it's beginning to and back again
I'm currently writing a short article concerning Montreal's The Dears for the forthcoming issue of the NYC magazine for which I've been writing for many moons, The Big Takeover (www.bigtakeover.com). Had an interesting interview with Murray, singer/protagonist of said Dears a couple of months ago, and I'm only now getting around to trying to crystalize my take on this rather extraordinary band. Lucky for me, they come back to Chicago in three weeks to support the fine Swedes, Soundtrack of our Lives. I'll likely post my Dears' "short-take," or at least a version thereof, once I'm done with it. Meanwhile, I wanted to very briefly salute three new records that have been dominating my brainwaves of late: Bloc Party's Silent Alarm; M83's phenomenal Before The Dawn Heals Us; and Bright Eyes' I'm Wide Awake, It's Morning.
London's Bloc Party is an interesting group in that they feature a rhythm section that is as prominent as any band in the rock confines that I've heard since, maybe Gang of Four. In fact, I get the sense that the staccato drums and punchy bass veritably form the pillar around which the splendid atmospheric, reverb-laden guitars and caterwauling singing are conceived. It's brilliant at times, obnoxiously dance music at others, but it is most often exciting. The first song alone, "Like Eating Glass," will send those --like me -- who cut their teeth on 80s postpunk music into a fistpumping frenzy, and there is plenty more from whence that comes.
France's M83, for my dollar, has far transcended its already highly lauded debut because it has found the magic of the persistence of mood; of elevating and above all affecting senses. I listened to this album several times the day my father died, and I still can't stop listening to it. Particularly starting with the third song, it is frightening, despairing, envigorating, and it is enrapturing. I can't speak highly enough of this truly beautiful, inspiring, and even humbling record.
So much has already been written and said about Coner Oberst's Bright Eyes, so I'll just cut to the chase. I was no fan of this 23 year old, self-indulgent, self-righteous and ridiculously verbose singer/songwriter until this new record. Like I told one friend, when I heard that the venerable, great Emmylou Harris was providing accompaniment on this record, it gave the record instant credibility, what ever the results. Well, it took at least three listens to find this record's heart, but now I've found it I can't let go. It is far more musical than many reviewers are willing to acknowledge, and I'm sorry but I do find his lyrics on this album to be highly engaging, funny, self-effacing and, at bottom, very interesting. Is he all of that, no, but let me call a spade a spade and tip my hat to an excellent, creative and eminently worthwhile album.
London's Bloc Party is an interesting group in that they feature a rhythm section that is as prominent as any band in the rock confines that I've heard since, maybe Gang of Four. In fact, I get the sense that the staccato drums and punchy bass veritably form the pillar around which the splendid atmospheric, reverb-laden guitars and caterwauling singing are conceived. It's brilliant at times, obnoxiously dance music at others, but it is most often exciting. The first song alone, "Like Eating Glass," will send those --like me -- who cut their teeth on 80s postpunk music into a fistpumping frenzy, and there is plenty more from whence that comes.
France's M83, for my dollar, has far transcended its already highly lauded debut because it has found the magic of the persistence of mood; of elevating and above all affecting senses. I listened to this album several times the day my father died, and I still can't stop listening to it. Particularly starting with the third song, it is frightening, despairing, envigorating, and it is enrapturing. I can't speak highly enough of this truly beautiful, inspiring, and even humbling record.
So much has already been written and said about Coner Oberst's Bright Eyes, so I'll just cut to the chase. I was no fan of this 23 year old, self-indulgent, self-righteous and ridiculously verbose singer/songwriter until this new record. Like I told one friend, when I heard that the venerable, great Emmylou Harris was providing accompaniment on this record, it gave the record instant credibility, what ever the results. Well, it took at least three listens to find this record's heart, but now I've found it I can't let go. It is far more musical than many reviewers are willing to acknowledge, and I'm sorry but I do find his lyrics on this album to be highly engaging, funny, self-effacing and, at bottom, very interesting. Is he all of that, no, but let me call a spade a spade and tip my hat to an excellent, creative and eminently worthwhile album.
posted by Paul V. Regelbrugge at 7:34 PM
1 Comments:
I did allow for that opinion when i used the word, "obnoxious," but yes, d'accord, les gouts.... J'espere que tu obtiendras des disques, peut-etre aujourd'hui?
Post a Comment
<< Home