So yeah, I've been a bit off track lately, but I have real reasons this time!
In an exciting turn of events, yours truly is a new staff reviewer at The Silent Ballet!
What does this mean for you, faithful readers? Well... nothing much, really. There will be slightly more "professional" sounding reviews up over on TSB, and this blog will remain an open forum for me to discuss whatever. Furthermore, just a reminder I'm always up for checking out your recommendations or even your own band. Just send me an email or leave me a comment.
music is ok
Thursday, June 18, 2009
Thursday, June 11, 2009
You’re either crazy or dead, you just weren’t well bred.
Curious circumstances tend to breed curious albums, and generally the results are charming, unique, and can give an added layer of distinction to an already great album. Take, for instance, Ariel Pink beat boxing the drums on The Doldrums, or With Throats As Fine As Needles holing up in an abandoned bunker to record their self-titled album. Not that these quirks can save a bad album, but it’s always an added pseudo-sentimental bonus in an age of Pro Tools and recording budgets that could drag a third world country out of debt.
What is so remarkable about Our Brother The Native is their youth: releasing their 2006 debut on FatCat Records at the ages of 16 and 18 is incredibly impressive, and makes this now-trio either almost or barely 20, barring any sort of time machine-related accidents. What is equally remarkable is the rate of maturity and refinement of their sound, which results in Sacred Psalms being an early contender for one of the albums of the year.
Immediately clear from the opening “Well Bred” is the impeccable production: there is no studio-based “fullness”, but rather an entirely organic feeling lushness about the whole record; in fact, “lush” (in the “pleasantly full-bodied” sense of the word, not the colloquial bastardization) is probably the best adjective to encapsulate the feel of the album. Perpetually layered (and yet somewhat subdued) vocals and organ drones form the basis for stuttering acoustic percussion and all matter of idiophones and stringed instruments including guitar, banjo, mandolin and probably more and probably some I identified incorrectly and probably instruments I’ve never heard of. All ten tracks are positively flourishing with this feel, this cherry-blossoms-and-sunset sort of colourful je ne sais quoi, this mood which I’m going to stop wasting adjectives on because it’s meant to be experienced and not talked about.
Also set forth in the opener are the clumsy, though frequently lovely and often clever, lyrics. And “clumsy” is not meant here as an insult, but in the sense that they weren’t penned for metre or rhyme, but to fit with the song (or vice versa?). Though as odd as the chorus of “Ph. D, BA, I am your doctor, so listen to what I say” may seem, Our Brother The Native make it as restrainedly catchy as their timid vocals will allow. The rest of the hooks in the album are omnipresent, no doubt, but require some work on part of the listener; Sacred Psalms is a textbook “grower”, with each additional listen revealing some eccentric chorus buried so deep it takes five listens to uncover.
If there is any critique to be brought against the album it’s that this all-pervading feeling is truly all-pervading, with most every song having the same super-layered, faux-catchy vibe. Tracks that break this mould are unsurprisingly the standouts: the sample-focused, reverb-drenched “Dusk” brings to mind a lost Set Fire To Flames track, while “Sores” brings its chorus to the forefront and serves as one of the more immediately memorable numbers.
That being said, the quality of the album is such that any feelings of repetition are quickly pushed aside by feelings of “well hot damn, this is a fantastic record!”. At this rate, I’m impossibly excited to hear what Our Brother The Native will be doing five years from now, and quite honestly, a little scared about how brilliant another morsel of maturity could make their next album. Until then, we have Sacred Psalms, and we have one of the year’s best.
Our Brother the Native - Well Bred
Our Brother the Native - Someday
Our Brother the Native - Sores
As always, buy what you like. Pick it up here if you're in North America, or click here if you're across the pond.
What is so remarkable about Our Brother The Native is their youth: releasing their 2006 debut on FatCat Records at the ages of 16 and 18 is incredibly impressive, and makes this now-trio either almost or barely 20, barring any sort of time machine-related accidents. What is equally remarkable is the rate of maturity and refinement of their sound, which results in Sacred Psalms being an early contender for one of the albums of the year.
Immediately clear from the opening “Well Bred” is the impeccable production: there is no studio-based “fullness”, but rather an entirely organic feeling lushness about the whole record; in fact, “lush” (in the “pleasantly full-bodied” sense of the word, not the colloquial bastardization) is probably the best adjective to encapsulate the feel of the album. Perpetually layered (and yet somewhat subdued) vocals and organ drones form the basis for stuttering acoustic percussion and all matter of idiophones and stringed instruments including guitar, banjo, mandolin and probably more and probably some I identified incorrectly and probably instruments I’ve never heard of. All ten tracks are positively flourishing with this feel, this cherry-blossoms-and-sunset sort of colourful je ne sais quoi, this mood which I’m going to stop wasting adjectives on because it’s meant to be experienced and not talked about.
Also set forth in the opener are the clumsy, though frequently lovely and often clever, lyrics. And “clumsy” is not meant here as an insult, but in the sense that they weren’t penned for metre or rhyme, but to fit with the song (or vice versa?). Though as odd as the chorus of “Ph. D, BA, I am your doctor, so listen to what I say” may seem, Our Brother The Native make it as restrainedly catchy as their timid vocals will allow. The rest of the hooks in the album are omnipresent, no doubt, but require some work on part of the listener; Sacred Psalms is a textbook “grower”, with each additional listen revealing some eccentric chorus buried so deep it takes five listens to uncover.
If there is any critique to be brought against the album it’s that this all-pervading feeling is truly all-pervading, with most every song having the same super-layered, faux-catchy vibe. Tracks that break this mould are unsurprisingly the standouts: the sample-focused, reverb-drenched “Dusk” brings to mind a lost Set Fire To Flames track, while “Sores” brings its chorus to the forefront and serves as one of the more immediately memorable numbers.
That being said, the quality of the album is such that any feelings of repetition are quickly pushed aside by feelings of “well hot damn, this is a fantastic record!”. At this rate, I’m impossibly excited to hear what Our Brother The Native will be doing five years from now, and quite honestly, a little scared about how brilliant another morsel of maturity could make their next album. Until then, we have Sacred Psalms, and we have one of the year’s best.
Our Brother the Native - Well Bred
Our Brother the Native - Someday
Our Brother the Native - Sores
As always, buy what you like. Pick it up here if you're in North America, or click here if you're across the pond.
Wednesday, June 10, 2009
New layout
Ya dig?
I realized there are a million other blogs using the "minima dark" thing, so I thought I'd switch it out for something else. I'm digging the sparseness. Tweaks to come.
Y/N?
I realized there are a million other blogs using the "minima dark" thing, so I thought I'd switch it out for something else. I'm digging the sparseness. Tweaks to come.
Y/N?
Tuesday, June 9, 2009
SHOW REVIEW: Isis w/ Pelican + Tombs
Ok, yeah, another show review, sorry. Then again, since the uploaded MP3s get a minimum number of downloads, are you actually here for the writing for serious? Hm!
Anyone into the whole post-Neurosis/"atmospheric sludge"/"post-metal" sort of schtick (which I still haven't heard a satisfying catch-all genre name for) knows that this is a sort of dream line-up. Pelican and Isis? And these Tombs cats getting all sorts of buzz about 'em? For $20?
Tombs didn't quite slay me as hard as I was told they were going to, but they nonetheless played an enjoyable set of doomy black metal, which managed to keep things interesting by actually slowing down once in a while, throwing in some noise & ambient(ish) passages and generally being solid musicians.
Pelican, after finally micing their drums properly (make your own joke making fun of their drummer now, I know a lot of you folks hate the man) did their usual sludgy, riff-heavy instru-metal that, in [mentally] sober retrospect was pretty same-y, but in a live environment, it just straight-up rocks, for lack of anything more articulate. Heavy as hell, supertight musicians; great metal, great time.
Also in the "better live than on record"-category this evening (2 out of 3!) are the headliners, the almighty gods ov sludge (or so I'm led to believe), Isis. I can't really articulate why their set was so amazing (which is a bit worrying, considering I'm pursuing an English degree and all, but I digress), but these cats have perfected their craft and are a rock-solid physical entity in the concert hall. Not shying away from "quieter" moments for the live set, they made brilliant use of heavy/soft, loud/quiet dynamics, something the preceding band should make notes about, and something the crowd should recognize and mosh accordingly to; if moshing is ever appropriate at an Isis concert, it certainly isn't during the intro to "Dulcinea", you stupids. The set was mostly new material, but it was the old stuff that really slayed: the aforementioned "Dulcinea" was amazing, and the definite highlight was Panopticon's "In Fiction."
I daresay this was the best show of the year so far. This statement may not last the month, though: Sonic Youth on June 30th? Fuck. Yes.
(P.S. The Eternal is pretty cool. Needs more listens. "Antenna" an immediate favourite. Fragments efficient.)
Anyone into the whole post-Neurosis/"atmospheric sludge"/"post-metal" sort of schtick (which I still haven't heard a satisfying catch-all genre name for) knows that this is a sort of dream line-up. Pelican and Isis? And these Tombs cats getting all sorts of buzz about 'em? For $20?
Tombs didn't quite slay me as hard as I was told they were going to, but they nonetheless played an enjoyable set of doomy black metal, which managed to keep things interesting by actually slowing down once in a while, throwing in some noise & ambient(ish) passages and generally being solid musicians.
Pelican, after finally micing their drums properly (make your own joke making fun of their drummer now, I know a lot of you folks hate the man) did their usual sludgy, riff-heavy instru-metal that, in [mentally] sober retrospect was pretty same-y, but in a live environment, it just straight-up rocks, for lack of anything more articulate. Heavy as hell, supertight musicians; great metal, great time.
Also in the "better live than on record"-category this evening (2 out of 3!) are the headliners, the almighty gods ov sludge (or so I'm led to believe), Isis. I can't really articulate why their set was so amazing (which is a bit worrying, considering I'm pursuing an English degree and all, but I digress), but these cats have perfected their craft and are a rock-solid physical entity in the concert hall. Not shying away from "quieter" moments for the live set, they made brilliant use of heavy/soft, loud/quiet dynamics, something the preceding band should make notes about, and something the crowd should recognize and mosh accordingly to; if moshing is ever appropriate at an Isis concert, it certainly isn't during the intro to "Dulcinea", you stupids. The set was mostly new material, but it was the old stuff that really slayed: the aforementioned "Dulcinea" was amazing, and the definite highlight was Panopticon's "In Fiction."
I daresay this was the best show of the year so far. This statement may not last the month, though: Sonic Youth on June 30th? Fuck. Yes.
(P.S. The Eternal is pretty cool. Needs more listens. "Antenna" an immediate favourite. Fragments efficient.)
Monday, June 8, 2009
life gets in the way of blogging
Yeah, sorry. Not dead, just busy.
Tidbits:
- Kayo Dot were disappointing
- Pelican/Isis were incredible
- New Sonic Youth LP out today
- possible exciting personal developments to share
- new Our Brother the Native is incredible, review soon
- fuckin' Mare reunion show this month
Update soon, pinky swear.
Tidbits:
- Kayo Dot were disappointing
- Pelican/Isis were incredible
- New Sonic Youth LP out today
- possible exciting personal developments to share
- new Our Brother the Native is incredible, review soon
- fuckin' Mare reunion show this month
Update soon, pinky swear.
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