2010 Music Wrap-Up: Lisbon

The Walkmen – Lisbon

Broken Social Scene, LCD Soundsystem, The National, Deerhunter, etc. 2010 has seen me getting into a lot of bands that have been around for a while, but had basically been ignored by me until this year. The Walkmen are another one of those bands, as it seems they’ve been putting out consistently good music for a while now, and have put out another impressive album in Lisbon.

I acquired this album back in September when it came out, but it took a while to grow on me, and at this point it just sounds better each time I listen to it. I’d probably have to say this is due to the fact that the album’s production is deceptively simple, as The Walkmen take a very bare-bones approach to the way each instrument presented. There’s a very plucky approach to the guitars, while Hamilton Leithauser’s ever escalating vocals are just as effective as ever.

Probably the The Walkmen’s closest comparable band that I can think of are fellow New Yorkers The National. The Walkmen certainly share that dapper, dejected quality that The National pull off so well, but The Walkmen seem to be a bit more rough and visceral. Case in point would be Lisbon‘s stand-out track “Angela Surf City”, a song whose manic fury nearly matches the greatness of The Walkmen’s 2004 break-out single, “The Rat”. But for the most part, this is an album about space and atmosphere, which makes for a sound that might not seem like much at first, but just might sneak up on you if you’re not careful.

Favorite Tracks: “Juveniles”, “Angela Surf City”, “Victory”

2010 Music Wrap-Up: Broken Dreams Club

Girls – Broken Dreams Club

I pretty much never check out EPs, even if they’re from a band I really really like. But when a band releases an album as instantly likeable as Girls’ 2009 debut, it’s hard not to wonder “what else do these guys have got to offer?”. And basically this EP serves as a great companion piece to that aforementioned debut.

Girls’ first album was defined by a breezy California pop sound that was marked by a production style that was at times polished and at other times messy and chaotic. This time around the songs seem to take on that more polished sound, with the instruments being fairly glossed over while singer Christopher Owens’ melodies seem to take center stage.

For the most part, these songs are basically just as good as anything on Girls’ debut, with the stand-out tracks being the delightfully upbeat “Heartbreaker” and the nearly 8-minute “Carolina”. Broken Dreams Club definitely shows this San Francisco band in a transition period, but it also offers plenty of what made their debut so much fun. So if you enjoyed what Girls have done so far, this is probably worth checking out. It definitely gives me reason to be on the look out for whatever these guys do next.

Favorite Tracks: “Heartbreaker”, “Carolina”

2010 Music Wrap-Up: Before Today

Ariel Pink’s Haunted Graffiti – Before Today

We’re only a few weeks removed from the end of the year, and thus only a few weeks from our top ten of the year lists, or at least our top ten music lists. So I figured I might as well unload some reviews in a shameless attempt to up my post count for the year. The first album Before Today, is an album I’ve had for a while but never felt the need to write about despite the fact that it’s pretty good.

I guess Ariel Pink has been doing stuff for a while now, but this album sees him taking on a more band-oriented approach, which is fairly noticeable, even if you haven’t heard his earlier stuff. There’s plenty of psychedelic noodling and irreverent weirdness throughout the album, but it’s all confined to these very well-constructed psych-pop songs. It’s no wonder Ariel Pink was formerly signed to Animal Collective’s record label Paw Tracks, as there’s a lot of that same glossy psychedelia that was found on Merriwether Post Pavillion, but Ariel Pink definitely seems more interested in a classic pop songwriting approach.

The album kinda peters out towards the end, and I’m not really that crazy about the first song on the album either, but besides that the bulk of the album is filled with some really good, catchy songs. It’s not quite earth-shattering stuff, but it’s still one I’ll look back on fondly as one of the better albums that got me through the Fall.

Favorite Tracks: “Bright Lit Blue Skies”, “Round And Round”, “Little Wig”

The Gibson Dilemma

On the verge of one post this week, I had to write something. Originally I thought this post might be too controversial. There’s also a chance I might change my mind on this issue at some point. It’s a tricky wicket that’s for sure, but here we go.

The trailer for the long postponed dramedy The Beaver was released recently and already there’s been heavy controversy and criticism surrounding the film. Telling the story of a depressed man (Gibson) who starts living his life through a beaver puppet, it’s been a hard sell considering Mel Gibson is the most despised man in Hollywood right now. I in no way condone what he did or feel the need to defend him, but I feel it’s unfair to attack this movie before it has even been released.

I like Mel Gibson’s movies, maybe he’s a psycho in real life, but on the screen he’s charismatic and behind the camera, he’s proven himself to be a gifted storyteller. Where do we draw the line separating art from life? Should we boycott a film based on the unrelated, personal issues of one of its parts? I get it. He’s the star of a movie about how we should all forgive him, but he’s not the only one involved in this film. Again, I’m not trying to defend Gibson, I’m trying to defend movies. I don’t go to the movies cause I hear Will Smith is a nice guy, I go because I like to be entertained.
I think a prime example is Phil Spector, currently imprisoned for murder. MURDER! I don’t think any sane person supports that, but does that mean we should ignore or disregard his entire body of work? Of course not, it wouldn’t be fair to the music, or any of the other people who helped create it. The fact that he’s a convicted criminal has nothing to do with the music. The music should stand apart and be judged in its own category. You could almost consider Ty Cobb to be a similar case. It’s well publicized that he was a racist, jerk, and prone to violence, but that doesn’t mean he wasn’t a great baseball player. It doesn’t mean we should ignore all his accomplishments and throw out his records.
I hate that celebrities personal lives have become so closely linked to their movies. That a breaking story on IMDB can be something like “Tori Spelling has twins.” That’s not news and that has nothing to do with movies or TV. It’s understandable that people want to know what celebrities are like, it makes them more relatable. Though I think there should be a fine line and people shouldn’t let these stories influence what they see at the cinema.

The Beaver could be good, it could totally suck, who knows? It’s just the fact that so many journalists, and columnists, and bloggers, are berating it so unfairly. Is it fair to director/co-star Jodie Foster, or any of the cast and crew? Why don’t we see it for ourselves before we pass such harsh judgment.

C.A.T: United

Phoenix – United (2000)

I would of done Kid A if it wasn’t for the fact that a rumored Radiohead album next year could have potential for a future retrospective, so here is a review of a mighty fine ‘lil recording.

My fondness for Phoenix doesn’t stem back that far, but in that little time it’s truly blossomed into a great affection. From the moment Sean, Colin and I saw them live, they’ve quickly become one of my favorite modern acts. Immediately after seeing them I had to divulge deep into their discography and this one was a real pleasure.

I can only assume that many became familiar with this group with the success of their first single “Too Young.” I first heard it the cinematic classic Shallow Hal and had it stuck in the back of mind for about seven years until Colin told me what it was. That’s a long time to have a song stuck in your head, so when I finally became familiar with this French foursome I pondered, “What could the rest of the album. sound like?

Phoenix have always had a sort of romanticism in their approach to pop/rock. Thomas Mars’ airy vocals are definitely a big part of this, but it could also in part to their dancy pop arrangements. It kind of wavers on that line of rock and dance music, but regardless of what you call it, it sounds terrific. Usually it’s the most rhythmic or should I eve say “funky” tracks that are the most appealing. Aside from “Too Young” there’s the infectiously catchy “If I Ever Feel Better” and the souther/funk epic “Funky Squaredance.”It’s all very unique in that it can really get you movin’ while simultaneously being easy on the ears.

It’s probably a little much saying this album is a classic, but right now it’s probably one of my favorite albums from 2000, so it felt right. Though who’s to say what albums we’ll look back at fondly in the years to come?

Favorite Tracks: “If I Ever Feel Better”, “Party Time”, “Too Young”