Genre: Drum and Bass Origin: Chelmsford, Essex, England
Here are a couple facts about Squarepusher:
1. He's only one guy, and
2. He's only one guy
But you would probably never guess that, considering the amount of work that sounds involved in each of his recordings. Just look at his early albums Feed Me Weird Things or Hard Normal Candy. They pretty much draw the line at what one can do in a genre that's more jazz-infused than anything. His newer stuff is a little bit heavier on his electronics, but we can't forget that he started out providing some of the chillest and downright experimental modern jazz.
So here's "My Sound" off of 1998's Music Is Rotted One Note. The majority of the album has a much more raw vibe to it, with a lot of the recordings performed "live." "My Sound" has this quality, but it doesn't toy around with semantics. It rightfully takes a hit with rocking chair music, stripping down drum and bass to their cores. It's in that way that the song feels raw rather than in the quality of the recording, with atmospheric keyboard for added measure. Perhaps the most accessible track from the album, "My Sound" revels in it.
Check out "My Sound" below and let us know what you think.
For being the most expensive musical in Broadway history, Spider-Man Turn Off the Dark is a very troubling affair. With numerous changes to its crew, early critical reports about the songs and story, and injury after injury from malfunctioning stage and set pieces, it seems like this would be the time to put this musical in the dark itself. Yet the musical is now (finally) set to arrive on Broadway for the general public in mid-June, and the first song has been revealed via iTunes.
There had been reports that the music that U2 frontmen Bono and The Edge had composed for the show were lackluster and ultimately unrewarding. It was even reported that Bono had suggested the show "sucked," but it's interesting what people can accomplish with just a little more time acquired. After listening to the new track "Rise Above," it actually sounds kind of good.
The track doesn't have the typical sing-songy approach that most traditional musicals employ, but then again, this is not a typical musical. It does smell of modern U2-influence, but it doesn't really detract from Reeve Carney's vocals (who sounds suspiciously like Bono himself). "Rise Above" is purposefully pleasing and catchy, and if the rest of the Broadway musical provides this kind of poppy essence, we might have ourselves an intriguing listen.
You can take a look for yourself down below, and if you like what you hear, you can keep track of Spider-Man Turn Off the Dark, whose soundtrack debuts day-and-date with the opening of the show on June 14th (or so we hope).
Reeve Carney (feat. Bono and The Edge) - "Rise Above"
Hey guys! A big thanks to those of you who've kept up reading our posts and giving us the encouragement to continue expressing ourselves through the music we listen to.
The past 2 months have been a bit stressful, but we are planning on having a lot more to talk about in the near future. Our current "Day" structure worked for the time in which we were feeling the stress, but now that we have better possibilities and unlimited amounts of time, we are going to restructure a few things. For starters, each day will have ANY post, from reviews to insights. Take 2 Tuesday will continue to have a home exclusively on Tuesdays, but the week will now consist of more without feeling limited.
Hope we can all work this out and turn Crashing Symbols into a great music destination. Thank you all once again and keep the record spinning.
In honor of the recent passing of the quintessential "Godfather of Rap" Gil Scott-Heron, here is a music video of "Me and the Devil" off of his last record, I'm New Here.
Yeah, that is how you spell the artist's name. Experimental band tUnE-YaRdS is the conception of New England's Merrill Gabus, a woman whose vocals teeter along the lines of masculinity, but all that really matters is that her artistry rocks. To be honest, all that it does is add to the mystery that exudes from a band this eclectic and imaginative. In this regard, her latest LP w h o k i l l is a fun, sassy, and involving record that plays off eccentric beats and loops, steering you through a maze or jungle that doesn't necessarily have an opening. It's not a trap to keep you there for eternity, though after listening to this sort of album, that may not be such a bad thing.
"Bizness" is perhaps the most accessible track from the record, but the video is something of a disillusioned wonder. It matches the musical style that one could only imagine listening to the record in full, but the energetic choreography, cute children, face paint, syncopated edits and burst of human bodies in the song's second half lift this video from standard fare to an extraordinary sense of stylistic purpose. This sensation is a bit of an overload of nice, but if it weren't for its wild-child of an artist or the eccentricities built into the nature of tUnE-YaRdS, we'd probably have ourselves another by-the-numbers video.
Check out the video below and let us know what you think of the video. You can test the waters of "Bizness" and the rest of w h o k i l l on 4AD Records or on Amazon and iTunes.
Another one of many overlooked solo efforts from last year, Phil Selway of Radiohead fame released Familial under false assumptions. What we got was not a technical drum fest or a project in the vein of Thom Yorke's solo material. Instead, Phil works soothing lyrics and drifting melodies into acoustic atmospheres, providing guitar and vocals and contributing artists Lisa Germano and Sebastian Steinberg. The album has a few shining spots such as "Patron Saint," a quiet and hushed affair that doesn't stray too far away from the album's viewpoints. Phil easily yearns for ideas of growth in our closer relations, all the while setting himself at a distance with a relaxed, melancholic vibe that's soft to the skin. It bears resemblance to the work of Nick Drake, whose influence is very much heard throughout the album, but "Patron Saint" tackles on more intricacies that separate Phil as an artist in his own element.
Take another look at "Patron Saint" here and listen to the rest of Familial, available on Nonesuch Records and on both Amazon and iTunes.
Well, their appendages are still in a box and on a boat, at least for a little while longer. That's because the Saturday Night Live viral video gangsters known as The Lonely Island are back with their second LP, the handsomely titled Turtleneck & Chain. Their first standard recording, Incredibad, gave consistent viewers a chance to grab a hold of their music sans the audience laugh track, and even though that album may have had its ups and downs, Turtleneck & Chain doesn't really change the game. That's a good thing, however, considering these guys just want to have loads of fun, and I mean loads of fun.
Like Incredibad, The Lonely Island try to up their rap ante by bringing in many musical guests, with mostly good results. The title track with Snoop Dogg has some pretty nice beats going for it (no doubt influenced by the guest himself), and Snoop Dogg makes the most of his appearance toward the end of the song. Justin Timberlake on "Motherlover" is reminiscent of his work on "Dick in a Box," and Santigold provides some pretty cool choral work on the dubstep-laced "After Party."
Perhaps the most stunning of all is just hearing Michael Bolton feature on "Jack Sparrow." It's an absolute riot listening to him shoot off guns and interrupt much better music, and his appearance clearly eclipses that of Nicki Minaj on "The Creep," whose vocals are mostly snores making their way through lyrics better suited for an artist that would give it more breadth. Even Akon, whose influence is pretty ubiquitous on "I Just Had Sex" from the bright synths to the Auto-Tune, has a much better sense of how to approach a song with such a title. Let's just say the consequences of that track might actually produce better results.
Though those like myself who are familiar with the SNL Digital Shorts, there's the underlying feeling that this troupe is always best when they release their "singles" and accompanying videos. The visuals help to greatly exaggerate their already outrageous raps. Take the Rihanna-featured "Shy Ronnie 2: Ronnie & Clyde" for example, whose lyrical nature really requires a visual target for the empty spaces in between the vocals. Otherwise, you have a rather silly concept that's unsure of where it's going on its own. The quick visual edits of "Threw It On The Ground" are also somewhat lost in the translation, leaving oneself wondering how they can obtain the video on Hulu to rewatch it again and again.
There are some greats and not-so greats, but would you have expected any more from any album by these guys? Those that are familiar with the Digital Shorts probably already know what to expect upon release, and there's no reason to deny their listening to this album in order to find their favorites. Fact of the matter is, The Lonely Island know what they're doing and they're having the time of their lives doing it. Don't expect Turtleneck & Chain to be some kind of accomplishment by any means, but it's hard to resist the sprinkled charm of The Lonely Island and their heightened sense of body part awareness.
3/5
The Lonely Island - Jack Sparrow (feat. Michael Bolton)
The Lonely Island - Turtleneck & Chain (feat. Snoop Dogg)
Death Cab for Cutie's new LP isn't out until May 31st, but Codes and Keys is already making the rounds with singles and drops circulating the net. One such single is the album opener, "Home Is a Fire," which now has an accompanying music video. Directed by alt-artist Shepard Fairey, the song takes on a literal path through Los Angeles with varying degrees of blurs, edits, and lens changes. Lyrics appear to be pasted onto different alleyways and overhangs, later shown actually being made in the process and then placed throughout the city.
It gives the music an interesting twist, if perhaps too literally, in that it makes Los Angeles look more or less appealing and repulsive, especially if you live there (as this reviewer does). Then again, if it's anything like Fairey's work that includes the Obama campaign portrait, the video fits the bill of taking something rather ordinary and replacing it with a glaze that purposely sends an interpretive message to the intended audience. It makes Death Cab for Cutie out to be a band that's fresh and bold, but would you have expected anything different?
Let us know what you think of the music video, and don't forget to check out whatever else Death Cab has up their sleeves on Codes and Keys, available May 31st on Atlantic Records.
David Portner, also known as Animal Collective member Avey Tare, released his second solo record, Down There, in the fall of 2010. The title really meant what it implied; it was a murky, confused, and euphoric album that showcased the complexities that Avey Tare often brings to the lyrics of many of Animal Collective's songs. Considering the smashing success of Animal Collective's most accessible effort, 2009's Merriweather Post Pavilion, listening to Down There is quite a different, more personal experience. Gone are the Beach Boys-equse harmonies and soothing beats, but Portner allows for us to enter his psyche and drown within the sounds, creating some kind of weird and exotic pathway that was best experienced on tracks of Animal Collective's Feels. "Laughing Hieroglyphic," the opening track off Down There, is fantastically hypnotic and sensory, almost asking us for our attention from the get-go and refusing to bubble up to the surface for breath. Even if the album was somewhat overlooked in 2010, at least this track is continually intriguing and worth taking a second look.
Check out "Laughing Hieroglyphic" below and tell us what you think. Is it better or worse than any of Avey Tare's solo outings or of Animal Collective's? Do you feel the eccentricites of Portner's personality through the music or lyrics he creates? Is it self-indulgent?
PJ Harvey has always gone out with class, whether it's the magical gathering of alternative and indie rock on Rid of Me or the versatility of Stories from the City, Stories from the Sea. You can always expect hearing something from her and feeling a sense of purpose, as if the way she writes or sings or strums was just meant to be. She may not always have the perfect balance of musicality with her lyrics, but you can always depend on having an experience with it. Her latest LP, Let England Shake, is perhaps her best effort in a while, consisting of songs that plant her alternative stylings back with new newer, bolder punches. "Written on the Forehead" is just a great example of the work she puts into this album, gracefully singing "Let it burn!" with her usually fantastic rock sensibilities. If you ever felt the need to take it slow with a message that defines you, take that moment and listen to PJ Harvey.
Kurt Vile is rightly suited to be signed with a label like Matador Records. The label also has Yo La Tengo, Sonic Youth, Belle and Sebastian, and Thurston Moore, all artists whom really have a specific focus on lyricism and guitar work but whom also apply thematic elements to their style. The fact that Kurt's last record was a lo-fi wonder of indie rock makes it hard to imagine this guy appearing on any other label, considering his emphasis for the ideas mentioned above. Yet he returns with Smoke Ring For My Halo, working with a sound that's a little more "grander" this time around, in the sense that the production quality is a bit of an improvement. It works for the most part, even if the songs themselves are still very well wound up in previous territory.
As such, most of the songs do not respond with exploratory notions or fresh ideas, but they rather relieve themselves by remaining consistent. A lot of Halo is made up of nice little numbers like "Baby's Arms" and "Peeping Tomboy," whose guitar picking is stunning and singing style helps to match the lyrical content. Perhaps the album really hits its stride when songs open up to bolder arrangements. "In My Time" allows Kurt to expand on simple guitar and effects and offer a lot more acoustic variation and instrument implementation. "Jesus Fever" almost hearkens back to swell times when one would just pick up a guitar and jam with friends, without any obtrusiveness.
As I mentioned above, the sound quality has improved to bring out the timbre of his instruments, but the nature of his songwriting places him squarely in a lo-fi zone. "I wanna write my whole life down / Burn it there to the ground / I wanna sing at the top of my lungs / For fun, screaming annoyingly" he softly sings on "On Tour", but the cleaner sounds in the recording almost make the lyrics rather stilted. You can tell Kurt is providing the album with his lyricism, a key component that's just as good as any guitarist would want or expect from others like Lou Reed, but the better production and guitar playing, as good as they are, do not often give him the support his lyrics are searching for.
There's no doubt that Kurt does a commendable job on his second record. He gets plenty of credit for his songwriting and guitar playing abilities, even if it doesn't entirely live up to the full potential. If you're looking for some nice guitar playing that doesn't look to much to impress but heads along the safe route, Smoke Ring For My Halo has plenty to offer. Then again, a lot of artists on Matador have plenty to offer.
Animal Collective have been around for most of the 2000's, but it wasn't until Merriweather Post Pavilion in 2009 that they broke the independent mold and brought about their most accessible album to date. That doesn't necessarily mean that they dropped their experimental tendencies for this one album, especially considering the recent release of the visual nightmare ODDSAC. They've still got it in them to produce intriguing, wonderful sounds amidst a Beach Boys-esque atmosphere. Such is the case with "Bluish," a song that sounds like the title itself and an accompanying video even James Cameron has to be awed with. It's one of the more relaxed songs on the album, yet the video edits intensify with the beats and the dreamy visuals with what appears to be floating belly dancers and jellyfish transport you into a land of wonder. Let this video take you places you didn't think you'd go.
Never heard of him? You might have if you've seen Cartoon Network's Adult Swim during recent televised commercials. Still not? Well, the name might not strike you as immediately as James Murphy or Justice, but English musician Chris Clark, otherwise simply known as Clark, is very much a great asset to electronic music. Though probably more progressive in nature than the two artists listed above, Clark takes whatever it is that's nice about the genre and completely breaks it down into mathematical equations and paradigms, almost as if listening to the motherboard of a calculator over speakerphone. All the synths and drum machines and bleeps and bloops of his recordings can make one's head fry from overloading, though there's a distinct beauty in the trials and tribulations that he somehow molds together. "Future Daniel" from the overtly-named LP Totems Flare is in this kind of category, providing some tightly-knit beats and enough electronics that it barely survives the eruption that follows. Again, it's all constructed in a way that seems beautiful and awesome, even if it does seem too electronic for its own good. Check this out.
If you thought Hard Rock was making a quick and fateful exit from the mainstream, just take a look at Mesia, an up-and-coming San Fernando Valley outfit that takes an ode to the accelerated speed of Josh Homme and his crew in Queens of the Stone Age and the brushstroke-like musicality and vocal range of Soundgarden. Vocalist and guitarist Mike Lerman shoots toward the sky as far as Chris Cornell is concerned, adding the rest of the band's talents into a sum that's both immediately pleasure-seeking and confidently binding. "Point of No Return" comes off of their self-titled EP set for release on May 27th, and it's the right start for a band looking to excel in this often fringed category of rock and hoping to make it more accessible. It blares from the get-go and doesn't stop across its run time, and it's the perfect rush of blood to the head that you need to begin your week. Be on the lookout for upcoming shows and their self-titled EP, and you can find out more information on their ReverbNation page.
This is mostly in thanks to theneedledrop for giving me something to stumble upon, but this new free download from Third World Records' hip-hop/rap experimentalists Death Grips really does intrigue me. Exmilitary is a mixtape that you can easily toss-and-turn to in your sleep, using sometimes outrageously pulsating beats in ways that even Sleigh Bells would be considered proud of. It's loud, demanding rap that's both chin-stroking and head-nodding, and sometimes eyebrow-raising. Either way you look at it, this might be a fun way to end the week at CS. At least I know it is.
Oh man. Oh my. Oh me. Where I do I start with this one?
Indie folk band Fleet Foxes emerged in 2008 with their self-titled debut and Sun Giant EP, and it turned into what was arguably the best album of the year. As if their location of origin wasn't enough evidence to show how success-bound this band was, their lush, textured instrumental orientation and beautiful vocal harmonies helped formulate regenerated interest in the folk genre and gave us a fresh and majestic twist of consistently wonderful pieces of music. It was difficult whether or not to believe that those of us who loved the band's first outing would want more of the same when it came to their sophomore record, but here we are with Helplessness Blues, an album that does Fleet Foxes one better - by growing into a larger, more literary, and more focused effort.
Right off the bat, it's easy to find that Fleet Foxes provided a much more hushed and whispery vibe in comparison to the grandioseness that Helplessness Blues exudes. That isn't to say that that sound isn't found on here - it's within and without. In fact, this grander scale is notable in that it never feels self-indulgent or aware of their newfound popular and critical successes that is often associated with the so-called "sophomore slump." It almost accompanies Fleet Foxes by turning the key to which Helplessness Blues opens the door, allowing whatever was behind it to flow bountifully. The pathway the band composes feels neither too little nor too much, providing a 50-minute listening experience from beginning to end that's alive and fully realized, even under the mounting pressure from high expectations.
The record begins with "Montezuma," which is undoubtedly ranks as the best song Fleet Foxes has ever recorded. An intriguing steel drum-like guitar starts off before the rich and lush texture of vocal harmonies, bass and acoustic guitar take place. Singer Robin Pecknold pours his soul into his lyrics (as expected), delivering words of "change" that becomes evident throughout the album, such as "I wonder if I'll see any faces above me/Or just cracks in the ceiling/Nobody else to blame." Everything so truthful and revealing overcomes this track, as if you've just heard what the season of Spring sounds like and the blossoming that follows suit.
So many musical and literary references sprinkle each track. Every song warrants that kind of power, with each one uniquely different yet still in the same ballpark. "Bedouin Dress" and "Sim Sala Bim" are both mysterious in their use of differing instruments such as varying lutes and tambourines. "Battery Kinzie" comes close to being this album's "White Winter Hymnal," maintaining a pounding bass drum while holding a short and sweet candle over the repeating piano chords. The title track is wonderful guitar-laden balladry at its finest and provides some of the album's best lyrics. Songs like "Lorelai" and ending track "Grown Ocean" are welcome tracks that showcase the band's tenderness while exhibiting breathtaking performances.
Two tracks on this album are sectioned into two parts, those of which do successfully manage to be worthy additions to the balance and nature of the album's lyrical and melodic themes. "The Plains / Bitter Dancer" is finely tuned, referencing back to the vocal styles of Simon and Garfunkel and the musicality of Crosby, Stills & Nash. "The Shrine / An Argument" is a bit experimental in that it goes through different motions throughout, always unassuming that the listener might be an observer to a live performance jam. As the longest track on the album and in Fleet Foxes' catalog, it unwinds with tenacious strength and never lets go of it, even ending with an instrumental number that involves a wacky saxophone solo.
If Fleet Foxes and the subsequent EP were only delectable hints at the resurgence of folk to the masses, then Helplessness Blues solidifies it, paving the way for an open range that's naturally crafted. It stands as the best and most satisfying record so far this year, and it's the one to beat. It may not contain a song that's considered a true "single" as the immediately accessible "White Winter Hymnal," but like any great album, it provides a fresh and wholly-engaging rush of folk rock that warrants something new on each listen, from beginning to end. After all is said and done, you get the sense that the band is not only delivering a lively gig, but that they're also having fun doing what they do.
5/5
Fleet Foxes - "Montezuma"
Fleet Foxes - "Lorelai"
Helplessness Blues is available on May 3rd from Subpop Records.
Genre: Alternative Hip-Hop/Alternative Rock Origins: Essex, England
Here is the Gorillaz' fourth LP, The Fall, brought to you via the iPad. Yeah, the entirety of this album was mixed using programs on an Apple iPad while the band was out touring North America late last fall (to which I happily attended one of their performances). It really shows you how much technology has advanced, to the point that you can pretty much just set up shop on a portable drive without the necessary wires and plug-ins required to make effects work in music. Whether or not the content that Gorillaz mastermind Damon Albarn puts out on The Fall is of the band's standards, you have to admire the output of this album.
Then again, you really do have to consider the content of this album. In the end, isn't that what matter's most? There's no question that new technologies will be tried and tested and some will produce great results if the content suits it. Just as Avatar pulled the rug from under moviegoers in 3D cinemas, The Fall makes the jump to trend-set what it takes to make an album upon the artificiality that is a new tablet technology, but the content yields mixed results. More often than not, Damon Albarn finds himself making promising beats that ultimately lack depth and little lyrical content that makes it difficult to determine whom this album markets to.
This is the Gorillaz' last album since the rather immaculately-concepted and much-loved Plastic Beach, and that was only a year ago. If I recall a Gorillaz album was in the works every 4-5 years, and when that album landed it never failed to deliver pure imaginative goodness. It was a good feeling having that amount of anticipation, to which here it's kind of a loss. That isn't to say The Fall shouldn't be considered as such just because it's release was rather quick, but it impedes on the idea that such a conceptual design for an album takes time and evolvement, and Damon Albarn doesn't seem to fit the bill as much in a short timespan.
The songs themselves aren't actually that bad - that is, if there were really songs in structure. A majority of the tracks are early concept work at best, working their way a good two minutes until ending and fading out. In making the songs feel this short handed, I barely have the time to grasp any depth to any of Albarn's lyrics (if any, since some tracks remain as simple ambience). This isn't a case of "short, sweet, and to the point," mind you - this is a case of what feels like unfinished business. I can't comment on whether this is a result of the limitations that an iPad offers, but if this is what's expected from a tablet then I can't imagine rock records flying off shelves.
It takes outside strengths rather than inside to make it work, but The Fall does have its short moments. It still features a likable vibe throughout, instilling the synthy and electronic sounds found across the board on Plastic Beach and then some. The one song that even comes close to a good-natured Gorillaz tune is "Bobby in Phoenix" featuring the indelible Bobby Womack, who appeared on a couple standout tracks from Plastic Beach. Bobby sings with such enthusiasm compared to Albarn's consistent if ill-advised droning on the rest of the album, and introducing a stylistically played acoustic guitar that's an interesting mix.
I read a statement from the Gorillaz that said this is a "2D" album, which, if you're a fan, could make a lot of sense. If you are a Gorillaz fan, you might be either excited or disappointed by that prospect. The Fall is an experiment for Damon Albarn and his Gorillaz, and it's admirable for sure, if a little bit off-base. It may not be a fourth LP in a real sense, nor in the same vein as their trilogy of other trend-setting albums, which is a shame, but it shouldn't be completely lost in the mix. Just don't go into it expecting a full-fledged Gorillaz album and you'll have yourself an interesting sound experience. It's one big mix of things.
2.5/5
Gorillaz - "Bobby in Phoenix"
Gorillaz - "Detroit"
The Fall is now physically available in various formats from Parlophone.
"Teardrop" was an accomplished and accessible single from trip-hoppers Massive Attack before House, M.D. blew it into the weekly repeated consciousness of the entire world. With a slow, punchy beat and lovely vocals from Elizabeth Fraser of the band Cocteau Twins, it's undeniable how effective this track is on the psyche. Moreso is the video that accompanies it, matching a vibe more suited for something in The Matrix. It's that kind of creepy message video that's also intriguing enough that you can't look away. Featuring a talking fetus in a womb, it somehow manages to do the song justice and pulls us into the ambience that Massive Attack create. Perhaps this baby's had it up to here with video's that make too much sense.
"Another day, another time, another way for the moment, watch it for a sign..."
1993's Painful was Yo La Tengo's first foray onto a major independent label (Matador), and it was also their first album that really shifted their sound toward a more ambient and sonic experience to match their hazy lyricism. It's a fragile little record that seems to be the transitional album for the band, and probably didn't get the attention it deserved back then. They turned into what I feel is this generation's Velvet Underground, replacing what felt ordinarily like structured melodies into jams with great emotional presence. Whether it's the muted organs, soft bass, or buzzy guitar, Yo La Tengo form this sort of pathway into your psyche and never intend on leaving. "Sudden Organ" features as simple and ambiguous as lyrics listed above, but it's so well brought into the spotlight with their jam that it turns into a wonderful moment of shoegazing glory. Take a look-see.
Teen Dream was arguably one of the best albums released in 2010, with Beach House's continued growth in the dream-pop subgenre and finessing their delectable taste for synthy but minimal sound structure. The song "Walk in the Park" does exactly that, if not moreso than the rest of the songs on the album. As the title implies and the music imbues, the song is a dreamscape with an extra slice of pie, and even the busiest and hard-working of people might want to settle down to this one, just for a few minutes. It's Monday, and I think you need a little of this in your life.
