A Thread Dedicated to My Semi-Nonsensical Rantings About Music That I Enjoy (or Hate)

[TockTockTock]

Eh... why not?

The majority of what I post here will be album reviews, but I may also ramble a bit about music in general...

That's about it.

[Trollheart]

Best reason to start a journal, say I!
Welcome mate, look forward to the reviews.
Troll

[Lisnaholic]

Good luck, Jack, I`ll be interested to see what you come up with.
(Try to include an Easy Listening album for us once in a while, ok ? )

[TockTockTock]

Album Review #1


C.Q. (1968) by The Outsiders

It somehow seems fitting to start off my journal with an album review of one of my favorite sub-genres of rock... psychedelic rock. To be a bit more specific... garage-psych.

Formed in Amsterdam in 1964, The Outsiders started out as a rip off of The Rolling Stones... playing simple and raw, rhythm & blues-oriented rock songs, which was shown more in their early singles. I won’t go into too much detail about their live debut album, though, due to the fact it’s largely forgettable (or at least to me it is). Of course... their second album is different...

Track Listing:

1.) "Misfit"

What a wonderful way to start off an album... It begins with a short bass solo/intro and features repetitive guitar chords, semi-pissed off vocals, and vague lyrics. In other words... a fantastic proto-punk/garage rock song! You could also say its composition takes a bit of influence from surf rock, but I digress...



2.) "Zsarrahh"

This is somewhat of a peculiar song... The singing ranges anywhere from vocals that sound like a cross between Lou Reed and Damo Sazuki to Jim Morrison-esque quasi-baritones to an abrasive snarl asking "How are you?" with a soft whisper replying "What do you want?" (which occurs at the beginning and at the end of the track). As for the guitar work... it's somewhat reminiscent of that of which is featured in Beefheart's debut album... to be more specific, one of the riffs in the song sounds exactly like the main riff from "Call on Me." All in all, it's really well-composed, and it has a lot of variety for a garage-psych track that lasts only three and a half-minutes.



3.) "C.Q."

Nice! Here's a bit of experimental psychedelic rock for you. Radio static, sampled vocals, and some echoey, atonal chords that are sort of similar to that of Keiji Haino's minimal guitar work from Watashi Dake, but... executed in a more psychedelic fashion.



4.) "Daddy Died on Saturday"

One of my personal favorites. It's a very jubilant, pop-driven song with funky bass and piano parts that are followed by an energetic harmonica solo at the end. There's a bit of humor in this track actually... It's subject matter deals with the terrible act of a boy poisoning a girl's father in hopes of marrying her (his marriage proposal was denied because of him). This completely contrasts with the song's poppy aesthetic...

Anyways... they end up throwing a party the day after his death. Hooray...



5.) "It Seems Like Nothings Gonna Come My Way Today"

Much more different than the fourth track, this song has a very sad and melancholic feel to it. It's essentially a short folk-blues song that features minimalistic African/tribal-like percussion and then some maraca and harmonica playing towards the end.

6.) "Doctor"

Hey! Les Rallizes Denudes and The Velvet Underground weren't the only ones to dabble in dissonance, distortion, and atonality in the 60s! These guys could be just as abrasive as they were... if not more so. Sure... it starts off like any other garage rock song from that era, but just wait until the song hits around a minute and a half...



7.) "The Man on the Dune"

Instrumentally... it's very fast and punk-like, but the singing is done in a very unemphatic and almost folky manner. Nothing wrong with that though... the contrast of the two ends up to be a rather interesting musical juxtaposition.

... I'm sorry. That sounded really pretentious.



8.) "The Bear"

Just a psychedelic pop song with a catchy riff and springy sounds (from a mouth harp?) that starts and ends the song.



9.) "Happyville"

This one features the same approach to songwriting as "The Man on the Dune" except it's more blues-oriented and exhibits that animated harmonica playing which tends to appear throughout the album from time to time..



10.) "You're Everything on Earth"

Probably a filler track, this is basically an ordinary folk song done on an electric guitar. I guess it sounds like a cross between Procol Harum and Leonard Cohen, except without the impressive lyricism, (it's more in the emphasis of his pronouncing certain words... kind of like "Master Song"), but I don't really feel comfortable assigning it that label...



11.) "Wish You Were Here with Me"

Just a fun psychedelic pop song with some surf rock riffs thrown in.



12.) "I Love You, No. 2"

As we approach the end of the album, we come upon this rather mellow and ethereal song... It's nothing special, but it's certainly not bad.



13.) "Prison Song"

This is by far the best track on the entirety of C.Q. It tells a story of a man who is released from prison and returns home to his wife/girlfriend only to find her with another man. He contemplates shooting them, but decides to run away from them instead. The song is constantly changing instrumentally... and it correlates with what is happening in the story (i.e. when the protagonist is overwhelmed with the sensations of being outside, the guitars and drums speed up to simulate his excitement...). It's almost as if the song could tell the story without the lyrics... Anyways, I won't say anything else about it (you listen and decide for yourself).

It's a hell of a way to end an album...




Elements of folk, garage rock, blues, experimentation, and psychedelic rock can all be found throughout this obscure gem of 60s garage-psych. Sure... it has maybe two or three weak tracks on it, but the strong ones make certainly up for them...

Overall... I definitely consider this among one of the best psychedelic albums of the 60s, and I highly recommend giving it a listen.

Highlights: "Zsarrahh," "C.Q.," "Daddy Died on Saturday," "Doctor," "Prison Song"

Lowlights: "You're Everything on Earth," "Wish You Were Here with Me Today"

[TockTockTock]

Album Review # 2

A Rainbow in Curved Air (1968) by Terry Riley



Genres: Electronic music, minimalism, free improvisation, ambient, drone

Track Listing

1.) "A Rainbow in Curved Air" (18:39)
2.) "Poppy Nogood and the Phantom Band" (21:38)

Colorful, meditative, psychedelic, experimental, playful, soothing, atmospheric, lively, and (somewhat) revolutionary are all words that could be used to describe A Rainbow in Curved Air. While the duration of the album is around forty minutes, it's only divided into two tracks (both lasting approximately twenty minutes each). The title track starts things off with a melodic and repetitious electronic piece which is comprised of an electric harpsichord, a dumbec, and an electric organ. Each instrument is played by Terry Riley who composes the piece through use of overdubbing and free improvisation. As the song progresses, its structure goes through frequent (and subtle) changes as the dancing melodies of the organ and harpsichord "interact" with one another… but during the second half of the song, Riley decides to become more percussive with the inclusion of the dumbec. My first impression of this was that it sounded as if it was recorded in the 80s or 90s, but… it’s from 1968? While the phrase “ahead of its time” can be somewhat cliché and overused, I would definitely use it to describe this song as well as the one after it… Which brings us to “Poppy Nogood and the Phantom Band.” What you see here is an early example of ambient music and drone. Yes… that’s right… LaMonte Young and The Velvet Underground weren’t the only ones dabbling in these genres in the 60s… However, not only is this an ambient piece from 1968, but it is an ambient jazz piece as well. Like the previous song, Riley plays all the instruments in free improvisational manor… Although, this time he plays a tenor saxophone and an electric organ which is layered on top of looping audio tapes.

I have known many people (from both inside and outside Music Banter) who tend to shy away from lengthy songs. To be honest... I understand, and I sometimes struggle with enjoying them myself. However, I managed to listen to this album in its entirety with ease, and never once did I ever get bored... This is an excellent place to start for those wanting to find an entry point into lengthy, minimalistic, experimental, and/or classical-type compositions. It is as accessible as it is challenging (if that makes any sense), and I highly recommend looking into it...

Highlights: Everything

[RVCA]

Great, checking out Terry Riley as we speak

[TockTockTock]

Album Review # 3

Mister Salmon... in Yorkshirama (2010) by Mister Salmon



Primary Genres: Folk rock, folktronica
Secondary Genres: Art rock, experimental rock, alternative rock, field recordings
Moods: Atmospheric, dark, confrontational, jubilant, beauty, warm, distant, frigid, reassuring

Track Listing

1.) "Yorkshirama!" (5:07)
2.) "Stay Out" (3:59)
3.) "The Boy with the Big Dad" (3:37)
4.) "'Kes' of the Motorways" (2:45)
5.) "Wheel in the Tower" (4:49)
6.) "In the Black Fields" (4:23)
7.) "Sheffield Philharmonic" (3:51)
8.) "Gardeners' Questiontime" (4:33)
9.) "My Frozen Town" (3:53)
10.) "Clouds Rise, Open Skies" (3:54)

Andrew Stones (a.k.a. Mister Salmon) is a multi-instrumentalist from Sheffield, England who managed to put together a concept album comprised of tracks that were partially recorded as far back as the 80s and 90s. According to Stones, it took him about a decade to complete the album in its entirety (which was finished in 2009). All of the songs were written and recorded by him... vocals, instruments (some of which he made/adapted himself), and all. Musically… it’s very difficult to describe. Its composition draws from numerous influences… ranging anywhere from the roots of European folk to ambient music to experimental rock. These influences aren’t always apparent, though… they are usually cleverly and subtly crafted into the music. But... for the most part, the songs are composed through the means of compiling multiple simplistic instrumentals (both of melodic and textural nature) that build off of one another... Occasionally, he'll even include relatively slow build-ups in the inclusion of certain instruments, such as in “In the Black Fields” (my favorite song on the album) and in "'Kes' of the Motorways". By doing all of this, he manages to create layered and complex soundscapes (yes, I used the word "soundscapes") which constantly change and evolve as each song progresses. This is fairly uncommon in contemporary folk music, and not everyone can pull it of successfully...

His vocals are another interesting and unique aspect of the album... They, like the music itself, are a combination of "familiarity and strangeness," ranging anywhere from spoken word parts to energetic choruses. His singing (overall) retains a somewhat deadpan aesthetic, but... on the other hand, they can also be very emotive as well (he himself said he tries to keep a "balance of flatness and expressiveness").

Anyways... I don't want to go too in-depth in describing this album (there's a lot to cover and I could be here all day). I mainly just wanted to scratch the surface of it and give the reader a general idea of what it is about (I would much rather you listen to it and see what it is for yourself). For me, it's one of the best albums of 2010 as well as one of the best folk albums of the past decade. If you want to know more about the concept behind it (and actually listen to it) then click this link to his website.

[TockTockTock]

Album Review # 4

Watashi Dake? (1981) by Keiji Haino



Primary Genres: Experimental, singer-songwriter
Secondary Genres: Free improvisation, noise, lo-fi
Moods: Dark, ominous, aggressive, confrontational, visceral, distressed, sad

Track Listing:

1.) “My Whereabouts” (05:24)
2.) Untitled (05:39)
3.) Untitled (03:05)
4.) Untitled (02:48)
5.) Untitled (02:37)
6.) Untitled (03:04)
7.) Untitled (02:00)
8.) Untitled (04:15)
9.) Untitled (04:23)
10.) “I Want to Return” (03:51)

Bonus Tracks (from 1993 reissue)

11.) Extra Live Track 1 (4:21)
12.) Extra Live Track 2 (3:12)
13.) Extra Live Track 3 (28:56)

In light of the recent hate for musician, I decided to review one of his albums. Enjoy.


“I use the electric guitar as a weapon to express myself.” - Keiji Haino

Keiji Haino, a Japanese multi-instrumentalist and experimental musician, has had a rather interesting career in music up until this point. Over the past forty years, he has worked with numerous genres of music, released over one hundred albums (solo or otherwise), participated in countless collaborations, and played up to eighty different instruments (ranging anywhere from the hurdy gurdy to the turntable). However, as diverse as his musical career has been, one of Haino’s most innovative and defining works still remains his 1981 debut album, Watashi Dake?.

Here’s something to consider before you continue: Imagine a man who is about to record a blues album with only two instruments: his voice and an electric guitar. Now, imagine him playing the blues without any idea of what the genre actually sounds like and a complete disregard for conventional guitar playing… You could say that Watashi Dake? is this album

Watashi Dake? can essentially be divided into two distinct areas: its expressive “singing“ and its unique guitar work. From the beginning of the album to the end, Haino’s voice summons up some of the most genuinely emotional vocals I have ever had the honor of hearing. Anything from poignant shrieks to paranoid whispers to woeful moans can be heard coming from his strangely effeminate voice… Want an example? Just listen to the (predominantly) a capella track, “My Whereabouts.” Throughout these measly five minutes, Keiji Haino is overtaken by fear, confusion, rage, loneliness, and despair as he howls into a feedback-stricken microphone. Yet one of the most interesting aspects of this piece (as well as the rest of the album) is its ability to make the artist’s emotions sound legitimate. This is not at all surprising, since he has stated in several interviews that he has always been interested in the fusion of music and theatre. So it would make sense that his “acting” in this album would be well-executed and convincing.

Then there’s his fairly aberrant guitar work which is mainly comprised of repeating simple, atonal arrangements. In these arrangements, Haino includes anything from drones to spurts of dissonance to even sounds of his own creation. The end result is a distinct and completely new sound. However, upon my initial listen to Watashi Dake?, the first thing that I noticed was not his highly original guitar work, but his ability to effectively create an unsettling and enigmatic atmosphere. There‘s a certain “blackness” about it that’s a bit hard to describe (but easy to understand once you hear it). Maybe it’s from his frequent use of silence or the amount of pressure that he puts into plucking and strumming the guitar strings. I honestly haven’t a clue. Keep in mind, though, that not all of the guitar work sounds like this — there’s also a bit of diversity, too. In fact, sometimes it can be rather abrasive, such as with the sixth song and the twenty-nine minute bonus track (both being early examples of harsh noise).

Unfortunately, this album is not for everyone. Please take into account that this is NOT something to simply bob your head to. Instead, it’s meant to be fully experienced and provoke thought. When I listen to Watashi Dake?, I became lost in its notes. I felt what he felt, I saw what he saw, I heard what he heard. Essentially, I WAS him. This album can’t just be listened to… it demands much more than that. Hell, it deserves much more than that. If you want to fully appreciate this album, then you need to devote your complete and undivided attention to it. In fact, a few weeks ago, I made the mistake of doing this while I was baking a few cookies. I was so immersed in its sound that I completely lost track of time, and I (sadly) ended up with three batches of severely burnt cookies. So, here are a few words of advice: don’t bake anything if you’re going to listen to this album.

This is an excellent example of the effects of well-constructed art. It completely envelopes the observer (or the listener in this case). It evokes emotions and feelings within him or her that would likely not be there in the first place. It also incites the audience to think as well as redefine his or her perspective on the art form itself. If it can do any of these things, then the artist has accomplished what he or she set out to do. You know… there’s a Leopold Stokowski quote that states “A painter paints his pictures on canvas, but musicians paint their pictures on silence.” Haino not only makes an effective use of the “canvas“, but he also frequently uses it as a part of the art itself. Honestly, I feel that Haino accomplished what he set out to do. When played, it conjures up feelings of loneliness, depression, and fear within its listeners. It caused me to think about the merits of minimalism in comparison to complexity. It’s one of many examples that proves to me that simplicity in musical composition is just as valid as that of elaborate composition. And if anything, the ability to create such a variety of complex emotions with a very minimal number of notes is more of a challenge than with that of the opposite.

Watashi Dake? is, quite frankly, a masterpiece, and I rarely ever say this. It’s unsettling and original guitar work has gone almost unparalleled since the release of this album thirty years ago. Keiji Haino’s arsenal of emotions touches (or frightens) just about anyone. There is simply no other album like it, and if you don’t believe me, then listen to it for yourself. I can’t guarantee that you’ll enjoy it, but I can definitely guarantee that it’ll be a unique experience.

[Badlittlekitten]

Nice. Four real interesting albums there. I'd not heard of the Outsiders, they sound wikid.

A Rainbow In Curved Air is class. I find the key to enjoy minimalist type music is to give it your full attention so all the subtle changes in sound whisk you away.