Review "Poison and Snakes" by Liz Janes (2004)
By kadry afifi | May 20, 2008
The gifted and beautiful Liz Janes is unitary of those singer/songwriters wHO definitely merit more recognition. Sure, her stuff whitethorn be pretty different and hard to categorize because of its "weird-indie" flow, but with a few listens most should be able to apprize the practiced and knavish songwriter she is. Having not heard her first album, I had no idea how unique this album was going to be. I could tell I was into some real talent here after hearing the first track "Wonderkiller," which started off as a psychedelic, well-nigh Hawaiian-like lay that randomly burst into heavier moments with distorted vocals and a strong horn section. However, it was her more eudaemonia songs like the unrestrained, new wave-ish "Streetlight," which sounded like an subway system gem from the 80s, and the tempo-changing "Go Between" that I really dug the most. Janes does have her somewhat-normal acoustic singer/songwriter moments like "Ocean" and "Baby Song," and she sounds but as good on her acoustic old school country moments like "Poison and Snakes" and the sloughy "Deep Sea Loon," which kind of sounds like a rummy singalong (in a upright way of course). I also appreciated the weird moments like the highly-uncoordinated "Sets to Cleansing," the relaxing and atmospheric mood-setter "Desert," and the sudden acoustic-to-electric,
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Review "Flowers" by Echo and the Bunnymen (2001)
By kadry afifi | May 19, 2008
I stirred to California in the mid 80’s and was instantly flooded by waves of music that I never knew existed–couched as I was in Radiocommunication Free Beehive State. Echo, along with The Smiths and The Cure, were portion of the new British triumvirate that I fell in love with. Of the big three Echo was my favorite. Ian McCulloch is definitely the most amazingly natural frontman that I’ve ever had the pleasure of beholding live. A more mesmeric presence than Morrissey and Robert Smith, even though those two have gone on to greater renown.
Throughout the major shifts of public favor, from Rap to Grunge and beyond, Mack and the Bunnymen have stuck to their original vision and have continued to produce an astonishingly consistent body of exploit. Flowers continues this tradition with an album that would suffer sounded just as at home in ‘84 as it does to me now 17 years closer to my grave.
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Review "Cross" by Justice (2007)
By kadry afifi | May 17, 2008
Comprised of two Daniel Chester French gentlemen named Gaspard Auge and Xavier de Rosnay, Justice ar one of the hottest and most buzzed around new Electronic acts in the music genre today. Their remixes for the likes of Franz Ferdinand and countless others have made them highly sought after for their production knead, but somewhere along the line they made time to drop their debut record Cross.
It’s no surprise that this French duo would choose to take cues right out of the Daft Punk playbook which they do at times, but more often than not they’re more redolent of the party per second Basement Jaxx. Unluckily, Cross doesn’t come anyplace close to being half as interesting as the best works from those two legendary groups.
Cross does begin out interestingly enough. Album opener "Genesis" sounds like Michael Jackson’s "Thriller" mixed into a Crystal Method blender and "D.A.N.C.E." is as good as anything The Go! Team came up with on their debut a few long time back. "Valentine" is a mellow little synth ditty that would fit out right at home next to Wendy Carlos’ work off of the A Clockwork Orangeness soundtrack. Other than those tracks however, Cross starts to hushing into caverns of wandering and obnoxious tedium. I have the same problem with Cross that I do with Ratatat’s last album and that’s that everything starts to run into unrivaled another and every raceway sounds the same with hardly whatsoever distinction. Likewise, "DVNO" sounds like the biggest LCD Soundsystem rip-off; so much so that I wouldn’t blame James Potato if he wanted to consider legal action. If you want a great Dance/Electronic record and you still haven’t picked up the new LCD Soundsystem yet then that’s where you motivation to start. I lav definitely see the potential that Justice displays, I just don’t think that Cross does them any . . . well you get the idea.
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Review "Audioslave" by Audioslave (2002)
By kadry afifi | May 15, 2008
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Review "Hail to the Thief" by Radiohead (2003)
By kadry afifi | May 15, 2008
June tenth. Thats when quite possibly the to the highest degree influential bands in the last 10 years will drop their new release Hail to the Thief. Many ar curious Im sure, which Radiohead to expect–the one who rocked ferociously on The Aeroembolism, and O.K. Computer, or the one wHO all just abandoned conventional music on Kid A and Amnesic? The answer to that question is both. Thief opens with a song called 2 + 2 = 5 which starts with vocaliser Thom Yorke repeating the icy Child A-esque litany "Jan brings Apr Showers, and two and two ever makes a five." And scarcely when he strains the words "its likewise late at once…." Radiohead burst into the near rocking song Ive heard all year. Guitars ar everywhere. And Thom Yorkes voice is not only audible, simply once once more crafting the kind of melodies wed come to expect earlier his prolonged hiatus into the realm of observational mumbles and howls.
Youre not sledding to get wind a song like "Fake Plastic Trees" on Thief, only it represents a strong return to form even so. Tracks wish "Go to Sleep," "Where I End and You Begin," and first unmarried "In that respect There," are identical OK Computer. They ar trying new things too, which I have to commend. "We Suck Young Blood" is very Tom Waits with freakish handclaps and strange vocals, and "A Woman chaser at the Door" even finds Yorke rambling like a ethnic music rocker. Both Kid A and Amnesic had their moments, only Hail to the Thief is like recovering something very valuable that had been stolen.
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Review "Anything" by Martina Topley-Bird (2004)
By kadry afifi | May 14, 2008
After waiting almost an entire yr for an American label to realize the beauty and stylised grace of British siren Martina Topley-Birds fantastic 2003 debut Romantic, Palm Pictures has released Anything, a reworked and rehauled interpretation of Romantic that truly rapes euphony fans and then robs them of a wild album. Topley-Bird, as you may or may not remember, was Trickys muse for the trip hop classic Maxinquaye, plus she also lent vocals to the follow-ups, Nearly God and Pre-Millennium Tension. Topley-Birds vocal stylus is identical similar to other nymphets in the trip hop genre approaching very shut to a mix of Beth Gibbons formerly of Portishead and Louise Cecil John Rhodes from the extremely below appreciated Lamb.
Its non that Anything is a "terrible" release, far from it. In fact, its just that Anything is near completely forbidden of sequence from the original Wild-eyed album, and three tracks have been deleted. And its not as if these tracks were filler, they were actually very good. The organ and trumpet swing of "Lying," the rapid guitar transaction of "I Wanna Be There," and the Catchy produced "Stevies (Days Of A Gun)" are all missing in action. Besides the gaudy intro that starts off the record album is funnily positioned at the end of the album now, which is ridiculously upsetting, because wHO needs a one hour and football team second presentation at the end of an album? And as a last insult, "Need One" which follows right on the heals of this jazzy preliminary and causes the record album to explode into life courtesy of Josh Homme and Fall guy Lanegan (Queens of the Stone Geezerhood - do these guys ever nap?) now comes third, and feels identical out of place now following a trip hop dancehall layering of Ragga.
Topley-Bird is definitely a vocal talent that deserves recognition in her own right, simply considering the perfection of Quixotic its reimagining in the shape of Anything is whatever thing "but" the introduction we should be getting. If you dont have memory access to imports, then Anything is emphatically the direction to go. But if you want a fuller richer experience with this sure-fire natural endowment, hunt mastered and shell out the extra money for Quixotic.
I agree that the US adaptation of this record is atrocious, simply to render it a 2.5 is release to give people the impression that its non a groovy album still, and that they should skip checking her
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Review "Songs for the Deaf" by Queens of the Stone Age (2002)
By kadry afifi | May 12, 2008
Like some kind of miraculous cross between Fleece Zombie and Grand Funk Railroad, Queens of the Stone Age are interested in cypher but rocking your fillings loose. As the popular PGA verbalism goes these guys ar all nearly "grinding it out." Theyre the new day equivalent of riding in a Camaro with your partying High School buddies hearing to Deep Purple as loud as your speakers could handle.
Along for the ride is the lovable ex-Nirvana skinster and erstwhile Foo Fighter Dave Grohl on drums, and Mark Lanegan (Screaming Trees) providing additional vocals. This is neo-traditional Heavy Metallic element music with none of the pretentious trappings. No hairspray or genital prosthetics, just some seriously loud, straight forward kicking of ass. This is a record that will challenge your eardrums, your sub-woofers and your right to claim that youre non a doormat.
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Review "The Nudes" by Pele (2000)
By kadry afifi | May 10, 2008
Consisting of Chris Rosenau, Jon Mueller and Lustrelessness Tennessen, Pele is a quazi-jazz deuce-ace that is kind of a light version of Martin, Tedeski and Wood. This is instrumental jazz that is a well bit more newcomer-friendly than the hard-core jazz improvisation of MTW. Jangling, jazz musings that are amalgamate with prog-rock touches that recall King Crimson and alternative flavour that fans of Dave Matthews would appreciate. Nine-spot pieces that feature the magical interplay of instruments reminiscent of early Yes, and the reckless tittup of the Meat Puppets.
This platter definitely falls under the category of music for musicians, simply it blurs enough boundaries to broaden its attract beyond the commercial graveyard. Really wise stuff. Break it out.
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Review "Smile" by Brian Wilson (2004)
By kadry afifi | May 8, 2008
A confession: I had to get a number liquored up to write this review. Why? Ill tell you - because Brian Wilsons Smile is a miracle, and genuine miracles are daunting, if not impossible, to face. Im non talking about a "Giants win the pennant" type miracle. This is more a " turning water into wine, healing the subterfuge mans eyes with clay. Ive ne’er been a lot of a believer in such things, but I now believe to my soul.
How do I begin to describe the effect of this masterwork? I think as sound a place as whatsoever would be my reaction upon hearing the number one ten seconds of Smiles "Heroes and Villains," a tune that Ive listened to many, many times before in its previous incarnation, recorded at the tail end of the 60s - goose-bumps, hair on the back of my neck opening standing at attention - thats the only way I canful characterize it. Here we have Brian Wilson, a man, an artist, that at this point to the highest degree of us believed could barely necktie his have shoes, recreating a musical glory first committed to tape almost forty age ago. And, not just getting it done, just doing so in a manner so true, so right, that it transcends mere autotype. Sure, hes got some obviously talented cohorts performing as accoucheuse (major extolment to the Wondermints, Wilsons backing set here), but no one could, or would want to, hold away from Wilsons accomplishment in complemental his long-delayed magnum musical composition.
Make no mistake, that achievement would have been a remarkable thing, whether it had been released in Wilsons 66-67 visor, or here in 2004. The music on this album is absolutely breathtaking. The compositions that Edward Osborne Wilson created during a mental breakdown that followed in the awaken of a fierce musical competition with Paul Paul McCartney, incorporate everything from Aaron Copelands sweeping scope to Pilgrims Advancement to, well . . . the Beach Boys transcendent harmonies, and far beyond. Here it is, 37 years past tense its originally planned release date, and this album is still stunning in its breadth and depth. How whatsoever album could be so surprising in the era of post-punk, post-rock, post-whatever-the-hell else, is hard to even perceive.
Any attempt to sum up the albums skill ends here: Smile is a conception album that transcends its concept. Although we know, from Wilsons own comments, that he wanted to produce an album that summed up the American experience in the way that the Beatles work was often uniquely "British," he really achieved that and more. His tools in this act were often well-nigh exclusively musical. Though his collaborator, Vanguard Dyke Rosa Parks, supplied lyrics that, in the most oblique of terms, captured Wilsons purport, the real message comes through in the development of melodic themes; restated when seize, always built to resonating climaxes. Nowhere is this more evident than on the albums mid-point spiritual high, "Surfs Up." In a arresting example of the notion that context of use is everything, the song draws immeasurably from the crescendo that is formed during the "Song for Children/Child is Father of the Man" potpourri, leading into a fundamental instrumental overture that only a song as ingenious as "Surfs Up" could justify. For anyone aware of the sung dynasty from its previous inclusion on the album of the like name, it is unsufferable to deny that "Surfs Up" here wager a claim to wideness that was simply beyond its get hold of in its previous, lesser company. The same is certainly true of the other familiar tunes herein. Give a listen to the splendid recreations of "Cabin Essence" and, perhaps near remarkably, "Good Vibrations," and gape in wonder.
In the terminal, consider this: imagine Alice Paul McCartney trying to re-create "Sgt. Peppers," here and now, without the assistance of John Lennon, and utilizing his voice as it stands today. Imagine it somehow being every bit as nifty, and important, as the original, and perhaps substantially more poignant. Out of the enquiry? Absolutely. Today imagine that he had achieved just now that. What would we call that, if non a miracle?
I would buy this CD just from reading this review. Whether Id ever heard of Brian Wilson or not. I wasnt aware that it had been released and my brother called me to ask id I had it, Ill be smiling tomorrow.
All I can say is that Kyle England needs to ammend his best of list to reflect some recent releases because this dudes got it right this album is a miracle and there aint been whatsoever other miracles this year.
Brian Alexander Wilson has put a smile on my face that would accept to days advance notice to rub off - God bless that outre genius
While I agree with this review, I mustiness add a comment around the lyrics. Van Dike Parks lyrics are plainly bad. He seeks to evoke a time and place that dont exist anymore (I believe they were written in the 60s). Im not sure they ever existed outside of his mind. Vague and ornate at the same time, his lyrics frustrate each time I listen to this album. The inspection focuses capital attention on Surfs Up. That song is the "center" of this album, simply the lyrics are deep and, frankly, annoying. I do dear Smile, and I would also pay it 5 stars. Just…it is not in the same league as Pet Sounds. Parks lyrics succeed in distancing the listener from the guinea pig matter–all we are left with is amazing melodies. Its enough to win me over, but I must call a nigra a spade: Van Butch Parks is an atrocious lyricist. My final piece of evidence is that Tony Asher wrote the lyrics for Good Vibrations–arguably the best song on the record album.
I precisely picked up Smile today, its just such a rich piece of American lore - such an interesting back story. As I listened to it, the one thing that kept occuring to me was that the person who must have been keeping those old tapes for all these days had to be Jeff Lynne. ELO cribbed half of their catalogue straight from Smile.
Jonas,
I dont needfully disagree with your comments about Parks, and I would wholly agree with your logical implication that the relatable themes of longing and alienation in Tony Ashers lyrics from "Pet Sounds" make it a more grounded, affecting work, and one that Id choose over "Smile," if my hand were forced. Never the less, I identical much DO see "Smile" as being in the same league, if for very different reasons. I think this albums musical thematic unity is something that is still, as far as canful think of, unmatched in rock music. It comes far closer to operation like a symphony than any of the bloated prog epics that labored to reach the same thing more than overtly and, usually, with far greater pretention. I also think that, though Parks lyrics are ever inscrutable, and sometimes just plain cockamamie, they in some way do help the music more than they hamper it. Im sorry, simply the lyrics to "Surfs Up" simply do not bother me the way they do you - and, in connective with the stunning melodic development, someways, for me, add to its loftiness. But thats just me. Either way, youre right that Rosa Parks is no Tony Asher, though your citation of "Good Vibrations" is something of the exception that proves the rule, here: yes, the lyrics are more rooted in human experience (and, sure enough, are far more coherent) than the other tunes here, just they are hardly what make "Good Vibrations" the masterpiece that it is. There again, we come back to a gorgeous, unconventional melody, and utterly radical production and performance - the same things that power the rest of "Smile." I think of "Positron emission tomography Sounds" and "Smile" as completely different types of masterpieces, but I do think that they are both masterpieces. "Pet Sounds" is just the better of the two; theres no shame in losing that struggle.
What a masterpiece! Smile is the best record album of the year and rightfully so.
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Review "You Gotta Go There to Come Back" by Stereophonics (2003)
By kadry afifi | May 6, 2008
Stereophonics ar one of those bands that ar so giving in England,<br />they could sell out a association football stadium with ease, simply over here, theyre lucky<br />to replete a club. Their fourth album, You Gotta Go There is somewhat of<br />departure for the brit-rock group. Easy over their last two albums,<br />theyve tried to ease their audience into more of a blues rock influenced<br />type of music. Weary Willie Joness voice has e’er had that rasp, and along with<br />a more bluesy plan of attack, theyve begun to morph into the Black Crowes meets<br />the Faces. (Pole Stewarts first base band.) Album opener "Help Me" is a seven minute<br />blues devil, and "Maybe Tomorrow" is drenched in individual sweat. But its<br />familiar sounding tunes like "Climbing the Wall" that will lenify fans of<br />old, at least until they throne convince themselves that it looks care the<br />blues sound is here to stay.
I think "you gotta go there to come back" is great!
I love Kelly`s voice and they sound really honest to me.
Over and out!
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