Wednesday, April 29, 2015

New Music (4.29.2015)


















Blur
Magic Whip

This week's entry will be longer than usual, taking on a bit more editorializing than simply review, but that will be later.

Blur's Magic Whip is a fantastic addition to an already stacked repertoire by one of "Britpop's" most successful bands. Their twelve-year absence was barely noticed, but is made that much more prominent by this offering of reemergence.

Started as a distraction while the group was stranded in Hong Kong, Magic Whip is the best possible combination of all the individual members' solo work: the poppy dance beats of Albarn's Gorillaz work and the prog-rock wooziness of Coxon's The Kiss of the Morning all find space here. The revitalized sound is given the same glossy treatment as Blur's 1997 self-titled album, and is just as exciting.

The work showcased here by an act that has long since proved its mastery of the craft is almost astonishing--to be this good after so long is a rare quality indeed--and the reflective nature of its themes is shockingly refreshing, since most bands of Blur's age drone on and on about the drudgery of fame.

Here, Albarn and company come across the same perils of the modern age as seen in EMA's The Future's Void, St. Vincent's St. Vincent, and even Arcade Fire's Reflektor: the anonymity of an always-online society, combined with easy access to personal technology, leaves us all alone together.






Sleep Well, Fair Baltimore
     This past Monday was unlike anything I had personally experienced. That said, I cannot comment on black youth relations with police, because I am not a black youth, and I am not a police officer. The tensions between these two groups in my city are deep-seated and have a long, discouraging history. What began Monday afternoon was an event that had been burning under the skin of Baltimore for well over the 47 years since the 1968 riots sparked by the assassination of Martin Luther King, Jr., and when it finally came to the forefront, it did so in a violent boiling over unlike anyone of my generation had seen in the area.

I don't need to recount the actual events of the day, they have been covered ad nauseam by every armchair journalist-that-thinks-themselves-a-philosopher and fear-monger (I'm looking at you, CNN) this side of the International Date Line. For almost 24 straight hours, the national media bombarded us with images like the one above: black teens hurling rocks at police, looting stores, burning anything remotely combustible. But yesterday, only the locals saw pictures like this:
or this:
images of people being kind to one another, images of people helping one another. That is the Baltimore I know.

A lot of what happened will be the onus for placing blame--on the police, on the city and state government, on the people that participated. But such a disturbing incident in my hometown brings me to ask a question: what do we mean by "no justice, no peace?" To me, the two are not as mutual exclusive as the protest chant and twitter hashtag suggest. To the people using the phrase: is what happened on Monday what we mean by "no peace?" I assure you it is not; I assure you "no peace" means civil disobedience, very much unlike that which happened two days ago.

What I can say, most assuredly, is that when violence like Monday's occurs, the justice system freezes. Do you think the police are diligently working on the case--the most important case--while that's going on? Whose "fault" the riots are has nothing to do with it, nor is it particularly helpful to find out. May I suggest instead, "no peace, no justice."

Everyone who loses somebody wants revenge, but revenge is a lazy form of grief. The only way to end grief is to save a life, not take one. If you enact vengeance, you may have justice, but you will spend the remainder of your days in grief. If you save someone, you will discover that life is not just, but it need not be filled with sorrow.

"The human voice is different from other sounds. It can be heard over noises that bury everything else. Even when it's not shouting. Even when it's just a whisper. Even the lowest whisper can be heard--over armies...when it's telling the truth."

Thursday, April 23, 2015

New Music (4.23.2015)


















Speedy Ortiz
Foil Deer

A little late this week, but it's worth the wait. Speedy Ortiz' third full-length album is a fun, rocking effort very reminiscent of early Yeah Yeah Yeahs. Their musical proficiency has greatly improved since 2013's Major Arcana, and Sadie Dupuis' lyrics are as biting and expertly delivered as ever.

Foil Deer is the indie-blues-rock album that acts like Black Keys and Alabama Shakes can't really deliver on anymore. This offering goes to show that a year I thought would be devoid of decent, loud, distortion music is anything but. Joining groups like A Place to Bury Strangers, Lightning Bolt, and Drenge, Speedy Ortiz has provided as fine an example of awe-inspiring rock as has been released this year.

Tuesday, April 14, 2015

New Music (4.14.2015)


















Lower Dens
Escape from Evil

Trying to find an entry for this week was particularly hard. With nothing particularly worthy coming out since last week's double-whammy, overlooked earlier releases finally got their chance to shine; and of course, if the band is from Baltimore, they get twice the consideration.

Yes, Lower Dens is from the land of Serial and the Wire, but much like their dream-pop cousins, Beach House, their sound refuses to sink to succumb to the depression those works suggest. This seems to be the musical tone of the area--synthy 80's rhythms and gauzy vocals, inviting you to party, but maybe...party solemnly.

Escape from Evil is less experimental than Lower Dens' previous work, focusing almost entirely on pop-structured songs that slowly build into flowery explosions of keyboards and fuzz guitar. One could almost call them out for copying Beach House, but this band is a product of their musical scene and not many from Baltimore can escape the long shadow of Alex and Victoria. The sound here is much more minimal, less ethereal, like Kim Carnes singing over late-era Kraftwerk.

If you need something to hold you over until Chromatics oft-delayed new album comes out, seriously put on Escape from Evil. It's chill, it will focus you, like using ice to snap a daydream.


Tuesday, April 7, 2015

New Music (4.07.2015)

















Young Fathers
White Men Are Black Men Too

In my quest to find music that actually challenges its listeners, I have only been mildly successful. That changes today.

Young Fathers is a hip hop group from Scotland--yes, Scotland--that are not only pushing the musical boundaries of the genre, but racking up the critical recognition as well, having won last year's Mercury Prize over heavy favorites Damon Albarn and FKA Twigs.

One could be forgiven for not believing the hip hop label that comes with White Men Are Black Men Too, but the beats don't lie. Constructed with intense care, and with a constant mindfulness for production quality and overall sound, each hook is meted out with equal measures of Prince and TV On The Radio.

The latter of those two comparisons cannot be ignored. This is the high-quality OK Calculator fans of the Brooklyn indie-rock group has always secretly hoped for, both quirky and catchy, novel and mesmerizing at the same time. From their layered vocals, to their often-strange choice of looped percussion instruments, Young Fathers owe a great debt to TVOTR and other experimental hip-hop acts such as Flying Lotus and Frank Ocean.

But don't take their heavy influences as trivializing the sound, WMABMT is a work of genius that should be celebrated as such; this is the next step forward in hip-hop, a genre that has been plagued with stagnation save for a few bright spots. Kanye, Kendrick, A$AP, make room on the top shelf for some brilliant company.




















Drenge
Undertow

Two...two albums in one week? Yes, because these are both so good I couldn't wait one more day to talk about either of them. Drenge is the love-child of Duran Duran, The Cure, and Sleep that you never knew you wanted, but you totally need.

Undertow is a combination of sludge metal and Brit-pop, and if that sounds strange, just understand that it's the most brilliant melding of genres ever. Let yourself slip into a deeper consciousness and be one with the robotic rock rhythm.

Anytime a new(ish) band sounds this good, you can only hope your constantly repeat-playing their album won't crash a server. I'm sure that's not how servers work, but with a style like Franz Ferdinand covering Tool, things get confusing at an almost quantum level.

In all seriousness, Undertow is an expertly crafted album that creates an intimate space in which to pummel you with rock-and-roll. And with their sophomore effort, Drenge have made one of the most enjoyable albums of the year.