Assessment! Regina Spektor's "Far"

(Sire Records)

June 22, 2009

In the past, Regina Spektor has displayed a knack for crafting off-kilter tunes that are melodic and intricate.  This latest album is no different. The first tracks, "The Calculation" and "Eet," are excellent examples of Spektor's ability to travel up and down vocal scales with mastery. "Blue Lips" starts off with just Spektor's voice, but as the song continues piano and other instruments join in.  "Laughing With" seems like a play on Joan Osborne's "One of Us."  

Like with every Spektor record, some songs do not work as well as others. "Dance Anthem of the 80s" contains a overpowering piano melody and her voice is definitely on display for all to listen to.  The breakdown appears to be heavily influenced by the music of Spektor's Russian roots. Its unique but doesn't present itself as an everlasting track.   "Machine," a rough-and-tough song about, I think, post-apocalyptic life and living with full reliance on technology, exists somewhere off the scale of normalcy but could be a grower in some cases.  

 

"One More Time With Feeling" is one of the more standout tracks of the album.  It sounds joyful but is actually a depressing and easily relatable tale of "playing parts" and going through the motions.  "Genius Next Door" is a definite example of her background in classical music while "Folding Chair" operates as an alluring ode to companionship.   

Overall this album operates in line with her other releases. It is as accessible as 2006's "Begin to Hope" and contains quite a few glorious pop songs along with some stranger tracks that convey Spektor's off-beat and charming personality. Her voice is as potent as ever.  This album is an essential for those who are already a fan of her work as well as those who crave unique piano melodies coupled with even more unique lyrical composition. 

• Mp3s: "One More Time with Feeling"  and "Folding Chair" 
• For more information about Regina Spektor, check out her myspace and official website. 
  

Assessment! Tinted Windows

I'll admit it: one of the first albums I ever bought was Hanson's "Middle of Nowhere" and I definitely swooned over the Hanson bros hardcore. I'll also say that I am not a fan of Smashing Pumpkins nor have I ever really listened to Cheap Trick (besides "I Want You to Want Me"). Fountains of Wayne's "Prom Theme" definitely made me shed a single tear while their video for "Stacy's Mom" caused me to erupt in laughter.

So when I heard about the new mega-group, Tinted Windows, bringing together the middle-Hanson brother, Taylor, with former Smashing Pumpkins guitarist James Iha, Fountains of Wayne's Adam Schlesinger and Cheap Trick's Bun E. Carlos, my initial response was "Whaaaat?" followed by "Ummm."

But I decided to give it a chance because, ever since I was dragged by my sophomore year roommate Amanda to see them in 2008 at The Calvin Theater in Northampton, I believe the Hanson brothers are actually legitimate musicians with way more to offer than just their 1997 debut album. "Middle of Nowhere," and wildly popular single, "Mmmbop."

I found myself bobbing my head and tapping my foot during several of the songs. With the tight vocals, T. Hanson shows his skills. The other musicians blend together and really make it happen. The first track, "Kind of Girl," is reminiscent of a Fountains of Wayne song with all of the 'oh oh's" and "woah woah"s. The second track is much of the same. "Messing With My Head" has an abundance of joyous "c'mon, c'mon"s between a simple verse: "Well you've been messing with my head/ for oh so long now."

The song titles are obvious. There are some ballads in there. It is full of strong pop-sensibilities, especially the third track, "Dead Serious," which has sincere harmonies. "Nothing to Me" is just what one would assume a song with that title would be about: someone who means nothing to whoever wrote the song.

"Cha Cha" is one of the lamer songs, but it still has that catchy and carefree vibe, even though it seems to be about someone who needs someone, explained through the lyric "I just want you to hear me./ I just want you to heal me./ You're my cha cha."

In the end, people need to put aside their assumptions when it comes to any project associated with any one of the Hanson brothers and let themselves enjoy this rocking album. It is laced with some musical skill and catchy melodies. It would definitely translate well into a live setting, a live, fun-loving, carefree setting.

5 Short Assessments for Your Tuesday Troubles!

Hello Music Fans! For this week's entry I have decided to present a few brief reviews of albums I've gotten my hands on recently. Some have not come out yet and some are just new to me. In addition, there is an MP3 with each album so you can get a wee little taste of what to expect.


Camera Obscura "My Maudlin Career" (April 13, 2009 on 4AD)

• "Swans" mp3
  

Kudos to Camera Obscura for putting out another incredibly whimsical album. Each song is full of uncertainty and love. Tracyanne Campbell does an excellent job of inserting a degree of vocal innocence into each song. "Swans" has an extremely familiar melody ("Mr. Clean...Mr. Clean"?) and made my head bop back and forth on the subway. "James" seems like a direct letter to the one who she "thought [she] knew well" but instead "broke" her. The violins soar and the drums hum along with the melodies. It is lovely and makes the listener feel like spring is on the horizon.


Cursive "Mama, I'm Swollen" (2009 on Saddle Creek)

• "From the Hips" mp3
  

I started to listen to this album at about 8:20 AM. Big mistake. I am not saying it is not a good album but what I mean is that it is way too loud for a morning commute. Tim Kasher's vocals are as raw as ever. The melodies rise and fall in a sort-of Pixies fashion. The same battle topics present in Cursive's previous albums are still apparent: doubt, growing old and a dash of political awareness. "From the Hips" is the battle between being at one's best and at one's worst (a normative battle in the land of Cursive) while "Caveman" is all about the battle between moving on up in the world and staying put. As a whole, the album is a typical Cursive record and a good one at that.


The Decemberists "Hazards of Love" (March 24, 2009 on Capitol)

• "The Rake's Song" mp3
  

G-d Dammit, Decemberists, what are you doing with yourselves? In this release, the band tries to pick up where they left off with "The Crane Wife" (an album I am not too fond of besides a few high points-"Sons and Daughters," "O! Valencia" and "Summersong"). Instead of constructing an album with catchy melodies, like seen in the "Always a Bridesmaid" singles series, they shoot for the stars and fall short. All of these "preludes" and "interludes" read more like an ornate rock opera than a solid rock record. "The Rake Song" (the song released as a free download) is the only tune that does not falter off. But background melodies and "Alright"s are just too much. The next track "Annan Water" has really lovely guitars.

I am sorry Colin Meloy, I love your music (and your accent that I can never really place). But stop trying so hard. It would be much better if you would put out shorter records with a solid group of witty songs. Instead of a 17 song album half good songs and half filler tracks. Make an album like "Her Majesty" or "Picaresque" again. I know you can do it. Thank you.

Note 3/30/09: I listened to this album several more times recently and the truth is that I really like it. It is an album of mostly high points and only a few low points. I am not going to edit the content of my original review, I just wanted to make a note of my change of heart. So to the readers: Check out this album, give it more than one listen. Don't be so quick to judge, like I was.


Jessica Lea Mayfield "With Blasphemy So Heartfelt" (2008 on Polymer)

• "We've Never Lied" mp3
  

I have heard so much about this 20-year old singer-songwriter from Ohio on KEXP and WRSI (93.9 The River). But I always dismissed her because, of course, I rarely like female vocalists. But the other day I gave in and realized that Mayfield has something different to offer. Her songs are, as one reading the album title would imagine, incredibly heartfelt. Even the G-ds at Pitchfork liked this album - giving it a 8.2/10. It starts off soft with "Kiss Me Again." Her voice has a raw drawl, especially in "I Can't Lie to You, Love" and "The One That I Love Best." "We've Never Lied" is a tune about trying to correct and deal with a relationship that has gone sour. "You've Won Me Over" is a strong acoustic song outlining being around that person who knows all the right thing to say. But you are never sure if they are sincere or just has a tendency to " kiss all the girlies [he] know[s]." Each song on this album is perfectly suited for a different type of mix cd (ie. unrequited love, new love, friendship, broken relationships, etc).


M. Ward "Hold Time" (February 17, 2009 on Merge/4AD)

• "Stars of Leo" mp3
  

M. Ward strikes again with another heartfelt record and a great follow up to 2006's "Post War." His voice is raspy. His guitars are strum-tastic. The harmonies are reminiscent of camp-fire bliss. The single, "Never Had Nobody Like You" features Zooey Deschanel in all of her troubadour glory. In "Rave On," a Buddy Holly cover, Ward, as expected, injects his own special charm into the words and melody. "Stars of Leo" is another gem that discusses "pick me ups" and "bring me downs" in this crazy world. "Fisher of Men" is just the type of mountain-living song we would expect from M. Ward.

Keep the hits on coming, M. Ward. We love it.

Assessment: Dan Auerbach's Solo Album, Keep It Hid

Dan Auerbach has been quite busy since his latest album with The Black Keys, Attack & Release, dropped on April 1. On February 10, Keep It Hid snuck onto the scene leering and quickly marked its territory as a solo project that does not disappoint. The retro treasure was recorded at Auerbach’s home studio in Akron, Ohio. Laden with blues folk, the album opens with the acoustic, “Trouble Weighs A Ton”, before launching into the grittier sounds of psychedelic rock.

By the time “The Prowl” starts playing, you will probably have a bottle of whiskey in your hands and a swagger in your step. Auerbach menacingly croons, “I see you walkin’ after dark/ Trading looks with other men/ But I’m the only one you need/ And I know just where you’ve been” and you can practically picture him making eyes at you from across a smoky dive bar too late at night.

One of my favorites is the paranoid track, “When I Left The Room”. In a haunting whir of soulful psychedelia, Auerbach artfully laments a love affair gone rotten. He unapologetically moans, “But now her eyes foretell/ Only impending doom/ And I just wanna know/ What she said when I left the room.”

Although still a tad melancholy, “Goin’ Home” is more uplifting than its previous contenders. It rounds out the album with a comforting and familiar twang. Auerbach seems to have found a morsel of peace as he openly admits, “I want the sun to hit my face/ Through oak trees in the open lot/ Forget about the things you want/ Be thankful for what all you got.”

The Prowl mp3
When I Left The Room mp3
Mean Monsoon mp3

For more information check out Dan Auerbach's myspace page.

Assessment! Lily Allen

God likes folksy Southern rock.
At least that is, according to Lily Allen.

On her second, more introspective album, It’s Not Me It’s You, Allen moves beyond conversations in the pub, to ruminate on more serious issues such as prescription drug abuse, family relationships, and metaphysical musings about God. “Him” asks some not-so-big-picture questions like, “Come election time who do you think He would he vote for?” and “Do you think He’s any good at remembering names?” and even definitively announces, “His favorite band is Creedence Clearwater Revival.” (God Are You There? It’s Me Proud Mary.)

Don’t let the subject matter fool you though; Allen’s private life in song is largely set to a dance soundtrack that puts the boogie first and pain second. Just as on her first album Alright, Still, Allen’s upbeat sound and sweet voice coat a bitter commentary, “So your daughters depressed, we’ll get her straight on the Prozac, but little do you know she already takes crack.” The world through Lily Allen’s big brown eyes is sometimes pessimistic, but listening to her school girl voice, you can’t help skipping through the tarnished landscape with a smile.

The album’s standout track is her first single “The Fear” with a disco dance beat and colorful electronic groove that recalls sounds of Joy Division. The song is a sharp, acerbic commentary on the celebrity and fame obsessed culture that has used her as tabloid fodder, from the opening line, “I want to be rich and I want lots of money,” to a later observation, “Life’s about film stars and less about mothers/ It’s all about fast cars and cussing each other/But it doesn’t matter because I’m packing plastic/And that’s what makes my life so fucking fantastic.”

And like in the video for this single, on her sophomore effort, Allen releases her personal burdens like a bundle of brightly colored balloons. She exposes her relationships, beliefs and sexual desires as unabashedly as she once exposed her now famous third nipple.

In “Back To The Start” video game-esque noises offer repentance for past mistakes and a plea to start fresh with her older sister, and “He Wasn’t There,” the album’s closing swinging jazz ditty, details her troubled past with her father.

Even more confessional is “Not Fair,” a twangy country two-stepper in which Allen repeatedly laments, “You never make me scream,” to a man who apparently never heard the wisdom Alec Baldwin had to offer in the film Outside of Providence, “Making sex is like a Chinese dinner: It ain't over 'til you both get your cookies.”
And speaking of Chinese food, this album marks a distinct change in attitude, as on tracks like “Chinese,” Allen has calmed down her party-girl life style to spend a night in watching TV and eating take-out.

In this same Adele, Sara Bareilles female singer/songwriter style, “Who’d Have Known,” is about a friendship that unexpectedly turns into something more, as she shyly sings with a giggle in her voice, “And today you accidentally, called me baby.”Allen not only broadens her lyrics, but her music style, moving beyond a pop/reggae hook to electro-synth pop, piano rock, and Slavic accordion beats (“Never Gonna Happen”).

It’s Not Me, It’s You sounds like one of the boldest break-up lines I’ve ever heard, and in the way the album does chronicle a break-up. Not only of Allen with her former live-in boyfriend Ed Simons of the Chemical Brothers (“I Could Say”- I’m only assuming), but with the pigeon-holing media and her cynical attitude. The album presents a more mature Allen, who’s self-assured, but not completely lacking the signature feisty, fuck you approach (literally naming one Carpenter’s inspired, 70’s pop sounding song “Fuck You”) that made us all love her so much in the first place. Truer to the name than Madonna, Lily Allen’s album is full of Confessions on [the] Dance Floor.

And a personal note to my fellow lady bloggers: Goonies Never Say Die!