Daedelus wants you to get biz-aaaaaayyy. Not in the bedroom though, as the album's title might suggest, but on the dance floor. Which isn't nearly as interesting, but hell, let's just go with it.
While his previous full length, Denies The Days Demise, took the form of a concept album loosely based around the story of Little Nemo, this album seems to be made to resemble a live experience. Most of the album follows a distinct flow where the songs somewhat blend and the tempo changes are gradual from track to track. If I were into dancing, or was a DJ at a dance party, I'd see this album going over well for those who like to bust moves and such. It shares some common aspects with Girl Talk's recent downloadable album Feed the Animals. Yet, unlike that album, Love To Make Music To isn't so much of a hyperspeed, dance-centric mash-up that it can't also be enjoyed in a normal listening environment as well, such as in the car...or say, on your iPod at work in a warehouse-sized building, which is much more common for most (read: me).
There isn't much that could be considered filler on this album, though it does start to lose it's way in the last third or so, where there doesn't seem to be any plan for the songs other than for them to be on the album. While the songs are enjoyable on their own, it is a little disappointing that Daedelus couldn't maintain the flow of the album's first two thirds. Another complaint is that some of the songs seem to lack that trademark Daedelus charm. He's managed to establish a unique sound for himself throughout his career, yet some songs on here seem like they could've been done by any halfway decent electronica artist. But this complaint is probably more relevant to a long time fan than it would be to a newcomer to his music, who wouldn't be able to tell the difference.
Overall, it's a strong release for Daedelus, who continues to be one of the more worthy electronica artists out there.
(Digital Good Time is a series in which xoxobra focuses on the visual side of music)
This post pays tribute to the late Japanese artist Nagi Noda, who passed away last month due to complications from surgery after a traffic accident. She was 34.
Admittedly, I wasn't familiar with Noda until I learned of her death, but after spending some time at her website I discovered a truly unique visual artist with talent ranging from fashion to photography to visual effects. Whether it was music videos, short films, book and album covers, package design, clothing design or...hair hats (?), everything she touched was most definitely unique, to say the least. Here's a small sample of her work, and though there are tons of videos and images that I could've displayed, I've decided to focus primarily on the music related items.
(album cover for Japanese pop star Meg's 2008 single, "Precious")
(2007 video for Japanese singer Yuki's song, "Sentimental Journey")
Though the above video starts slowly, it's really worth your time to watch the entire thing. From the perspective of someone who has studied visual effects, this must have taken an eternity to complete (it utilizes a motion-controlled camera that separately filmed each duplicate). It's a true testament to how a semi-simple idea can be made extraordinary through careful planning and flawless execution.
I've only scratched the surface of Nagi Noda's life and creative output, so please take time to visit Nagi Noda's website, Uchu Country, or just Google her name and prepare to be amazed. Though I hardly knew she, I'm sure the art world will miss her.
Many soundtracks, be it for a movie or a game, fail to garner the same emotion when the listener isn't familiar with the visual element. Therefore, opinions of the music can vary based on ones fondness of the media that the music accompanied. Of course this isn't always the case. I quite enjoyed Curtis Mayfield's Superfly soundtrack though I've never seen the movie in it's entirety (judging by the few parts I have seen here or there, I'm not sure I ever want to see it in it's entirety). But that's Curtis effing Mayfield we're talking about there. Other scores by lesser artists don't always bode as well. Having already seen the modern masterpiece that is There Will Be Blood, it's nearly impossible for me to separate the music from the drama and the gorgeous cinematography that these songs highlighted, so I can only speak hypothetically when I say that I probably would've enjoyed this soundtrack without having seen the movie.
"Prospectors Arrive" is the standout moment by far. I loved the song in the movie and I love it even more coming out of my stereo. The string arrangements here create the most achingly beautiful piece of music I've heard since, well, "Reckoner". Though I hate to bring Radiohead into the mix, I can't help but wonder how much more awesome this song would've been with Thom Yorke's vocals. But as it is, it's still one of the best songs of the year so far. "Henry Plainview" is an intense piece of music, the cello and violins melting together to create a feeling of darkness and uneasiness that accurately defines Daniel Day-Lewis' Oscar-winning character. The last half of the album is pleasing even if no other songs are as commanding as "Prospectors Arrive". The only problem being that they are almost too short to have an immediate impact. At a scant 33 minutes long, the album can come to an end before you know it. That's not to say that the songs are lacking, but I can miss them entirely if I so much as let my mind wander.
Still, there's some pretty powerful music to be found here. An enjoyable listen, I'm sure, even for those who have never seen the film.
Went to see Sigur Rós on Tuesday. For a band that I'd sort of lost confidence in, they were pretty awesome. They played a good mix of songs from all of their albums, including their latest one that I wasn't as impressed with compared to their previous efforts (see my review here). But they fit well within the set list. In fact, one of the better performances of the night was their latest albums' opening track, "Gobbledigook". Members of the opening band, Parachutes, came out with small drums around their waists and provided the consistent drum beat, and the song ended extravagantly with a burst of confetti that showered the front half of the venue so heavily that the musicians on stage were hardly visible. The colorful lighting during the song really added to the atmosphere. It was great. Check out some pictures:
(He does this during "Svefn-g-englar" to provide that ghostly vocal effect in the middle)
(Sigur Rós, with members of Parachutes during "Gobbledigook")
(And two minutes later)
The band appeared for an encore minutes after that performance and ended the show with "Untitled #8" from the ( ) album, which is possibly the most intense song in their catalog, therefore great to end a show on.
I don't go to as many concerts as I used to, so it was nice that one of the few that I've made it to in the last couple of years was worth it, especially considering a couple of concerts I attended earlier this year (Dalek/RJD2 and The Black Keys) were a bust. The crowd around me (and overall) was pretty tolerable throughout, so that was a real bonus. For whatever reason, I've always had my worst concert experiences when there were a ton of hipsters in the audience, and this show certainly wasn't lacking in hipster numbers. But this time, besides having to be subjected to some of the worst haircuts I've ever seen in one building, there was nothing much to complain about.
Circulus - The Lick On The Tip Of An Envelope Yet To Be Sent (2005)
It's embarrassingly easy to dismiss Circulus as a joke when you first hear them. In fact, throughout my first listen to this album, I thought of a number of snarky lines I could use to begin this review, including, but certainly not limited to:
"Imagine a bunch of LARPer's got together and decided to record a theme song for themselves but accidentally started a band in the process..."
"Imagine a group of people were eating at Denny's after the Renaissance Fair and thought to themselves: "There aren't enough flute-based bands out there. We should do something about that"..."
"You know that group of D & D nerds that you went to high school with? Welp, here's what they've been up to lately..."
Then something interesting happens: you start to notice that they're actually good, and it throws a kink in that hilarious review you had in mind that had all but written itself before the album had even ended. The same song that made you laugh when it first started catches your attention later when you realize how beautifully arranged it is. Then you notice that the guitar solo on the next song is excellent. And then another song comes on later that sounds like it came straight out of a 1960's greatest hits collection. Then you start to silently curse Circulus for making themselves so difficult to pin down. It's as if they've come up to you personally, held up a middle finger and said "We care not for thou witty hyperboles, foul miscreant. Be gone." Except you don't get mad and instead start thinking that maybe you really are a foul miscreant. It's all very epiphanous, actually.
Seeing as this is a psychedelic freak-folk album, it would be easy for me to compare The Lick to Comus' eponymous 1971 album, First Utterance. Thankfully, I've never been known for my Puritan work ethic, so that's exactly what I'm going to do. All of the elements are there: the medieval atmosphere. The male/female vocal arrangements. The weird lyrical allegories. Cynics could probably argue that the only significant difference between the two albums is 34 years. With closer inspection, however, it's clear that Circulus is more than just a tribute band. They carve their own niche and have their own sound that, while similar to Comus, is all their own. Which is hard to do in such an obscure genre.
There's a lyric on the song "We Are Long Lost " that says "If we don't believe in fantasy, we are lost". Judging by the general weirdness of this album, along with the pictures in the booklet that show, among other images, the band jollily skipping along an open field in Renaissance outfits, I'd be surprised if this lyric were not directed at Circulus themselves. I couldn't imagine the members of this band existing comfortably in a modern Western world, but as long as they're giving us music like this while trapped in the fantasy world they've created, I'm not going to hate on how they choose to carry out their lives......the friggin' weirdos.
I'm just going to come out and say it: you've changed. You used to be so full of life, full of potential. You were passionate, I liked that about you. But now...you just seem lost. You display the same old traits on the outside, but on the inside, I feel like something isn't right. Sometimes I swear that you're back to your old self, but just as quickly as the old you comes, it leaves again. And frankly, I'm not sure if I can handle a relationship like this anymore.
That's harsh, I know, and I don't mean to sound unsupportive. I wish nothing but the best for you, always. Please remember that. I've heard your new album. People really seem to like it, and I'm glad. Seriously, I'm glad you're reaching people and getting them excited. That's awesome. Not many people have the ability to do that, to do what you do. You should be proud. Hey, I'm proud of you. But deep down, I think you and I both know that your heart's not in it. This is easy for you. It's like you're not even trying anymore; like your fire is gone. What happened to that adventurous attitude you used to exude? The one that made you want to experiment with your art and take risks and push the envelope? I miss that about you.
I think we would both agree that this relationship hasn't been the same since Cookie Mountain. That hurt me, but even though it took me a long time, I was able to forgive you. Still, the relationship became strained, almost forced. I tried to keep reminding myself of the bright spots, like "A Method" or "Dirty Whirl", and it worked well enough for me to actually start looking forward to Dear Science. But when I listened to it, I just knew that it was over. Mentally, I knew that I wasn't going to be capable of sustaining this anymore, holding out hope that we'd be able make things like they used to be.
I tried to focus on the good times again, such as what you did with "Crying". It's really great; sort of like 80's R&B, pre-New Jack Swing era (am I crazy, or do I detect a little inspiration from the Commodore's 'Night Shift"?). Or how about that prog-funk you did with "Red Dress" and the dark gothic post-punk sound of "DLZ"? That's good stuff. I love it when you take risks like that, but everything else just sounds the same as usual. It's like you're so reluctant to leave your comfort zone, even though we usually have the most fun when you do. I need excitement in my life, TVOTR, and though I hate to say it, you've become boring and predictable. Like, what's with the tacked on string section that you used to provide the crescendo for not one, not two, but three different songs!? C'mon! Other indie bands add string sections as a crutch to make their boring music interesting. I thought you were better than that. You used to be better than that.
It's so sad, because even at your worst you're still better than most, yet for some reason you seem so content with aiming low. It's frustrating, because I know that if you really wanted to, you could be one of the most exciting and innovative modern soul/funk/R&B acts to come along in decades. Hell, you could defy classification and be in a genre all your own! I know you can, your first album hinted at that potential. But instead you just settle for being a mediocre indie rock band, and I don't understand why. I just can't bear seeing such talent wasted any longer.
I'm sorry I had to break it to you this way. I'll still keep you in my mind, and still cheer for your victories and successes, of which I'm sure you'll have many more. But it's time for us to move on and go our separate ways. In the end, it will be better for the both of us. Goodbye TVOTR. We had a good run.
(To commemorate the release of TV On The Radio's new album, Dear Science, I've decided to post reviews for their previous two albums to show how I arrived at my opinion of their new release. Below are reviews for Desperate Youth, Bloodthirsty Babes and Return To Cookie Mountain. Tomorrow I will post my review for Dear Science.)
TV On The Radio - Desperate Youth, Bloodthirsty Babes (2004)
TV On The Radio's debut full-length came at a time weird time for me. Spurred by some disappointing releases by some of my favorite acts (including Interpol's Antics) and the Great Arcade Fire Circle Jerk of 2004, indie rock was becoming a bastion for unoriginal, overhyped acts being praised by publications for simply rehashing previously successful formulas. As Stephen Colbert phrased during his "feud" with the band The Decemberists: "Some indie rock band is ripping off my style. Why can't they be like every other indie rock band and rip off the Pixies?" Of course, it had probably been going on for a while, but it was only around then that I started to take notice. Disillusioned, I started to get into other forms of music and never felt much of a need to look back.
One night I happened to catch the video for "Staring At The Sun", which, I should say, is the exact kind of video that stands out to a tired mind at one in the morning. I had heard of TV On The Radio (as they had garnered some hype for their Young Liars EP and had released Desperate Youth earlier in the year), but considering my newfound disillusionment with the indie scene, I hadn't even bothered to give them a shot. So it came as quite a surprise to me that the song, as well as the video, was fucking excellent. It actually sounded different! It actually sounded fresh! After buying the album soon after, the first song -- with it's horn intro, deep, grimy, repetitive synth loop, and eyebrow raising first line: "Woke up in a magic nigger movie" -- confirmed that this was a band that didn't deserve to be lumped in with their contemporaries.
Desperate Youth, Bloodthirsty Babes shines with excellent production from David Sitek, who somehow successfully mixed elements of electronica, psychedelic soul, rock, funk, and even doo-wop, without having the entire thing sound like a cluster. Tunde Adebimpe vocals (complimented by Kip Malone's falsetto) are delivered with the gospel-like passion of a negro spiritual; filled with emotion. TV On The Radio displayed more creativity and variety with this one album than most bands have managed in a career. While the Desperate Youth isn't without it's faults, considering the band's potential, any missteps are easy to overlook.
Score: 8.5/10
"The Wrong Way"
"Ambulance"
TV On The Radio - Return To Cookie Mountain (2006)
Having built quite a reputation for themselves with their explosive live shows, the anticipation was high for TV on the Radio's oddly named sophomore album even though reviews for their debut album were somewhat lukewarm. With the Young Liars EP still on the minds of indie rock fans, a surprising number of people were disappointed with the scattered, experimental nature of their debut full length. So the band regrouped, permanently placed their touring guitarist and drummer on the roster, and set out to record "King Eternal" (one of the more rock oriented songs on their debut) 11 times. The result was Return to Cookie Mountain, and the indie world went ape-shit, catapulting the band to the bittersweet status of indie rock darlings.
Listening to Cookie Mountain, it's hard for me to understand the hype. Their debut managed to sound really new and fresh in a sea of mediocrity, while this one seems as if it's trying to capture that mediocrity so as to get a piece of the increased attention and marketability surrounding indie rock at the time. It still sounds like TV On The Radio, but it sounds like a version of the band that's tired and out of ideas. This is most obviously reflected in lead singer Tunde Adebimpe's voice, which often lacks the passion he displayed on the band's debut. The production seems to try to make up for this by drowning his voice in a sea of white noise and other voices, which include backup vocalist/guitarist Kip Malone as well as the occasional guest, such as Katrina Ford of the band Celebration, and even David Bowie. This backfires, since the voices are layered so closely that you'd need liner notes or prior knowledge to even know on which song the guest was featured.
Another complaint is with the drumming, which seem to be a little too loud in the mix. I've never found myself as annoyed with drumming as I have on some parts of this album, where many songs seems to be dominated by the presence of the drummer. Only on the excellent, drum-driven "A Method" does this work in the bands favor. In fact the song, with it's hum-able, anthem-like melody, manages to be the album's standout track. On many of the tracks, though, I find myself wishing they'd dust off the old drum machine. "A Method" aside, the album isn't a total wash. Adebimpe does have a few inspired moments, particularly in the later tracks "Dirty Whirl" and "Tonight", but at that point it almost seems too little, too late.
Had I not made it obvious, my opinion of this album differs from the general consensus. Luckily, I've found that, among people who consider themselves fans of TV On The Radio, I am not alone. To make a generalization, it seems that if you thought Desperate Youth, Bloodthirsty Babes was okay, you'll probably like Return to Cookie Mountain a lot better. It's more focused and more confident, which is probably what you felt was lacking in their debut. If you thought Desperate Youth was great, you'll be disappointed with Cookie Mountain. It sticks to one formula and refuses to stray far from it, making it the opposite of what drew you to their debut.
xoxobra is the selected music related ramblings of yet another self-important blogger attempting to get the word out on more obscure sounds, updated somewhat regularly. Enjoy!
Daedelus - Love To Make Music To (2008)
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