Bill Frisell - Beautiful Dreamers
With an artist as prolific as Bill Frisell, some releases are bound to be disappointments. Even now that he is into his 60s, his ever-changing repetoire of jazz/folk often elicits surprised notions from me. It all basically sounds the same, some adept musicians playing pretty low-key jazz, Frisell's guitar peaking around on top - his signature tone. He's an expert at what he does and it's usually quite beautiful. However, "Beautiful Dreamers", his first non-Nonesuch release in quite some time, he just seems to be going through the motions. Most of the songs just meander around and don't go anywhere, don't elicit any emotion at all or if they do, it's usually one of annoyance. I won't say it is an outright BAD record, because it's hardly different than anything else he's put out over the last 10-15 years, but most of the songs just aren't there, even if they're not his. That's ok though, I've got plenty of Frisell in my collection to last.

In Summary: For super fans of elevator jazz, this might be your thing. Some interesting moments, but mostly just bland. Deleted.

Kasey Chambers - Little Bird

I was willing to give Kasey Chambers the benefit of the doubt, because I really loved the album she put out with her husband "Rattlin' Bones" - a more stripped down affair, country themes, a little outlaw style here and there, but still with a pop thread running through it. It was good. And though I've never really enjoyed Kasey Chambers on her own, I was hoping her new album would be in a similar style.

It's not, and it's really a piece of shit.

Maybe two good songs out of fourteen, and even those are questionable. It's like Taylor Swift without the charisma or charm. And I don't like Taylor Swift. The two songs that are decent are throwbacks, one sounds like some old swinging joint, like a country/vocal jazz hybrid out of time and the other is an over-the-top country sound. Whatever, Kasey sounds annoying here, the songs are annoying and the lyrics are cheesy as anything I've heard in a while.

Don't even try this album.

In Summary: A real piece of shit. Deleted.

Marnie Stern - Marnie Stern

I've given Marnie Stern a chance on all her releases and all 3 have given me the same feeling: "Hey, this is pretty cool and/or interesting, but it's really not for me."

Even this new self-titled release which scales back the chaos a little bit and gives me more to enjoy than her previous two just doesn't do much for me. I get it, you can tap the guitar real fast, you can change tempos at the drop of a dime, you can shriek too. It's all fine and good - but it just sounds like the same song for me, over and over and over. She might be talented player (I don't know what qualifies as a "talented" player), but her songs just never really reach anywhere I want them too. If her guitar freakouts were interludes or solos within the songs, it would be better. If her vocals or song structure in general were more akin to Dirty Projectors rather than Lightning Bolt, that might even work. But I just can't really get behind her music, no matter how I try. I don't hate it, but any time I've put on one of her records I just think "Ok, I've heard it. No need to hear it again." I'll keep listening as she keeps putting out more music, but I'm not going to listen to this.

In Summary: Slightly better/more accessible. Still don't like it.

Math & Physics Club - I Shouldn't Look As Good As I Do

I don't love twee the way I used to. Maybe I'm not as depressed as I once was, maybe I like my pop in a different way, or maybe I've just moved on. Regardless, though I still go through a lot of indie pop and twee releases every year, it's been about 4 years since anything really blew me away.

Math & Physics Club first full-length (in all it's brief glory), was pop perfection. It was one of my very favorite records of 2006 and though I rarely listen to it now, when any of those songs come up on shuffle, I can't get them out of my head for days. It's ultimate stuck-in-your-head music, aiding you as you bop along during your waking hours. "La La Lisa" from that album has even haunted my dreams and prevented sleep from happening a handful of times.

Their followup, "I Shouldn't Look As Good As I Do" didn't wow me upon first listen. Or second listen. Or third listen. In fact, it took about 10 listens to this short record for me to actually enjoy it and not feel disappointed. It's still heart-on-the-sleeve twee pop, dealing with all the same topics all these records do. The guitars chime, the voice is the opposite of commanding, it's twee through and through. An american early Belle & Sebastian. The songs aren't quite as immediate, there are no permeating "la-la-la's" or hooks that will necessarily stick in your head instantly, but the songs are still here, just a bit more subtle.

I won't say this is as good as their debut or early EP's, but it's definitely growing on me with every listen, just as good pop music should.

In Summary: Not for everyone, but if you like your pop fey, there are few better than Math & Physics Club

Thanks...I'll get on this tonight.

I haven't heard this album, but I more or less agree about her. Her stuff seems neat on the surface, but once you start to absorb the actual songs, they get pretty irritating.

I realize that I've done a lot of albums that don't really have an audience here and that's fine - I'm doing it for me more than anything. But out of curiosity I'm wondering if there are any genres and/or releases you dudes would like me to review or if it's more interesting to primarily just let me do it at random, I'll continue that shit

Miami Horror - Illumination

When I first got this record, based on cover art alone and the circles it was swimming in, I thought this was going this was going to be another subpar chillwave lp by some hyped band I had no idea about. However, it didn't take long into the first track that this notion was thrown way out the window for something more akin to Cut Copy, a disco-electro hybrid that isn't meant for lounging about the pool, but has a clear purpose to make you get up and dance.

I've wanted to write this album off a few different times as a bad record. It's not. I'll say it again: this is not a bad record. But it's not really a good one either. When listening to the full album, most of the tracks tend to blend together - and not in a way that makes me think this is a fully realized album (like Cut Copy's last one), but in a way where well...most of their songs sound about the same. They might start different, end different or have some unusual break in them, but as a dance record, these songs basically all veer into the same direction, and while it's enjoyable and fun, it's been done before, it's been done better and leaves this release feeling inessential and unimportant.

I could do with more tracks like "Illumination" towards the end, which slow things down a fair amount, sound a lot like Air or other slower electronic groups. Some songs are insanely catchy, if "Sometimes" isn't a single right now (I don't know if it is), then they are missing out on what is one of the best songs of the year, but these highlights don't come frequent enough, leaving me with a feeling of just adequate dance music. It's decent - but it's nothing to write home about.

In Summary: If you like dancing, this is fun. But it's nothing that should make you rethink dance music or have you wanting to come back for more

Keep doing random. I mean, I haven't heard a lot of the stuff you've reviewed (same is typically true of Drinky's threads), but I like that.

I guess what I'm also saying is, people are probably reading it even if they aren't commenting so don't feel deterred: music dorks typically want to read about music

yea yea i know, i do the same. but i mean if anyone was like "hey i haven't heard much of this genre this year" i might be able to comply with some stuff they don't know and might be worth/not worth checking out.

i listened to the new truckers album a few times yesterday for the first time since it leaked, its better than i remember, but im not ready to review it.

Cadillac Sky - Letters In The Sky

I had never heard the music of Cadillac Sky before this release, though I had seen their name thrown around a few different bluegrass/folk blogs and on the Merlefest lineups. Seemed like the name of a boring local folk band that wouldn't really be worth listening to.

The reason I finally checked them out with this album is because Dan Auerbach produced it and while I do love The Black Keys, the few production and engineering credits he has are generally pretty good. Though most new-traditional bluegrass bands suffer in the studio from production that is too glossy, Auerbach stripped Cadillac Sky down in a studio, set up the microphones and hit record. The band has been known for putting on an excellent live show and Auerbach wanted to capture that in the studio.

What results is an album that is definitely not bluegrass, it's not quite folk, it's not quite country. It's a mixture of all of these, plus some jazz rhythms and rock crescendos that give the band a feeling that isn't far off from much of The Avett Brothers work. Musically, the album is almost always interesting, and while the live feeling makes it seem a bit more dynamic, there are still moments that are a little out of place. The singing can be hit or miss, none of the vocalists are as strong as the best bands out there, but they're not entirely terrible. Some songs range from a Chris Thile type whine, others have a less drunk Ryan Adams feel. Chris Thile comes up as a reference point again if we look at the music. With the few interludes, the slower tracks mixed with the more fun tracks, this does sound a lot like early Nickel Creek and with your first few listens, the earnestness can be a little much like some of that band's work. Some lyrics are outright bad, some are pretty excellent for the genre.

The album is a real mixed bag. It's definitely not for everyone, and it's hardly for me, but my appreciation for it is growing. I'll give it some more listens before I make my final final decision, but overall - it's a pleasant enough album.

In Summary: Bad at times, good at times, usually in the middle. Pretty excellent music, really subpar vocals. Think somewhere between the Avett Brothers and Nickel Creek and throw in the local bluegrass/folk band at your coffee shop or bar. Bad is probably really great live though, that much is evident.

This is disappointing, because my wife is a huge fan. I'll probably be subjected to this multiple times over the course of the year after she first hears about it and, if it's as bad as you say, I am fucked.
EDIT: and I really liked Rattlin' Bones, too.

Yeah like I said, I never really liked her solo stuff much before, even though I always gave it a chance. But at least she used to try to be like a bit of a rock/country hybrid. This one is just the poppiest/schloppiest country and it's bad.

Lorn - Nothing Else

The whole Brainfeeder, Los Angeles, almost-dubstep-but-with-hip-hop electronic music scene that Flying Lotus has helped pioneer over the last few years is, to me, probably the most exciting thing to happen in electronic music since I've been a fan. I've gotten into the minimal techno wave, I was listening intently when there was a resurgence of house music out of Paris, dubstep and 2-step and wonky and all that stuff has been a lot of fun, and of course all the indie crossover genres like Chillwave have their fare share of excellent moments - but this crazy shit that chops up jazz and rock and hip hop and then adds bass beyond control has to be my favorite.

Lorn is the non-LA dude on Brainfeeder. He comes from the Chicago area, but his music sounds like it comes from Gotham City as seen on Nolan's Batman movies. This shit clearly is influenced by Flying Lotus and the whole crew, but it's well...darker. Like stoned out of your skull, wanting to bash some opposing gang while riding the subway at night dark. It's not silly like the "witch house" craze, I mean this is music that can be played in the club, but it just has an ominous feeling hanging over it.

The bass is killer, some of the tracks have frequencies that I didn't even know my ears could hear. The songs are short, they aren't too schizophrenic and for the first 5-6 tracks, this is one of my favorite electronic releases of the entire year. It starts to fade and blend into itself as the album goes on, and even though it's short - it's clear to me that this probably works better as a collection of songs than as a fully realized album (ala "Los Angeles" or "Butter" or "Cosmogramma"). Regardless, this album hits hard in your headphones, it hits hard in your car and I'm really looking forward to see where Lorn goes from here. Dude could be the next big thing.

In Summary: Real bass-heavy music, a blast to listen to despite it's dark tones. One of my favorite electronic releases this year.

Kasey Chambers sucks.

Dan Reeder - This New Century

I can definitely see the charm in Dan Reeder. This old dude that resides in Germany, but was "discovered" by John Prine, while taken in the right light can seem like fun. His voice is pleasant enough, it sort of floats in the air. Assuming, soft, breathy. It's a more gentle Loudon Wainwright III, a less country John Prine.

The songs though, this is where the camps that listen to Dan Reeder will be divided. His songs show charm in their simplicity. Basically what Dan Reeder does is sings whatever is on his mind. It's not dissimilar from a Daniel Johnston, without the torment. Delivered with the snarkiness of a classic Prine song, but just lacking emotion. It really just sounds like some dude in his garage, messing around, stringing words together and making short songs. It's pleasant enough, but it does absolutely nothing for me, and just seems silly. Many songs just result in him repeating one or two lines over and over - meaningless to the listener. This isn't for me.

I'm not saying that I can make songs like this, but I am saying that when I just randomly make up songs in my head, they aren't far off.

In Summary: Charming, I suppose. Comes off more like some dude just having getting an idea, grabbing a guitar and hitting record. Most of the ideas are a joke though and shouldn't be for an audience.

hey my cadillac sky review was put on the RYM front page.

i think i liked that lorn album. gonna have to listen to it again soon.

good thread.

Patty Griffin - Downtown Church

When I saw Patty Griffin do an amazing set recently at Hardly Strictly Bluegrass, she talked a bit about the process that put this record together. She had been doing a cover of some gospel song in her live sets and a few close friends had approached her to do a gospel record. Not being a church-going lady since she was a child, she thought the idea was funny, but after talking to roots mastermind Buddy Miller and insisting that she'd only do the record if he produced it, the process started.

Miller apparently sent digital versions of hundreds of traditional gospel songs to Patty, some familiar, some more obscure. Some are even common hymns. Everything and I mean everything on this record is beautiful.

Buddy Miller's production is among the best of all the records I've heard this year. Everything is clean, but not glossy. It gives the feeling that well recorded roots music should and most importantly, it puts Patty's voice front and center. And really, it's the voice that does it for me. One of my favorite voices in music, plain and simple, though every single Patty Griffin album is good to great, sometimes they suffer from having a few songs that are just too sappy. Too much in Martina McBride territory or something like that. This record has none of that, since all but one (an original), are traditional gospel songs, these songs have stories and though they may exalt God, never do they feel forced, evangelical or anything of the like. It just sounds like natural, beautiful music.

The first time I heard this record I thought it was just a decent Patty Griffin record but nothing that special. After putting it aside for a couple months, I recently took it out and it's hard for me to not listen to it once a day. It's great music to wake up to. I love it, and it's instantly one of my favorite records of the year.

In Summary: Probably my favorite Patty Griffin record at this point. Even though we have heard these gospel songs at one point or another, with the help of Buddy Miller, this is early perfect from front to back.

I'll do some indie rock and shit soon

Teengirl Fantasy - 7AM

This is a bit of a deceiving record. On the surface and when listened to with minimal attention, Teengirl Fantasy's debut LP is a string of highlights and joyous moments. It's breezy, it has a dance groove and it's nostalgic to the point where you feel you've heard most of these songs before.

But this is a case where nostlagia just doesn't quite seal the deal.

A big name in the crop of recent blog-hyped, new jack swing r&b obsessed, too cool for school whites dudes who are making electronic dance music that isn't just for the clubs, Teengirl Fantasy IS a pleasant listen. It is. The problem is that the tracks don't quite build to the point I want them to. Most of them just repeat, change it up a little and are just simple. It essentially sounds like chillwave mixed with 808 state. It's just - I want more. There should be more and I get deceived when listening to it. Every other listen I think that this record is fun, I should enjoy it and keep it around because it's something I can just throw on and it shouldn't be offensive to anyone but the most annoying rockists. However, those other listens reveal and album that just lacks anything special. The music and it's influences are familiar, which is where both it's strength and weaknesses come from. It's not different enough from the plethora of similar acts to be something special, but it's not boring enough to not enjoy. We'll see what happens when this trend dies out and where al these acts go.

In Summary: Worth hearing, worth having around, but not really worth investing time in. Hip background music. An album full of tracks that would sound good in mixtapes, but don't need to be collected in the LP format. Just nothing special.

Band Of Horses - Infinite Arms

I think that Band of Horses debut album was one of the best indie rock records and debuts of the last decade. The voice was familiar, the music was a combination of a bunch of the best bands going at the time, the melodies were second to none and the climaxes reached in songs like "Funeral" were just amazing.

Their sophomore album, "Cease To Begin" lost a bit of steam, but was still quite good. It's hard to not like Ben Bridwell's voice with that echo-laden voice that alternates between the southern everyman but somehow reaches highs we could only wish to attain. Though there were no instant classics on that album, the expanded sound suited the band well.

With "Infinite Arms" it is like Band Of Horses have forgotten how to rock out. In fact, it's like they have forgotten how to get out of mid-tempo, period. The band has taken more of a Byrds and country-rock feeling that was present in some of their past songs, and stretched it over the length of the entire album. The problem with this is that when Band of Horses is doing mid-tempo, it's when they're at the worst. It's just boring. Bridwell's voice is still interesting, sure, and it's actual quite nice to listen to, but it's really really boring. The only place this album succeeds are on the songs that are truly slow and emotional in sound, like "Evening Kitchen". Some songs are just outright terrible, and when they finally pick up the guitars and attempt to rock out on "Northwest Apartments" it's just too late.

In Summary: It's a couple of legitimately good songs, a few truly bad songs and everything else is just...boring. Totally forgettable album.

Quest For Fire - Lights From Paradise

Dude, this album rules.

Bro, this is like some badass shit. There's guitars and they wail and the voice is hushed and in like both of my ears so good it's like they're in my brain and I'm singing. The drums build and then BOOM BOOM BOM, man what a trip.

And man there is violins and strings too.

Ok here's the things, this album is actually really good. This is Stoner Rock the way I want to hear it. I like Electric Wizard well enough in tiny doses, I can listen to Earthless and rock out once a year, I can dig Kyuss if I'm in a particular mood, but for me, stoner rock isn't just WAH WAH WAH or DOOON DOOON DOOON. There's gotta be more to it. It's still gotta be dope music, and Quest For Fire is definitely dope. They change things up, they shift tempos within songs, they have really great solos, the voice is threatening but is actually sort of comforting/alienating ala Pink Floyd. It's just an album that is a blast to rock out, a blast to drink to and is likely a blast to smoke to. Really dig this record, just wish I would've gotten more into it during the summer.

And play it loud for god's sake. If you just play it at a reasonable volume, you're doing yourself a disservice and it's only going to be "good". If you play it loud and hopefully in your car really loud, it's going to be awesome.

In Summary: Stoner rock the way it should be done. Metal themes, but rooted in the great psych rock of the 60s. Changes it up, thrashes, all over the place. Great rock n roll.

I gave Broken Social Scene a couple more listens and deleted it. Sad.