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Re: Get Ya Freak On.

PostPosted: Mon Apr 12, 2010 11:27 am
by Yeahduff
Haven't jumped into the Newsom record but the parts I've heard were amazing. Don't know what it is about Spoon but they've just never really connected with me. Was pretty cool when Britt Daniel was on Veronica Mars singing some Elvis Costello song, I forget which.

Re: Get Ya Freak On.

PostPosted: Mon Apr 12, 2010 1:37 pm
by McDuffies
Which parts have you heard?
Spoiler alert I guess... First disc alone is as good as any one-disc album out there. Some later parts (particularly second half of disc 2) seem to lag a bit, though it may be just me liking faster songs.
I admit that there's an odd contrast, some songs are instantly catchy while others take many repeated listens. Also I really miss Parks' arangements which I think really complimented her writing, although percussions sometimes get to be so good to almost make up. But generally, impressive, it's hard enough to make a tripple album adequate, let alone great.

Spoon, yeah, I liked their minimalism, the feeling that the whole thing could be played by, like, two guys exchanging instruments. I loved "Kill the moonlight", then "Ga ga ga ga" had a few good songs, and this new album is all like that weaker part of "Ga ga ga ga".

Re: Get Ya Freak On.

PostPosted: Tue Apr 13, 2010 1:10 pm
by Yeahduff
I'm not sure what I've heard. The parts with the weird girl singing while playing the harp? They've been playing and talking about it on NPR like nonstop since it came out. Should really just bite the bullet already, even if I like a fifth of it that's like two albums worth of music.

Re: Get Ya Freak On.

PostPosted: Tue Apr 13, 2010 6:25 pm
by McDuffies
The parts with the weird girl singing while playing the harp?

*crosses over all those on which she plays piano*

Buying a triple disc is an expence, but it shouldn't be too hard to dig up some of best parts on 'Tube to preview.

Re: Get Ya Freak On.

PostPosted: Tue Apr 13, 2010 8:25 pm
by Yeahduff
Confession. At least half of the ones I've heard were performed on the piano, it was just funnier to say harp.

But yeah, the youtubes are what I've been going from.

Re: Get Ya Freak On.

PostPosted: Tue Jul 06, 2010 8:07 pm
by Yeahduff
Hey McDuffies, you familiar with the British band Disco Inferno? Just got turned on to them from a blog, some good stuff.

Re: Get Ya Freak On.

PostPosted: Wed Jul 07, 2010 3:33 am
by McDuffies
The name rings a bell but I can't quite remember.

Re: Get Ya Freak On.

PostPosted: Wed Jul 07, 2010 1:24 pm
by Yeahduff

(Miniaturized since there really isn't a video anyway.)

I guess I should have noted they're from the early 90's. But this is Last Dance, their closest thing to a pop song, and it's pretty great. There's this bootleg called The 5 EP's floating around and most of the other stuff is a lot weirder but also really good. I'm not sure they've put out anything but EP's, so this might be their entire collection. Recommended.

Re: Get Ya Freak On.

PostPosted: Wed Dec 15, 2010 12:52 pm
by Yeahduff
Tis the season of arbitrary list-making.

001 Beach House. Teen Dream.
002 Laura Marling. I Speak Because I Can.
003 Kanye West. Dark Twisted Fantasy.
004 Roc Marciano. Marcberg.
005 1900s. Return of the Century.
006 Warpaint. The Fool.
007 Sun Kil Moon. Admiral Fell Promises.
008 Pantha Du Prince. Black Noise.
009 Holly Miranda. The Magician's Private Library.
010 Twin Shadow. Forget.
011 The-Dream. Love King.
012 Big Boi. Sir Luscious Left Foot Son of Chico Dusty.
013 New Pornographers. Together.
014 Lindstrøm & Christabelle. Real Life Is No Cool.
015 Best Coast. Crazy For You.
016 Guido. Anidea.
017 Curren$y. Pilot Talk 2.
018 Janelle Monae. Archandroid.
019 Ted Leo & The Pharmacists. Brutalist Bricks.
020 Kelis. Flesh Tone.
021 Alkaline Trio. This Addiction.
022 Dum Dum Girls. I Will Be.
023 Corin Tucker. 1,000 Years.
024 Sleigh Bells. Treats.
025 Stars. Five Ghosts.

Re: Get Ya Freak On.

PostPosted: Wed Dec 15, 2010 12:58 pm
by Yeahduff
001 Holly Miranda. Waves.
002 Kanye West. Power.
003 Kelis. A Capella.
004 Beach House. Norway.
005 New Pornographers. Crash Years.
006 Nicki Minaj. Your Love.
007 Warpaint. Undertow.
008 Trey Songz. Unusual.
009 J. Cole. Who Dat.
010 Robyn. Hang With Me.

011 Lindstrøm & Christabelle. Lovesick.
012 Laura Marling. Devil's Spoke.
013 Twin Shadow. Castles In the Snow.
014 Kanye West. Runaway.
015 Dum Dum Girls. Bhang Bhang, I'm a Burnout.
016 Rihanna. What's My Name?
017 Big Boi. General Patton.
018 Duke Spirit. Everybody's Under Your Spell
019 Titus Andronicus. A More Perfect Union.
020 Underworld. Scribble.

021 Sade. Soldier of Love.
022 Beach House. Lover of Mine.
023 Best Coast. Boyfriend.
024 Robyn. Dancin On My Own.
025 Ciara. Ride.
026 Annie. My Love Is Better.
027 1900s. Amulet.
028 Rihanna. Rude Boy.
029 The-Dream. Turnt Out.
030 Let's Buy Happiness. Six Wolves.

031 MIA. Born Free.
032 Laura Marling. Blues Run the Game/The Needle and the Damage Done.
033 Sleigh Bells. Rill Rill.
034 Trey Songz. Bottoms Up.
035 Quadron. Buster Keaton.
036 Big Boi. Shutterbug.
037 The Like. He's Not a Boy.
038 Penguin Prison. Worse It Gets.
039 El Guincho. Bombay.
040 Zigmat. Don't Tire.

041 Blonde Redhead. Not Getting There.
042 Miami Horror. Sometimes.
043 Azari & III. Reckless (With Your Love)(Tensnake Remix)
044 Trey Songz. Say Ah.
045 Hercules and Love Affair. My House.
046 Wolf Parade. Little Golden Age.
047 Weekend. Coma Summer.
048 Gorillaz. On Melancholy Hill.
049 Big Boi. Tangerine.
050 The-Dream. Love King.

051 Alkaline Trio. This Addiction.
052 Dum Dum Girls. Jail La La.
053 Superchunk. Digging For Something.
054 Crystal Castles. Celestica.
055 Rihanna. Only Girl In the World.
056 Far East Movement. Like a G6.
057 Sade. Babyfather.
058 Asobi Seksu. Transparence.
059 Glasser. Mirrorage.
060 Stone Temple Pilots. Between the Lines.

061 DJ Quik ft Suga Free. Nobody.
062 Paramore. Playing God.
063 The KDMS. High Wire.
064 Corin Tucker Band. Doubt.
065 Sky Larkin. Still Windmills.
066 Kele. Tenderoni.
067 Ted Leo & The Pharmacists. Might Sparrow.
068 Trophy Wife. Microlite.
069 Janelle Monae. Tightrope.
070 MIA. XXXO.

071 Cut Copy. Where I’m Going.
072 Rose Elinor Dougal. Find Me Out.
073 Ted Leo & The Pharmacists. Bottled In Cork.
074 Waka Flocka Flame. For My Dawgs.
075 Trey Songz. Already Taken.

Re: Get Ya Freak On.

PostPosted: Wed Dec 15, 2010 3:05 pm
by McDuffies
I shall have my list in a day or two.
I don't think I'll be able to muster top 20 though. 8-)

Re: Get Ya Freak On.

PostPosted: Wed Dec 15, 2010 5:19 pm
by Yeahduff
Yeah, anyone who does that many either has a serious problem or just too much time on their hands.

Re: Get Ya Freak On.

PostPosted: Wed Dec 15, 2010 8:22 pm
by McDuffies
I couldn't decide between 10 and 20, so I picked a nice, round number of 13.

13. Arcade Fire – Suburbs
Arcade Fire's Suburbs is a love-and-hate affair for me. They've mostly abandoned their world music influences that I liked so much, and now they're producing, well, ordinary rock, good but not as remarkably original as before. Adding to love and hate relationship, Suburbs is a rather long album with whole 16 songs; this means that if some songs aren't too strong, that's ok, there's always plenty of good songs around; but when listening in sequence, lesser songs make album as a whole seem kind of bland.
Favourite parts of the album are "Empty Room" with cheerful violin-made noise, lovely "Sprawl II", tense "We Used To Wait". Worth mentioning are "Suburban War", "Deep Blue" and title song. Arcade Fire's strongest sides right now seem to be carefully tempered melancholy and Butler's expressive voice, though Regine seems to be relegated to more eccentric songs.

12. Shooter Jennings and Hierophant – Black Ribbons
This is an unlikely source for something I would like, but it's country musician Shooter Jennings (son of Waylon Jennings) deciding out of the blue to make a conceptual album in style of old prog rock bands, ultimately being more fun than they ever were. It requires an acquired taste for theatricals, as lots of pathos comes our way through monologues written and spoken by Stephen King, in a role of radio DJ in an SF narrative, playing Jennings' songs between announcements and comments. Jennings obviously enjoys attempting multitude of musical styles on this eclectic album; it seems like the band had a lot of fun making this album despite it's faux-serious tone, and as result, album is tons of fun to listen.

11. Grinderman – Grinderman 2
Grinderman's second album is somewhat more melodic than it's debut, letting Cave's typical harmonies seep through riffs in most of songs, and in case of Palaces of Montezuma even delivering a pop song. Not as raw as first Grinderman or Cave's early albums but not as melodic as later ones either, Grinderman 2 is the most similar to the rougher parts of Dig, Lazarus, Dig; it's a kind of basic, distorted blues rock that Cave's always favoured, having at least a song or two on every album, and I guess Cave's fascination with blues has granted it a side-project, but as I said, at this point it's not drastically different from Bad Seeds material – asides from a chance to rock out as a power trio after years of being a leader of a 6 to 7-piece band.

10. The Roots – How I Got Over
How I Got Over is thoroughly enjoyable. It's jazzy, smooth, melodic, raps are so tight that even I like them, bass groover are cool, and so on. It slides down like greased and seems much shorter than it really is.

9. The Dead Weather – Sea of Cowards
Jack White's newest musical project is agressive basic blues, so basic that every notion of harmony is stripped, even the simplest 12-bar blues which was dominant in early White Stripes albums. What's left is distorted riffs, guitar that at times sounds like a drill or hammer; White's voice which is shouting rather than singing, its shrieky colour definitely being an advantage here; lyrics that sound disjointed, but suggestive; and just a little bit of QotSA. Incredibly raw album, much more than anything White's participated in so far, in many ways similar to Nick Cave's Grinderman (it's first album at least).

8. The Magnetic Fields – Realism
Indy rock often reaches to older musical styles for inspiration and makes retro look cool. You gotta give a hand to Stephin Merrit though, for his songwriting seems to have been informed by the most stereotypically uncool musical styles such as tin pan alley, commercial jingles or lullabies, styles that even indy rock would have hard time to reevaluate. As such, Magnetic Fields' albums are always joyful, silly and full of little ditties that elsewhere might seem banal. Even though they wildly change instrumentation from album to album, and even though though Merrit might be a vocal stand-in for Nick Cave or Ian Curtis, Magnetic Fields' albums always seem to play to the childlike and nostalgic side of us, with song titles like The Doll's Tea Party or Everything is One Big Christmass Tree.
Personal favourites are I don't know what to say, Everything is one big christmass tree" and incredibly silly We are having a hootenanny.

7. Gorillaz – Plastic Beach
Gorillaz have come to the point where they can simply be categorized as a hip-hop project. "Plastic Beach" doesn't seem to have any non-electronic instruments, and Albarn's familiar pop signature is left only in traces (On Melancholy Hill, etc). This is replaced by a number of guest hip-hop vocals, Albarn's own impassionate rap as we first heard it on Feeling Good Inc. and some pretty awesome grooves (Stylo, Rhinestone Eyes) and daring and almost arrogant eclecticism. And lots of synthesizer, really, synthesizers everywhere.
Really, Albarn seems to like to boost with his knowledge or obscure music of various genres, so here he drags out of retirement certain Bobby Womack who once was considered rising soul star equal to his contemporary Stevie Wonder, but is nowadays mostly forgotten. Similarly, Mark E Smith from a long-lasting new wave band The Fall, is brought to shout and deliver monologue for Glitter Freeze. Hip-hop does step down for one moment, as if to give honor to Lou Reed, by letting Plastic Beach sound like a typical Reed's rock for just one brief song.

6. David Byrne & Fatboy Slim – Here Lies Love
This is a soundtrack to the musical about Imelda Marcos, with each song sung by a different female vocalist, except for two songs sung by Byrne and one sung by Steve Earle.
I like everything Byrne comes up with; his range of interests is amazing; on the other hand, he hasn't learned much in songwriting department since his first solo albums: his melodies are familiar and tuned to his vocal style, even when sung by different people; on the other hand, they're always catchy and exalting, add to that Byrne's interest in constantly dressing them in new clothes and his classical lyrical wit. While I can't really know what Byrne and Fatboy Slim's colaboration was like, it seems like Slim's role was one of a reliable, but not particularly inspired arranger and producer. He provides standard beats that range from disco to latin; in creative department everything seems to be typically Byrne's – then again Slim is signed as a co-writer so maybe cooperation was closer than it seems.
While all material is evenly strong, I have particular taste for the hymnical title song, "Every drop of rain", "Never so Big", silly "How are You", moody and meandering "Rose of tacloban".
Of special note is array of vocalists led by Byrne and Slim's eclectic tastes.. Along with veterans such as Cyndi Lauper and B-52's Kate Pierson, Natalie Merchant, Tori Amos and Roisin Murphy, stand young indy stars such as Florence Welch (+ the Machine) and modern pop divas such as Nellie McKay and Santigold, extending to soul and country, Filipino and French singers, a formidable catalogue of female vocalists of several generations. Steve Earle justifies his inclusion by performing a simple melody "A Perfect Hand" in incredibly tense and sustained manner.

5. Twisted cabaret
It may be unfair to compare a compilation to regular albums, specially if some of material on that compilation has been known previously, but this album also contains some great music that isn't available elsewhere. I should note that I haven't really got my hands on this album; I scraped most of it's content from various places on internet including youtube and
The deal is sprawling underground movement known as cabaret-punk: brechtian cabaret (sometimes other early 20th century musical styles too), infused with manic energy or desperation, with dark humour in lyrics increased to sometimes very uncomfortable level. Album is a part of avant-guarde multimedial project of which, to be honest, I haven't bothered to learn more. Music is really great though, there are bands you'd expect to find on such compilation, such as Tiger Lilys, Dresden Dolls, Evelyn Evelyn (Amanda Palmer's side project) and Baby Dee, some bands that aren't instantly associated with the style but whose inclusion can easily be justified – such as The Residents or The Legendary Pink Dots, and then some rather amazing discoveries like Kokusyoku Sumire who sings cabaret-influenced pop in Japanese, or Marcella And The Forget Me Nots, who apparently has yet to record an album, but based on this one song, it's gonna be interesting.
Most of songs here are wonderfully weird, decidedly old-fashioned and insanely catchy.

4. MGMT – Congratulations
MGMT declare themselves as fans of electronic pop by singing a hymn to Brian Eno, I presume from his earlier pop efforts, but the way their melodies twirl suggests more of Syd Barret and his cherished lack of discipline. Though they have obligatory catchy refrains, MGMT's songs meander, shifting structures, the mix which has made them as acclaimed as they are nowadays, I guess; It's Working is prime example of this kind of songwriting; Flash Delirium is extatic, theatral and somehow old-fashioned; there's also something resembling to folk in I Found a Whistle; manic Brian Eno, and murky instrumental Lady Dada's Nightmare which in hindsight is just kind of mean.

3. These New Puritans – Hidden
Hidden is a mix of vicious electronic breakbeats, brass and woodwind orchestras, choir and threatening vocals, quite a daring combination of disparate musical elements. Agressively avant-guarde, Puritans never reach for anything resembling to pop, planting it's hooks in repetitive chants instead of memorable melodies. Elsewhere melodies are dysharmonic, descending and alienating, and the closest thing to pop song, White chords, is too elusive to serve as a hook.
Hidden is dark, threatening, alien and tribal; a kind of album that suggests more than is visible. Personal favourites are We Want War, Attack Music, Fire-Power and White Chords, and those titles say something.

2. Tunng - ...And then we saw land
Tunng are classified as folkotronica, which means that they're trying to merge acoustic guitar and late 60ies-style mixed male and female vocals with electronic elements. This works well for two reasons: first, electronica is discrete, unintrusive; it can be, perhaps, compared to Eno's work on "Heroes" album, where his grooves may not be noticeable at first, yet they influence how we hear the song from start. Second, Tunng's songwriting is really good. Constant interplay between electronic and acoustic instruments makes a loveably playful arrangement. Worth a few listens on their own are also percussions, though it's hard to see whether they're samples or live woodblocks.
While all songs are pretty great and stick in mind, I'll mention "Don't look down or back", "It Breaks", "The Roadsite", "Weekend Away" and lengthy instrumental "By dusk they were in the city" as personal favourites.

1. Joanna Newsom – Have one on me
Triple albums can be counted on fingers, and successful ones are even fewer. Usually, they're vanity projects which could have been cut down to two or even a single album without any significant loss. Have One On Me is, on the other hand, worth every minute of it's 2+ hours, wealth of material being written since Joanna's Ys, four years ago. Album has multiple themes; one is California, Joanna's home, the other being a theme of three parts representing morning, day and evening; songwriting is a mixture of pop, folk, classical and avant-guarde; compared to Ys, arrangements are poorer, as it's difficult to reach sonical flair of genial Van Dyke Parks; while many say that smaller-scale arangements let songs shine, I miss Parks' work; it's flamboyant, just like Newsom's writing. Her voice is now of somewhat more conventional colour, but it's her vocal inflections that have always been stranger: they allow her to effortlessly sing her lyrics that, written on paper, read almost like prose.
Have One On Me exists on it's own terms, in it's own world, not caring what expectations from a pop album are. Songs like Baby Birch or Autumn seem like they are testing our patience to reward is with a beautiful climax, but in actuality they're songs that don't hurry, but savour every second of their atmosphere.
Highlights? Title song is a 10+ minute epic, sprawling song that reminds me of some of Bowie's early songs, interpreting historical figures as various types of spiders. It's mirrored by penultimate Kingfisher, cathartic folk song. Completing a trio of epic songs in theme and intensity, is In California, which would have the catchiest pop refrain if only it wasn't deliberately developing so slowly. Good Intention Paving Company is compulsively catchy, feel-good pop. Soft as Chalk is bluesy, harmony switching from major to minor and back. On a Good Day is a perfect pop jewel, merely minute and a half long. Personal favorites also include Easy, No Provenance and Autumn.

Re: Get Ya Freak On.

PostPosted: Thu Dec 16, 2010 9:36 pm
by Yeahduff
Haha, do we have zero overlap? Awesome.

Re: Get Ya Freak On.

PostPosted: Fri Dec 17, 2010 10:03 am
by McDuffies
I'm calling out Phact to make a list that has zero overlap with these two.

(I was skirting around including Ted Leo and New Pornographers but in the end they didn't stick to me that much. In a way, Tunng was everything I expected from Pornographers, and then some.)

Re: Get Ya Freak On.

PostPosted: Fri Dec 17, 2010 11:29 pm
by Yeahduff
Yeah, neither Together nor Brutalist Bricks are their respective acts best record. They are a couple of my favorite acts of the this young century so I did like them an awful lot, mind.

Re: Get Ya Freak On.

PostPosted: Sat Dec 18, 2010 5:05 am
by McDuffies
Yeah, I'm usually gonna have Nick Cave up there too.

Have you given Dead Weather a listen?

Re: Get Ya Freak On.

PostPosted: Sun Dec 19, 2010 12:28 am
by Yeahduff
Not the full record. I dunno. I've liked what I've heard from the band, and I do like both the White Stripes and the Kills, but every time I considering buying that record, I just don't know.

And lol, Grinderman not in your top ten? Scandal.

I was pleased to find The Suburbs is better than Neon Bible.

Re: Get Ya Freak On.

PostPosted: Sun Dec 19, 2010 7:40 am
by McDuffies
Yeahduff wrote:And lol, Grinderman not in your top ten? Scandal.

I got the record recently and for that reason didn't listen to it that much... But it draws on one of many Cave's sides that I like less. To me it somehow occupies the same space as Dead Weather, but White's voice works for him here, it really makes the sound more abbrasive.

I was pleased to find The Suburbs is better than Neon Bible.

I Just wish they compacted it into a 10-song album of the strongest material instead of stretching in into 16 songs.

Re: Get Ya Freak On.

PostPosted: Sun Dec 19, 2010 2:15 pm
by Bustertheclown
I just fell hard for CocoRosie.