All Music, All Blogs

My blog's been featured on All Music, All Blogs -- a blog that attempts to list and categorize every (notable?) music blog. Check it out if you're looking for more to add to your feed, or at least read the little blurb about me.

http://music-favourites.blogspot.com/2009/11/sound-decisions.html

I promise to stick to my two-posts-a-month schedule, don't worry. It might come down to the wire though. Since I've been reviewing new stuff lately, expect to read about an oldie-but-goodie next time.

John Mayer, Battle Studies

John Mayer is the love of my life. Okay, not really, but I like him a lot. I've been more excited about his next release than any other album this year. Continuum was nice and meaty, but very open-ended, like Mayer still had much, much more to say. In some ways, Heavier Things was the answer to Room for Squares. Similarly, Battle Studies is Mayer's answer to Continuum. And it feels good.

The lyrical content of Battle is a clear departure from Mayer's previous, more philosophical writings. Most of the songs deal with relationships, unlike the heart-and-soul anthems of his previous releases. You could definitely say it's a break-up album. Mayer has always had a playful tone to tap into when he needs it ("My Stupid Mouth," "83"), tempered with a cutting melancholy ("Something's Missing," "Stop This Train"). Here there's less wit and more prodding wisdom, and lyrical hooks just vague enough to draw you into the songs. Nothing too deep for a pop song, and nothing too trite either.

Musically, the album is just what you'd expect. John Mayer cements his position as the most (or only?) tasteful guitarist in mainstream pop, and one of its most clean and dependable male vocalists. I've always regarded his work as "worry-free listening": no need to worry about sudden odd riffs or weird song structures. Although there's nothing that quite tops his live performances in Where The Light Is, and nothing as intense as Try! or Heavier Things, Mayer's guitar solos are undeniably satisfying. The production values are stellar, and Mayer's studio musicians leave nothing to be desired.

After Mayer's blues venture took me by complete surprise, I wondered how it would affect his pop career, if he even chose to go back. Well, he did, and he's sounded a little more soulful ever since. He even covers Robert Johnson's "Crossroads," the only true blues song on the album. After featuring Hendrix's "Bold As Love," on Continuum, I'm wondering if covering another guitar master is something we can look forward to on Mayer's next album.

Although most of the album is very polished and mature, Mayer's not exempt from making a few unusual (but forgivable) creative decisions. For one, Taylor Swift sounds very out of place on "Half of My Heart." John Mayer's singing is like shepherd's pie: it doesn't need a country starlet side dish. And throwing the word "shit" into "Heartbreak Warfare" doesn't make John a better, edgier songwriter. You'd think he would have learned after the almost comical "damn" in "Bigger Than My Body."

When I was listening to this album for the first time, I was looking for ways it would be different from Mayer's previous albums. I was expecting it to be revolutionary, but after a few spins I realized that I only wanted it to be consistent. John Mayer certainly expands his style, especially with songs like "Assassin" and "Who Says," which are two of the album's best, but the core Mayer goodness is still there in force. I'm not ready for a polarizing Mayer experience yet; maybe in a year or so we'll see him start experimenting more, but right now I'll take whatever he's giving.

Freelance Whales - Weathervanes

Sometimes I get the feeling that many people underestimate the importance of having a good band name. In the 21st century overload society a bold, funny, or just plain unusual name can be the difference between a band that goes viral or one that flounders in obscurity, especially for indie would-be breakouts. Odd and audacious band names have become a trademark of indie as a reaction to mass-marketable mainstream pop, but also, I would argue, because of the rampant saturation of the internet marketplace. Obviously a group's music is itself a differentiating factor from competitors, but with radio play out of the question, the task of grabbing a potential listener's attention can come down to the band's name, especially in word-of-mouth, grassroots marketing situations. It's literally impossible to listen to every worthwhile band these days, even with all the blogs, music videos, and internet radio services available, which is why I'm so thankful that Freelance Whales, a new, relevant, group bursting with potential, had the good judgment to choose such a memorable moniker that ultimately led me to give them a listen.

Weathervanes, Freelance Whales August 2009 debut album, is surprisingly polished and articulate for a band that's only existed since 2008. Their sound is already definite and constructed, and yet weaves together disparate elements and instruments with a flair not unlike Mr. Sufjan Stevens. You've got banjo, synth, glockenspiel, harmonium, cello, and whatever a waterphone is. Don't question the variety, though; it works. Judah Dadone's vocals are gentle and sublime and subliminal, and you get the impression that he has legitimate singing talent, not just on-record sound, which is dishearteningly rare these days.

"Generator ^ First Floor" and "Generator ^ Second Floor" are the "reference points" of the album. Both showcase the band's skill for intricate arrangements while maintaining an eclectic drive. "First Floor" sets the mood for the rest of the songs, and "Second Floor" comes second-to-last to draw the elements back together again in recapitulation. There are a few instrumental tracks interspersed between the other songs; normally I have a pretty low tolerance for that (Phoenix are an offender, as are Muse, Coldplay, The Killers, and even the sacred Neutral Milk Hotel). If an individual track cannot stand on it's own, why include it at all? But at least here there's some novelty with such diverse instrumentation and arrangement.

The reason I say this band is poised to break out is that there's a maturity present in their recording. The songs work together, there's a deliberate presence, and everything feels smooth, rounded off. On so many albums, what could be a great listening experience stutters and falls in the chasms between irrelevant songs (take Lady Gaga's The Fame, a pop standout suffocated by its single-oriented nature and lack of unifying motive). It's so, so easy to write ten songs and record an album, as opposed to writing an album and recording ten songs, especially on a first outing, especially for an independent band. That's why Freelance Whales shows promise.

Owl City - Ocean Eyes

There's definitely something to be said for catchy music. The instant buzz you get from a song that zips through your synapses is a powerful thing. It could be argued that pop music, from the beginning, has mainly been concerned with creating songs that stay in the listener's head for as long as possible. Even before the audio recording revolution, musical Darwinism kept only the catchiest tunes alive in the ears of the masses.

This mentality is partly to blame for the explosion of DIY music-makers on YouTube and the Internet in general, peddling their hooks and jockeying for listeners. While perhaps equally noteworthy is the new movement of independent artists intentionally going against the stereotypical made-for-radio sound, most of what we hear today belongs to that pursuit-of-pleasantness school so often associated with mainstream pop.

Adam Young is one such artist. His project, Owl City (or O-Town, as my pal Mitch likes to call it) is the most recent band to conquer my iTunes Recently Played list with a campaign consisting solely of electronic beats, blips, and synths. Ocean Eyes, Young's latest album, is practically a how-to tape on creating instantly-appealing songs with just a basement full of tech. Think The Postal Service, but more accessible and more teenager. There's even some Imogen Heap in there.

Now, one of the things I've noticed about bands with catchy music is that the catchier their songs are, the more homogeneous their body of work becomes. For example: The Beach Boys, or Mates of State. I haven't listened to all of Young's albums, but judging solely from his most recent two, Maybe I'm Dreaming and Ocean Eyes, the threat is definitely there. Still, with music this bright and downright enjoyable, it's hard to fault him for sticking with a formula that works and has won him a cache of (mostly female) fans.

I recommend Owl City if you're looking for some feel-good songs to round out your library, but don't expect anything groundbreaking. Not all music should be "deep", or even "moving", and Adam Young is an excellent alternative to the pop drivel usually served up to fulfill that role.

Bon Iver - For Emma, Forever Ago

Okay, so maybe I missed the boat on this one. Bon Iver has lit up the blogosphere before, but I just have to write about them, just so that you know. Better late than never.

Bon Iver is a group headed by Justin Vernon, who wrote the material for their first album, For Emma, Forever Ago in Eau Claire, Wisconsin, of all places, cloistered in a secluded cabin. That loneliness, that air of a distant nature's arena, is definitely conveyed in the album. Vernon has a very melancholy, unfiltered voice. The first time I heard him sing, the song "Skinny Love", was almost startling, not from strangeness, but from a kind of honest, regretful timbre to his singing. Stark is a word that fits. You've got guitar, and you've got voice, and not too much else. The reason it works is his unique approach to melodic shape, utilizing effortless cadence and syncopation. I don't say this about very many albums, and I mean it: For Emma, Forever Ago is downright pleasurable listening.

There's not much I can say here that hasn't already been said, by other, more noteworthy people. All I can add is that I hope you listen to this music. I think it's important that you do so.

Shad - The Old Prince

As far as white people go, I'm pretty white. I own a messenger bag. I live in Missouri. I play perhaps the whitest instrument in music: the mandolin. But I'd like to think I can appreciate good rap. I've taken it upon myself to become familiar with all types of music, and in doing that I've found out that I actually like most types of music, rap definitely included.

A nice thing about hip hop is that there's really not that much to it, as far as requirements for comprehension. Sure, there's a certain vernacular to become familiar with (women are sho'ty's, hos, etc.), most of which requires a sense of leniency toward grammar, legality, and women's rights, but besides that there are relatively few barriers to appreciation of the genre. Basically, there are two intrinsic elements to rap: rhymes and beats. The more satisfying the beat and the more obscure or unlikely the samples used, the better the song. Lyrics are judged based on vocabulary, difficulty, imagery, or even just the level of insult if the rapper is dissing someone. A particularly good flow should make you think "Oh snap!" or something like that.

Now, I'm not a huge fan of Soulja Boy and his ilk, and if you listen to Shad you'll know why. Shad is a Canadian rapper (yes, he's black), which is rare in itself, but even rarer is his talent. Listen to his flows and you witness true lyrical genius. I was playing his album The Old Prince when I started this post and I had to turn it off after a few minutes because I would stop writing and just listen in awe. The things he can do with words are just sick. Absolutely engrossing. And it can be about anything. Many of his songs have a playful streak to them, like the title track "The Old Prince Still Lives At Home". I was first introduced to Shad by the music video for it, which takes most of its imagery from the Fresh Prince of Bel-Air. Definitely worth a watch.

Shad's also got his serious side, and his songs frequently discuss "the issues". He's gifted with an eloquence, however, that negates the usually blunt nature of political rap songs. His song "Brother Watching" is a fantastic call to action. The entire album is clean. Shad even mentions Jesus. If you're looking for the next Fiddy, Shad will definitely disappoint. But if you want truly skillful hip hop without all the annoying lines about sex, violence, and civil disobedience, this might be as good as it gets.

The Greencards - Fascination

You may not know this about me, but I love bluegrass music. I play the mandolin, and I was basically raised on the stuff. Well, like any other genre of music you have the traditional on one hand and the groundbreaking on the other. Bluegrass has always been stuck in the past, some would say, and for the most part I agree; there's too large a constituent of genre fans still clamoring for the same exact Bill Monroe sound, fifty years after its heyday. But there are alternatives. Newgrass Revival started bringing rock and jazz elements into the genre in the seventies. Chris Thile and Nickel Creek brought bluegrass into the pop/country and, later, alternative segments. Bela Fleck has, through utter mastery of the banjo, created a subgenre of intelligent, aware, new acoustic jazz.

Despite this, bluegrass seems destined, and content, to stay obscure. As the audience ages and shrinks, the relatively small and feeble bluegrass-focused record companies are becoming less and less willing to take risks, leading to streams of well-meaning but derivative bands that can't hope to expand their demographics. It's incredibly frustrating, as a musician, to see this vicious circle play out.

But there is an alternative: The Greencards, a group of young, virtuosic artists taking the bluegrass world by storm. The Greencards have completed their transformation from envelope-pushing traditionalists in their sophomore project, Weather and Water, to groundbreaking acoustic alternative rockers with this fourth project, Fascination. Made up of mandolin, violin, and electric bass, the trio can still claim their folk moniker, lacking drums, but are otherwise left free to experiment. Where other bluegrass bands would most likely fall back into traditional mores, The Greencards all but eschew the genre's overused chord progressions, soloing conventions, and melodies, instead developing a more modern sensibility.

The group hasn't left behind everything, however. Bluegrass has always required a high degree of musicianship, mostly owing to the hurtling speeds at which some songs are played and the skill to play with many different musical instruments in one ensemble coherently. As if it weren't already evident from seeing one of their shows, I've gotten the opportunity to jam with these guys (or "have a pick", as they call it), and I was totally awed by their mad skillz.

With Fascination, The Greencards have become what I hoped they would be from the beginning: a band incorporating bluegrass instruments to stray past the boundaries of the traditional music those elements have been mired in, but doing so in such a way as to garner merit in their own right. The album is by no means perfect, but if songs like "Davey Jones" and "Fascination" are any indication, the group is straying into very delicious territory. Carol Young's vocals are extremely potent, channeling equal parts Krauss and Krall in some instances. The songs just feel new, which is more than I can say for a lot of bands.

Perhaps bluegrass will never "break out" in the pop field, but The Greencards have proven that, at least musically, it already has.