Early April Roundup
We're barely into April and the relentless torrent of new albums does not promise to stop before the end of the month, so I'm just going to do another batch review.
Happy listening, you freaks!
Pure Comedy
Father John Misty
Tiger Rating: 4.0 / 10
Indie / Neo Folk
There is nothing sincere or endearing about Joshua Tillman. Hiding behind his sardonic and cutting narrative of modern living, he himself has always been safely hidden behind his wall of irony and beard hair. He has cast himself in the role of prophet of the times - the voice that speaks the truth. But, crucially, unlike Dylan, he never turns that spotlight on himself.
'Pure Comedy' is his third album of piano ballads with saxophone punctuation. Musically it's his least adventurous record. But his reason for opting for warbly piano ballads is obvious: only in a rap song could you say more. The album plays out largely like a stream of Tillman's bitter consciousness. He sings of how faith and how it's is a "prison of belief" and he sings about listening to Taylor Swift unironically. Other subjects plumbed are the "new age", superegos, ideologies, climate change, drug use, politics, romance, "L.A. phonies and their bullshit bands", homophobes and hipsters.
That's not to even say I dislike Tillman. Or that he doesn't talk about things as they are.
He's weirdly entertaining if not likable.
He may not be the genius he thinks he is, and there is very little to explore musically here, but this record will at very least put a sneer on your face.
You will occassionally smile at his bluntness and honesty in dealing with everything but himself.
Highlights: 'Things That Would Have Been Helpful To Know Before The Revolution'
Whiteout Conditions
The New Pornographers
Tiger Rating: 6.0 / 10
Indie
Album number 7 from the Canadian indie band everyone is still kinda surprised is still around. The thing about the NP's is that they throw themselves into every single abum they do, as was the case with their last. 'Bill Bruisers' was a loose, driving showcase of the group's mettle and set them on the trajectory for this album.
The pace of 'Whiteout Conditions' drives the album off a cliff ultimately.
Slowing only for Broken Social Scene meets early Band of Horses prom ballad 'We've Been Here Before', 'Whiteout Conditions' is frenetic and as fun as it's predecessors.
The defining quirk of the band is in their unconventional melodies, unexpected timing and bizarre but likable lyrucs. They execute all of that superbly on this album.
It may just be a personal issue, but, like with 'Stars', I can never really "get into" a New Pornographers album. I can hear that the songs are great, but nothing really ever invites me to listen to them again and again.
So in context of their career, this album is another solid. But when it ends, I don't particulary feel anything.
Highlights: 'Juke' / 'Play Money' / 'Avalanche Alley'
Happy listening, you freaks!
Pure Comedy
Father John Misty
Tiger Rating: 4.0 / 10
Indie / Neo Folk
There is nothing sincere or endearing about Joshua Tillman. Hiding behind his sardonic and cutting narrative of modern living, he himself has always been safely hidden behind his wall of irony and beard hair. He has cast himself in the role of prophet of the times - the voice that speaks the truth. But, crucially, unlike Dylan, he never turns that spotlight on himself.
'Pure Comedy' is his third album of piano ballads with saxophone punctuation. Musically it's his least adventurous record. But his reason for opting for warbly piano ballads is obvious: only in a rap song could you say more. The album plays out largely like a stream of Tillman's bitter consciousness. He sings of how faith and how it's is a "prison of belief" and he sings about listening to Taylor Swift unironically. Other subjects plumbed are the "new age", superegos, ideologies, climate change, drug use, politics, romance, "L.A. phonies and their bullshit bands", homophobes and hipsters.
That's not to even say I dislike Tillman. Or that he doesn't talk about things as they are.
He's weirdly entertaining if not likable.
He may not be the genius he thinks he is, and there is very little to explore musically here, but this record will at very least put a sneer on your face.
You will occassionally smile at his bluntness and honesty in dealing with everything but himself.
Highlights: 'Things That Would Have Been Helpful To Know Before The Revolution'
Whiteout Conditions
The New Pornographers
Tiger Rating: 6.0 / 10
Indie
Album number 7 from the Canadian indie band everyone is still kinda surprised is still around. The thing about the NP's is that they throw themselves into every single abum they do, as was the case with their last. 'Bill Bruisers' was a loose, driving showcase of the group's mettle and set them on the trajectory for this album.
The pace of 'Whiteout Conditions' drives the album off a cliff ultimately.
Slowing only for Broken Social Scene meets early Band of Horses prom ballad 'We've Been Here Before', 'Whiteout Conditions' is frenetic and as fun as it's predecessors.
The defining quirk of the band is in their unconventional melodies, unexpected timing and bizarre but likable lyrucs. They execute all of that superbly on this album.
It may just be a personal issue, but, like with 'Stars', I can never really "get into" a New Pornographers album. I can hear that the songs are great, but nothing really ever invites me to listen to them again and again.
So in context of their career, this album is another solid. But when it ends, I don't particulary feel anything.
Highlights: 'Juke' / 'Play Money' / 'Avalanche Alley'
From Deewee
Soulwax
Tiger Rating: 10/10
Electronic / Alternative Rock
Perhaps it's the three live drummers that lend their taut grit to the sessions, perhaps its the fact that this album was recorded in one take, but whatever it is, Belgian superelectro kings Soulwax have struck gold here. Driven almost solely by warm, driving synth sounds for the first 8 tracks, the frenetic energy only lets up with sundown special 'Tresspassers'.
This album exists and redefines that space between rock and electronic in a way that we haven't heard since James Murphy first lamented his irrelevance over a kick drum and a Roland keyboard ten years ago.
This is a confident yet understated record. They never sound like they're trying too hard or making things too complicated. The bongos and howls on 'The Singer Has Become A Deejay' are very reminiscent of a Django Django effort, where they prove they don't need any other instruments besides drums, pads and sound effects.
The gapless playback makes it all feel like a DJ set at a festival and by the time 'Goodnight Transmission' sees you safely home, you are left breathless and imagining how this album would sound live.
A flawless modern masterpiece destined to be overlooked and underrated.
But isn't that the nature of the industry today? The bland pop stars play their guitars with a cringeworthy imitation of songwriting, and are catapulted to Top 40 chart fame.
Whereas the forward thinkers, the mavericks and the true artists and game changers release their best albums to no fanfare and only a few fanboys give them clunky praise in blogs no one reads.
Ah well.
Highlights: the entire thing. In one sitting.
WVS
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