Greetings, all. To break up my writer's block (both oh here and in terms of my novel writing), I've decided to do a review of 3 albums that have been on my mind. Unlike some of my more in depth (and I suspect tiring for those of you who actually read this stuff), these will be flyovers with my overall thoughts, some tracks that stood out and a tracklist. Enjoy!
Electric by The Pet Shop Boys
For the Pet Shop Boys, this album represents at once a return to form for a band that's lacked a major hit in the last two decades, and a complete departure from their standard body of work. There are smatterings of of traditional 80s new wave, 90s europop and even dubstep. Electric feels big in all the best senses; ripe with heavy bass, catchy hooks and powerful electronic beats. There's something about this record that feels at once decidedly modern and very retro. At a short 9 tracks, it's very tight and economical. Each track has its own personality while maintaining the album's slick, club-like atmosphere. Tracks of particular note include the pounding "Axis" that opens the album, "Inside a Dream", which is one of the best tunes for night driving I've ever heard, and the duo's cover of Springsteen's anti-war anthem "Last to Die". It's a brilliant thing that such a great dance tune could be crafted from a song as heavy as Bruce's, but it manages to pull of the feat without losing any emotional resonance.
While each track is an experiment in the versatility of the electronic genre, not all of those experiments succeed. "Love Is a Bourgeois Construct" is every bit as pretentious as it sounds, while PSB's collaboration with rapper Example on "Thursday" loses the momentum carried throughout the rest of the record. The buzzsaw/dubstep track "Shouting at the Evening" isn't exactly a winner either. Ultimately, this album succeeds when it keeps the BPM as high as possible, and falters when it becomes more retro than future. While there are enough missteps here to prevent it from being a must have record, if you have any interest in electonica, at least 6 tracks will be worth an outright purchase. Even for those with only a passing enthusiasm, it's worth a listen.
Tracklist
*indicate my favorite tracks
While each track is an experiment in the versatility of the electronic genre, not all of those experiments succeed. "Love Is a Bourgeois Construct" is every bit as pretentious as it sounds, while PSB's collaboration with rapper Example on "Thursday" loses the momentum carried throughout the rest of the record. The buzzsaw/dubstep track "Shouting at the Evening" isn't exactly a winner either. Ultimately, this album succeeds when it keeps the BPM as high as possible, and falters when it becomes more retro than future. While there are enough missteps here to prevent it from being a must have record, if you have any interest in electonica, at least 6 tracks will be worth an outright purchase. Even for those with only a passing enthusiasm, it's worth a listen.
Tracklist
| *1. | "Axis" | 5:32 |
| *2. | "Bolshy" | 5:44 |
| 3. | "Love Is a Bourgeois Construct" | 6:41 |
| 4. | "Fluorescent" | 6:14 |
| *5. | "Inside a Dream" | 5:37 |
| *6. | "The Last to Die" | 4:12 |
| 7. | "Shouting in the Evening" | 3:36 |
| 8. | "Thursday" | 5:02 |
| 9. | "Vocal" | 6:34 |
Fourth Corner by Trixie Whitley
R&B, as a genre, has something of a formula problem. Of all the charting, popular music out there, only Nashville country has seen less evolution. And since that principle has essentially held true since the 90s, it makes R&B somewhat boring to listen to regularly.
So when someone tires to breath some fresh air into it, it's always welcome. That is exactly what Trixie Whitley's Fourth Corner seeks to accomplish. And for at least half the album, it succeeds brilliantly. Whitley brings a sultry, smoky voice to her recordings with an edge of passion and anger that hearkens back to Nina Simone. And while that's all well and good, the real magic here is in the instrumentation behind her. Distorted guitar riffs and broken melodies that would be more comfortable on a Tom Waits record than an R&B one fill half of the album. There's a certain stylistic flair that, combined with Whitley's outstanding vocals, creates a magical, theatrical atmosphere that I've never heard in this genre before.
It's fascinating stuff, which makes the other half of the record all the more disappointing. While tracks like "Irene", "Never Enough" and "Hotel No Name" feel like experimental leaps forward for R&B, others such as "Pieces" and "Breathe You in my Dreams" play it strictly by the book. Not only does that mean that the more conventional tracks steer toward mundane, but it breaks the dusty, frustrated, tense atmosphere that the rest of Fourth Corner builds. It's jarring.
Where this record is hot, I adore it, but where it cools, I could skip it entirely. It's hugely disappointing, given how exciting some of the ensembles were in the first couple of tracks that I heard. I recommend checking it out, simply because Whitley is doing some extraordinary things with her genre here, but I can't help but walk away from Fourth Corner feeling disappointed. I expect great things from Whitley in the future, but this record just feels like a letdown.
Tracklist
| *1. | "Irene" | 4:03 |
| *2. | "Never Enough" | 3:41 |
| 3. | "Pieces" | 4:39 |
| 4. | "Need Your Love" | 3:34 |
| 5. | "Silent Rebel PT 2" | 4:44 |
| 6. | "Breathe You In My Dreams" | 4:20 |
| *7. | "Gradual Return" | 3:42 |
| *8. | "Hotel No Name" | 4:13 |
| 9. | "Morelia" | 4:50 |
| *10. | "Fourth Corner" | 4:38 |
| 11. | "Bolshy" | 4:08 |
Nomad by Bombino
For those who slogged their way through the last two reviews, I have some good news for you: I've saved the best for last. Omar Moctar, better known by his stage name of Bombino, hails from the Sahara regions of Algeria and Lybia. His last album, 2009's Agadez, caught the attention of major label Nonesuch Records, and Black Keys front man Dan Aurbauch, who released and produced Nomad, respectively. If you haven't heard of him prior to reading this, go to Youtube and fix it immediately. Obviously if you're reading this, you have a working internet connection, so there is no excuse not to. Go. Now.
I love this record. I love every winding, foreign, snaky minute of it. Nomad represents the best of the traditional music of the Western Sahara combined with the best goddamn American blues played on a guitar since the heydays of Zepplin and Hendrix. Throughout the album, Bombino plays an extremely engrossing, proficient blues guitar that positively sings. His shredding riffs are backed by a rich mix of traditional Sahara percussion instruments, creating instrumentally deep songs that beg you to turn the music up and drown in their complexity. Each layer of Bombino's music gets to shine, thanks to Aurbauch's slick production value, and every track feels polished and radio friendly. Tracks like "Niamey Jam" are high speed and entertaining, while others such as "Azamane Tiliade" have a burning intensity to them. Even songs such as "Imidiwan" and "Tamiditine", that put less emphasis on the guitar, work beautifully. Each of Nomad's 11 tracks is stellar.
My only regret about this album is that I can't understand Bombino's lyrics. I'm told, by people who can speak Arabic, that they are informed, intelligent and passionate, which makes it all the more disappointing that I can't follow the lyrics. But the beauty and skill that Bombino's music exudes is powerful enough to stand on its own. This is a fantastic, perfect record that I want everyone to listen to. For your convenience, I've linked every song I could to a Youtube video containing it, so please go check it out. Help give Bombino the success he so rightfully deserves!
As a side note, Aurbauch has put his production seal on artists like Dr. John, Grace Potter and now he's introduced Bombino to me. I'm going to start paying closer attention to the stuff he endorses, because goddamn if he isn't building a good stable of artists.
Tracklist
As a side note, Aurbauch has put his production seal on artists like Dr. John, Grace Potter and now he's introduced Bombino to me. I'm going to start paying closer attention to the stuff he endorses, because goddamn if he isn't building a good stable of artists.
Tracklist
| 1. Amidinine 5:29 |
| 2. Ahulakamine Hulan 3:02 |
| 3. Azamane Tiliade 4:07 |
| 4. Imuhar 3:49 |
| 5. Niamey Jam 2:38 |
| 6. Adinat 2:31 |
| 7. Her Tenere 4:18 |
| 8. Imidiwan 2:58 |
| 9. Aman 3:59 |
| 10. Zigzan 3:55 |
| 11. Tamiditine 4:41 |
Final thought: I don't rate albums, and that's a deliberate effort. I feel that putting a hard rating on records that have complex ups and downs diminishes my ability to dissect them. That said, I know people like them, and it might make it easier for readers who may want to browse my blog to get a highlights reel. What do you think? Ratings or no?
