More Hits and Misses…

Another installment of what was missed on The Musicologists. Or, better yet: Playing Catch-up (part 2). More stuff from ’09 that fell through the grates…

Mi Ami – Watersports (Quarterstick Records; released February 17th, 2009)

mi-amiDrum-punk outfit Mi Ami experiments all over the place with big dance beats, low-end booty bass, frenzied and screeching noise-punk guitars with a few electro-clash-ghetto-tech breaks thrown in for good measure, all seamlessly flowing from one genre to another. Remember the Dischord band Black Eyes? These are two of the guys from that group, Jacob Long and Daniel Martin-McCormick; and as D.C. punk bands go, they had to break up after two records. So you can expect it to be all over the place, and as confrontational and violent as it can be at points, it’s still a focused and coherent effort. Grade: 8/10

Fever Ray – Fever Ray (Rabid Records; released March 18th, 2009)

feverThis is Karin‘s (of Swedish electro-dance outfit The Knife) solo record. I respect The Knife for sticking it to Sony by charging them a fortune to use one of their songsĀ  (the Jose Gonzalez version of Heartbeats for that Bravia ad, the one with all the bouncing balls down San Francisco hills) so they could start their own label. I also respect them for their outright disdain for the media, mainstream pop drivel and the rampant sexism in music. I can’t quite get fully into The Knife‘s music, which is a blend of dark downtempo electronica and upbeat techno-esque synths. Fever Ray‘s formula is similar, more on the shadowy side of things; dubby, atmospheric, brooding and meditative- there’s some scary songs in here. Grade: 6/10

Dan Deacon – Bromst (Carpark Records; released March 24th, 2009)

bromstI could’ve swore I was going to hate this. I forgot all about “hate”, hell; I forgot about any type of nasty emotion once this record started coming out of the speakers, I believe I was actually smiling right through to the end. So I listened to it again. And again. I usually don’t like music when the words “dance” and “electro” are used to describe it, but Dan Deacon made the happy fun time party album of the year right here. And I really like the title: Bromst. I just like saying it, over and over. Bromst! Grade: 8/10

DOOM – Born Like This (Lex Records; released March 24th, 2009)doom

MF, Metal Face, Metal Fingers, Viktor Vaughn, Supervillain, King Geedorah. Whatever name Daniel Dumille wants to use, he creates a new persona just like that- and here on Born Like This, he uses all the top producers; Jake One and Madlib as well as a few unreleased beats from J Dilla. It never sounds recycled or stale- obviously the work of these crate-diggers is beyond anything anyone else is doing and the samples are getting more obscure. Should I also mention guest rhymers like Raekwon and Ghostface Killah? This is the best hip-hop album of the year so far, and sadly; it’s the only hip-hop album I’ve listened to this year. Grade: 9/10

Superchunk – Leaves In The Grass EP (Merge Records; released April 7th, 2009)

chunkMac McCaughan and company are back with their sixth millionth release (more like 62, if you count LPs, EPs, singles, splits and compilation appearances) and their first studio release since 2001’s Here’s To Shutting Up (not counting re-issues, the song they did with Aqua Teen Hunger Force’s Meatwad in ’07 or any of their live Clambake Series albums). So is Superchunk officially a “go” again? I hope so; they’re one of the bands I played on my short-lived radio show in 1991 at WHHS before getting kicked off the air for broadcasting without a license. Anyway- these four songs revisit classic ‘chunk in all their guitar-driven glory; plus an acoustic version of the first track, Learned To Surf. Grade: 8/10

Casiotone For The Painfully Alone – Vs. Children (Tomlab Records; released April 7th, 2009)

casiotoneOwen Ashworth is CFTPA, a tweemo bedroom project (now taken out of the bedroom) that mixes awkward and uncomfortable wordplay with spare orchestrations, booming hip-hop beats, mellotron/organ/pianos galore. This record is something of a concept album; it travels around America peeking into the lives of various ne’er do wells- from Libertyville, Illinois to Wisconsin to Charlotte, NC to Montpelier, VT to Northfield, MN to Orinda, CA and finally to Kansas City. It’s interesting to say the least. Grade: 7/10

Black Dice – Repo (Paw Tracks Records; released April 7th, 2009)

blackdiceIt took a few listens to get into this, and after I got into it I couldn’t find my way out; it triggered a mind-bending flash-back. But I didn’t get scared, I just closed my eyes and rode it all the way through the fractalized tunnel and past the fluorescent banana slug thingys until I woke up nine hours later. If there’s avant-garde and experimental music, this is post-avant/post-experimental. A lot like Animal Collective‘s older stuff; it’s interesting in that it does really cool shit with samplers and noise. If you’re looking for songs/hooks/melody, look somewhere else. Grade: 8/10

Bill Callahan – Sometimes I Wish We Were An Eagle (Drag City Records; released April 14th, 2009)

callahanCallahan is a writer’s songwriter- I only have a few Smog records but the general theme of his music that stands out to me is that he’s a master of self-deprecation. Not so much here; it’s still somber and melancholic, but Callahan takes it easy on himself, instead he’s using his supremely masterful wit and deadpan black humor to take shots at the political and religious right. He’s at his most capable when he’s wringing the emotion out of every last word with his dry delivery, aided here by bare bones instrumentation with occasional strings. I’ve listened to this record more than any other this month, so it’s getting the “Best Of April” award, it’ll definitely be near the top of my year-end list. Grade: 10/10

Death Cab For Cutie – Open Door EP (Atlantic Records; released April 14th, 2009)

dcfcWhat happened to this band? Ben Gibbard‘s lyrics have veered so far away from the alienated, nice-guy-finishes-last, sensitive-emo-dude-with-thick-frames-and-striped-sweater to this awful radio-friendly pap. I jumped ship when I saw them live; they made the mistake of touring with Franz Ferdinand (early ’06) and were completely blown off the stage by their openers. The best thing I can say about DCFC is that there’s still their back catalog (up to Transatlanticism) to listen to (and the fact that I can use these guys as proof that you start sucking once you sign to a major). Grade: 3/10 (and I’m being nice with this 3…)

Woods – Songs Of Shame (Shrimper Records; April 14th, 2009)woods

Dear Woods– please have no shame for the songs on this record. You evoke acoustic campfire sing-alongs with freaky electric guitars (that should be out of place, but they’re perfect), re-calling late 60s Americana (I would mention Neil Young, but that’s Canadiana), covering Graham Nash (who’s English) and a ten-minute lo-fi psychedelic freak-out. Let’s just say you’re equal parts Neutral Milk Hotel and CSNY, which is awesomer than milk, which I can’t drink because I’m lactose intolerant. Grade: 8/10

The Rest – Everyone All At Once (Auteur Recordings; released April 21st, 2009)

restBig, anthemic songs wrapped in heavily orchestrated strings- I’m hearing great hooks here; the vocals recall both the yelpings of Clap Your Hands Say Yeah‘s Alec Ounsworth and the plaintiveness of Belle & Sebastian‘s Stuart Murdoch; the music is akin to Arcade Fire‘s brand of baroque pop with a dash of The National‘s shadowy melancholia thrown in for good measure- but it doesn’t do this band justice by lumping them into those easy comparisons. Showcasing a vast array of styles, Everyone All At Once is exactly that- you get everything all at once. Retreating to the faraway northern woods of Ontario to record this record, this band has crafted a genuine masterpiece- fully realized, beautifully crafted and dynamic in scope; The Rest should be the next big band to come from The Great White North, and if they aren’t on critic’s “year-end/best-of ’09” lists I’m formally lodging a criminal investigation to as why they aren’t. Grade: 9/10

Papercuts – You Can Have What You Want (Gnomonsong Records; released April 14th, 2009)

papercutsSan Franciscan Jason Quever creates an atmosphere all his own- dreamy pop arrangements coated in opaque and foggy lyrics, much like the Bay Area weather. Getting help from Beach House‘s Alex Scally on this record; Papercuts is great at crafting a textural ambience to match the mood of the lyrics. I’d compare him to Cass McCombs in that regard, but “lighter” on the ears. Accessible like early 70s AM radio. Grade: 7/10

I’ve got more and more forgotton albums, coming soon…