Jack White may continue to keep his hitmaking formulas and his sympathetic sweetheart side hidden from The Dead Weather, but Sea Of Cowards probably kicks ass anyway. White’s third band’s second album struts for 35 minutes like it’s headed toward a one-night stand with The Bride of Frankenstein.
On first listen, I forgave what sounded like unremarkable songwriting because I was seduced by the riffs. They’re heavy and spry, liquid and sharp, and they’re the main reason I plan to spin Sea Of Cowards at least nine more times. The album’s official US release is May 11, so by then I should have a better idea whether it’s more than just an intoxicating work of blues, fury and sweaty monster sex.
I find myself whimsically dazing to Matt Berninger’s silky baritone delivery and the music seems cut out of a soundtrack for slow-motion battle scenes. There is no doubt that The National put me in a mood. The sound provides me with an overwhelming indifference to my environment, almost as if I could be anywhere and still not realize my surroundings. After nine more listens, it will be interesting to see if the album carries actual weight, or if it becomes white noise. High Violet drops May 11.
I’ve already listened to Holy Fuck’s Latin a half-dozen times. I guess this isn’t a “first listen” review in the truest sense, but that’s because it’s almost too easy to let Latin loop back to track one again and again. Holy Fuck has crafted a long-player that heralds summer’s glorious advent. In other words, Holy Fuck brings the jamz. Yeah, that’s jamz with a Z.
Holy Fuck make instrumental music with steady beats and innovative riffs, and it’s nice to lock into a groove and listen to layers build without being bothered by things like…lyrics or vocals. Here’s my prediction: Latin will be the soundtrack for afternoon BBQs, front porch BYOB sessions, and sweaty late-night living room dance parties. Interestingly, it also works really well as a go-to playlist for those tasks that require some heavy thinking. I revised my Master’s thesis with Latin on repeat.
“Red Light” is certainly a highpoint, combing futuristic synth effects, air-tight bass and drums, and Casio-esque tone bank beats. I revised my chapter on postmodern epistemologies to this one, but I could easily see myself haphazardly grindin’ upon some tipsy fraulein to it as well, provided that that fraulein is my wife, of course.
Latin arrives May 11, 2010 on Young Turks/XL. You can stream the first single, “Latin America,” on the band’s website: www.holyfuckmusic.com
People, this is it. We’ve all been looking for this record. And it is ours. The price of admission is to admit our love. And they even do that for us. Big, swelling, destructive, instrumental, brilliant, lovely, yes. Yes, yes, yes.
This record comes out on April 6th and the review will come soon. So, so soon. Expect me not to lose my gushing fandom before then.
This album sounds like more of a celebration than a true Wu-Tang release. By shedding weight (i.e. the other members of Wu that aren’t prolific rappers anymore) and basking in their recent successes (tracks from OBFCL2 and the insanely brilliant “Yolanda’s House” from Ghost’s The Big Doe Rehab), the three have made a lo-fi return to their old-school styles. this sounds more like a throwback than a step forward, but that’s not necessarily a criticism. In fact, the franchise has needed a full reprisal for some time. It’s clear, too, that that cannot come from RZA’s beats alone.
All three drop nasty verses, silly lines and overall non-mechanical flows. They enjoy working together more than drifting apart, to be certain (yes, I know they recorded shit separately). This aura shines through the most: the energy and swagger is different than a normal recording session. Meth, Ghost and Rae have a fun and stirring chemistry that was missing on 8 Diagrams or solo albums. It’s all of them for all of us, and I’m excited to hear it more. Expect a full review within a week to ten days. The album drops today.
My first listen of Red Lanterns “Names” was totally blind. I know nothing of this band and the internet didn’t yield much information. From their myspace page, I did learn that they were from the Boston area. I would have picked that up anyway since they referenced Boston three times before the first four tracks were finished, however. I saw a picture. It appears three people are in the band. Seriously, that’s how little I have to go on here.
Already, upon my first listen, there are some bright spots. The lyric “Just fucking hit me” on the song ‘Johnny Gosh’ is brilliant and perfectly delivered. On Dear Dead Stars, there’s an edgy part that I had been waiting six songs to hear just to shake up the monotony. The line, “All I drink is gasoline, all you loved is dead in me” could have been my entire biography contained in one song lyric. It’s a great line. On a couple of the songs, vocal harmonies are used to great effect and it’s a nice diversion to what is mostly an album of a guy singing alone
My overall impression of “Names” is that it is an album of angst. Upon further listens, I hope to discover what all this angst is about, as I would consider myself an angst connoisseur. As for right now, it was a bit of a hike to get through it. I do think there’s something here worth exploring further. Parts of it are inspired, but mostly listening to all 12 tracks in a row was like swallowing a pill. I’ll down some beer, make someone drive me around and see if a change in location and my Toyota’s stereo system will change my mind.
Editors Note: The album is free (or best offer) here.
As an unabashed fan of Tallest Man On Earth’s first album, I was scared that this album would either be unimpressive or boring. Now, I fear nothing. I am enamored with the gravelly pitches and warbles of Kristian Matsson and continually impressed with his impenetrable lyricism. There is no watering down of his style or needless repetition on his second album, so far as I can tell early on anyway. In fact, I am happier with this output as a whole than the last album.
You can hear the single for the new album here. And don’t forget to check out The Gardener as well (one of my favorite tracks in years. No lie). The Wild Hunt comes out on April 13th, so expect a review shortly. Until then, it’s gonna be a sad, awesome ride.
Dark Dark Dark is the band. Bright Bright Bright is their new 6-song EP. It’s is a cringe-worthy mouthful, for sure. Luckily the music is pleasing enough for me to look past those poor choices. Dark Dark Dark play “chamber pop,” and if that doesn’t make much sense to you, consider the fact that Bright Bright Bright was recorded in the echoing confines of a church-cum-studio and they go for a sultry baroque feel with piano, string arrangements, upright bass, and a small choir of voices.
After a play and a half, I’m amazed at how well Dark Dark Dark blend jazzy moods, eastern European, gypsy phrasings, and minor-key shifts with the cheerful qualities of most run-of-the-mill indie-pop. Bright Bright Bright contains that strange desired melancholy that makes you feel good, and “Something for Myself” is a perfect example. While it seems as if the entire band lends vocals for the choral components, the leads are sung by primarily one male and one female. And when I saw the band’s myspace page and couldn’t figure out who exactly they were out of a gaggle of well-groomed indie darlings, well, I just decided I’d sort out those details when it came time for the full review. I’m really looking forward to digging in a bit deeper with this one, mainly because of all the influences that rise and fall as the songs change.
Stream the EP from the band’s website here.
The Austerity Program’s Backsliders and Apostates Will Burn is a 4-song EP that has already rattled my brain and left me craving more. If there is one criticism I have after this first listen, it is that it’s too damn short, clocking in at just under 20 minutes. How has a band like The Austerity Program flown under my radar for so long? These dudes (there are just two of ‘em and a drum machine) do pain and sorrow via my preferred method: heavy, distortion-drenched low-frequency riffage and brutally direct lyrics. As a music fan who openly worships at the altar of Steve Albini, just stumbling upon The Austerity Program is like finding a rare unearthed jewel. They appear to have tapped into the same cosmic, creative energy that possessed Big Black, Rapeman and Shellac, but in a way that is completely unique and their own. I’m enamored by the quality of the recording. The low-end crunch that drives all four tracks is countered by the clarity of vocalist Justin Foley’s lyrical torrent. This is an EP for end times, my friends, and I fucking love it.
Given that the EP will not be released until May 4th, I will certainly well exceed the ten listen mark by the time this record hits shelves. Keep this one on your radar; you’ll be glad you did. In the meantime, if you’re in the NYC/MA/RI area, you can see The Austerity Program get ready for their new record release. Apparently they don’t play out that often, so jump on this one!
Friday, 4/29 – Unit 11 in Boston w/ Disappearer and Phantom Glue
Saturday, 5/1 – 17 Mules in Providence w/ Disappearer and Phantom Glue
Sunday, 5/2 – Union Pool in Brooklyn w/ Disappearer and Phantom Glue
Editor’s Note: This is not the album art, because there isn’t any yet. That’s how fresh to death we keep it. Very extrmemly fresh. Thanks, to Blue Collar Distro for the artwork. They are even fresher to deather than us.
