Archive for 'Album Review'

Rock and Roll is not dead, it’s just damn hard to find.  Can be trickier than tracking Carmen San Diego “I think I heard her say she was interested in visiting Big Ben”.  One has to know where to look to find Rock and Roll these days, or have someone with good taste give really OBVIOUS clues on where to look.

What happend to music from bands like Thin Lizzy, The Cars, many more I can’t think of at the moment?  When did everything become electronic and dreary?  Take these questions with a grain of salt, many of the aforementioned electronic or dreary albums happen to be some of my favorites (check my top albums of 2011 list).  But sometimes you just need some good old fashioned rock with pop hooks.

King Tuff isn’t without it’s more “indie” moments or hints of modern era songwriting, but it relies on it’s forebearer’s carefully selected formulas.  King Tuff is the solo project of frontman Kyle Thomas, who has been in many bands in the music scene, including according the metal band Witch with J Mascis.  Thomas made his debut album in 2008 and it was a much loved garage rock album according to Pitchfork.  I haven’t gotten there yet but plan to check it out.   Among the hook heavy, harder driving songs, he mixes in some lighter songs that have a vibe of 60s psychedelic.   But I’m in it for the rocking songs like “Bad Thing” and “Baby Just Break”.

Thomas’ voice sounds somewhere in between Billy Corgan and Kurt Vile.  The songs are a blend of garage rock, punk, and good old fashioned radio friendly rock and roll.  Not obviously friendly with modern day radio, whose only friends are the assholes who churn out the same dog shit song over and over again, so radio can continue to cram it down our throats until our brains fall into some sort of weird submission or acceptance that this must be music we should be listening to.

I had to take some white space to recover from that sudden insane rant I just went on.  If you’re looking for a change of scenery, this album will be a good reliable choice for you.

Listen: King Tuff – Band Thing 

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

King Tuff – Hit & Run 

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Let’s start with a few simple facts.  I love Alice Glass.  It’s going to be tough to top this album for me in 2012.  I’ve only had my hands on the album for a day and I’m convinced this is not only my favorite album of 2012, but my favorite Crystal Castles album so far.  If you are new to Crystal Castles, this album is actually a pretty good place to start.  The amazing thing about Crystal Castles to me is the absolute razor edge that divides the emotional raw power from the crystalline beauty that somehow occupy the same sound space at the same time.  For their third album they have tended to push that edge towards the beauty side of things, but not without sacrificing the power.

I loved their first two albums, but to be honest, there were songs that I had to skip due to sonic implications – my ears were not compatible with the pure noise that is at times an indispensable part of their arsenal.  My one minor complaint is that this album sounds much better in headphones.  You really need to crank this in the car etc for the mix to sound just right.  The haunting image for this album’s cover is taken from a photo of a Yemeni mother cradling her son after a tear gas attack.

Fact: TGP loves Alice Glass

John recently saw Crystal Castles live and I’m pissed I didn’t go.  Find a place where you can turn this album up and set aside some listening time – something I never do enough of anymore.  Too many times recently I’ve been a user and abuser of music – using it as a soundtrack to cooking dinner, cleaning the house, or working.  This is not a record for any of those things.  This is a record to listen to, as a singular activity.  Either that or to absolutely go nuts and rave to, that would work just fine too.  If this music doesn’t move you in some way (good or bad) check your pulse.

MP3: Crystal Castles – Kerosene 

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

MP3: Crystal Castles – Wrath Of God 

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download III here

Clams Casino is currently my favorite beat/instrumental producer.  The guy makes dark downtempo ethereal beats in an incredibly unique way to anything else I’ve heard.  His sampling techniques are completely original, often slowing and pitching down small vocal parts, and playing them like instruments.  He somehow knows just where to place every drop.  He has a better ear for harmony and melody than most, which is especially rare in hip hop producers.  He’s been making beats for the likes of A$AP Rocky and Lil B, but for me it’s the beats and not the MCing that I love about this songs.  His first mixtape made my Favorite Albums of 2011 list, and his new mixtape which he just released is sure to be on my end of year list this year.  Best part is, you can download it for free.  Go do it now.

MP3: Clams Casino – Wassup [A$AP Rocky] 

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

]

MP3: Clams Casino – Swervin’ (remix) [XV] 

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

]

http://www66.zippyshare.com/v/31920231/file.html

Follow @clammyclams on Twitter

I have a lot to write about.  Today I just bought – yes bought – two great albums: the Alabama Shakes debut, and Bear In Heaven’s third LP, I Love You, It’s Cool.  While I was initially more excited to grab Alabama Shakes, after listening to both records, I became completely consumed by this Bear In Heaven record.  I keep playing it over and over again.  Always a good sign.   Based upon the so-so reviews I’ve read so far, apparently this album is hitting more chords with me than most critics – I’m OK with that.  If you are a regular to this blog, I’m guessing you will be OK with that too.

Their previous album Beast Rest Forth Mouth was a critic favorite, it never really jumped out a me as much I don’t think.  I did really love the track Lovesick Teenagers.   Their new album I Love You, It’s Cool, is a much bolder, more confident album.  For lack of better label I’ll lazily slap the synth-pop tag on this album.  I’m noticing a common thread between a lot of the synth-pop releases to come out this year so far.  They seem to be a little richer, deeper layers, which stronger pulsing bass lines that tend to allow the vocals to float on top and kind of get tugged along by the melody.  This leads to a very powerful sound.  Works really well with the  laid back Sade type delivery of lead singer Jon Philpot.

Since watching the movie Drive turned up as loud as my home theater system would go without shaking the pictures hung on my wall loose, I know keep hearing more and more albums which would have played nicely as soundtrack to that movie.  That really was a fine piece of movie making – one of the most stylistic movies I’ve ever experienced.  This album kind of has that feel if that makes any sense.

Listen:Bear In Heaven – The Reflection Of You

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download: I Love You, It’s Cool

“I ain’t wasting time no more – because time goes by like hurricanes, and faster things” – it’s damn near time I saw the Allman Brothers.  I’ve passed up probably 20+ opportunities in my 32 years to see the Allman Brothers, but, unbelievably, I never actually have seen them live.  My friends in high school all went to a number of Allman concerts, but at the time I was too busy listening to Dr. Dre and the Beatles and couldn’t be bothered with “jam” bands.  I never got into Gov’t Mule shows (sorry John), or any other Allman spinoffs – except of course for the amazing Derek and The Dominoes collaboration between Duane Allman and Eric Clapton – one of my favorite blues-rock records of all time.

Since then I have obviously realized what I had been passing up all these years, and I admit the error of my ways.  I’m finally going to see them this coming Saturday at the Orpheum in Boston, the finale of their four night shows that starts tonight, where they will be playing the entire At Fillmore East set (pretty damn epic).  Wed night they will be playing all of Eat A Peach, and I’m not sure what we’ll get on Saturday, but if the pattern repeats itself, I’ll be hearing Eat A Peach in its entirety, which happens to be a damn classic album, and by far my favorite from the Allmans.

I’ve owned the Eat A Peach vinyl since I first bought a record player, and I’m surprised I haven’t worn the grooves off it yet.   Every track on this album is classic, every track on here except for the epic jams “Les Brers In A Minor” and “Mountain Jam” (a staggering 33 minute jam) are greatest hits material.  Eat A Peach is a perfect mix of easily accessible or “radio friendly” studio songs, and classic live material that helps give you a flavor for their live jam experience, and classic blues covers (I can speak more to this after Saturday, but I  feel qualified to comment as I’ve listened to At Fillmore East 100 times).

Eat A Peach was released in late 1971, and featured some of the last recorded studio material with Duane Allman before his tragic motorcycle accident.  It also includes some live tracks and one of my favorite instrumental tracks the beautiful acoustic guitar instrumental “Little Martha”.  I always loved how they recorded Little Martha – it’s so intimate that you can actually hear Duane breathing on the track.  The album includes my favorite Dickey Betts contribution “Blue Sky”, and is just an all around great album front to back.  I always loved how when I first dropped the needle on this record it started with “Ain’t Wastin’ Time No More” – what an incredible first track to an album, Gregg’s piano riff and the incredible slide guitar.  The main theme of the song isa sentiment that I’m sure everyone at one time or another can relate to – uplifting, call to action, and at the same time reflective and melancholy in the way it’s laid out.

There’s a famous myth that the album cover of the peach truck was in reference to the fact that Duane Allman’s fatal car accident involved a peach truck, but according to Wikipedia, that is false, the truck was a lumber truck, and the album title and artwork actually had to do with a quote Duane once said in an interview not far from when he was killed about what he was doing to help the revolution where he said “There ain’t no revolution, it’s evolution, but every time I’m in Georgia I eat a peach for peace.”

If you’re in the Boston area this weekend – I hope you can make it to one of these shows.  If you have lived on another planet and never listened to an Allman Brothers record before, I highly recommend you start with Eat A Peach.

Listen: Allman Brothers: Ain’t Wastin’ Time No More 

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download:  Eat A Peach here

Talk about bending the rules – not only is Beggar’s Banquet FAR from a lost classic, it’s also being blogged about by an author who wasn’t alive when it was released.  I’m completely unqualified to write this post, other than the fact that I’m a huge Stones fan.  I’m hoping by me writing this instead of John, it may inspire him to awaken from his blog posting slumber. With a gun to my head, I would probably say Exile On Main St is my favorite Stones album, but isn’t that what most people would say?  To me, this is what makes Beggar’s Banquet a “lost” classic. I’d probably put Sticky Fingers third on my list, for the record.  Six months or more could go by without playing this record, and then one day I will put it on, and remember just how much I love this album.  Pure blues for sure – far less electric guitar or upbeat numbers – rootsy, bluesy, and incredible soulful music, without a lemon on it.  The general theme of this album is doing less with more – that really is an art and although simple in concept, not easy to do right.

Released in December 1968, Beggar’s Banquet was the Rolling Stones 7th studio album, and the first album produced by Jimmy Miller according to Wikipedia.  Beggar’s Banquet was sandwiched in between Their Satanic Majesties Request (not my favorite), and Let It Bleed (another classic).  I’m a huge fan of music from the 60s, but there are so many different sounds from that era – it’s almost two distinct decades in one.  The early and mid 60s are drastically different from the late 60s in my opinion.  There is a huge shift in sound from Their Satanic Majesties Request to Beggar’s Banquet.  Something I didn’t realize about this iconic album cover – it was initially rejected by the record company and released as a plain white album cover, not until the CD remaster release of the album did the original album art surface in general circulation.  John and I both picked this album cover as a finalist in our “Best Album Covers Of All Time” post last year (one of my favorite blog posts we’ve ever done), but it lost out to Sticky Fingers, check out that article here.

Another really interesting fact about this album, due to a mastering error, it was actually originally produced slightly slower than the actual recordings – when they remastered for Super Audio CD they restored to original recordings which were at the actual speed – slightly faster – leaving the songs in a slightly different key and 30 seconds shorter according to Wikipedia.

For me, the true shining star from Beggar’s Banquet is the second track, “No Expectations”, that I don’t believe you will ever hear on classic rock radio.  Beggar’s Banquet was the last full effort with Brian Jones before he left the band in ’69 and then his untimely entrance into the “27 club”, and his slide guitar on this track hands down is some of the best slide guitar I’ve ever heard.  Keeping with the theme of Beggar’s Banquet, the slide guitar is not overly complex, and the genius is almost in what notes he doesn’t play vs. what he does play.  I’m also amazed by Jagger’s vocals on this song, one of the more raw and emotional deliveries I’ve ever heard from him.

There are so many great bluesy tracks on this album –  ”Parachute Woman”, the romping cover of Rev. Robert Wilkins’ “Prodigal Son”, “Street Fighting Man”, and of course one of the best Stones songs of all time, the opening “Sympathy For The Devil”.  I’m assuming that Keith Richards is playing electric slide on “Jig-Saw Puzzle”, an awesome contrast to the Jones acoustic slide on “No Expectations”.   Closed off by the excellent end of the night closing song “Salt Of The Earth”, kicked off with an opening verse from Keith.  If it’s been a while for you, do yourself a favor and put on Beggar’s Banquet as you make dinner tonight.

Listen: The Rolling Stones – No Expectations 

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download: Beggar’s Banquet here

Just finished streaming the new Radiohead remix double album featuring remixes from guest artists. Really looking forward to owning this one on October 11. Stream the whole album here.

I’ve been putting off reviews of two of my most loved albums of 2011 for two long now.  Given both these artists recently collaborated on a track together, I figured it was good timing to finally dust off this review.  The two artists in question are non other than Bon Iver and James Blake.  Judging by playcount, these have been my two most listened to new releases of 2011 so far.  They recently collaborated on a track that premeiered on the BBC, “Fall Creek Boys Choir”, it’s primarily Justin Vernon (Bon Iver) on vocals, and production from James Blake.  Great combination and a logical fit.  People seem to be absolutely enamored with this track.  While I enjoy it, I don’t particularly find it to be nearly as good as either of their solo efforts for 2011.  Makes me wonder if people are just enamored with the thought of these two masters of beautiful original music putting their heads together (even if via email collaboration alone).  There is something exciting about taking the “Postal Service” approach to creating music.  Sending off an idea to a collaborator and anxiously awaiting to hear back which direction they take it.  This is a stark difference from a song organically growing out of a concept of an idea with an entire room of musicians experimenting and growing the sound together at the same time.  My word count is amassing quickly and I’ve yet to begin the album review.  Here is the recent collaboration if you’d like to check it out.

Listen: James Blake and Bon Iver – Fall Creek Boy’s Choir 

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

And now on to the actual album review.  I can’t remember where I first heard James Blake sometime last year, but I was immediately intrigued.  I was also pleasantly surprised to see one of his songs “Wilhems Scream” featured on the ending of an Entourage episode this season, the last few years they have had some great musical selections for the show, ranging outside the normal spectrum of what Hollywood selects from.

Blake’s production styles showcase definite elements of dubstep, but his vocals and song crafting reminiscent of R&B or soul music.  Makes for a really unique sound.  The thing I love the most about this album is the space.  That is; the unfilled aural caverns these songs dare not enter for fear of clouding the sparce, exposed, raw sound this album successfully captures.  Sometimes less is more.  Don’t get me wrong – this is hardly a shoe-gazer strumming his acoustic guitar or plucking away notes on a keyboard.  The harmonic layers, autotuned, chopped and screwed vocals, and dubstep inspired beats make for a very interesting pallet.

Really looking forward to seeing what the future holds for new styles, Blake strikes me as the type of guy that is constantly going to be exploring new styles and sounds.

Listen: James Blake – To Care (Like You) 

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Listen: James Blake – Wilhelms Scream 

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download James Blake here

Check out James Blake here

I came across a track from this new 2011 LP on a MOG mix done by David Byrne, which was quite eclectic and enjoyable.  It peaked my interest enough to pick up the full album, and upon further listening, I’m really glad I did.  For those of you that don’t already know (like me), Gil Scott-Heron was a soul/jazz/spoken word artist coming up in the 70s.  He recorded an album last year titled I’m New Here.  This album is a completed reworked/remixed version of that album done by Jamie Smith aka Jamie xx from the indie group XX, who I absolutely love.  What I didn’t know was that Jamie is a hell of a producer/DJ/remix artist, though I probably should have after falling in love with the XX remix of Florence and the Machine, and more recently, Jamie’s remix of Adele’s Rolling In The Deep.  As much as I typically avoid exposure to traditional radio and Top 20, even I couldn’t avoid the constant bombardment of that Adele track.  Talented voice for sure, but leave it to mainstream media to absolutely pummel a song to death.

This album is a collection of little spoken word snippits and vocals from Scott-Heron, over quite a range of electronic beats and remixes ranging from dubstep, drum and bass, and others.  Some more downtempo and some upbeat.  In all honesty I wouldn’t have paid much attention to the original content that drove this remix album, but the combination of this tight and imaginative producing with a raspy vocal delivery and eclectic themes make for a perfect mix.  I’ll be enjoying this album all summer.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download We’re New Here 

I fell in love with Washed Out the minute it hit my ears in what seems like forever ago, but was only back in 2009, when Earnest Greene aka Washed Out released his first EP. He hasn’t made a bad song since as they have slowly leaked over the last year or so, and now it’s finally here, his debut LP, Within Without. Definitely a more complete sound for Greene, now on sub-pop, he has truly hit his stride with this album. Some would call it downtempo, chillwave, etc, but it’s something more than that. Sampling, synths, chill vocal harmonies.  Cool as ice but still very warm sounding.  Reminds me of the first time I heard Portishead – not because they sound alike, but because both Portishead and this LP by Washed Out sounded like nothing like I had heard anywhere else before.  Can an album be a soundtrack for many different things all at once? I think it would be completely appropriate to (in no particular order):

a: Dance to at a club

b: Sip a $20 martini illuminated by swanky mood lighting

c: do the no pants dance with your favorite dance partner

d: put on in your headphones on a long train ride home from God knows where

e: walk through some science museum exhibit that smells like metal and electricity

The end answer of course is f: all of the above.  I hate doing this but I don’t see how I could possibly love an album more than this when 2011 comes to a close.  That is saying a lot for a year that has already seen me listen to the new Fleet Foxes, Bon Iver, and TV On The Radio albums a total of over 50 times front to back.

Do yourself a favor and pick up this soundtrack to your life for 2011.

MP3: 

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download Within and Without here

Learn more about Washed Out here