stars of the lid's "the ballasted orchestra" is a much-underappreciated and criminally ignored masterpiece in an undefined genre that can only be described as "drugged-out ambient"... this album, however, shatters the goofy, new-age soul-searching connotation that "ambient music" suggests. "the ballasted orchestra" is TRUE ambient: minimalistic but warm, visceral but incredibly ethereal, and unbelievably soothing. there are no cheesy synth-chorus voices wailing brazilian chants in the background, no tabla... hell, i don't even know what instruments stars of the lid are using. although, in theory, it seems (and could be) uninteresting, each song sounds like the conclusion of a rock song - the VERY end - but in suspended animation - dragged out and mutilated in slight ways, running in a line. lying there listening to songs like "sun drugs" and "f**ked up (3:57 am)" caused me to feel almost floaty and weightless; it's easy to lose track of time. this album takes a few listens to truly understand and to truly get into, but once you start to love it, it's perfect for anytime - it makes a beautiful sunny day seem mystical and shimmering, and it makes the night feel like a movie. "the ballasted orchestra" is the pale blue light in the distance - it's more than music, it's a beautiful and welcoming audio horizon. let it take you on the trip.
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'Berberian Sound Studio,' which contains Broadcast's soundtrack work for the recent Peter Strickland film of the same name (and which was composed and partially recorded before singer Trish Keenan's death in 2011), is a rather strange and unique--even scary--listening experience that recalls the band's collaboration with the Focus Group from a few years ago. It's more of a musical collage than an actual album, with 39 "songs" stuffed into its 38 minutes, producing a myriad of sounds and moods, and resulting in an extremely kaleidoscopic listen.
Much like their work with the Focus Group, these songs are heavily influenced by 60's and 70's European "library music" (music made cheaply available for use in TV shows and movies), especially the minimalist, retro/futuristic type used in the weird French and Italian art-house films from the era. The music in the 70's British TV show 'Space 1999,' for those interested, is a pretty apt comparison to the style found here, and a good example of the kind of library music Trish Keenan and James Cargill are influenced by, as that show used some of the same composers--sometimes even the exact same compositions--that those cult movies used. But this soundtrack is so much more than just an homage. The music here needs to be experienced as a whole, imo, as each song blends seamlessly into the next, producing a vibe that is at times mysterious and ominous, at times blissful, and at times just-plain-horrifying. These tracks are mostly surrealistic mood pieces, with lots of drones and effects, no real lyrics, and seemingly very little structure, but songs like the hypnotic, eerie-yet-soothing "The North Downs Dimension" and the classic Broadcast, "60's futuristic" lounge-pop of "The Equestrian Vortex" are no less absorbing because of that. This is definitely not easy-listening music, as the overall effect of this album was nearly overwhelming for me at times, reminiscent of the worst, most nightmarish psychedelic trip you can imagine, but one that can also open your mind to a a whole new perspective--in this case, on the possibilities of music. If all that sounds "fun" to you, then you may very well find the 'Berberian Sound Studio' soundtrack to be right up your alley. You should know pretty quickly from listening to the samples, however. For me, it was a mostly sublime, imaginatively stimulating experience--though very unsettling at the same time--and one that makes me even more depressed that we'll never get to hear any new music from the late, great Trish Keenan in the future. I can't imagine where Broadcast would have gone next, but if this soundtrack is any indication, their next true album certainly would have been something special, especially when combined with her and Cargill's melodic psych-pop sensibilities. But I'm just glad we had her around for as long as we did. Few bands have left such a unique and eclectic repertoire behind, and there's no better evidence of that than this album. I listened to these guys when 'Gambling on the Richter Scale' came out and i loved that damn album. So heavy and crushing, simply magnificent. I was pumped to hear they would release a follow-up, and it does not disappoint. Still as heavy as ever, but still changes things up a bit. Buy this if you are a fan of genuine heavy music, you will not be disappointed.
For all of their previous accomplishments, nothing could have prepared the world for what the Chicago-based Smashing Pumpkins would bring to the table with their double-album/masterpiece, "Mellon Collie & The Infinite Sadness." Co-produced by Flood (Nine Inch Nails), the set -- which marks the third effort the band -- is as lush as it is intimate, as ambitious as it is focused and every bit as grand as such an affair should be.
From the opening swells of the hit "Tonight, Tonight," the amount of growth marked between this and the band's previous effort, "Siamese Dream" is evident. A sweeping ballad that is unlike anything the band had poduced before, it's not only indicative of the what was to come, but also merely a sampler of the wide variety of sounds the album has to offer. From there we are treated to the retro-pop of "1979," a nostalgic anthem of sorts that finds the band working with a drum machine for the first time since recruiting drumming powerhouse Jimmy Chamberlin. Bassist D'arcy Wretzky dominates on heavier fare such as "Zero" (a signature song of the band) and the superior "Tales of a Scorched Earth," which threatens to overload and obliterate even the best sound system. It's not all sonic bombast, though, as some of the simpler tracks like "Muzzle" (which carries the trademark vintage Pumpkins sound) and "Thirty-Three" are the stars that burn the brightest. From front to back, not a moment on "Mellon Collie" is wasted. Not only is the band in top form and firing on all cylinders (arguably for the first and last time in their career) but Corgan's songwriting hits an all-time high as well. Unlike many of their fellow rockers, Smashing Pumpkins weren't afraid to embrace accessibility and reach new heights creatively, and to that end, "Mellon Collie & The Inifinite Sadness" is one of the most competent and most compelling rock releases of the 90's. A true classic that no collection -- alternative or otherwise -- should go without. The classically-constructed five-movement piece starts quietly with the handbell choir The Bell Laboratory ("Wave"), then gradualy flows into du Prince's carillon playing, and slowly the electronic effects begin to creep in. About halfway through the second track, "Particle", du Prince turns the groove on, and things really start to pulse along. The first three tracks are the most impressive and enjoyable, but by the time we get to the longest track, "Spectral Split", the pace and development are more leisurely. Eventually, the momentum builds again, then unwinds into the final track, with The Bell Laboratory providing a beautiful conclusion. There's a successful blend of the organic/acoustic and the electronic here, and at times it's very reminiscent of the opening sections of Mike Oldfield's "Tubular Bells". I found that it makes for great driving music, though I'm no expert on how "danceable" it is. The upshot is, this is an unusual and very satisifying album for anyone who likes good electronica, bells, or any well-done contemporary instrumental music.
I've never been a big fan of the now defunct, so-called "freak folk" craze, but I really liked the Wooden Wand & the Sky High Band record from 2006, called Second Attention.
Well this album is even more accessible than that one, and I think James Jackson Toth has become a more mature writer and lyricist. "Winter in Kentucky" and "The DNR Waltz" are the heartbreaking songs on the record. I love the lines "First snow of the season / the church give me 50 bucks to shovel out the parking lot. / No use thinking out loud when you're the only one that hears / But I can listen to Jimmy Dale and watch my breath blow out like foggy flames / ain't got to call nobody 'sir.'" And "The DNR Waltz" is about the futility of dead-end endeavors. Heartbreaking. I keep reading dismissive reviews that compare this record to Drive By Truckers and, of all people, the guy from Hold Steady, but this is way more like classic Dylan and Van Morrison both in lyrical songwriting and Toth's phrasing. This is an album to buy for your dad, who probably still appreciates good lyrical songwriting. You might find that you like it, too. It's full of humanity, which is a rare thing in songwriting today. |
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