Review: Godspeed You! Black Emperor- Asunder, Sweet and Other Distress

I am probably in the minority when I say that F#A#∞ is my favorite Godspeed album. The intro and monologue in 'Dead Flag Blues' just gets me every time. The expert building of tension and crashing cathartic rock instrumentation infused with strings is amazing. Though the elements of Godspeed You! Black Emperor's sound have not changed much from release to release, they have still managed, for the most part, to keep that cinematic feel and to remain masters of creating tension while building crescendos to stratospheric heights before plummeting into heavy guitar, percussion, and strings.

That being said, their new record, Asunder, Sweet and Other Distress, resists this formula to some degree. This album, their second after a multi-year hiatus, seems to bear the distinct influence of the Godspeed side project, Thee Silver Mt. Zion Memorial Orchestra. That project is a little more straight forward in their construction of song forms, and borrows a lot more from rock than Godspeed. This influence can be seen in the monstrous metal-like opening chords to this album. It's a little surprising when the pay off for a long tension build comes before the build up. After some pretty sludge metal reminiscent riffing, the music eventually becomes more subdued, though still eerie and foreboding. This instrumental swells and swells before another massive explosion of sound.

Though I can say that I enjoy this album, I can say I have a few problems with it. The first problem would be the length. At around 40 minutes, it's one of Godspeed's shortest releases, barring their Slow Riot for New Zero Kanada EP. I feel like the band could have much more effectively built tension if they had given themselves more space to build and expand their sound. The payoff of 'Bring The Sun / Toussaint L'Ouverture' off To Be Kind would not have been nearly as good if it were five minutes long. The second problem I have with this record is the structuring of the piece (it's 4 songs, but it's essentially one piece, which from live performance has been known as 'The Behemoth'), in which some of the most climatic and intense instrumentation is near the beginning of the record. The climax at the end of the record is only comparable to the first explosion of sound. I can see the surprise of the opening heaviness being a selling point of the album, as it definitely caught me off guard, but the slow build afterwards should have progressed and built up to an even larger climax. You don't throw the most climatic scene at the beginning of a movie, do you? Then it only feels like downhill from there.

In conclusion, I did enjoy this album, though I thought the pacing was just a little too fast for a album that relies so much on building tension, and that the pay off at the end of the piece was a little underwhelming when compared to the opening of the piece. A misstep? I wouldn't say so. I applaud the band's desire to break away, if only slightly, from their formula, though I hope this approach, if they choose to continue with it, is more fully realized on their future projects.

Out of a total of five stars, I give this:

Check back in later for my opinions on Earl Sweatshirt's new album. There's a whole lot their for me to process and wrap my head around. Also, I was pleasantly surprised that I noticed that I can finally pre-order William Basinski's Cascade (still can't pre-order my copy of The Deluge though), so I'll be sharing my opinions on that as well.

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Mini Reviews: Modest Mouse, Kendrick Lamar, Death Grips

So, surprise surprise, I'm behind on sharing my opinions on albums again. There are a lot of projects coming out this month that I've been interested in. I'm just going to share my opinions on a few here. Check back soon for my take on Earl Sweatshirt's new album, as well as the new Godspeed You! Black Emperor.

Modest Mouse: Strangers to Ourselves
I've got to say I was pretty disappointed by this album. Modest Mouse didn't really flex their experimental muscles on this set, which is a shame, because they have proven that they can produce challenging and engaging material. I feel like if the gap between albums was this long, and this is what they had, it could've waited. This is pretty middle of the road dad rock in places, which pains me to say. There is talk that this is one of two albums, with the second to be released very soon. If that is in fact the case, I wish they would have just released one album's worth of material and trimmed the weaker cuts of both albums for a much stronger product.




Kendrick Lamar: To Pimp a Butterfly
I doubt I'm surprising anyone when I say that this album is completely amazing. With its mix of funk, jazz and hip hop, as well as compelling and thought provoking raps and poetry, Kendrick Lamar has delivered a true artistic statement the likes of which is rarely seen this fully realized. I can see a lot of surface fans being turned off by this album for lack of a real radio friendly single, but this album is more of a cohesive statement that Kendrick's previous albums, though also cinematic in scope. The track 'u' continues to give me chills, and a Tupac interview on the final track? Crazy. It's truly sad to think that the things that Tupac Shakur spoke out against in that over 20 year old interview are still just as relevant today, with racial relations still very much in the mind of the American people. If you're a fan of any musical style, and really enjoy being challenged by your music, this is the album for you. I can definitely see this on a lot of year end lists.

Death Grips: Jenny Death
I was a little bit ambivalent to the first part of The Powers That B, which came out last year. It had seemed that Death Grips had lost a little bit of their edge, and the instrumental Fashion Week didn't do much to change my mind. However, MC Ride is back, and the second part of The Powers That B is finally out, and it is a much more direct and intense listen than the first (the instrumentals on 'Why a B*tch Gotta Lie' and 'Pss Pss' are among my favorite of their discography). This disc shows the group incorporating a lot more guitars and guitar based samples into their sound. The lyrics are a lot less abstract here, and since they're being screamed, I feel the bluntness works to this album's benefit. I really see this as a return to form, though the guitars also provide some new avenues, should Death Grips decide to continue (the new tour may allow more content for this formerly broken up group to materialize). My only confusion here is how this fits with the first part of the double album. The parts don't really complement each other all that well, and are pretty different with what they set out to achieve. I feel like the records would have benefited from being billed separately, unless they were going for a In Your Honor or Reckoning/Dead Set kind of thing, which I feel could've been accomplished a lot better, and with less Bjork in the first half.

So those are my thoughts. What did you think about these projects. Do you have any projects you're excited about? I'll share my opinions on Earl Sweatshirt's new album and Godspeed's new record soon.


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Review: Inventions- Maze of Woods

I caught the original Inventions LP last year, and was intrigued by the side project of Explosions in the Sky guitarist Mark T. Smith and Eluvium composer Matthew Cooper. The blend of ambient music and cathartic post rock my seem like opposing dynamics, but it worked very well. It's good to know that some things never change.

That is not to say that the new LP from this side project is more of the same. Though it has dreamy and ambient textures, it also incorporates some more rhythmic elements resembling some electronica, and incorporates some vocal samples as well. This does nothing to disturb the mood, however, and the free flowing songs with great transitions ensure the listener is never taken out of the enveloping soundscape. The experimental and highly processed guitar tones blend very well with the electronics, including drum machines, drones, experimental loops and symphonic strings. This album has a very hypnotic quality, but unlike a lot of material that elicits the same result, it is far from repetitive. It always seems like there's a new sound coming through the mix and evolving the songs over time.

I feel like this album could definitely have a lot of fans, as this project transcends genres and shows a lot of influences that produced it. If you are a fan of ambient music or instrumental post rock, this should definitely be something to check out. This could probably appeal to some shoegaze and dream pop fans as well, and it's definitely a calming album to listen to; one that can make great incidental music for your life, but also, if you really listen, can surprise you with its detailed and diverse sounds and production.

Out of a total of five stars, I give this:

I'll be back later to share my opinions on Strangers to Ourselves, To Pimp a Butterfly, and Jenny Death in some mini reviews. I thought of giving them all separate reviews, but I'm sure all of these records, for their own reasons, will be talked to death, so I won't try to bore you with the same thing every other person is going to say.

"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Review: of Montreal- Aureate Gloom

It can be said that there are distinct sonic periods in of Montreal's history. In the beginning, they were a quirky pop band with Beatles and Kinks influences, but slowly expanded their sound through additional instrumentation and electronics. This period reached a peak with their 2007 album, Hissing Fauna, Are You the Destroyer?, which introduced the character Georgie Fruit,a transsexual middle aged front man for an imaginary band. This character, from the mind of main songwriter Kevin Barnes, made appearances across future releases such as Skeletal Lamping, and these albums sported a distinct Prince and funk influenced sound. Just about at the point where that sound was getting stale, they made a major change with their last album, Lousy with Sylvianbriar, which was a little more rock and folk oriented.

Needless to say, there's a lot of things to hear in of Montreal's almost 20 year release history, but no material has quite sounded like their new project, Aureate Gloom. Culled from a tumultuous time in Kevin Barnes' personal life, this album embraces some decidedly post punk sensibilities. That is not to say that this album is without the meandering melodies and multiple tempo and mood changes that one has come to expect with of Montreal songs. Listening to an of Montreal song for the first time can be a dizzying experience. Sometimes there's so much music packed into a single song, that it makes other band's full albums seem minuscule in comparison. That's kind of the thing I like about their sound though. Even on their sweet lo fi love song beginnings, there were so many turns in a song to the point where every tune was like a multi movement pop suite.

The album starts of with the only song I could possibly have mistaken as a track from another album, 'Bassem Sabry'. This has more of a glossy funk sound than the material that comes after it, which is a little more rough, but still highly rhythmic and melodic. The themes and emotions that I can pull from these songs are heartbreak, anger, but above all, confusion. Kevin Barnes can really insert you into his life with his lyrics, and they really do reflect the confusion with the end of a relationship; the anger, the sadness, and the residual loving emotions for the other person. This is definitely a break up album in those classic terms, but it definitely takes a much more complex and relate-able take on it. The emotions after such an experience are complex, and it seems that other break up albums kind of gloss over one emotion in particular.

All in all, I like the direction that of Montreal is going, which is to say, away from the electro funk they were getting stuck in. Their last two records have both been a break from this sound, but also islands unto themselves,which is very promising for their career path. I like a little bit of uncertainty in what is going to come out of an artist next.  

Out of a total of five stars, I give this:

What were your opinions on this album? Did you love it? Hate it? Next time I'll be looking at either the new Inventions LP, Maze of Woods or Strangers to Ourselves, the new Modest Mouse project. Not sure what to tackle next.


"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Mini Album Reviews: Father John Misty, BADBADNOTGOOD & Ghostface Killah, Drake and Jack U

Hey, so I realize I've been slacking on giving my opinions on recent albums, so I'm trying to tackle a few projects that I've been putting off taking a look at.

Father John Misty- I Love You, Honeybear

This was an album that took me a while to really get into, which is half the reason why it took me so long to comment on it. I couldn't form an opinion for a while. The instrumentation here is pretty much your basic singer songwriter set up with the occasional orchestral flourish, and coming from the ex drummer of Fleet Foxes, there's some decent drumming as well. Harmonies in places sound like Fleet Foxes, but the similarities essentially begin and end there. More similar work from Josh Tillman to Fleet Foxes was made under his own name, but his more lighthearted side can be heard under the name Father John Misty. While his debut, Fear Fun, was more overtly goofy, I Love You, Honeybear is much more subtle, sarcastic and cynical album, and it's all the better for it. This album is hilarious in spots and really showcases Josh Tillman's sense of humor and his knack for intelligent and expert songwriting, and was much more entertaining to me than its predecessor. This album was definitely worth sleeping on, and it took me a little bit to really understand and appreciate the angle Tillman took with this project, and this is one I'll go back to for a pretty long time.

BADBADNOTGOOD & Ghosface Killah- Sour Soul
Ghostface Killah and BADBADNOTGOOD do not bring out the best in each other. The collab between the legendary Wu Tang Clan alum and the Canadian jazz fusion group is pretty mediocre, with Ghostface providing some pretty uninspired raps with little in the way of substance. The band is really pushed into the back, playing the role of no name backing band the whole time, and given very little room to experiment. This is essentially a collaboration in name only. It's a collab the same way Highway 61 was between Dylan and the Hawks. That is the only way I'll compare those albums, because there is no comparison in quality. There are some moments though when the guest rappers steal the show. Two noteworthy examples are Danny Brown's welcome cameo on 'Six Degrees' and the always captivating presence of DOOM on 'Ray Gun'.


Drake- If You're Reading This, It's Too Late
I freely admit to enjoying some Drake songs, but I've never fully accepted him as a good artist, and have found all of his projects pretty uneven. That is not the case for this project. It is thoroughly unlistenable to me. His trademark braggadocio is pushed to the nth degree, and given with the most uninterested monotone delivery I've ever heard Drake use. I'm somehow supposed to be pumped up by songs more  drowsy sounding than even 'Marvin's Room'? Yeah, not happening. The worst part is there are very few lines I even remember after listening to it several times. Production is pretty uninspired, and Drake seems to be borrowing a lot stylistically from up and coming rappers. I remember when it used to be the other way around. This is a clear regression in my book.


Skrillex & Diplo- Jack U
Skrillex and Diplo surprised the internet a little while ago by dropping their first collaborative album under the Jack U moniker during a 24 hour long live stream of a performance, which was unfortunately shut down by police in hour 16. The songs here are pretty forgettable, which is a little disappointing considering these are some of the biggest names in electronic music at the moment. It's mostly trap influenced, though hints of other electronic genres slip through on occasion. If you're looking for some fun, harmless dance music, you've come to the right place. If you're looking for heavier, more brostep like material, I'd check out Skrillex's Recess and the remix EPs he's been releasing. If you're looking for more intellectually stimulating electronica, Aphex Twin's Syro and his latest EP are definitely a better option. Also, a Justin Bieber AND and 2 Chainz feature? Wasn't one bad enough?You're better than this, gentlemen.


All in all, I was disappointed by quite a few projects in the past few weeks, but also came out of the listens with one really great and complex album. I'll be taking a look at of Montreal's Aureate Gloom soon, as well as the new Inventions LP, Maze of Woods and the new Modest Mouse. 

"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."