Archive for September, 2008
Jack’s Mannequin – The Glass Passenger
The long awaited arrival of one of the most anticipated albums this year has finally been released today, The Glass Passenger. This is Jack’s Mannequin’s sophomore effort, three years after their successful debut was released. Not to be mistaken with Everything In Transit, The Glass Passenger is a style of Jack’s, listeners have yet to hear. Driven by brutal honesty and vivid emotion, Andrew McMahon takes fans on a journey into the dark caves of disparity and out through the cracks of light and hope. The Glass Passenger, almost a direct telling of Andrew’s remarkable story, is an epic and heart-warming album, one that is a sure to be a candidate for album of the year.
Musically, this album is sound, from the instrumentals to the vocal work. Starting with track one, we begin our descent into The Glass Passenger with Jack’s Mannequin as our guide. Ironically the album starts off with Crashing, a track with a modest tone but heavy meaning. A catchy but sincere piano melody paves the way for this mellow but lyrically charged track. Although not as aggressive as some other tracks, it fits nicely with the emotionally-tuned theme. Besides the great piano work, listeners get a taste of an array of epic sounds from the guitar work to the drums. One of the key aspects of this song that really emphasizes the seriousness of it all, is the well placed and timely backing vocals. The backing vocals put me in a different mood, almost a sad realisation of the world, yet amidst it all, lays hope. Andrew does a great job with the lead vocals, managing to unleash emotion without having to sacrifice pitch and tone.
While Crashing is a nice song and an easy listen, it has only touched the surface of the album. The next track, Spinning, is one which I feel exhibits Andrew’s intense vocals very well. Having seen him live, I can attest to his high energy and emotional performances. What starts off as a solid mellow tune and a subtle verse, quickly turns into a passionate and hopeful chorus. This is where we hear Andrew at his best, delivering line after line of heart quenching lyrics. Combined with a beautiful melody, it’s a song that truly delivers. I really enjoyed the guitar work in this song, and everything combined to create a very surreal atmosphere. The entire album took me for an emotional ride, with the passionate vocals and meaningful instrumentals; it’s a side of Jack’s that feels very honest and uncut.
Unlike Spinning, songs like Spin, What Gets You Off and Bloodshot give another powerful feeling. Instead of optimism, listeners are treated to a world of despair and sadness, but it’s a sadness that’s beautiful and elegant. The way that Andrew carefully delivers his vocals keeps everything classy and never seeking attention or help. The songs are presented in a way in which listeners get a feel for whatever the songs happen to be about. It’s this no holds bar delivery that I felt put Jack’s Mannequin on another level. As always Andrew McMahons vocals are solid throughout, constantly changing paces, and always very passionate. The instrumentals are really outstanding this go around as well, although I do miss the happy care free piano work from Everything In Transit.
Deep within the album is my favourite track, The Resolution, which epitomizes the strength and persistence of Andrew McMahon. Not only that, but I feel the lyrics convey exactly what I feel about The Glass Passenger. While all the lyrics are completely meaningful and passionate, and often get dark and dreary, they never feel selfish or seek anything more then the message they convey. Likewise, the song is about finding an answer and not seeking attention or forgiveness, and it’s an incredibly refreshing and sincere message. A powerful song, it’s inspiring on every listen and makes me respect Andrew McMahon and his band Jack’s Mannequin a little more every time.
The Glass Passenger is an unbelievable album, and a great follow up to their debut. I’m going to do something out of the ordinary and rate this on a numerical scale, because I feel it deserves that much. Out of 10, it’s definitely a 10+, because I can’t think of a better more matured sound then what this album delivers. I though Everything In Transit was perfect and I still do, but The Glass Passenger is another completely different yet perfect sound altogether. Accompanied by a very strong sense of lyrics and meaning, Jack’s has created a piece of art that’ll go down in my record books as a classic.
Check out their Myspace for official tour dates and album info.
Caribou’s Andorra Wins Polaris Prize
Caribou aka Daniel Snaith won the Polaris Music Prize and taking home the 20,000 cash prize for Canada’s best Canadian album. I gave the album 4 out of 5.
I guess I’m not surprised at all. Reading an article on Friday on the artist’s choice for the prize hinted at Caribou’s Andorra. I’m not mad at the decision, it was a great album and I think it suffered from the “I listened to it too long ago” syndrome when picking a choice out of the 10.
The album is very good, even if I last listened to it like 6-months to a year ago, I can still go back to this album and enjoy its creativity. It’s catchy in nature with the use of ethereal vocals, subtle electronica and some catchy guitar work.
Is it better then Shad’s The Old Prince. That is comparison sticks and stones in my opinion. I was heavily rooting for Shad because he’s a talent to be commended and his hip-hop work should be considered. Good to know Frank on the jury thought of Shad.
I guess we do this all over again for next year’s Polaris Music Prize. Wolf Parade and Chad VanGaalen are early candidates so far…
We reached 500 Posts Bitches!
That’s right, number 500! It’s really only 500 by number as I lost count awhile ago because I actually don’t know when I started this blog. Allan’s World of Music is a horrendous blog name especially with multiple writers but hey I guess I never thought much of a music blog when starting it.
But just like terrible band names, a blog is only as good as it’s content and thankfully a lot of people decided to stick around 
.
So what do you want to know about the blog now? Let’s take a nostalgic look.
Our most popular post, thanks to google is the Harold & Kumar 2 Playlist and Review. People ask once a week it seems on what song is playing at this certain point of the movie. Other people have really stepped up and helped one another. I was useless.
The first mp3 I got in trouble for was not understand the release date for The Raveonette’s Lust Lust Lust. The track in question was Black Satin by The Raveonettes.
Black Satin by The Raveonettes
The first mp3 that was put on the Hype Machine was The Pipette’s Sex when I reviewed their album.
The first blog post on Elbo.ws was on the wonderful Emmy The Great, My Party is Better Than Yours is an awesome song. Sadly we’re still waiting on her debut album.
My Party Is Better Then Yours by Emmy The Great
My first “Q&A” is with the now broken up Siberian. It was crappy but I think my “interview” skills are better even though I’m still lazy.
I first offended someone was with my Black Kids review (the other time I offended someone was saying that MGMT likes it up the bum…). No, I didn’t say anything racist! It was calling Myspace’s download system “retarded” as they would alter the mp3 files and the tags. Making it soooo annoying. If this person is still offended, go see Tropic Thunder.
I’m Making Eyes At You by The Black Kids
I am quite hated on this blog. Some of the comments I’ve received:
“You Minger” on Why I Won’t Like MGMT
“Learn To Write”, “your attitude towards music is very wrong, you should stop writing”, “You give blogging a bad name.” and a funny fake WebSheriff comment: “CEASE & DESIST:
For heinous and multiple crimes against the English language, please close this blog immediately. You have 48 hours to comply.
Web Sheriff
”
And more on Mystery Jets – Twenty One Review. Apparently I pissed off a lot of people accusing the MJs of stealing. I will admit I wasn’t so nice in my own comments as I’m not a professional and I’m not afraid to tell someone off. Just try me 
.
And hopefully the next 500 posts is just as interesting it was for you the readers as it was for me! Hopefully I didn’t bore you.
The Trews – No Time For Later Review
Three years ago, at the very beginning of Grade 9, I remember coming home and turning on MuchMusic. Normally, the channel would have been background noise to me eating in the TV room, but not this time. “So She’s Leaving”, The Trews first single off their sophomore album “Den of Thieves”, blared through the television screen. I couldn’t help but be drawn to the sounds of the thrashing guitar perfectly complementing the lead singer Colin MacDonald’s booming voice, which can now be recognized anywhere. Needless to say, I bought the album a day later.
The Trews were formed in Nova Scotia in 1997 by MacDonald, bassist Jack Syperek, guitarist and brother to Colin, John-Angus MacDonald, and drummer Sean Dalton. They first gained recognition in Canada with their single “Not Ready to Go” off their debut album “House of Ill Fame”. These hard rocking Canadians have since been touring their home country and the United States (and are always coming to Toronto).
Their third album “No Time for Later” features songs with a newer, edgier sound like “Paranoid Freak” will an awesome piano ending. If you’re into hard rock, then the first single off the album “Hold Me in Your Arms” will definitely hit the spot. If you’re into softer, more melodic tunes, then “Man of Two Minds”, a half-acoustic track where MacDonald’s vocal abilities shine through. On “I Can’t Stop Laughing”, it is evident that they miss their native Nova Scotia on this cheerful, upbeat track.
Overall, this album combines so many different sounds that can all be classified under the umbrella of hard rock. The Trews are a true Canadian talent that anyone with an ear for solid music can take a strong liking to. With each album, the band progresses musically, creating a better, more rockin’ sound. My final words of advice: if you’re into everything for Bryan Adams to the Foo Fighters, this album is for you. Buy it…now. Hear more from The Trews on their website and their MySpace.
Proud Simon – Night of Criminals
Proud Simon is a 5-piece band out of Brooklyn, NY. There tends to be a huge diversity of music that comes out of what could be called the indie rick epicenter of the world. Proud Simon is no different with their Americana/folk/country style.
Their release of Night of Criminals reaches stores on November 11th and while this is a little bit early, my experience with reviewing albums is best when I just share my ideas as if they were fresh. (Thanks to Team Clermont for sending albums way too early in advance).
Anyway, I actually struggled with their sound. It comes off feeling a bit odd or strange. There’s seem to be a bit of a clash between the music and vocals. However, it becomes apparent that the album itself is a grower otherwise I wouldn’t have picked it up.
One of their better songs is Clockwork On and On but at one point, I hated the intro and it just didn’t work for me. Towards the end, though the music saves the day. The music itself is a little difficult to put my finger on though they do call themselves a mix of Americana with indie rock. The way I would describe it would be country-style vocals with Americana/folk style riffs but otherwise I’m stuck.
I tend to find all songs growers or my initial reaction to each track as quite poor considered to my reaction afterwards. Proud Simon doesn’t take a straightforward path to their songs, they do different things that tend to come of as ‘weird’. Proud Simon is better when they keep things straightforward though their creativity does make them stand out for better or worse.
This album is solid, not spectacular but not everything I review has to be. Maybe this might be up your alley.
Rating: 3.5/5
Clockwork On and On by Proud Simon
One Night Stand On Cadium Yellow Avenue by Proud Simon
Paavoharju-Laulu Laakson Kukista Review
Wish I knew what the words meant . . .
The descriptors generally applied to Paavoharju’s 2008 sophomore effort, Laulu Laakson Kukista include experimental, ambient, folk, though they all apply obliquely, as far cas I an hear. This LP has everything. The second track “Kevatrumpu” moves like a muddy dance song, while the fifth is a forty-nine second score to a very short film. The online literature proposes that this ten-member Finnish band is composed of ascetic Christians, and though I might not have thought so had I failed to cross the description, I began to notice after reading it that there is a worshipful quality to the music. No, it’s not Gregorian chant; even without knowing the lyrical content (since it is in Finnish); one can assume prima facie the music is closer to Sufjan Stevens‘ orch-folk stylings.
With so many members I expected the sound to vary from track to track, and certainly this was the case. “Italialaisella laivalla” beguiles; it sounds like Leonard Cohen from the ’60s. Then suddenly the sound changes, and with flickers of electronic noises and over a bed of drone, it softly surges into the ambient spaces of Cluster & Eno. “Uskallan” begins with sounds of a baby’s cries, then a male voice takes over on the verses, singing over female counter-melodies, an orchestral chorus follows, with mechanized slurping sounds (for lack of better terms) interrupts in the internecine bits. (Yes, there are some funny moments on the album).
A brief reflection on the Finnish language: I couldn’t distinguish it from any other Scandinavian language; to me it sounded several other languages I had heard. After hearing “Kirkonvaki,” however, with what are like beautiful sirens’ voices overdubbed, some backwards, I know I need to listen to other Finnish bands.
As people have already commented, the album coheres in a strange way: with segments of sounds which slip into songs, and vice versa. What is the thread that ties, I couldn’t say, but there is an eery melodic continuity which persists throughout the album. I got the feeling that this is music meant to be listened to without any expectations. Partly the result of the language barrier an English speaker encounters, but also because the record is dense; it is the outcome of long intense contemplations on art, human relations, dreams. One need not understand the language to get a sense of how lovingly the album was crafted.
Vampire Weekend – Ottoman + Fleetwood Mac Cover
A slow day in which I should be studying instead so no weekly recaps etc. Just a quick look at the two new tracks from Vampire Weekend who just keep putting out great stuff.
First off is their cover of Fleetwood Mac’s Everywhere. I haven’t heard the original and I always hear the Rilo Kiley comparisons. The main thing to note is that Vampire Weekend is absolutely great at covers. They always add their spin to it and like covers should be, it either is better or different enough to check it out. It’s worth checking out their Radiohead cover of Exit Music (For A Film), that’s when I knew Vampire Weekend was going to be great.
The Everywhere cover features crisp vocals from Ezra Koenig (as always) but with a catchy little bass line. It just works well and they’ve made more news around the blogosphere with just a little cover then most bands.
Now onto Ottoman, originally presented by Stereogum for the movie Nick & Norah’s infinite playlist. The movie in my opinion looks like a dud, it does include a TON of songs I dig but I still think the movie looks cheesy and Michael Cera plays the same character he’s been playing for…all his movies.
Anyway enough ranting, onto the track Ottoman. The track begins with some playful string arrangement that progresses with keyboarding and then using the violin in the same beat. One thing to note is the use of “It feels so unnatural/Peter Gabriel too”. Ezra seems to be in love with that line.
It’s an enjoyable song and hopefully their next album is great because I am eagerly awaiting new material.
Peter Bjorn and John – Seaside Rock is Weird
I haven’t seen much press about the new Peter, Bjorn and John despite being a “big” band now with their Young Folks hit. I really liked Writer’s Block after a few listens and Bjorn Yttling producing for notable artists like the Shout Out Louds and Lykke Li.
Peter, Bjorn and John then announced earlier this year that they would be doing an instrumental album, I initial thought they were crazy. However when you see Bjorn’s production, you quickly see that it could be done… even if it’s not preferred as they are great at making pop songs.
Seaside Rock hit stores on September 23rd, to limited press. Not surprisingly though as most people tend to shy away from these instrumental records. It’s a little refreshing to see an artist risk a whole lot by making something out of left field. For that no matter the result of this album, I do commend PB & J for trying something new.
The album starts off with Inland Empire, with a intro much like Portishead’s Machine Gun but mixed with Bjorn’s string arrangements that you would find on Lykke Li’s album. The use of an electronic drum set is used throughout taking influences from all the place using various instruments and even adding a guitar solo mixed with trumpets/saxophones as the closer. It’s not the best song but there are things to like.
Say Something (Mukiya) uses steel drums (probably one of my favorite instruments) as well with a catchy bass line throughout the track to become one of my favorite. While I am minimally describing these songs, it’s hard to cover everything that is going on. It’s a pretty thorough album that doesn’t repeat itself for too long.
My favorite track is probably School of Kraut, since it’s upbeat and frantic in nature. It just sticks out to me even though I expect to be annoyed by the sharp sounds every 5 seconds, it really just worked for me.
There are some downsides to this album, Next Stop Bjursele, Erik’s Fishing Ship and Norrlands Riviera where we get spoken word stuff in a foreign language that I’d rather not listen to. It’s not horrendous but it’s not music. At one point where did they decide they wanted to stop doing an instrumental track? Things were pretty good up until that point.
The rest of the album is solid, Peter Bjorn and John know how to play and create music that’s exceptional. I think they just took it too far with the spoken word stuff. P.S. I agree with the P4K review for the most part except the author hating the two tracks I like.
Rating: 3.4 out of 5
Santogold – The Guvernment Performance Review
On Monday afternoon, someone messaged me asking if I wanted to go to Santogold’s performance at the Guvernment for free. Well, I do love Santogold, why not? After all, I did wait almost a year for her to be an official artist with available material. So, I drag my friend who has no idea who Santogold is (where has he been?). Most people know about Santogold because of 1) TV shows like Entourage who have used her song and 2) the M.I.A. comparison.
Santogold (nee Santi White) was part of a punk band named Stiffed before becoming a solo act. I haven’t heard the music, but I’m looking into it. Before this, Santi was an A&R rep for Epic and left to produce the 2001 Res album, How I Do (love that LP). When I found this out, I understood why I was drawn to Santogold. At the time, Res’ album was so different from everything out there and I loved it. Now listening to Santogold, I get the innovation. People can compare her to anyone they want, but no one sounds like her. Not even M.I.A.
I missed the opening acts (I kinda care, but oh well). She came on around 10:30 and performed an hour set (all her songs plus 2 covers), beginning with “L.E.S. Artistes”. Her set up was a DJ and two backup dancers/singers performing reggae/booty music inspired moves. I have to admit, I was a bit surprised at her performance. I didn’t expect her to sing EVERYTHING. I thought she’d rely a lot more on the tracks or her backup singers. But she didn’t, she sounded great and that’s awesome. It was during her performance of “Anne” that I saw her full talent. If you listen to that track (which I’ve included below), you’ll hear all the different levels she goes through with her voice. All the noise. All the notes (high & low). It’s all her, live.
The crowd was small but decent sized, which made it quite intimate (bonus). I could easily move around the place to get pics of her (ugh, my camera was acting up though). During “Creator”, she pulled people from the front onto the stage. Oh boy. I won’t get into that… but it’s nice that she can move among her fans with ease.
Jenny Lewis – Acid Tongue Review
I’m a BIG Rilo Kiley fan (even though it hasn’t worked out for me to see them live) and some would say I’m in love with Jenny Lewis (which definitely isn’t original, who isn’t in love with her?). That said I never checked out Rabbit Fur Coat, I remember my ex saying it sucked and therefore I didn’t bother with it. I definitely made a big mistake it seems as everyone who mentions Jenny’s first album includes it with some glowing praise.
I was definitely quite excited to hear Acid Tongue, her second solo album. I had to wait of course because I wasn’t important to receive a review copy like various other bloggers. I wish I could complain about the CDs being watermarked.
With Jenny Lewis’ solo effort, I was quite unsure what to expect. It well known that she used a ton of country/folk influences with her previous releases and that just seemed a bit hard to imagine.
The album starts off with Black Sand, showing off Jenny’s strong vocals that made Rilo Kiley and herself quite popular. It’s backed with a simplistic piano playing and she just shows off her skill but carrying this song. At this point I was impressed and almost giddy for the rest of the album. Solid stuff.
After awhile, I’ve come to the conclusion that the country genre just does not fit this album. It’s not country, it does have its elements but it’s more a “pop” record, the production is very tight and well refined. The quality is excellent and after doing some reading it makes sense to see Jenny Lewis comparing it to Under the Blacklight in that sense. Musically, it makes use of the piano in a more simplistic manner with country-esque riffs, along with the additional instrument such as the violin here and there. If anything, it does lack that raw feeling most people are looking for.
All the songs are solid, and they are many songs I dig. I really enjoy the track Godspeed, we get a very cute Jenny who squeaks “do” on the song throughout. It just puts a smile on my face when she sings “what are we going to do?”. She makes a seemingly small line stick out. I could go on forever on how great of a singer she is. I really liked the latter half of the album, from Godspeed on to the closer (Carpetbaggers, Trying My Best To Love You, Jack Killed Mom and Sing A Song For Them). It ends off strong.
I will admit I’m not sure I dig songs like Acid Tongue, Pretty Bird, The Next Massiah as much. I find myself not connected in any way to the lyrics. I just don’t feel the lyrics are as strong as Jenny Lewis sings them as. I wish she displayed more of that “acid tongue” like she does with Rilo Kiley’s older songs.
That’s pretty much all my gripes, I don’t like the song writing that much…otherwise I’m quite impressed and glad that I didn’t have to write a negative review (because I love her of course and the past few albums have been downers).
Pitchfork just hates Rilo Kiley/Jenny Lewis so I wouldn’t listen to them at this point. They suck with some artists in my opinion. I think this album will be well liked, if people give it a chance. It builds slowly and sometimes that happens when the latter half is greater then the first half.
Rating: 4 out of 5
Now let’s see if I get in any trouble for posting some tracks (sorry if I do):
Godspeed by Jenny Lewis
Carpetbaggers by Jenny Lewis (ft. Elvis Costello)
