Thread to Rate Al***s Using Nick Lees Head as a Quality Index
Posted by: matthewr on 05 June 2003
It has occured that the admirable Nick Lees is the archtypal Music Room poster -- he has excellent taste, a huge record collection and perhaps most importantly bridges the gap between the 60s/70s classics/traditionalists and the sort of utlra-fashionable hipsters like myself who listen to impossibly cool records only available from an obscure record shop in Norway.
Therefore, and in an effort to reinvigorate our Music Room which we still do way better than the varuous other forums I would like to introduce a new standardised and highly objective system for rating albums by positioning a picture of Nick on a special designed rating thermometer. And then optionally adding a suitable summary comment for quoting on one of those annoying stickers that record companies like to put on the front of CD cases.
e.g.
"Destined to be bought by the bass players Mum, people who shop while drunk and Mick Parry"
"these people should be boiled in oil for making this"
"for dedicated fans and completists only"
"... monumental... a staggering achievement"
"... an instant classic and potential Album of the Year"
To this end I present a brief review of one of my favourite discs this year:
Matthew
Therefore, and in an effort to reinvigorate our Music Room which we still do way better than the varuous other forums I would like to introduce a new standardised and highly objective system for rating albums by positioning a picture of Nick on a special designed rating thermometer. And then optionally adding a suitable summary comment for quoting on one of those annoying stickers that record companies like to put on the front of CD cases.
e.g.
"Destined to be bought by the bass players Mum, people who shop while drunk and Mick Parry"
"these people should be boiled in oil for making this"
"for dedicated fans and completists only"
"... monumental... a staggering achievement"
"... an instant classic and potential Album of the Year"
To this end I present a brief review of one of my favourite discs this year:
Matthew
Savath and Savalas - Apropa't
The glitchy sounding title - at least the way I pronounce it - aside, there little in the way of the production showboating that you expect with a Scott Herren release. It has elements of the softness of Folk Songs For Trains, Trees and Honey, but the coldness of that album is replaced by warmer emotions. 'It's like Sigur Ros moved to Spain' popped into my head when I was flipping the vinyl over. The story behind the album gives clues to why this album doesn't have a clear link with the rest of his stuff, but you don't need to know it to enjoy the album.
Boomkat say "this is simply a personal, unassuming and heartfelt musical exploration into some of the most peaceful and rich music on this planet. Lovely"
[This message was edited by Mekon on TUESDAY 27 January 2004 at 11:00.]
The glitchy sounding title - at least the way I pronounce it - aside, there little in the way of the production showboating that you expect with a Scott Herren release. It has elements of the softness of Folk Songs For Trains, Trees and Honey, but the coldness of that album is replaced by warmer emotions. 'It's like Sigur Ros moved to Spain' popped into my head when I was flipping the vinyl over. The story behind the album gives clues to why this album doesn't have a clear link with the rest of his stuff, but you don't need to know it to enjoy the album.
Boomkat say "this is simply a personal, unassuming and heartfelt musical exploration into some of the most peaceful and rich music on this planet. Lovely"
[This message was edited by Mekon on TUESDAY 27 January 2004 at 11:00.]
Bellini: Snowing Sun
Although it's taken me over a year to figure this one out, I've finally realized it's exceptionally good. Bellini plays hard-driving math-rock in the style of the Ex-Models or Oneida. (If those names aren't familiar, then think of a more percussive version of Robert Fripp's "League of Gentlemen" days, or the more raucous moments of Yes or King Crimson). The drummer, Damon Che of Don Callabero, is exceptional and holds the album together; the few disappointing momements occur when he's not playing and things descend into near-wankery. Giovanna Cacciola seems at first to be singing in her own little autistic world, but you slowly realize, first, that there is nothing else she could do, and second, that it works.
Steve Albini's production is, as always, first-rate. Give this album time and it returns the favor. A strong:
Nota Bene: If the words "aggressive", "dissonant", and "disjointed" don't appeal to you as musical adjectives, stay away.
Although it's taken me over a year to figure this one out, I've finally realized it's exceptionally good. Bellini plays hard-driving math-rock in the style of the Ex-Models or Oneida. (If those names aren't familiar, then think of a more percussive version of Robert Fripp's "League of Gentlemen" days, or the more raucous moments of Yes or King Crimson). The drummer, Damon Che of Don Callabero, is exceptional and holds the album together; the few disappointing momements occur when he's not playing and things descend into near-wankery. Giovanna Cacciola seems at first to be singing in her own little autistic world, but you slowly realize, first, that there is nothing else she could do, and second, that it works.
Steve Albini's production is, as always, first-rate. Give this album time and it returns the favor. A strong:
Nota Bene: If the words "aggressive", "dissonant", and "disjointed" don't appeal to you as musical adjectives, stay away.
quote:
It says it's a limited edition and might only be available from the official site too.
Nick, thank you so much for pointing me in the direction of that wallet-emptying site
Anyone else got the triple-vinyl Coma Divine, it had better be good for £28!
Andy.
Ooh, I remembered another
DJ Signify - Winter's Going
A great track, with beats from Sixtoo and Buck65 on rhyme duty. Candidate for best drum sound ever. The album is out at the end of the month, and has a bunch of tracks with Buck and Sage Francis. If this is anything to go by, it's going to be essential. Check Boomkat for a sample.
& a half.
Bleak, folky hip hop
DJ Signify - Winter's Going
A great track, with beats from Sixtoo and Buck65 on rhyme duty. Candidate for best drum sound ever. The album is out at the end of the month, and has a bunch of tracks with Buck and Sage Francis. If this is anything to go by, it's going to be essential. Check Boomkat for a sample.
& a half.Bleak, folky hip hop
Dzihan & Kamien
Gran Riserva
Awesome album. A mix of many influences including dance, funk, arabic music and put together into a hard-hitting intelligent manner.
MP3 samples can be found here
Andrew
Andrew Randle
Linn Binn Sinner
Gran Riserva
Awesome album. A mix of many influences including dance, funk, arabic music and put together into a hard-hitting intelligent manner.
MP3 samples can be found here
Andrew
Andrew Randle
Linn Binn Sinner
Delta Moon
Eponymously titled
After a particularly satisfying find rummaging in the vinyl bins of the local record emporium today, which sprang a mint copy of Rockin' Jimmy Byfield's Brothers of the Night to go with my somewhat tatty and aged copy of 'By the Light of the Moon', I find the shop owner is a BIG blues fan.
So taking him up on his offer to find some gems in the Blues CD section, I found myself coming home with the album above.
There's a good mixture of Delta blues, boogie-woogie, gospel, and rockier tracks mixed up in a recording that captures the fact the band are having fun.
There's some mp3 / RA stuff here.
Blues with feeling
Eponymously titled
After a particularly satisfying find rummaging in the vinyl bins of the local record emporium today, which sprang a mint copy of Rockin' Jimmy Byfield's Brothers of the Night to go with my somewhat tatty and aged copy of 'By the Light of the Moon', I find the shop owner is a BIG blues fan.
So taking him up on his offer to find some gems in the Blues CD section, I found myself coming home with the album above.
There's a good mixture of Delta blues, boogie-woogie, gospel, and rockier tracks mixed up in a recording that captures the fact the band are having fun.
There's some mp3 / RA stuff here.
Blues with feeling
Andrew and Andrew,
These both sound interesting -- thanks.
Here's another:
The Walkmen: Bows and Arrows
If you can imagine The Faces (with Rod Stewart) meeting The Cure or New Order, you're getting pretty warm. This is a pleasing and easy-to-listen-to album with several catchy tunes (interspersed with a couple of duds). A loose, somewhat freewheeling style keeps it from sounding too poppy. Don't expect much on the ingenuity front, though.
Samples
(I know everyone, including me, keeps giving about the same rating. But do you really want to hear about albums that are both weak and utterly obscure?)
[This message was edited by ejl on Mon 15 March 2004 at 0:33.]
These both sound interesting -- thanks.
Here's another:
The Walkmen: Bows and Arrows
If you can imagine The Faces (with Rod Stewart) meeting The Cure or New Order, you're getting pretty warm. This is a pleasing and easy-to-listen-to album with several catchy tunes (interspersed with a couple of duds). A loose, somewhat freewheeling style keeps it from sounding too poppy. Don't expect much on the ingenuity front, though.
Samples
(I know everyone, including me, keeps giving about the same rating. But do you really want to hear about albums that are both weak and utterly obscure?)
[This message was edited by ejl on Mon 15 March 2004 at 0:33.]
Alright Rock Fans,
I will now fearlessly follow-up last night's Walkmen review with a review of three more recent releases by other New York City acts. The following three all seem to have something to do with each other and with the Walkmen; anyway they've all relased split EPs with each other in the past. So here goes:
Calla: Televise
Snakey bass-riffs and funky percussion wind their way through the stronger tracks for an excellent subterrainian groove. Other reviews compare them to Yo La Tengo, but I compare them to Can. Unfortunately, the B-side starts getting repetetive and sluggish. Not as strong as their "Scavengers", but still solid:
High side of:
Oneida: Secret Wars
Oneida last year released an album called "Each One Teach One" which, among other things, contained a 14-minute track on which they played only a single note over and over (with about 5 seconds of another note). Before dismissing them as avante-garde cranks, let me tell you that that track was strangely effective and hypnotic, and I'm slightly embarassed to say that I've played it many times. Anyway, the rest of last year's album got a bit too challenging, with the math overpowering the groove (if you know what I mean).
This latest is unexpectedly and delightfully different. Guitarist "Papa Crazy" tears out fuzzy riffs like some fucked-up Allen Collins. Behind him bassists "Hanoi Jane" and "Kid Millions" battle their math-rock instincts, and usually win. The result is surprising and good. Stand ready with a dash of irony for the first tracks on the B-side.
Liars: They Were Wrong So We Drowned
Last year's "They Threw us All in the Trench" was a punk-noise fest with a lively A-side and an incredibly boring B-side. This year's effort is another suprise, but one not quite as happy as Oneida's. The A-side sounds like Can at the start of their downhill slide (Babaluma, etc. -- I keep mentioning Can because I'm convinced that all three of these bands are influenced by them). The B-side shows signs of redemption, with the third track especially showing real promise (I couldn't find any track names). In the end, though, things wash back into the sea of mope.
Like most good music nowadays, all four of the above albums are out on glorious vinyl. By my calculations, all four LPs sub-total to about $45. That's what -- $15 to you euro-inflated Europeans? So it probably costs you less to get up to speed on the NYC indie rock scene than it does to buy that next Sarah Brightman DVD you were thinking of (or whatever you guys are listening to). So no complaining!
Eric
I will now fearlessly follow-up last night's Walkmen review with a review of three more recent releases by other New York City acts. The following three all seem to have something to do with each other and with the Walkmen; anyway they've all relased split EPs with each other in the past. So here goes:
Calla: Televise
Snakey bass-riffs and funky percussion wind their way through the stronger tracks for an excellent subterrainian groove. Other reviews compare them to Yo La Tengo, but I compare them to Can. Unfortunately, the B-side starts getting repetetive and sluggish. Not as strong as their "Scavengers", but still solid:
High side of:
Oneida: Secret Wars
Oneida last year released an album called "Each One Teach One" which, among other things, contained a 14-minute track on which they played only a single note over and over (with about 5 seconds of another note). Before dismissing them as avante-garde cranks, let me tell you that that track was strangely effective and hypnotic, and I'm slightly embarassed to say that I've played it many times. Anyway, the rest of last year's album got a bit too challenging, with the math overpowering the groove (if you know what I mean).
This latest is unexpectedly and delightfully different. Guitarist "Papa Crazy" tears out fuzzy riffs like some fucked-up Allen Collins. Behind him bassists "Hanoi Jane" and "Kid Millions" battle their math-rock instincts, and usually win. The result is surprising and good. Stand ready with a dash of irony for the first tracks on the B-side.
Liars: They Were Wrong So We Drowned
Last year's "They Threw us All in the Trench" was a punk-noise fest with a lively A-side and an incredibly boring B-side. This year's effort is another suprise, but one not quite as happy as Oneida's. The A-side sounds like Can at the start of their downhill slide (Babaluma, etc. -- I keep mentioning Can because I'm convinced that all three of these bands are influenced by them). The B-side shows signs of redemption, with the third track especially showing real promise (I couldn't find any track names). In the end, though, things wash back into the sea of mope.
Like most good music nowadays, all four of the above albums are out on glorious vinyl. By my calculations, all four LPs sub-total to about $45. That's what -- $15 to you euro-inflated Europeans? So it probably costs you less to get up to speed on the NYC indie rock scene than it does to buy that next Sarah Brightman DVD you were thinking of (or whatever you guys are listening to
). So no complaining!Eric
Sixtoo (feat. Damo Suzuki) - Boxcutter Emporium b/w Storm Clouds and Silver Linings
A couple of nigh on 10 minute beat-fests veering between hip hop, electronica, and plain headbanging music. Both have that stripped Sixtoo sound, but it's the b-side that stands out for me. Upfront, I have to say I have never heard any Can, so I can't compare it. That out the way, Damo wails like a crazy man, Sixtoo keeps with it, and the end result is a runaway bulldozer of a song. If I like this, is there a Can album that I would get on with?
Kraut-hop?
ps - it plays at 33rpm,go buy it.
A couple of nigh on 10 minute beat-fests veering between hip hop, electronica, and plain headbanging music. Both have that stripped Sixtoo sound, but it's the b-side that stands out for me. Upfront, I have to say I have never heard any Can, so I can't compare it. That out the way, Damo wails like a crazy man, Sixtoo keeps with it, and the end result is a runaway bulldozer of a song. If I like this, is there a Can album that I would get on with?
Kraut-hop?
ps - it plays at 33rpm,go buy it.
Madvillain Madvillainy (Stones Throw): 22 tracks and "All Caps" video on CD
The man on the knobs is Madlib (Quasimoto when rhyming) and the man on the mic is of course Viktor Vaughn The Vaudeville Villain aka King Geedorah aka MF Doom. Madlib drops soundscapes that are jazzy, soulish, groovy and B&W mobster flickish. Doom's rhymes generally have a slower pace (which suits his voice perfectly) but are as sick as ever:
"Goony goo goo loony koo-koo like Gary Gnu of New Zoo Review
But who knew the mask has a loose screw?"
4.125 Nh because it's remarkable when two artists collaborate and create something of this caliber, however it falls short of "breakthrough". Instrumental, guest-MC, and soul trio filler hurts. There are dynamite runs of gems though.
Fess up don't mess up Jessup, buy now or you'll be playin' ketchup.
The man on the knobs is Madlib (Quasimoto when rhyming) and the man on the mic is of course Viktor Vaughn The Vaudeville Villain aka King Geedorah aka MF Doom. Madlib drops soundscapes that are jazzy, soulish, groovy and B&W mobster flickish. Doom's rhymes generally have a slower pace (which suits his voice perfectly) but are as sick as ever:
"Goony goo goo loony koo-koo like Gary Gnu of New Zoo Review
But who knew the mask has a loose screw?"
4.125 Nh because it's remarkable when two artists collaborate and create something of this caliber, however it falls short of "breakthrough". Instrumental, guest-MC, and soul trio filler hurts. There are dynamite runs of gems though.
Fess up don't mess up Jessup, buy now or you'll be playin' ketchup.
DJ Signify - Sleep No More
The Winter's Going 12" hinted that Sleep No More was going to be something special. This one exceeds expectations, with a collection of richly atmospheric tracks with an eerie quality isn't diminished by Sage Francis' and Buck 65's presence, who both put in solid appearances (3 tracks from Sage, 4 from Buck). Much like the latter's Talkin' Honky Blues, this one deserves an audience beyond the usual heads. Like Ludwig, Madvillain didn't quite cope with the hype for me. Lex have kept this one quiet, and whilst there's nothing that throws you around like Money Folder or ALL CAPS, these dark beats combine with the underground's two master storytellers rhymes to make a heavyweight album that fulfils Signify's intention of making a disturbing 'hard psychedic' hip hop album.
Deliverance canoeing trip music, minus banjos.
The Winter's Going 12" hinted that Sleep No More was going to be something special. This one exceeds expectations, with a collection of richly atmospheric tracks with an eerie quality isn't diminished by Sage Francis' and Buck 65's presence, who both put in solid appearances (3 tracks from Sage, 4 from Buck). Much like the latter's Talkin' Honky Blues, this one deserves an audience beyond the usual heads. Like Ludwig, Madvillain didn't quite cope with the hype for me. Lex have kept this one quiet, and whilst there's nothing that throws you around like Money Folder or ALL CAPS, these dark beats combine with the underground's two master storytellers rhymes to make a heavyweight album that fulfils Signify's intention of making a disturbing 'hard psychedic' hip hop album.
Deliverance canoeing trip music, minus banjos.
Susan Tedeschi - Wait For Me
After a good session rummaging in the s/h vinyl section of my local record store, which scored me half a dozen Leo Kottke albums at a great price, this one is another great recommendation courtesy of the shop owner.
Seemingly available on import only, and consequently with a price tag to match, it's worth every single penny. Courtesy of the 'net I'm sure it could be scored for less, but good dealers (or should that be pushers ) are hard to find and deserve support.
If you like Bonnie Raitt I think you'll love this. The voices are remarkably similar in some ways and like Raitt, Susan plays a mean guitar, although with less of a bias towards slide.
She's vibrant and dynamic with a beautiful tender voice that can move easily from a soulful ballad to a belter of a rock / blues number. She can play guitar to match too, I'm not sure yet which is the better instrument, both are truly powerful at communicating the feeling within the songs.
There's some great collaboration here too, the track 'I Fell in Love' features some great electrifying piano courtesy of Chuck Berry collaborator and rock'n'roll forefather Johnnie Johnson.
The album veers more towards roots rock than the earlier, more bluesy albums, so it has wide appeal, beyond ardent blues fanatics.
Susan Tedeschi holds the future of roots rock in her hands, make sure you get a copy in yours.
After a good session rummaging in the s/h vinyl section of my local record store, which scored me half a dozen Leo Kottke albums at a great price, this one is another great recommendation courtesy of the shop owner.
Seemingly available on import only, and consequently with a price tag to match, it's worth every single penny. Courtesy of the 'net I'm sure it could be scored for less, but good dealers (or should that be pushers
) are hard to find and deserve support.If you like Bonnie Raitt I think you'll love this. The voices are remarkably similar in some ways and like Raitt, Susan plays a mean guitar, although with less of a bias towards slide.
She's vibrant and dynamic with a beautiful tender voice that can move easily from a soulful ballad to a belter of a rock / blues number. She can play guitar to match too, I'm not sure yet which is the better instrument, both are truly powerful at communicating the feeling within the songs.
There's some great collaboration here too, the track 'I Fell in Love' features some great electrifying piano courtesy of Chuck Berry collaborator and rock'n'roll forefather Johnnie Johnson.
The album veers more towards roots rock than the earlier, more bluesy albums, so it has wide appeal, beyond ardent blues fanatics.
Susan Tedeschi holds the future of roots rock in her hands, make sure you get a copy in yours.
man'sbestfriend The New Human Is Illegal (Morr Music)
On this one Sole compiles tracks written while on tour, does the production, and lets his consciousness boil over. And I have to say- he's one pissed off mofo. He rhymes about everything from Palestinian refugee conditions to institutional racism to immigration policy to... you get the idea. There's a variety of simplistic, dirty somewhat industrial backgrounds and beats but a few standouts use grinding synths, acoustic guitar, and dreamy Middle Eastern sounds. The tempo speeds up and slows down, but in the foreground Sole keeps the rhymes at a quick pace, with an agressive slant.
Fast and furious verbal skewering of George Bush over innovative yet simple sounds. My favorite 2004 release to date.
On this one Sole compiles tracks written while on tour, does the production, and lets his consciousness boil over. And I have to say- he's one pissed off mofo. He rhymes about everything from Palestinian refugee conditions to institutional racism to immigration policy to... you get the idea. There's a variety of simplistic, dirty somewhat industrial backgrounds and beats but a few standouts use grinding synths, acoustic guitar, and dreamy Middle Eastern sounds. The tempo speeds up and slows down, but in the foreground Sole keeps the rhymes at a quick pace, with an agressive slant.
Fast and furious verbal skewering of George Bush over innovative yet simple sounds. My favorite 2004 release to date.
If it helps at all, I'm listening to "Bottle of Humans" this second and "New Human Is Illegal" makes it sounds pretty irrelevant and obsolete.
quote:
Originally posted by Ludwig:
If it helps at all, I'm listening to "Bottle of Humans" this second and "New Human Is Illegal" makes it sounds pretty irrelevant and obsolete.
Damn!!! I got BoH a few years back when it was OOP, and paid over the odds for it.
So no, no help!!!
quote:
Originally posted by Andrew L. Weekes:
If you like Bonnie Raitt I think you'll love this. The voices are remarkably similar in some ways and like Raitt, Susan plays a mean guitar, although with less of a bias towards slide.
She's recently married to Derek Trucks, so there's already one mean slide player in the house.
Her first album, Just Won't Burn, is an absolute scorcher. If you get a chance to see her live, definitely do. She leaves it all on the stage - I've seen her twice, blown away both times.