Stick a Fork in 5 A Day

As I was standing over my cereal this morning, I realized that doing 5 A Day is way too stressful. I'm woefully behind in my reading. The time that I take listening to cds can be better spent reading, especially since it is nice out nowadays. I'll definitely talk about albums that I like, but they will be written more like actual reviews instead of blasts. So, with all of this said, the 5 A Day project is dead. It lasted for two weeks, which is a week longer than I thought it would.

Five A Day: Day Eight

Today has been uneventful as apparently a talentless celebutante can enrapture the attention of everyone in America, although our Supreme Court continues to erode the law with decisions that work against both precedent and the best interest of the American public, the body that should be protected by the Court. On top of this, the Congress has decided that partisanship is more important than actually solving problems so there is no immigration reform happening in the 110th Congress while the House passes a pay raise for not actually getting anything done and having one of the lowest approval ratings in history. They also found 20 decapitated bodies in Baghdad today. 20 more were also killed by a car bomb in Baghdad. There is also massive flooding in Texas that has killed 18 people, a wild fire spreading in Lake Tahoe, and a White House that is willfully obstructing the investigation of the scandalous firing of nine US Attorneys, which day by day begins to resemble the fall of the Nixon administration at Watergate. But, never you worry your head about that. The real world is far too severe.

If you are going into Paris shock, wondering what will be covered next incessantly by the media, don't worry. Lindsay Lohan was found to be twice over the legal limit and high on blow, but, given the fact that cocaine penalties are tilted to be unfair towards crack users (read: poor white and black people), she'll probably get a suspended license, a fine, and some extra alcohol counseling as the rich and famous do. But, that won't matter to the news. Mika Brzezinski's going to be in pain for the next couple of months as celebutante fever rages on.

My cynicism towards the world aside, I actually have listened to some pretty sweet records over the last couple of days for this batch. I listened to a Pulp album today and got intrigued by Britpop. Aside from select songs and the work of Pulp and Blur, most of Britpop totally sucks. I'm currently listening to the Elastica album, and it's completely underwhelming. It's sort of boring and the pacing is weird. It sounds like a band with less chops trying to do a copy of 154/Pink Flag/Chairs Missing Wire. At least, the Wire albums are more interesting as they aren't trying to place pop structures in fairly arty, angular guitar structures and failing somewhat badly at it. And this is from someone who grew up listening to Elastica. Anyway, to the reviews....


Black Sabbath - Master of Reality

Ozzy, Geezer, Tony, and Bill hammer out the jams on their third album Masters of Reality. This is a brilliant album that influenced generations of stoned kids in the suburbs, basements, and academic facilities of America and the UK. The first thing that is immediately noticed is the sludgy guitar player of Tony Iommi. According to the recording history, Iommi injured himself before recording, so he needed to crank the tension on his guitar down to make playing easier for himself. Unbeknownst to him, he invented a sound that would be duplicated for years to come.

Masters of Reality starts off with the weed smoker's anthem Sweet Leaf. Honestly, this song makes you re-think about your love for pot. For five minutes and between solos, Ozzy personifies weed, making it his lover. It reaffirmed my love for the sticky, but it is also a technically sound song as well. The album stays in this groove when it doesn't break into pointless English folk style instrumental interludes. Those are really dumb. Must have been recording while Ozzy was blowing.

On the whole, this album is super solid. A stoner metal foundational album. A metal foundational album. A rock foundational album. This is one of the reasons, with Paranoid being the other, for why Black Sabbath is revered by everyone.

Black Rebel Motorcycle Club - Howl

This is the most recent release from the noisy garage-punk band Black Rebel Motorcycle Club. The sound from their first two albums is hard to describe. It flows between shoegaze feedback and more straight-ahead rock and roll. Howl can definitely not be described like that.

From the choral-esque openings of Shuffle Your Feet, Howl is a complete departure from the work of the previous garage rockers. Some attribute this to the departure of the drummer Nick Jago while he dealt with substance abuse problems. I don't really think that matters. This is a band that has completely shifted its focus towards more traditional Americana. The sound is driven by the guitar-driven roots rock and country that have been staples of the American music scene for a very long time now. This base is accented with gospel overtones and folk-style instrumentation in places.

On the whole, Howl is very introspective and mature. It makes sense from Take Them On, On Your Own. But, it is still weird to hear this band singing about Jesus and redemption. Howl is an enjoyable listen and will greatly appeal to folk and country fans. That pleasure will be more up in the air for people who liked the aggressive posturing and guitar feedback of the previous albums. I like country stuff, so this album worked for me. But, I do miss that posturing.

Celestial - EP2

Celestial is an up-and-coming pop band out of Sweden. Their sound is sweet and dreamy, very twee. The lyrics are strong and their sound is very good for an indiepop band, throwing them in line with many of their contemporaries from Sweden as well as recalling a little bit of the Sarah Records bands (The Field Mice, Heavenly, The Orchids, etc.).

The indiepop sound isn't for everyone. If you like, well, indiepop, I highly recommend EP2 to you. If you are brutalized by the whisky-soaked nihilism that is country music or the street grittiness of hip-hop, the sweetness, dreaminess, and overwhelming cuteness of Celestial will grow tiring for you almost immediately. If you are in the mood for a bright spot from your nihilism, Celestial is probably a good place to find it, and this ep is a good start.

Pulp - His n' Hers

Pulp is one of the defining bands of the Britpop era. I personally never understood this as that would put them with Oasis, Blur, and Cast, three bands that were guitar driven and sort of based on that old 60's Stones/Procol Harum style. While being based on those two bands is not a bad this, such a classification doesn't really work for Pulp. Their music is much more dynamic sonically, calling upon the ashes of fallen glam rockers like David Bowie and Roxy Music while still being heavily influenced by the sounds coming from the then-current British club scene. Additionally, those bands, on their standout albums, wrote fantastic hooks. Everyone who listened to alternative radio in the 90s can sing the choruses to Girls n' Boys (Blur) and Wonderwall (Oasis). This is not possible with Pulp. And this could be a negative towards them or a positive.

In the end, this is a positive thing. The lack of hooks helps to make them stand out from the cacophony of britpop bands crowding the scene that all are writing wiry, angular pop songs in the vein of the Jam and the Buzzcocks. Elastica stole the riff from Three Girl Rhumba verbatim, but my point is the same: those bands all have songs with the sing-along chorus, something simple and memorable. Pulp's jettisoning of the chorus has helped them to define their own sound as well as allowed them to explore all of the different textures they want to incorporate into their sound. Additionally, this abandonment of traditional pop structures has allowed the band to explore the darkness of Jarvis Cocker's lyrics of sexual obsession and frustration. Such freedom allows for them to never sound outside of their element, giving them full creative range.

His 'n' Hers starts off strong with Joyriders and continues on strongly from there. The overall sound of the band can best be summarized as a more new romantic version of Roxy Music. It is glam, synth poppy, and taking cues from the British dance culture. This sounds like a lot, especially considering the nature of Cocker's lyrics. As bizarre as all of this sounds together, it really works in a beautiful way. The album is exciting, exacting, engaging, immediate, and dark.

This album is a feat of a band that, to paraphrase Romeo Void, knew what it wanted and got what it needed: a shot to prove that they are a legitimate band with talent. His 'n' Hers is a coming out party for a band that continues to impress years after they stopped recording and for Jarvis Cocker's acerbic wit, which continues to grace the music world to this day as well as the news pages. It doesn't hurt that Pulp totally rocks, too.

Queens of the Stone Age - Lullabies to Paralyze

Queens of the Stone Age had a tumultuous time between this release and their previous release Songs for the Deaf. Original QOTSA members Nick Oliveri and Josh Homme got into a fairly well-publicized battle, which resulted in Oliveri's ejection from the band at the hands of Homme. Many, myself included, were concerned that the band was going to fall off and not be the same.

Much to my pleasure, my beliefs were completely unfounded. Lullabies to Paralyze sounds like previous QOTSA albums. There is no real attempt to crossover like on Songs for the Deaf. The songs are QOTSA-trademark heavy and fuzzed out, carrying in that stoner metal vein of Kyuss. The sound is as focused as ever. Honestly, if I hadn't known about the dispute, I would think that nothing changed in the band. It sounds like regular QOTSA.

I think that I can only say one thing when most of the band is gone but sounds the same, which is consistently awesome: wow. This album is just another notch in the belt of continual high quality musicianship, seductive evil, and power of Queens of the Stone Age. This album is only further fuel for why Queens of the Stone Age is the best rock band in the arena now.

5 A Day: Day Seven

I've noticed that many of my reviews have been overly positive. I swear to you that I haven't listened to most of these albums before. These reviews are from first impressions and nothing else. Also, I took the time to type everything out today! Alright, here we go...

Stereo Total - Monokini

Stereo Total is a multinational coalition of pop fans. As their multiple backgrounds would suggest, the lyrics alternate between many languages, primarily French, English, and German. I only have a slight grasp of two of those languages (english being one), so some of the songs are completely incomprehensible to me.

Regardless of lyrics, this album is actually really fun. The rhythms alternate between punk speed and slower electro-pop, dance songs and ballads. Stereo Total is coming from everywhere across this album and this made it for me an exciting listen; I never really knew where they were going to go next. The first three tracks are a good example of this. The first song sounds like Kraftwerk. Then Kraftwerk changes into a song that reminiscent of Tom Petty & The Heartbreakers. Then the next song recalls the sound of Serge Gainsbourg. And this isn't it. Monokini goes into French lounge singing, bossa nova, but the overriding groove is definitely electro-pop across the album.

In the end, Monokini is a great album because, while it does reference all of those sounds, it makes it sound like its own. After some initial spastics, the band settled down and found their their sound. The sound is still conflicted a bit, but, overall, it's pretty much an awesome sound. I would like a more coherent vision, but I do really like what I heard on this album.

The Ponys - Turn The Lights Out

The Ponys are a Chicago-based band that has been getting a lot of ink spilled about them due to their recent signing to the indie major label of Matador. From the onset, the sound is a bit shoegaze-y but not overwhelmingly so. It's definitely there, but it's infused with an early, post-punk Cure sound. Their lyrics aren't that heavy, but the heavy reverb and guitar interplay of those early Cure albums is definitely there. The rhythm section is perfect. The bass and drums are solid but don't really get in the way of the whole listening experience. Listening to the bass is like listening to Tina Weymouth on Talking Heads albums.

The bass is clearly there as a sonic foundation, but it doesn't get in the way of the overall sound. The bass playing is interesting to listen to and holds the song together with the drums while the guitars go flying all over the place on their solos. As chaotic and/or boring as that all sounds, that's exactly how a good band should sound. There should be a base that the guitars can jump to and off of at leisure.

This album grabs from the beginning and doesn't let go. The slowdown tracks are well placed and do not ruin the flow. The sound is always changing yet very consistent, showing that The Ponys have a fantastic understanding of their own sound. The lyrics are actually very good as well, if not slightly insignificant. The technical aspects of the album are amazingly well-done. The instrumentation is strong and the production accentuates the artists instead of overpowering them or muting them. There are no rough edges in the production; everything has its space. A thoroughly compelling listen. I was actually shocked when the album ended; I wanted it to keep going, even after 40 minutes. I listened to this album again in my car, and it was just as compelling. Turn the Lights Out is definitely a repeat listening album with each time being as satisfying as the last.


Peter, Bjorn & John - S/T

This is a Swedish trio that has been getting a lot of press due to the hit song on their most recent album Writer's Block called Young Folks. You probably know it as it has a whistling bridge between the chorus back into the verse and was featuring in Grey's Anatomy. This album is an earlier production from the band from 2002.

If you expect to hear the same sort of coy sing-along songs that are on Writer's Block, the first song on the eponymous album will shake you of that expectation quite briskly. I don't know what I want us to do starts with a blast. A rollicking organ line compliments the frazzled lyrics and the breakneck pace of the song. But, album soon finds its groove and becomes more reminiscent of the country that bred the trio: Sweden.

The album takes on a lot of the aspects of the Swedish pop scene that is populated by amazing bands like The Legends, Acid House Kings, and the ever popular Cardigans. Peter, Bjorn, and John is sweet and coy, but is not saccharine sweet; there is still a bittersweet tone. And the lyrics maintain a sad optimism that is very pleasant to listen to. Their sound changes from E6 positive to Legends-style power pop to Acid House Kings melancholic across the album. Regardless of what they do, these boys charm throughout the album with their consistent pop sound that knows how to rock and write a ballad while putting it over a catchy beat.

While this is their first entrance into the field, Peter, Bjorn, and John definitely makes them a band of note, someone who has been on their game since the beginning. The eponymous album of Peter Bjorn and John reminds us that Young Folks isn't a fluke; this band is actually amazingly good and should be the hero of anyone who calls themselves a fan of indie music. They aren't my heroes, but they would be if I had heroes.

Stereolab - The Groop Played "Space Age Bachelor Pad Music"

Stereolab is one of the more vaunted indie bands of recent history. Prolific in output and unique in sound, Stereolab has fans amongst experimental listeners, straight ahead pop fans, rockers, and punks. Most everyone in the indie world has a certain soft spot for the kraut-based magic that is Stereolab. Additionally, the fact that they are whip smart doesn't hurt too much either, as they frequently infusing their lyrics with marxist politics.

The Groop...is more of an experimental album. The poppiness of later albums such as Dots and Loops and Emperor Tomato Ketchup is not to be found here. To begin discussing the record, it is important to note that the album is split into two parts.

The first part is very experimental and wandering, forgoing traditional pop structures. The second part is far closer to traditional Stereolab than the first half. The songs over the first half are not as lock groove as their better album work, but the songs do maintain a dreamy, futuristic, droning aesthetic. The second half does getting into the more traditional Stereolab sound, but not quite. It is still floating and more distant.

Without throwing any more adjectives around, The Groop... does sound like Space Age Bachelor Pad Music, like Stereolab sat in a room with Esquivel and Les Baxter albums and applied their sound to that aesthetic. The album overall is a good listen, but it is not a good place to start for someone who has no background with the band. This is an earlier release that could easier turn off a listener due to the fact it is a bit dreamy and not a good representation of the Stereolab experience. But, once a listener gets more acclimated with Stereolab, they should come back and explore this album fully. They will find it more satisfying that way.

Saint Etienne - Tiger Bay

Saint Etienne is a critic's band, primarily because they are made of critics. They know what they don't like and have created a band to satisfy not only them but other critics. Musically adventurous, Saint Etienne is known for cranking out good album after good album.

Tiger Bay is no exception. The ballads are beautiful. The beats are crisp and utterly danceable. And the songs tell the story of the mystical Tiger Bay, with travel and a story of a failed romance. You can see the story of the love between the two people rise and fall, the gossiping people, the beauty of the shore. This is an amazing album, further proof that Saint Etienne is one of the best indie acts of the 1990s (this album is from 1994).

5 A Day: Day Six

Yea, I'm mentally beat. I listened to five albums today: Sugababes - One Touch, Tindersticks - Curtains, Ultramagnetic MC's - Critical Beatdown, The Velvet Underground's Eponymous release, and Television - Marquee Moon.

I'll actually get back to typing posts again soon hopefully. But, I will note that these post-its are actually written like reviews and are comprehensible.

5 A Day: Day Five

I have totally been pre-occupied today. Between doing my laundry and sleeping, I didn't even get through my RSS feeds. Today just has been a hot mess. I clearly cannot blog from bed. So, with that I leave you with this video from the original O.G. Big Daddy Kane. 50 Cent doesn't have shit on the B-I-G-D-A-Double D-Y-K-A-N-E!



And, like earlier in the week, I have posted a picture of the reviews. The albums are color coded as well.

The code:

The Gossip - Standing in the Way of Control is in blue
Julie Ruin - S/T is in yellow
Kleenex - S/T EP is in grey
June of 44 - Four Great Points is in pink
James Brown - There It Is is in purple

5 A Day: Day 4

This is all done to the rhythm of Sleater-Kinney. It popped in my head while I was grilling earlier.

Anyway, we proceed...

Baden Powell - Enciclopedia Musical Brasileira

This is a 1966 release from the Brazilian guitarist Baden Powell de Aquino, more commonly known as Baden Powell. Powell is an interesting guitarist. While he is clearly of Brazilian origin due to his sonic similarities to Joao Gilberto and Tom Jobim, Powell is also culling his cues from classical guitar as well as more traditional electric jazz guitar. But unlike traditional jazz guitar, Powell plays an classical acoustic guitar with precision and great technicality. As one would suspect from a musician the quality of Powell, the music is electrifying and thoroughly engaging. Over the course of the album, Powell references American jazz, Bossa Nova, and classic Brazilian samba. As well, Powell shows off his brilliance in solo pieces that allows him to show off his technique and skills. For anyone who calls themselves a guitar player, they should have this album in their collection so they can listen to the brilliance of one of the masters of the instrument.

Beck - Mutations

Through his catalog, Beck has always existed in two forms: the postmodern ironist who has an everything-but-the-kitchen-sink approach to music and the considerate folk artist who sits in a room playing pretty folk songs and strums his guitar. Mutations is based in the latter form of Beck. The cacophony of samples and Dust Brothers production of Odelay is replaced by acoustic guitars and the smooth, reverb-drenched production of Nigel Godrich. While I think that Godrich is unadventurous as a producer along with being ridiculously heavy-handed and predictable, Beck shines as a different artist on Mutations. Following the masterwork that is Odelay, Mutations is a great shift of form and sound, showing a more sensitive and pondering side of his character. The sampling geek that I love hasn't left either. Beck samples different musical forms, calling upon tropicalia, bossa nova, samba, country, and the blues. The trick to Beck's sampling is that it sounds like he has been playing these forms for years. Unlike other artists who sample different forms and come across as hacks, Beck integrates them into his folk base easily and makes it sound like he has been playing all of these forms for years. According to Beck and his record labels Bong Load and Geffen, Mutations was intended to be a stopgap between Odelay and the mess that was Midnight Vultures. For a stopgap, this is an amazing album. Mutations is considerably better than a lot of other bands' practiced and intentional releases. It just helps to show that Beck is truly where it's at.

Blancmange - Irene & Mavis

Blancmange is a fairly successful British band that had problems crossing over into the American musical sphere. They play a brand of synth pop that is very dreamy and influenced by Indian music. On this EP, the sound is a bit more experimental with no clear reference to the East. As well, the EP shares a kinship with the new romantic movement, reminding me a bit of OMD. For a band that was very successful and has a kinship with new romanticism, this album displays a clear sense of amateurism. On the song Concentration Baby, the singer is laughing through the song. He can't deliver lines correctly. Additionally, the production throughout the album was not very good. It was muddy and the violin on the aforementioned Concentration Baby sounds like a kazoo. While the songs are not bad, they do not flow together and the quality of sound is low. On the whole, this is a very spotty release that could have benefitted immensely from editorial discretion and a little less snickering.

Boogie Down Productions - Criminally Minded

I'm not going to wax prosaic about this album because this is a seminal hip-hop album. If you haven't heard this album and you call yourself a hip-hop head, I'm straight up putting you on blast. You are some weak shit. Period. You can start up the road to victory by buying this album. You still will suck and should get criticized by your friends for sucking, but your friends probably suck too if they haven't put you on this album.

For the non-heads, this is the rap album that changed the game in a lot of ways. It took rap out of the clubs and put it on the street and opened the door for hardcore rap to flourish. It wouldn't have approved of the current rap style, but it definitely opened the door. Super important album. Definitely a must have and a must listen.

Brian Jonestown Massacre - Bravery, Repetition, and Noise

While they were the subject of a documentary, do not let that fool you into thinking that the Brian Jonestown Massacre is as worthless as the Dandy Warhols musically (yes, I said it. The Dandy Warhols suck!). To the contrary, The Brian Jonestown Massacre is one of the more entertaining band in the music world and it isn't because of their onstage antics; it's because their music. BJM is best known for combining shoegaze, psychedelic rock, and eastern influences into a maelstrom of hazy, swirling rock and roll. does recognize this tradition, but also deviates from it. The main deviation is that these songs have actual verse/chorus/verse structures as well as a solid pop foundation. This isn't the traditional BJM style, but you would have never convinced me of that. The album are strong all the way through. The songs are catchy and, like any good pop song, easy to sing along with. Standouts for me are the country/psych-tinged rambler Open Heart Surgery, the swirling Nevertheless, and the upbeat Telegram. Bravery, Repetition, and Noise is one of those albums that you will start nodding along to without knowing that you are nodding along to it. This is what happened to me. I guarantee this is what will happen to you too.

5 A Day: Day 3

Click the photo and read the reviews for the day. And, yes, I do have a copy of the Mary Tyler Moore Show theme on my desktop. It's for a mix tape that I'm making. It's a perfect introduction for the tape that I have stewing in my head. Also, yes, my personal folder is named after Ms. Kahlo and the hard drive the protagonist of The Bell Jar. Esther Greenwood was the name of my iTunes on my old computer, but that name is now Phlox Lombardi.

In this update, I have reviewed Au Revoir Simone's The Bird of Music, Joe Band's The Chocolate Undertow, The Church's Forget Yourself, Experimental Aircraft's Eponymous Release, and The Gories's I Know You Fine, But How You Doin'.

the Link to WFMU.

5 A Day: Day Two

This is one of the songs that I was listening to on my way back to my house, so this will be the post video. This is late because I went bowling. Not only did I have the wrong shoes (they were a size too small), my ball was a pound heavier than I would have liked it to have been (14 instead of 13). I bowled well given the circumstances. I should have done better, but it did take away the stench of our poor performance at trivia. Anyway, this is the video for Mass Appeal by Gang Starr along with the review of the five albums I listened to today.



Love of Diagrams - Mosaic

Love of Diagrams is an Australian post-punk trio that maintains many of the standards of post-punk through their brash, defiant sound. The guitar playing of Luke Horton at points reminds me of Sleater-Kinney at points, but the guitar is not the primary instrument on this album. The primary rhythm is that of the bass as played by Antonia Sellbach. The fact that the bass was at the lead made listening to the instrumentals entertaining because the guitar would snake around and through the bass line while the drums had an interesting interplay with the bass. The sound of the band overall was very reminiscent of Siouxsie and the Banshees in their early, non-goth phase. But unlike a lot of post-punk bands in the current era, Love of Diagrams didn't sound like a rehash of previous post-punk bands. They had a little of a pop edge while still maintaining the angularity of post-punk, helping them to stand out from the cacophony.

I have listened to the first album The Target is You, which is a primarily instrumental album. This album is a clear turn from that point in time, but it is clear they came from that background as the lyrics are not particularly good. The voices are good. The interplay between the vocals of Sellbach and Horton are entertaining, but the words didn't really mean a lot and weren't super interesting. Additionally, on a negative, the album was a touch too long. It began to lose steam towards the end. The songs were still pretty good, but they were not as strong as the first half of the album.

On the whole, this is a band that has a very tightly wound sound. It is fun and interesting to listen to them work off of each other instrumentally. I thought that this album was definitely worth multiple listens, and I'm looking forwards to what will come next from them.

Magik Markers - Tale of the Whale

This is an compilation of live performances by the Hartford, CT-based trio of Magik Markers, who are well known as former openers for Sonic Youth. Magik Markers use guitars, random objects, and drums to make a cacophonous sound reminiscent of no wave bands like Teenage Jesus and the Jerks and DNA. This would normally be a good thing for me as I love DNA and like Teenage Jesus and the Jerks (I'm not a huge Lydia Lunch fan, but that's another discussion). Unfortunately, this similarity was not a good thing for them. I thought that this album was really uninteresting and uninventive. Frankly, it reminded me of really old Sonic Youth instead of sounding like their own band. It was a girl sing-talking over a cacophonous noise created by guitars and drums crashing together. I found their music to be really stagnant, which is something that can't be said for a lot of no wave. Additionally, I wasn't really feeling the improvised lyrics on the tracks, which would have been better served with banshee screams or wailing in my opinion. And, to pile on, the recording quality of this album is terrible. It sounds like their was a microphone set up towards the back of the room to pick up the sound of the band instead of getting a board feed, which would have been cleaner and clearer. Regardless of my school boy criticisms of their sound, this was really one of the more unenjoyable albums that I've ever listened to, as I found myself bored frequently while listening to it. Magik Markers never have to worry about me going to one of their concerts ever.

The Mars Volta - Frances the Mute

As is well known, The Mars Volta is one band that arose from the split of seminal emo band At The Drive-In (and no, not the emo you know and hate. good emo.). Containing Cedric and Omar, The Mars Volta has been pushing the boundaries of music since ATDI's dissolution. If I had to describe The Mars Volta to someone that was uninitiated, I would probably begin them on this particular album. Frances the Mute is the second cycle released by the band. And, yes, I used the term cycle instead of album. Mars Volta albums are to be listened to in one sitting, and, after listening to Frances the Mute, I don't know any other way that they can be listened to. The primary influence of prog on Frances the Mute allows for The Mars Volta to push the boundaries of music, infusing their own sound with Afro-Cuban rhythms, psychedelic influences, free jazz, art rock, and fierce band interplay dynamics.

As crazy as all of this sounds, Frances the Mute works because all of these things do not sound crazy together or unintentionally noisy. The primary problem that comes with being so heavily experimental is that is can be pretentious or predictable. These are two adjectives that will never be used to describe Frances the Mute as The Mars Volta own the sound, making it seem completely natural that a loud guitar solo came right after listening to frogs chirping in the night. Such dynamics made this album a complete standout as well as got me to understand why so many people that I respect (read: Henry Rollins) hold them in such high regard. Nothing comes quickly with this album. Songs rise and fall on their own pace, so that could be frustrating if you like quick resolution in your music. If you are willing to be a voyager on the sonic trip, The Mars Volta will be more than happy to take you to new levels of sonic experimentation, lyrical intensity, and emotional depth.

Broadcast - The Future Crayon

The Future Crayon is a compilation of EP tracks, B-Sides, and rarities from Broadcast during the period in which they recorded The Noise Made by People and Haha Sound. If you have heard about Broadcast and are interested in learning about them, this is a good place to get a sense of their aesthetic, which takes many cues from the work of The United States of America (the Psych band, not the country) with its vintage synths and floating, disaffected vocals. This is a bad place to get a sense of the band because the album is not cohesive as their regular albums.

The Future Crayon is broken into two parts: accessible and not so much. The accessible side is the material that would be later refined and turned into their "crossover" album Tender Buttons. The second half is more experimental, but is clearly born of the sessions for their earlier albums. If you have only heard of Broadcast in passing or actually listen to and love Broadcast like me, The Future Crayon is a pretty substantial pickup well worth its cost.

Chris Stines - Who Am I? Part I - Chris Stines

This album was made available to me by freeform stalwart WFMU as part of their 365 Day Music project. Although WFMU is a radio station that already goes 365 days a year, the 365 day project posts obscure, bizarre records everyday on the station's blog. This is one such album. While the name of Chris Stines is not certain, it is certain that this release is a prime example of outsider music. The album is strange, awkward, slightly incomprehensible, unrehearsed, and mildly uncomfortable to listen to. But, even still, it has the redeemable quality, a certain je ne sais quoi that makes it likable. One thing that goes the way of the album is the fact that he is just singing over other people's beats and the lyrics are slightly comprehensible. While I was skeptical when I started, by the middle of the first track, I was really into it. My enthusiasm didn't wane as the album went on either. If you are not into strange musical displays, this probably won't work for you so much as you will think it is just a really weird musical display by some half-wit with no talent. But, if you are into things like Gary Wilson, Jandek, The Shaggs, Daniel Johnston, and Jan Terri, I highly implore you to go over to WFMU and download this now.

5 A Day: Day 1

I should note before I start, these aren't all albums that I have had in my archive for years. The albums that I've chosen are albums that have no listens in my iTunes, even though I've actually heard all of the albums today. This won't be true on all days. It just worked out that way today.

Here is a really, really innovative video for the Band Fujiya & Miyagi. It's for Ankle Injuries.



Album Reviews:

Fujiya & Miyagi - Transparent Things

Fujiya & Miyagi is a three-piece band that plays live electronic music in the vein of LCD Soundsystem and Stereolab. It is synth-driven and very Neu!-style kraut influenced. This is actually a very good, creative album. The primary problem with this album is that it is not consistent throughout. The beginning of the album is its strongest part. The first three tracks where the band locks into the groove are the strongest. The band falters when they enter into playing standard, uncreative indie rock fare, i.e. losing the groove or start-stopping. These songs aren't bad, but they are not interesting enough to return to. This is actually OK because the good songs are really, really good. Like mixtape material good (not every song can make it into mix tape consideration). I'm looking forwards to see where this band goes next because this album was a little bit raw and their sound could have been further refined.

Galaxie 500 - On Fire

I'm not sure that I can say anything new and insightful about this particular album. This is an album that means a lot to different branches of the indie movement. Galaxie 500 is considered a forerunner to two fairly important indie movements of the 1990s: slowcore and shoegaze. This album is G-500 at its peak, displaying its full talents as a band. Dean's voice soars over languorous guitars, solid bass lines provided by Naomi, and spartan drumming by Damon. It all came together to create a beautiful sound and show the simple depth and magic of Galaxie 500. Dreamy, evocative, creative, melancholy, experimental yet utterly listenable. This is a fabulous, beautiful album. A must listen for anyone who calls themselves a shoegazer or is into slow guitar jams.

Urang Otan - S/T EP

Urang Otan is a relatively unknown art wave band. This five-song EP is from Zoar Records and was released in 1981. This band has post-punk elements that remind me of early Talking Heads, Size, and Au Pairs. The band combined these with no wave components as it was in the same scene as those bands. Additionally, Urang Otan shares more than a little resemblance with Bush Tetras in their adoption of adding dance rhythms to angular sounds. The EP displays a band that uses lock grooves to make dark, intense songs about living the urban experience interesting, danceable, and challenging. If you are unfamiliar with no wave, I would recommend starting somewhere else such as Liquid Liquid, ESG, or something involving James Chance or Arto Lindsay (DNA, Teenage Jesus and the Jerks, James White and the Blacks, early Golden Palominos come to mind). If you are familiar with no wave/early 80's Downtown NYC underground rock, it is worth your time to search this out.

Zodiac Killers - Radiation Beach

Zodiac Killers are garage punks from the tradition-laden Bay Area of California. Keeping in that history, Zodiac Killers reminded me a lot of some stalwarts of that scene the Mummies because they are raw, uncut, fast, loud, frenetic, swaggering, and really fun. This is one of the most urgent albums I've heard in a long time that wasn't made by a band that specializes in song blasts like The Locust, Dwarves, XBXRX, or An Albatross. Zodiac Killers kicked out ten songs of fury in only 20 minutes. And, even though the album was done quickly, it was packed with inventive lyrics, quality musicianship, and a good vibe. They were actual songs with verses, choruses, bridges, and rhythm. I was surprised to hear such talent on display in such a small package. I'm disappointed that this is their last album because I would have loved to seen where this band went from here. Definite recommendation.

Wolf Eyes - Burned Mind

Burned Mind is the first release by Wolf Eyes for the Sub Pop label and the difference from their early work is clear. The production of the tracks is sharper, allowing more space for the sound to develop and envelop the listener. This is to the band's benefit as the new space allows for terror and confrontation to develop within the rise and fall of the music, making the overall listening experience much more satisfying and interesting. Burned Mind is far more accessible than their other albums. This doesn't mean that you will find yourself cruising down the road, jamming out to Stabbed in the Face. But, it does mean that if you want to understand noise, this is probably the best opportunity that you will have to do so because it will not be easier. I should note that while Wolf Eyes did clean up their sound, this doesn't mean they've compromised their sound. In all honesty, I think that this is one of their most brutal albums as the beats and ambiance are both much more terrifying and intense. I recommend this album as much as I can recommend a noise album, which means that if you hate drum machines, squelches, violent music, dissonance, atonality, and discordance, you probably should stay far away from this one. If you are willing to branch out and experience the brutality, Burned Mind is more than willing to kick your ass.