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Albums Out Today: Reissues From Blur, Yaz, At the Drive-In, Plus New Albums and Preorders

Posted by Billy Gil, July 31, 2012 01:11pm | Post a Comment
This week sees a huge set of reissues from Blur, among others ...

at the drive-inAt the Drive-InIn/Casino/Out
 
Though At the Drive-In’s third and final full-length, Relationship of Command, gets more attention for being the post-hardcore band’s breakthrough, At the Drive-In’s second album, In/Casino/Out, is the best representation of the band at the height of its powers. The album was recorded live to capture the band in its native environment, as the band had begun to make their name on explosive live shows that would lead to word-of-mouth expansion of their fanbase, and true to form listening to In/Casino/Out now feels like travelling back in time to when the band was playing basement shows, before Cedric Bixler-Zavala and Omar Rodríguez-López’s The Mars Volta would play to massive crowds in the following decade. You see the beginnings of that band in how Bixler-Zavala crams verbiage into “Alpha Centauri” and the band makes the 3:13 song feel like an epic, but the live recording makes it feel manageable, most of the lyrics spat out quickly and its movements more memorable than the Volta’s proggy opuses. It’s also easy to forget how catchy the band could be, and a run of mid-album cuts proves this, including “Pickpocket,” with its instantly memorable, if incomprehensible screamed chorus. The band would also slow down to great effect on “For Now…We Toast,” which clips the distance between the band’s more melodic and aggressive leanings. But the album stands together as a whole, as well, with song after song coming at you with a warm assault of visceral guitar attacks and complex wordplay.
 
blur 21Blur Reissues
 

Blur releases a mass of reissues on LP today, as well as its Blur 21 box set, celebrating 21 years of the Britpop band. To these ears, the incredibly solid Parklife and relentlessly experimental 13 have always been the essential Blur albums, but I also have a newfound appreciation of Leisure, their first album. Before they were kings of Britpop, Blur were a fresh-faced band of whelps wielding shoegaze guitars and madchester beats into a neat package, no better than on the funk-inspired “There’s No Other Way” or throbbing “Bang.” Yes, Leisure is sort of Blur’s Pablo Honey, where the band was still finding its footing, but Leisure also stands on its own, thanks to the fact that Damon Albarn and co. had more personality than most of their countrymen in 1991. You saw the beginnings of Albarn’s experimentalism in the percussive elements underpinning the slow-burning alt-rock of “Repetition” and accordion riff looping under the dream-pop guitar squalls of “Bad Day.” Even at its most derivative, such as the “Only Shallow” aping riff of “Slow Down,” Leisure is still a an early ’90s time capsule of a record with plenty of pleasure to spare, and one that hinted at the heights Blur and Albarn would achieve later on. Maybe I just like it now because every song sounds kind of like My Bloody Valentine's "Soon." Regardless, all of the albums are worth checking out, including Blur, Modern Life is Rubbish, The Great Escape and Think Tank.
 
yaz upstairs at eric'sYaz Upstairs at Eric’s
 
In these days of excellent darkwave revivalists like Light Asylum, Yaz and its best album, Upstairs at Eric’s, seem more prescient than ever. The albums big hits all have a certain desperation that often underpins some of the best pop songs. “Don’t Go,” despite its memorable synth hook, boasts lyrics like “I turned around when I heard the sound of footsteps on the floor/Said, ‘He was a killer,’ now I know it's true/I'm dead when you walk out the door.” Vince Clarke, who penned early Depeche Mode classics like “Just Can’t Get Enough” before splitting for Yaz (and later Erasure), offers spare backdrop that favors tiny, interlocking synth riffs rather than big blankets of chords for Moyet to pour herself over. Moyet’s deep vocals hit hard throughout, especially on “Midnight” and the classic “Only You,” slow, sad new wave ballads that would be nowhere without Moyet offering some much-needed soul to a genre often saddled with wispy male vocals. Upstairs at Eric’s is a lot of fun, too, even with its more emotional tunes — Clarke’s synths mimic ’50s rock tropes and disco shimmer to great effect on “Bad Connection” and “Goodbye Seventies,” respectively, while Moyet’s exuberant kiss-offs and creepy laugh make “Situation” one of the best feel-good breakup songs around.

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New Albums Out Today, New Ones Coming in July/August

Posted by Billy Gil, July 3, 2012 06:36pm | Post a Comment
Today saw the releases of new albums by Belle & Sebastian member Stevie Jackson, comedian Doug Benson and a 7” from Animal Collective, among others. Check out what’s out today and what’s coming down the pipe:
 
Stevie Jackson
Stevie Jackson – (I Can’t Get No) Stevie Jackson
 
(I Can’t Get No) Stevie Jackson makes a name for itself quite outside of Belle & Sebastian, coming off like the next in line of a lineage of singer-songwriters who exist on their own terms, from John Cale to Brian Eno to Elvis Costello. Far from just being twee, Jackson rocks out to a new wave beat on “Try Me,” singing “I got pills and I’m lookin’ for thrills/At the same time I want to start a family.” The distinctive, reverb-laden lead guitar he lends Belle & Sebastian is on songs like the lovely display on the Kinks-y “Richie.” And even at his most clearly indebted to Summer of Love-era rock, he creates a varied and thoroughly rewarding listen, notably on the swinging, Mamas & Papas-style “Where Do All the Good Girls Go?”

doug benson
Doug Benson – Smug Life
 
Huge pot fan and hilarious comedian Doug Benson releases two different versions of the same jokes on Smug Life, both performed on April 20 (4/20!) at the same club. It plays like a case study in how varied performances of the same material can yield such different results — in one case, you hear a comment yelled from the audience that gets incorporated into the joke in the later performance.

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Bobby Womack Comes to Amoeba

Posted by Billy Gil, June 12, 2012 07:30pm | Post a Comment
Bobby WomackSoul legend Bobby Womack is appearing this Friday, June 15th at Amoeba Hollywood at 6 p.m. where he’ll be signing copies of his excellent new album, The Bravest Man in the Universe, which is out today.

Produced by former Gorillaz and Blur frontman Damon Albarn as well as XL Recordings founder Richard Russell, on Womack’s first album of new material since 1994’s Resurrection, to say he sounds reinvigorated would be an understatement. Albarn, and Russell’s careful but not overly cautious production work helps Womack stand front-and-center over trip-hoppy beats and beatific synths. Womack cries out on “Sweet Baby Mine” like a man reborn. The title track, meanwhile, begins elegiac, as Womack extols the virtue of forgiveness, before breaking into a steady, string-laden groove that lets Womack do his thing with minimal distraction. A duet with Lana del Rey, “Dayglo Reflection,” is a bit of young-meets-old fun, but it’s still classy, with del Rey’s sultry voice breaks nicely complementing Womack’s rough hues. The headturner here, though, is closer “Jubilee (Don’t Let Nobody Turn You Around).” Womack is on fire as he sings in terrifying ecstasy over a big, nasty synth groove. The album is an excellent restatement from one of rock’s great survivors, and gives Womack a brilliant new palette from which to paint.

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Oasis and Blur in One Room Together! Long Lost 1994 Interview Rediscovered

Posted by The Bay Area Crew, August 31, 2010 01:27pm | Post a Comment
blur oasis

Thanks to the folks at the Rad Report, we have learned that an amazing interview by Aaron Axelson with famously battling bands Blur and Oasis in the same room at the same time here in San Francisco at Live 105 back in 1994 has just been unearthed, and thanks to the crazy technology of the web, is now available for all our listening pleasure!

Interestingly, Pulp was also in town at the same time, opening for Blur at the Fillmore, while Oasis was playing at...wait for it...Bottom of the Hill! Wowza! And their opening band? Ye olde Brian Jonestown Massacre! Take a trip back in time to the early Stateside days of Britpop and give the interview a listen right here! It's pretty silly. You can check out the full story via Axelson on the Live 105 blog.

out this week 7/28 & 8/4 & 8/11...pictureplane...blur...modest mouse...patrick wolf...

Posted by Brad Schelden, August 27, 2009 12:20pm | Post a Comment
where the wild things are
I spend most of my weeks looking for new albums to fall in love with. I try to listen to most albums at least once. This is a big quest since there are still a ton of albums out every week. I just wait and hope for those special little albums that get me excited and keep me looking for my new favorite. It keeps me going knowing that there are new fantastic albums out every month just waiting to be discovered. There are the obvious albums to get excited about. In a couple of weeks the Where the Wild Things Are soundtrack comes out. The movie looks amazingly fantastic. The trailer for the movie already made me cry. Spike Jonze is the perfect director to create a live action film out of this great children's book. And just when I didn't think it could get any better, I find out that Karen O from the Yeah Yeah Yeahs did the soundtrack. I mean, really! How could it possibly get any better? I am dying of anticipation to see the movie and hear the soundtrack! I have not even tried to listen to any tracks online. I just want to wait and hear the whole thing when it comes out. But I honestly think that I might just have to wait and experience the soundtrack for the first timewhere the wild things are spike jonze while watching the movie. That is always the problem with getting a soundtrack before you see the movie. I think it is best to experience it in the theater for the first time. Then you can go back and relive it and listen to the soundtrack. I seriously can't wait!

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