Go to spectrumculture.com and spend some time there. Ignore your kids for a while.
Neko Case's voice floats somewhere between indie pop and the fringes of country music. While it sometimes sounds ripped straight from the pages of the Official Singer-Songwriter Handbook, that's not necessarily a bad thing. There's an endearing directness and simplicity in her vocal approach, and if most indie fans are being honest, they would gladly take such traditional accessibility over the overwrought stylings of Sharon Jones or the bordering-on-self-parody mangled garbling of Lucinda Williams any day. Case's voice can be comforting or foreboding, lighthearted or caustic, its smoothness used to accentuate the melodies in her songs.
All of these characteristics are again present on Middle Cyclone, the follow-up to the musician's wildly celebrated Fox Confessor Brings the Flood. It's mostly a solid and steady release, with a few standout tracks that exhibit the confident and self-assured vocals and cryptic lyrics of its predecessor. Still, the final product is somewhat disappointing. Too often the album is far too studied and reserved, with a lack of spontaneity and an excessively clean production that make it both overlong and dully repetitive.
Middle Cyclone's best songs play to Case's strengths as a vocalist and arranger; invariably, these songs favor stripped-down arrangements over the shimmering borderline mainstream pop bombast that plagues other songs. The title track is perhaps the album's finest moment, featuring Case's gorgeous vocals set against a gentle guitar melody played by long-time backing band member Paul Rigby. "The Next Time You Say Forever" augments Case's vocals with two acoustic guitars and an understated cello from Calexico's Joey Burns, and offers sentiments that betray the song's passive and pastoral vibe: "The next times you say 'forever'/ I will punch you in your face." "Magpie To the Morning" rolls along with a countrified rhythm as Case's spoken word vocals transition into one of her more memorable vocal performances, this time supported by M. Ward on guitar and hushed backing vocals from Carolyn Mark, Lucy Wainwright-Roche, and Kelly Hogan.
Yet these aren't enough to compensate for Middle Cyclone's flaws. Too many songs sound forced, overly crafted, and too precious for their own good, with textured studio arrangements offering slickness and sheen where raw emotion and breathing room should be. "This Tornado Loves You," which includes no fewer than 12 participants, is the album's most egregious offender, a swirling miasma of backing vocals, electric and acoustic guitars, strings, drums, and keyboards that sacrifices spontaneity in favor of a saturated, radio-friendly treatment that suggests its players were given little wiggle room for improvisation or going off script. This clinical precision also plagues "The Pharaohs;" not even Garth Hudson on organ is enough to breathe some life into it. Other songs precariously border on sounding like - rip it off fast like a Band-aid - Tuesday night at your local coffeehouse where every singer-songwriter is armed only with a guitar and disconcerting amounts of folkie seriousness. The humor of "People Got a Lotta Nerve" - it's either about caged animals exacting their revenge on their captors, or something far less literal - is deadened both by its AOR leanings (Pieces of You-era Jewel unfortunately comes to mind) and Case's tendency to repeat words until it grates on the listener's nerves: "I'm a man-man-man-man-man-man-eater/ but still you're surprised-prised-prised when I eat you." Two cover songs are included and are curiosity pieces at best, with a saccharine and plodding take of Sparks' "Never Turn Your Back On Mother Earth" suggesting it would have been best served as a b-side or free download.
Case's excellent songwriting and her ability to offer glimpses of a song's intentions without making them painfully obvious sometimes offset Middle Cyclone's weaker moments. While her vocal approach is usually straightforward, the lyrics are suggestive and evocative, with phrases and images - whether it's the "gunpowder eyes" of "Prison Girls" or the "diamond at the bottom of the drain" in "Magpie To the Morning" - keeping the listener's attention where the arrangements might cause it to wander. The lyrics mask some flaws but not all of them; Middle Cyclone is simply too meticulous and predictable to maintain any momentum. Its best moments exist when its songs are at their most vulnerable and unadorned. All too often, such subtlety is bypassed in favor of an army of instrumentation that, while expertly performed by a strong supporting cast, offers only technical expertise where warmth and emotion should be.
Showing posts with label New Pornographers. Show all posts
Showing posts with label New Pornographers. Show all posts
Friday, March 06, 2009
Wednesday, January 21, 2009
A.C. Newman - Get Guilty
When the frontman of an indie band with a trademark style refined and polished over the course of several releases staggers out of the gates for a solo album, the temptation is to view such a release as little more than a vanity project. Is it fair? Of course not, but it makes for an easy starting point and potentially some obnoxiously lazy music journalism. For A.C. Newman, that reference point is indie juggernaut the New Pornographers, who on albums like Mass Romantic and Twin Cinema have developed their own unique brand of catchy and infectious indie pop. Just ask University of Phoenix.
Get Guilty is the second solo release from Newman. Recorded in the summer of 2008 at Brooklyn's Seaside Lounge and featuring contributions from John Wurster (Superchunk/Mountain Goats), Mates of State and Nicole Atkins, the album is unique enough to distinguish it as something more than an incidental one-off side project. Though the musical arrangements, vocals and production techniques are sometimes overly reminiscent of the New Pornographers, overall it's a solid album that includes enough variations to set it apart from Newman's work with the band.
Of course, these similarities to the New Pornographers aren't necessarily drawbacks; some of the songs that mine the band's up-tempo mix of guitars, keyboards, drums and backing vocals are catchy as hell. Newman clearly knows how to write and record memorable singles, even if none of these songs will ever get a whiff of mainstream commercial airplay. Songs like opener "There Are Maybe 10 or 12," "Changeling (Get Guilty)," "Prophets" and "Submarines of Stockholm" wouldn't sound out of place on a New Pornographers record. Accusations of potential complacency aside - Newman certainly isn't trying to create a new musical language or deal in wild experimentation on Get Guilty - most of the album's songs are well crafted enough to excuse any excessive similarities to his work with the New Pornographers.
Nevertheless there are several subtle stylistic differences that become more apparent after multiple listens. In general, Newman's vocals sound more up front in the mix and less treated than usual; when his voice isn't layered, it actually carries some emotion, in particular on "There are Maybe 10 or 12," Young Atlantis" and closer "All Of My Days and All Of My Days Off." The album also moves at a more relaxed pace than most New Pornographers songs, with the songs also being given more breathing room to develop. Whereas sometimes the New Pornographers can drown their songs with layers of instruments - with mediocre recent album Challengers being a frequent offender - Newman instead emphasizes individual instruments this time around. "Prophets" begins with a sparse piano and acoustic guitar, "Changeling (Get Guilty)" is built around a nice piano melody and punchy background vocals, violins mark the beginning of "Young Atlantis, and "Like a Hitman, Like a Dancer" uses acoustic guitars to create a driving, insistent rhythm.
Though Newman's lyrics sometimes tend to be somewhat obtuse and open-ended, a wry sense of humor and self-deprecation surfaces on some songs. "I will die with my foot in my mouth," Newman deadpans at one point. The opening song can be heard as either mocking or playful as it promises some helpful advice, but with a catch: "There are maybe 10 or 12 things I could teach you/ After that well I think you're on your own/ And that wasn't the opening line/ It was the tenth or the twelfth/make of that what you will." Other songs (specifically the album closer) are heavy on romantic sentiment; thankfully, these songs aren't maudlin and the nausea quotient remains low.
For the most part, Get Guilty doesn't really find A.C. Newman wandering too far from his comfort zone. Its style and vocal arrangements are mostly familiar, though there are some subtle shifts that those with sensitive ears will notice. Even so, Newman's ability to write catchy songs with recurring but not overly bombastic hooks hasn't diminished in the least.
Get Guilty is the second solo release from Newman. Recorded in the summer of 2008 at Brooklyn's Seaside Lounge and featuring contributions from John Wurster (Superchunk/Mountain Goats), Mates of State and Nicole Atkins, the album is unique enough to distinguish it as something more than an incidental one-off side project. Though the musical arrangements, vocals and production techniques are sometimes overly reminiscent of the New Pornographers, overall it's a solid album that includes enough variations to set it apart from Newman's work with the band.
Of course, these similarities to the New Pornographers aren't necessarily drawbacks; some of the songs that mine the band's up-tempo mix of guitars, keyboards, drums and backing vocals are catchy as hell. Newman clearly knows how to write and record memorable singles, even if none of these songs will ever get a whiff of mainstream commercial airplay. Songs like opener "There Are Maybe 10 or 12," "Changeling (Get Guilty)," "Prophets" and "Submarines of Stockholm" wouldn't sound out of place on a New Pornographers record. Accusations of potential complacency aside - Newman certainly isn't trying to create a new musical language or deal in wild experimentation on Get Guilty - most of the album's songs are well crafted enough to excuse any excessive similarities to his work with the New Pornographers.
Nevertheless there are several subtle stylistic differences that become more apparent after multiple listens. In general, Newman's vocals sound more up front in the mix and less treated than usual; when his voice isn't layered, it actually carries some emotion, in particular on "There are Maybe 10 or 12," Young Atlantis" and closer "All Of My Days and All Of My Days Off." The album also moves at a more relaxed pace than most New Pornographers songs, with the songs also being given more breathing room to develop. Whereas sometimes the New Pornographers can drown their songs with layers of instruments - with mediocre recent album Challengers being a frequent offender - Newman instead emphasizes individual instruments this time around. "Prophets" begins with a sparse piano and acoustic guitar, "Changeling (Get Guilty)" is built around a nice piano melody and punchy background vocals, violins mark the beginning of "Young Atlantis, and "Like a Hitman, Like a Dancer" uses acoustic guitars to create a driving, insistent rhythm.
Though Newman's lyrics sometimes tend to be somewhat obtuse and open-ended, a wry sense of humor and self-deprecation surfaces on some songs. "I will die with my foot in my mouth," Newman deadpans at one point. The opening song can be heard as either mocking or playful as it promises some helpful advice, but with a catch: "There are maybe 10 or 12 things I could teach you/ After that well I think you're on your own/ And that wasn't the opening line/ It was the tenth or the twelfth/make of that what you will." Other songs (specifically the album closer) are heavy on romantic sentiment; thankfully, these songs aren't maudlin and the nausea quotient remains low.
For the most part, Get Guilty doesn't really find A.C. Newman wandering too far from his comfort zone. Its style and vocal arrangements are mostly familiar, though there are some subtle shifts that those with sensitive ears will notice. Even so, Newman's ability to write catchy songs with recurring but not overly bombastic hooks hasn't diminished in the least.
Sunday, April 27, 2008
Concert Review: Okkervil River and New Pornographers - St. Louis, MO - April 19, 2008
Somehow I had managed to convince my wife that attending the Okkervil River/New Pornographers concert in St. Louis was the best way to spend our two-year anniversary. Certainly better than a quiet, romantic dinner and a few glasses of wine. After all, if spending an April night in a packed concert club with various hoody-wearing indie fans isn’t romantic, I don’t know what is.
I understood her trepidation; she hadn’t heard anything by Okkervil River, and her knowledge of the New Pornographers didn’t extend far beyond the song “Twin Cinema” and “that poppy song that was used in the University of Phoenix commercials.”
Top that off with several failed attempts to impose my musical tastes on her (“there’s no way you can’t like this"), and several brutal Bob Dylan concerts over the years (synopsis: sweltering St. Louis summer, lawn seating, and a dancing concert neighbor sporting what appeared to be a massive case of scabies), and the possibility of a disastrous evening was very real.
But a person unfamiliar with the musical performers brings something that those familiar with the band’s music sometimes lack: objectivity and a lack of preconceived notions. Chances are very good that if you really like the band on stage, nothing short of a complete disaster (chemically-disabled musicians, abysmal venue acoustics, or Woodstock 1994) will change your opinion about that band. You’ll enjoy the songs and be reminded of why you downloaded the latest album on the sly; maybe on the way out you’ll stop at the Merch stand and buy a size medium t-shirt that shrinks to the size of a postage stamp upon first washing. Roughly paraphrased, Bob Dylan once said in an interview that he plays for the people who don’t attend every concert and who might not be familiar with or fans of his music; those Dylanphiles who roam the world popping up at every Dylan show (and they are out there, living among us, biding their time, corrupting our children…) are already converted.
Applying this concept to the show at the Pageant Saturday night, both my wife and myself largely had the same experience and opinions for both bands: headlining act New Pornographers was solid and tight; opening act Okkervil River was nothing short of spectacular.It’s not that the New Pornographers mailed in the performance; far from it. The band was clearly energetic and enjoying themselves, and there were some musical highs. The live versions of songs from their latest, and underrated, album Challengers were played well enough, even if they didn’t sound much different from the actual album version. And a cover of ELO’s “Don’t Bring Me Down” unleashed the closet pogo dancers throughout the pit. The biggest letdown from their performance is that the band and their playing almost seemed too controlled, too proficient, too note-perfect. There weren’t many rough edges or new twists: just another day at the musical office.
This impression was at least partially shaped by Okkervil River’s standout opening performance. At times quiet and controlled, and other times unhinged and wild, the band delivered one of the most memorable performances I’ve seen at the Pageant.
Cramming songs from recent albums Black Sheep Boy and The Stage Names into an hour-long set list, singer Will Sheff and the band delivered an emotional, sometimes theatrical performance that successfully communicated the themes that run throughout the band’s songs: life’s small disappointments (“Our Life Is Not A Movie Or Maybe” and “A Girl In Port”), self-inflicted endings (“John Allyn Smith Sails”), and a whole mess of ugly emotions (“Black” and “A Stone”).My wife was hooked from the opening song (“The President’s Dead) and I suspect she wasn’t the only one. The band’s music and Sheff’s lyrics didn’t so much nudge us awake as they grabbed us by the throat. After an hour that seemed to pass all too soon the band was done and left to loud applause.
Despite both being indie bands, Okkervil River and the New Pornographers are far more different than similar. With their open-ended lyrics, catchy tunes, and controlled stage demeanor, the New Pornographers are somewhat traditional. Okkervil River’s lyrics tend to be more direct and attention-grabbing, and their music often veers into various styles and tempos. At the Pageant on Saturday night, each band played to their strengths. One band was solid. The other was spectacular.
I understood her trepidation; she hadn’t heard anything by Okkervil River, and her knowledge of the New Pornographers didn’t extend far beyond the song “Twin Cinema” and “that poppy song that was used in the University of Phoenix commercials.”
Top that off with several failed attempts to impose my musical tastes on her (“there’s no way you can’t like this"), and several brutal Bob Dylan concerts over the years (synopsis: sweltering St. Louis summer, lawn seating, and a dancing concert neighbor sporting what appeared to be a massive case of scabies), and the possibility of a disastrous evening was very real.
But a person unfamiliar with the musical performers brings something that those familiar with the band’s music sometimes lack: objectivity and a lack of preconceived notions. Chances are very good that if you really like the band on stage, nothing short of a complete disaster (chemically-disabled musicians, abysmal venue acoustics, or Woodstock 1994) will change your opinion about that band. You’ll enjoy the songs and be reminded of why you downloaded the latest album on the sly; maybe on the way out you’ll stop at the Merch stand and buy a size medium t-shirt that shrinks to the size of a postage stamp upon first washing. Roughly paraphrased, Bob Dylan once said in an interview that he plays for the people who don’t attend every concert and who might not be familiar with or fans of his music; those Dylanphiles who roam the world popping up at every Dylan show (and they are out there, living among us, biding their time, corrupting our children…) are already converted.
Applying this concept to the show at the Pageant Saturday night, both my wife and myself largely had the same experience and opinions for both bands: headlining act New Pornographers was solid and tight; opening act Okkervil River was nothing short of spectacular.It’s not that the New Pornographers mailed in the performance; far from it. The band was clearly energetic and enjoying themselves, and there were some musical highs. The live versions of songs from their latest, and underrated, album Challengers were played well enough, even if they didn’t sound much different from the actual album version. And a cover of ELO’s “Don’t Bring Me Down” unleashed the closet pogo dancers throughout the pit. The biggest letdown from their performance is that the band and their playing almost seemed too controlled, too proficient, too note-perfect. There weren’t many rough edges or new twists: just another day at the musical office.
This impression was at least partially shaped by Okkervil River’s standout opening performance. At times quiet and controlled, and other times unhinged and wild, the band delivered one of the most memorable performances I’ve seen at the Pageant.
Cramming songs from recent albums Black Sheep Boy and The Stage Names into an hour-long set list, singer Will Sheff and the band delivered an emotional, sometimes theatrical performance that successfully communicated the themes that run throughout the band’s songs: life’s small disappointments (“Our Life Is Not A Movie Or Maybe” and “A Girl In Port”), self-inflicted endings (“John Allyn Smith Sails”), and a whole mess of ugly emotions (“Black” and “A Stone”).My wife was hooked from the opening song (“The President’s Dead) and I suspect she wasn’t the only one. The band’s music and Sheff’s lyrics didn’t so much nudge us awake as they grabbed us by the throat. After an hour that seemed to pass all too soon the band was done and left to loud applause.
Despite both being indie bands, Okkervil River and the New Pornographers are far more different than similar. With their open-ended lyrics, catchy tunes, and controlled stage demeanor, the New Pornographers are somewhat traditional. Okkervil River’s lyrics tend to be more direct and attention-grabbing, and their music often veers into various styles and tempos. At the Pageant on Saturday night, each band played to their strengths. One band was solid. The other was spectacular.
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