All About HIM

TSI99, by The Split Infinitives

Mon, 29 Apr 2013 03:52:47 -0400

10 track album

I’m working on another album. I’ll just release a track or two at a time, as well as borrow a little from other artists. Tracks will be released a few at a time, similarly to Kanye West for My Beautiful Dark Twisted Fantasy or Weezer for Maladroit. The title is a slight nod to Talking Heads ‘77. Much like The Son and Stay Young, Stay Young, this also a story, but it actually takes place from mid-2010 to 2013. TSI99 just rolls off the tongue better.

Stylistically, I want to try incorporating more guitar, and something that’s more accessible, but I’m working with pretty much the same palate, which means it probably won’t be as experimental as The Son (which everyone should totally check out if they already have not).

So, sit back, and enjoy a story about finding and losing love, and discovering oneself anyway.

The Split Infinitives - The Son Check it...

Sat, 09 Mar 2013 19:16:57 -0500

The Split Infinitives - The Son

Check it out.

http://thesplitinfinitives1.bandcamp.com/album/the-son

The Split Infinitives - The Son

Sat, 09 Mar 2013 19:15:37 -0500

The Split Infinitives - The Son:

Check this out.

-It’s free
-I’ve included lyrics and song information
-If given a fighting a chance, you might really like this.

Please send your feedback, whatever it might be.

Thank you!!!

The Split Infinitives - The Son

Tue, 26 Feb 2013 09:55:10 -0500

The Split Infinitives - The Son:

Complete to imperfection, here is my sophomore album. Take a listen when you get a chance.

New Track From The Split Infinitives - "Spider Song"

Tue, 12 Feb 2013 01:07:00 -0500

New Track From The Split Infinitives - "Spider Song":

Here’s a lead into my next album, currently titled The Son. This won’t appear on it, but here’s a little something anyhow. It’s not a terribly huge departure from Stay Young, Stay Young, but I’ll let you all be the judges. Tell me what you think.

Stay Young, Stay Young - The Split Infinitives

Mon, 24 Dec 2012 23:23:56 -0500

Stay Young, Stay Young - The Split Infinitives:

This here is my album from last May. I’m gonna work a little harder on this project. So, if you get the time, check this out. Be on the on lookout for more of my awesome opossum work.

Cheers.

Review #5: Ed Sheeran - +

Wed, 13 Jun 2012 04:45:00 -0400

As a musician, I’m always fascinated by other young musicians that are around my age. I can accept that I am not the best producer, the best vocalist, the best pianist, the best drummer, the best bassist, or best guitarist. However, I always see through to the end with a vision. When crafting an album, I always have a story. Each song is a chapter that illustrating a theme or moment that contributes to that narrative or concept. Why don’t more artists challenge themselves? It seems that too often young talents squander their abilities. There’s too little maturity, and it is a terrible shame, because with the right guidance, these artists could craft something interesting. The cruel irony here is that I am one of the few people that notice this with any artist. There is a lack of detail that plagues most music, and most listeners miss it as well.

Ed Sheeran seems to be popular among adolescent crowds. He’s a young guy, and his album + is indicative of this. He writes pop songs that are about youthful ideas of what romance, life, and hardship is like. A collection of folksy pop tunes, Ed Sheeran’s + really just sounds like a member of One Direction (most likely Zayn,) is attempting a solo project, but got drunk (no pun intended,) off of Iron & Wine.

Sheeran does a lot of impressive things here. He’s a talented guitarist with a nice sounding voice. The verses he writes are semi-clever, and obviously heartfelt. His songs are almost believable and very emotive. There are images of fantasies that are ordinary and sweet that are intensified because of their lack of grandiosity. A variety of techniques are employed in terms of genre, and that kind of ambition is always welcome. Every time there is an echoing, through-the-walls guitar solo, it is difficult not to be swept in his otherwise maudlin tunes.

Unfortunately, there is more wrong with the album than can salvage it. For every clever quip or rhyme, there is just as much inconsistency or repetition. It seems that Sheeran gets so invested in an idea that he uses the thought of huddling in the cold or being drunk while playing video games over and over. All he talks about is love and asking for love, with the exception of “You Need Me, I Don’t Need You.” Every song has that verse/chorus/verse structure that is so unoriginal. This formula is fine, but not when it’s used on and on. There’s no story, no scope, nothing to set him apart from every other singer/songwriter wannabe. Other artists have done more with much less, but Sheeran does not live up to something grand. It’s boring, and + as an album is so inconsistent and so uneven that it is hard to get through it and not feel somewhat uncomfortable by the end.

While he may enjoy some success from singles, which this album may as well been built to be: a single juggernaut. It really is a shame, because Ed Sheeran has talent, but he lacks the focus and foresight that could make him better. I am thoroughly unimpressed by +, because when I write music, at least it does not sound with a bunch of lazy Mumford and Sons covers done by that one member of the Backstreet Boys that no one remembers. Sheeran needs to cultivate a sense of ambition, instead of a set of polished ballads made without attention. These songs are gorgeous, and if Sheeran can maintain that beauty, that accessibility, and grow up a little more, he can make something truly special.

Score - 48 (D+/C-)
Notable Tracks - The A-Team, Drunk, Lego House

Review #4: Kimbra - Vows

Wed, 13 Jun 2012 03:42:00 -0400

If anyone has been listening to pop radio, which most people have, then most listeners are familiar with Gotye’s “Somebody I Used to Know.” There are a lot of reasons to be proud of this song. It uses unconventional instrumentation, it is authentic, and it is a forward thinking move to try and popularize this type of song. Most artists are becoming more and more electronic, focusing more on keeping up with the times, and adhering to musical trends. This is apparent with the work of Muse, Coldplay, Kelly Clarkson, etc. Instead of pianos and real drums, we have synth pads and analog beats. Neither of these are new, but they destroy what The Strokes tried to save. They’re sacrificing artistry for a paycheck. By that logic, Gotye’s hit should make me ecstatic. He does many things that I appreciate from many artists. The irony here is that I despise that song to know end. It has no challenging qualities. I learnt to play it by ear. The lyrics are trite and cliche; heck, the title itself was used nearly a decade earlier as the end of a verse from The Postal Service’s song “We Will Become Silhouettes.” The same thing happened with Adele, another individual who is doing good, even if her songs are terrible. “Someone Like You” is also a lyric from Kings of Leon’s “Use Somebody.” Needless to say, even honesty is getting lazier.

I mention Gotye, because New Zealand artist Kimbra is featured, and she really adds to the song. She is a clearly talented vocalist, and she proves that on “Somebody I Used to Know.” Her debut album Vows was finally released in the U.S. last month. Dead set on hating Gotye, I found myself dead set on hating her, but I gave Vows as fair of a shake as I possibly could. What I got was an uneven tale of love, betrayal, heartache, and Kimbra trying to make as experimental a record as possible within pop. Initially captured by the baroque/R&B pop compositions occasionally buffered with electronics, Vows amounts to a mild disappointment.

The album starts with her fragmented, but surprisingly effective. I was not immune to “Setting Down“‘s instant charm. It is a dynamic opener, and delves straight into the theme of monogamy. After all, this album is called Vows. The opener is astounding, and is followed by “Something in the Way You Are,” which is one of the best songs I have heard all year. It is ethereal, enchanting, and unquestionably beautiful.

Just when it seems Kimbra has tried to secure a spot as the indie Duffy, she gives us what sounds like Robin Sparkles’ “Let’s Go the Mall,” and Robyn’s “Dancing on My Own,” but less good. In fact, the next time the album even reaches this quality is at the closer, “The Build Up.” In between the clear single and the end of the album, there is a huge dip in quality. “Two Way Street” would be acceptable if it was not such a suspicious theft of “Love on a Two Way Street.” Most people recognize this song as the sample used in Jay-Z’s “Empire State of Mind.” It is arguable that Kimbra’s song, gorgeous as it is, and Jay-Z’s hit ode to NYC sound a little too similar. From then on, the album is as forgettable and boring as could be. Almost every song has the same pop oriented structure, the mood stays the same, the electronics don’t work, the lyrics are elementary and don’t fluctuate, and songs begin to bleed together. Basically, the whole album collapses by the second quarter, and it’s only halfway done. It seems like it might pick up at “Old Flame,” but it does not.

Despite all of the negativity and low expectations, this is not necessarily a bad album. As uninspired as some of it may be, it is legitimately well made, well arranged, and leaves plenty of room for Kimbra to improve. Let it be known that she is a talented songwriter, and a powerhouse vocalist. She not only emotes, and can belt, but she experiments with melodies, choral parts, and inflections that are very well done, even if what she’s singing is not that compelling. This is not particularly groundbreaking or very well balanced, but I am impressed by Kimbra. Yes, I do get to dislike her still, but at the same time, she is clearly a budding artist. I’m almost hoping she proves me wrong.

Score - 55 (C-)
Notable Tracks - Something in the Way You Are, Old Flame, The Build Up

Review #3: Coldplay - Mylo Xyloto

Wed, 13 Jun 2012 02:36:00 -0400

It’s only been a few years, but it seems like it has been so long since Coldplay released an album. Perhaps I’ve missed them that much, which is strange. I am only a recent fan of Coldplay. A Rush of Blood to the Head is brilliant, and Parachutes is a fantastic debut. X&Y is a great third, and Viva La Vida is as epic as it got when it was released. Now we have Mylo Xyloto, Coldplay’s most ambitious record to date, and as per usual, it bodes well with these ears.

The album starts off elegantly enough with the title track. It flows and crashes straight into “Hurts Like Heaven.” A promising start to an album that seems to be aiming at rejuvination and optimism. That’s apparent in “Paradise”, and “Charlie Brown.” The album seems to start over at “M.M.I.A” which leads into lead single “Every Teardrop Is a Waterfall.” There is an interesting change of pace, and the album goes from there.

Musically, this is easily Coldplay’s greatest achievement. More electronically driven then ever, the best way to describe it is epic. This is a grand, loud, and epic piece of artistry. There is greater attention payed to detail and nuance. Most melodies are placed correctly, and I honestly feel younger and jubalant, at least in the beginning. New ground is covered, and the band tries a lot of different things. Chris Martin is a great vocalist, and he uses his dynamic range beautifully. In “Princess of China,” Rhianna and Martin play off each other almost flawlessly, and create an intensity that is really the most brooding of the whole album.

Mylo Xyloto is not without its missteps. Lyrically, this is as unsatisfying as any Coldplay record. Chris Martin is a capable front man, but a poet he is so not. Their execution of a love story between Mylo and Xyloto falls on its face, and loses its focus from time to time. In fact, it isn’t really clear how the story begins, ends, or what certain parts means. This is not a case of one not understanding the message. There is a difference between being cryptic, and simply being messy. The album is disorganized. While the first half flows wonderfully, the second half loses it. There are a few great tracks there, but it ends up with most of it being filler. In fact, there are a lot of disposable tracks on this album “Up in Flames,” “Every Tear Is a Waterfall,” etc. Many tracks work on their own, but this does not function as well as it should.

All in all, Mylo Xyloto is what it is. It’s an album that is fitting enough and decent enough to belong in Coldplay’s catalog. It’s a more or less building off of what was already there. If Chris Martin and co. do this for the rest of their career, then I’m sure that their best has yet to come.

Score - 78 (B)

Notable Tracks - Charlie Brown, U.F.O., Major Minus

Review #2: Sigur Ros - Valtari

Wed, 13 Jun 2012 02:18:00 -0400

Being the shameless indie lover I am, waiting for Sigur Ros’ new album was a painstaking venture, to some extent. Alas, after a few years, my patience was handsomely rewarded.

What Sigur Ros has created is not just a collection of songs. It’s a journey. It is an etthereal series of landscapes and scenes that, by themselves are foggy and left open to interpretation. The beauty here is that, much like Bon Iver or Dntel, artists who write songs that seem incredibly ambiguous, is that it leaves the artist to create something that is clear to them, and let’s the listener decide its meaning. That is the best kind of art. It is not a story that we’re supposed to understand. It’s for us to decide what we want it to say. It is incredibly intimate, and unmistakably moving.

Now, the album is not without a few flaws. For one thing, it lacks the same originality that makes Sigur Ros so memorable. It is a more grandiose ( ). That, and the fact that songs, while all beautiful and flow seamlessly, this comes at the cost of them almost bleeding together. It’s as if the album is one big song, which is fine, but it almost starts to wear thin by the end.

Altogether, this is one of the best albums of 2011 that I have heard. It is expertly made, gripping, personal, and majestic. While not perfect, the flaws it has are not enough to keep from loving it, and from giving it a high score. Though I prefer their earlier work, I do like what Sigur Ros have done here, and I believe that it will go down as one of the better albums of 2011.

Score - 91 (A)

Recommended Tracks: Eg anda, Ekki Mukk, Fjogur piano

Review #1: Eminem - Recovery

Wed, 13 Jun 2012 02:05:00 -0400

At the turn of the decade, Eminem had cemented himself as the biggest rap artist of the modern era. Something happened around the release of Recovery. For the longest time, hip-hop had been the one genre that spawned singles that were both massive and brilliant. Nowadays, people accept Nicki Minaj, B.o.B., Kanye throwaways, and flippin’ Karmin as rap standards. Yes, we have Kid Cudi, Drake, Mos Def, and even Childish Gambino, but they should be the bar. What happened to songs that could be catchy, snarky, and interesting like Kanye’s “Gold Digger?” Where are the indictment of popular culture with Em’s “The Real Slim Shady?” I’ve got ninety-nine problems, one of which is this degradation of hip-hop.

Recovery is hard to write about, because it represents everything about Eminem that is important when understanding who his public persona (or personas,) is, and what kind of person he is. Upon its release, Recovery received mixed reception. No Eminem record has truly been embraced wholeheartedly by critics, but retrospectively, many people (myself included,) can fondly appreciate albums like The Marshall Mathers LP and The Eminem Show, even a decade after the fact. This is a huge step up from Eminem’s controversial release Relapse. Unfortunately, Recovery does not present Marshall Mathers’ talent as effectively as his earlier work.

There is a lot here that Eminem does right. For one thing, black or white, man or woman, young or old, there is no signed rapper who has better flow or better rhythm than Eminem. He fits clever quips, and catchy rhymes all while never missing a beat. It’s methodical, and so indicative of just how smart Mathers actually is. The whole idea of a triumph from Eminem should be fantastic. In theory, Marshall Mathers telling everyone who he is and why they don’t matter, properly executed, would be something to behold. For the most part, Em succeeds at this. He talks back to his detractors in such a sassy, but satisfying way. This is not the whole record. There are a few tender moments, and a few songs that are harrowing and bleak. These highs of intensity and lows of vulnerability, when they meet, make for something remarkable. It is also important to mention that this album is excellently produced. Every song, whether it is a stronger track or not, sounds very good. Arrangements work well together, samples are used effectively, and highs and lows are balanced perfectly. This is a good sounding album.

What is so hard is that there is so much that is so great, but that is diluted by a lot that holds it back. This stumbles into what I hate about most modern rap music. For one thing, it is too long. Instead of a seventeen track record with twelve or thirteen songs and a few skits, we get seventeen songs. Recovery is nearly eighty minutes long, nearly maxing out the disc space. After a while, it starts to get boring. There are a ton of tracks that are so good, but there are nearly just as many that are incredibly weak. Many of these tracks are the biggest songs from the record: i.e. “Love the Way You Lie,” “No Love,” and “Not Afraid.” These tracks really don’t add a lot to the album, and get in the way of some better songs. In fact, as a whole, this album can be gratuitous in how abrasive its lyrical themes are. It is nice to take a break from the club, and from Eminem’s conquests, but that does not keep this from being one of the most misogynistic collection of songs. It is not offensive in this vein through and through, but it takes up a large chunk of the album. On top of this, Mathers is unspeakably profane. It’s as if Em writes his rhymes, and fills in the gaps with whatever dirty word or phrase he can think of. I am not overly perturbed by foul language, but when it is so frequent, it’s hard not to start feeling uncomfortable. The other thing that is bothersome regarding the record is that is how inconsistent it is. A good album should flow from track to track, but this is really just a collection of songs clumped together. Recovery could be a really epochal journey, but there are missed opportunities, and we have Em running out of the gates, and then ending it with Slim Shady, as if it was an idea that he thought of near the end, and thought maybe it would work. It doesn’t.

Recovery could be amazing. It is a solid release, but there is too much filler, too many bad decisions made, too little focus, and a lack of cohesion. As a whole, it is a good record, but put in context with Eminem’s discography, it’s a disappointment. Had Mathers really put more into the whole, and tried to make a more concise statement, Recovery may very well have been his magnum opus. Alas, we are given a release that has traces of its author’s apparent greatness. Eminem is an ambitious artist. He is capable of greatness, and we should expect nothing less.

Score: 62 (C+)
Notable Tracks: Cold Wind Blows, Space Bound, and Cinderella Man

Music Reviews

Wed, 13 Jun 2012 01:59:28 -0400

I’m gonna start posting music reviews. I have a few already finished. I’ll post them right away. If anyone has any requests, let me know. I’d love to oblige.

Album #21: Kid A - Radiohead

Tue, 06 Mar 2012 11:09:00 -0500

Change is a very strange thing. I’ve never been too partial to so much of it at once. Of course, I could attribute this to me being a big ol’ J (judging.) I can quite vividly recall being ten years old, and being forced to deal with the notion of moving from Alexandria, VA to East Lansing, MI. The absolute frustration of uprooting and beginning again is, even a few weeks shy of seven years later, still just as potent as it was in the Virginia winter of 2004. Me and my mother were less on board with the idea than my sister or stepdad.

In retrospect, moving to Michigan was probably the best thing that every happened to me. I only say this because I am legitimately frightened by thinking about taking a different path in my life. I’m not afraid of change that has yet to come. If it’s necessary, I will understand and cooperate. On the other hand, if the change in question has no real lasting purpose, then I’ll likely be indignant initially, only to grow apathetic very quickly. In fact, more people are frightened by the future, by the unknown complexities that have yet to be endowed upon humanity, more than what has already transpired. This actually seems illogical to me, but it really isn’t as nonsensical as I’d like to believe. I guess that’s the way it is. Normal people fear change, my sister is disturbed by Frank, the mysterious, time traveling rabbit from Donnie Darko, and I’m terrified of contemplating the fact that my life could have, at any time, been vastly unrecognizable had something skewed from the timeline that has already transpired.

Let’s get something out of the way immediately. Radiohead, a collection of five Brits that are prominent in the world of modern music, have proved to be the greatest band in the world right now. They are The Beatles of modern music. Not only are they a incredibly well rounded group that sound great, they have revolutionized and inspired much of the music around today. This is not an opinion based bit of credit. It’s absolutely true. In fact, they’re take on alternative music is unlike any other artist. Do not be sad. Two other Radiohead albums will appear on this list. It is this album, Kid A among other things, that is responsible for the image Radiohead has cultivated for themselves today.

In 1997, Radiohead released OK Computer. It was a departure from their very rock oriented masterpiece The Bends. Instead of another face melting collection of songs depicting loneliness, Radiohead elected a darker, more ambient atmosphere to convey themes about how modern life and the government are killing us. Few albums have garnered more acclaim, and even Radiohead was surprised by the mania surrounding their tour de force. So great was the impact of OK Computer, it affected the band as well. The success of OK Computer nearly drove a permanent wedge between the group. After fleshing out the greatness of OK Computer by touring like crazy, and becoming the biggest band in the world, Radiohead took a year off. They needed it. When it was heard that they had gotten back to work, everyone assumed that they would be getting another epochal alternative rock album. Suffice it to say, that’s not what anyone got.

The first moments of Kid A are likely to be the most perplexing. It starts off with the song “Everything in Its Right Place” is a very reserved track. Anyone expecting an “Airbag” or “Planet Telex” kind of opener would be very confused, and maybe even disappointed by this track. Not to create an oxi moron, but the minimalistic nature of this track is so impacting. It’s also one of the most interesting ways to start off an album. Most albums start off with a very large and gaudy opener to hook a listener. In true Radiohead fashion, there’s no such promise with this song. Its eerie calmness is what grabs a person’s ears, instead of destroying them. What’s fascinating is how that initial solemnity builds into something else. Like a caged animal, it wants to break out, but settles right before the storm. Now, many critics and bloggers will list this song as one of Radiohead’s best. I do not agree that this assessment is accurate. While there are few Radiohead songs that are “bad,” most are quite phenomenal. However, I can concede to the notion that there is no song by anyone, except maybe Radiohead themselves, that is like this song. I’ve listened to thousands of songs many times, but I’ve yet to come across one as unique as “Everything in Its Right Place.” Perhaps it’s because Radiohead does something with this song that it does with all of Kid A. Each title says exactly what the song will sound like, but with that slight Radiohead edge. Everything is in its right place, but in a very Thom Yorke-esque sense.

Proceeding the opener is the title track, “Kid A.” This is personally my favorite song off of the album. What it amounts to is some melody played with I don’t know what. I want to say it sounds akin to either a music box or dying on Kid Icarus. This melody is played over an electronic percussion part, as well as some distorted, incoherent lyrics spouted by what sounds like anyone. It’s very energetic and upbeat, but still reserved. It has a very childlike nuance to it, which likely comes from the death of Pit. There’s something so engrossing about it. I’d say that there’s feeling to it. The Radiohead song that shows emotion without any discernible speech would be very much in character for the gang. This very melodic, almost fun interlude plays off of its predecessor perfectly, and segues into something much different.

This is where the animal breaks out. “The National Anthem” is so different than the previous two tracks. Such a leap should not work so well, but it does. Where the two tracks were very electronic and mellow in atmosphere, here comes the same kind of wrath and sinister feel of “Paranoid Android,” but jazzier and more diabolic than brooding. The Ondes Martenot, the aggressive drums, the more chaotic drum section all play over a repetitive bass line that is equally as haunting. Yorke’s vocals echo as if he’s spitting into an aluminum tunnel. It’s a devil whose chaos completely contrasts the unobtrusiveness of the first two tracks. Ironically, it’s the bedlum that keeps headphones on. What would otherwise be a boring album becomes something transcendent and unexpected. In essence, the track is brilliant, and so is its spot on the record.

What follows is perhaps the most normal song on the whole album, which is “How to Disappear Completely.” This song is a lot like “Exit Music (for a Film)” but a little better. Something to take note of is that Thom Yorke suffered from writers block when composing lyrics for Kid A. Instead, he took discarded lyrics, put them on little pieces of paper, and drew them out of a hat for each song. I suspect that this is responsible for the prevalent use of lyrical repetition throughout the album. I’m certain that “How to Disappear Completely” is one of the more frugal songs in terms of Thom Yorke. There are few lyrics, and Yorke does not use as wide a range as he does for so many of his songs. Perhaps it’s the profundity of his words, or maybe its the same mystery that makes “Kid A” (title track) so compelling. Over a similarly repetitive bass line, a rather simple chord progression, a standard percussion arrangement, and the use of a few other elements, this ranks as one of Radiohead’s most haunting recordings.

“Treefingers” carries out the first half of the album. As it so happens to be, the song was made my playing notes on a guitar, edited, and then placed into a sampler to loop for a few minutes. This is more or less the “Fitter Happier” of Kid A. It’s hard to count it as a track because there’s nothing really to say about it. This is purely a conduit, but even as an intermission, it’s brilliant minimalism should not be overlooked.

In the second half, Yorke and co. come galloping leisurely out of the gates, with a hypnotic “Optimistic.” Like “Let Down,” “Pyramid Song,” “Fake Plastic Trees,” and even a few tunes off of Pablo Honey, I didn’t expect to love this song as much as I currently do. This song is the sardonic anthem of far-right conservatives the world over. Speaking of big fish eating littler ones, and an eponymous mention of glass-half-full wisdom, this song is notable for one lyric that, out of context, sounds more cheerful than the brooding and punk-edged gem such as this. “You can try the best you can/If you try the best you can/The best you can is good enough.” Thom Yorke coined this from his partner, Rachel Owen, as this is a favorite saying of hers. This is one of two songs on the album that have an outstanding post-chorus. With “Optimistic,” there’s this snare action that really compliments and darkens the song. All of this builds into this very jazz like outro that’s kind of groovy, and it plays into the next song really well. In fact, this is one of the most perfect songs I can think of, as the music works wonders as well as the lyrics do. A lot of songs aren’t that balanced. Some songs are that balanced, but they’re mediocre as a whole, but not “Optimistic.”

“In Limbo” is exactly what it says it is. It’s a smooth, swirling, and thick tune used for the sake of transition. In my eyes, it’s a necessary filler, but the weakest link (save “Treefingers”) of the album.

What comes next is what Kid A has been building up to; “Idioteque.” This album has a knack for minimalism, but an airtight atmosphere. “Idioteque” encapsulates everything about Kid A. There’s that simplistic, but soul piercing progression, coupled with the catchy-as-chlamydia beat that pulsates for the duration of the track. The vocals are reminiscent of “Everything in Its Right Place.” That’s where the two tracks share common ground; through their stripped down arrangements, and fragmented vocals buffing the track. Other than those two commonalities, “Idioteque” is bedlum. If there was ever a Radiohead song to dance to, it would be this. It’s truly electrifying in its brilliance. Kid A is a rather difficult album to get through, but it’s all worth it, because this is the pinnacle of the record. If “Everything in Its Right Place” is where everything should be, as the album pans out, that certainty has been forgotten by now. This is that moment of change that is irreversible and clear that “This is really happening.” That current of fear and anticipation that courses through one’s being is encapsulated in the worst way possible; i.e. without fully accepting the inevitable. It’s difficult to say whether or not this is the darkest moment of the album. It could be the most tragic, with the only contender vying for that title being “How to Disappear Completely.” The latter is tragic due to the alienated stigma it emits and the sheer denial Yorke is displacing throughout the song, whereas the former is tragic in the sense of knowing one’s fate, but not being able to take on that role. Finally, the track dissolves into an ethereal, but nonetheless eerie transition.

“Morning Bell” is a hard song to write about. I’ve probably given it less attention than any other song on the album, and that includes the hidden “Untitled” bit. All I know is that I do like it. It serves as a great pallet cleanser after the delectable “Idioteque.” Even on its own, it does sound amazing. This is the other song with a cool post-chorus. Most of the track, and Thom Yorke’s falsetto and telephone effect vocals, are very balanced, and not particularly gaudy. They’re simply there. Technically, it’s a post-verse/bridge, but I digress. Where the track shows restraint, there are these interludes that explode, almost euphorically. It’s almost as if Radiohead was U2 for only a split second, but better. Those contrasts compliment each other, build, and fall perfectly on one another.

What (sort of) ends the album is one of the most somber Radiohead songs ever. Over the saddest organ ever played, Thom Yorke yearns for the company of red wine and sleeping pills. He longs for relief, and maybe even the past. What comes in on top of Thom’s organ is this arrangement that is completely recognizable as an homage to old Disney orchestrations. That is the most optimistic moment of the whole album. Kid A is a dark mofo, and this balances it so perfectly. The sorrow is still there, but there’s a pining for glory, for happiness, for the world that once made Yorke whole. So he’ll try again “See you in the next life.” After two minutes of silence, “Untitled,” a brief arrangement of electronics sweeps along to cap off a true masterpiece.

That is Kid A. Truly it is a masterpiece. Even if one were to go back and look at relatively negative reviews for this album, the harshest thing that could be said is that it wasn’t OK Computer. No, Kid A is not at all OK Computer. It’s strange to believe that those two records came from the same five guys. That’s a lot of what makes Radiohead so incredible; their versatility, or rather, their willingness to expand themselves. That’s the same aspect that made The Beatles so great. Even if I’m not a sycophant fanatic like so many other artists or music lovers, I readily appreciate why The Beatles were not only commercial juggernauts, but musical geniuses. Listen to Please Please Me, and then go take a crack at The White Album. Both are great records, but they’re astonishingly separate accomplishments.

Kid A, whether by accident or not, is about dealing with change, all tied together by the album’s atmosphere. Change never feels good. There’s always worry underneath every moment of it. It’s what plagues people from ever enjoying anything from life; fear, worry, the need for stability, etc. More prevalent than time itself is change. There’s literally nothing more universal. Everything and everyone is in constant state of flux always, whether anyone knows it or not. Change is not good or bad or even fair. It simply exists.

As I mentioned in talking about Kanye West’s Graduation, I’m heading off to college soon. At the time I had written that piece, I had not fully grasped the concept of what that would mean.Now, only three months shy of high school graduation, I am understanding what that will mean. Autonomy is now synonymous with responsibility. That’s scary to think how little I’ll be able to mess up. Regardless of these concerns, I’m ready for it, don’t get me wrong. Both my mother and I believe that I will do fine in a more independent environment. Yes, it will be frightening, but this is okay. All anyone can do is the best they can, and the best you can is good enough.

Notable Tracks

“Kid A”

“The National Anthem”

“How to Disappear Completely”

“Optimistic”

“Idioteque”

I can only upload one audio file, so I’ll start with this...

Wed, 05 Oct 2011 13:14:31 -0400

I can only upload one audio file, so I’ll start with this one, called “Center Lights”

Album #22: Weezer (Blue Album) - Weezer

Sun, 25 Sep 2011 18:49:00 -0400

1994 was a pretty wildtime. Alternative rock was peaking, Green Day released one of the greatest and most commercially successful punk rock albums of all time, I was born, Oasis would release a record breaking debut with Definitely Maybe, Claire Danes was thriving on television with My So-Called Life, Pink Floyd disbanded (it really was time at that point,) depending on how you view things, Richard Nixon died, Friends debuted, much of the most relevant pieces of cinema (Pulp Fiction, The Shawshank Redemption, Forrest Gump, Clerks, etc.) were being released, and all of this made for a pretty great year. Sure, Radiohead were still floundering and in trouble of becoming one-hit wonders, Kurt Cobain died (on my parents’ wedding day, believe it or not,) and The Real World was paving the way for other pointless reality television program (though that could just as easily be blamed on An American Family.) Every year has its claim to fame, and 1994 is no exception. My parents grew up in this era. Pavement were The Beatles of this period. Rap and hip-hop became relevant in this time. Boy-bands died not a moment too soon after. Grunge boomed and became irrelevant. The most important aspect of this here decade is the time of Generation X. Chuck Klosterman gives Luke Skywalker as the quintessential mold for Gen X’ers. This makes a ton of sense. Most adults from this period grew up with Star Wars, and therefore, wanted to be Luke Skywalker. Everyone nowadays wants to be Han Solo (and why wouldn’t they? Luke Skywalker has a lightsaber, and lightsabers are awesome. As awesome as they are, Han Solo is a bad—-. Also, Luke is consistently whiny.) What you have are a bunch of idealistic, slacker-esque, rebel children who’s parents were the characters in Dazed and Confused. This is The Blue Album.

Many people will argue that Pinkerton is superior to Weezer’s Blue Album. I cannot his on several grounds. For one, I have not had as much time to ingest Pinkerton. Additionally, it could be that The Blue Album is simply better. It’s pretty factual that The Blue Album is far more accessible. It could all just be personal preference (which is the likeliest.) It’s the group’s first and finest album. In fact, Weezer’s entire discography shows an exponential regression in quality. I mean seriously, look me in the eye and honestly say that Make Believe does not suck or that Hurley’s only merit is that Jorge Garcia made the cover or even that Red Album is just a lazy name for an album with a few good tunes and the rest a mess. Even Green Album has a lot going for it. I swear, during that five year hiatus between Pinkerton and Green Album, things changed for worse. I can argue Weezer’s mediocrity and make Alicia Florrick look even more embarrassing than Chris Noth ever could in no time. This is not what I want to do. I’d like to argue the greatness of Weezer’s debut album.

The first thing listeners here from Weezer’s first official LP is the picking of an acoustic melody, but not before Rivers Cuomo proclaims “My Name is Jonas” and that “I’m carrying the will.” All alleged references to The Giver aside, the song talks about Rivers’ brother Leaves getting into a car wreck and his family not letting their insurance cover the damages. A lot of it has a very nostalgic nature to it that confronts the reality of the speaker’s present situation. Still, it ends on a strangely accepting note.

“No One Else” is one of the strangest tunes of all time. I want it to be sweet, and I want to appreciate the narrator. Instead, we have a narrator who is selfish and very jealous. Clingy is a good way to describe it. He wants a girl who will laugh for no one else. In a way, it is sweet. Cuomo wants someone that will be only his. He wants a girl that will take care of him and pay attention to him. At the very least, it’s honest. That is what any normal person really wants, no matter how selfless anyone seems to come off as. What kills a truly loving spouse more than their partner having eyes for anyone other than them? I know I want a girl who won’t laugh for anyone but me. I’m hilarious, so that shouldn’t be a problem.

“The World Has Turned and Left Me” is sort of like The Lion, the Witch, and the Wardrobe of The Blue Album. It was the first of any Weezer song to be written for the album, yet it is a sequel to “No One Else.” That is what the band says anyhow. Sure, the guy is paranoid and overbearing, but all he wanted was to be a loved boyfriend. He talks to her picture and she just listened. I bet he would have loved it if it were her instead of a photograph. It’s heartbreaking. When Dwight Schrute is dumped by Angela Martin, it’s hard not to feel for him. Even Jim Halpert comes to Dwight’s aid. Completely worthy of being in Weezer’s catalog.

The fourth song off of the legendary Blue Album is “Buddy Holly.” This song is romantic against Rivers Cuomo’s will. I personally identify with this song as every girl I am infatuated with is Mary Tyler Moore, and I am most certainly Buddy Holly. She is some kind of wonderful and gorgeous creation destined to be an Emmy winning working girl while I am some goofball that may or may not die in a plane crash. The song is upbeat and that’s how devotion should be. It shouldn’t be slow and sappy. It should be in-your-face and happy. The other aspect of this song that is noteworthy is its lack of self-consciousness. Cuomo doesn’t care what they say about them anyway. I know that’s how I would feel. If I had a Mary Tyler Moore-esque companion, I wouldn’t care what they said about it. It is entirely possible that the female might care…

“Undone (The Sweater Song)” is like that feeling you get when your song that you wrote is supposed to be sad, but then everyone thinks it’s the funniest thing in the entire world. Supposedly, Cuomo went to Berklee and even to Harvard College. Most people would assume that he’s a pretty smart guy. He probably is. It still baffles me how he could not think that writing a song about a freaking sweater would not be subject to at least minor ridicule. I mean, a sweater? Come on. Still, it’s a great song. I can see how it might be sad. It’s about being proverbially destroyed or deconstructed. Perhaps the clips of the party in between verses adds a layer where some introverted guest just runs into these people. I dunno. Personally, this is my least favorite song off of the album, so it’s hard to talk about in a positive light. However, it is the most interesting song on the album.

There are some times when people need to let loose or take their board to work while other people run out of gas on the way there. “Surf Wax America,” though mean spirited in conception, is what a party song should be. It speaks about not caring about things like work or driving. There’s drinking and surfing and Cuomo isn’t gonna go home. Hedonistic or not, it is a tune to be rocked out to. The first half of the album is about isolation, rejection, and isolation. “Surf Wax America” maybe be just as bleak in a sarcastic sense, but if you’re willing to look past that, it’s pretty uplifting.

Following in a theme of non-conformity and individuality on The Blue Album, “In the Garage” addresses this more directly. In the garage, no one can see Cuomo play Dungeons and Dragons or find posters of KISS on his walls. No one will hear him play his crappy songs. When he’s by himself, he can be himself. So identifiable is this tune to any person that is introverted or lonely or simply rejected by the outside world. This is a very youth oriented song. Unless you are a huge loser, when else would this be a problem? All ridicule aside, locking myself in my room to escape the outside world writing, listening to music, thinking, playing guitar, playing Game Boy and listening to music at the same time, etc. Nothing really matters when there’s no one around to judge you or make fun of you for various reasons. If there is ever a champion of the outcasts and misfits, it’s early Cuomo, writing songs about looking like Buddy Holly, surfing, and rocking out in a garage. The safety of loneliness is one that can only be appreciated by a few, but it’s completely worth it to be one of them.

“Say it Ain’t So” is what Weezer should have always been; awesome. There’s that mellow riff that plays throughout the verse, then that booming chorus and bridge, that rocking solo, and the strange lyrics about drinking. It all makes for a great song. According to Cuomo, the song is about finding a can of bear in his stepfather’s fridge, and he knew it signified that stepfather heading out the door, as his father had taken up drinking when Cuomo’s mother left him. Cuomo also didn’t drink until it was legal for him to. Even now, he doesn’t drink if he can avoid it. It’s the feeling of any husband finding out their wife is being unfaithful, or of Walter White finding out the hostage in the basement whom he’d started to get to know is planning on killing him with a shard from a broken plate. It’s impending rapture, and there’s nothing you can do about it. You don’t want it to be so, but it is.

Perhaps the simplest song on Blue Album, “Holiday” is a runaway song if there ever was one. All it is is taking your significant other away from the world and wanting to be alone. It’s sweet, optimistic, and loving. In fact, there really isn’t a lot to say about it. It’s more or less a precursor to the arguably superior “Island in the Sun.” “Holiday” is still quite amazing.

The end of The Blue Album ends with something completely different than everything else, and probably my favorite song Weezer ever wrote. In fact, many fans regard this as the best song in the group’s collection. “Only in Dreams” is the embodiment of the adolescent struggle for love. I can only fathom how many times I’ve wanted to hear that girl say she might take a chance. It is what “Please Please Please Let Me Get What I Want” could have been. This mastered the crescendo long before Death Cab for Cutie could start abusing it. Another interesting aspect of “Only in Dreams” is that it is rare that the very last song is the best on the album. The only times I can think of this are Death Cab for Cutie’s Something About Airplanes (“Line of Best Fit”,) The Antlers’ Hospice (“Epilogue”,) Green Day’s American Idiot (“Whatsername”,) Radiohead’s In Rainbows (“Videotape”,) and Pink Floyd’s Meddle (“Echoes”.) The Blue Album is an album that keeps building and it ends so perfectly. There ends The Blue Album

As a whole, The Blue Album flows like the Mississippi. It’s perfectly cohesive, and there really isn’t a bad song on it. “Undone (The Sweater Song)” is my least favorite song on the album, and I still think it’s a great song.

The Blue Album is a perfect account of Generation X, as it encapsulates the Luke Skywalker demeanor. It’s hopeful, idealistic, rebellious, and whiny all in the same breath. Sure, Pinkerton is the hardened Han Solo that most people prefer, but Blue Album is its own perfect little creation. Much like If You’re Feeling Sinister, most of the songs on Blue Album will be pretty youth oriented, as Cuomo was only twenty-three at the time of the album’s release. Adolescence was’t that far off, especially when his upbringing is characterized to by the savior of the Galactic Empire. It’s a shame that Weezer has done so poorly over the years. Sure, they churn out a successful single every once in a while, but the material just isn’t what it should be. To ask them to improve is a little too late. The group is past their prime. At least we have their first two or three records to remind us that they were once a very promising group.

Notable Tracks

“No One Else”

“Buddy Holly”

“Say It Ain’t So”

“Surf Wax America”

“Only in Dreams”

Up next...

Wed, 14 Sep 2011 23:44:00 -0400

I’m not gonna be on much for the next little while.

So here are some of the next few albums to be written up about.

Weezer - Weezer (The Blue Album)

Kid A - Radiohead

Entroducing…. - DJ Shadow

Yankee Hotel Foxtrot - Wilco

Hospice - The Antlers

Wish You Were Here - Pink Floyd

The Queen is Dead - The Smiths

Album #23: Fleet Foxes - Fleet Foxes

Tue, 13 Sep 2011 21:14:00 -0400

Unrequited love can be frustrating. You don’t even need to necessarily be in love. Effort wasted is one of the most tragic things ever. People work and work and work until they can’t give any more, and then nothing. An enthusiastic musician looks for promotes their gigs. Then when they land one, no one shows up, and they are paid less than what’s in the tip jar at the counter/bar. College graduates are excited of the prospect of finding a new job with the skills they have accumulated to take on the world. Soon after, they realize they are in a down economy, and suddenly, there are no jobs available, despite what you were told in university. Often times, people are already jaded. Call them pessimists or realists (even though they aren’t realistic at all.) Every pessimist has the same high hopes, but they keep telling themselves and others that their desires will not be fulfilled. The working man thinks that each day will be as unrewarding as the day before. Teenage boys believe that the females they are infatuated with could never reciprocate the same feeling. Paranoia takes over, etc.

Sometimes, and you can call it a lucky break or what, but all the agony of waiting for all of your work to pay off is finally over. When the musician sells out Madison Squqre, the college graduate nabs their dream job, the blue or white collar worker receives respite and is promoted or offered better work, or when the young man finds the girl he pines after mirrors the same attraction. Heck, the maniacal genius even comes really close to conquering the world from time to time. Honestly, who doesn’t love the feeling of vindication. Unfortunately, you can’t always get what you want, and sometimes the best you can just isn’t good enough.

What does a person do? People get angry. They break things, hurt people, destroy themselves, etc. Some get depressed and inflict their sadness on the world. Some don’t care. A few turn their pain into something constructive. Fewer still can do it well.

Fleet Foxes are a Seattle band, oddly enough. Unlike the grunge movement that spawned Nirvana, Pearl Jam, Soundgarden, and Alice in Chains angters, to the Death Cab for Cuties and so forth, come a much different band. They are not of a hardened heart kind of heavy hitters, or even the mopey dopes that help the melancholic cope. Fleet Foxes are folksy, poppy, catchy pioneers. Their self-titled debut is the perfect example of their brilliance.

The album begins by being wound up in “Sun It Came.” “Red squirrel in the morning. Red squirrel in the evening. Red squirrel in the morning, I’m coming to take you home.” So begins the journey of the Foxes. Their follow-up (Helplessness Blues) is very good at starting strong as well. Anyhow, this journey is continued on “White Winter Hymnal.” Strangely, the lyrics don’t really mean anything. They’re an incomprehensible tale of decapitation for all anyone know. Either way, it’s one of the best songs on the whole record. It’s boisterous and upbeat while flowing ever so sweetly. Coming down from “White Winter Hymnal” is “Ragged Wood” which is great enough, but a segue into some better stuff. In fact, so is the soft ballad “Tiger Mountain Peasant Song.” “Quiet Houses,” through its minimalist phrasing and repetition, turns out to be one of the most joyful moments on the album. Very upbeat and interesting. “He Doesn’t Know Why” is very similar to “Quiet Houses” but it all leads up to Robin Peckond yelling “There’s nothing I can do” over and over. It all sounds beautiful. There is a small intermission with “Heard Them Stirring” that shifts the mood into something darker and more in tune to the real tone of the record. This change is realized in the uptempo yet aggressive “Your Protector.” Loud and demanding, one would think this is the album’s peak, and they would be close. After “Your Protector” comes something that contrasts the rest of the album greatly. A sort of lonesome guitar plucks away in “Meadowlarks.” It is lonely and gentle, with a sense of yearning. After nine tracks of what would be a strong effort all together is the album’s, and the group’s for that matter, crowning achievement. Initially unobtrusive, “Blue Ridge Mountains” builds upon itself. Starting out softer than any other song on the album. It transitions into what would otherwise be just another good song on Fleet Foxes, but then comes the pre-chorus. No percussion, and very little guitar, under a throbbing organ (very funny.) Peckond reminds his brother Sean “I love you, I love you, O’ brother of mine.” Immediately after those words come a pounding arrangement involving the whole band. Peckond croons what must be among the greatest choruses of all time. One of spending cold winters in their grandfather’s cabin out in the woods. He asks if he is terrible, despite his brother’s opinion. The chorus comes again, even mightier than before. Peckond poses the same question, “Terrible am I child, even if you don’t mind?” and decides he is not. The most epic of conclusions must be followed by a gentle epilogue. Which is what is found in “Oliver James.” The most unassuming, and simplest moment on the whole record. The album winds down in accordance to how it was wound. Oliver James is washed in the rain no longer. So concludes Fleet Foxes.

In interviews, Robin Peckond has been asked about the cover art to the album. It is so obviously telling of the album itself. The cover comes from the 1559 painting Netherlands Proverbs by Peter Bruegel the Elder. Fleet Foxes’ cover is only a snippet of the actual painting, which is very telling. Even in the original piece, there’s a lot going on. Upon first glance, the cover looks quite nice. One may suggest that it’s very pretty. If one would look more closely, they’d see it is actually sort of dark. There are people on fire, some are being carried away in hand carts, others are taking dumps into bodies of water, and tree stumps befriend dogs. The album itself contains various tracks that are all very happy sounding. In fact, the first half of the album is pretty joyful. It is not until one further examines and looks into lyrical content that a person finds woeful tales of nostalgia, or helplessness, or decapitation, or anything in that vain.

This is the essence of Fleet Foxes and unrequited love. There is darkness underneath the surface. Fleet Foxes is an album is about coming to grips with disappointment while holding a smile. It isn’t until the end that such problems are dealt with honestly. Even at the end of “Oliver James” there is still a sense of disclosure. Perhaps it is the notion of acceptance. One can never shake the idea of disappointment or the possibility of pending failure. There really is nothing anyone can do. Is that terrible, even if no one minds? Not at all. Catch all of the red squirrels you can, and bring them home. No one will bring them all home, but they can do their best.

Notable Tracks

“White Winter Hymnal”

“Quiet Houses”

“He Doesn’t Know Why”

“Your Protector”

“Blue Ridge Mountains”

Album #24: Graduation - Kanye West

Mon, 29 Aug 2011 11:23:00 -0400

I am an incoming senior in high school.

The obvious, and important, thing to note about coming to the end of public education is what happens afterwards, as that is what everybody prepares for. Kids apply for other college and work opportunities. Others will figure out living arrangements that ask for more responsibility while providing complete independence. There are also people who squander their time, and have no plans. For the most part, post high school plans never quite work out. Money becomes tight. The university you painstakingly made your way into isn’t quite what you had hoped for. Living in parents’ basement is no longer an option because they thought they did not raise a slacker. There are a myriad of other explanations to this inquiry. The underlying theme to many of them is that of expectation. People mostly plan these important life decisions according to what they want. It would be wholly accurate to say that kids hardly know what they want. We know what we like. A musician has every right to pursue a career playing violin. There are several dangers to this, therefore I commend any individual who is courageous enough to do so. Such risks include the possibility of not being an adequate musician. That is the musicians fault. The other is that music is very freelance, and so income may be scarce. Bands like The National supplemented this by perfecting their craft while working menial jobs. This led to them releasing four studio albums (all of which are fantastic) and having their lowest Metascore being a 79 (an incredible feat by any artist.) The most glaring gamble, and a surprisingly common theme for collegiate musicians, is the possibility of losing interest in one’s perspective vocation, or the most tragic, getting sick of one’s field. Your favorite subject is probably a giant cookie. So move in with your friend, but not your best friend.

It is imperative for youth to fully cultivate as many interests as possible. I’ve personally found that I am good at teaching. This is not a Kanye-style boast no further than it is simply true. It is important to know what someone is good at. I’m sure that if I put more effort into it, I’d be great at teaching. I enjoy writing immensely. It was only until I started recently blogging that I realize how much more time I wish I had spent doing it. It’s true, few people are reading this. To the sparse number of individuals taking the time to read an entry or so, thank you so much. It is you who makes slogging through several hours worth of work and listen to the same records over and over a joy instead of a chore. Part of the reason I started writing is because on the writing portion of my ACT, I received a perfect score, and was in the 99th percentile. To the other one or less percent, internet-five!! I suppose that mentioning how awesome David Fincher is in an essay about giving adolescents the opportunity for leadership appealed to someone, and was enough to influence a perfect score (and sadly, that is all I remember about taking the ACT.) If I didn’t think I didn’t have some form of nationally recognized validation, I probably wouldn’t have pursued writing as I have.

The same goes for teaching. If I hadn’t received feedback, and if I didn’t have enough evidence from other people I have taught, I wouldn’t consider it something I want to do. Teaching is something, unlike music is for others, that I am not completely fixated with. It is a career option that I like enough to pursue, but one that I can change if I need to. The only part of teaching I am passionate about is the fact what I want to teach. It is my goal to become a high school English teacher. I love English. When watching a movie, a film can be action packed, but all of the loud explosions and bright lights cannot compensate for a killer story. For example, no one will ever catch me saying Batman Begins is better than The Social Network. Christopher Nolan’s reboot of the caped crusader is superior to any previous incarnation of the iconic comic book hero. Aaron Sorkin and David Fincher’s adaptation of the conception and identity of Facebook is miles better than Nolan’s public debut (no one saw Memento until after Batman Begins.) I will also take an eloquent speaker over a potty-mouth any day. Text messaging does not exceed smileys or frowning faces as far as staples of that shorthand go. Not even in an attempt to be a little ironic would I be caught using “LOL.” I am a puritan in many regards, and this is one of them. It is the death of the English language. People can “kk” or “lmfao” me all they want to try and upset me. They are doing so at the cost of coming off as unintelligent, and it proves my point. When listening to an album, lyrical content is essential. Don’t get me wrong, Katy Perry’s “Firework” is catchy. It is a great song to dance to, and it has a good enough message, I guess. This does not take away from the fact that the metaphor of a firework is so stupid, so short-sighted, and so boneheaded that it gives Rebecca Black’s “Friday” a run for its money. Rhymes are forced. Every verse is contrived. Analogies get confused. The most credit I can give Perry and her team of lazy songwriters is that there is a possible reference to American Beauty at the beginning of the song. One could have made the argument that I have not given Katy Perry a fair chance. Maybe she has some gem buried in her assembly of mega-successful singles. I’ve listened to all of Teenage Dream, more than once, and all of it pretty much sucks. “Firework” just confirms that line of thinking.

I’m fully willing to try any artist that has something to back them up. To be honest, this attitude is fairly new, and it has worked greatly to my advantage. While at first it was exclusively alternative/indie rock/indie pop, I have broadened my scope. In fact, I was once part of that social demographic that detests hip hop/rap music. Then one day, I did something so revolutionary by American standards. Something so bold, so raw, so unheard of, that it changed the whole universe. I listened to that type of music. The first hip hop record I listened to all the way was Yeezy’s The College Dropout. Before this, the most exposure I had to the genre was through Gym Class Heroes. I didn’t really pay attention at first, but found that I loved “Jesus Walks” and “Through the Wire.” “The New Workout Plan” was a hard pill to swallow at first, but I eventually came around. I also tried listening to Jay-Z’s The Blueprint and The Black Album (The Grey Album is an improvement over the latter.) I’ll say it right now, Lil Wayne sucks. There’s no other way to put it. He is complete and utter garbage. “Lolipop” and “A Mili” are garbage. I don’t care if Tha Carter III got an AOTY nod. So did The Black Eyed Peas’ The E.N.D.

Part of my curiosity stemmed from the massive acclaim that was given to Kanye’s My Beautiful Dark Twisted Fantasy (which I will revisit in the series. ;) ) I made a point of looking over all of West’s main discography. I didn’t get to his mixtapes or 808s and Heartbreaks. The one that stuck out, and one I listen to regularly still, was his third release, Graduation. Kanye followed the success of his first two records, The College Dropout and Late Registration, with his most electronically forwarded collection, one of his more introspective stabs, most anthemic, and his shortest album to date. None of these factors lessen its greatness.

Before I dissect just how awesome Graduation is, I want to talk about its flaws. Graduation is flawed. In fact, of all of Kanye’s discography, it is the most flawed. It contains tracks that are far beneath Kanye’s genius. “Barry Bonds (feat. Li’l Wayne)” is a mediocre stab at talking about how awesome Kanye is. Anyone who can appreciate rap music already knows Yeezy is awesome. Kanye not only sets himself back from an artistic standpoint, but he looks like a bigger idiot than he already did. Weezy is still crap. “Drunk and Hot Girls (feat. Mos Def)” is unfortunate, as both Kanye and Mos Def are wasted on this song. It is such a generic rap song, and so dull. I honestly have no clue what either was thinking, and I cannot believe West misused Mos Def like that. Worse than Mos Def, how could an artist misuse Jon Brion like that? Truly a disposable tune. “Everything I Am” is the type of song that holds back The College Dropout and Late Registration. It is boring and pedestrian. Yes, it jives with the whole introspective aspect of the album, but it really doesn’t even pick up until the song is almost over. Lastly, I must speak about the overrated “Good Life (feat. T-Pain).” The song successfully employs a sample of Michael Jackson’s “P.Y.T. (Pretty Young Thing)” and that is where the merits of the song end. I cannot how fathom how this or “Can’t Tell Me Nothing” received Grammy nominations. In fact, I’m pretty sure that the former won Best Rap Song. Oh yeah, “Can’t Tell Me Nothing” blows as well. That is the weak side of the album. Almost half of it is not that great.

Now, we can get to why I ranked this over other albums I deem perfect.

The beginning of the album, “Good Morning (Intro)”, steers away from the skits that added to the hilarity of TCD and LR. This is not a dark comedy like LR, or even the light-hearted yet arrogant primo-Kanye of TCD. It’s a misdirect to the tone of the album, which is revealed on the next track “Champion.” Graduation is in-your-face. Look no further than the massive hit that is the Daft Punk based “Stronger.” In the same way Chuck Klosterman said Kid A was an accidental soundtrack to the events of September 11th, 2001, “Stronger” is more or less what transpired after Taylorgate and 808s and Heartbreaks. That which did not killed him, only made him stronger (although Watch the Throne could be used against him.) “I Wonder” is a mellow, yet upbeat tune that is more than just a little than infectious. The five tracks that follow have already been discussed. After these five tracks, most notably the train wreck that is “Drunk and Hot Girls (feat. Mos Def)”, comes the album’s crowning achievement. “Flashing Lights (feat. Dwele)” is somehow both painstakingly honest, and for lack of a better term, sexy. From the orchestral arrangements, and the best synth work ever recorded (in my opinion,) and some of Kanye’s sickest rhymes to date (I’m just sayin’, come home Mona Lisa/you know you can’t Rome without Cesar.) I cannot stress how incredibly worth it is to have to slog through so much garbage to arrive at such a rewarding song. Easily in the top five of West’s catalog. So, we follow “Flashing Lights” with “Everything I Am” (LAME) and we arrive at “The Glory.” This track is nothing short of fist pumping energetic fun. Forget the “Good Life” when one can have “The Glory.” If I ever had any doubts about Chris Martin not sucking, he redeems himself by spitting one of the greatest choruses hip-hop has ever seen on Yeezy’s ode to Chicago, a girl named Wendy who blew trees, “Homecoming (feat. Chris Martin)”. That ska melody with thumping bass and pounding drums is about the most intoxicating combination since “Flashing Lights.” Like I said, totally worth digging though so much crap. To cap off is second finest record, West pays tribute to his idol and collaborator of Watch the Throne, Jay-Z, on “Big Brother.” Kanye West is a douche bag. He is egotistical and says stupid things. Barrack Obama has even called him a “jackass.” Say what you will about Kanye. If any person ever doubted that he had a heart, I ask those individuals to listen to “Hey Mama” or “Big Brother.” They’re sweet songs. Maybe Kanye says whatever he wants because he literally has the ability to say whatever desires. He’s the Bob Dylan of rap. I would argue he is even better, on a count of the fact that West doesn’t sound like he’s been smoking for eighty years and lacks a Jew-fro. And that’s where the story ends.

Graduation is a learning opportunity. It dilutes the goodness so it doesn’t overwhelm. It is a teaching job. It is not rich with all sorts of flawless benefits. It is rewarding enough that a person takes the time to go through it because when one arrives at one of the better parts, it’s harder to take it for granted. It isn’t like For Emma, Forever Ago or OK Computer. It’s not an album I will soon get sick of because I play them on repeat all of the time. In fact, I can thank Graduation for cultivating my taste in music and hip-hop. It’s a bike with training wheels. It’s getting out of your parents’ basement. For reasons like those, Graduation is an album I will be able to appreciate for a very very long while.

Notable Tracks:

“Stronger”

“I Wonder”

“Flashing Lights (feat. Dwele)”

“The Glory”

“Homecoming (feat. Christ Martin)”

Album #25: If You're Feeling Sinister - Belle & Sebastian

Tue, 23 Aug 2011 19:42:00 -0400

1996 must have been insane for Stuart Murdoch and Co. Murdoch and former B&S member Stuart David formed a group, recorded their widely acclaimed debut Tigermilk, turned a college demo project into a full time band, and recorded their magnum opus. From a celestial standpoint, Belle & Sebastian’s genius erupted overnight. If You’re Feeling Sinister is the mid nineties pop equivalent of Richard Linklater’s Dazed and Confused. It is an album without a real plot, but peers into the state of life that is adolescence.

There’s nothing quite like the sophomore work of the twee masters. Opening track “Stars of Track and Field” feels just like waking up. The narrator slowly rises from slumber to the anxiety that is teenage life, envious of how some kids get it easier than others by taking advantage of others with their endowments due to their lack of real ability, and it builds to the realization that the stars of track and field are beautiful people. The idea of secrecy is reiterated using a metaphor of homosexuality in “Seeing Other People.” People, young or old, all have some sort of quirk that they’d like to abolish and are afraid of being found out. Following “Seeing Other People” is “Me and the Major.” It’s tune accompanied by a slightly boisterous harmonica, and in a very Dylan-esque style, ironically discusses the gap between parents and generations. These first three songs completely establish a major theme on If You’re Feeling Sinister; the notion of being misunderstood.

After the first third comes “Like Dylan in the Movies.” Slightly changing the tone of the album, but describing a deep devotion “You’re worth the trouble/you’re worth the pain/you’re worth the worry/I would do the same/if we all went back to another time/I would love you over.” Sure, it’s a song where Murdoch talks about the fear of being raped while walking through his favorite park. No matter how sinister the idea may be, the message is still the same. Where the first four songs are rather upbeat, “Fox in the Snow” comes as a somber song that contrasts “Like Dylan in the Movies.” “Like Dylan in the Movies” is a song about isolating oneself, “Fox in the Snow” looks outside the narrator, and into the lives of a fox, a cyclist, and some kid, urging all to temporarily defer from the mundane tasks that take up their lives.

The next two songs culminate to be the centerpieces of the album. Starting with “Get Me Away From Here I’m Dying” the narrator longs to be set free from the mundane life they lead and are tired of the lack of success they receive from working. The song fades into the title track. Much like “Fox in the Snow,” the narrator looks outside themselves and peers into the crippling frustration that leads into two peoples’ suicides. One is far too overwhelmed to deal with their lives, and is convinced things will never improve. The other painstakingly searches for answers on how and why and where to go or who to follow. From trying to get information from a vicar or whatever, and getting a special deal on renting from the man at rediffusion, her efforts are in vain. Nobody listened to her, she didn’t like listening to anyone, she was into S&M, and bible study wasn’t her cup of tea. She was a hopeless believer. Maybe instead of visiting St. Teresa’s, she should have stayed at home and played with herself.

After the dark opus that is the title track, the tone shifts back to an upbeat “Mayfly.” As happy sounding as this track is, it is much like the narrator; it is masking the real content (i.e. impatient and longing for someone else) with a what would seem to be a song about bugs. If you are an entomologist, then the meaning becomes very clear quickly, as Mayflies only live for about a day. Along with the anxiety of waiting for something better, is “The Boy Done Wrong Again.” Speaking about being disappointed and lonely. This is the sort of song where two individuals are talking and the listener is staring off into the distance, distracted from their partner. Concluding an album about life sucking, misunderstanding, fear of rape, and dissatisfaction is “Judy and the Dream of Horses.” Judy was only happy when she was sleeping. She is a teenage rebel, and did it with a boy when she was young. Sure, she can go for walks, kiss, or do whatever she wants. If she really needs to, she can write another song about her dream of stealing horses.

This is the content of a somber and often falsely upbeat collection of songs. It flows beautifully, and is a work of pure genius. It is fitting that these kids would write about being young and alienated. After all, Belle & Sebastian were college aged kids when they released their first two records. It is common for artists to write what they know. While many people might try and repress adolescent memories, Murdoch and Co. channeled the perils of youth into the group’s finest collection of songs. Stuart Murdoch agrees with my claim, the only difference being that he does not find the quality to be as he might like (hence the live rerecording.)

At a time where loneliness, isolation, and dissatisfaction with life can be easy to feel, it is not hard to relate. The paradox here is that I don’t necessarily understand the whole record. I comprehend what Murdoch is trying to say, and none of the song meanings elude me. What separates me from the record is that I’ve never really envied the stars of track and field. Homosexuality was never an issue I ever had to hide or needed to deal with. It would be completely accurate to say that while no one cares about what I have to say, and I have almost no interest in what anyone else says. In contrast, I’ve never had such a strict desire for information, and I’ve never had my spirituality thrown into confusion. Perhaps this is why this album is featured at twenty-five as opposed to a higher ranking.

That being said, for what I can understand, the pains of youth are perfectly articulated through these burgeoning twee geniuses. As I said before, who better to write these songs than an up and comping college band, when the stress of adolescence still resonates so keenly?

B&S never really did better than their first two efforts. The closest the band came is their 2003 release Dear Catastrophe Waitress, which is still very close to the sort of incredibly strong songwriting that brought the group to prominence in the first place. In fact, with the exception of their newest release, Belle & Sebastian Write About Love, B&S have never released an album short of great. It is rare to have a group like that. So the epitome of a band who consistently releases stellar work must be pretty amazing.

Notable Tracks:

“Like Dylan in the Movies”

“Get Me Away From Here I’m Dying”

“If You’re Feeling Sinister”

“The Boy Done Wrong Again”

“Judy and the Dream of Horses”

The Twenty-Five Greatest Albums of All Time

Mon, 15 Aug 2011 23:16:00 -0400

This is the first installment in a short series that will go on to explore what I to believe epitomizes specific mediums.

For those of you who are not LDS, or Mormon, there are these events that take place when you are a teenager in high school, perhaps a year or two older, called stake dance. Another concept I should explain is the idea of a ward. It’s basically going to church at a certain time and place based on where a member lives. A collection of wards that are grouped close together is a stake. Various stakes make up a region, and so on. Different kids from different wards will congregate in a certain building every month or so (depending on where you live) and it culminates into a lo-fi Homecoming dance. The only differences that these things have from a traditional high school sockhop are frequency, the kind of kids that will be there (not even an idiot Mormon teenager would be dumb enough to misbehave at one of these things,) and the probability that there will be grinding, illegal substance (that includes alcohol, as there are minors,) and the likelihood of pregnancy initiating in the wake of a dance. They’re usually fun, rejection (in the event one asks another person to dance) is as small as 2-5%, one meets new people, music is tolerable, and if you need to get away, you’ve got a whole church to be alone. Note: I explain the idea of a stake dance now, as it may crop up in later posts.

Whenever I happen to be at one of these stake dances (which seems to be quite often) I find myself dancing with some new individual (despite it seeming like I’ve danced with each female in the Lansing Stake.) If I am going toe to toe with someone I already know, I will inquire about how their lives are going, and then spend the last minute of a song in awkward silence (which suddenly becomes much longer than sixty seconds.) On the occasion I meet a female I have not previously encountered, and in the context of moving out of time to a slow song, I generally ask basic questions. I’ll ask the girl how she is, her name, her age, and other questions in that vein. As soon as I get to interests, I’ll always ask what music the person is into. This never wavers. The next questions could be about movies or books or what they like about their favorite subject, but music is a priority to me. My first question never wavers, and most of the time, neither does the response.

“Oh, really anything.” or “I don’t know.” or some unintelligent response.

Perhaps I care too much. Maybe people do not organize those things in their heads as much as I do. I keep mental and physical lists everywhere, and I cannot fathom why no one else does this. Why wouldn’t everyone want to know where they stand with their interests? It is entirely possible they place stock in places of more importance. I guess I’m just a J in that way. When people are done giving generalizations, and if they are polite enough to ask me my own question, I give them a detailed response. Sometimes I will ask what their favorite albums are, and I will receive a quizzical glare.

People don’t care about the album nowadays. This is okay, as neither do major pop outlets, labels and artists alike. Our world is so spread thin in attention that singles are more accessible. Who can blame anyone? If you’ve got a job, maybe a family, and other responsibilities, unless it’s one’s career, making time for new music can be difficult. It’s much easier when a person is young, and time is more expendable. Then again, it’s thanks to young people that mainstream music is made, and people become dumber. Not many kids could tell me what Lady Gaga’s first album is called, or that The Fame Monster is an EP, and nor could they tell me what an EP is or what it stands for.

It is because it is what an album is and should be that Arcade Fire’s The Suburbs won the Grammy Award for Album of the Year. Many people who are not familiar with the Canadian supergroup scene, or even very good music, were baffled that some band from Montreal overtook megastars like Eminem, Lady Gaga, Katy Perry, and Lady Antebellum. Arcade Fire was hardly unknown. The Suburbs had debuted at number one. They had received massive acclaim for all three of their albums, and their debut Funeral had made more top ten of the decade than any other album between 2000-2009. The group has headlined several festivals, and has even sold out Madison Square Garden. My french teacher made a quip at their win, negatively, that only five people had heard the album. Obviously this is false, as it is likely that most people who voted for The Suburbs to win, which would have been a few thousand at least, had heard the album. By the way, Dykman, if you’re reading this, the Grammys are not the People’s Choice Awards, Dave Matthews has won before, and occasionally the Grammys throw the deserving a pleasant surprise.

This is important, as not only did the Grammys let people know that they were going to do whatever they wanted, but also that quality did matter. This may have been questioned when Katy Perry’s Teenage Dream was nominated for AOTY (something that is less surprising since it has become a single juggernaut.) Any doubts were refuted when Arcade Fire took home Album of the Year, and deservedly so. Eminem may have had the best selling album, but it was hardly the best. Lady Antebellum swept every other category they were nominated for, other than the one they lost, and it is entirely possible they were coasting off of the success of “Need You Now” as opposed to Need You Now as a whole. Lady Gaga was easily the most outrageous and publicized of any of the nominees, even arriving at the Grammys in a giant egg. NARAS acknowledged such a fleeting, yet important part of music production.

An album is like a person. Each song is a different quality of that person, Each song you like for different elements, and you like each element because it resounds with you for one reason or another. Everyone has relationships with different people and everyone has different thoughts and opinions on qualities. Singles may be superficiality. They’re big and gaudy, but less captivating as each song ages. Certain songs on an album hold different meaning for everyone and one changes their perspective on them with varying degrees as time passes. Some songs ruin an album, some you can simply not care about, and some make it all worth the while. There are some you never get at first, but often enough hold the most resonance. There are some albums or songs you fall in love with even when you never suspected you would. I apologize for the disorganization of this last paragraph, but it reaches the point.

It is crucial that they be recognized, and the twenty-five examples to be presented are perfect representations of what the collective whole, what a specific sequence of songs, can mean for music.