Shabazz Palaces – Black Up

album review

A review of the debut album from experimental hip-hop duo Shabazz Palaces

There’s no other hip-hop album that sounds even remotely close to Shabazz Palaces’ debut Black Up. This is an album that any kind of music listener will be puzzled by. Black Up doesn’t take one form, it takes many. Constantly throwing curveballs and never staying on one path, its glitchy and minimal production is meant to be something that isn’t easy to digest. The amazing part about Black Up is how each track manages to sound nothing like the last yet retain a satisfying sense of cohesiveness as if each track is glued to the next and they’re meant to be experienced together. It’s an album that is greater than the sum of its parts. You never really know what’s going on until you’ve familiarized yourself enough with Black Up. Shabazz Palaces emphasize atmosphere with airy and abstract production. You don’t listen to “Free Press and Curl” for the first time, you experience it. One of the strongest tracks on the LP, it features a smooth and effect-laden vocal delivery from Ishmael Butler, dancing from line to line as the song greets you with elements of Black Up that are implemented commonly throughout the album- a disjointed structure, repeated lines (“I’m free”), and most of all, the sense that the duo just had fun making this thing. “An Echo from the Hosts..” serves a smoothly-flowingly, lyrically dense performance from Butler, as the song excels in atmosphere and mood. This song and the one that follows it are such disorienting tracks that it sometimes feels as if Black Up also could function as an electronic project as well. “Are You.. Can You… Were You?..” has a more minimal sound to it but still manages to entrance you in this disjointed groove that flows along with the confidence and fluidity of Butler’s rapping ability. Although “A Treatease Dedicated..” adds to the free-form nature of Black Up, I felt it was a weaker track(arguably the weakest on Black Up) compared to the last three albeit a good one. “Youlogy” redeems this drop in quality, producing these abrasive, psychedelic sonic assaults filled with effects. A production and lyrical highlight, “Youlogy” is without a doubt one of the strongest tracks on the album and is the most amorphic, which complements its hypnotic sound greatly. I would call “Endeavors for Never..” an efficient anomaly on the album, but each song is so different from the next it would be unfitting. The song features no rapping of any kind and serves as an atmosphere builder with a good vocal and lyrical performance from Catherine Harris-White, followed by an echoing chant from Butler (“Forever and never”). “Recollections of the Wraith” is another track that is minimally produced yet fills the room with a soulful and melodic vocal sample and another track that is a lyrical highlight of Butler’s. There are psychedelic and tribal elements to “The King’s New Clothes..” that make the song so enthralling and disorienting; it serves as a reason why Shabazz Palaces are such an interesting hip-hop group. Distorted vocals and banging percussion create this driving force behind the bass-heavy “Yeah You”, informing you that this group isn’t out of lyrical successes yet. It’s amazing to me how this album manages to find new sounds efficiently on every track, especially with the last track “Swerve… The Reeping of..”, another amorphous track that ends its glitchy percussion and melodic vocal samples with the chants of “Black is you, black is me, black is us, black is free”. Another lyrically dense achievement from Butler: “The moonlight and diamond cloud glistenin’ glazed, that we giftin? Every sound, we trying to mash and attention / We run the latest theorems, they just re-rap through the givens / They like talk first, we are observe and listen.” Black Up ignores standard rap conventions and finds a sound of its own, which happens to be many sounds. The trippy and complex nature of each song gives Shabazz Palaces such an interesting way of presenting their music. This is experimental hip-hop in top form, and something I recommend anyone with an open mind listen to.

9.3/10

Favorite Tracks: Free Press and Curl, An Echo from the.. , Youlogy, Recollections of the Wraith

©Sub Pop / 2011

Bon Iver – Bon Iver, Bon Iver

album review

A review of the self-titled second album from indie-folk band Bon Iver

It’s still crazy to me that Bon Iver and its legacy all started with a retreat to a hunting cabin in Wisconsin. The world might’ve never been able to hear Justin Vernon’s emotive and captivating falsetto if the singer had never decided to drive away from his troubles (kicked out of a band, recent breakup with girlfriend and various medical problems) and head to his father’s cabin in Wisconsin. Even when he had finished recording the songs in the cabin he still wasn’t entirely sure about what to do with the tracks. But with encouragement from friends, Vernon would self-release For Emma, Forever Ago and watch it slowly grow to be certified platinum in combined sales by 2017. So after making an album so gloomy and bare like For Emma, Forever Ago, what do you do? Vernon knew the clock was ticking; he knew he needed to make something new and different, something that refined and established the band’s signature sound. Bon Iver’s first track “Perth” starts with a simple guitar riff and builds into this amalgamation of noise and beauty, with instruments left and right entering the mix and supplying a grandness to the opener. Horns add this triumphant feeling as the drums bang louder and louder. “Perth” lets you know that Bon Iver has a new sound. It lets you know that Vernon is going big, he’s adding more instruments to the arsenal yet still keeping the soulful intimacy we can hear on the first album. After the winter that was For Emma, Forever Ago, the listener is now going to engage in the spring that is Bon Iver. Triumph and growth- that is, essentially, the sound of Bon Iver, as it is also the sound of spring. The number of instruments used is growing, Vernon as a person and as a musician are growing, all while the plants are growing. Minnesota, WI continues this grand and diverse mix of instruments, featuring beautiful melodies and lyrics adding to the recurring theme of growth: “You know it won’t beseech you, we’re laying in an open field / I will let you grow, no need to know this.” “Holocene” showcases Vernon’s talent as a songwriter and arranger even more so than the last two tracks do, with its virtuosic arrangements featuring a smooth sax and slide guitar that complements the track’s earthy nature. “Holocene” is not only a highlight of Bon Iver but one of the album’s centerpieces. It is about and is the sound of true growth. “Towers” serves as a main example of how well Vernon arranges various instruments together to make something beautiful and personal. The song manages to keep this triumphant atmosphere without sounding too much like the last three tracks. “Hinnom, TX” and “Michicant” gives the listener with the name of a place that sounds real, yet isn’t, as if Vernon is giving us mere worlds of sound that we can live in for a few minutes before being taken to the next track. I found “Michicant” to be not as engaging as “Hinnom, TX” even though I loved Vernon’s rejection of song structure on the track, which is present in other songs throughout the album. “Hinnom, TX” is another track without regular song structure, but I was more impressed and captivated by its production and instrumentation choices. The heavenly piano and the falsetto raised to the new heights l by Vernon are brave choices that succeed in their purpose. Just as this track ends with the heavenly piano, we are greeted with another piano, more melancholy and ethereal than the last track’s. “Wash” is Vernon at his most focused, and is one of the more minimal tracks on the album in terms of instrumentation, but yet turns out to be one of the grandest tracks on Bon Iver, as it is another highlight. The airy piano is accompanied by some of the most beautiful orchestral and choral arrangements I have ever heard. “Wash.” is the second centerpiece of the album, a lush and melancholic atmosphere that builds up to a magnificent peak. “Calgary” starts with a melodic synth-pad intro and builds up with a heavy reliance on drums, although I would say this is a bit of a lack-luster track, it serves its purpose and features an excellent vocal performance from Justin. Before the final song, the listener is greeted with a minute and a half long ambient piece featuring melancholic electronics and thoughtful layering. It’s impressive how this track feels like it’s a worthy contribution to the album and establishes an effective sequence to the last song on the album, “Beth / Rest”. The last song is the embodiment of the ambition Justin Vernon took on Bon Iver. A sort of homage to 80’s soft pop, “Beth / Rest” is an enjoyable and instrumentally satisfying last track to close out Bon Iver, and shows how taking risks can make something better than what was thought as the best. The track has everything that makes Bon Iver such an incredible second album. The production is gripping, it keeps the intimacy we heard on For Emma, the layers upon layers of instruments don’t feel overdone or overloaded, and it reminds the listener what Spring is about – growth, moving on, getting over the troubles of the past. “Beth / Rest” tells the listener that Vernon has grown. He is taking more risks, and he is doing things the way he wants to. I say let him, because something this beautiful, this grand, ambitious and otherworldly, shouldn’t be denied by anyone with open ears. Bon Iver is the reason why Justin Vernon and his band are to be taken seriously. Talent it does take to make an album embody an entire season.

9.6/10

Favorite Tracks: Perth, Holocene, Minnesota, WI, Beth / Rest, Wash.

©Jagjaguwar / 2011

Silver Jews – The Natural Bridge

album review

A review of the sophomore effort from indie-rock group Silver Jews, led by the recently passed away David Berman

The Natural Bridge starts with lead singer David Berman wryly and monotonously singing the lines “No I don’t really wanna die / I only wanna die in your eyes”. It’s this wit and wordplay that is strongly explored and utilized throughout The Natural Bridge, with this lyricism being orchestrated by this poetic frontman. There are very few albums where nearly every line of every song further shows the mastermind and lyrical wisdom of its creator. The Natural Bridge is cynical yet uplifting, it’s humorous yet depressive; it shows the listener what mess is going on in Berman’s mind. There are too many highlights lyrically on this LP, but some of my favorite lines include: “And when there’s trouble I don’t like running / But I’m afraid I got more in common / With who I was than who I am becoming” (“Black & Brown Blues”), “We used to dance in this split-level ranch / When moonlight flooded the room / Now you’re gone and the shades are all drawn / In my air-conditioned tomb” (“Albemarle Station”), “Robot walks into a bar / Orders a drink, lays down a bill / Bartender says “‘Hey we don’t serve robots,”‘ And the robot says “no, but someday you will.”’ (“The Frontier Index”). But witty lyricism isn’t the only thing that The Natural Bridge offers, what got me into the album wasn’t it’s lines, but it’s feeling, its atmosphere. The low-key and laid-back nature is inviting and warm even though, ironically, when the listener digs in deeper they discover the sardonic and dark nature of Berman’s music. Conceptually, The Natural Bridge is Berman is taking a road trip across the United States, but humorously to places you most likely wouldn’t want to go. He questions why he’s drawn to places like these in “Dallas”: “O Dallas you shine with an evil light / Don’t you know that God stays up all night? / And how’d you turn a billion steers / Into buildings made of mirrors /And why am I drawn to you tonight?” Although, Berman is not only taking a road trip around the US, but a road trip around human nature, visiting places that illustrate our nature, yet also exploring those places so he himself can illustrate to us what we are and why we are what we are. He does all of these things, leading us through the United States of Human Nature, mocking the world yet adoring its idiosyncrasies, cleverly delivering wry commentary on religion, love, and B.B King, while maintaining this friendly and relaxed atmosphere, as if this reclusive cynic is a good friend of yours. The album’s imperfections even complement it’s perfections, as the often repetitive instrumentation throughout is welcomed by the listener as they experience the David Berman road trip around the US. The Natural Bridge ends with my favorite lyrics Berman has ever written, as final track “Pretty Eyes” finishes off with the lines: “I believe the stars are the headlights of angels / Driving from heaven to save us / To save us / Look in the sky / They’re driving from heaven into our eyes / Final words are so hard to devise / I promise that I’ll always remember your pretty eyes / Your pretty eyes.” Berman writes on same track “Pretty Eyes” that “One of these days these days will end”, and now that that day has come, it’s with respect and acclamation that I write this review. May Berman rest in peace, and may this fantastic work of art rest in your ears.

9.1/10

Favorite Tracks: Pretty Eyes, Black and Brown Blues, The Frontier Index

©Drag City / 1996

Gorillaz – On Melancholy Hill

track review

Synth-pop isn’t something that I’ve ever been the biggest fan of. It can get overly corny, as well as overly produced; so when I hear a song like “On Melancholy Hill”, I’m not only impressed but surprised. This romantic 80’s shrine of a song manages to harbor melodic synthesizers and tightly-produced drum machines while maintaining a sense of intimacy and compassion. In addition to it being without a doubt my favorite Gorillaz track, it features some very clever and endearing lyrics, even if simple: “Well you can’t get what you want / But you can get me / So let’s set out to sea / ‘Cause you are my medicine / When you’re close to me”.”On Melancholy Hill” serves as a simple love-song with all the tenderness and joviality to keep you hooked on that special someone. The song’s message and mood are emotionally familiar to everyone because, simply put, we’ve all sat on Melancholy Hill. 10/10

©Parlophone / 2010

From the moment I could talk I was ordered to listen

Happy Father’s Day everyone.

To all the Dads out there, thank you.

Modest Mouse – 3rd Planet

track review

The triumphant and melancholy force of “3rd Planet” always gives me the motivation to keep going. To me, the song carries this driving nature, contrary to the lyrics themselves. It’s an obscure song filled with lots of melodic acoustic guitar meddlings that it opens with, yet with lyrics that match the somber lyricism of the song. The lyrics and the atmosphere this song carries is truly why the song is so personal. Modest Mouse craft some of the most clever and thought-provoking lyrics I’ve seen in indie music, with “3rd Planet” having lines like “Well the universe is shaped exactly like the earth / If you go straight long enough you’ll end up where you were” and “Your heart felt good / It was drippin’ pitch and made of wood”. It’s this kind of witty lyricism that makes Modest Mouse such a unique and hard-hitting band for me. The mood that this song gives me is not only an important reminder to stay strong, but it also is fulfillment for the ears, as I am hearing this melodic, sad, and above all else beautiful piece of music. We must remember that in this world if you’re going straight long enough, you’ll end up exactly where you started. 9/10

©Epic Records / 2000

John Martyn – Spencer the Rover

track review

Even after countless listens, “Spencer the Rover” sounds undeniably personal. Not only to the songwriter John Martyn but to the listener themselves. Ever since I listened to the masterpiece that is Pink Moon, I’ve been searching for other singer-songwriters of the same caliber as Nick Drake. John Martyn is definitely one of those songwriters. The songs Martyn crafts are some of the most intimate and heartbreaking in the singer-songwriter genre, and the songs always have this bluesy and jazzy fashion that compliments the acoustic vibe of various tracks. “Spencer the Rover” was the first song I listened to by Martyn, and remarkably, every time I listen to it I am greeted with the same feelings I encountered that first time. The poetic lyrics tell a tale of a man leaving home to find happiness, yet on his journey, he realizes that home is where the happiness remained all along. A song this bare usually has a hard time sounding finished or complete, yet “Spencer the Rover” has this perfect sense of gentle and pristine form that feels complete. There’s nothing I would do to change the song, even with its minimal instrumentation. Maybe, that is what makes it so genuine- a song of bare human-like nature, yet with a full, sentimental atmosphere. The song feels like home, and truly, that was the man was looking for, and what we are looking for, yet already have. A perfect track, on an album I highly recommend anyone listen to. 10/10

LCD Soundsystem – North American Scum

track review

We are North American Scum! The pride-filled yet misunderstood lyrics along with one of the most danceable drum beats from “North American Scum” already make it a very interesting song, but I feel as if this track has something that not many other tracks achieve. For one thing, it’s an indie anthem, but for another, more important thing, it’s an American anthem. Even if it’s not exactly the most American song in existence, it’s still one with pride running throughout it’s lyrics. There are many who think that this song is about how frontman James Murphy sees North Americans as scum, but really it’s Murphy giving the bird to people who generalize North Americans into exactly that. Of course, he’s doing all this whilst crafting a indie dance classic and screaming “WE ARE NORTH AMERICANS”. Murphy has crafted this funky, criminally catchy song saying: “You know what? I don’t care what any of you think!”. “North American Scum” is the American attitude. 9/10

Dirty Beaches – True Blue

track review

In some alternate dimension of noir, with sorrow and heartbreak lurking throughout the black-and-white palette of America, “True Blue” is playing on the radio as you drive along the road in the pitch-black of night, contemplating the one that got away. To me, this song clicked. It’s such a clever mix of genre and production, as I was entranced by this lo-fi, grainy sound echoing a 50’s rock croon. It plays like a experimental post-rockabilly song filtered into a romantic, Presley-esque tenor. The songs evokes an eccentric and odd feeling of anguish and regret. It’s lyrics support these feelings, with lines like “I walk along these streets until I have you in my arms” and “If I had the chance, I’d never let you go”. I enjoy how the vocals and the guitar work on this track gives the song so much structure, with the reverberated baritone of Alex Hungtai and the totally surfed-out guitar tone forming this beautiful mass of vintage sound and lonely atmosphere. “True Blue” embodies those whose hearts truly are wild and blue. 9/10

Beat Happening – Beat Happening

album review

A review of the debut self-titled EP from the indie-pop pioneers Beat Happening

When Calvin Johnson (founding member of Beat Happening) was asked why he ranked Beat Happening’s debut EP number one he answered, “This is the only real Beat Happening album. All the rest of the albums are just albums we recorded. But this album is what Beat Happening was.” Listening to Beat Happening is something I think many will have trouble with. The album feels barely put-together, and sounds like a mix of eclectic 60’s pop B-sides recorded in someone’s basement. But these songs weren’t from the 60s, and they weren’t B-sides either. They were the sound of a genre starting to take shape. Beat Happening is to Indie Pop what Led Zeppelin is to Hard Rock. When the genre is brought up, Beat Happening is one of the first bands to be acknowledged, and for good reason. Really, that’s a major reason why this album is so highly-regarded: it’s influence is massive. Beat Happening‘s lo-fi, no-longer-than-3-minute tracks are, as I said before, peculiar to say the least. Each song offers some sort of eclecticness and encompass this feeling of DIY that compliment the lo-fi sound. Truly, that would become the indie-pop spirit: DIY. Nowadays we’re so used to pitch-perfect, overproduced songs on the top 100 that Beat Happening sounds alien and aimless. That’s really why this album struck a chord with me. Tracks like “Our Secret” and “I Love You” resonate this lovable, uncanny indie spirit.”Down At the Sea” gives off an off-beat, uneasy feeling yet maintains a poppy sound, and “In Love With You Thing” highlights the band’s DIY approach, as the track is barely even a song, in the best way. One of the first things you’ll notice listening to Beat Happening is particularly Calvin Johnson’s deep, off-key echoing voice of abnormal yet child-like nature. Johnson shares the job of vocalist with Heather Lewis, whos voice is a bit more accessible, and sounds more like other indie pop vocalists, yet both voices embody the peculiarity and effort-less approach to Beat Happening. The lyrics are innocent and simple, a-lot like the albums sound, and these two elements of the album complement each other with great effect. The tracks along with their unique elements come together to make an album that propelled a genre, and established a humble sound. The indie aesthetic wouldn’t be as solidified as it is now without this wonderful album, and the band’s influence spans over many lo-fi/DIY and indie-pop bands forming and making music since the debut release. Although the record may not be accessible enough for some, it’s one that calls out to those who can see and hear the beauty within simplicity and eccentricity, as Beat Happening uncovers the indie spirit within them.

8.7/10

Favorite Tracks : Our Secret, I Love You, Foggy Eyes