Tuesday 20 May 2008

Narrow Stairs - Death Cab for Cutie



Ok. I stand corrected. And I am also one week late with this review.

Simply put, this album is breath-takingly brilliant - only if you take enough time to allow it to be so. (Not so simply put then).

With Narrow Stairs, Death Cab for Cutie give you the impression that they've decided to throw all their toys out of the pram. Dummy as well. There's a lot of noise on this. Good noise, mind you. After the brilliant literary expose of their previous work (see "Transatlanticism" and "Plans" especially for the Death Cab newbies), Ben Gibbard suddenly seems pain-stakingly obvious on this record.

Not that it's a bad thing. This is unlike any Death Cab album you've encountered. So different, in fact, that I dared to not favour it at the beginning. Narrow Stairs is dark, gloomy and mostly bad-tempered. And ill-mannered. It feels like a clump of static banging you from pillar to post - and then some.

The first single, "I Will Possess Your Heart", all 8-and-a-half minutes of it, insidiously worms its way into your head (heart?). For the opening 4 odd minutes, bass, distortion and drums drone on before Ben Gibbard's ice-thin voice cuts through, telling you that despite the long sortie, "you gotta spend more time" with him. Typical stalker-like. Excellent.

The album's opening song, "Bixby Canyon Bridge", is riddled with Jack Kerouac connotations. It details the tale of how Gibbard goes to the cabin where Jack Kerouac wrote Big Sur, hoping to find inspiration and coming up short. His angry riposte to his failing is to admit, rather forlornly, that the dream is lost and to return home, tail between legs. The irony here is excellent, and the combination of the lyrical brilliance and sonic attack on show here makes it one of the stand-out songs of the album.

Perhaps the album's most beautiful piece comes in the form of "Grapevine Fires", where for just one fleeting moment, Gibbard is back to his story-telling best. Written about the California fires last year, the song is lyrically akin to "Passenger Seat" in that the listener somehow finds himself right next to singer as he paints the canvas with his vivid array of watercolour.

Detailing the entire album would just be too much of a feat. Needless to say, there are several fillers, but then again, asking any Death Cab fan to come out with a name of Top 5 DCFC songs is somewhat like calculating permutations for the national lottery. The album does end on a wonderful note in "The Ice is Getting Thinner", as the listener is left wondering: "What next?"

"Styrofoam Plates", "Steadier Footing", "Crooked Teeth", "Death of an Interior Decorator" and "Tiny Vessels". My very own list of Top 5 Death Cab for Cutie songs now needs to find space for some of the gems found on this album.



c

Saturday 10 May 2008

Can't Love, Can't Hurt - Augustana



For a band seemingly known for their one and only good song - the done and re-done "Boston" (originally off 2003's "Midwest Skies and Sleepless Mondays" and rehashed in 2006's "All The Stars And Boulevards"), Augustana must be silently hoping that their new album "Can't Love, Can't Hurt" provides some respite.

The truth is, Augustana have probably been unfairly dealt a bad hand with "Boston" receiving such wide publicity, because the rest of their stuff off both their previous records is actually pretty good.

Folkish, poppish, melodious and extremely heartfelt - Augustana are one of those "safe" piano bands who seem to have gotten the balance just right. Lead single "Sweet and Low" has that wonderful sing-a-long vibe to it that you'll probably give in to while driving. Ditto the catchy "I Still Ain't Over You" and "Meet You There".

There are plenty of nice moments from this album, making it thoroughly listenable. One of the album's stellar moment comes when Dan Layus' glass-like, trembling voice holds the final note to "Fire" when he belts out: Desire taking me so much higher / and leaving me home. Both band and listener are stuck in that little warp where mortal frailty and lustful desire are encapsulated in a brief 15 second burst.

I came online hoping to write a review for Death Cab for Cutie's "Narrow Stairs" and/or Gavin DeGraw's self titled album, and instead felt so compelled to write something about this wonderful band from San Diego.

"Can't Love, Can't Hurt" is nowhere as edgy and gritty as "All The Stars And Boulevards", but instead seems more mature and brings into play more sincere, warm and somber undertones. It is probably best listened to enjoying a cup of hot chocolate next to a warm fireplace (ahh the pitfalls of living in Singapore), and actually grows on you the more spins you give it.

Rating: 8.5/10

If you liked this, you should listen to: The New York Fund

For those living under a rock for the last few years, here's Boston:

Tuesday 6 May 2008

There Is No 301...

...and I'm still waiting for Narrow Stairs...



c

Monday 5 May 2008

Essential Listening 201

PROCRASTINATION IS ME!!! An idea of how bored I am + how unwilling I am to set an exam paper manifests itself in the list below...having gone through the essential 20 albums, here is the list for essential 20 songs!!!

1. The Nurse Who Loved Me - Failure
2. Tuna In The Brine - Silverchair
3. Strawberry Fields Forever - The Beatles
4. Good Vibrations - Brian Wilson
5. Miracle Mile - Pompeii
6. Gravity - John Mayer
7. Bohemian Rhapsody - Queen
8. Let Down - Radiohead
9. Tiny Vessels - Death Cab for Cutie
10. All Apologies - Nirvana
11. Leslie Anne Levine - The Decemberists
12. The Way You Look Tonight - Frank Sinatra
13. Lilac Wine - Jeff Buckley (how this missed the Essential 20 albums I have NO IDEA!)
14. Tin Pan Alley - Stevie Ray Vaughan and Johnny Copeland
15. How I Go - Yellowcard
16. Selective Memory - Eels
17. Your Hand in Mine - Explosions in the Sky
18. Walking After You - Foo Fighters
19. New Routine - Fountains of Wayne
20. 3 Libras - A Perfect Circle

YAY!!!



c

Essential Listening 101

Rather random post here, but on a Monday morning as I sit here listening to Death Cab for Cutie's "I Will Possess Your Heart", I just thought of compiling a top 20 essential listening. If I were stranded on a desert island, these would be the cds I MUST have (in no particular order, limited to 1 per band/artiste):

1. Transatlanticism - Death Cab for Cutie
2. Diorama - Silverchair
3. Smile - Brian Wilson
4. Rubber Soul - The Beatles
5. Daisies of the Galaxy - Eels
(these 5 actually make my top 5 albums of all time)
6. Continuum - John Mayer
7. Loveless - My Bloody Valentine
8. Siamese Dream - The Smashing Pumpkins
9. OK Computer - Radiohead
10. Nevermind - Nirvana
11. Let It Come Down - Spiritualised
12. Gold - Ryan Adams
13. Automatic for the People - REM
14. Welcome Interstate Managers - Fountains of Wayne
15. Chariot - Gavin DeGraw
16. Blue Album - Weezer
17. 1977 - Ash
18. Friday Night Lights OST - Explosions in the Sky + others
19. Any Mozart compilation
20. Any Ennio Morricone compilation

Well that wasn't too difficult was it??? Obviously, because I am fickle, these answers might very well change next week...or tomorrow...or maybe now...

Anyways for the die-hard DCFC fans who can't wait for the new album, here's a little teaser:




That's all for now :)



c

Saturday 5 April 2008

Pretty.Odd. - Panic At The Disco

This is emo music gone wrong...and its beautiful!!!




They've dropped the exclamation mark (!), they changed costumes, and they've got a new sound that will completely wow you if only you'd wipe off that eyeliner.


Former emo wonderkids Panic At The Disco's sophomore effort and follow up to 2005's "A Fever You Can't Sweat Out" is truly a musical turnaround. Paying homage to The Beatles and The Beach Boys, and dare I whisper it, Jellyfish, "Pretty. Odd." exudes the carnival/circus atmosphere found on classic records such as "Sgt. Pepper's Lonely Hearts Club Band" and "Pet Sounds".

This REALLY is a proper album, and everything flows seamlessly from track 1 to 15. Opening with "We're So Starving", lyricist Ryan Ross rather ironically prepares the listener for the musical cacophony that is about to follow by insisting that "You don't have to worry because we're still the same band". This smoothly leads into the lead single "Nine In The Afternoon", a catchy, upbeat tune with its full array of Beatles tricks down to the ridiculous "Sgt Pepper's" fanfare and "Penny Lane" fire-engine bells. By the time "That Green Gentleman (Things Have Changed)" comes around you should be having so much fun that you might be forgiven for forgetting that this same group of people used to write sins AND tragedies.

The album's turning point probably arrives at "I Have Friends In Holy Spaces" - cleverly produced to achieve the effect of an old record player. Here, the listener is instantly transported to an era where Ol' Blue Eyes ruled the roost. The introduction of the next song promptly arrives in lo-fi, vinyl-style as part of the same track, only to be revealed in its grand, lush opening sequence once "Northern Downpour" properly starts.

Panic At The Disco even have time to throw in a southern country number in the ridiculously, yet aptly named "Folkin' Around" before the album's other stand out track, "She Had The World" hits you with full harpsichord aplomb. Here, strings mingle with intertwined baroque-style accompaniment, and the stoic way the line "Who could love me / I am out of my mind" is delivered seems to give you a little insight of the perhaps startling mindset needed to conjure up the entire record.

"Pretty. Odd" is expertly produced, and Brendon Urie's vocals are of the highest quality with the entire band chipping in with back-up vocals and wonderful harmonies. Besides the obvious Beatles and Beach Boys references, there are familiar traces of Fiona Apple ("She's A Handsome Woman"), Brian Wilson ("When The Day Met The Night" & "The Piano Knows Something I Don't Know"), The Decemberists ("Pas De Cheval") and "Young Modern"-era Silverchair ("Mad As Rabbits"). High praise indeed for a band so young in its life-cycle.

Call it Baroque Pop, call it Circus Rock, call it complete madness in today's emo-dominated airwaves. The album is like Alice In Wonderland meets Monty Python's Flying Circus - a full-out fun excursion. A wonderfully refreshing serving that deserves at least two listens. Now for a "Fall Out Boy" album of the same ilk ;)

Rating: 9/10



c

Thursday 1 November 2007

Chase This Light - Jimmy Eat World




Jim Adkins and his band return with their 6th studio album (5th if you don't count their self-titled debut in 1994) - 3 years on from 2004's Futures. The record kicks off with the very accessible and up-tempo Big Casino, which sets the mood for pretty much the rest of the album. Carry You is further evidence of this album's upbeat nature.


That is until Chase This Light enters the fray, and this is where the band comes into its element. Firefight, Dizzy and Be Sensible (for those of us who have this as a bonus track on the Singapore-pressed album) follow in quick succession. Cynicism and a naughty hint of sarcasm make their way into the songs, and its in these 4 closing tracks that Tom Linton shows himself to be the quintessential alt-rock rhythm guitarist. Fans of Clarity and Bleed American will definitely find familiar comforts here.

Clever lyrics, great hooks and driving melodies abound here. Those not already introduced to Jimmy Eat World - one of alt-rock's pioneer bands - should find this a good starting point. After all, there's something for everyone here. Almost...

Essential listening: Big Casino (1), Always Be (3), Feeling Lucky (7), Chase This Light (9), Firefight (10) & Dizzy (11)

Rating: 8.5/10