Beck - Sea Change

8.2/10

Beck really goes all over the place musically, doesn't he? I don't know about you, but of all the directions he's taken throughout his career, I was most surprised when he went the direction of downtrodden, lonely singer/songwriter. Perhaps not nearly as surprised, however, as when I discovered this is Beck at his best.

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The restraint really suits his voice and persona quite well. I could only halfway buy into him when he was dancing around singing about "Sexxx Laws," but here on Sea Change I can really feel he's in the zone.

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I'm really most impressed with the songwriting and overall use of various instruments, including a quite prominent string section. The strings add almost a theatrical-ish element without taking away from the intimate feelings of the songs.

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While the album is definitely more on the downside of things, it's not exactly depressing like, say, Elliott Smith is. Instead it's more slanted towards being apathetic, no better exemplified than by the third track, with the very straightforward title "Guess I'm Doing Fine." Because of the somewhat lighter feeling of reluctant acceptance, this album is more relaxing and even calming than other released by other artists along this same vein.

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Maybe another reason this album is relaxing is because Beck himself sounds a little worn out. He even states that he's "tired of fighting, tired of fighting for a lost cause." He sounds beaten and defeated. But somehow still, I find comfort in those words instead of worry or pain.

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Not only is Beck in top form musically on Sea Change, lyrically he's at his most poetic and profound. He certainly sets the tone on the opener "Golden Age" with "These days I barely get by, I don't even try." And on "End of the Day" he profoundly points out that "You owe nothing to the past but wasted time, to serve a sentence that was only in your mind." I worry sometimes how guilty I am of this, but at least I'm not alone. Many more lyrical gems are scattered throughout in every single track.

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Many times Beck evokes Nick Drake on this album. I know it's blasphemous to say this, but I really would put this on the same level as much of his work, save for maybe Pink Moon.

Meat Puppets - Up on the Sun

8.7/10

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One distinct sign of a good record is that it's ALWAYS better than you remember it being. This is one of those albums for me.

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What always sticks out to me is the extremely beautiful guitar interplay between the bass and guitar. No song displays this virtuosity more than "Maiden's Milk," with arpeggios galore and even a whistling line over the top of it all.

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Another great thing about Up on the Sun is its consistancy. Every song is fresh and builds momentum throughout the album. Songs seem to increase in energy as the album goes on.

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This might be a bit of a stretch, but at times (thinking this as I'm listening to "Buckethead") this album sounds like what Gang of Four's Entertainment! would sound like if you were to take away the political and social angst and replace it with a much more carefree, fun approach.

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I guess one knock on this album is that over time I've grown somewhat tired of the flat vocal approach. Meat Puppets II is actually much better in that regard, with memorable vocal lines spewn throughout. But in terms of instrumentation and how the band sounds as a whole, this takes the cake.

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Great album for fans of Felt, The Feelies, and other similar bands with jangly guitars and dry vocals.

In short, I've delved head first into my Autechre binge the last couple of weeks, and through the process they've become one of my favorite groups ever. Their combination of beats and atmosphere and rhythms have taken a hold of me. I can't remember the last time I was this obsessed about any group since The Cure starting six years ago.

So far the standout to me is Untilted. It's pummeling beats grabbed me instantly. It's an assault on the brain. LP5 and Confield are runners up, the former being a mature evolution of their early period, and the latter, a clinical, carpenter-like execution of rhythms, beats, and textures. Their widely considered masterpiece, Tri Repetae, is pretty solid, but gaps in quality on that album bring it down slightly. Oversteps, their newly released album from just one month ago, is a stellar album full of atmosphere and texture. I'm still absorbing Draft 7.30...talk about an album that's difficult to wrap your head around, but I sense brilliance lies somewhere in there. I've yet to listen to Quaristice, but with the shorter song lengths I'm excited to hear what could be considered Autechre's punk album.

Eventually I will get to hearing their first two albums, which I hear are much more ambient and simple, but gorgeous.

So, if you love Autechre, let me hear about it. If you haven't heard their stuff, give it a try and at least try something new, it's worth it.

Autechre!

I've always been much more of a left-brained person. I'm analytical by nature, and my best subject in school was always math. And it kind of makes for an interesting music listener. I mean I love melody and harmony as much as the next guy, don't get me wrong, but I do tend to pay attention to beats more than some, and that's probably why I was a drummer instead of a guitar player.

I bring this up because I've recently discovered an excellent electronic duo (IDM, or, Intelilgent Dance Music, to be specific...what a ridiculous name for a genre, "hey look at me, I dance intelligently!") named Autechre. Why I haven't gotten into this stuff before is beyond me, but it has captivated me and taken a hold of me recently.

It's not for everyone. The music can be thought of as really cold and nonhuman. It is, after all, made strictly by a couple of humans solely on their computers, with no vocals, no nothin'. But the beats and textures and rhythms and subtle melodies are amazing to hear.

Perhaps I'll come back with a review or two of their stuff, but for now I'm just going to enjoy delving deeper into their discography.

Elbow - The Seldom Seen Kid

6.8/10

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Strictly speaking about the sound/production, this album is refeshing, like drinking clean, clear spring water. Each instrument is heard in its own space and has an intricate and definite purpose. Nothing is rushed, as nearly every song is mid-tempo, but this band wasn't meant to romp and rave. But the textures and layers are really where they excel (when they do excel, that is). And a slight swagger, but nothing too out there, just quiet confidence.

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Some albums as downtempo as this would make an anxious listener even more unnerved and frustrated. But this relaxes, calms, and reassures.

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The album starts out of the gate with three bonafide great songs, "Mirrorball" being the highlight of the entire album. The problem is that things lull to a near stop towards the middle, starting with "An Audience With the Pope" to the low point of the album and drag of a song, "The Loneliness of a Tower Crane Driver." "Slow Riot" tries to steal that accolade just two songs later, however. It's unfortunate that an album with so much potential has such a drab middle section. This has become even more apparent as I review the album, whereas in the past I imagine I let it slide and just drifted my attention elsewhere.

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"One Day Like This" redeems the album towards the end, and "Friend of Ours" succeeds at being extremely subtle but beautiful at the same time with great touches of piano, providing for a great closer, but ultimately this is a patchy effort where they simply couldn't sustain the near perfection of the first three songs.

Slint - Spiderland

9.6/10

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I don't think I can possibly comprehend exactly how groundbreaking this album was. I can understand on an intellectual level, but I've heard too much music that's come out since that's been influenced by it to really grasp it.

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That doesn't mean it isn't amazing. It's meticulous, methodical, and creepy. It's the feeling of alienation.

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I may be influenced by the name of the album, but I always think of crawling spiders when I hear the almost screeching single note guitar picks, or the smooth winding guitar lines throughout the album. And I can imagine crawling through dark caves, or swimming in the bottom of the ocean in pitch black. It's a very visual album.

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The strength of the album lies greatly in its sparseness and guitar/drum interplay. Listen to the first minute of "Nosferatu Man" to hear what I mean. It's like the guitars are traveling through the maze that the drums are creating. Or all of "Don, Aman." It's amazing how such a seemingly simple guitar duo can be so effective. Very cool stuff.

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The vocals are just as raw, if not more so, than the other instruments. A large part of them are spoken, or half-sung. A lot of them are buried in the mix. All of them add to the atmosphere so amazingly being created by everything else.

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"Washer" just may be my favorite song on the album. I love the drum part and how it flows so well with the guitars. Like I said, there is extremely cool interplay throughout this album. The vocals are most pronounced on this song as well, and very chilling.

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"Good Morning, Captain" is one of the most amazing closers in the history of music. Seriously. The stark nature of the song climaxes when you hear screeching shouts of "I MISS YOU!!!" to end out the album. It will leave any breathing human speechless.

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I don't listen to this album a whole lot simply because it requires a very specific mood, and a specific time and place. Those circumstances don't come together very often. But I suppose that's just one more reason to cherish it all that much more.

Joanna Newsom - Have One on Me

7.6/10

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Those already familiar with Joanna Newsom know that her vocal style is a love-it or hate-it affair. Her quirky, almost fairy-tale nuances and crickles and crackles go along perfectly with lyrics fantasy worlds, full of imagery and flowery language suited more for a hobbit than a grown woman it seems.

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Have One one Me is where Joanna shows her personal side. This is where she essentially strips everything bare and pours out her soul, her hopes, her dreams, and her sorrows. One learns this even before listening to the music, as each disc sleeve shows a picture of Joanna in a very womanly and nearly provocative manner.

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Many have compared her vocal approach here to be similar to Joni Mitchell, to which I will wholeheartedly agree. There's a certain maturity to her voice that hasn't been present before. It's a welcome change from a musical style that would've likely turned into self-parody if kept up for too much longer (with that said, I'm a huge fan of her earlier work).

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So, the thing about this album, TRIPLE album, is that it's massive. You can get lost in it if you hear it all at once, which could be good or bad depending on your attention span and mood. Songs are many times comprised of Newsom and her harp or a piano, with accompaniments used as embellishments rather than core parts. But one thing I can tell you is multiple listens rewards you greatly, as you become familiar with the melodies and nuances and the music starts to turn into a comforting blanket.

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Disc 1

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"Easy" shows immediately Joanna's change in artistic vision, with violins and piano guiding her beautiful vocals through a very comforting song to ease you into the album. "Good Intentions Paving Company" is the standout track on this disc, with it's nearly galloping pace and jaunty mood. "Have One on Me" is the epic track running at just over 11 minutes, and one of the best tracks on the entire album. "'81" is a play on the year "A.D. 1" which is spelled out in the lyrics. I believe I also read somewhere '81 is her birth year. "Baby Birch" is another standout, making disc 1 perhaps the strongest of the three.

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Disc 2

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Although this is my least favorite of the three discs, "In California" and "Go Long" are standouts. Most of this disc is lacking in variety and it lulls at times because of it. Both the first and second tracks are very laid back and it does the entire disc a disservice for not building up any momentum. This disc prevents the album from being an album of the year contender in my eyes, unless this year turns out to be a real dud.

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Disc 3

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This disc contains my favorite song on the album, "Autumn." The mood on this song is just incredible, with Joanna's delicate vocals and some well crafted accompaniment. She sounds most relaxed and vulnerable, and it builds a very strong feeling of longing.

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There's a lot I didn't cover, but I'll leave the rest for you to discover. It takes some patience, but it will be well rewarded.