Garage Land Feature: Impressions of Impressions Vol. 1
Thought I’d take a new approach to reviewing some albums; partly because I’m listening to way too much to give each the full, comprehensive review I’d like, and secondly, because it’s nice to try new things.
For each entry, I will be putting down some thoughts and impressions I’ve had after listening to each for anything ranging from a small while to a couple of times through. As always, thanks for reading and comment your own thoughts below. But nicely. YouTube trolls are not welcome (unless hilarious).
The War on Drugs- Lost In The Dream (2014)
Adam Granduciel’s issues with depression and anxiety flow throughout this record so prominently it’s as if the needle on your record player itself was made of some not-so-nice stuff. From opener ‘Under The Pressure’, we are exposed to the expansive musical landscapes of where exactly his mind was during the recording of this album. It’s daunting and hard to gauge; what emerges is an album less concerned with songs, as we recognise them, than with a mental portrait. Granduciel’s influences are all there, though run through a crucible from which none emerge fully intact; with Granduciel’s Bob Dyan-esque whines flitting in and out, Lost In The Dream is a difficult piece to engage with. I can only take a stab here and say it will be rewarding in the long run, but at the moment, I’d save this one for a rainy night when it can occupy your attention. The songs don’t really lend themselves to any other type of listening. As with most things, this is equal parts good and bad.
Is It Worth Listening To: As one of 2014’s most highly regarded releases, yes. As something to enjoy? The jury’s still out.
Shellac- Dude Incredible (2014)
I’ve always been familiar with Steve Albini, albeit more his production contributions that his musical pursuits. I’ve very briefly been exposed to Shellac before, so I picked this one up without many expectations or pre-conceptions. I’ve listened to it all the way through twice now, and I feel I can say that it’s totally awesome. From the lopsided and hard grin of the self-titled opener, it adds a fresh and essential new entry to the canon of “post-hardcore/punk/somethingorother”. ‘Riding Bikes’ is really the must-hear track though, both for it’s own merits and as an indicator of the album’s sound. Patient, menacing and brooding, before all hell breaks loose- except instead of the usual guns-blazing manner, it’s quiter and infinitely more effective. From Albini’s drowned out wails to the stop-start of the instrumentation, it’s a fine moment in an already prestigious musical career. If you’ve ever heard In Utero, Surfer Rosa or especially the Jesus Lizard, you owe it to yourself to check this out. Easily one of the best albums this year.
Is It Worth Listening To: Definitely. Albini takes abrasive noise rock and lends it a voice that you can follow. Highly recommended.
Cloud Nothings- Here And Nowhere Else (2014)
I gave Cloud Nothings my first try after reading some rave reviews for their latest, Here And Nowhere Else, though I have to say the final result was somewhat disappointing. While the album functions well, and presents some clarity to it’s well worn “hardcore” standing, I was left wanting more. The vocals aren’t as drowned out as they want to be, but the words were still murky and, in my opinion, unremarkable: “I go outside and see all these things that should be real”. Though by no means is it a bad album, it’s simply not anything I haven’t heard before, either directly (Pinkerton) or by proxy (Black Flag). I wouldn’t even call it mediocre, as its still well above some of the crap I hear, but there’s still a long way for this band to go in terms of pulling together something more original before they’ll warrant the attention they’re receiving.
Is It Worth Listening To: If you’re bored of your iTunes library and want to hear something new, then you could do a lot worse than this. If you’re listening to stuff you really love, maybe keep this one in the “maybe” pile.
Foxes in Fiction- Swung From The Branches (2010)
Warren Hildebrand is a guy I’d love to have a few drinks with and pick his brain. I decided to check out Foxes in Fiction’s previous release before listening to their new one, to acclimatise myself to what I read was a fairly different sound. The phrases “bedroom pop” and “dream pop” appealed to me, though didn’t really prepare me at all for the album itself. Swung From The Branches opens with a series of songs (if that’s what you’d call them) that play like a score from a film. No discernible song structure, more like an artwork done in incredibly broad strokes; it’s less of an image than an idea of an image. If that’s confusing, that’s because it is. The album does open up however, though very slightly. It let’s up after around 7 or 8 tracks and while any traditional songs are still not present, you begin to understand it, just a little better. If all of this sounds incredibly vague and ambiguous, then I’ve explained it pretty well. Despite the lack of any sort of value judgement, my personal opinion is that it’s a very interesting listening experience. While it’s definitely not for everyone, it’s less ambient than an active soundtrack to your own life. Walking to the train station or waiting for a bus, the music feeds into your mood and alters it in accordance with what it’s trying to express.
It’s strange, it’s far away yet immediate, and above all, it’s original.
Is It Worth Listening To: While all articles of this nature are subjective, this one is even more so than usual. If you’re open to some different interpretations of music and what is can involve, this is a good place to visit.
Mikal Cronin- Mcii (2013)
I’ll come right out and say it: I fucking loved this album. Still do. It’s one of the singular instances I’ve had of putting on an album, and being totally infatuated with it before the first chorus even hits. Ty Segall’s frequent collaborator and touring bassist has created a piece of music that stands proudly and very far from the fuzz-driven haze that he’s become known for. Mcii is an incredibly personal album, though with the very best of that tradition, its highly open and very relatable to young adults. Fear of the future, growing up, how to commit and how to adapt to those changes inform Cronin’s very passionate and mature consideration of issues we’ve all faced, or will face. That’s a lot on just the themes of this album.
The music? Holy Santa Claus shit. It’s beautiful. I’d use the term “power pop” but I hate the connotations it invokes. Cronin notes that he learnt the power of a distortion pedal from Segall, and the way he uses it here- sparingly, forcefully- elevates the already stellar arrangement and song writing to a higher level. When that power hits in the chorus, you feel it. With some super catchy riffs, and some absolutely great pop songs, Cronin comes into his own artistic sphere where he succeeds so wonderfully at realising his own vision, and just how good he is at what he does. I could say so much more but ultimately I would just urge you to listen to it. It’s accessible and pleasant, and there’s a lot to love.
Is It Worth Listening To: Yes. (duuhhhhhh)