Listening Lounge
Transcription
Listening Lounge
Listening Lounge After The Disco Columbia Records Ad Broken Bells The indie duo returns with a space-rock sophomore album. By: Larry Fitzmaurice lot has changed since James Mer- across as two seasoned musicians taking advancer formed Broken Bells four years tage of a major-label budget (the list of addiago with producer Brian Burton, aka tional contributors dwarfed Port of Morrow’s Danger Mouse. Broken Bells’ roots considerable collab-a-palooza). The (the list of can be traced to when Mercer lent additional contributors dwarfed Port of Morhis voice to the squiggly oddity “Insane Lulla- row’s considerable collab-a-palooza). by”, a track that landed on the Burton/Mark LinkThe record dipped in and out of differous project Dark Night of the Soul. You can also ent sounds and styles—wheezing indie-pop, draw a line from Mercer’s previdrum-machine percolators, Beach ous album with the Shins, WincBoys-style funhouse psychedelia. ing the Night Away, which moved The songs lacked the staying power Holding On for Life away from the spiky guitar pop of of the Shins’ best work but there Leave it Alone their first two star-making records was enough sonic variety to make towards moodier, more impressionistic territo- for an intermittently engaging listen. Still, Merry. A subtly excellent album that has benefited cer remains one of North America’s stronger from the passage of time, Wincing the Night melodic songwriters. But these glimmers of Away nonetheless sounded like a statement warmth quickly fade in After the Disco’s chilly of defeat from a songwriter who had experi- environs; as soon as “After the Disco” hits its enced major success earlier in that decade. The bridge, the melody falters and Mercer is forced first Broken Bells album was an eclectic, low- to hop around in his vocal range. Article originally published for pitchfork.com, 2014 Photography by James Minchin A favourite tracks APRIL 2014 TWELVE After the Disco is a more cohesive record, and that turns out to be the problem: Mercer and Burton’s eccentricities have been sanded down to a single, flattened plane. Broken Bells have been fond of outer space imagery— Christina Hendricks’ turn as a vacationing astronaut for the video for Broken Bells’ “The Ghost Inside”, the similarly astral series of short films accompanying After the Disco’s singles— and this set represents the sonic manifestation of their space-isthe-place mindset, with music that is weightless, atmospherically heavy, and inert. The LP’s title suggests that Broken Bells’ attentions have turned to the dancefloor, and to a point that holds true—there’s the perky beat and synth stabs of the title track, Mercer’s strange Bee Gees affectation on “Holding on for Life”, the elided grandeur of “The Changing Lights”. But too often, these songs sound lifeless and drained of energy. Still, Mercer remains one of North America’s stronger melodic songwriters. His sing-songy cadence on the verse section of “After the Disco” proves an instant earworm, and the acoustic dusk of “Lazy Wonderland” stands with the best in Mercer’s catalogue, reminiscent of Port of Morrow’s lovely, languid “September”. But these glimmers of warmth quickly fade. 25 listening lounge Bombay Bicycle Club So Long, See You Tomorrow Island Records IT’S INAPPROPRIATE TO TALK about Bombay Bicycle Club’s “evolution," since that word assumes some kind of logical progression. Between 2009 and 2011, the London group released three albums—one as an affable post-punk-pop Arctic Vampires hybrid, another as a “quiet is the new loud” retread and, on the surprisingly vigorous, Ben H. Allen-helmed A Different Kind of Fix, a third that was sleek and streamlined Urban Outfitters mixtape filler. It secured them a sizable fanbase and not much respect as a rock band: it’s hard to get taken seriously when your first big break involves winning a Battle of the Bands, and even as their music improved significantly, this was often credited to their producers. But that all happened in the span of two years, about six months less than it took just to make their fourth LP. Another radical change and a wonder of cosmetic sur- gery, So Long, See You Tomorrow is an often daz- ing electronic production by playing actual festizling, euphoric electronic-pop record where Bom- vals. They’re operating with a broad scope and bay Bicycle Club have decided they don’t want an eagerness to please, so every time they go to be seen as a rock band anyway. overboard with the ProTools, it’s in the service Who knew that Bombay Bicycle Club’s ulti- of adding fundamental pleasures of melody or mate destiny would involve finally figuring out rhythm rather than dull atmosphere. The band a way where TNGHT and the greatrecorded and produced So Long in est hits of Alexandra Patsavas can their own studio, and wisely enlistcoexist? On a musical level, it’s pretty ed Mark Rankin as an engineer and Home By Now much what most upstart “indie rock” mixer—he worked on the most recent Eyes Off You (read: synth-pop) acts are trying in Queens of the Stone Age and Aluvain to suss out—how to make syncable, meet- naGeorge albums and that’s adequate prepacute songs conversant in maximalist, omnivo- ration for band who likely asked him, “help us rous R&B and hip-hop production. Compared to sound like both.” In particular, first single “Carry damn near every band trying to do the same Me” and opener “Overdone” show Bombay Bicything, Bombay Bicycle Club are exceedingly cle Club getting newly aggressive, where they well-prepared, having started as a hooky, if indis- just want to express their joy in discovering tinct pop band and learning about crowd-pleas- different. forms of sonic expression. favourite tracks Ad Band Of Horses Acoustic at the Ryman THANKS TO ITS VENUE, Acoustic at the Ryman known as the Ryman Auditorium until the 1900s, can't be just a simple live album, as that sto- when it was renamed after a local businessman, ried concert hall in Nashville carries far too much saloon proprietor, and riverboat captain. It wasn’t cultural and historical baggage. Band of Horses known for country music, however, until 40 years played a two-night stand there in April 2013, and later: The Grand Ole Opry radio show relocated to their decision to unplug their electric that space when it outgrew nearby guitars in favor of acoustic suggests War Memorial Auditorium. Broadknowledge of the venue's long life cast hundreds of miles in every No One’s Gonna Love You as the home of country music. It's direction, the show became so The Funeral certainly an impressive name on popular that the Ryman was soon the album cover, and definitely the most compel- identified as the home of country music—or, as it ling aspect of this pallid set. Seemingly intended is currently billed, the “mother church.” to legitimize the band's music—specifically, their The country music industry, if not necestwo most recent albums of diminishing-returns sarily the music itself, eventually outgrew the bro rock—the venue conjures up a very specific venue, and in the early 1970s, the Opry moved musical legacy that Band of Horses simply can- to a theme park outside of Nashville, which not live up to. The redbrick tabernacle on Fifth held more fans in its mega church-like auditoAvenue in Nashville was built in 1892, but it wasn’t rium. For two decades, the Ryman sat down- favourite tracks 26 TWELVE town empty and neglected, and was nearly torn. down. Thanks to the efforts of local artists and fans—including Emmylou Harris, who filmed a series of concerts there in the early 1990s— the building was refurbished and reopened as a concert hall and museum, its rustic ambience. Acoustic sounds like the culmination of a H.O.R.D.E.-ward trajectory Band of Horses have been tracing since their second release: beefing up their sound, abandoning the outsize moments that distinguished their debut, yet maintaining that same I-love-you-man rock romanticism. It’s either the most depressing career arc or the greatest indie-rock trolling of the twenty-first century. On this live album, the Ryman is just a room with good acoustics. The album is almost as good as the real thing, it sounds as if you were there, live, listening. APRIL 2014 Article originally published for pitchfork.com, 2014 by Ian Cohen and Stephen M. Deusner Brown/Kobalt listening lounge Cut Copy Free Your Mind Modular CUT COPY NEVER SOUNDED like a band that had a problem getting to the point. Nor did they ever sound like a band that needed a serotonin boost. Yet, even “Lights & Music”, “Need You Now”, “Hearts on Fire”, “Take Me Over” and just about any of the Australian quartet’s uniformly excellent and directly-titled singles can sound wishy-washy and kinda dark in the face of Free Your Mind, its Successories screen-saver album cover and Dan Whitford’s claim that the title refers to a freedom that’s “universally positive and timeless.” Maybe Cut Copy were hippies all along, and whether you think that’s progress or a serious regression, Free Your Mind is at least a sensible continuation of their trajectory from the cosmopolitan, club-friendly and DFA-affiliated In Ghost Colours to the breezier, more festival-ready 80s pop of Zonoscope. But there’s a difference between freeing your mind, losing your mind and just flat-out shutting it down. And you signifiers, sorted out neatly: staggered house just wish Cut Copy left even something to the piano vamps, endlessly thumping bass drum imagination, as their most overtly fun and least and Whitford letting his vocals get all baggy in dynamic music restates the obvious over and every sense of the word, an amalgamation of over again throughout Free Your Mind. Shaun Ryder’s dysfunctional relationship with Their aims are admirable here. Whitford pitch, Ian Brown’s bedheaded proclamations and claimed the band took their inspiration from Bobby Gillespie’s revolutionary hokum. the Summers of Love, both 1967 and 1989. Cut Copy’s music has always been simple; Philosophically and sonically, those years are the difficult part was trying to explain in non-ilsomething of a package deal lusory terms what made Bright anyway—Stone Roses and InspiLike Neon Love, In Ghost Colours ral Carpets were essentially psyand Zonoscope glorious and Meet Me in the House of Love chedelic pop-rock bands with uplifting rather than silly or even Walking in the Sky beats, while Primal Scream and flat out dumb. My take is that Happy Mondays had no qualms about straight- they had omnivorous enough taste to show up pilfering the era. You can’t doubt Cut Copy’s they take their craft seriously, while avoiding commitment to sidling up with nu-Madchester crowd-moving mock profundity and proving septypes like Jagwar Ma and Paradise, as there’s arating it from the vapid electro-pop to which barely any modernist touch to be found on the Cut Copy used to be an alternative. favourite tracks Ad 28 Beck Mogwai Foster The People Chromeo Morning Phase Rave Tapes Supermodel White Women Recalling his 1990s emergence in a Pitchfork interview from 2011, Beck said, “Back then I had a feeling that we weren’t quite measuring up to the music that had come before, or it just wasn’t as important somehow.” It upholds the myths of baby boomers like the Byrds and Simon and Garfunkel with a staid type of reverence, but it also piggybacks on the legacy of one of Beck’s best records. It’s the sound of a rule-breaker coloring inside the lines. Rave Tapes, the band’s eighth album outside of their soundtrack and remix work, has been built up for its increased use of electronics, with a debt partially owed to the vintage synth scores that have held a sustained influence over a huge swathe of underground artists. The first song to be released from the album, “Remurdered”, certainly hinted that analog sounds would form a more rigorous backbone to their music than before. Foster The People‘s lead Supermodel single “Coming Of Age” was a pleasant, if rather unassuming, bit of guitar pop. New album cut “Pseudologia Fantastica” is much weirder and more substantial in every way. It starts off with galactic synth textures and thumping percussion, but then the chorus is driven by a chunky piano chord and driving bass line. Just when you think things can’t get prettier, a shoegaze-lite swirl of feedback enters the mix. Electrofunk duo Chromeo has shared album art for the forthcoming White Women, the follow up to 2010’s Business Casual, via a missed connections ad on Craigslist. According to the ad, the new album is set to drop May 12. White Women will feature contributions from Vampire Weekend’s Ezra Koenig, Toro Y Moi, Solange, LCD Soundsystem’s Pat Mahoney, and Fool’s Gold duo Oliver. So far, the duo has shared “Come Alive” and “Sexy Socialite”. TWELVE Article originally published for pitchfork.com, 2014 by Ian Cohen Next Month’s Anticipated Albums APRIL 2014