9/22/11
9/18/11
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.
9/6/11
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.
9/4/11
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.
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