album of the week: 9.5

Big D And The Kids Table

The Damned, The Dumb & The Delirious

(2011)

why you'll love it: late 90's brotastic ska-punk fan service

why you'll hate it: insufferable lyrics, lacks personality

The ska-punk scene sure is an unforgiving crowd. It's a fun genre to kick off with as a teenager, but man, if a band ever decides they want to deviate a little bit, is there ever hell to play. They're like a mafia. You're always in debt to them. Big D single handedly was the next generation of ska-core ten years ago. 2009's Fluent in Stroll was that dreaded departure album (and was actually quite good), so now they have to surrender a finger and release this apology album, The Damned, The Dumb, & The Delirious.

That's the mean way of saying this is a "back to basics album". Lots of upstrokes and horn lines. It's just what the kids demand. Truth is, this isn't exactly what Big D originally sounded like. The hardcore influences are almost non existent. There's no "Apology" or "Checklist". This album sounds more like Strictly Rude (2007) than any other… which still doesn't rub me the right way after all these years. Like on Strictly Rude, Big D doesn't have much of a personality here, and is moreso just going through the motions, being a stereotype of the scene. I have little to say about the good songs on this one other than "that sure was a ska-punk song". The bad ones stand out for having horribly cliched lyrics about "rude boys", "beers", and "the radio".

David McWane's lyrics are so simple they are almost too embarrassing to bear at times. Attempts at politics ("Zombies on Wall Street") and personal stories ("My Buddy's Back") are a total joke that only result in "really? that's all you could come up with?" Maybe I'm just old and uncool now, but the worldview of these songs are so black & white I find them to be entirely unrelateable. McWane repeatedly rants how they all want to "Set Me Straight" ("the fuckers!") and he won't let them. He sounds more like my deadbeat alcoholic uncle than a defiant rebel. In the best song on here, "Good Looking", the lyrics take things too far once again with this oddly placed verse about how he's happy that he doesn't have a desk job because it would deny him the ability to go to a beach… EVER! Which is just… such a reality distortion I don't even want to begin.

I have other gripes with this album, like filler and a representation of punk that I don't agree with, but I don't want to rant. I still like ska and loud obnoxious music. There is just a whole lot fumbled with this one.

album of the week: 9.4

Memory Tapes

Player Piano

(2011)

why you'll love it: atmospheric music for both sad and sublime moods.

why you'll hate it: not very memorable, stuck between devotion to emotional and catchy

I don't have much to say about this one, so I'll keep it short. Player Piano is this electronic indie solo artist's follow up to 2009's Seek Magic. Seek Magic was no breakthrough album, but had a lot of charm. This sophomore effort steps up the maturity and emotional tone. Songs are a lot more atmospheric and melodic. Dayve's confidence has grown, resulting in a more pop song structured album with a lot more singing.

Player Piano is in this weird zone between two states. It's more structured than the last album, but somehow tougher to get into. When it wants to get minimalistic, as in "Yes I Know", it nails that somber tone, but it doesn't strike the same kind of emotional chord as Radiohead or The XX. When it wants to get busy and erratic, it just doesn't pop like in Seek Magic. The production really limits the richness and color. Sounds are flat and restrained when they should be blossoming.

The album sounds pretty, but doesn't stand out from its electronic peers, or leave much of an impression on its own. WIth more focus, it could have made its mark with a remarkable ambient sound. I don't think Dayve Hawke is all that concerned with becoming a breakthrough artist though. He's just writing music for himself. Which is cool, but if you are not on the same wavelength as him, pointless.

it's on

Every social experince I have becomes an embarassment, so I though I'd take fate into my own hands and set up my own embarsmesnt. I threw down the gauntlet on somebody at Sketch's burger joint in Philly.

feeling upset 1%

Probably old news, but new to me. Deerhoof released a free live album!

album of the week: 9.3

Sherbets

Free

(2011)

why you'll love it: cool groovy rock and roll blues

why you'll hate it: could be too slow or boring for some

To complement the last review, this week I'm listening to the latest Kenichi Asai release. Benzie is the other pillar of Japanese rock and roll, with four "you should really listen to these" rock projects and a solo library on his resume. Sherbets is the most experimental and long running band of his. While there is a constant thread of blues rock through all of Asai's projects, Sherbets seems to be the most labored and atmospheric.

The last Sherbets release was 2008's Mad Disco; a departure from their last few albums at the time. It had a lot more energy and variety. Enough to reconsider my opinion of the band as "background music" and take a much closer listen to their discography. Free is a return to the gentle tones explored on albums like Miracle (2007) and Natural (2005). I can't tell if it's my newfound perspective, or if they have really nailed it, but Free has clicked with me much faster than any other Sherbets album has.

The first minute of "これ以上言ってはいけない" makes it very clear where this album is coming from and what its goals are. Asai's vocals are smooth. They rise and fall at all the perfect moments. Every instrument is delivering an interesting independent melody, which all blend to create a very atmospheric coffeehouse performance sound. Qumico Fucci's vocals and organ support have never felt so clear and present as in "Lydia & David". "Wonder Wonder" is probably the softest song I've ever stated as "rocks". The way the song crests at the chorus is surprisingly overwhelming. Throughout this whole album are incredible swells when the band comes together. The last three minutes of "Nothing For All" is a great example of this. They could have gotten to that moment faster, or made it its own song, but the ambience that binds everything feels irreplaceable. So much that a hi-volume song like "Motor Blitz Breakers" seems very out of place, although it wouldn't on any other of Kenichi's bands, or even a couple other Sherbets albums.

Free never goes through the motions at any point, but I must admit, I begin to drift away a little after the halfway point of this album. They still use a lot of interesting effects on their instruments like in "Neighborhood Funky Special" and "Love Bean". To the very end there is a quality performance… I don't think the album is too long or has filler, but it does feel lopsided. They use all their best tricks in the first half, and then give you the rest. Some changes to the track listing may help, because I can recall a whole lot from this album, but nothing from the last three or four songs to send me off.

If you're a patient listener, who likes to really soak into a song, Free is just the rock album for you. You will be greatly rewarded for the attention you devote. If you're coming into this after discovering Benzie's most popular band (Blankey Jet City) or latest (Pontiacs); you may be let down by the deliberate pace. Once you get on the same wavelength with it though, you wouldn't want it any other way.

why can't all sports be this entertaining?!?

Just watched this live. Still laughing.

album of the week: 9.2

The Birthday

I'm Just A Dog

(2011)

why you'll love it - straight for the jugular garage rock

why you'll hate it - jarring departure from their signature sound

Last summer, when Imai Akinobu announced he was parting ways with The Birthday, I knew that big changes were afoot. Imai's seemingly endless guitar solos and slow paced melodies helped shape Chiba Yusuke's usually impulsive brand of garage punk into a cool confident classic rock swagger. Simply filling those shoes would make for an awkward imitation. Wisely, the lineup change became an excuse to perform a hard reboot.

I'm Just A Dog is faster and dirtier I've ever expected The Birthday to be. As good as these new songs are, it's a bittersweet feeling. Last year's album, Star Blows, felt like finally stepping out from the shadow of Chiba (and drummer: Kuhara Kazuyuki)'s legendary punk band, Thee Michelle Gun Elephant. Now if feels as if they've stepped right back into it; but in such an unapologetic manner, like they kicked down a door first.

The album starts off guns blazing. "Horoscope" and "SとR" are some of the most cut-throat songs the band has done. As the album progresses, there are some quirky departures from the usual Birthday formula, like "Red Eye". Only when things slow down, it gets slightly hit or miss. "Baby You Can" succeeds in sounding like a vintage Birthday song, while "爪痕" and "Silhouette" lack Imai's presence quite predominantly. The title track that closes the album has an unusual stripped down ballad approach that I really enjoy. There seems to be some sea legs to regain in the slower song department.

Old school fans are reintroduced to Chiba's more aggressive influences. "Buddy" gave me brief Rosso flashbacks, while "Saturday Night Killer Kiss" could have been introduced to me as a dug up TGME b-side, and I would not have even raised an eyebrow. This is obviously due to the new guitarist, who has a hyperactive strumming style similar to TGME's Abe Futoshi. Futoshi was much more surgical with his equally frenetic attacks, so Fuji Kenji's dirtier approach sets him apart when you squint; but I'm having trouble resisting comparisons so far.

Seeing as they made the best of a misfortunate line up change, and still deliver such a satisfying rock and roll experience, it would be stubborn to look down on this album for not being classic rock. It's only a lament, not a complaint. This album kicks ass. Those who have grown very accustomed to the pace this band has set over four albums may feel a bit slighted, but not enough to get frustrated. As great as the past three albums have been, it had a couple eye rollers. Not a single dud on this one. A few songs could have been a bit better, but none on here are worth skipping. As if Chiba Yusuke has EVER released a bad album.

how pointlessly tragic

Loving (almost) every minute of Deus Ex: Human Revolution so far. Aside from the occasional "How did that guy see me!? aghhhhh" it's good old choose your own adventure cyberpunk and so much messing with AI goodness.

Here's an example of one of the more insanely hilarious ways to break the game . I just played that area this morning, and also could not resist giving that guard a cool refreshing taste of poetic justice, but this guy takes it to the next level.