ALBUM REVIEW: …Little Broken Hearts — Norah Jones
Album Review
Norah Jones – “…Little Broken Hearts” (2012, Blue Note)
Reviewer: Matt Sanderlin
28 total awards, 4 platinum albums, universal critical acclaim — If you are still unfamiliar with the work of Norah Jones, the bandwagon still has plenty of room.
…Little Broken Hearts, Jones’s fifth studio release, is a more confident, refined version of The Fall-era Norah Jones sound. While jazz still has a nice foothold near the core of Jones’s influences, …Little Broken Hearts ventures boldly into colourful and continually creative domains that even The Fall didn’t quite reach.
Producer Brian Burton (more commonly known as Danger Mouse, as well as 50% of both Gnarls Barkley and Broken Bells) is a masterful guide in the overseer’s seat for ...Little Broken Hearts. Not only does he perfectly balance vintage sounds with modern arrangements (which creates a fully textured, yet still timeless sonic atmosphere), but his co-composing contributions are invaluable and turn Jones’s already strong pieces into fully-blossemed roses of the beautiful and blemished sides of a romantic relationship.
While each of the twelve incredible tunes deserves a large paragraph of detailed, commendatory attention, the best of the best tracks include the groovy, defiant “Say Goodbye;” the melodically-lush and instrumentally-mellifluous “After the Fall,” the aching, poignant “Travelin’ On;” and the mid-tempo, mellow, road anthem “On the Road.” Each boasts classy and classic lyrics, satiable melodies, and arrangements that cannot be denied on any level.
The crowning jewel (amongst the many prime gems) of the record, though, is the sinister “Miriam.” Jones’s passionate loathing for her ex-boyfriend’s mistress is furious and focused, and her convincing narration exacts a perfect revenge on a personal, yet understandable level. Simple-but-effective lyrical phrases (backed by slightly-flat piano, eerie percussion, and appropriately creepy vocal harmony) such as “Miriam / When you were having fun / In my big, pretty house / Did you think twice?” and “Miriam / That’s such a pretty name / I’m gonna say it when / I make you cry” are complimented perfectly and poetically by a twisted resolve at the song’s end. It’s easily Jones’s most ambitious and rewarding composition to date, and arguably one of the best tracks of the decade to boot.
Jones and Burton, along with the other stellar studio musicians who contributed to the record, have crafted something really special here. The album is available on 180-gram, white vinyl, and sounds beyond excellent in this audiophile-approved format — This is a record you must own, and production appreciation (by way of vinyl or lossless audio) is strongly advised, in this scenario. Norah Jones — The modern, female champion of the “Vocal” genre — will certainly be remembered for an outstanding album such as this.
ALBUM REVIEW: Out of the Game — Rufus Wainwright
Album Review
Rufus Wainright – “Out of the Game” (2012, Decca)
Reviewer: Matt Sanderlin
“Out of the Game.” I see self-referencialism isn’t dead these days…
Rufus Wainwright, flamboyant son of legendary musicians Loudon Wainwright III and the late Kate McGarrigle, really has been a bit out of the game lately. Before 2010′s All Days Are Nights: Songs for Lulu, Wainwright’s last studio album was the unfocused Release the Stars in 2007, which garnered an average critical response (a resting 72/100 on Metacritic) and even less enthusiastic fan feedback. And while Songs for Lulu was quietly beautiful, it was a stark departure from the radiant baroque pop Wainwright has become known for.
2012′s Out of the Game sees a nearly-fully revived Wainwright returning to the studio with vibrant energy and unhindered creativity, by way of Poses-era orchestral sounds and trademark baroque-pop melodies. The title track single even recalls Wainright’s folk-pop influences from his early, self-titled days, with its chilled tempo and squawking guitar counterpart.
Bigger and better still are the orchestrally-escorted pieces that arrive early in the tracklist, including the Elton John-influenced “Jericho” and the lavish “Welcome to the Ball.” Where strings and trumpets (respectively) are absent, a newly-discovered love for synth sounds is largely present — Take for example, the Queen-esque “Bitter Tears.” The sunny synth initially launches the track, building a complex mid-ground layer, perfectly designed for Wainwright’s instantly-memorable melodies to arrive shortly thereafter. Later in the track — As the vocal harmony swirls begin to expand in size and volume, so does the synth rise in dynamic and drive, giving the arrangement strong texture and forceful melodic charge.
“Perfect Man,” another synth-driven masterpiece, is a characteristic display of Wainwright’s skillful melodic strengths — And while the synth is less prevalent on this track, this lessened emphasis allows more room for Wainwright’s scaling melodies to shine. Within the first 30 seconds, Wainwright’s unforgettable melodies will have the right side of your brain doing summersaults in pure, joyous ecstasy.
Not all of the tunes are as successful as the aforementioned highlights. “Barbara,” while groovy and still gratifying, is slightly weakened by substantial segments of melodic drone and a somewhat lengthy duration (“Respectable Dive” suffers from similar ailments, with the addition of a sleepy tempo). “Song of You” is somewhat lacking as well; stellar lyrics, but a fairly stale melody and a stifling tempo to counter.
Still, Wainwright’s work on Out of the Game is undeniably admirable. Enough of the tunes here shine in their creative skin that the album is worth owning in entirety (as opposed to a partial selection), and these successes should also restore any faith lost in the high-caliber songwriting of one Rufus Wainwright.
ALBUM REVIEW: Nada Surf — The Stars Are Indifferent to Astronomy
Album Review
Nada Surf – “The Stars Are Indifferent to Astronomy” (2012, Barsuk)
Reviewer: Matt Sanderlin
They say, “The seventh time is a just as wonderfully charming as the last three or four or six times.” Or something to that effect.
Nada Surf, the unsung heros of indie pop/rock, have been cranking out magnificently well-crafted tunes since 1992. With charting singles across their now expansive discography (such as “The Inside of Love,” “See These Bones” and “Always Love”), Nada Surf has never failed to satisfy their fans. And who are their fans? Listeners who love melodic, introspective, Sunday-colored tunes.
The band’s seventh release, The Stars Are Indifferent to Astronomy, is a fierce renewal of energy, hope, peace, and understanding. Where Let Godoubted the darkness, Stars embraces the dawning light of hope, and seizes it with youthful vigor.
Take for example: the album’s opening piece, “Clear Eye Clouded Mind.” The racing pitter-patter of the drums instantly pillars the busy sonic atmosphere, which is then shaded in by a dark, woodsy, jade, guitar pigment – As the bass swoops in with deep blues and wild rose tints. Leader Matthew Caws’s distinct voice fuses prominently with the textures — ”The stars are indifferent to astronomy / And all that we think we know.” Amongst the “transition,” and “clouded”-ness, Caws is able to preach passionately and profoundly and acknowledge how small we are in even our own universe.
“The Future,” the album’s final track, is a parallel track in a way — Boasting relevant observations (“The future has long lines / The future looks like a screen”) while still admitting human inability of universal control (“I cannot believe / The future’s happening to me”). Wise words to a stellar melody – What more could one ask for?
The album’s eight other tracks are equally as energetic and magical — “Waiting for Something” is instantly memorable and infinitely artistic; “The Moon is Calling” is a cascade of belt-out-loud melodies and a page of discussion-ready lyrics; and “Jules and Jim” is a majestic, acoustic-based opus with plenty of great melodies to go around. There is literally something for everyone here, and the pacing of the track-listing doesn’t hesitate much throughout the record in the meantime.
The arrangements are impeccable, the production is perfectly balanced (mostly raw, with a hint of timeless hi-fi), and the tunes are well-constructed. Should you buy this album? Yes (x10).
ALBUM REVIEW: Ryan Adams — Ashes & Fire
Album Review
Ryan Adams – “Ashes and Fire” (2011, Capitol)
Reviewer: Matthew Sanderlin
Ryan Adams has never played the “safe” card a single time throughout his endlessly interesting (and still somewhat budding) career. Even when his original record label (Lost Highway) forced him to swap in Gold for The Suicide Handbook or Rock N Roll for Love is Hell, the man sprang for “unpredictable,” “wild,” and “rebellious.” Even after he stopped doing (ridiculous amounts of) drugs, Adams launched his own record label and began releasing things as unexpected as Orion— His sci-fi, metal-influenced concept album.
Ashes & Fire, Adams’ latest opus, presents a completely different Ryan Adams. “I don’t remember, were we wild and young?” Adams reflects back in Ashes & Fire‘s late-album track “Lucky Now.” “The lights will draw you in / And the dark will bring you down / And the night will break your heart / But only if you’re lucky now,” he wisely cautions.
Mysteriously absent are the sometimes scarce, sometimes predominant lyrical expletives of Adams’ earlier years. He hardly even touches an electric guitar, for goodness’ sake! In fact, most of these tracks are very simple in arrangement— Usually no more than four or five tracks on each song, led by Adams on acoustic guitar. The great victory of this approach, however, is Glyn Jones’ thoughtful and masterful production (on analogue, I might add), and how comfortably it matches Adams’ writing style. The stunning “Chains of Love” melodically conjures memories of Easy Tiger-era Adams, while Jones’ sonic precision moves the timestamp back into an undetermined-yet-ageless sound.
Norah Jones again joins Adams, along with Heartbreakers (as in, “Tom Petty and the…”) keyboardist Benmont Tench— And the quiet beauty of the eleven Ashes & Fire tracks are effortlessly revealed through this strong collaboration of Adams and his team. In other words; Adams has made his leap into maturity, and this grown-up approach dresses his fine new tunes aptly.
Lyrically, Adams is again quite simple and straight-forward. While his poetic literary voice is still strong, prevalent, and colorful, Adams seems to have trimmed the fat to the point where general accessibility is fluent and natural, and where listener comprehension is a pleasant ease. All of this careful revision leads to a refreshingly classic-caliber lyrical form from the already very talented Adams.
Adams then sneaks in a wedding/honeymoon ballad at the album’s close. (Adams recently wed to famed actress Mandy Moore, who also features on Ashes & Fire.) After all of these years of Adams defying the unkindness of love and rebuking the injustice and cruelty of life, “I Love You But I Don’t Know What to Say” is a breathtaking and joyous resolve— Almost as a period after a long series of question marks on the pages of a lovelorn songwriter. It is incredible.
Ashes & Fire is Ryan Adams at his calmest, strongest, and most mature. What more could one want? This album is easily one of 2011′s best, and unshakeable proof that Adams is still one of the most powerful, adaptive, and timeless songwriters of our generation.
ALBUM REVIEW: Fountains of Wayne — Sky Full of Holes
Album Review
Fountains of Wayne – “Sky Full of Holes” (2011, Yep Roc Records)
Reviewer: Matthew Sanderlin
Everyone who owned a radio between 2000 and the current day has likely heard “Stacy’s Mom.” And while that snarky, little masterpiece of a pop tune is still brilliant and timeless in its own right, Fountains of Wayne is much more than even a hit like “Stacy’s Mom” allows.
Sky Full of Holes, the troupe’s fifth official studio album, is a gorgeous collection of strikingly memorable power-pop songs. And while the Fountains have always featured brilliant compositions and melody coupled with infinite wit, Sky Full of Holes is (somehow) easily their greatest project to date, one of 2011′s best releases.
Fountain leaders Chris Collingwood and Adam Schlesinger are the modern-day Lennon/McCartney, and that’s no exaggeration. Their uncanny ability to craft satiating singles and high-caliber pop tunes has gone nearly unmatched throughout the past decade– And though I rarely agree with the publication,Rolling Stone‘s decision to name Fountains of Wayne “‘the voice’ of Generation X upon the collapse of Nirvana” is more than fitting.
Sky Full of Holes exemplifies this “voice” even more aptly than even culturally relevant hits such as “Valley of Malls” and “Someone to Love” did previously. Two off-beat entrepreneurs attempt to overcome the waning economy in “Richie and Ruben,” the hardworking American gets an admirable nod in “Workingman’s Hands,” the overly-produced synth-pop of the the 2010′s era is astutely parodied in “Someone’s Gonna Break Your Heart,” and the album’s poignant finale (“Cemetery Guns”) is a military-themed requiem for the ages. In a nutshell, Sky is 2011′s own personal soundtrack.
Not only is the lyrical material relevant, but the musical material is supreme in all respects. Production is crisp, but far from overdone (sample “Acela” for the greatest balance of raw and smooth). Arrangements are full, colourful, and appropriate (see “A Dip in the Ocean,” “Radio Bar,” and “Someone’s Gonna Break Your Heart” for the prime of the prime examples). And the melodies and harmonies seem effortless, yet completely flawless. “Cold Comfort Flowers,” “Firelight Waltz,” and “Action Hero” are the most noteworthy exemplifications, though all thirteen tunes are rich in the melodic department.
Basically, Sky Full of Holes is a must-own. Power-pop at its best, and one of the best of the year. Don’t miss it.
ALBUM REVIEW: Bon Iver – “Bon Iver”
Album Review
Bon Iver – “Bon Iver” (2011, Jagjaguwar)
Reviewer: Matthew Sanderlin
Justin Vernon, founder and leader of indie-rock team Bon Iver, has never taken the easy route. The man had spearheaded several other independent bands before his success with Bon Iver, each previous group being critically lauded, but sadly unsuccessful commercially. Vernon fell especially hard after the disintegration of his long-time group, DeYarmond Edison, and took the breakup as a sign to seek seclusion in an isolated cabin.
For Emma, Forever Ago, Bon Iver’s unsuspectingly gorgeous and additionally enduring debut album, took refuge in Vernon’s prior defeats, only to raise them from the dead and bolster them towards new heights with dignity.
Bon Iver, the eponymous second and latest Bon Iver project, is no safe bet either. Where For Emma was uninhibited and raw, Bon Iver is careful and clean. Rusty guitar strings and nearly-primal vocal outbursts are swapped for shimmering guitar strands and meticulous harmonic structures. No safe points here.
It’s not like it would be that difficult to spot the instant contrast on even the album’s opener, “Perth,” but “Holocene” is the clearest example of the “new” Bon Iver sound. The guitar picking is coated in a harp-like essence, engulfing its neighboring sounds with sincerity and serenity. The unorthodox percussion arrives late in the track; dropping subtle hints at first, and then following it with a controlled charge.
Lead single “Calgary” also displays sonic innovation, with its foggy synth padding, stirring guitar slides and methodical drum arrangement. The difference here is that the melody truly shines above even the carefully-constructed soundscape with a gripping and memorable formulation.
And that’s the true trick when it comes to Vernon’s second Bon Iver endeavor. Surely, there are some magnificent melodies aboard the Bon Iver vessel. “Perth” is a truly spectacular anthem, followed by the overwhelmingly gorgeous declaration “Minnesota, WI,” and resolved by the strikingly winsome vintage-tinged finale “Beth/Rest.” But not all are quite as charming.
“Wash.,” a close relative of previously-released tune “Beach,” is not an irredeemable piece, but it is far from immediate with its seemingly unfocused melody and off-putting, simple piano patter. Additionally, “Lisbon, OH” is purely filler material, and “Hinnom, TX” pushes the limit in the “nasally voice” department.
I will admit that repeated listens to Bon Iver are highly encouraged if one is to extract the succulent juices surrounding its coveted core. Still, it’s not wholly accessible, and not generally as immediate as For Emma. If you’re already a fan and can handle a substantial shift in sound, then definitely go for it. Otherwise, I’d listen to the album beforehand to see if you’re up for the “repeated listens in order to crack this coconut” type of ordeal.
ALBUM REVIEW: The Pains of Being Pure at Heart – “Belong”
Album Review
The Pains of Being Pure at Heart – “Belong” (2011, Slumberland Records)
Reviewer: Matthew Sanderlin
This review is republished with permission. It originally
appeared at Headphone Transmissions.
Through the grit of fuzz and the heat of nostalgic fervency, a strand of simple (yet substantial) melody graciously coats a set of poignant lyrics in the presence of rich synth. The drums thunder with focused and forceful dynamic and the bass sinks into its low frequency with a satisfied sigh.
This, dear reader, is sound of Belong, the second full-length release from lo-fi, shoegaze kings The Pains of Being Pure at Heart.
Their first, self-titled album introduced us to ten memorable melodies and their ten sets of humourous and quirky (and sometimes racy) lyrics— all accented with sound remnants of classic indie acts such as The Smiths and My Bloody Valentine. Pop gems like “Come Saturday,” “Young Adult Friction,” and “Everything with You” quickly built and solidified the group’s budding sound and stature in the messy world of indie pop/rock.
Belong finds our beloved Pains in a bigger and more accessible atmosphere. Percussionist Kurt Feldman is guided by the legendary producer Flood in the anthemic expansion of the drums, and Alex Naidus’s always-faithful bass matches this progression with a melodic interpretation of the low end of things. Especially on early album track “The Body,” Feldman and Naidus’s rhythm section really flows together and eventually launches the already full and dreamy arrangement into an explosion of energetic bliss.
Song structures are simple enough (and in one case, too simple; the predictable execution of the I, V, vi, IV chord progression in “My Terrible Friend” is indeed disappointing), but leaders Kip Berman and Peggy Wang vary things up appropriately with distinct vocal melodies and starry-eyed synth movements, respectively. The two masterfully blend their talents in nearly all of the tunes, but “Even in Dreams,” “Strange,” and “My Terrible Friend” are the best showcases of their vocal/guitar/synth conglomeration.
Lyrics are also intriguing in the world of Belong. In “Anne with an E,” Berman tells a rueful tale of adolescent love-making and heart-breaking, pillowing airy, U2-esque guitar proclamations with lyrical phrases like—
“We’ll call in sick tomorrow and shake ’til we can’t speak,
And know it won’t get better, but still you wanna see
Our bodies fall apart and lose the will to breathe,
And fall asleep forever in perfect harmony.”
In lead single “Heart in Your Heartbreak,” Berman’s lyrics shift smoothly from lucid and nostalgic to clever and learned. Smart expressions like, “She was the ‘heart’ in your ‘heartbreak’ / She was the ‘miss’ in your ‘mistake,’” and “She was the tear in a rainstorm / She was the promise that you would’ve sworn” bring an already great tune to a level of unmistakeable genius and shoegaze-tinted charm.
In conclusion, these ten new songs reveal a blossoming, confident band with plenty of outstanding musical ideas, effortlessly finding their groove, advancing towards a common, creative goal. Belong is a trophy record, one of 2011′s best, and possibly even better than the Pains’ debut LP.
A record like this indubitably belongs in your record collection (pun intended).
