Recs

Review: Ghostface Killah/BADBADNOTGOOD – Sour Soul

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Ghostface Killah is in the middle of a furious creative outburst, and though for simplicity’s sake this review is nominally about Sour Soul,* it is necessary to examine Ghostface’s most recent collaboration in relation to his recent output.  It is tempting to lump together Twelve Reasons to Die, 36 Seasons, and Sour Soul as a trilogy, but considering that Twelve Reasons will have an official sequel of its own that would be a mistake.  Despite the fact that there is no official connective thread between them, this trio of albums do share a similar commitment to musical exploration of older genres that provide fertile ground for Ghostface’s preferred lyrical themes.  Twelve Reasons to Die, one of our favorite albums from 2013 (and an honorable mention on our best-of list), remains the best of the group, but Sour Soul comes close to reaching its peak and helps overcome some of the weakness of its immediate predecessor.

Adrian Younge’s spaghetti western/Italian horror-influenced production provided the perfect template for Ghostface on Twelve Reasons; the music contained the right amount of sinister ambiance to complement Ghostface’s pulpy tale of the revenge sought by a gangster spirit, a storyline as bizarre as it was captivating.  Younge’s use of vibrato guitars, jazzy organ flourishes, and expertly arranged strings all contributed to an enthralling soundtrack in its own right that perfectly evoke a 70’s-era noir film, with anachronistic touches like expertly deployed turntables helping provide a refreshing twist.   Younge was able to match the changing moods dictated by the demands of the plot without ever overpowering the rappers.  Ghostface shares the load mainly with fellow Wu-Tang Clan members who drop in to flesh out additional characters, with Masta Killa and Inspectah Deck in particular supplying memorable guest verses.  The success of all these elements coming together set up high expectations when the 36 Seasons and Sour Soul projects were announced.

With 36 Seasons, Ghostface kept up the throwback vibe, but opted for a more old-school R&B feel with the help of backing group The Revelations.  While the combination initially seems promising, unfortunately the album loses steam by the end.  Unlike Twelve Reasons, Ghostface is unable to keep the listener absorbed throughout the record with the storyline of Tony Stark’s return after nine years away from home.  The instrumentals on their own are often a bright spot, and the various interludes are well done, but too often 36 Seasons seems to drift along instead of settling into a true groove.  At several points Ghostface seems to drop out of the picture entirely, as guest verses make up an outsize presence on the record, leaving the listener to assume that there simply was not as much enthusiasm for this particular release.

Sour Soul ends up being somewhat of a mix of styles between the two previous albums, with BADBADNOTGOOD adopting elements of funk and R&B along with some of the more outlandish aspects of Younge’s work, most notably the vibrato guitar lines.  There is a sense of fun and adventurous on this record that was absent on 36 Seasons, which helps keep the listener fully immersed into the music.  Though the album suffers from the weakness of its underlying storyline like its predecessor, BADBADNOTGOOD provides enough variety to overcome this flaw, and shifts between a wide variety of genres with ease.  There are fewer guest spots on Sour Soul, but each emcee not only provides a strong presence but is helped by the fact that none of them are in Ghostface’s usual stable–they range from MF DOOM, Elzhi, to Danny Brown, the last of whom provided a smile to my face by dropping a reference to Toccara in 2015, even if his muppet-like style can be grating.

Ghostface simply sounds more engaged with Sour Soul, as if he enjoys the challenge of BADBADNOTGOOD and their ability to go in unexpected directions mid-song; even when Ghostface is covering tired cliches, he’s able to do so in an entertaining manner, as in the pimp’s lament “Tone’s Rap”.  Perhaps the best example of the difference between 36 Seasons and Sour Soul is that on the former he merely repeats the classic Wu-Tang line “cash rules everything around me” on “Double Cross”, while in the latter he plays with the callback a bit, declaring “money is the root to all evil, that cash rule” on “Food”.  Even though Sour Soul flies by too quickly at a little over a half hour, it ends up being a more satisfying experience because it packs a greater creative punch.  Hopefully Twelve Reasons to Die II will do more of the same.

*It ended up being too difficult a task to come up with a title that incorporated all three albums and did not create a formatting nightmare, but hopefully the greater context provides a more helpful review

Review: Moon Duo – Shadow of the Sun

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With their latest album Shadow of the Sun, Moon Duo takes the listener on a psychedelic journey whose thrills are often laced with a subtle menace.  Underneath the hazy guitars and bright keyboards, the band traffics in Krautrock-inspired motifs, with the recurring figures alternately grounding the songs and pushing them forward with an ever-insistent beat.  Though the constant repetition can have an overpowering effect of grinding down the listener if their attention is focused too much on the details, Shadow of the Sun is perfect background music for getting lost and zoning out.

Most of the songs revolve around a simple bouncy riff built atop the sparest of chord progressions; a catchy introductory melody ensnares the listener, but the lack of deviation creates an almost unbearable tension that can only be pierced by the addition of a new chord or a solo of some sort.  Moon Duo does a fantastic job of crafting specific melodies like the keyboard line in “Zero” that are seemingly self-contained but in fact keep the listener anticipating a true resolution.  However, the lack of a true conclusion to most of the songs works against the album as it often leaves the listener feeling unsatisfied.

Shadow of the Sun consistently evokes the work of Suicide, as each song is anchored by straightforward and persistent drumbeats that help give the impression of a dark undercurrent lurking beneath the surface.  The consistent repetition of simple patterns mirrors the mechanistic nature of the drum machines that help characterize Suicide, but Moon Duo distinguishes itself with the addition of live drummer John Jeffrey*, who helps add a touch of vitality to the music.  Other influences pop up as well, some more obvious than others.  One can easily hear the impact of the neo-psychedelic forays of The Dandy Warhols circa-Come Down, and a song like “Slow Down Low” is dominated by a vamp on a single chord that brings to mind the Velvet Underground’s “Sister Ray” so much that one could easily sing “I said I couldn’t hit it sideways” as it bounces merrily along.  The delicate “In a Cloud” helps break the potential for monotony on the album and is a welcome change of pace, but is also the source of the most unexpected connection of the album, as its simple two chord progression bears a striking resemblance to Grizzly Bear’s “Knife”; Moon Duo add enough of a personal touch of their own, but I did spend a large amount of time racking my brain trying to pin down where I had previously heard the melody.

Moon Duo does a great job of blending the elements of psychedelic drone and Krautrock repetition to create an overall heady experience.  However, Shadow of the Sun does not exactly stand up to strict scrutiny, as the repetition of only a handful of ideas and motifs can potentially bore the listener; the album works best when the band keeps the mood as light as possible, as in the lively opener “Wilding” or the energetic finale “Animal”.  Nevertheless, Moon Duo has crafted an album that is one of the more pleasant surprises of the year so far.

*His presence increases the number of members of the group to three, making their band name a complete lie; if they wanted to be more accurate, the band should be called Earth Trio.

Review: King Tuff – Black Moon Spell

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King Tuff wrote the best T. Rex song you’ve heard in decades with “Black Moon Spell”, the title track off of their recent album, and for five minutes the listener is transported back to the early-70’s and the heyday of glam rock.  It was one of the best singles of 2014, and while the rest of Black Moon Spell doesn’t quite reach the heights of its opener, the record still has its charms.  Kyle Thomas (aka King Tuff himself) shows a knack for writing fun and infectious melodies that are quick and to the point, and knocks out dozens of memorable fuzzed-out guitar lines that will rattle around in your mind long after the record has finished playing.

I first heard King Tuff when they opened for Wavves on their Afraid of Heights tour, and one can easily see how those two groups could find common ground, as they share an irreverent attitude and a commitment to stoned-out rock.  King Tuff ingratiated themselves with the crowd that night with displays of both their humor and musicianship, and I made a note to keep an eye on them for the future.  “Black Moon Spell” made the effort worthwhile, as I quickly fell into the spell of its captivating groove, with its memorably hypnotic riff that brilliantly plays around the contours of its chord progression.  It may not be high art, but goddammit does it ever rock, and most of the album follows that template.

Most will point to the obvious inspirations of Diamond Dogs-era Bowie and the aforementioned T. Rex, but it is the unexpected influence of another generation that helps make Black Moon Spell sound fresh enough for modern audiences, that of mid-90’s indie rock.  King Tuff filters the touchstones of glam-rock through the lens of the Elephant 6 sound, namely the psychedelic pop experimentation of The Apples In Stereo and the Olivia Tremor Control.  The bright and sunny attitude that is prevalent throughout the album immediately recalls Robert Schneider and his group, while elements as diverse as the lo-fi “I Love You Ugly” and the quick sound collage from the mesmerizing ballad “Staircase of Diamonds” bring to mind memories of the latter band, with King Tuff’s vocals emphasizing the melodic sides of both bands.

King Tuff’s approach of glam-via-the-garage makes helps make Black Moon Spell an intriguing and often-exciting album, but it does drag a bit in spots, even with most songs racing by at around two minutes apiece.  The album sags a bit toward the end, which is why this recommendation is being published months after its initial release; though many of the songs are not intended to leave much of a lasting impression, a lot of the songs after the mid-way point end up being rather disposable and probably should have been excised.  However, even these tracks grow on you after multiple listens, so even this minor caveat should not discourage you from throwing on some face paint rocking some platform shoes with King Tuff, at least for forty minutes or so.

The Thermals, Live at Level B with Years and City of Pieces

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I woke up this past Saturday morning with absolutely no plans for my weekend, but after a quick perusal of my Facebook feed, the circumstances changed dramatically.  The Thermals posted a flyer for a show they were doing that night at Level B, having decided to make the trip from Portland down to the Capital City to bless us with their presence.  So with the choice now between “doing nothing” and venturing downtown to see one of my favorite bands play an intimate show in my hometown, I easily decided to go with the latter.  Despite a rather sparse showing from my fellow Salemites, the band did their usual excellent work and hopefully had as great a time as I did.

A personal souvenir from the show

A personal souvenir from the show

Since this is the third time we’ve covered a Thermals show in a year*, we’re not going to spend too much time discussing the intricacies of their set.  The band focused mainly on their most recent album, sprinkling several cuts from Desperate Ground throughout the set, while making sure to cover crowd-favorites from their classic The Body, The Blood, The Machine; a personal highlight was hearing “Power Lies” from the underrated Personal Life make an appearance.  The group has been hard at work writing material for a new album, and I’m glad to say that it looks like there was good reason that I had trouble recognizing a couple of songs, since the setlist confirms new tracks “The Walls” and “I Will Find My Way”.  The new songs definitely did not represent any drastic change in style, and instead fit naturally into the band’s set, which should provide comfort for their fans.

Throughout the show, a reel of “Betty Boop” cartoons was shown by a projector behind the band, seemingly selected at random.  The resulting juxtaposition provided a couple of noteworthy moments**, the highlight being that an Alice in Wonderland-themed episode appeared as the band played their cover of “White Rabbit” in an alarming moment of synchronicity, something that which Hutch himself remarked and Kathy noticed as well.  Though the crowd was not nearly as raucous as they were the last time The Thermals came through town, we were able to convince the band to indulge us with old favorites “Overgrown, Overblown!” and “No Culture Icons” for a mini-encore.  After the show, it was great to see Hutch and Kathy and Westin hang out with the crowd and appear sincerely grateful for those that turned up; hopefully the band will make this a regular gig, though it may help to do a bit more advance notice for a Salem gig.

A view inside of the theater with the ad for the show

A view inside of the theater with the ad for the show

As for the openers, they represented both the old and the new of the Salem scene.  Years (the young folks) performed a set of catchy 90’s-era punk with what I assume is some heavy influence from Pavement, while City of Pieces (the old folks) taught the crowd some lessons on the classics, with a style that was reminiscent of The Cramps with their tinge of psychobilly.  Years could use some seasoning, not necessarily to brush up their chops but to work on their songcraft a bit, yet they probably have a bright future ahead of them.  However, City of Pieces was a blast, and I’m looking forward to seeing more of their sets around town, as their presence assures that it will be a fun night.

*Not only did we see The Thermals play Level B last year, but they were also part of the extensive Project Pabst lineup.

**The selection of cartoons included a rather racist episode made things uncomfortable for those paying attention (though the band was thankfully too busy to notice).

Review: Ought – More Than Any Other Day

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Rust Is Just Right is not a very large operation, so we may overlook some albums when they are first released.  However, when we eventually catch up and listen to some of these records, we are not going to let the fact that we are ten months behind stop us from writing a review.  The point of all this introductory nonsense is to explain why we are reviewing the debut album from Ought in February of 2015 even though it was released in April of 2014, but the only necessary reason should be that More Than Any Other Day is a fantastic rock record that electrifies the listener with both its furious energy and its thought-provoking experimentalism.

The quickest description that I could use to describe Ought’s sound is “Alec Ounsworth fronting a Fugazi-inspired punk band”, but as you should expect, relying on the reductionist rock-crit namedrop cliche does not paint a full picture.  Tim Beeler’s vocals do mostly recall Clap Your Hands Say Yeah, but that doesn’t cover the spectrum of emotions and contortions that his voice undergoes to match the twists and turns of the music.  For instance, Beeler’s use of dynamics in songs like “Clarity!” bring to mind the theatrics of the Violent Femmes, and that dramatic touch helps create a memorable, slow-burning epic.  He may not have the the most extensive vocal range, but his speak-sing style is effectively used in a song like “Around Again”, as when the band stops and Beeler asks “Why is it you can’t stare into the sun but you can stick your head into a bucket of water and breathe in deep?”

Musically speaking, Ought blurs the line between punk and post-punk, and in the process does an excellent job of making the lives of critics that much more difficult–in other words, it is not as easy to define the distinction as it is with, say, Viet Cong.  Ought often does engage in the full-fledged fury of a more traditional punk band, but they still allow room for experimental sonic elements that makes it hard to pin down to a single genre.  Consider the catchy and frenetic “The Weather Song”, which veers from a jittery verse into frenzied finish that is reminiscent of Wolf Parade (especially with the unusual presence of keyboards), as well as “Forgiveness”, whose use of a violin as a drone adds in a touch of the Velvet Underground to the band’s sound.  I am unsure what is more impressive: the fact that from song to song, it is almost impossible to pin down where Ought will go next, yet the band switches gears in a way that doesn’t give the listener whiplash, or the fact that despite the fact one can spot all these diverse influences rather easily, the band organically incorporates these elements into their sound so well that one cannot pin the “copycat” label on them.

Though only eight songs long, More Than Any Other Day is a dense but rewarding album that reveals itself on multiple listens.  Initially, the most striking element of “Today, More Than Any Other Day” is probably its dramatic tempo and stylistic shifts.  Then you may notice the odd lines of “I am excited to go grocery shopping.  And today, more than any other day, I am prepared to make the decision between 2% and whole milk” that is referenced in many reviews, but you go back and see that it’s not merely a non sequitur but in fact a riff on the previous line that “I am excited to feel the Milk of Human Kindness”, either an allusion to Macbeth or the Caribou album, and now you have to reconsider how all these elements fit together.  The good news is that the album is so great that it is worth the extra effort.

Review: Father John Misty – I Love You, Honeybear

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Father John Misty’s debut album Fear Fun was a delightful surprise–few expected that a solo album from the former drummer of Fleet Foxes would be such a musical revelation.  The best case scenario was that Fear Fun would be a pleasant diversion, but Joshua Tillman’s adopted persona of a modern-day hipster-shaman created folk rock tunes that have held up remarkably well over the years.  Fast-forward three years, and while we are still waiting to hear anything new from Fleet Foxes, Father John Misty has returned with a stellar new album that will force people to stop name-dropping his former outfit.

I Love You, Honeybear is a stunningly gorgeous album, one that expands the scope of its predecessor with lush strings and intricate arrangements, but also one that delights in intimate personal details.  Father John Misty has always had a deft touch with his lyrics, often evoking a wry smile or two, but lines like “She says, ‘Like, literally music is the air [she] breathe[s],’ and the malaprops make me wanna fucking scream…I wonder if she even knows what that word means; well it’s ‘literally’ not that” from “The Night Josh Tillman Came To Our Apt.” elicit an actual laugh every time its played.  Tillman’s recent marriage is a defining influence on the album, but Tillman is careful to balance any sweetness with just the right amount of cynicism; a great example comes from the closing lines of “Holy Shit”: “Maybe love is just an economy based on resource scarcity–but what I fail to see is what that’s got to do with you and me.”

At times, it seems that the music could veer dangerously close to the emptiness of late 70’s AM Radio/yacht-rock (or perhaps worse, playing up the conventions of the genre with too much irony), but Father John Misty employs a nimble hand throughout the album, and simply writes melodies that are too good to be associated with such vapidness.  Honeybear‘s laid-back ballads are enhanced by extravagant string arrangements that add both depth and ornamentation, and songs like the relaxed swing of “Nothing Good Ever Happens at the Goddamn Thirsty Crow” and the achingly beautiful “Chateau Lobby #4 (In C for Two Virgins)” are enhanced by the expert addition of wind and horn melodies.  It is difficult to select any standout songs from this consistently great album, but the euphoric triumph of “Chateau Lobby #4” is one that will be easily remembered.

The album is mainly made up of mid-tempo numbers, but the good news is that I Love You, Honeybear never really drags.   The one real rocker (and a soon-to-be favorite of the live set), “The Ideal Husband”, appears two-thirds of the way through and gives the musicians a chance to really thrash about on a fun blues stomp, but otherwise things are generally calm.  A trio of ballads follows, beginning with the sarcastic ode “Bored in the USA” that perfectly sums up the sentiment of a generation coping with the readjusted education/benefits equation, and ending with the sweet lullaby “I Went to the Store One Day” which recounts the circumstances that led to the romance that inspired the album.  If only all great outcomes could result from a simple line like “I’ve seen you around–what’s your name?”

Note: The CD version of the album comes with a booklet entitled Exercises for Listening.  I highly recommend that you read these directions; obey them at your peril.

Review: Viet Cong – Viet Cong

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Viet Cong’s self-title debut is one of those records that I find easier to admire than to truly enjoy.  Though Viet Cong is enjoying a serious amount of critical buzz (its Metacritic rating currently sits at 82 with only a typical half-hearted shrug of a review from Rolling Stone dragging down its grade), I find it highly unlikely that the band’s noisy take on early-80’s post-punk will break through to a mass audience in any big way.  At times Viet Cong is a challenging and confrontational album, with the band seemingly taking a defiant approach by avoiding by thismuch a more approachable melody whenever possible.  It’s an album that defies easy conventions, but one that is rewarding with repeated listens; the problem is gaining the will to get to that point.

The album is heavily influenced by post-punk like early Joy Division or Wire with its insistent drumming, melodic bass counterpoint, and off-kilter guitars, but Viet Cong filters these elements through a sheen of Sonic Youth-like noise and the lo-fi experimentation of their disciples.  Whereas a lot of those classic records would employ a common verse-chorus structure, most of the songs on Viet Cong veer through multiple unrelated ideas, with songs stopping on a dime and making a sudden left turn into previously unforeseen musical territory.  For example, a song like “March of Progress” begins with an ambient sonic experiment like you would find on a No Age record, abruptly shifts into an eastern-tinged drone, then concludes by suddenly morphing into a dance-y 4/4 rave-up; none of this makes sense on paper, and the unfamiliar listener will assume that he/she just listened to three separate songs, but Viet Cong finds a connective tissue between the differing styles.

The band’s relentless desire to experiment doesn’t always pay off, but when it does, it does so in a big way.  The first half of Viet Cong can be a struggle to listen to, with slogs like “Bunker Buster” and “Pointless Experience” sounding like homework for a lesson on post-punk: OK, here’s the guitar accenting the off-beats, there’s the drums chugging along, and oh yeah here’s some distant, ethereal haunting vocals overlooking the entire enterprise.  Sure, there are individual moments within each song that are worth noting, but they are enveloped by such dour surroundings that they can be difficult to appreciate.  If you thought Interpol was too brooding for your tastes, then you’re in trouble.

However, the second half of Viet Cong is a monster that should have you overlooking any potential misgivings from the first half.  “Continental Shelf” manages to twist a beach-influenced Surfer Blood–type riff into something more ominous and foreboding, and it pays off in spades. Bassist Matt Flegel’s vocals alternate between a desperate wail in the mold of a Paul Banks to a more restrained version of Spencer Krug (Wolf Parade, Sunset Rubdown, Moonface, etc.) in his best performance on the album that shows the band’s exciting potential.  “Silhouettes” is a more frenetic number that amps up the paranoia and makes excellent use of the band’s heavy dose of reverb, the perfect soundtrack for an apocalyptic disco party.

Viet Cong concludes with the eleven-minute epic “Death” and features a stellar drumming performance by Mike Wallace, who expertly deploys an attacking snare riff to build on the unstable mood established by “Silhouettes” before the entire song collapses in a noise-freakout.  That is, the song seemingly collapses–after a false ending, the band seamlessly transitions back into a more furious version of the original song, constantly increasing the speed and tension.  It’s a performance that will leave you figuratively gasping for air, though I imagine in concert the reaction may be more literal.

If Viet Cong can build on the strengths shown on the second half of their debut, then they have a very bright future ahead of them.  I am unsure whether Viet Cong will appeal to anyone outside of post-punk enthusiasts, but for those who appreciate the genre they should enjoy their original spin on its conventions.  At the very least, we should all be able to enjoy the pure unfiltered fury of a song like “Death”.

Review: The Decemberists – What a Terrible World, What a Beautiful World

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The Decemberists have returned from the longest absence of their career with an album that is the perfect encapsulation of their evolution to this point.  What a Terrible World, What a Beautiful World splits the difference of the sprawling, proggy The Hazards of Love and the return-to-our-roots folk-rock of The King Is Dead, but does not necessarily feel like a compromise between the two versions of the band.  The combination results in an album that is filled with wonderful, catchy moments that are meticulously crafted and brilliantly arranged, making full use of the band’s instrumental prowess in creating gorgeous, digestible songs.  In other words, no overlong multi-part epics, but no stripped-down basics either.

Many critics have emphasized the lyrics in their reviews, which is an understandable approach considering the band’s hyper-literate reputation were what brought fans on board in the first place.  On What a Terrible World, the focus is less on 18th century peasant life or swashbuckling sailors, trading in allegory and metaphor for more direct commentary on personal topics like love and growing up, a noticeable shift in the band’s lyrical technique.  This is why when Colin Meloy seemingly makes a song into meta-commentary as he does with the opener “The Singer Addresses His Audience”, the critics focus on lines about selling out for Axe commercials, instead of remarking on the fantastic build into the song’s climax, anchored by a thundering performance by John Moen.  However, it is the band’s less-recognized musical prowess that carries the album and deserves more attention, with each member making vital contributions on a multitude of instruments.

Though the band doesn’t indulge in individual songs that are the kind of multi-genre exercises that characterized albums like The Crane Wife, they do stretch out over the course of the album.  Sometimes the explorations misfire, as in the accordion swamp-stomp of “Anti-Summersong” that unfortunately brings back nightmares of that godawful Kongos song from last summer.*  Thankfully, those moments are rare, and the listener can enjoy instead when The Decemberists recall the gothic Americana of Black Rebel Motorcycle Club’s Howl era with songs like “Carolina Low”, or revel in the bright horns of the rousing “Cavalry Captain” that are reminiscent of Guster.  Though these deviations are welcome, it’s when the band goes back to their wheelhouse of rousing folk-rock that the band truly shines, as they do on their first single–“Make You Better” may not only be the album’s highlight, but once the song hits that climax after the guitar solo, it may possibly the best moment of their career.

What a Terrible World, What A Beautiful World is a bit too long at fifty-three minutes, sagging at around the three-quarters mark, though considering their previous absence it is understandable that the band felt that they had to leave in as much material as possible.  Despite the lull, the album still finishes with a flourish due to the touching “12/17/12” and the uplifting “A Beginning Song”, leaving the listener far from disappointed after that slight setback.  What a Terrible World represents some of the best of The Decemberist’s late-era work–they have combined the instrumental adventurousness of The Hazards of Love while learning to rein in its potential excesses by keeping a song-based focus as they did on The King Is Dead.  It may not seem like a risky move, but it was an incredibly tricky maneuver and The Decemberists pulled it off beautifully.

*It’s a damn shame that this is my first instinct to reference, considering I grew up in an area where zydeco was a significant part of the culture.

Underrated Gems: Bloc Party – A Weekend In The City

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Bloc Party’s reputation was built on the strength of its masterful debut Silent Alarm, which remains one of the greatest albums of the indie rock mini-boom at the beginning of the century.  They channeled a ferocious energy through a combination of spiky, angular guitars and lyrics that zeroed in on battles both external and internal, creating a perfect mix of hard-edged rockers and introspective ballads.  Silent Alarm was both a critical and commercial success, and remains the most beloved album for many of its fans; any follow-up was bound to be met with some resistance, and indeed reception to A Weekend In The City was widely split.  There were many critics that saw Weekend as the beginning of the end of Bloc Party, but there was also a small passionate contingent that has for years fought against this perception, and who instead insist that it’s a classic that is in many ways equal (or even superior) to Silent Alarm.  Guess where Rust Is Just Right falls in this argument.

In many ways, A Weekend In The City was a huge gamble on the part of Bloc Party, and represented a bold change in musical direction.  The strengths of their debut lay in their innovative interpretation of early-80’s post-punk guitars from bands like Gang of Four as well as the brilliant and manic drumming of Matt Tong.  The guitar hooks of a single like “Helicopter” drew in the average listener, but it was the relentless attack of Tong’s drums in “Like Eating Glass” that mesmerized listeners and created fans.  The band chose to de-emphasize these aspects of their sound in Weekend, opting instead for more electronic instrumentation and building more songs around Kele Okereke’s delicate (but potentially divisive) vocals.  It’s understandable that many fans were turned off by this decision, but even if they were turned off by this general approach, the band’s harshest critics would have to agree that the moments when Bloc Party veered into its more “classic” sound are some of the band’s best work, like the furious opener “Song For Clay (Disappear Here)” and the buoyant  “Waiting For The 7:18”.

A chief complaint of many detractors of Weekend was the unconventional sequencing of the album’s tracks.  Silent Alarm had its fair share of slow songs and ballads, but their cumulative effect was muted because they were paired throughout with the more energetic tracks, allowing the album to avoid any lulls.  With Weekend, the band packs the rockers at the beginning, adding a few tracks that alternated moods before piling the introspective sad songs for the last third, which created the sense for many that the album peaked too early and dragged towards the end.  However, the critics of the track order fail to consider the thematic concept of the album as a whole, that in this case the title A Weekend In The City is more than a mere placeholder–it’s a declaration of narrative intent.  The album does an excellent job of mirroring the varying moods as one experiences the weekend: the initial thrills of getting off work on Friday and partying into the night, the attempts to keep the energy up with varying degrees of success on Saturday, and finally the letdown and regret of Sunday.  It’s a brilliant musical representation of a common shared experience, though must of us could only wish to feel an epiphany like the thrilling climax of “SRXT”.

By viewing the album as a running narrative of a weekend, the listener can dig out subtle nuances and derive interesting new meanings by placing songs in context, but each song is still able to stand on its own without losing any significance.  Throughout the running storyline of “the weekend”, Bloc Party interweaves separate statements about drugs and partying (“Song For Clay”, “The Prayer”), racism and terrorism (“Hunting For Witches”), as well as regret and depression (“Sunday”, “SRXT”).  Instead of invoking abstract expressions like in Silent Alarm, Kele splices in specific references in his lyrics this time around, giving a personal touch to each of these songs.  Some people may be taken out of the moment by hearing an odd mention, but others prefer having a specific grounding point; for instance, I’ll always remember the line “I’d pick and eat more wild blackberries” because it conveys a more personal memory and sentiment, even if it appears a bit goofy on its face.

A Weekend In The City works not only as a cohesive whole, but as an excellent collection of songs.  The moments when the band plays to its strengths are thrilling (like the end to “Waiting For The 7:18”), and when Bloc Party challenges itself to stretch beyond its comfort zone, it is able to rise to the challenge (“On”, “Sunday”).  Instead of viewing the album as the beginning of its decline, it should instead be seen as an example of a band maturing and growing musically.  Over the years, the reputation of Weekend hasn’t really improved, as the band has moved further in the direction of dance music and electronic influences, much to the dismay of many of its fans.  However, it’s an album that’s held up surprisingly well over the years and is well worth revisiting, if you need to revise your original opinion.

Review: Sleater-Kinney – No Cities To Love

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Though this is difficult to hear, every year we get more evidence that it may be a good idea to break up your band for a decade, even if they are at their creative peak.  Last year, Death From Above 1979 came back and wowed us with the stellar The Physical World; the year before that saw the surprisingly wonderful return of My Bloody Valentine; and then there is Dinosaur Jr., who have released three excellent albums after the reunion of their original lineup after nearly twenty years apart.  Sleater-Kinney has pulled off the same trick with the excellent No Cities To Love, a furious and catchy album that is both an artistic step forward as well as a classic example of the trademark S-K sound.

The frenetic “Price Tag” kicks off the album, pairing an off-kilter looping Sleater-Kinney riff typical of their early years with ferociously political lyrics; not since the heyday of Rage Against The Machine have we heard a song that targets economic inequity and middle-class complacence.  “Fangless” follows and throws a bit of a curveball with its mixture of funk rhythms and new-wave guitars, as well as featuring a prominent bass counterpart that was previously a rarity in light of S-K’s usual twin-guitar attack.  The track is indicative of the kind of musical adventurousness found throughout No Cities To Love as well as what makes the album so much fun.

No Cities To Love features some of the best hooks of Sleater-Kinney’s career, including the peppy title track and the bouncy “Hey Darling”; the descending chorus melody in the latter immediately brings to mind something Ted Leo and the Pharmacists would have concocted circa Hearts of Oak.  “A New Wave” has some fun with the bass riff from Nirvana’s “Love Buzz”  before shifting into a sing-song chorus that makes perfect use of the unique vocal harmonies of Brownstein and Tucker.

Sleater-Kinney has been a band that has long been beloved by critics and pushed by their most passionate fans as all-time greats, but rarely have I ever felt that this type of hype was fully justified.  I’ve certainly have enjoyed their albums over the years (after overcoming an initial reluctance due to their unconventional vocals) and recognize the impact that the group has had musically and culturally over the years (they have been arguably as far-reaching in their influence as Pavement in the past couple of decades), yet never had them break into my regular rotation nor would put them in that upper echelon of groups.  However, even considering Sleater-Kinney’s excellent discography as a whole, No Cities To Love is a cut above, and will certainly invite not only repeated listens but end-of-the-year list consideration.  Not bad for a January album.