Thanks for reading. See you at the new crib (which is still a work in progress).
Desolation Row
Selling postcards of the hanging and painting the passports brown since 2011
Monday, February 27, 2012
I Moved!
I started this blog one year ago today. In honor of the occasion, I'm giving it a new home. From now on, you can find my reviews here.
Monday, January 9, 2012
Consider/Avoid
If the waning weeks of 2011 hadn’t gotten away from me, I’d
have given Girls and Los Campesinos! the full B+ reviews they deserve, but my
reservations about both records (Girls made a theoretically admirable move towards
Big Rock that led them to the actually tedious land of flutes and seven-minute
run times, while the unsurprisingly clever Los Campesinos! album was
unsurprising in most other ways too) were serious enough that I decided to
include both in this final nod to the year just passed. Elsewhere, The Roots
affirm my uneasy feelings about concept albums, but still turn in their second
admirable record in as many years; Fallout Boy front man Patrick Stump uses his
Micheal Jackson impression to put across some disarmingly articulate songs
about pushing 30 in the lower reaches of the 99%; and Coldplay, a band I don't
hate on for sport, spends the better part of an hour in search of a memorable
tune.
CONSIDER
Girls: Father, Son, Holy Ghost (“Honey Bunny,” “Alex,”
“Jamie Marie”)
Los Campesinos!: Hello Sadness (“By Your Hand,” “Songs About Your Girlfriend,” “Hello Sadness”)
Patrick Stump: Soul Punk (“Run Dry,” “Coast,” “Bad Side of25”)
The Roots: Undun (“Kool On,” “The OtherSide,” “I Remember”)
Ryan Adams: Ashes & Fire (“Dirty Rain,” “Lucky Now”)
Phonte: Charity Starts at Home (“Everything is Falling Down”)
The Black Keys: El Camino (“Little Black Submarines”)
Florence + the Machine: Ceremonials (“Shake It Out”)
AVOID
Coldplay: Mylo Xyloto
The Weeknd: Thursday
Wednesday, December 21, 2011
The Best Albums of 2011
I’m
naming 12 albums to my best-of list because there are 12 months in a year,
and so it feels like a less arbitrary number than 10, even if it is also less
round. Plus, where good music is concerned, more is always more. If you
put Wilco at the top of your ballot, you forgo any chance of seeming fashionable
(especially if you put them ahead of Frank Ocean and Tune-Yards), but if you’re
going to engage in any activity as subjective as ranking the albums released in a
given year, listing them in rough order of how much solace you’ve taken in them is the only honest rubric. If you haven’t heard any of these records, I
feel qualified in saying that there is one sort of solace or another to be
found in each of them.
1. Wilco: The Whole Love
2. Frank Ocean: Nostalgia, Ultra
3. Saigon: The Greatest Story Never Told
4. Tune-Yards: Who Kill
5. Joe Henry: Reverie
6. Lykke Li: Wounded Rhymes
7. Das Racist: Relax
8. TV On The Radio: Nine Types of Light
9. Shabazz Palaces: Black Up
10. Tom Waits: Bad As Me
11. Jay-Z & Kanye West: Watch the Throne
12. Hayes Carll: Kmag Yoyo (& Other American Stories)
2. Frank Ocean: Nostalgia, Ultra
3. Saigon: The Greatest Story Never Told
4. Tune-Yards: Who Kill
5. Joe Henry: Reverie
6. Lykke Li: Wounded Rhymes
7. Das Racist: Relax
8. TV On The Radio: Nine Types of Light
9. Shabazz Palaces: Black Up
10. Tom Waits: Bad As Me
11. Jay-Z & Kanye West: Watch the Throne
12. Hayes Carll: Kmag Yoyo (& Other American Stories)
Happy New Year, everybody.
Labels:
Best Albums of 2011,
Das Racist,
Desolation Row,
Frank Ocean,
Hayes Carll,
Jay-Z,
Joe Henry,
Kanye West,
Lykke Li,
Saigon,
Shabazz Palaces,
Tom Waits,
Tune-Yards,
TV on the Radio,
Wilco
Sunday, December 18, 2011
Das Racist/Drake
To put a rather fine point on it, Drake and Das Racist provide clear
examples of the broadening definition of rap: ethnically diverse, liberally
educated (two of the three members of Das Racist met while they were undergrads
at Wesleyan), and, in Drake’s case, confessional in a way that would have led
to some name-calling a decade ago. If the Das Racist guys are smarter (they
are), it would still take a fool to deny the pleasures
of Drake, superficial though they may sometimes be.
Das Racist: Relax
“But are they serious?”
That’s the question that’s dogged this Brooklyn crew since they dropped their exceptionally
daffy—and brilliant—single “Combination Pizza Hut and Taco Bell” in 2008. The
mix tapes they gave away two years later didn’t necessarily settle the debate,
and the less-than-rapturous reaction to their first for-profit LP suggests many
have stopped caring altogether, which is a serious shame. Indian-American Himanshu Suri (aka Heems)
uses his first verse here to share the story of his immigrant parents: “1980,
from Delhi
to Queens/She had a pocket full of lint/He had a suitcase full of dreams/From
holdin' me to bagging groceries at the Pathmark/To scoldin' me for
drinking and driving in fast cars.“ Then a promise: “I ain’t backin’
out until I own a bank to brag about.” We’ve come a long way from the
combination Pizza Hut and Taco Bell. Heems, along with fellow Indian-American Ashok Kondabolu (aka Dap) and Cuban/Italian/African-American Victor Vazquez (you can call
him Kool A.D.), are so self-aware and hyper-informed about the world around
them that their apparent contradictions and bone-deep irony sound like honest
reactions to information overload. They say Urban Dictionary is for “demons
with college degrees,” but make fun of themselves for all the poetry readings
and jam band shows they attended at Wesleyan long before you have the chance to.
Along they way, they prove that hip-hip is now as much the province of those
places—not to mention the posh dorm room—as the ‘jects, even if they would roll
their eyes at me for being so earnest about it. What does it all mean? Here’s a
clue: “If you wanna be me, you can be me/…you can look all day but you still
wouldn’t see me/If you wanna be you, you can do that too/And if you don’t, then
I don’t really know what I can tell you.” Call it alternative rap or psychedelic
rap or meta rap or whatever hashtag you can think of. Just don’t call it a joke. A-
Drake: Take Care
I don’t begrudge Drake’s apprehensions about his own fame
and fortune; I wish I had his problems, but I’m sure I’d find plenty to gripe
about in the life he leads. I don’t even get annoyed when he drunk dials his ex
to tell her how all the sex he’s having is hurting his soul; that nakedly pathetic Hail Mary is the most compelling moment here. Drake—along with Kanye
West—is a hip-hop confessor who pays little regard to the understood musical
definition of ‘hip-hop.’ But because he’s not exactly what you’d call deep, his
musical vision is a whole lot more engaging than his take on himself. The words
‘head case’ come up a lot in conversations about Drake, but his stakes are
penny ante even before the Kanye comparisons he begs for and suffers by. The
good news is that this follow-up to last year’s Thank Me Later never sounds
anything less than terrific. Rapping and singing better than ever, getting the
most out of his Toronto pal The Weeknd, and co-opting snippets of songs by Lil
Wayne, Juvenile, and—on the title track—a Jamie xx remix of a Gil Scott-Heron cover of an R&B classic made famous by Bobby “Blue” Bland, Drake makes the case for the
aficionado as artist. His taste and skill are plain throughout, and the beats he gets from his go-to producer Noah “40” Shebib are luxurious. I just wish all the above made as strong a case for Drake's soul as it does his ear. B+
Saturday, November 19, 2011
Wilco/Joe Henry/Tom Waits
ANTI- distribution deals aside, these three are united by a warped take on Americana that, on the evidence below, just keeps on giving. If you thought the last couple Wilco
albums contained some very good songs, but that Jeff Tweedy wasn’t using the
excellent musicians around him as well as he could, this one’s for you. And if
Joe and Tom don’t arrive with quite as many surprises this time around, know
that there’s a difference between a rut and a groove.
Wilco: The Whole Love
You’ll be hard pressed to find a review of Wilco’s eighth
album that doesn’t fixate on the stunners that bookend it. You may have heard
less about the excellent songs that lie between “Art of Almost” and “One Sunday Morning.” Not since the acrimonious departure—and, then, untimely death—of
Tweedy foil Jay Bennett has a Wilco album sounded so much like a team effort.
Nels Cline still shreds plenty, but where his guitar work once seemed designed
to leap out from the arrangement every time one of Tweedy’s tunes was in need
of a bailout—see: Sky Blue Sky—it’s now as likely to slink as thrash. The return
to prominence of John Stirratt’s bass lines, meanwhile, may serve to remind us
why he is the lone original member of Wilco besides Tweedy who remains in the
band 16 years after A.M. For the first time in its history, Wilco has gone
three straight albums without a lineup change, and whether or not constancy among
musicians is what makes this one such a success, constancy has always been at
the heart of what Tweedy does. “It’s all one song,” Neil Young famously
admonished a heckler who told him all his songs sounded the same. Like Young,
Tweedy is an artist with an emotional through-line, more felt than articulated,
that unifies his work regardless of stylistic diversion. Here as ever, he is pushing
down his own road, toward the place where you don’t have to feel so distant,
and can stop telling lies for love. Those journeys are easier when the band's got your back. A
Joe Henry: Reverie
I am so sympathetic to Joe Henry’s worldview that I’m
inclined to let him go on for hours without asking too many questions. By my
count, he has made three masterpieces, and I wish I could say this was one of
them. After two albums of craft and formalism, Henry aims for immediacy:
surrounding himself with terrific musicians he wouldn’t presume to micromanage,
he presses record and shouts go. The music, a shambling jazz-folk that happens
before your ears, is thrilling. Likewise, Henry’s lyrical sketches of life
lived moment-to-moment are just right for an album so concerned with the
experience—not just the passage, but the experience—of time. The problem is
that Henry has become such a poetic writer he occasionally trips on his own
language; a lyric like “I dig in the dirt/and yank at the root/of a shadow’s
dark vein/in a story gone mute” rhymes real nice, and is so fussy it only
affirms my belief that poets and songwriters have very different jobs. He lands
on the right side of that line far more often than the wrong one, but he spends
enough time on the line itself to make me wonder what happened
to the iconoclast who once professed a desire to work with Dr. Dre. That’s an
affront to dignified taste I hope comes to pass. For now, I’m thankful for any
album that ends with poetry as unfussy as this: “I’m an hour from arriving/and
three from where I rose to go/and maybe two from where I’ll find you/between
the world and all I know.” Maybe, just maybe, time has come today. A-
Tom Waits: Bad As Me
Now 61, Tom Waits is writing with an urgency the
whippersnappers who worship him should envy, and then learn from. The music on
his 17th studio album admittedly won’t send anyone to the thesaurus in search
of fresh adjectives, but the songs themselves are as generous as ever, and more
timely than those who accuse Waits of shtick have likely bothered to notice.
“Hell Broke Luce” continues a string of anti-war songs—begun with 2004’s “The Day After Tomorrow” and deepened with 2006’s “The Road To Peace”—no current
songwriter young enough to fight can touch; “Talking At The Same Time” details
chaos with disarming calm; and “New Year’s Eve” uses “Auld Lang Syne” to
express the weary hopes of the downtrodden even better than Waits’ own “A Sight For Sore Eyes,” a song written a generation ago in rock years. Speaking of
which, the most extreme moment of beauty on the album happens when Keith Richards
himself shows up to harmonize on “Last Leaf,” a survivor’s song that manages to
be weary and noble and funny all at the same time. A-
Saturday, November 12, 2011
Shabazz Palaces/The Weeknd
The Weeknd's Abel Tesfaye and Shabazz Palaces' Ishmael
Butler have stoked almost as much interest for their reclusiveness (both
released their music anonymously before becoming big things, though Butler had
a former public life with Digable Planets) as the shadowy R&B and hip-hop
that dominate their highly celebrated records. Black Up, which follows two
Shabazz EPs from 2009, is the first hip-hop album ever released by Seattle's
Sub Pop label. House of Balloons is The Weekend's debut mix tape, and Tesfaye has
already released a second in the time it’s taken me to get around to reviewing
it. I'll let the grade below stand for both.
Shabazz Palaces: Black Up
Ishmael Butler makes his intentions known less than a minute
into Shabazz Palaces' debut LP: “I run on feelings/Fuck your facts.” That’s a
good mantra for a record that favors the physical experience of music—beats
that shift and crack and splinter—over the intellectual. That's not to say the
words aren’t important; it's that Butler uses them to direct you back to the
music, or at least discourage you from parsing the two things separately. He
and cohort Tendai Maraire are more interested in creating one long, immersive
experience than they are in individual songs, which may be why they have titles
as unwieldy as “A Treatease Dedicated To The Avian Airess From North East Nubis (1000 Questions, 1 Answer).” You're supposed to
let the whole thing, and all the feelings Butler and Maraire pack it with, wash
over you. Those feelings peak on “Recollections of the Wrath,” when Butler raps
“With that starlight in your eyes/you want to find surprise/With the neon in
your blood/you move to find your love/tonight.” He hits the ‘tonight’ hard,
word and beat working together, as if to ask what you're waiting for. A-
The Weeknd: House of Balloons
Call me a puritan, but anyone who begins his record with
what sounds an awful lot like a date rape, then has the stones to end it with a wronged-man ballad, makes me feel gross. Weeknd mastermind Abel Tesfaye is a
Canadian R&B guy whose principle concerns are designer drugs, designer
women, and the clearest path to obtaining both at once. Unbridled hedonism has
its place, and sometimes the biggest creeps make the most compelling music, but
Tesfaye is too shallow to generate anything besides atmosphere. His sound is as
edgy and paranoid as a morning after, and if he weren’t so mean-spirited, his
songs would work as something besides background music. I don't doubt for a
moment that this would sound great in a club—a cavernous one, with the bass so
loud you can barely hear the words. B-
Labels:
Black Up,
House of Balloons,
Shabazz Palaces,
The Weeknd
Saturday, October 29, 2011
Consider/Avoid
Same format as the last time, with some surprising names
falling in the avoid column. Laura Marling improved a quantum on her second
album, and the Joni Mitchell-lite of her third is a letdown I didn’t see coming. Speaking of
letdowns, Lil Wayne’s turgid post-prison comeback album—for me, the most
disappointing of the year—doesn’t even sound like the work of the same
freewheeling genius who gave us all those free mix tapes a few years back.
Notable from the consider column: Steves Merritt (his album a collection of
outtakes) and Malkmus (his a proper studio album) honor if not improve their own
legacies, Bill Callahan’s pomo folk both impresses and grates, and truly
evocative singers Feist and St. Vincent still leave me wanting more in the song department.
CONSIDER
Stephin Merritt: Obsucrities (“Forever and a Day,” “Plant
White Roses,” “Take Ecstasy With Me”)
Cymbals Eat Guitars: Lenses Alien (“Definite Darkness,”
“Another Tunguska”)
Bill Callahan: Apocalypse (“Drover,” “Baby’s Breath”)
Feist: Metals (“Graveyard,” “A Commotion”)
Abigail Washburn: City of Refuge (“City of Refuge”)
St. Vincent: Strange Mercy (“Champagne Year”)
Matraca Berg: The Dreaming Fields (“South of Heaven”)
AVOID
Laura Marling: A Creature I Don’t Know
M83: Hurry Up, We’re Dreaming
Earl Sweatshirt: EARL
Lil Wayne: Tha Carter IV
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