscle un-flexed but it begins loose direction after a while. That said, I won't stand around while critics damn a lack of creativity in Hip-Hop without talking about Nuclear Evolution: The Age of Love. Their sound has expended even more while at the same time coming into greater form. “My Star” is a radio ready R&B track with seductive guest vocals by Erica Rose. My favorite track on the album has to be “Death of a Star (Supernova).” It’s full of disco energy that begs for a dance floor. It all comes to an end with the free-flowing jazz of “Cosmic Ball.”
These guys might never make a Top-Ten list but they should care less since artists shouldn't pay much mind to conventional criticism. However, more critics should be laboring for hours in midnight lit rooms, filled with smoke, heat on full blast, and numb fingers that grow weary with definition. Sa-Ra is that real.
Even now I don’t think they are really getting noticed. I would claim that the reason for that is not only the eclectic nature of their sound, which can be distracting, but also how the albums linger on a bit too much. I can understand a group with this much musical talent not wanting to leave any muscle un-flexed but it begins loose direction after a while. That said, I won't stand around while critics damn a lack of creativity in Hip-Hop without talking about Nuclear Evolution: The Age of Love. Their sound has expended even more while at the same time coming into greater form. “My Star” is a radio ready R&B track with seductive guest vocals by Erica Rose. My favorite track on the album has to be “Death of a Star (Supernova).” It’s full of disco energy that begs for a dance floor. It all comes to an end with the free-flowing jazz of “Cosmic Ball.”
These guys might never make a Top-Ten list but they should care less since artists shouldn't pay much mind to conventional criticism. However, more critics should be laboring for hours in midnight lit rooms, filled with smoke, heat on full blast, and numb fingers that grow weary with definition. Sa-Ra is that real.
Tuesday, October 20, 2009
Off The Beaten Path
I wanted to take a break from my usual direction of album/music writing and comment on something a little off topic. Defiance, OH is an amazingly cool band. They play a brand of acoustic punk that pretty much wipes the floor with other bands in there genre and most bands in general. They have four new songs released for something called this Icarus Project, which is the subject of interest for this entry.
The project is dedicated to creating space for greater understanding of those who have been diagnosed as mentally insane. The idea being challenged here is that too often societies create a narrow room for behavior and self-understading. Instead of classifying those who live outside of the norm as suffering from chronic illness, they should be understood as people seeing the world through a neglected lens. It's a contention that human suffering and plight are to often are placed on individual responsibility rather than society as a whole. You can find more information at the host site.
I wanted to dive into the notion of society being a the source of suffering and it correlation with the ideological undercurrent of Punk music as a whole. Anarchism and Punk are inextricably linked, and every adolescent romantic who hates "the system" knows it. Behold, the radical revolution!
What makes this project provocative to me is that it challenges the passive nature of participation within a musical context. Most genres do not require the same kind of historical/social responsibility that Punk does. This isn't to dismiss all the other crowds who would object to such an assertion, it's just that there isn't a lot of experimental space in the genre, so it's only natural that fans end up disseminating into accompanying watering holes, which brings us to the genius of the Icarus project. When madness can finds itself in human form, rather than an ideology/political argument that dies with a record deal, it's harder to walk away from or dismiss. This is Anarchism in the flesh, a human being located outside the lines, asking not for only social recognition, but self-affirmation by challenging collective awareness and responsibility. Music, no matter what form, should aspire to the same kind of moral high ground.
The vanity of Rock and Roll doesn't seem to be leaving anytime soon, but the loudest voices define themselves by those they drown out. Big props to Defiance, OH for supporting this project, and much love to the Icarus people for the courage to bring together all those who deserve a voice. Priceless.
The project is dedicated to creating space for greater understanding of those who have been diagnosed as mentally insane. The idea being challenged here is that too often societies create a narrow room for behavior and self-understading. Instead of classifying those who live outside of the norm as suffering from chronic illness, they should be understood as people seeing the world through a neglected lens. It's a contention that human suffering and plight are to often are placed on individual responsibility rather than society as a whole. You can find more information at the host site.
I wanted to dive into the notion of society being a the source of suffering and it correlation with the ideological undercurrent of Punk music as a whole. Anarchism and Punk are inextricably linked, and every adolescent romantic who hates "the system" knows it. Behold, the radical revolution!
What makes this project provocative to me is that it challenges the passive nature of participation within a musical context. Most genres do not require the same kind of historical/social responsibility that Punk does. This isn't to dismiss all the other crowds who would object to such an assertion, it's just that there isn't a lot of experimental space in the genre, so it's only natural that fans end up disseminating into accompanying watering holes, which brings us to the genius of the Icarus project. When madness can finds itself in human form, rather than an ideology/political argument that dies with a record deal, it's harder to walk away from or dismiss. This is Anarchism in the flesh, a human being located outside the lines, asking not for only social recognition, but self-affirmation by challenging collective awareness and responsibility. Music, no matter what form, should aspire to the same kind of moral high ground.
The vanity of Rock and Roll doesn't seem to be leaving anytime soon, but the loudest voices define themselves by those they drown out. Big props to Defiance, OH for supporting this project, and much love to the Icarus people for the courage to bring together all those who deserve a voice. Priceless.
Monday, September 28, 2009
It's Cold Out Here
Since more and more black metal bands are taking risks in an attempt to reach for new territory, there has been as much praise as upheaval. Last year Nachtmystium’s Assassins: Black Meddle, Pt. 1 was the band/album that many critics, including my own circle of friends choose to unload on. I could go on naming others that fell under the same lens, especially when it comes to USBM, but I would rather say good things than burn others down.
I am absolutely in love with Wormsblood’s Mastery of Creation. The album was released through Barbarian records, which is awesome since the same label has history with Foetopsy*. I don’t really know how much Wisconsin and Scandinavia have in common, but both areas know how to do ice cold music apparently.
What first struck me when I threw on Creation was how dissonant the drums were, writhing on the treble without any double bass. These guys know how to blast but nothing is ever overblown instrumentally, keeping closer to an earlier punk ethic. The experimental nature of the album resonates more with shrill electronica, but also gets away with creating the harmony one is used to hearing from black metal. The common course as of late seems that bands can't get anymore bleak, thus warming up to newer sounds shouldn't be discouraged in the name of artistic survival and progression. I can understand that, but Mastery wants to challenge what the hell is bleak in the first place?
Wormsblood howl at the moon, keep all the out-in-nature tropes, and offers some a simply perfect acoustic bridge on “Good Night.” Some fans may never warm up to USBM, which is fine and all that stuff. The haters should take note that isn’t any shoegaze hum; this sounds like black metal, that literally tastes like metal. It should be mentioned the album is collection of earlier demos and releases, but it's worth your time to check out if you're invested the conversation.
*What is up with great extreme Metal from Wisconsin? Check out Foetopsy's In the Bathroom
I am absolutely in love with Wormsblood’s Mastery of Creation. The album was released through Barbarian records, which is awesome since the same label has history with Foetopsy*. I don’t really know how much Wisconsin and Scandinavia have in common, but both areas know how to do ice cold music apparently.
What first struck me when I threw on Creation was how dissonant the drums were, writhing on the treble without any double bass. These guys know how to blast but nothing is ever overblown instrumentally, keeping closer to an earlier punk ethic. The experimental nature of the album resonates more with shrill electronica, but also gets away with creating the harmony one is used to hearing from black metal. The common course as of late seems that bands can't get anymore bleak, thus warming up to newer sounds shouldn't be discouraged in the name of artistic survival and progression. I can understand that, but Mastery wants to challenge what the hell is bleak in the first place?
Wormsblood howl at the moon, keep all the out-in-nature tropes, and offers some a simply perfect acoustic bridge on “Good Night.” Some fans may never warm up to USBM, which is fine and all that stuff. The haters should take note that isn’t any shoegaze hum; this sounds like black metal, that literally tastes like metal. It should be mentioned the album is collection of earlier demos and releases, but it's worth your time to check out if you're invested the conversation.
*What is up with great extreme Metal from Wisconsin? Check out Foetopsy's In the Bathroom
Sunday, September 27, 2009
Inside The Silver Lining
I have between moving out of my apartment, preparing to leave the states, and had my hard drive collapse, which is why I haven’t posted anything in some time.
To get this thing rolling again I wanted to delve into Blackout Beach’s Skin of Evil. The album is lyrically driven, telling a story linear fashion. It’s the vocals that provide the drama, like a man strapped to a chair and forced to watch a small computer screen as his only window to the world. Carey Mercer’s voice is tied down with leather straps in an aluminum tunnel, straining for some rest in an artificial cage.
Thin arrangement, electric guitars and synthesizers shake the metal timber and echo down the hall. The moments of acoustic warmth on songs like “Sophia, Donna, I Was Down The River Waiting” let a bit of light shine in and offer some relief from all the shivering.
The most amazing aspect of the album to be is how desperately alive the experience is. Mercer’s voice gives this prison a beating heart and grabs your attention from start to finish. Skin of Evil haunts while scratching for the surface.
To get this thing rolling again I wanted to delve into Blackout Beach’s Skin of Evil. The album is lyrically driven, telling a story linear fashion. It’s the vocals that provide the drama, like a man strapped to a chair and forced to watch a small computer screen as his only window to the world. Carey Mercer’s voice is tied down with leather straps in an aluminum tunnel, straining for some rest in an artificial cage.
Thin arrangement, electric guitars and synthesizers shake the metal timber and echo down the hall. The moments of acoustic warmth on songs like “Sophia, Donna, I Was Down The River Waiting” let a bit of light shine in and offer some relief from all the shivering.
The most amazing aspect of the album to be is how desperately alive the experience is. Mercer’s voice gives this prison a beating heart and grabs your attention from start to finish. Skin of Evil haunts while scratching for the surface.
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