Philip Selway’s “Familial” (2010) – YES, NO, or MAYBE SO

Originally posted 2010-12-21 10:30:12. Republished by Blog Post Promoter

Philip Selway’s Familial (2010) – MAYBE

Familial (Philip Selway, 2010)

Familial (Philip Selway, 2010)

(August 30, 2010)
 
Review:

There is a great deal of potential in these ten hauntingly emotive debut tracks, but Selway simply doesn’t make good on the promise their beautiful sublety suggests.

Top Two Tracks:

“By Some Miracle” & “Falling”

Eric Clapton’s “Clapton” (2010) – Yes, No, or Maybe So

Originally posted 2010-11-16 11:00:07. Republished by Blog Post Promoter

Eric Clapton’s Clapton (2010) – NO

(September 27, 2010)

Clapton (Eric Clapton, 2010)

Clapton (Eric Clapton, 2010)

Review:

For the fogey-at-heart, Clapton is a trip down Memory Lane with a set of covers recorded on high quality modern doohickeys; for anyone searching for a creative pulse, turn your interests elsewhere — this is a Clapton who has yet to regain what was lost post-Reptile.

(And, for the record, I may dry heave if I read one more review praising the overplayed ho-hum predictability of  “Diamonds Made From Rain” and “Autumn Leaves.”)

(P.S. I considered simply writing: “Clapton: the brilliantly original title says it all,” but I wouldn’t want to be harsh.)

Top Two Tracks:

If I had to choose, “Everything Will Be Alright” & “Hard Time Blues”

Your New Music Report! (May 2010)

Originally posted 2010-05-15 17:24:30. Republished by Blog Post Promoter

By Chris Moore:

Well, it seems that I won’t be able to post the set-list for tonight’s Pearl Jam concert in real-time after all, due to either issues with the site or my WordPress app or both.

Instead, let’s talk new music!

It’s been two weeks since the first third of the year flashed by, and it’s been quite a year for new music.  Perhaps my surprise and excitement is due to the fact that I didn’t have high hopes for this year.  After all, nearly all of my favorite bands have put out music very recently (i.e. the past two years).  And yet there have been more than enough new releases to pick from these past four months.

Some artists, like Ringo Starr and Jakob Dylan, continue to put out music that lives in the shadow of their greater efforts of the past.  Others, like the Barenaked Ladies and Spoon, have somehow managed to create some of the best music of their lengthy careers.  Still others, such as She & Him and Broken Bells, are creating music and casting the shadows that future efforts will need to live up to.

This year has certainly had its hits and its misses, and it got off to an eclectic but ho-hum start, but I have already been hooked by five outstanding records.  Now, only one of these has received my five-star stamp of approval (All in Good Time), but the other four are a full four stars without question (Broken Bells, Volume Two, Heaven is Whenever, & Sea of Cowards).

The latter four albums represent an interesting range of sounds and influences.  Broken Bells have found a compelling sound by blending the rock basics with some more experimental, synthesized sounds.  She & Him give you the eery feeling that you’ve stepped into the past without actually sounding dated.  The Hold Steady have put together the best all-out rock and roll album of the year, to be sure.  And the Dead Weather present an out of control frenzy of rock, this time around with more single-worthy songs and considerably better continuity as an album.

In the midst of the outstanding and the forgettable are some interesting records.  Take American VI: Ain’t No Grave, Johnny Cash’s final posthumous release of new material.  It certainly doesn’t stand up to IV or even V, but it is such a beautiful that includes a perfect closing track for his long and storied career.  Steven Page’s first solo effort incited extreme reactions from most fans and critics, divisions in both categories respectively hating it for being so unlike his other music and loving it for… well, the same reason, I suppose.  As for me, I’ve very much enjoyed A Singer Must Die, although I rarely listen to it in the car and I’m very anxious to hear his first solo album proper, which should arrive later this year.  (And, to be fair, I downgraded it from four to three and a half stars in deference to what a full four stars should really represent.)

If you haven’t been listening to the first albums of the new decade, then you’ve been missing some real gems.  And, if you’ve missed my reviews along the way, I’ve compiled them below for your reference.  I’ve even translated my “Yes, No, or Maybe So” reviews to the standard five star system for your ease.   I’ve been listening constantly to the four listed as “coming soon” — between rounds of BnL, She & Him, and the Wallflowers, that is — and I’ll have those reviews posted throughout the next two weeks.

New Albums, 2010:

Y Not (Ringo Starr) – 2.5 stars

Transference (Spoon) – 3.5 stars

Realism (Magnetic Fields) – 2.5 stars

Heligoland (Massive Attack) – 2 stars

A Singer Must Die (Steven Page with the Art of Time Ensemble) – 3.5 stars

American VI: Ain’t No Grave (Johnny Cash) – 3 stars

Broken Bells (Broken Bells) – 4 stars

All in Good Time (Barenaked Ladies) – 5 stars

Volume Two (She & Him) – 4 stars

Women & Country (Jakob Dylan) – 2.5 stars

Forgiveness Rock Record (Broken Social Scene) – coming soon!

Court Yard Hounds (Court Yard Hounds) – coming soon!

Heaven is Whenever (The Hold Steady) – 4 stars

Sea of Cowards (The Dead Weather) – 4 stars

High Violet (The National) – 3.5 stars

Broken Bells’ “Broken Bells” (2010) – The Weekend Review

Originally posted 2010-04-04 21:21:23. Republished by Blog Post Promoter

By Chris Moore:

RATING:  4 / 5 stars

Having never heard a Shins album (or even as much as a thirty-second preview clip of a Shins song), I came to Broken Bells with no expectations or preconceived notions of how it should sound.  To be fair, that isn’t entirely accurate.  Seeing Danger Mouse’s name in the mix made me wonder just how experimental, or just how “far out,” this would be.  When my wondering gave way to actual listening, I found something I hadn’t expected.

Simply stated, Broken Bells is a beautiful collage of influences finely knit together with unique modern qualities that set this record distinctly apart from the jurisdiction of terms like “retro” or “derivative.”

Still, never in one album have I found such a wide range of interesting influences.  Here and there, a pinch at a time, I have perceived subtle flecks of styles from the Beach Boys to Elliott Smith to Weezer to Phantom Planet and back to the Bee Gees, or perhaps the Scissor Sisters.  As was the case with his collaboration with Beck on 2008’s Modern Guilt, Danger Mouse’s more synthetic sounds and beats are finely balanced out by the more conventional instrumentation and sensibilities of the Shins’ lead vocalist and guitarist James Mercer.  Between the two, Broken Bells is a celebration of many sounds that have come before, newly contextualized and altered here to create something new, something all their own.

This is also the rare record that only gets better as it stretches out.  Without question, the first two tracks are the standout efforts of the album.  That being said, the album does lag a bit after them, particularly after “Your Head is On Fire” fades out.  However, as the second half of the album kicks off with “Trap Doors,” it is only onward and upward from there.  By the time “The Mall & Misery” closes the album, it would be difficult to deny another go-round kicked off by lead single and opening track “The High Road.”

Broken Bells' self-titled debut (2010)

Broken Bells' self-titled debut (2010)

“The High Road” is an excellent choice for leading off the album, as well as representing it as a single.  Danger Mouse’s synthesized sounds somehow manage to appear random while obviously being the result of a very purposeful pattern.  Under all the layers lies a fairly straightforward piano ballad, a simplicity that is realized in the stripped-down outro.

From the piano and vocal fade follows the acoustic and vocal intro to “Vaporize,” another standout track on the album.  This is where Broken Bells start to lay out some of the themes that will follow in the songs to come.  As Mercer sings,  “Common fears start to multiply; we realize we’re paralyzed.”  He continues, “It’s not too late to feel a little more alive.”

What an excellent lyrical anchor for an album that is all about shaking up the format.

“Your Head is On Fire” is a particularly fascinating track.  It kicks off with instrumentation and a vocal arrangement that strongly conjures seventies Beach Boys (my favorite!), with a particularly heavy emphasis on sounds characteristic of Dennis Wilson’s solo effort Pacific Ocean Blue.  By the time the acoustic guitars strum in, the song proceeds to a second movement, but it does return for one more retro romp in the outro that would have felt right at home on SMiLE.

The following two tracks — “The Ghost Inside” and “Sailing to Nowhere” — carve out a clearer idea of what the Broken Bells sound is going to be.  Although they are strong tracks, they are the sort of fare you might expect in the half to three-quarters swampland of your typical record.

Instead, Broken Bells comes alive with new vitality in that region, kicking off with the steady beat and buildup of “Trap Doors,” followed closely by the multi-movement “Citizen.”  The latter peaks with an essential question: “From the moment that we’re born, ’til we’re old and tired out: Do we ever know?”

The opening piano riff of “October” may conjure Phantom Planet’s “California,” but it quickly progresses into the multi-vocal attack that Broken Bells have asserted as their own throughout this record.  And the pace isn’t lost on the low-register vocals of the next track, the beat-driven “Mongrel Heart.”

The aforementioned “Mongrel Heart” blends seamlessly into the album’s final stop.  “The Mall & Misery” is an exercise in perfect timing, another gorgeous mixture of beautiful acoustic guitars, lush harmonies, and a bed of beats and other synthesized sounds.  “Use your intuition; it’s all you’ve got,” Mercer declares.  Every lyric resource on the Internet seems to disagree with me, but I read the refrain as “I know what I know will not fill a thimble.”  I won’t even share what the misconception (?) is; I’m quite attached to what I’ve heard.  At the close of the stylistic odyssey that is Broken Bells, what a fitting final thought.

All in all, Broken Bells’ self-titled debut is a sharp, vivid album that presents a series of interesting lyrics and sounds mostly by way of tight but thoughtful little pop songs, the pieces which work together to form a greater whole.

And that’s more than enough to hook me.