Why you'll hate it: Lyrics will give you "douche-chills"
In an alternate dimension, Erlend Øye would have released my favorite album of the year. It's been 5 years since the last Kings of Convenience (on hiatus) and The Whitest Boy Alive (R.I.P.) releases. Last year, Øye resurfaced as a solo act with "La Prima Estate" and the promise of an all Italian island beach party album. Things apparently fell through, because we got Legao instead.
Sonically, Legao is pretty fantastic. It's got more of a Whitest Boy Alive (funky bass) feel to it than I expected. Unfortunetly nothing as fun and bubbly as "La Prima Estate", but plenty of groovy relaxed melodies. I was really hoping for an Italian album though, because Erland's lyrics have never connected with me. They're self serving, judgmental, and vague. Erland mostly sings about lies and love (and believe me, he does a lot!). The message is always too obvious to be poetic. There is no introspection or soul bearing weakness. It's always lessons given to the listeners. At best, he comes off as a Mary Sue. It's not a good look. At worst, he's sounding like he's just writing these songs to get laid.
These are the frustrating two sides of Legao. It sounds lovely. "Save Some Loving", "Fence Me in", "Garota" - all hypnotizing songs. Erland has the perfect voice to accompany the tone of these songs. The personality is just too... perhaps guarded, or artificial to relate to. He's going for the gentle romantic look, but instead comes off like the antagonist in a romantic comedy. There is just something untrustworthy about him... And this is why he should sing in Italian for now on.
*copy / pasted from my review on tumblr back in March 2014
Elbow - The Take Off And Landing of Everything
Why you'll love it: Ambitious orchestral sized band ballads
Why you'll hate it: Slow and boring second half
It’s hard to pitch a band like Elbow. I’ve got a long list of reasons why they’re “good” (Guy Garvey’s impeccable singing voice, and high production values would be at the top of it), but I don’t have much to sell somebody on the creative department. They’re, in kind terms, a mainstream band. I could totally see these guys on the Today show; in between segments about footage of dogs barking at the Law & Order theme, and time saving grocery bagging tips.
Elbow is like one of those bands that get used in every movie trailer for a year (oh wait… THEY WERE). The thing is, they’re better than that. They’re one of the few bands that have the talent to justify that kind of media push.
I love what I hear in a lot of songs off their latest album, The Take Off And Landing of Everything. So much that I get drawn in occasionally, and really pay attention. That’s where Elbow has never really clicked with me. There isn’t much payoff to all the pomp & circumstance. The lyrics usually go nowhere, and there is a lot of repetition. “Charge” is a pitch-perfect moody instrumental, but the moment someone points out how often they say “hey”, boy does that song lose value. I could be mean and really harp on weak lyrics, but the musical journey (as long as it may be) is worth the time. Guy Garvey’s voice is really that good. I could listen to him sing a phone book. At least The Take Off And Landing of Everything is one of their better “phone books”.
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12-3-14 UPDATE
"My Sad Captains" is starting to feel like one of the best Elbow songs ever. It's also the only shining moment in an otherwise slog of side B to this record. When Elbow reels back on the production and just presents a song with subtle atmosphere, they glorify their common Manchester working class subject matter quite well. But all too often, and especially on this album, they rely too much on theatrics and making the most epic song they can. I can only hope for more "Fly Boy Blue", and less "New York Morning" next time.
Why you'll love it: Cool noise rock approach to rap
Why you'll hate it: Mostly the same song over and over
I had been considering doing another webcomic style review for this one. Criticizing rap intimidates me. My experience listening to it doesn't go much further than The Beastie Boys and Gorillaz (where I first heard of Del). Fortunately, Iller Than Most leaves a bit more to discuss than just rap in general.
"Leader" sets the pace rightly in more ways than one. The first thing you'll notice about this album is the sound composition. It's gritty, noisy, and all over the low and high ends, with every bell and whistle in between. This is what it sounds like if Zach Hill were to produce a rap album. I know what your next thought is: but Zach Hill is already associated with a much more successful group called Death Grips! Yes, I know. Personally, I feel like this sounds much closer to what you would hear on a psychedelic Zach Hill album.
What else stands out quite a bit on this album is Del's never ceasing rant on people ripping him off, and attacking his character on the internet. So much as he's spending entire parts of songs torturing imitators, and mocking shit-talkers. It's a bit weird, and kind of distracts from a couple otherwise good songs. Extra weird considering he was beating the crap out of someone in a song as Deltron 3030 just last year.
Del's beefs tend to get in the way, and a lot of them seem to be about the same exact thing. It doesn't live up to the cool and unique sound that backs this album. Maybe there are a lot more rap albums with such a noisy distorted beat throughout, but I've never heard one; so the novelty had me coming back all year. I wish it was better, but Iller Than Most is worth a curious listen.
Why you'll love it: Deerhoof harkens back to their noisy years
Why you'll hate it: Not as creative or catchy as they have been
I do not love this album. I find it annoying, too messy, and hard on my ears at times. On a few songs, the vocals are off putting, and the lyrics are too silly for me to get over. Here is your M Night Shyamalan twist... I've been a Deerhoof fan for years! 2012's Breakup Song was one of my favorite albums of 2012! This entire paragraph makes me out to be a massive hypocrite!
Deerhoof is an acquired taste. They make a whole lot of noise, and turn it into fun pop music. Their style is very abrasive; dare I say it, annoying. Yet I, like many fans, love them for it. We love their creativeness, and ability to challenge the listener. I guess we all draw the line somewhere...
La Isla Bonita is Deerhoof's messiest album since The Runners Four (2005). It has an almost nails on chalkboard reverberation to it. The construction of almost every song seems like it's been put through a blender. Guitar strikes coming from all angles at any given moment. There is very little reprieve given to the listener, aside from the tracks "Tiny Bubbles" and "Oh Bummer", which have a horror movie like tone. "Oh Bummer" especially would have fit right in there with anything on Milk Man (2004).
To be honest, nothing on La Isla Bonita is surprising. Heck, I was even preparing myself for disappointment. Ever since 2002's Reveille, Deerhoof albums have had the Star Trek sequels effect (only every other one being beloved). I should want to hear Deerhoof make me say "ughhh" at first, and eventually win me over. Maybe in a few months I'll love this album, but for now, joy has only come in moments. That "badabadabadabada" duel guitar riff in "Last Fad" impresses me every time. The line "We're gonna haunt you 24/7" from "Black Pitch" makes me chuckle every time. But, I'm skipping the first two annoying songs every time as well; and always zoning out in the middle of the album, not being able to discern one track from another. La Isla Bonita is sadly stuck somewhere in between too one-note to be considered one of their more creative albums, and too many jagged edges to be one of their more enjoyable ones.
Deerhoof has over a dozen albums by now. Their whole gimmick is to subvert what you think catchy music should be. To always be one step ahead of both their fans and their critics. It's gotta be hard to make something revolutionary every time. This is one of those cases where they didn't reach that high mark. But like every other of those albums that fall short, you're still left with a few damn good mainstays in a Deerhoof setlist. "Doom", "Last Fad", "Oh Bummer": all cool songs. Unfortunately, this is just one of those Deerhoof albums that will probably get lost somewhere in the middle of their twisted discography.
*copy/pasted from a review on tumblr I wrote earlier this year
Cibo Matto - Hotel Valentine
Why you'll love it: Clever concept, wonderful vocals, funky grooves
Why you'll hate it: Cheesy outdated rapping style, content is shallow
Cibo Matto: a “love em or hate em” act if there ever was one. Even though they’ve been gone for 15 years, and were relatively obscure even then; their funk-fusion coffeehouse bossa-nova jazz isn’t even what they are most known for. To the casual music fan, it’s themes of feminism, NYC’s hipster beatnik scene, the heavy Japanese accent, and incoherent-pop sensibilities. If not that, any one of the oddball singles that made a minor splash in underground circles.
When Cibo Matto is at their most expressive, they’re bound to rub some the wrong way. The grating “Birthday Cake” fooled most into thinking they were a tone-deaf punk band, and “Know Your Chicken” was considered to be little more than a joke song to many. Their returning LP, Hotel Valentine, has no intention of putting a stop to such alienation. If the lead single, “MFN” catches any traction, people will misunderstand the duo as delusional, out of touch, and failing to capitalize on long outdated American fashion and hip-hop delivery.
The truth is Cibo Matto can write good songs, sing well, and actually has a master plan. Miho Hatori has constructed quite the portfolio over the years as a guest performer on some of your favorite music acts (Gorillaz, Beck, Beastie Boys). She knows pop music; and is never more creative than when teaming up with Yuka Honda. Hotel Valentineisn’t just nonsense, it’s a concept album about ghosts. The more you dig, the more you get. Cibo Matto actually has quite a few charming songs, with soothing melodies. It was an attribute proven with their second album, and that trend continues here. “Empty Pool” and “Hotel Valentine” are free of gonzo lyrics or attempts well out of vocal range.
Because of such a long hiatus, Cibo Matto’s return has a welcoming “you’ve still got it” feel to it, and not a rehash of themes from the past two albums. It’s a good mix of their strange & abrasive with their lesser known fits of depth & substance. The devotion to “concept album” is a little on the light side. The references to ghosts and being high don’t go much further than simply stating such things. As a result, the lyrics get a little redundant, and the songs tougher to discern. Although, even a thin concept will always get me somewhat invested in an album, so I appreciate the theme. Cibo Matto is an under appreciated American underground gem (Even their homeland of Japan finds them unmarketable and confusing). If you give Hotel Valentine (and their entire discography) a deep look, you’ll possibly find more than you expected to.
Or maybe you just want something that came from planet Funkotron, in which case, Cibo Matto is exactly what you’d expect.
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[END OF THE YEAR UPDATE] I still love this album. Probably more than I did at the time I wrote that review. The songs haven't worn out their welcome at all. Seriously, how cool is it we got new Buffalo Daughter and Cibo Matto albums in 2014? That by itself is fantastic. That they're two of the best things I've heard all year is a blessing. 2014 rocks.
