Artist: Conor Oberst
Album: Conor Oberst
Release Date: August 5, 2008
Runtime: 42:03
Producer: Conor Oberst
Conor Oberst has been likened to Bob Dylan on more occasions than bear mentioning. Unlike his well-known predecessor, however, Conor has always worn his politics on his sleeve. In a year so politically charged as this one, one would expect much of the same on his latest effort, the eponymous "Conor Oberst." Conversely, this album sees the man that penned "When the President Talks to God" and professed his admiration for the president's "creepy, fascist agendas" during the Late Late Show at his most introspective and earthy. Perhaps this is the reason he dropped the Bright Eyes nomenclature that has previously been his pseudonym. In any case, the results are enjoyable.
Mr. Oberst's lyrics are as cryptic as ever, chock full of imagery and metaphor. Although I haven't personally broken into the singer's symbology, there is a definite introspection to each of the songs, or at least a majority of them.
The opener, "Cape Canaveral" is an excellent, sparse acoustic number full of nostalgia that rolls into the rambling "Sausalito", a confession of escape and love (I think?). It really doesn't matter, these are songs you get a feel for rather than lyrics you have to analyze cryptologically. The feel of the album is folksy country with a playful edge, perfect for a road trip through the desert down to Mexico. This is an admirable effort by Conor with catchy choruses and an overall positive feel (besides the excellent "Lenders in the Temple," which is an elegic song of contemplation over a solo guitar). One gets the sense that this is the environment that Oberst finds most comfortable. For evidence, take a listen to "Souled Out!!!" and pay attention to the singer's giggle at about a minute in. This is the sort of perfect imperfection that makes this album enjoyable and textured.
Arbitrary Alibi Rating: 3.5 out of 5 Bob Dylan Comparisons
Saturday, August 30, 2008
Saturday, August 16, 2008
The Slip
Artist: Nine Inch Nails
Album: The Slip
Release Date: May 5, 2008
Runtime: 43:47
Producer: Atticus Ross
You can't argue with "free". The Slip is the most recent record released by Nine Inch Nails, which is basically just a fancy way of saying "Trent Reznor." The interesting thing about this release, though, is that you can download it for free from the NIN website (www.nin.com) in multiple files of differing sound quality. But what of the content?
For anyone who has heard With Teeth, the music on The Slip should sound fairly familiar. Distorted guitar riffs and electronic drums abound on almost all of the tracks. Reznor indulges with his patented lyrical style, exploring the dark reaches that many artists are not willing to delve into or performing it better than artists who are willing. The first track after the instrumental "999,999" is the aptly named "1,000,000" which earns its title from the chorus where Reznor laments that he "feels a million miles away" but that he "doesn't feel anything at all." Reznor also contemplates various forms of suicide such as blowing his brain patterns on the floor and jumping off a tall building. This should not come as a surprise to anyone.
And that right there is what holds this album back. Trent Reznor is an industry staple, he is one of the most highly regarded industrial artists ever, and he released one of the most innovative albums of the 90's (The Downward Spiral). His ability to craft catchy choruses and shocking lyrics is clearly evident on The Slip but there is nothing here that stands out in any way. Certainly these are solid tracks, and the deliberate false start on "Discipline", where Reznor begins singing before his cue, lends some tangibility to this otherwise aloof, impenetrable artist. However, this is all territory that has been explored previously.
The blistering first half of the album comes to a grinding halt with the piano-driven "Lights in the Sky", in which Reznor's vocals are mixed so low you have to strain to hear what he has to say. That track is followed then by two underwhelming instrumentals, effectively eliminating any remaining adrenaline in the listener. By the time closing track "Demon Seed" begins, you don't even care anymore. Perhaps that is the point.
This is a solid album for NIN fans, and as I said above, it is worth the price even for those who are on the fringe of the fan base. Nevertheless, there is an element of ingenuity missing from many of the tracks, and The Slip is much less compelling for it.
Arbitrary Alibi Rating: 2.5 out of 5 Leather outfits
Album: The Slip
Release Date: May 5, 2008
Runtime: 43:47
Producer: Atticus Ross
You can't argue with "free". The Slip is the most recent record released by Nine Inch Nails, which is basically just a fancy way of saying "Trent Reznor." The interesting thing about this release, though, is that you can download it for free from the NIN website (www.nin.com) in multiple files of differing sound quality. But what of the content?
For anyone who has heard With Teeth, the music on The Slip should sound fairly familiar. Distorted guitar riffs and electronic drums abound on almost all of the tracks. Reznor indulges with his patented lyrical style, exploring the dark reaches that many artists are not willing to delve into or performing it better than artists who are willing. The first track after the instrumental "999,999" is the aptly named "1,000,000" which earns its title from the chorus where Reznor laments that he "feels a million miles away" but that he "doesn't feel anything at all." Reznor also contemplates various forms of suicide such as blowing his brain patterns on the floor and jumping off a tall building. This should not come as a surprise to anyone.
And that right there is what holds this album back. Trent Reznor is an industry staple, he is one of the most highly regarded industrial artists ever, and he released one of the most innovative albums of the 90's (The Downward Spiral). His ability to craft catchy choruses and shocking lyrics is clearly evident on The Slip but there is nothing here that stands out in any way. Certainly these are solid tracks, and the deliberate false start on "Discipline", where Reznor begins singing before his cue, lends some tangibility to this otherwise aloof, impenetrable artist. However, this is all territory that has been explored previously.
The blistering first half of the album comes to a grinding halt with the piano-driven "Lights in the Sky", in which Reznor's vocals are mixed so low you have to strain to hear what he has to say. That track is followed then by two underwhelming instrumentals, effectively eliminating any remaining adrenaline in the listener. By the time closing track "Demon Seed" begins, you don't even care anymore. Perhaps that is the point.
This is a solid album for NIN fans, and as I said above, it is worth the price even for those who are on the fringe of the fan base. Nevertheless, there is an element of ingenuity missing from many of the tracks, and The Slip is much less compelling for it.
Arbitrary Alibi Rating: 2.5 out of 5 Leather outfits
Monday, August 11, 2008
CORRECTION: Modern Guilt
It appears that the drum sequencing I praised on the track "Chemtrails" by Beck were not the work of DJ Danger Mouse after all. A closer reading of the liner notes has revealed to me that the drums sounded so realistic because they were, actually, real drums played by contributer Joey Waronker. Sorry Danger Mouse, Shadow still holds the title.
Saturday, August 9, 2008
Things We Lost in the Fire
Album: Things We Lost in the Fire
Artist: Low
Released: January 1, 2001
Runtime: 53:16
Producer: Steve Albini
Hailing from my home state of Minnesota, Low is renowned for the glacial progression of their compositions. Things We Lost in the Fire is their fifth album, recorded by the legendary (perhaps infamous?) Steve Albini, who is best known for his work on the Pixies' Surfer Rosa and Nirvana's In Utero (even though he claims the final product didn't resemble anything like the original album he recorded with Cobain and Co.). Albini's traditional disdain for human sounds is not evident on Things..., though, as the signature harmonies of lead vocalist/guitarist Alan Sparhawk and drummer/vocalist Mimi Parker are anything but shrouded or distorted. The end result is a sublime, subtle, and depressing experience.
The album opens with the dark and cryptic "Sunflower" with the lyrics:
Albini's production is very smooth, especially compared to his previous work with more virile acts. The drums are more subdued and everything blends into one long, smooth progression of haunting sound. This is truly a great winter album and bears all the marks of the band's hometown of Duluth, MN.
Unfortunately, the unique characteristics that set this album apart are also the characteristics that will turn many listeners away. This is beautiful music, but it's not exciting, and there are plenty of lulls in the action ("Laser Beam") that could easily put a listener to sleep. Most of the music is also not overly complex in structure, even though it carries a definite depth to its sound.
Overall, Things We Lost in the Fire is a success for Low and their distinctive style of rock. Turn this album on sometime in the middle of a midnight snow storm and wait for the shivers to subside as the last notes of the final track "In Metal" drift away into the cold. You will be a fan forever after.
Arbitrary Alibi Rating: 3.5 out of 5 snow drifts
Artist: Low
Released: January 1, 2001
Runtime: 53:16
Producer: Steve Albini
Hailing from my home state of Minnesota, Low is renowned for the glacial progression of their compositions. Things We Lost in the Fire is their fifth album, recorded by the legendary (perhaps infamous?) Steve Albini, who is best known for his work on the Pixies' Surfer Rosa and Nirvana's In Utero (even though he claims the final product didn't resemble anything like the original album he recorded with Cobain and Co.). Albini's traditional disdain for human sounds is not evident on Things..., though, as the signature harmonies of lead vocalist/guitarist Alan Sparhawk and drummer/vocalist Mimi Parker are anything but shrouded or distorted. The end result is a sublime, subtle, and depressing experience.
The album opens with the dark and cryptic "Sunflower" with the lyrics:
"When they found your body/ Giant X's on your eyes/ With your half of the ransom/ you bought some sweet/ sweet sunflowers"That pretty much sets the tone for the album, which is a cohesive collection of similar dark and brooding tunes. Songs like "Dinosaur Age", ostensibly a song about domestic turbulence between two parents, and "July" actually sound slightly more upbeat and show that Low can also write a catchy chorus.
Albini's production is very smooth, especially compared to his previous work with more virile acts. The drums are more subdued and everything blends into one long, smooth progression of haunting sound. This is truly a great winter album and bears all the marks of the band's hometown of Duluth, MN.
Unfortunately, the unique characteristics that set this album apart are also the characteristics that will turn many listeners away. This is beautiful music, but it's not exciting, and there are plenty of lulls in the action ("Laser Beam") that could easily put a listener to sleep. Most of the music is also not overly complex in structure, even though it carries a definite depth to its sound.
Overall, Things We Lost in the Fire is a success for Low and their distinctive style of rock. Turn this album on sometime in the middle of a midnight snow storm and wait for the shivers to subside as the last notes of the final track "In Metal" drift away into the cold. You will be a fan forever after.
Arbitrary Alibi Rating: 3.5 out of 5 snow drifts
Thursday, August 7, 2008
Modern Guilt by Beck
Album: Modern Guilt
Artist: Beck
Runtime: 33:38
Producer: Beck and Danger Mouse
I wonder if anyone was really surprised by this collaboration, Beck and Danger Mouse. It was bound to happen. One would be hard pressed to find a DJ/Producer quite as prolific as the Mouse costume-wearing New Yorker and a singer/songwriter quite as welcoming to the Hip Hop ethos as Beck Hansen. Together these two artists have crafted one of the finest albums to be released this year, in what is arguably one of Beck's most diverse albums and also one of his most cohesive.
For each of the songs on Modern Guilt, Beck lends the vocals and guitar, Danger Mouse handles the beats (Read: drums), and a cast of other musicians provide the remaining instrumentation. In reality, this is a two man show. Chan Marshall (Cat Power) makes appearances on two tracks, but these performances are limited to back up harmony and, to be frank, I didn't even notice her on my first listen through "Orphans".
The album opens with the aforementioned "Orphans", which is a great introduction to the atmosphere of this album. The acoustic guitar drifts along whimsically with Danger Mouse's prominent drum programming which, rather than bringing a Hip Hop element to record, instead molds itself to the retro-rock feel of the songs. Beck's vocals float on top of the various layers of synthesizer propelled along by the unrelenting percussive current.
The next track ("Gamma Ray"), though, really picks up the pace, employing a throwback drum sequence and sparse, surf rock-influenced guitar over a machine gun bass. Beck's lyrics evoke a feeling of desolation, a continuous motif on Modern Guilt. This is the most "Pop" of the tracks offered on the album, but is anything but stale or watered down.
"Gamma Ray" moves into the first single on the album, "Chemtrails", which is a standout track. Beck mistily expresses feelings of drowning in a proverbial sea of people over Danger Mouse's best distorted Keith Moon impression. The drum programming on this track is beyond any reproach, not since Entroducing... do I think I've heard such lifelike drum sequencing.
The content of the album remains fairly consistent from here. Beck maintains his lyrical themes throughout most of the tracks, perhaps best ensconced in the title track's chorus where he ponders,
For his part, Danger Mouse explores numerous styles on this record. From his signature barrage of kicks and hi-hats ("Youthless") to his own take on the IDM genre ("Replica"), it's all here.
Modern Guilt's crowning achievement comes in the form of it's final track "Volcano," a plodding exploration of loneliness and directionlessness (Alibi Reviews tm) poignant enough to make Tom Waits bawl. The wandering guitar, hymnal backing vocals, despairing lead vocals, and unassuming drums combine to cap off an already impressive album with one of the most moving Beck tracks in recent memory.
Modern Guilt effectively captures the urban existentialist sentiments of this decade and does so while remaining well above political mudslinging and name calling. This is yet another true testament to the songwriting talent of Mr. Hansen and is a worthy addition to his growing collection of must have albums.
Arbitrary Alibi Rating: 4.5 out of 5 leaping Komondors
Artist: Beck
Runtime: 33:38
Producer: Beck and Danger Mouse
I wonder if anyone was really surprised by this collaboration, Beck and Danger Mouse. It was bound to happen. One would be hard pressed to find a DJ/Producer quite as prolific as the Mouse costume-wearing New Yorker and a singer/songwriter quite as welcoming to the Hip Hop ethos as Beck Hansen. Together these two artists have crafted one of the finest albums to be released this year, in what is arguably one of Beck's most diverse albums and also one of his most cohesive.
For each of the songs on Modern Guilt, Beck lends the vocals and guitar, Danger Mouse handles the beats (Read: drums), and a cast of other musicians provide the remaining instrumentation. In reality, this is a two man show. Chan Marshall (Cat Power) makes appearances on two tracks, but these performances are limited to back up harmony and, to be frank, I didn't even notice her on my first listen through "Orphans".
The album opens with the aforementioned "Orphans", which is a great introduction to the atmosphere of this album. The acoustic guitar drifts along whimsically with Danger Mouse's prominent drum programming which, rather than bringing a Hip Hop element to record, instead molds itself to the retro-rock feel of the songs. Beck's vocals float on top of the various layers of synthesizer propelled along by the unrelenting percussive current.
The next track ("Gamma Ray"), though, really picks up the pace, employing a throwback drum sequence and sparse, surf rock-influenced guitar over a machine gun bass. Beck's lyrics evoke a feeling of desolation, a continuous motif on Modern Guilt. This is the most "Pop" of the tracks offered on the album, but is anything but stale or watered down.
"Gamma Ray" moves into the first single on the album, "Chemtrails", which is a standout track. Beck mistily expresses feelings of drowning in a proverbial sea of people over Danger Mouse's best distorted Keith Moon impression. The drum programming on this track is beyond any reproach, not since Entroducing... do I think I've heard such lifelike drum sequencing.
The content of the album remains fairly consistent from here. Beck maintains his lyrical themes throughout most of the tracks, perhaps best ensconced in the title track's chorus where he ponders,
"Modern guilt/ I'm under lock and key/ Misapprehension/ is turning into convention/ Don't know what I've done, but I feel ashamed,"over a bouncing background rhythm and a predictable, yet effective, string arrangement.
For his part, Danger Mouse explores numerous styles on this record. From his signature barrage of kicks and hi-hats ("Youthless") to his own take on the IDM genre ("Replica"), it's all here.
Modern Guilt's crowning achievement comes in the form of it's final track "Volcano," a plodding exploration of loneliness and directionlessness (Alibi Reviews tm) poignant enough to make Tom Waits bawl. The wandering guitar, hymnal backing vocals, despairing lead vocals, and unassuming drums combine to cap off an already impressive album with one of the most moving Beck tracks in recent memory.
Modern Guilt effectively captures the urban existentialist sentiments of this decade and does so while remaining well above political mudslinging and name calling. This is yet another true testament to the songwriting talent of Mr. Hansen and is a worthy addition to his growing collection of must have albums.
Arbitrary Alibi Rating: 4.5 out of 5 leaping Komondors
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