Cloud Nothings - Attack on Memory

Dylan Baldi is a 20-something kid who has been recording rad tracks under the name Cloud Nothings like Can't Stay Awake and Leave You Forever since 2009. Baldi's incredible knack for crafting a tune shone through the shoddy production quality on 09's Turning On and 2010's Leave You Forever EP. Cloud Nothings' intense fuzz and jangly guitars instantly grouped them in the ever-growing pool of "lo-fi" artists, also known as bands that for some reason object to using good microphones. In several interviews,Baldi expressed his distaste with the image that has quickly become associated with his work. Thus, after a successful and really tasty 2010 self-titled LP, a strange album has been brewing. This strange album is Attack on Memory, an 8 track 30 minute LP that, as Baldi himself puts it, conveys a message: we are not a "lo-fi" band, stop calling us that.

Look no further than the opening seconds and the transformation is clear. The opener, No Future/No Past is a real stunner. How a groovy kid like Baldi with such an ear for a tune could craft something this dreadful is beyond me. The opening track has got to be one of the hardest things I have ever tried to listen to (and keep in mind, this has been on repeat for a few days). Devoid of static and around a fourth of the tempo of a classic Cloud Nothings track, No Future/No Past is a sort of slow-dying tune in which not one note is in tune. It's not "rad," "punk," or "making a statement," it is much more than that: No Future/No Past is a full-fledged assault on your ears that genuinely hurts to listen to. It's safe to say I was a little nervous after hearing the first track.

A decent eight minute track picks things up. It sounds like Baldi has stopped recording on his MacBook microphone and has amped up the production (legend Steve Albini was called in for the job). However, the album finally has life in Fall In, the first really attractive song on the album. There's a catchyashell chorus, then they rock out, then they come back to the chorus. You really can't ask for more from Cloud Nothings; Fall In draws you in with a killer hook, knocks you back with a hard guitar line, only to bring you right back. The mediocre beginning continues to be left in the dust on Stay Useless, another great track on which there's sufficient amounts of experimentation with some good results.

After the crazy journey that is the first four songs, there's only a bit left, 12 minutes to be precise. Separation, a strange instrumental is followed by more dissonant vocals on No Sentiment, a dark horse track in Our Plans, and finally a cute closer, Cut You.

All in all, one could argue that Cloud Nothings achieved their goal with Attack on Memory; no one will ever call them lo-fi shoegazers again. However, Baldi seems to have sacrificed good music for the sake of conveying his message. No Future/No Past is absolutely dreadful, Separation hurts at times, and No Sentiment is perhaps the definition of mediocre. So what use does a message to your critics have if it's too painful to listen to?

Baldi is a great songwriter, next time he should just let his music do the talking.

-Owen

New Segment - Charlie Reviews!

We've got a new member, and his name is Charlie! I'm launching a new segment for the blog called "Charlie Reviews", where I have my dog listen to a song and give his opinion. I'm thinking it'll either be a weekly thing, or I'll do it every other week, we'll see. But for now, check out his first review below of the new single by The Shins, from their upcoming album 'Port of Morrow'.

-Julian

Review: Of Montreal - Paralytic Stalks

Kevin Barnes is often one to over-complicate things, but in the funnest way possible. This comes through in pretty much everything. The song styles, their structures, their silly yet sharp lyrics, their titles ('Exorcism Breeding Knife'.....?), his live performances, even the album covers. I sometimes found his songs to be a little too hectic for my liking, but nevertheless they are catchy as hell, and his vocal chords are a gift from god.

A couple years ago, Kevin took on a more simplistic style with False Priest. On Paralytic Stalks, he pretty much goes all-out on the wacky instrumentation, while concentrating more on adding layer upon layer of sonic mayhem. There is quite a bit more of experimentation too, which is understandable, except on a track like the accurately-titled 'Exorcism Breeding Knife', it comes off as less of experimentation, and more of an incohesive, distorted mess. It even starts to come off as a little self-indulgent.

The album even starts out in a confused jumble with 'Gelid Ascent', until it breaks out into a sonically-distant, but generally pleasant tune. It then segues into slightly more familiar territory with 'Spiteful Intervention', a messy yet fantastic track. It continues with the much more familiar 'Dour Percentage', which actually turns out to be the least convoluted one here. 'We Will Commit Wolf Murder' is another pretty good track, where he actually hints at his bizzare lyrics;

"....into some ancient reptilian form like an agnostic transubstantiation."
"I don't know what that is."
"Use your imagination!"

A couple decent tracks go by and before we know it, we're confronted with a series of unnecessarily-long experimental tracks before it ends with a relieving couple minutes of Kevin and a comforting melody from an intimate-sounding upright piano.

Paralytic Stalks is kind of like a tasty birthday cake, only covered in a mess of sugary sweets, mounds of colorful toppings and multi-flavored frosting, to the point where it just starts to make you sick. There are some delicious melodies there, you just have to find them under the layers of sugar.




Tracklist:
1. Gelid Ascent
2. Spiteful Intervention
3. Dour Percentage
4. We Will Commit Wolf Murder
5. Malefic Dowery
6. Ye, Renew the Plaintiff
7. Wintered Debts
8. Exorcism Breeding Knife
9. Authentic Pyrrhic Remission




-Julian

Review: Hipocrite in a Hippy Crypt - Freak Me Out EP

It's hard to get by with a name that makes you roll your eyes like that. And I'm sure that anyone would hate me to start a review of their album like that, but I felt the need to address it. But don't let the name fool you, for within these lo-fi, guitar-driven tracks lie bright melodies, thought-provoking, interesting lyrics, and tasteful song structure.

Earlier this year, this Indiana-based musician released an EP entitled 'Tweaker in the Park' (the names only get better), which had one of my favorite tracks of the year called 'The Town Crazies', and I somehow managed to skip over reviewing it. That track had more or less what's given here, except on this EP, I feel like i'm missing that catchy electronic beat that that track has. Also, I feel like he's being a bit lazier with the lyrics here. But nevertheless, that tracks are still catchy as hell, and each have their own feel to them. The title track is clearly the leading tune here, with its upbeat melody and not-so-upbeat lyrics. The next track, Digression, is more of a progressive track that pulls you in with its repeating melody and drums that roll along smoothly with the guitar strums. This is definitely my favorite of the three. The last one, Missed It, sets a slightly darker tone at the beginning with the singer's voice inflection that's very reminiscent of Doug Martsch in the earlier days of Built to Spill. Luckily, the dark tone is quickly lifted by a vocal harmony, and the humble guitar solo towards the end.

What this EP is missing is just that extra kick, perhaps in the form of an electronic beat, or maybe even a brass section, I don't know. That seems a bit silly, but hey. Anyway, you can download the EP for free on his bandcamp page, and I suggest you do. I can't wait to see what this guy has in store in the future.




-Julian

Feist - Metals

Beauty exists in many forms in our society. We are frequently bombarded by media that is designed to inspire within us one specific reaction. Although any piece of art that fails to inspire any response whatsoever is arguably a waste of time, too frequently we are told how to respond to a piece of art. It is too often that we hear a song that crams its sadness down our throats, for example, to the extent that we cannot listen to this song without feeling this reaction. Although this bludgeoning may be useful in short exposures to convey simple emotions, this style of media is helpless in any attempt to express anything deeper. For instance, while Randy Randall and Dean Spunt of No Age can draw out your inner 17 year old punk and make you do your best to resist banging your head in less than a minute with their high powered vibes, can any three minute song truly force you to be in awe?

Thus, it requires something more special to be truly beautiful. True beauty is not something that can be shoved in your face. It may not even be something that is immediately evident. Ladies and gentlemen, let me present Feist. On her fifth full length Metals, we witness a subtle beauty, one that feels no need to flaunt itself.

Feist has been recording for more than 12 years now. After a few years spent bouncing around Canada covering old Bee Gee’s tracks, the Canadian singer-songwriter started releasing her own material. As early as 2004, Feist was releasing tasty music videos, something that, to this day, she continues to do. A cute cover of fellow-Canadian Ron Sexsmith’s Secret Heart earned Feist fair amounts of attention. Apple picked up on the first single off of her 2008 release The Reminder, and before anyone blinked 1 2 3 4 was officially “that iPod commercial song.”

Before I can say anything about her latest album, Metals, I must pay homage to this singer’s voice. Feist has perhaps the single most recognizable voice of any contemporary female singer. Her vocals effortlessly rise and fall with minimal accompaniment. She coyly teases you into The Circle Married the Line, while she knocks you back in your seat with a stunning performance on How Come You Never Go There. Her voice approaches and falls back into the instrumentation like a constantly shifting tide; you only need to feel the gentle foam rolling up the beach to know there is a powerful ocean behind it. However, with such a delicate vocal performance, Feist sounds best when the music drives the song; the strong instrumentation pushes Graveyard forward, one of Feist’s best songs to date. Although Feist loves to tug you through her songs with her voice alone, she does not acheive the same success of Get it Wrong, Get it Right and Cicadas and Gulls on each attempt. Feist is at her most vulnerable when she leads the music with her vocals alone. Bittersweet Melodies, altough beautiful, could use a bit of a kick in the pants to drive it forward. You could also find her guilty of lilting a bit too much on Anti-Pioneer as well.

However, what I love most about Metals is that no song feels like a throw-out. All 50 minutes of the record are well conceieved and laid out beautifully in front of us. To return to what I was discussing earlier, Feist does not overemphasize the beauty of her work. She lures you into each song, encouraging you find your own emotion between soothing organic instruments and stunning vocals. Having a totally unique experience with each track is an experience not many artists can provide. While her lilting vocals may lose you at first, the imperfections are just too beautiful to complain about. Sometimes thirlling, occasionally boring, but always gorgeous, Metals is well worth your listen.




- Owen