album of the week 6.5

Ratatat

LP4

XL Recordings (2010)

why you'll love it - the shtick still isn't stale after four albums

why you'll hate it - it's nothing new, or better than anything before.

It's Ratatat. If you know what that sentence implies, you can just stop reading right now. Their 4th album is just the same as the last three. You can decide for yourself if that is what you want.

If you've never heard Ratatat before; it's like if robots made a Spaghetti Western film. It's a bunch of obvious in studio synthesized sounds stitched together with some fancy guitar playing. Some memorable compositions on here like "Drugs" don't do enough to separate LP4 from any of their other releases, but are still with your time.

I don't know how much longer the instrumental duo can keep up with this formula, but hell, I'm still interested. "More Ratatat?" I thought, "Well, pile it on." This album now rests comfortably in my music library always ready to entertain when the songs come up on shuffle. Enjoy now, worry later.

what the internet is made for

I just finished The Legend of Zelda: Spirit Tracks last night. I know, that game was something like 8 months ago, but I have a point coming that branches off from this, so you can probably just skip to the last paragraph. First, I just want to bitch a lot about the game, because it has successfully made me never want to play a Zelda game again. I've played 1/3 of the original, and now all of the cel shaded games. I think I've seen all I need to see of the Zelda formula.

I was first won over by the train theme of the Spirit Tracks, and was happy to see it running through to the very end. I even made sure that Link completed the final run in his spiffy conductor's outfit. But traveling the overworld on tracks takes a lifetime. A lot of people complained about having to sail great distances in WInd Waker to get anywhere, but at least you can chose your path! The time drain made side quests a non issue for me. If it's taking me 10 minutes to get to my next plot point, no way in hell am I wasting my time with the creepy bunny dude and whatever crappy reward he has for me.

As if I'd ever waste my time driving anyone anywhere too, since they all bitch like an Animal Crossing neighbor if you don't blow your train whistle at the right exact moment. Just shut up and eat your complementary peanuts. They also get mad when you struggle with the imprecise touch screen while battling enemies en route.

When on foot, classic adventuring is fun, until you require controlling a partner as well, who moves at half your speed. Waiting on train rides is boring, waiting for your braindead partner to catch up with you so you can pass through a doorway is just torturous. Especially if she gets hung up on a corner or keeps walking into traps.

Near the end, you have to battle a bunch of trains using scattered power-ups. Basically, it's Pac-Man. They chase you until you grab the power-up, then you chase them. One hit, and you start all over again. Not even the 30 year old arcade game is that brutal. Why even give me a life bar if one hit takes me down? Also, the ghost trains are way more mobile than you. So imagine Pac-Man, if you only had one life, and the ghosts are faster than you, and they can turn around whenever they want, and you can't. The ghost trains are so smart they just hovered around the only entry point there was to the final area, making it literally impassable. This is 2010. Why is a game programmed to do this?

Ok, one final complaint, that leads to what I really wanted to post about… the dopey flute thing. Periodically through the game, you must play a song on this color coded flute by following the color sheet, moving the thing around on the touch screen, and blowing into your DS mic. Beyond the mic hardly being responsive, about 2/3's of this flute looks like the same two colors. On top of that, the colors look a bit different on the sheet than they do on the flute. This is the most incredible middle finger to colorblind people I have ever seen in a game. Ever. When I failed, I couldn't tell if i was was hitting the wrong notes or if the mic was unresponsive. Just pure torture.

I've gone off on colorblindness in videogames before, but only in off the cuff examples. The damn Zelda flute has made me look back and think what exact moments in games were as offensive as that. So thanks to Giant Bomb's handy list making feature, here are the top ten all-time colorblind offenders.

album of the week: 6.4

Devo

Something For Everybody

Warner Bros (2010)

why you'll love it - First good album in nearly thirty years

why you'll hate it - oh no! It's Devo

Reunions depress the hell out of me. Age happens to all of us, and rock stars never seem to get that. Thankfully Devo aren't rock stars. Though the past nearly thirty years of obscurity lent me the nightmare theory that they would return with no new ideas saying "check us out, we did Whip it! 80's am i rite?" Not the case here. New look, new ideas, and firing off their classic de-evolution themes and corporate satire.

Surprisingly, the concept surrounding Something For Everybody is probably some of the greatest satire Devo has ever come up with. The focus tested songs, art, and stage ensemble confuses the hell out of young clueless spuds. It's amusing to see it's the youth who are baffled by Devo now. In the late 70's it was the old critics and rock and rollers being punked by their nerdy synths and boiler suits. Now it's the mainstream embracement that today's rebellious youth is scared to death of.

The album is also wildly overproduced. Never to a point where I felt the edges were too smoothed out and dulled, but there are quite a few unnecessary echos and swooshes. I'd have a problem if not for this likely being all part of the gag. Also, since their last arguably good (if not, noteworthy) album, Oh No! It's Devo (1982), sounded like cheap thrift store Casio garbage, this is almost like making up for that.

It's all superficial to a point though. While ironic lyrics are smattered throughout, it's clear Devo still has focus on our de-evolved society. "Don't Shoot" evokes thoughts of the Kent State massacre (cited as a pivotal event in the creation of the band), and brings it to modern day, complete with a cheeky nod to the "Don't tase me bro!" kid. "What We Do" is quickly becoming my go-to ultimate Devo song of all time. Nothing represents the band better than that second verse. Total blended up pop-culture, nonsense, and misinformation; further shrouding the cryptic message of human disconnect. "Please Baby Please" did what I thought would be impossible, return to the satirical classic rock and roll pop style that made their debut album so curiously brilliant.

I grabbed the 16 song deluxe version of this album, available on iTunes. There is also a "song study" version available online; which are the 12 most popular tracks researched by the focus tests. Then there is the physical version found in stores that boasts itself as "88% focus test approved". On this version, the band went with the fans except for one or two tracks that they felt just had to be on there. Now, if Devo is so content to treat the 16 tracks buffet style, then I thought why not have a tracklisting for myself?

Since the album is Something For Everybody, there are a few tracks out there that seem to have been written for ignorant spuds who only know "Whip it" and think they've only done just 80's synthpop music. These songs sound like they were plucked out of a John Huges film. Rubbish. Then there are a couple tracks that Mark Mothersbaugh just didn't quite nail the lyrics on. He made the message too obvious, or is rhyming for the sake of rhyming. Unenjoyable misfires. So, that is why I have my "retcon version" of the album. 10 tracks (which roughly all Devo albums are anyway), and a mental block of those other lousy songs.

Every version of this album has the 4 or 5 best tracks, the brilliant "focus tested corporate allegiance" motif, and are truly better than anything they have done in over 25 years - no fucking doubt. My version of the album I feel puts it right alongside Freedom of Choice (1980) and New Traditionalists (1981). I love the energy, abstract hooks, and use of real instruments in "Signal Ready, "Let's Get To it", and "Watch Us Work it". It's not as good as their first two albums, but what the hell on this planet is? Hardly anything.

None of this will win you over if you aren't a Devo fan already. If you've never given them a chance before, start at the very beginning instead. Work your way up to and including New Traditionalists, then STOP! Pick this bad boy up next. If you're still begging for more, pick up Oh No! but it may be toxic to your personality.

They may be old and fat now, but the world hasn't left Devo behind. Something For Everyone is not only a good collection of tunes, but more importantly, culturally relevant. Perhaps the world has always been many strides behind them, and now they're back with a wink to say "I told you so".

Free drivel

album of the week: 6.3

GO!GO!7188

Go!!GO!GO!Go!!

Victor Entertainment (2010)

Why you'll love it: Impossibly fun rock and roll

Why you'll hate it: Language barrier, a couple slow filler tracks

Of the short list of bands that made Japan's punk scene so fantastic at the turn of the century, GO!GO!7188 is probably the least prolific. But they're still on that short list, and they're the only one to remain intact today, so that's gotta say something right? Their surf rock inspired sound has undergone fresh and welcome changes every few years since the late nineties. Last year's album, Antenna, was entertaining; but saw the band become a bit desperate to find more uncharted territory. It ended up sounding like an odd b-sides collection. This year, for the first time, the trio is dipping back into their past strengths and creating what sounds like a greatest hits album.

There are loads of pop hooks that have defined their past three releases here. The production is generally that dirty nightclub kind of rock and roll that made albums like 竜舌蘭 (2004) so special. Most exciting though, is the youthful energy from a decade ago returning stronger than ever before.

There are songs on this album that sound like they came straight out of the 魚磔 (2001) era; while the song "Ballad" literally has! This is a throwback album done right. The songs just don't have one catchy riff repeated over and over. "耳たぶ2号" alone is packed with enough memorable moments to fill three songs. Where Antenna tried to divide up their piñata of genres, here they seamlessly work them into parts of songs. "まやかしの世界" has a wonderful unexpected moment of pure shredding. The enka sound of 鬣 (2003) makes a welcome return in "今日の歌" . "最後の晩餐" features some of the lounge and swing style that was a big part of my favorite GO!GO! album, 569 (2007).

Due to there not being a single, some filler has made its way onto the full track list. No bad songs to be found here, but trimming the fat may have made this the best GO!GO! release ever. I'm not usually a fan of bands repeating themselves; but with over 10 years of experience, and songs as bad ass as "ええじゃないか", I'm so pleased that GO!GO! has decided to take another lap around the track.

corporate anthem

I'm a pretty big Devo fan, if you pretend they broke up in 1982. The 80's did to them what they did to just about every other great punk/new wave/indie band. I'm also not a fan of musicians performing well beyond their best years without considering their age. So the comeback of Devo over the past year or so has not registered on my radar, until I came across the conception of the new album, due to come out next week.

The big deal behind Something For Everyone is a continuation of the mid-80's corporate embracing insanity that I've always enjoyed by them despite the music quality slipping. With the help of imaginary creative marketing services, Mother LA, Devo has been conducting a series of focus tests to become appealing mainstream icons. You can view all their hilariously awkward focus tests and press releases on their youtube page.

Amidst the focus tests, you'll spot a couple promos for an eposodic reality series forthcoming about the whole ordeal. I'm posting this particular promo if you are too lazy to fish around.

Watching these clips and seeing how it relates to the album content, art, blue energy domes; and the fact that the band is still being creative enough to recreate their image for another album - ok I'm in.

album of the week: 6.2

Club 8

The People's Record

Labrador (2010)

why you'll love it: Instantly catchy, a bit different kind of pop sound from the norm

why you'll hate it: big departure from old sound

2010's Most Improved Band award is closed. Club 8 has already won. The longstanding Labrador records duo has had a respectable discography so far, with its serious and introverted songwriting. It's mostly my Swedish pop fixation that has kept me coming back to them so many times. I'll straight up admit fault; I've always found them to be a bit boring. I don't relate to their hopeless romantic lyrics, and have trouble telling most of their catalogue apart.

Without a single hint of warning, The People's Record feels like a completely different band. If this was a lousy romcom film, this album would be the big party scene where the shy character gets drunk and dances up a storm. This is a straight up summer pop album, with aloof lyrics, saccharine melodies, and positive vibes from start to finish. This may feel like a stab in the back to traditional fans, but I couldn't be happier with it. I was sort of expecting Acid House Kings (which Club 8 is a sort of side project of) to do something like this, but never this outfit.

Unlocking that Swedish pop music gene that I'm absolutely certain exists would be enough to make this album a winner, but Club 8 takes it an extra step. They focused on a particular pop sound here; a very South American feel, with lots of percussion and a distinct guitar playing style. It's quite fresh, and performed creatively enough so that it never comes off as gimmicky or shallow. Also, it's only 10 tracks / 30 minutes, so it doesn't overstay its welcome.

I wonder how long Club 8 has been sitting on a record like this. Is this album their way of saying "Yeah, we could have done this kind of stuff all along, but never wanted to?" I'd love to read about the moment of realization where they decided to go down such a different path. This is the perfect summertime album. If you like pop music at all, The People's Record absolutely cannot be ignored.

WHERE IS YOUR GOD NOW?!

album of the week: 6.1

LCD Soundsystem

This is Happening

DFA (2010)

why you'll love it - fun but not sophomoric

why you'll hate it - very long songs, repetitive

If vampire logic has taught me anything, when you kill the lead vampire the entire race will revert back to humanity. This makes me wonder what NYC hipsters will do if this really is the last LCD Soundsystem album. I've always seen James Murphy as Hipster Prime, no matter how unwilling he plays himself off to be. That's in a way the joy of LCD Soundsystem, who has since the very first single been placing this whole ridiculous indie-hipster culture in a house of mirrors. Not sparing himself from this depreciation, LCD songs can become so convoluted with contradictions; "shut up and dance" usually becomes the most acceptable response.

This is Happening may probably be the best LCD Soundstsyem album, but possibly the least relevant because the last two albums have been enough said. They've already gone down the very ironic and sincere routes. Now all that is left to do is combine them and try to sift out learned mistakes. Murphy retains the songwriting skills that made Sound of Silver (2007) so great. His perspective of an overweight deshieviled man in his 40's trying to survive alongside a youth run culture works even better when handled honestly, which is what made Sound of Silver so memorable.

A lot of the versatility and irony of the first album creeps its way into this one too. I'm not sure how to look at the song "You Wanted A Hit". It's so overt and unnecessary, Murphy and co. must be playing some Devo-esque "are we corporate or not?" prank on the listener. Especially when earlier in the album, there is "Drunk Girls" - the most painfully obvious "we wrote this song for the radio" single I've ever heard. At least the video for "Drunk Girls" is a riot.

Those are the only low points of this album, and they are more head-scratchers than they are bummers. The rest is total dance party. Murphy deliveries many of his lines throughout the album in a rambling spoken word. He's either going of on high speed rants like Chris Leo, or trailing off into non-sequitors like Jonathan Richman. "Pow Pow" is the best example of this. Some of the best synthesized beats they've ever done crop up here as well. "Dance Yrself Clean" is quickly becoming my favorite LCD song. "I Can Change" reminds me of Solvent in the best way. "Home" to me is a fine curtain call if this actually is to be the last LCD album.

Instead of being "so shallow it's fun", LCD Soundsystem has been "so opinionated and divisive it's fun". The fact that so many people waste their time on the internet arguing about how he ripped off this from The Killing Joke, or that from Velvet Underground; or just plain having at go at the inconsequential culture itself Murphy is wrapped in amuses me so much. It makes me like LCD Soundsytem even more. This is Happening is no Sound of Silver in terms of achievement, but is absolutely necessary if you are looking to check them out.