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a-patheticapathetic · 5 years

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Beck - The Information: Review

https://www.youtube.com/watch?v=theer88rQ5g&list=PLX0wu3Da6IoZ8ULDFhAR-3qJZtp9smMCY

Switching it up from FFTB updates, mainly because I don’t have enough ideas for God is in the Radio. Beck has always been on my radar, but I never got around to listening to any of his music in-depth. I have a friend who has been a fan of his earlier stuff, and he would often put a few Beck songs into the queues of music we listen to when playing games together. I usually liked what I heard, but I didn’t actually listen to a Beck album on my own until about a year ago.

I chose The Information on a whim, and it completely blew me away. The complexity and depth and feel of this album was far beyond what I was expecting. It makes sense, given that Nigel Godrich (producer of every Radiohead album after the first two) produced and mixed it. Every time I listen, I hear something new, something that I didn’t notice before.

Last time I did one of these, I feel like I wasn’t very coherent. I’m going to try to keep my thoughts together as much as I can.

Elevator Music - 8/10

What a start. You instantly are sunk into the feeling of the album, and with a beat that you can’t resist knocking your head to. There are like 5 different lines of percussion in the background but it’s mixed well and doesn’t sound cluttered. Vocals sound great, are mostly nonsense, but that’s okay. Every few lines there’s some kind of change-up to keep things interesting. Fragments of a third verse, vocal melody, and an ending that sounds like the song is breaking a little bit. This happens a few more times on the album.

Think I’m in Love - 6/10

Instantly hitting you with a very infectious bassline. I will say, that this song isn’t my favorite. Doesn’t really do much with the instrumentation compared with Elevator Music. This seems to be the designated “radio single”. The bridge is nice, though. Very nice strings there. The strings also come back in the outro, which I had forgotten about.

Cellphone’s Dead - 9/10

This song is probably the thematic centerpiece of the album. I absolutely love it. It has two distinct phases that it switches between effortlessly, several times. Beck’s flow here is flawless, especially during the second verse. That transition is water-tight. One by one, I’ll knock you out. The synth and piano combining, somehow. Eye of the sun, listen to that low string. This build-up is absolutely incredible. Just get lost in it. Another broken outro

Strange Apparition - 7/10

Beck’s country side comes out a little here. This song is driven by cowbell-infused percussion, slammed piano chords, and a careless acoustic guitar. One thing that you may also notice is a very nice synth line in the background. I especially like how the second chorus is sung a register higher than the first one. After that, the song shifts into a much more minimal sound and slower tempo. The acoustic wins out over the piano, and Beck really pushes his own voice.

Soldier Jane - 9/10

This may be my favorite song on the album. The drumming is spotless and that low sawtooth synth in the background really gives this song a unique feeling. Then one of the the best basslines I’ve ever heard comes in. Some kind of massive chord plays in the background, it sounds like heaven coming to Earth. The chorus is perfect. During the second verse, so much more interesting instrumentation is being layered on. Then, the buildup. The bassline gets even better and this awesome sense of scale is built upon. The conventional instruments fade out, and heaven blows your face through your skull.

Nausea - 7/10

First of all the complete lack of transition from Soldier Jane is absolutely hilarious. This song couldn’t be more different. An angrier flow and punchy percussion working alongside the bass. Some strange noises and vocal samples permeate the rest of the song. An ending so abrupt you think the song broke.

New Round - 7/10

A breather. Very soft vocals with a delay effect that really comes together on the “chorus”. Lullaby synth notes every once in a while. Is it comforting, or depressing? I couldn’t tell you. Very nice outro. What? Dinner time, yeah.

Dark Star - 9/10

Holy hell, the atmosphere of this song is beyond my ability to describe. I don’t even know if this is a bassline. I just know that it’s completely perfect. ESPECIALLY the transition into the chorus. The flow here is dark as night. In the second chorus the song shows the last ace up its sleeve; the string section. I am a total sucker for string sections tastefully implemented into modern sounds, and this is the best example I have ever hear of that. What an unbeatable groove.

We Dance Alone - 6/10

This is one of the songs that my friend would play the most often. Maybe because of that, it feels a little burnt-out for me. I feel like Dark Star did a better job with this vocal style, and the instrumentation doesn’t really evolve that much. I do like the way the vocals are kind of swimming through the chorus, and the bridge is a neat change-up. But there’s just too much of this song that is just repeated.

No Complaints - 7/10

This is probably the song that made me listen to The Information in particular. Heard it on some kind of “radio” thing, either Spotify or GPM. It’s a nice little acoustic singalong about the disenfranchisement with modern life. Love the lyrics on this one, and the chorus is very catchy.

1000BPM - 7/10

Now here’s a strange one. Almost a straight-up rap song with a very eccentric flow. Abrasive, glitched percussion. The gltichiness starts to infect Beck’s vocals after a while, distorting them beyond recognition.

Motorcade - 7/10

Basically an unnerving version of New Round. A plucked main guitar line and a softer vocal melody. But there are a few building electronic moans in the background that sound very off. Especially during the spoken-word part in the bridge. A tapped synth note begins distorting around itself, and what sounds like filtered feedback starts drowning everything else out.

The Information - 7/10

Almost a combination of No Complaints and Motorcade. A simple verse-chorus structure that begins to have some oddness creep into it. The drums are just a little bit too intense, which adds to the slight feeling of unease. The background vocals sighing every once in a while is a strange touch. A very weird outro. I recommend turning your volume down until the next song starts. No reason.

Movie Theme - 8/10

Such a nice way to end the album, after all that strangeness. This almost 16-bit synth wraps around you in a very comforting way. The vocals are appropriately soft. It just feels like a warm blanket. Various sounds and instruments continue layering as the song progresses. Listen to the voice on the radiowave / Somebody needs you, somebody who’s far away.

The Horrible Fanfare (6/10) / Landslide (8/10) / Exoskeleton (3/10)

Movie Theme is the real ending of the album. I treat this 10-minute song as a kind of collection of three B-sides. Horrible Fanfare is an interesting, creepy instrumental with a Dark Star-esque flow and no chorus. It samples Cellphone’s Dead and only lasts just over 2 minutes. The transition into Landslide is very nice. A bassline similar to Black Tambourine, a song off of Beck’s previous album. The chorus for this section is honestly really good. Satisfying lyrics and melody, and the closest thing to a guitar solo on the album. After this is about 5 minutes of Beck playing Swans. Eerie and ambient instrumentation and a strange, sampled conversation. Cellphone’s Dead comes back again. There’s also a part at about 7 minutes that sounds really similar to one of the menu tracks for Killing Floor 2.

Alright, hopefully that was more coherent. Overall thoughts; I wish Fanfare/Landslide/Exoskeleton were separated onto their own, on a side project or B-side. Landslide honestly could have been its own song. Otherwise, I think this album is Beck’s best work, and an album I am unlikely to ever forget. On a scale of “No complaints but it’s overrated, that’s for sure”, to “Don’t be afraid, take your heart out of its shell”, The Information gets a “Little worse for wear but wearing it well.”

#music reccs #music #album review #beck #the information #track review

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thebuckblogimo · 4 years

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My Ten All-Time Favorite Albums.

July 17, 2020

I’ve previously written that one of my roommates during senior year in college was a very musically-oriented guy. Rick, the original “Buddman,” Budd was from Pittsburgh, PA. As a kid he learned how to harmonize from his Dad who was a totally-into-it barbershopper. In high school the Buddman sang in a doo wop group called the Del Renos. In college he played the Hammond B3 organ for the Paramounts, the only soul band on the Michigan State University campus during the late ‘60s. Later in life he helped form a doo wop group, Deke and the Blazers, that did some national touring. It also bears mentioning that Rick could play the piano by ear. After downing eight or ten Rolling Rocks, he would fall forward, bang the keyboard with his head, and play those 88s with his ear. Just kidding, folks. Kinda, sorta...

The Buddman recently listed his ten favorite albums of all time on Facebook. He included some interesting background and personal insights with his selections. He then suggested I do the same. I took him up on the challenge, but it turned out to be a more difficult task than I had anticipated. It was hard for me to compare music from the ‘50 and ‘60s to music recorded many years later. And it was not easy to narrow my list down to ten. Nevertheless, I finally did so. I’m not on Facebook, so I’ve listed my top ten here:

1) A Package of 16 Big Hits (Motown)--This 1963 release was Berry Gordy’s very first compilation album. I associate many of its tracks with getting my driver's license at 16 and bombing around Detroit in my Dad's new Pontiac Bonneville. I think it's so good because all of the songs were recorded before Motown began to rely on a formula that employed funk brother Jack Ashford's incessant tambourine. Almost every tune on this record sounds different from the next. For example, Marvin Gaye's "Stubborn Kind of Fella" showcases the Vandellas singing background vocals and flautist Beans Bowles playing a distinctive solo. While Mary Wells' "The One Who Really Loves You" features an arrangement that includes a hint of vibraphone, some sweet piano, a syncopated conga drum and background harmonies provided by an obscure group called the Love Tones. Another unique cut is "Come and Get These Memories" by Martha and the Vandellas. It sounds unlike any other tune the group recorded after it. The LP's original cover graphic is really cool, too--a package wrapped in kraft paper and "stamped" in postal fashion with the names of the tunes and the artists who performed them. 2) Live at the Apollo, Volume II (James Brown)--It was Rick Budd who first took me to the bridge and dropped me into the funk of James Brown, the "godfather of soul" and the "hardest working man in show business." I know that the Buddman favors Live at the Apollo, JB's first live album from 1963. But I put my money on this 1968 two-record set. When I was living at Water's Edge apartments during my senior year in college, we'd play Side 2 at Saturday night parties, get up to dance, and not sit down until it came to an end--19 minutes and 37 seconds later. The live versions of "Let Yourself Go," "There Was a Time," "I Feel All Right," and "Cold Sweat," are amazing. The set also includes renditions of such pre-funk Brown ballads as "Prisoner of Love," "Try Me" and "Please, Please, Please." The 2001 Deluxe CD Edition includes a tantalizing 23-second "My Girl" musical interlude. All I can say is "...good gawd...uhh...ooh ahh...hah..." 3) Hot Buttered Soul (Isaac Hayes)--Released during June of 1969, this four-track album put Isaac Hayes on the R&B map for Stax-Volt. When I returned to MSU for my final quarter of school in the fall of '69, Hot Buttered Soul supplanted the Beatles' Sgt. Peppers Lonely Hearts Club Band as my favorite pot-smoking album. It should not, in my estimation, be played in the background or listened to while idly vacuuming the living room rug. The only way to truly appreciate this masterpiece of Memphis soul is to "actively" listen to it--with the volume up, the lights low, in an altered state of mind, on the couch. Let Hayes, with his deep-baritone rap; the Bar-Kays, delivering some twangy, psychedelic guitar riffs; and the plaintive sound of violin strings, which were added to the mix in Detroit (presumably by musicians from the Detroit Symphony Orchestra), take you on a journey that starts low, aims high and hits bone-jarring crescendos on Hayes' interpretations of "Walk on By" and a 19-minute version of "By the Time I Get to Phoenix." Listening to this album can be damn-near orgasmic. 4) Chicago Transit Authority (Chicago)--Although this eponymous album was released in 1969, I did not come to truly appreciate it until a couple years later. (The group, by the way, was sued by the CTA and soon changed its name to Chicago). I practically wore out my copy--or at least Side 1 of this two-album set--at my first apartment as a single guy on Appoline in Dearborn. I love the way these Windy City guys meld jazz, rock. soul and orchestral influences to produce a sound in a category with Tower of Power, as well as Blood, Sweat & Tears. Besides lead guitar, bass and drums, you can hear the "pow" of brass and the serenity of woodwinds on this production, provided by a saxaphone, trumpet, trombone, clarinet and flute. You can also hear an array of percussion instruments such as cowbell, claves, tambourine, etc. I'd kill to have any one of the three distinctive voices possessed by Robert Lamm, Peter Cetera and Terry Kath as they take turns on lead vocals. The six-minute instrumental "Introduction" on Side 1 takes the listener on a journey that climbs hills and descends into valleys. It then transitions into the rock classic "Does Anyone Really Know What Time It Is?" which, in turn, transitions into "Beginnings," yet another rock classic. The first cut on Side 2 features the underrated "Questions 67 and 68." While on Side 3 you'll find the self-indulgent "Free Form Guitar," which I hate, frankly, because it's "noise music" to my ear. There's also an excellent cover of the Spencer Davis Group's "I'm a Man." Best Chicago album of all time, in my opinion. 5) All Day Music (War)--I was in my first big-boy job at AAA when one day in 1971 I was knocked out by the title song from this album and walked over to Grinnell's music store after work to purchase it. There is no mistaking the unique sound of War as the group fuses elements of low-rider soul, rock, jazz and Latin rhythms. My main man Joe McCracken, some of the pals and I would invariably "tune up" singing "All Day Music" at "the pit," another name for my basement apartment, before heading out to Your Mustache, a raucous music room just two blocks from where I lived. I like all of the tunes on this album and want to give a shout-out to "Slippin' Into Darkness," but I can't lay enough praise on the title cut. It remains one of my all-time favorites, a true "nugget" that I never get tired of listening to. 6) The Best of The Guess Who Volume II (The Guess Who)--I'm not easily sold on groups with three guitars and a set of drums. I generally prefer rockers who add horns or a piano to the mix. It is particularly because of the skillful keyboard-playing ability of Burton Cummings, as well as his distinctive voice, that I love the work of these fellas from Winnipeg, Manitoba. In fact, before I lost my music collection in our fire of 2010, I owned more LPs by The Guess Who (probably 10) than any other group. This compilation was released in 1974. The track listing includes 11 tunes recorded between 1970 and '73, all written or co-written by Cummings, after long-time lead guitarist Randy Bachman left the group to form Bachman-Turner Overdrive, aka B.T.O. I absolutely love eight or nine of the cuts--"Albert Flasher," "Guns, Guns, Guns," "Sour Suite," "Glamour Boy" and more. But for my money this album's piece de resistance is "Runnin' Back to Saskatoon" with its building, straight-ahead momentum. M’boy Burton sings of hanging out in such Canadian prairie towns as Moose Jaw, Moosomin, Red Deer and Medicine Hat. How many times did we slam beers at the Phase 1 in Dearborn with that tune blasting on the juke box? After which we'd cruise back to my house on Rosemont in Detroit and blast it some more on the stereo. If "American Woman" is all you know about The Guess Who, make time to discover this Canadian group's north-of-the-border interpretation of rock 'n' roll. 7) Street Corner Symphony--(The Persuasions)--As I mentioned earlier, we'd tune up on "All Day Music" at my first apartment, but before we headed out the door for the "Mustache," we'd pull out this 1972 a cappella album, fire it up--along with a couple of jays--and sing some of its best tunes: a medley including "He Ain't Heavy He's My Brother" and "You've Got a Friend"; an upbeat version of the Temptations "I Could Never Love Another (After Loving You)"; "Temps Jam,” a medley of Temptations classics; a superb rendition of "So Much in Love," originally done by the Tymes; and "People Get Ready," the old Impressions chestnut. Only then would we be truly ready to hit the bar. This album sparked my initial interest in music made with nothing more than the human voice. I eventually purchased four or five Persuasions albums and several by other popular a cappella groups. An aside: One summer during the early '70s there was a lengthy beer distributors strike in Detroit. Luckily, in those days, we could easily cross the Ambassador Bridge or go through the Detroit-Windsor Tunnel to get to Ontario to purchase Canadian suds. It was a sweltering Sunday afternoon when we picked up a case of LaBatt 50 Ale in Windsor and drove to some outdoor venue to see a concert featuring The Guess Who, the Persuasions and the Sun Ra Arkestra. Talk about an eclectic lineup of artists. To this day I consider that beer to be some of the tastiest I have ever swallowed, and that concert to be one of the best I have ever seen. 8) Crystal Green (Rainbow, featuring Will Boulware)--By the mid-to-late '70s, my musical preferences had started to take a turn. From then through the early 2000s I bought mostly what I call "WDET music," less commercially popular vinyl and CDs that I heard on Detroit's world-class (at the time) public radio station, as well as lots of jazz and fusion. The 1977 release of the rareish LP, Crystal Green (not to be confused with the group's similarly titled album, Over Crystal Green), is unquestionably my all-time-favorite jazz/fusion record. After I first heard the upbeat, six-minute "I Like It" on the radio, I knew I had to have the album for my collection. After I bought it and put it on my turntable at home, the mellow groove of the very first cut, "Hossan," knocked me off my feet. In fact, I love all six cuts on this album. I regret that Rainbow, featuring pianist Will Boulware, is not available on Spotify, my go-to music source these days. 9) Meet Me in Uptown (The Mighty Blue Kings)--I recall driving down Woodward Avenue in Royal Oak on my lunch hour one day in 1996, listening to WDET on my car's radio, when a raucous tune began to play. It immediately hit me. Bam! Right upside the head. I'd never heard anything quite like it before. When the deejay finally identified the hall-party sound from the set he had just played, it turned out to be "Jumpin' at the Green Mill" by the Mighty Blue Kings, a "jump blues" band out of Chicago. The seven-piece group with horns, piano and a stand-up bass features the "ballsy" baritone of Ross Bon. This unpretentiously produced CD was ahead of its time, recorded before Brian Setzer resuscitated swing music in the late '90s. "Jumpin' at the Green Mill" remains my favorite cut. Of the 13 selections on this album, here are the ones I'm partial to: "Loose Lips," "Cadillac Boogie," Big Mamou," "Meet Me in Uptown," "Rag Mop" and "Pink Cadillac." Kudos to WDET for opening my ears to this and other diverse types of music such as bluegrass, ska, world, Cajun, zydeco, Tex-Mex and sophisticated forms of hip-hop. 10) The Teenagers Featuring Frankie Lymon--I'm old enough, and bought records early enough, to be able to say that I purchased three 78 rpm discs in 1956 at the Two By Four Record Shop in Dearborn: "I Want You to Be My Girl" by Frankie Lymon and the Teenagers; "Stranded in the Jungle" by the Cadets; and "Priscilla" by Eddie Cooley and the Dimples. But it was the summer of that year when my Auntie Julie surprised a then-nine-year-old "little Lenny" with his first 331/3 rpm "long play" album. This platter on the dark red GEE label sparked my lifelong love affair with doo wop (although I don't recall the music being called that in those days). Young Frankie's 13-year-old soprano had a far sweeter sound than Michael Jackson's shrill voice at the same age. And the Teenagers 17-year-old Sherman Garnes edges out Melvin Franklin of the Temptations as my all-time-favorite bass singer. I almost slipped the 1998 release of Trampoline by the Mavericks, featuring the catchy and energetic "Dance the Night Away," with the soaring tenor of lead singer Raul Malo, into the number 10 slot here. However, I couldn't turn my back on the kid group that is at the foundation of every musical emotion I have ever felt.

The end.

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thesunlounge · 4 years

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Reviews 342: Milord

I’ve spilt a considerable amount of digital ink covering essentially everything the West Hill crew has committed to wax since the end of 2017 and it’s been fascinating to chronicle their continued growth as producers and songwriters, with the future freak funk psychedelics and fourth world boogie jams of The Mystic Jungle Tribe eventually blossoming into supremely romantic and timeless dancefloor fair…things like the sensual R&B of Modula’s “Argonauta,” the starry eyed synth pop of Whodamanny’s The Dance Sucker, the pitch perfect Afro-Italian grooves of Afrodesia, the ecstatic orchestrations and disco diva vocalizations of Masarima, and most recently, a truly stunning mini-LP of sunset mystery, sexual temptation, and lovelorn adventure under the name Rosa. And though the general trend has been towards increasingly classical journeys in Neapolitan disco, boogie kissed proto-house, and balearic pop, there have been some interesting detours along the way, with the collective flexing their trippier tastes via the wah wah echo slides and boom bap electro scuzz of Space Garage, Modula’s ceremonial doom epic “Descending the Abyss,” and the galactic groovescapes, experimental funk cruisers, and splatter jazz electronics of Whodamanny’s T.C.P. But perhaps most singular and far out of all was Milord’s Delta Waves Dimension, which used interstellar ambient, starscape kosmische, and sci-fi electro to guide the mind through mysterious landscapes within the world of dreams, resulting in an album of astral magic and inner space exploration unlike anything else out there. So as you can imagine, I was ecstatic to learn Milord was releasing new music in 2020 via Pinchy & Friends and now, having spent time with his M · E · T · A / M · U · S · I · C 12”, I am happy to report that the artist has constructed another imaginative, enigmatic, and deeply transportive sonic experience, though this time, the textures lean towards spiritual new age, oceanic etherfunk, psychotropic boogie, and cosmic library experimentation, with a vibe not so far from Pàscal’s deeply mystical Nero di Seppia 7”, as well as the more zoned out and gaseous cuts from The Mystic Jungle Tribe.

Milord - M · E · T · A / M · U · S · I · C (Pinchy & Friends, 2020) When I listen to “Transcendental Experience,” I imagine somehow traveling to the arcane video game environment pictured on the record sleeve and finding a hidden door behind the waterfall…a mysterious passage into the stone monolith leading to a spiritual soundbath of swirling galactic vapors and square wave leads that smear into a photonic haze. Liquified spheroids spin rapidly, gust of wind carry threads of shimmering space dust, and choral voices drone side to side until a calming kick beat enters the scene, which is eventually accented by snares, rimshots, claps, and tom tom pitter patter…a sort of understated rhythmic processional holding together orbiting formations of outer-dimensional gas while synthesized dolphin tracers dance through rainbow wormholes. “The Kemetist” follows, with a title hinting at resurrected Egyptian mythologies and a sonic world introduced by malfunctioning laser chatter and robotic bird laughter. A pulsating samba rhythm comes to life on rimshots, shakers, and kick drums and is soon livened by fat-bottomed tribal tom cascades and cracking snares that pitch-shift and phaser morph according to some psychotic dream logic. Hi-hats sketch out hypnotizing patterns as the melodic elements pull away, leaving distorted basslines that snap and growl with a sort futuristic post-punk energy while sparse chordscapes of melted glass drop the kind of wiggling anthemic hooks that could only come from the West Hill. Then, a panoramic conversation erupts across the stereo field, with brass-tinged mirage leads scatting on sunbeams in one ear and palm-muted spacefunk licks percolating in the other. All the while ethereal strings hover eternally and droning wisps of silver carress the spirit while Milord slowly peppers the background with deep space laser whooshes, percussive metals of alien origin, and wavefronts of aqueous static. It’s a world of swaggering future funk minimalism, including these ultra-confident bridges where the basslines break free from the rigid punk funk flow for snaking walks down the fretboard while psychoactive hazes and computronic noise bursts filter across the sky. There are even drops into pure electro-drum ritualism, with morphing snare panoramas, swinging laser drum cascades, and texture of percussive exotica approximating the screams of monkeys and the mating calls of birds of paradise.

The B-side opens in the dripping crystal caverns of “Infinite Balance,” wherein crumbled starlight falls over softened chords of volcanic glass. Angel choirs swim alongside laser light energy blasts as the beat drops, with kicks, snares, and toms firing like machine guns before settling into the groove. Massive bass synth pulsations move the body via pressurized wavefronts and as electrified clap cascades intermingle with flamboyant Latin prog tom rolls, panpipes calm the mind with their meditative paeans to the spirits of the sea. At some point, rocketing snare fills wash away the panpipes, which are replaced with squiggling West Hill-style leads…these searing solar energy scats of future fusion majesty that are trailed by malfunctioning machine gases, as if zany chord clusters and slip-sliding ascents are transmuting into the joyful songs of extra-terrestrial whales. During a section where the melodic elements recede, spaceage liquids drop over a shambolic percussion vibe out, with cowbells sparkling amidst towering tom tom flams, whipcrack snare and clap patterns, and burning currents of exo-planetary static. But eventually, the stoner funk basslines return to chug out their ambient dreamspells while glowing glass chordscapes support new age woodwind romantics. And by the end of the track, the mix reduces to asymmetrical kick drum echoes, blasting snares, and melted globules of twinkling light. Then in final track “Meta Music,” an introduction of cowbells, snare cracks, and flubbing tom patterns drops us into a sexual downtempo groover…a sort of boogie kissed chill-out strut into the depths of a paradise nightscape. Basslines throb nimbly as they saunter up and down, sometimes leaving huge chasms of silence between the sensual funk growls. Palm-muting guitars slide smoothly, fairy fantasy woodwinds intermingle with FM synth leads, and celestial orchestrations evoke rising cascades of starlight that disperse into a haze of dust. An extended passage of electro drumming sees shakers decaying like rattlesnake tails and silvery space leads floating alone in the void as the basslines continue their midnight funk walk, and as the strings and breathy pad layers return, the carry with them sparkling mermaid atmospherics that surround aquafunk guitar riffs, electrified idiophones made of seashell, and heatwave fusion leads that bend towards orgasm.

(images from my personal copy)

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