Wednesday, May 9, 2012

Tell me I'm your National Anthem


I’m alive, I swear to you. I’m just a poor blog manager.
You see, I’m trying to break free of the restraints I’ve put on myself by saying, “I’ll do book reviews and now I’ll do album reviews.” That sort of thing curbs my appetite for blogging and I’ll have to stop. I’ll still talk about music most of the time, but it doesn’t have to be about one specific band or musician.
Most of my listening lately has been dedicated to Florence + the Machine and Lana Del Rey. Lana is a surprise to me, as I was a bit put off by her performance on SNL and heard less than flattering things about her album ‘Born to Die’ from my hero, internet music critic Anthony Fantano. Video Games was catchy enough, and I allowed it into my repertoire. An alternate version of National Anthem came about, and before I knew it I was reading her interviews and reblogging her pictures and making her a Pandora station, right above St. Vincent and Big K.R.I.T. and below THEESatisfaction.
She’s an interesting character underneath the pouty, likely synthetic lips and vintage sex appeal. Lana has mentioned the probability of her not recording another album, but I am secretly hoping she releases something big. With her unique contralto and writing style, I think she’s capable.
As for Florence, I’ve fallen head over heels. I bought Ceremonials numerous months ago and always loved it, and now I’m beginning to dive into her first album. While not as epic or triumphant or mature as Ceremonials, Lungs does maintain its own form of innocence and wonder. Cosmic Love is incredible, possibly suited for Ceremonials. Their trademark percussion does much to fill up and enrich their sound. Her live performances are bordering on magic. Florence is in her own little world when on stage, often taking the audience with her.
I’m a bit uninspired in terms of other things at the moment. I’m at odds of what to do with myself most of the time. Hopefully I can get rid of it.



Saturday, February 25, 2012

So brother, raise another pint.

SORRY GAIS I WAS LAZY BUSY.
Album time.

Bless tumblr in it's glory, especially it's audio tag, because that's how I discovered this incredible and unique band. Though not their most recent release, this album has earned a special place in my heart. Before I get into detail, some of my favorite songs from this LP:

Their lead singer sports a Johnny Cash-like baritone range, narrating the vivid lyrics that paint this band's steampunk-1899. Their sound can't easily be restrained to one genre; I've read everything from steampunk to alternative to alternative country in their bios, but nothing seems to fit quite comfortably on MBD's shoulders. This was their 2006 and best received release. Their cello licks are their replacement for guitar solos, the percussion is solid and steady. "Dead Men and Sinners" is essentially boozing music suitable for pirates. "Shiola" is a bittersweet love song about being settled down. "Brother" is by far my favorite track, a loud proclamation of sibling loyalty.
"Red of Tooth and Claw" is the album that follows this one, and another one I quite enjoyed. Once I get back in the swing of things, I'll post about it.
Happy listening.

Saturday, January 21, 2012

Tracks of the Week

No one's getting out

I finally got around to another album review.
Metric hails from Canada with an intriguing indie pop/new wave sound utilizing melodic guitar riffs and keyboards. This is their most recent studio album and was welcomed with fairly warm reviews, and since it's been the subject of my most recent musical digging, I thought I'd throw in my two-cents worth.

This album definitely qualifies as one of my top-fifteen albums. Before I start in on my rambling, I'll list my favorite tracks:
'Gold Guns Girls' was the first song I heard from the album and likely the first Metric song I heard. The most famous song from the album and the most scrobbled on their last.fm is 'Help I'm Alive'. I do enjoy this track, but other songs stood out to me more. 'Sick Muse' is by far my favorite, with it's lyrics dismissing affection in ways other songs haven't. It's much more honest in it's dismissal of whatever love means. 'Front Row' is the most organic, rock sounding track, with a much more 'band-ier' sound rather among the fluid keyboards and synths on the rest of the album. 'Gimme Sympathy' is straight-up lovely, there's not much more I can say about it. The whole album is honest, in a nutshell.
The one thing I disliked on the album is the length of the songs. While some fit snugly into their 3:30 or 4 minute times, half of the songs could have easily had 30 to 50 seconds shaved off, which would've made the album considerably more listenable. 
I give it 8 out of 10. Solid.