I used to work with a guy who thought Joni Mitchell was a genius. He wasn’t one of those hyper-focused fans who have one or two favorites that could do no wrong. This guy really loved music. He just thought Joni Mitchell had produced probably a dozen or so records he would call “masterpieces.” In his eyes, the Beatles only… Read more »
Feeling awkward and out of place may seem like the exclusive purview of teenagers, but I’m not sold on that notion. I am particularly susceptible to anything that calls to the part of me that feels out of step. At times, it has made me angry, melancholy, mean and proud and while it may be tempered by years of work… Read more »
My taste in electronic dance music runs a bit below the radar. I’ve got nothing against artists like Skrillex or David Guetta, they just don’t speak to me. That’s why I’ve never bothered with Zhu. However, there was a compelling LA Times article about him and anti-AAPI racism, so I decided to check out Dreamland 2021. The album’s fine. It… Read more »
As Westminster Quarters (you know, the doorbell song) opens Jayda G’s new DJ-Kicks set, I’m taken back to the new Visionist record. While Visionist used the melody to submerge us in a haunted fever dream, Jayda G promises us an uplifting summertime jam filled with sunshine, warm nights, and dance floors filled with sweat and smiles. This record completely delivers… Read more »
Bob once said that the Rolling Stones can’t write a song, they only write riffs. The same could be said about Actress. On Karma & Desire, however, Darren Cunningham pushes his riffs and challenges himself and his collaborators. Karma & Desire doesn’t rely on the factory drones that open 2014’s Ghettoville, but it builds the same grey mood. Cunningham and… Read more »
In an interview, Austin Carson, who is YYY, talked about being inspired by the same Phil Spector “wall of sound” that inspired Brian Wilson, but for most of the album (and all the songs from Pet Sounds itself) he never really achieves that. Where he succeeds is not in the wall, but more in the corners, the subtleties where his… Read more »
As a songwriter, Brian Wilson falls in the shadow of 60’s peers Lennon/McCartney and Jagger/Richards. As a producer and arranger, he falls in the shadow of Phil Spector. When you look at the longer history of popular music, this makes sense as Wilson just didn’t have the longevity, but in March of 1965, it didn’t. The Beach Boys released Today!… Read more »
The label is not kidding when they call themselves the Reverberation Appreciation Society. Most tracks on the album are the Nigel Tufnel amp versions of reverb (“These go to 11.”). You’d probably be hard-pressed to find a mid-sixties pop song that didn’t work with a little more echo, so the results are mostly listenable. It’s when the bands go beyond… Read more »
Full disclaimer: I was only able to get through about 2/3 of the 51 minutes of this album. Marty Friedman is the kind of guitar player I really hate. He can put his chops up against anyone, but it’s all wasted on flash rather than performances with substance. Tokyo Jukebox 3 is even more frustrating, because there are hints of… Read more »
There’s not usually a lot to say about “super deluxe” re-issues. Listener interest usually depends on how much the particular listener likes the artist and these releases where no stone is left unturned are full of what the super-fan might call essential and everyone else would call filler. And so it is with this “deluxe” version of my favorite Elvis… Read more »