Cat Power – Jukebox/Dark End of the Street

i had completely forgotten to review cat power’s jukebox, but was reminded by the more recent release of dark end of the street, an EP of cuts from the jukebox sessions which never made it to the final album. after the covers album, and jukebox— the early pressing of which came with a supplementary disc of even more covers songs— this new EP seems to be a bit much. the greatest was a strong release, so i’m not entirely sure why she’s been hiding behind other artists work to this degree. all i can do at this point is speculate and wonder if she feels her songwriting is lacking now that she’s in a much better place emotionally.

i despise cover albums almost as much as i despise remix albums. sure, there are always instances when such albums are great and completely warranted, but more often than not, they’re a cash-grab. that said, you won’t hear me crying “sell out!” quite yet. of all the covers albums that i’ve heard, the only ones i come back to for repeated listens are chan marshall’s (i’ve also been feeling rise above by the dirty projectors lately). the covers album in particular was a strong example of her songwriting and ability to make a song her own. in the case of jukebox and dark end of the street, while they are both consistent musically, the problem is that the recent stylistic choices marshall has been making are indebted to the same artists who she covers, making these songs less departures and more by-the-numbers, karaoke renditions of classics. in short, there’s no room for chan to do her thing. for the most part, chan’s performances throughout these songs are quite flat and lifeless, occasionally bounding back with a soulfullness and enthusiasm that recall the more tense, gorgeous moments of the greatest (“aretha, sing one for me,” “i believe in you”), and for that reason, i can’t just simply write these albums off.

too often do artists make drastic changes only to have listeners have a knee-jerk reaction to it without fully taking the time to try to understand what might drive the change, or what it might lead to. again, the notion of “sell out” comes up. any significant shift in artistic direction (especially towards pop) by a musician is often followed by a chorus of people decrying said shift, arguing that it is dishonest and fuelled by money. david bowie’s young americans comes to mind— while it’s not his best work, it still had the power to confound fans and critics for its emulative devotion to philadelphia soul, and now we know that it was a transitional album, demonstrating bowie’s enthusiasm for a style that would still be heard throughout his career, albums later. there’s also something to chan’s transformation that has “dylan” written all over it: going from praised, folksy, singer-songwriter to a blues-inspired rock ‘n’ roll star, and sufferring from a barrage of criticism for it. i don’t think chan’s material is the equivalent to a highway 61 revisited, but i can’t help but note the similarities between the two situations. it makes you wonder how far she’s taking her emulation, and what the result might be of such devotion.

Filed under: Album Review , 2008, cat power, covers, dark end of the street, jukebox

Q-Tip – The Renaissance

what’s most apparent on the renaissance is q-tip’s predisposition to step out of the spotlight, a move he’s been doing his whole career. there’s never a sense that he’s restraining himself though, his role is one that he’s comfortable with, even outside of a group-dynamic. on this, his second solo disc, which by logic should be a exploration or feature of oneself, there’s still a modesty to his rhymes and presence on his songs that act as a strong antithesis to the kind of empty ego-stroking that’s become commonplace in hip-hop. the songs are the focus here, not him, and without coming off as masturbatory or self-indulgent, he manages to sound confident. he knows he’s the shit, he just doesn’t need repeat it in every song; rather, it oozes from his diction, assuredness and self-effacement. with the renaissance, q-tip continues to be a source for an alternative to mainstream hip-hop. even after a 20 year long career, he remains a pillar of originality and it’s his demonstration of his agency on this album that really highlights him as a unique voice.

Filed under: Album Review , 2008, q-tip, the renaissance

it’s occured to me that i’m allowed to be serene

kayo dot/stephen brodsky/siberia @ wrongbar – november 20, 2008

two weeks ago i saw stephen brodsky play at wrongbar and aside from the minor setbacks (being kept outside in the cold by the wrongbar’s staff, the opener’s set going far too long) it was a great show. i didn’t stay for kayo dot’s set but that was due to the time they actually hit the stage and the fact that i really only cared to see stephen brodsky.

local band siberia started things off in a rather cliché manner: armed with v-neck t-shirts and dramatic poses (perfect for photography!!) the band played through what sounded like a number of explosions in the sky covers, interjecting them with odd moments of stop-start-punk riffs… maybe i’m just tired of the whole “post-rock” genre at the moment, or maybe i’m just done with the tired “slow-build” formulae that seem difficult for post-rock bands to really escape. either way, siberia didn’t show me anything new, and they really didn’t seem excited or energetic until the last song of their set, when the drummer started to pretend he was exhausted and started knocking over his drum kit as he played. that’s when they really started giving it their all and actually seemed worthwhile to watch. their set got noisy and chaotic, and had it consisted of just that one song, i would’ve loved it. too bad their set was actually an excruciating 50 minutes.

then stephen brodsky got on stage! with a microscopic set-list in-tow (the fact that i can remember all of it is a testament to how short it was) mr. brodsky played to a small group of devoted fans. promoting his new album the black ribbon award as well as the even-newer (with a bit of afterbirth still on it) thing or thong rider EP, he still managed to perform one song from each major project that he’s been involved with, save for kid kilowatt. “man of the mountain” set the pace for the evening, as he did a slower, more relaxed version of it— an apt choice given the lack of instrumentation. i kept itching to hear the songs at faster tempos, but he wouldn’t have really done justice to them, lacking a full band. regardless, it was exciting to see a survey of his catalogue and the energy in the room between the few of us who were there and brodsky reflected that. he regaled us with neil young anecdotes, a buddy holly cover, and a encore!! it was the first encore of the tour for him, and for me, it was the first time i’ve ever seen or wanted an opening band to play one. i really wish i was into bootlegging, because this show was a gem. please come back to toronto soon, stephen brodsky, because we clearly love you.

set-list:

man of the mountain
oh boy
new moon
rainbow no more
kid defender
lima bean
magnified

Filed under: Concert Review , 2008, hyrdahead, kayo dot, live, siberia, stephen brodsky, stove brodsky, thing or thong rider EP, toronto, wrongbar

Guns N’ Roses – Chinese Democracy

my, my, my, i’ve been a bit slow to get this one done. apologies. i’ve been quite busy lately. too busy for the internets? no way.

well, was it worth the wait? … that seems to be a popular question to ask lately, but is it a relevant one? i mean, did we really think that this album would be worth the wait, that somehow the longer an artist takes to record an album, the better it turns out? of course not. well, i hope not. i think that fans of the band had hoped for the album to turn out really well, and that sentiment was definitely shared by those higher-ups who care about the album’s sales, but if this album’s gestation period has any bearing on my overall listening experience, i wouldn’t really know.

Filed under: Album Review , 2008, chinese democracy, guns n roses

Vivian Girls – s/t

vivian girls is a compact debut from the titular band that leaves one feeling a bit unfulfilled after it’s all said and done. that this album is clearly a nod to 60s girl groups and the direct influence that they had over shoegaze is a significant aspect of its success, especially during a time where a place to bury strangers, deerhunter, no age, autolux, tv on the radio and many other male-oriented rock acts are borrowing liberally from shoegaze without picking up on the same cues. interestingly, vivian girls’ aesthetic works both to their benefit and to their disadvantage as they’re working with a relatively original idea, but one that seems to be in fashion for 2008. while they are a refreshing alternative to bands like the pipettes, they nevertheless lack an integral piece to the girl-group concept: singing capabilities. with the exception of “where do you run to?” the girls’ harmonies rarely sound full and although the shimmering, reverberated vocals are an interesting touch (and of course correspond to their overall aesthetic) they are more of a crutch than they are subversive. vivian girls isn’t terrible— i’d recommend it to anyone who considers themselves to be a fan of shoegaze, but as a record as well as a concept, it feels half-baked.  i’ll be more interested to see how the vivian girls continue to interpret pop in terms of shoegaze on later albums, where they’ll be challenged to really break from convention in creative ways.

Filed under: Album Review , 2008, vivian girls

i had dreams that frightened me awake

deerhunter/times new viking/braids @ lee’s palace – november 12, 2008

seeing deerhunter live added an extra sense of movement and life to their catalogue, as there was certainly a more propulsive aspect to their music during their stint @ lee’s palace last wednesday. new songs like “never stops” and “nothing ever happened” bounced and pulsed with an impressive life and fervor. the band’s set was mainly comprised of material from their recent album microcastle, but they still managed to fit in a few older favorites, including the always-enjoyable “fluorescent grey.” *

despite this livelier-sounding version of deerhunter, i found the audience’s reaction to the music to be a bit too passive. now i’m not one to talk since i’m your standard concert-going-head-nodder, but when i go to shows, usually other people make up for my lack of movement with their own exuberance. that wasn’t the case this time— although, to be fair, the members of the band weren’t really active either, especially when comparing last night to some photos and videos i’ve seen of prior deerhunter performances. this show seemed quite low-key, with deerhunter’s own rhythm guitarist, whitney petty, taking a seat a good two-or-three times from what seemed like boredom.

regardless of the lack of performance that night, deerhunter still played an excellent set, and did a great job with the new songs. i would definitely recommend catching them this tour, if at all possible.

openers braids (formerly the neighborhood council) were definitely one of the most surprising moments of the night, as i had never heard of them prior to the show and had no idea what to expect. i’ve had a lot of bad luck with opening bands, but they were quite good. their songs sounded sunny and optimisitic, but were patient and expansive like a younger, more deerhoof-inspired version of the most serene republic. you can check out their music and info here and here.

the second band to play were times new viking, and they were boring. their performance had quite a bit of energy to it, but it was their songs that were really lacking a certain je-ne-sais-what… especially following braids’ performance, which was quite moving.

* (i don’t have a full setlist… i have a terrible memory. if anyone could provide me with one, it’d be much appreciated).

all photos by inastral.

Filed under: Concert Review , 2008, braids, deerhunter, lee's palace, live, times new viking, toronto

Past Lives – Strange Symmetry

past lives are what is left of the blood brothers following the schism that took place when members cody votolato and johnny whitney left to form jaguar love. now, with friend and ex-blood brothers guitarist devin welch (he left following their first album rumors laid waste) back in the fold, past lives are faced with an interesting dilemma: “what next?” being four surviving members of a defunct band, how can their sound depart from what they’ve done before when the dynamic really hasn’t shifted? more importantly, should their sound be different? these questions are effectively answered on strange symmetry, the band’s debut EP, where they do what they do best: make stunning, breakneck-speed art punk— albeit this time they’ve taken a much more textural approach. while the one-two punch of jordan and johnny’s call and response is noticeably absent, jordan’s stepping-up as a “front man” does not sound forced. he sings when he wants to and knows when to give the music enough room to breathe. in fact, this awareness of one’s role benefits past lives, as they have the advantage of being a well-weathered, experienced band, sounding comfortable with one another throughout the record. album-opener “beyond gone” balances restraint and tension in a way that suggests a true democracy within the band. while they might have been blood brothers in past lives, the spectre of their former selves does not weigh heavily enough on this new faction to hinder their music. strange symmetry is reassuringly good and a promising start to a new chapter.

Filed under: Album Review , 2008, past lives, strange symmetry, the blood brothers

Deerhunter – Microcastle

following the release of their critically praised debut, cryptograms, deerhunter issued the aptly titled EP, flourescent grey. where cryptograms was the equivalent of an aural miasma: hazy, ambient, cyclical and often puzzling, flourescent grey was as its title suggested: tight, poppy, and yet still tied to the gloom of its predecessor. microcastle continues along that same path, offering a more revealing glimpse of the band in a moment where they’ve seemingly let their guard down. singer bradford cox has taken a bit of a leap of faith here, as his vocals are no longer disguised by numerous effects and loops. he’s being far more open with his work, which suggests that he’s in a much more comfortable place this time around, but also a much more vulnerable one. with its brilliant and shimmering songs, microcastle is far less reliant on shoegazey tropes, having shifted to more dreamy aesthetics of baroque-pop (ala the beach boys or grizzly bear), which further suggests openness as well as vulnerability. what these changes all add up to is a stunning and logical shift for deerhunter, one that elevates and exposes their songs to the level they deserve. a risky move, but one that has paid off in full.

Filed under: Album Review , 2008, bradford cox, cryptograms, deerhunter, flourescent grey, microcastle

Of Montreal – Skeletal Lamping

as an ambitious, theatrical record, skeletal lamping has of montreal reaching for more challenging heights, bringing their music to campier extremes. their music is a hybrid of so many different styles and influences that it’s at times very difficult to hang on for the ride; however, there is little doubt in my mind that this band is sonically ahead of its time. even the personal exorcisms that take place on this album are both exciting and exhausting. of montreal are so unabashedly campy and fun that you can’t help but enjoy yourself while listening to this record, which helps to ground all of the commotion when it threatens to lose its centre. the problem with campiness (or glam, in this instance) though, is that it’s very difficult to find a convincing balance between self-indulgence and modesty, and unfortunately, skeletal lamping finds of montreal in a place where this balance is not fully realized —not to say that the record is without its merits, as songs like “touched something’s hollow” and “an eludarian instance” are clever combinations of wit and depth— but the album’s sheer pace alone makes it difficult to discern at times whether or not kevin barnes is being ironic or sincere as he sings. the problem with that kind of uncertainty is that the songs are too silly to be taken seriously, and reading them as being purely ironic makes him seem as though he’s being exploitave of the highly sexual situations within the narrative.

Filed under: Album Review , 2008, kevin barnes, of montreal, skeletal lamping

The Dears – Missiles

more than a few critics have latched on to the animosity among the dears during the recording of their latest album, missiles, which led to murray lightburn dissolving the band save for himself and his wife and keyboardist, natalia yanchak. although i will maintain that conflicts within bands often result in excellent albums, i think it is essential to make clear that this album still sounds very much like a dears record, despite the lack of dears involved. through the band’s history, members have come and gone, making lightburn the most consistent aspect of the band, but also a person who is fairly used to change at this point. these songs are much more experimental than prior dears releases, mainly because there’s a freedom that comes with cleaning house that allows for songwriters to take more creative chances with their work. missiles is a deeply intimate record, one that could be argued to be the closest to lightburn’s own vision for the band yet. this level of intimacy that the dears achieve (it almost sounds like they recorded it in their bedroom) is suggested by lightburn and yanchak’s voices being much higher in the mix as well as their choices in instrumentation. not only are they been stripped-down in terms of band members, but the baroque leanings the dears have dabbled with on prior albums are absent here as well. these songs are not the racuous anthems you might have heard on gang of losers— nevertheless, the dears have successfully translated the intense, dynamic quality of their songs to a more stripped-down level.

Filed under: Album Review , 2008, missiles, murray lightburn, natalia yanchak, the dears