Oh Lordy. There was bound to be one. The Master was a divisive film, but it doesn’t exist on the same
plane of vitriol and adoration that Cloud
Atlas is facing. For one, Paul Thomas Anderson’s The Master is “mostly” adored by fans of his films and by fans of
adult cinema in general, and for good reason. It is a masterpiece. Cloud Atlas, on the other hand, is split
down the middle in terms of opinion—both public and critical.
That is because the movie is ridiculous. Yet, in spite of
this fact, it is one of the best films of 2012. Based on one of the most
ambitious novels in recent memory, by David Mitchell, Cloud Atlas the film undoes its carefully put-together, yet insane
narrative structure of nesting the 6 novellas within the novel in a matter that
is palindrome-like. The first story stops half of the way through and then the
second story begins. This pattern continues until the sixth story, where it is
presented in completion. Then the second halves of the first five stories, in
reverse order (fifth, fourth, third, second, and then the first ending the
novel) unfold in a downward slide of emotion and pop-philosophy. The acclaimed
novel earned most of its sentiment through its memorable characters and writing
style that matches each of its time periods (1800s open sea, 1930s Europe,
1970s Reagan California, 2000s Britain, futuristic South Korea, and distant future
post-apocalypse in Hawaii) and their genres (an sea-bound epistolary story, a
tragic bedroom farce, a pulpy and unrealistic political thriller, a modern
Brit-com, a heavy science-fiction story, and a post-apocalyptic adventure tale)
perfectly. Characters from different stories meet. They all find the diaries,
letters, memoirs, or films about the other characters in the other stories. The
connections are everywhere in both theme and plot. The novel’s ambition never
overcomes its own control of itself.
The movie is different, though. It adds many new complex
layers to the book, and some of these layers infuriate viewers. The three
directors, Lana and Andy Wachowski (The
Matrix trilogy) and Tom Tykwer (Run
Lola Run) have changed the nesting structure into a film that constantly
uses emotional and visual cues to cut to one of the other stories. Some viewers
may be confused by the constant cutting, but I think it is a miracle that it
works as well as it does[i].
It is possible to follow the story if you pay attention to the cues. Maybe a second
viewing would help many in this regard.
Another area that has frustrated viewers is the use of the
theme of reincarnation. The main cast—Tom Hanks, Halle Berry, Hugh Grant, Jim
Broadbent, Hugo Weaving, Jim Sturgess, Ben Whishaw, James D’Arcy, Keith David,
Doona Bae, Xun Zhou, and Susan Sarandon—play multiple characters with heavy
make-up[ii].
They change races and genders throughout the movie. D’Arcy plays an Asian for
one of his characters, Weaving plays a frightening female nurse, Berry plays a
Jewish woman, Bae inexplicably plays a Mexican, and Hanks intentionally plays a
hilarious cockney-speaking thug which is out of character as any of the roles
in the movie. The effect truly does
bring about the connectedness of the characters to one another’s lives. In
ways, while some may call the changing-rolls amateurish, and Bae’s Mexican
character in particular comes to mind, it is an ingenious way to help the
viewer understand that these stories do connect thematically, plot-wise, and in
the ways the characters interact with one another. The film is as concise as it
is all over the place.
~~
So Cloud Atlas is
a long, challenging movie that is about truly sentimental themes of love that
half of everyone either already hates or will hate. Why is it worth your
trouble?
Firstly, it succeeds in executing its central themes. The
film (and novel) is about being put upon by those in power. Adam Ewing’s Abolitionist
character (Sturgess) sees slavery as the disease that it is, and Dr. Goose (Hanks)
holds him under his thumb by pretending to be his trusted doctor yet is literally
poisoning him slowly throughout the movie. Young would-be composer Robert
Frobisher (Whishaw) is indentured to his composer master Vyvyan Ayrs
(Broadbent) and by his erratic depression and not-really-closeted
homosexuality/bisexuality. Investigative journalist Louisa Rey (Berry) is being
hunted by the big, powerful oil company for being a threat to reveal their
dastardly secrets. Tim Cavendish (Broadbent) is literally trapped in an evil
old folk’s home. Sonmi (Bae) is a clone slave to a fast food chain. And
finally, good Zachry (Hanks, again) is always in hiding from the evil Kona
cannibals in Hawaii (played gloriously by Hugh Grant. Yes, that Hugh Grant). All
of these characters face different troubles, but they are all versions of the
same thing. We all face versions of the same problem over and over. The movie
manages to not be repetitive given its circular themes, which is a success in
its own right.
The other big theme, executed wonderfully, is that of our
actions affecting others. Compassion. Not only do we face the same problems
over and over as humans, but we also cause problems throughout time for
ourselves, those around us, and many for centuries to come. There is no Inception-falling-through-four-levels-of-dreams
moment here, but rather a recognition that we all make up this world together. This
compassion that the film asks for can be seen in the sinews that hold it
together. The Wachowskis and Tykwer gave
everything they had to this project and its connective tissue. It is guaranteed
to fail financially, yet they still mortgaged their houses to get this film
made. They meticulously plotted their rapid-fire version of the novel to film
an epic that they could be proud of. They wanted to share their message with
us. The Wachowskis, who hate press, have done so in hopes that those who have
invested in its success will be repaid for their charity. The actors too show
compassion in their performances. Tom Hanks and Ben Whishaw stick out in their
primary storylines as Zachry and Frobrisher respectively, but it is Jim Broadbent
that steals the show with all of his speaking-part characters[iii].
While many people will hate Cloud Atlas,
others will love it. The three wonderful filmmakers and their cast made Cloud Atlas for us who love it, to show
us why we continue to use film as a medium of expression. We make movies
because they show us what is important in our lives.
~~
At the end of Cloud
Atlas, Haskell Moore (Weaving) asked Adam Ewing, his son-in-law, why he
would become an Abolitionist. He says anything that Ewing could do is merely
drops in a limitless ocean.
Cloud
Atlas literally asks us, “But isn’t the ocean made up of a multitude
of drops?”
[ii] Academy award
nomination for make-up, anyone?
[iii] Again, Academy award
nomination for Supporting Actor, anyone? By the way, there is almost no way
that this film is nominated for any award other than maybe visual effects. Even
that is iffy. I highly doubt the Academy embraces Cloud Atlas’s money-losing production.
Recommended by Danny Spiteri.
Before I begin, I'd like to communicate just how much Flying Lotus's music means to me. My introduction to him came about via late night television block Adult Swim, who often uses his music as the soundtrack to the bumpers they air between shows and commercials. It was 2008, shortly after his Los Angeles LP was released, and at fourteen years old, I was but a budding music nerd, ignorant to the wider world of independent music outside of a small handful of artists to whom I devoted my fanaticism. The existence of the blogosphere was completely unbeknownst to me, so I relied on a limited set of sources to discover music, one of the most pivotal being Adult Swim. My foray into their repertoire, which was aided heavily by this website's extensive archival, opened me up to a wide array of electronic and hip hop artists, spanning the rosters of a handful of established independent labels. The most notable of which was Warp Records, home to electronic music pioneers such as Boards of Canada, Aphex Twin, Autechre, Squarepusher, Prefuse 73, Clark, and of course, Flying Lotus. My newfound fascination with these artists marked two landmark changes I made in my listening habits: expanding my focus to a wide variety of artists rather than obsessing over a few, and allowing independent electronic music to become my genre of choice. And yet, in spite of my enlarged attention span, I found it difficult not to obsess over Flying Lotus, the artist most responsible for sparking this transition in me. His strikingly original and experimental yet emotionally relatable approach to electronic music made a profound impact on me then, and it continues to resonate with me today. He is my favorite artist of all time, and accordingly, there will be an inevitable strain of bias running throughout this review.
Steven Ellison has been releasing full-length albums as Flying Lotus on a two year clock since 2006, birth year of his debut for Plug Research, 1983. Comparatively to the albums that would follow, 1983 was somewhat embryonic. Not quite as distinctive or sonically dense as the producer's definitive work, it also is currently his shortest and most disjointed LP, often feeling like a canvas for him to toy with his influences without fully developing his ideas. Despite that, 1983 is still a great record, housing some of Flying Lotus's most captivating songs, such as the melodically potent title track and the Tito Puente-sampling "Unexpected Delight," which features the vocal talents of common FlyLo guest Laura Darlington, and laying the foundation for what would evolve into a more multifaceted, unparalleled sound.
It was Flying Lotus's next full-length excursion, Los Angeles, that catapulted him to transcendent levels. With its astonishingly intricate layering, top-notch production, stimulating off-kilter rhythms, imaginative sampling, emotionally affecting composition, and cohesive presentation, Los Angeles is nothing short of a masterpiece in my own eyes. From the shimmering synthesizers that open with "Brainfeeder" to the heated percussive exercise of "Melt!," from the upbeat and danceable "Parisian Goldfish" to the gorgeously minimal beauty of closer and Laura Darlington feature "Auntie's Lock/Infinitum," and throughout everything in between, Los Angeles gracefully exhibits a wide range in creative perspective, nailing a wealth of brilliant ideas with staggering precision. Although I don't deny the possibility of FlyLo releasing something that removes it from this perch, it now stands firmly as my favorite release in the Flying Lotus discography.
Whereas Los Angeles was Flying Lotus's breakthrough record, 2010's Cosmogramma is his most popular. Arguably more ambitious than its predecessor, Cosmogramma marked the introduction of FlyLo's incorporation of heavy influences from the world of jazz. His addition of Stephen Bruner, a.k.a. Thundercat, as a frequent collaborator factored in highly melodic bass lines, which worked in conjunction with the chords Flying Lotus was borrowing from jazz. The electronic nature of his music was still at its core, however, often taking on an even more maximalistic form than his previous work, such as with tracks like the abrupt opener "Clock Catcher" and the cinematic "Galaxy in Janaki." I find Cosmogramma to be slightly less consistent than Los Angeles, but it also reaches highs that are among the highest Flying Lotus has ever achieved, including the somewhat celebratory "Computer Face // Pure Being," the danceable "Do the Astral Plane" and the thrilling build its string and horn section help execute, the continuation of winning Laura Darlington contributions in "Table Tennis," and the euphoric finish of the aforementioned "Galaxy in Janaki."
Until the Quiet Comes is only Flying Lotus's fourth LP, but considering the multitude of EPs, demos, bootlegs, and mixes he has under his belt, it's far from being his fourth statement. His earliest demos, such as July Heat and Demo 06, were not particularly challenging, and yet despite not doing much to distinguish themselves from other post-J Dilla instrumental hip hop, they were still among the most interesting of such peers. 2007's Reset EP was a moderately moody, wonderful precursor to Los Angeles that packaged some of his most powerful work, particularly the breathtaking "Massage Situation." The L.A. EP trilogy that followed Los Angeles featured both original material that functioned as an excellent afterthought to the LP and remixes from other artists that offered it refreshing new perspectives. Between the first and second of those EPs came Shhh!, a collection of six reinterpretations of songs ranging from Madvillain's "Shadows of Tomorrow" to Nelly Furtado and Timbaland's "Promiscuous." The Pattern+Grid World EP that followed Cosmogramma is FlyLo's most frantic release yet, producing some of his most stimulating moments with highlights like the 8-bit exploration "Kill Your Co-Workers" and the driving "Physics for Everyone!" This is all in addition to a wealth of other singles, demos, and unofficially released material that rest under FlyLo's belt, most of which range from solid to incredible, and almost always carrying the sonic qualities that make his music so distinguishable.
After a quiet 2011, Flying Lotus has returned with Until the Quiet Comes, the full-length successor to Cosmogramma. Following such an album is a difficult task for a number reasons. Of course, the overwhelmingly positive reception of Cosmogramma creates heightened expectations around subsequent material, which places even more importance on the display of progression between releases. Considering the voluminous form that record took on, it seems that FlyLo's only choice in making his next move was to head in a more subdued direction. Until the Quiet Comes is still denser than much contemporary electronic music, but unlike with past material, its sonic focus is centered less around barrages of sound and more around smooth, pretty textures. Paring back volume doesn't come at a cost of personality, fortunately, for Flying Lotus's penchant for exploration keeps the album feeling like new ground for the artist. Although atmosphere has always been a crucial element of FlyLo's music, taking a relatively soft approach allows him to bring forth his often latent ambient side, at times surpassing the standards set by most of his previous flirtations with predominantly atmosphere-driven work. The brief yet stunningly beautiful "Until the Colours Come," for example, could be compared to Los Angeles cut "Orbit 405" or perhaps Cosmogramma piece "Intro / A Cosmic Drama" in their similar track lengths and absence of percussion, but the former, though it does function well as an interlude, also succeeds not only as a standalone track, but as one of the most affecting on the LP as well.
This emphasis on space carries over into most of the percussive songs, but although the sounds are consistently magnificent, the songs themselves produce somewhat mixed results. Structurally speaking, a portion of these tracks plateau early, shifting different components without a particularly strong sense of direction. Both "All the Secrets" and opener "All In" hold impressive shares of interesting ideas, but they also meander in a way that prevents their potential from being fully realized. Lack of clear aim in such tracks is a minor issue when considering that the bulk of the record was constructed to act primarily as a series of mood pieces, though the few "bangers" that appear also suffer slightly from underwhelming form. The most notable example is "The Nightcaller," which both in vibe and placement on the album's timeline recall Los Angeles's "Parisian Goldfish" and Cosmogramma's "Do the Astral Plane" without approaching the jubilant emotional heights of either. The other two relatively urgent tracks, "Sultan's Request" and "Putty Boy Strut," are more successful, the former on the strength of its thick bass and immediate melodies, and the latter by way of its infectious vocal samples, though they do feel just slightly undercooked. This less defined manner of arrangement bothers me less as I become more comfortable accepting that Until the Quiet Comes isn't a linear extension of preceding Flying Lotus material, but I still can't help but feel that a handful of these songs could use more developed structures.
A few of the lead melodies are alienating as well, particularly those contributed by certain guest vocalists. Thom Yorke feature "Electric Candyman" is one of the most cerebral songs Until the Quiet Comes has to offer, and in contrast to his appearance on Cosmogramma's "...And the World Laughs With You," places his vocals in a comparatively obscure place. While his ghostly voice and the treatment Flying Lotus applies to it works especially well with the song's creeping aura, the notes he sings don't add up to anything markedly striking. Similarly abstract is the first half of the following track, the Niki Randa collaboration "Hunger," which could benefit from a sharpened melody, though it ultimately does succeed on the strength of the mind-bending soundscape it creates. The only real pothole on the record is "See Thru to U," which gives Erykah Badu the spotlight as lead vocalist. Although I appreciate Erykah Badu for her understated yet passionate delivery, I find her melodies on that track to be almost completely inconsequential. Backed by appealing organic percussion that drowns at the hand of a messy instrumental, "See Thru to U," though not remotely offensive, feels like a sacrificed opportunity at what could have been an exceptional pairing. Moments like these are far from destroying the album, but they do show that occasionally, FlyLo's music could profit from more grounded songwriting.
Despite sometimes being too abstract for its own good, Flying Lotus's adventurous composition ends up being one of the most admirable aspects of Until the Quiet Comes. As his music continues to inspire an increasingly large generation of copycats, FlyLo seems to venture further into experimentation with unusual chord progressions and melodies, which is one of the main facets of his music that keeps him standing out from his contemporaries. It may not always connect emotionally on this LP, but it does so more often than not, frequently with astonishing results. The superb "Heave(n)" excels by way of its alluring vocal sample and blissful aesthetic, and the following "Tiny Tortures" effectively juxtaposes calming instrumentation against an uncommonly heavy kick drum. "Only if You Wanna" begins as one of the most straightforward examples of beat music on the record, providing one of its most physically engaging moments before descending into a brief jazz exercise that foreshadows the run of more dreamlike songs that comes afterward. Undoubtedly one of the album's most prime examples of compositional success is the second half of the previously mentioned "Hunger," a piece set in 7/8 that builds airy vocals and strings upon an arresting duet between bass guitar and something that vaguely resembles an electronically manipulated acoustic guitar. Moments like these go to show that when FlyLo's music utilizes the right amount of discipline, the result can be stimulating on a number of levels.
Aforementioned missteps aside, the guest spots on Until the Quiet Comes are generally efficacious as well. Renewing his role on Cosmogramma, Thundercat does double duty as both bassist and occasional vocalist. His flavorful, melodic bass lines are an essential cornerstone of a bulk of the LP, even going as far as to be the primary driving force behind songs like the standout title track. His sole vocal feature, "DMT Song," accurately represents its subject matter with a dreamy state that makes most current dream pop feel plastic in comparison, an effect that is achieved largely by his soft, boyish voice. Additionally, newcomer Niki Randa delivers two strong performances, especially on the haunting "Getting There." Laura Darlington excels as usual, contributing an eerie melody that works effectively alongside the song's mysterious aura. Each guest musician adds a significant element to the album without ruining its cohesion or causing it to feel like anything but FlyLo's own statement, which serves as a testament to his nearly impeccable taste in collaborators. Until the Quiet Comes reaches its peak as it approaches its final few minutes with "Me Yesterday // Corded." As its title suggests, the song is divided into two halves, which are linked smoothly despite being distinctly different; the second strikes me as being clearly the strongest, though the first half also offers a fair share of quality. Wistful playing from what sounds like slightly muffled keyboards open the track, and soon after are joined by a somewhat sparse beat and altered vocals that remind me faintly of parts of the Nicolas Jaar EP that came out last year. The second half kicks off just after the two-minute mark with a relatively straightforward yet still off-kilter beat, simple yet well-chosen chord progression, and minimal yet powerful plinking melody. Over the course of the next two and a half minutes, Flying Lotus builds the piece into a cathartic powerhouse, introducing characteristically melodic bass lines from Thundercat, complementary vocal samples, and his signature "laser" sounds, all in addition to a variety of other sonic ornaments. In a way, this song is a culmination of the album's assets, showcasing both the experimental and emotional sides of his composition, representing both his electronic and organic sides at their finest, and utilizing his mass of typically intriguing sounds to create one of his most gripping sonic landscapes yet. FlyLo has a history of choosing strong closers (see "Auntie's Lock / Infinitum," "Galaxy in Janaki"), and although "Me Yesterday // Corded" technically isn't one, it feels properly conclusive. This is not to neglect "Dream to Me," however, a short yet delightful piece that feels appropriately reflective, concluding with finesse the colorful journey the record takes throughout its 48 minutes.
The context of my life has certainly changed drastically since I first became a Flying Lotus fan. I am no longer struggling to find sources of new music, nor am I as wide-eyed and naive in regards to the music world, and my sensibilities as a music fan have extended far beyond my then almost exclusive diet of independent electronic music. Flying Lotus's music has changed discernibly as well, and yet throughout the arc it has made, it has retained the originality and devotion to pushing boundaries that drew me to it in the first place. Until the Quiet Comes may not always strike an emotional chord with me, but it's loyalty to these qualities renders it a consistently enthralling experience nevertheless, and as previous FlyLo albums have, it feels like a singular phenomenon that never veers too closely to the already established ideas of others. In many ways, Flying Lotus is at the head of his generation, transcending waves of faceless imitators with his own pronounced personality traits, and eluding the confines of in-the-moment trends by setting his own. He is my favorite artist of all time, and bias accounted for, I'd be hard pressed to name many others who have as many truly substantial things to say.
Score: Decent to Strong 8 (Do you appreciate Flying Lotus as much as I do? More? Not even close? I've all but abandoned my Twitter, but feel free to let me know on Tumblr!)
Crystal Castles' album (III) might be the finally buzzy release of 2012, and today they dropped a new track from the album called "Affection". It seems pretty obvious to me that with the release of this track, along with the previously released "Plague" and "Wrath Of God", that the duo of Ethan Kath and Alice Glass are going for a much more sleek and refined sound compared to their first two albums. To me this approach lacks some of the punch that was especially prevalent on their self-titled debut album, but I'll still be giving (III) a chance when it comes out on November 12.
In honor of the wonderful cheesiness of Titus Andronicus' brand new video for "In a Big City", I figured it would be a good time to show everyone a few other videos that aren't afraid of the out-dated and frowned upon practice of lip-syncing.
Kanye West - "Cant Tell Me Nothing"
Everyone should just give up, because the concept of doing a typical bragadocious hip hop video with Zach Galifianakis playing a farmer is the single greatest creative idea of our time.
--
Fucked Up - "Queen of Hearts"
An elementary school class singing a hardcore punk song from a band with a swear in it's name, if this didn't exist would you even believe me if I told you it did? On some level this isn't truly lip-syncing because the audio of the kids is mixed in... but that doesn't make it any less awesome.
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of Montreal - "Heimdalsgate Like A Promethean Curse"
I don't even know how any words can accurately explain this video to you, I think it's best you just watch it.
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LCD Soundsystem - "Losing My Edge"
In a rare case of a music video being nearly as brilliant as the song it's depicting, someone off screen continuously slaps James Murphy in the face while he attempts to perform the song. I can't help but notice the fear in Murphy's face as he lists the music that changed his life and realizes how he's gotten older, he's almost asking for those slaps to the face. In many ways this song is the fiery manifesto of which all other LCD Soundsystem songs were born.
--
Danny Brown - "Grown Up"
There's not a lot of things in the world that can put a bigger smile on my face than a tiny Danny Brown saying "Hotter than a Hot Pocket out the devil microwave // Model bitches begging just be a nigga's sex slave".
On this week's episode of the podcast our crew talks about... music? honestly I was as surprised as you are. Topics of note include black metal, D'Angelo, and weird funk records.
To hear this week's episode of our wonderful podcast please look for YPOIW on iTunes (please rate and subscribe). If you prefer a direct download, that is provided here.
Have you ever wanted to be awkwardly stared at by Titus Andronicus' front-man Patrick Stickles? If you answered yes to that question then you're in luck. While the new video for Titus Andronicus' song "In A Big City" isn't quite the real thing, it's probably as close as you'll get to having Patrick Stickles give you the death stare as he walks through various parts of what I'll assume is New Jersey.
"In A Big City" is of course off Titus Andronicus' newest album titled Local Business which is available on XL right now. Have a gander at the video down below.
To say that Death Grips have had a busy 2012 would be the grossest understatement I've heard, at least all day. If you're one of the 2 1/2 people reading this who have no clue who this band is or who is in them, please consult our many, many posts on them, for your health. The saga of Death Grips' 2012 include, but are not limited to, signing to a major label and announcing two albums for this year, releasing The Money Store to greatcriticalacclaim, planning a tour, cancelling that tour, creating an entire alternative reality game around this very album, and culminating (so far) with bypassing their record label's decision to not release this album until next year by releasing the album themselves for free via SoundCloud, YouTube, and various filesharing sites. All the while building one of the most devoted followings a "buzz band" has seen in recent years. But now that I have that out of the way (I really couldn't do a review without going over some of that), let's get busy with what's at the eye of this cluttered storm, what the point of it all really should be: the album.
If you go into this one expecting "Death Grips as usual" (if there is such a thing)or a repeat of any of the sounds and vibes they've been working with, you'd be sorely mistaken and surprised. "Come up and get me" sets the stage for No Love Deep Web; it's a cold, minimal, paranoid, and lumbering piece of music with Stefan Burnett's MC Ride persona really taking center stage here. He gives one of his most impassioned, angry, loud, and even anguished performances yet on this track. He's eight stories high and ponders whether or not he should "nosedive to the next life in seconds" and if you think that's the only reference to suicide throughout this album, you'd be wrong.
In fact it's the element of anguish along with the depressive, cold electronics that separate this album the most from its predecessors. Throughout this album the character Ride has been playing for the entirety of Death Grips' trajectory has found himself in a rock bottom place; he's lived his life is such abuse and excess that there's nothing left for him anymore. The darkness on this album makes Exmilitary and The Money Store look like summer albums in comparison. While those albums definitely didn't glorify the behaviors discussed, they were definitely the high compared to NO LOVE DEEP WEB's low, low, lows.
As I relayed earlier, the music here is certainly darker, but Death Grips said in the official announcement of this album that "the material is cold , bass heavy , minimal , rock & roll influenced and could simultaneously fit into a rave or dance club context". Pay attention to that last part, because there is a huge element of club music on the production of this album; you could maybe even hear "Lil Boy", "Black Dice" and more at your local dance club.....er, if that dance club is located in Purgatory, that is. But in all seriousness, coldness, darkness, and minimalism are really the names of the game when it comes to the sound on this thing. While some of the tracks here are just massive ("No Love" in particular), the electronics here are nowhere near as intricately detailed as in previous Death Grips releases, and that was an intentional move. As well as the album being not nearly as hook-oriented as Death Grips were before; explosive hooks akin to tracks like "Hacker", "The Fever", "Guillotine", or "Get Got" won't be found here. In fact when the album does get hooky, it's on tracks like "Hunger games" and "Stockton", where the hooks are so awkwardly timed and have such strange rhythms that I think it's just as alienating as the rest of the album.
Where this album succeeds, to me, in a way that this group's previous full lengths haven't to this level, is in the narrative. More than either of the band's other albums, this album flows like a story, like a grimy pulp novel. We're witnessing the lowest days of MC Ride's character, and with vivid, vivid detail. Even if it's something ridiculous and seemingly nonsensical, like him being "the coat hanger in your man's vagina", there's still something so disturbingly poetic about it. The final track, "Artificial death in the west" has the most subdued, depressing, and mournful tone of any track on this album, or any Death Grips track for that matter. The refrain, "where you running now" is repeated often, and it shows MC Ride's character at an end, not knowing where to go anymore. You can see where this is going.
In this humble reviewer's opinion, NO LOVE DEEP WEB is Death Grips' most cohesive, thematic, and fully realized work yet, and while it doesn't have the immediacy or accessibility of The Money Store, it's just as much of a rewarding listen, if not more so. It seems like this is a band that just keeps getting better, and for me, this is their crowning achievement.
Score: decent-strong 9
(Where you running now? Well hopefully to Robby's Twitter account @ClydeNut! ;D)
On this week's episode of the podcast what are you listening to evolves into Josh telling amazing stories. Also the guys take turns discussing their own music related pet peeves.
Bandcamp is an awesome website with tons of awesome undiscovered music on it. This (hopefully regular) feature is just our attempt to share some bands/album with you that we found while surfing around Bandcamp. We hope you enjoy!
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Half Moon Run
Admittedly, I had heard of Half Moon Run before poking around Bandcamp, but Bandcamp ended up being the kick in the pants I needed to actually listen to them, and I'm really happy I got that kick in the pants. When I first started listening to their debut album Dark Eyes it screamed Grizzly Bear to me, but after listening some more they definitely aren't a complete ripoff. While I do think that Half Moon Run present some interesting melodies like Grizzly Bear, this album is drenched in an eerie creepiness that reminds me a lot of Patrick Watson's darkest moments. The vocalist for Half Moon Run also sings with so much soul that it keeps me captivated. Dark Eyes just ended up being a really ethereal, beautiful and downright haunting sounding rock album for me. I think the vibes fit perfectly with the time of year right now when days are getting shorter and colder. I'll definitely be keeping my eyes out for what this Montreal band does in the future. -Mark
Cheap Dinosaurs
I don't claim to know a lot about chiptunes/8-bit music, but what I can say is that most of it is fun as hell to listen to, and Cheap Dinosaurs are no exception. Cheap Dinosaurs' self-titled debut album was released in October 2011 by Philadelphia experimental composer Dino Lionetti. Listening to this album really brought me back to when I was about 10 years old and obsessively playing Pokemon on my Gameboy, and for good reason, because this album was indeed composed on a Nintendo Gameboy. So if you're a fan of this type of music then I'd say this album is at least worth a shot. A lot of the 9 tracks on this album have some really nice grooves and melodies that will hopefully get stuck in your head. If you're really keen on the album and want to buy a copy you can even order some plantable album art that comes with a download code. -Mark
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MOTHS
We at YPOIW are generally wide spectrum music nerds that sometimes just need to know if a certain combination of sounds exists. This endless search to find new and interesting sounds is exactly how I stumbled upon MOTHS. I am a noted hater of all things ambient music as someone who prefers more actively engaging music and this has led to me gravitating towards more abrasive genres in recent years. As a joke I put "ambient skramz bandcamp" into the magical search engine we call google and this Houston based band was the first result. Surprisingly this band delivered what I was looking for but a lot more as they incorporate elements of noise rock, drone, and thrash styles into their unique sound. If that sounds insane to you, that's because it is... and I'm not sure in all the years I've been listening to music that I've found a band who sounds remotely like MOTHS. Their big trick is to sound like half a dozen different bands in a short amount of time. It's pummeling, it's pretty, it's weird, and it's the most engaging and exciting new band I've discovered in quite a long time. -Kyle
Roger Bryan & The Orphans
Full disclosure: Roger Bryan & The Orphans is a local band, so I'm cheating a little bit by picking them but hear me out. Their sound is folk and Americana influenced but still noticeably in a modern indie rock package. Their career highlight is their last full length album entitled 37 which is expertly paced as a perfect road trip album with as many peaks and valleys as can be expected in a 31 minute running time. The band's sound isn't a terribly unique one but the record is so beautifully arranged with 3 guitar tracks and electronic organ showing up throughout. This band is exactly what fans of The Rural Alberta Advantage and The Walkmen should be listening as the emotional resonance of Roger's powerful voice and songwriting style is similar to those bands. They have 3 albums and multiple EPs but I recommend you start with 37, which is embedded below. -Kyle
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Crowhurst
Crowhurst, a.k.a. Jay Gambit, is a noise/drone/ambient producer who recently followed yours truly on Twitter. Normally acts that look for attention via Twitter are, frankly, largely uninteresting but this guy has something going for him. On his most recent release No Life to Live, supposedly his 19th release of 2012, Gambit puts together an incredibly ambitious set of noise and ambient tracks, featuring over a dozen guest musicians, which adds up to around 90 minutes. If you can't take that time out of your day, then I suggest you at least try out some of his longer tracks, because those are the most rewarding, in my opinion. No Life to Live is embedded below, and you can go to Gambit's bandcamp and listen to more of his releases. -Robby
Halifax fuzz poppers Cold Warps are back with their second 7" of the year and it's pretty much exactly what you'd expect from them. The A-side "Don't Haunt Me, OK" and the B-side "Stuck On An Island" are just two quick, fun and catchy garage pop tunes. If you enjoyed any of Cold Warps' past work then I can't imagine how you wouldn't enjoy these two tracks.
This single is the being released as the 6th installment of the Noyes Records singles series and it's available right now through Noyes' website on vinyl or digital. The first official release of the 7" with be this coming Saturday during the Halifax Pop Explosion when Cold Warps plays their show with The Black Lips. Have a listen to both tracks down below.
(The Latest in Heavy is the segment where you, yes you, get to discover new music in the realms of metal, hardcore, and the like with the help of a very helpful guide, Robby Beck)
California hardcore band Nails really made a splash in my musical trajectory in 2010 with their sophomore release Unsilent Death. Their potent and fearsome mix of hardcore, grindcore, and powerviolence mixed with some of the best production Kurt Ballou has ever done made it one of the most standout releases in heavy music that year. After a split 7" with Skins Like Iron at the beginning of this year, Nails have officially announced that their next release will be Abandon All Life and will be released next year (hopefully early next year). The album teaser you see below only offers a few sparse seconds of music, but it doesn't disappoint. It sounds noisy, and angry, as all humanly fucks. It seems like we might be getting some Insect Warfare-style noisegrind with this release.
Peep out the teaser below, and be on the lookout for Abandon All Life sometime vaguely next year.
(Abandon all life....and follow your best friend Robby on Twitter @ClydeNut. :D )
(HEAVY FRIENDS is a segment where Robby geeks out on the latest and greatest in new heavy music. This time, we have a doozy...)
Converge is a band with an enormous reputation behind them; they've built that reputation by crafting some of the most fearsome, relentless, creative, and inventive music in hardcore, metalcore, or mathcore, period. Albums like You Fail Me, No Heroes, and what rightfully is considered their magnum opus Jane Doe, are all the proof you need to say that Converge may be the most important hardcore act of the last 15 years. Whenever Converge puts out a new record its always an event for the hardcore community, and if any band is capable to consistently meet up to that expectation time after time, Converge has once again proven that they are that band.
All We Love We Leave Behind jumps right out of the gate with "Aimless Arrow" which has the sheer unstoppable force that is familiar to longtime listeners of Converge, as well as the complex guitar patterns of Kurt Ballou. But where this track brings a bit of a surprise is in frontman Jacob Bannon's vocals, which vary in style but more often than not are performed in a screamed style (a very unique one at that). On this opening track you can say Bannon sings cleanly, but without a clear melody and in such an anguished style it couldn't be a conventionally accessible vocal by any means. This vocal performance adds great, devastating humanity to the track, and that's the first show of a great theme of this record: humanity.
"Sadness Comes Home" begins in such a style that if it had a fuzzier, beefier guitar tone it might have passed for a sludge metal track. But it ain't long until Converge's hardcore punk ferocity bursts through the gate, and Kurt's guitar work is especially notable here. "Sparrow's Fall" is one of the most unrelenting tracks on the album, and it brings the band to such a raw, primal state the hardcore nuts won't be able to get over it.
After some very overwhelming numbers, we find the first real change of speed and mood; while Converge are known for their faster, hardcore punk style music, they really know how to make slow burners, with tracks like "Jane Doe", "Plagues", "You Fail Me", and "Worms Will Feed" to show for it. "A Glacial Pace" has a sense of doom all around it; the busy drumming in the beginning and whispered vocals indicate something to come, and as the track does get going you can just feel Jacob Bannon's continued anguish in his vocals. When the song builds up to a destructive, monstrous climax, if the hair on the back of your neck isn't raised, it means the song has annihilated you first.
The height of intensity on this album has to come between the tracks "Coral Blue" and the following "Shame in the Way". The former is likely the doomiest track on the whole album, with a sludgy riff starting it off followed by some more whispered vocals from Bannon. It's just impeccable how well this band can build tension and be, well, intense, whether they're being fast or slow. At the track's quietest moment, at 2 and a half minutes, Ballou just plays a guitar interlude, and it finds its own way to be suspenseful and intense. The buildup afterward is just too good for words. The way the track transitions into the next, "Shame in the Way", is just amazing; the rising drums followed by the pummeling guitar chords, I just can't get enough of it.
I've gone through what alot of this album has to offer, and basically if you've loved the album up to this point, you're gonna love the rest of it. A problem some might have with this record is that, in some ways, Converge really hasn't changed up their formula too much. This record doesn't have near the level of experimentation and left hooks that Axe to Fall has, and maybe some would call this record "Converge as usual", besides a couple of the slower tunes. If that opinion is yours, then that's fine, and understandable; but to me the way Converge writes and performs their material makes it so fresh and creative in my mind that I don't care if they've been down this road before. From where I'm standing, no matter how long they've been kicking Converge still put their own stamp on this hardcore style and show all the imitators who's boss. Even through this record's miniscule flaws, that's damn well good enough for me.
Score: strong 8/light 9
(Robby clearly hates oatmeal. Find out more on Twitter @ClydeNut. Thanks for reading!
In which Josh finally makes his triumphant return to the podcast, and proceeds to incessantly fight with Robby about mustaches. Their only common ground is a mutual disdain for a certain soggy breakfast item. 2 music podcasters enter, and only one can leave.
To hear this fantastic new episode of Your Podcast Is Wrong please look for YPOIW on iTunes (rate and subscribe if you hate oatmeal!). If you're the type that prefers a direct download, you're in luck!
I think it was impossible to ignore a lot of the hip-hop influences in Purity Ring's music, but this collaboration still caught me a bit off guard. I guess I didn't really expect Purity Ring to actually join forces with any rappers anytime soon, especially not somebody of Danny Brown's stature. But of course, everything seems to happen when you least expect it.
Danny brings his signature personality and a lightning fast flow on "Belispeak II". I think this track actually works surprisingly well with Danny on top of it. Id' say it sounds like the original "Belispeak" got turned into a club banger more than anything on this track, but have a listen for yourself down below.
The humans that make up the band Oh No! Yoko are obviously lighthearted dudes. Their fantastic debut EP “PAU PAU” showcased this in full, sporting lyrics about friends dogs, shitty hometowns, and dead Egyptians. “Mimi Ashi” is the lead single from the forthcoming EP “Sorrow” and while would have fit in nicely on PAU PAU, there’s a couple big differences here. The band is less glossy on this track, the production scaled way back in comparison to older tracks like “90s Kids.” It’s recorded live off the floor, and harnesses their live sound better than previous tracks have. There is no giant chorus here, replaced by instrumental hooks and distinct cadence delivered by vocalist Everett Morris. The math-y riffs and bizarre lyrics (she’s a Louis Vuitton) are still here, but there’s no question that the band is trying to mature on this track.
WEEK IN REVIEW is the only news post here on YOUR PERSONAL OPINION IS WRONG, It's designed as a mostly lighthearted way to find out what's happening in the world of music (and occasionally other things). It's specifically geared towards things I'm interested in, so don't use this as your only source of music news, if you're looking for a more comprehensive summary of recent events in the world of music I highly recommend you check out Consequence of Sound's news section. If you want to bitch talk about anything in this post feel free to mention me on twitter or send me an email.
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*Someone should go through past iterations of this post and see how many of them included Death Grips because it's probably almost all of them. I'm definitely a huge Death Grips fan but including them in this post has never made more sense because so much happened this week. First off, someone hacked Death Grips' site and found a new song called "True Vulture Bare". This new song was revealed to be a b-side from The Money Store and is all sorts of awesome.
*In other news in the world of Grip, they surprised everyone and released NO LOVE DEEP WEB on the internet for free on October 1st. The story goes that the label would not confirm a release date for the album until "sometime in 2013", so the band released it themselves for free without any permission to do so and therefore ignoring all legal ramifications. The album is still widely available for legal download so there's growing speculation that it might be all a huge marketing ploy, but the important thing is that the album is out and it's fucking amazing. I almost forgot to tell you the hairy and throbbing erect cock on the cover of the album.
*Late Night With Jimmy Fallon isn't my favorite late night talk show, but they really need to be commended to the fact that they book some amazing musical guests. This week it was Animal Collective performing "Rosie Oh" in a performance that I'm sure led to millions of Panda Bear fainting spells across the world. Keep him away from your daughters folks, he can get them pregnant using nothing but his sultry voice and a flutter of his spectacular bangs.
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*The Dismemberment Plan has confirmed work on a 5th studio album, the first since 2001's Change. As the D-Plan are one of the most consistent bands of the last 20 years, this news was greeted with a good chunk of my feeble mind exploding. Let's just hope that this record is just a tiny bit better than Travis' solo release from 2004.
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*Menomena put out a new video for Moms cut "Plumage" and it appears that someone gave them access to the wardrobe and prop house of a hollywood studio. This video was probably incredibly fun to make, but more importantly it features the dudes from the band wearing nothing but underwear in one scene... if that's your thing.
(sorry this post didn't happen last week, stuff came up)
Let’s
transport ourselves back to 2008. It was nearly a decade since a truly great
Australian record was released. Australian music overall has experienced a
slump, Nick Cave seemed to have run out of creativity, The Avalanches were in a
state of limbo, and Jet and Wolfmother were ruining our reputation overseas.
Then a little rock band named Tame Impala dropped their self titled EP. It was
different, it was original, a mix of lo fi and early 60’s psychedelic rock,
with a tinge of bluesy garage rock. The single “Half Full Glass of Wine”
garnered some attention, and then they kind of just fell off about as quietly
as they came.
2010 comes
and Tame Impala come roaring back with the spectacular Innerspeaker. It was a huge and expansive record, which created a land
of swirling guitars, rolling drums, satisfying jams and dreamy melodies which
could expand and unfold over 5, 6, even 7 minutes at a time. It paid homage to
everything from some of the best music of decades passed, yet also felt modern.
If you can’t
tell, I absolutely loved Innerspeaker,
so when I heard that Tame Impala would be releasing a new record this year; I
was ecstatic, but also somewhat sceptical. Following up Innerspeaker would be no easy task, but I believe writer and (on
the record) the only member Kevin Parker, has done it. Putting it out here
right now, Lonerism might be one of
the best records of the last 10 years for me. But let’s settle down, and actually talk about why it's so good.
First off, there
are synths, synths everywhere. Tracks like “Be Above It”, “Apocalypse Dreams”
and “Nothing That Has Happened So Far Has Been Anything We Could Control” contain
huge vintage sounding synths and organs, and in the case of “Be Above It”, they
even overpower the guitar. The melodies are more emotional, funkier, and, for
lack of a better word, more epic sounding than on Innerspeaker. The jams and choruses of these tracks soar into the
atmosphere above, think more like “Runway, Houses, Clouds, City” from Innerspeaker on ten, and some tracks
have nearly brought tears to my eyes. Yet with poppier, brighter melodies, the
lyrics are more morose and depressing. Kevin Parker must be the most unpopular
person ever according to songs like “Why Don’t They Talk to Me” and “Apocalypse
Dreams”.
The song structures are looser and jammier,
with the last half of a lot of songs being devoted to guitar work outs. In
particular, “Keep On Lying”, Kevin sings for just shy of a minute and a half,
and spends the rest of the near 6 minute track jamming his blues away. The
production is also markedly different, where Innerspeaker crisper, cleaner, and more produced, Lonerism takes on a fuzzier, warmer, and,
at times, even a lo fi sound.
All of these
changes add up to Lonerism’s biggest
strength, on paper Lonerism is more
accessible than Innerspeaker, yet on
record it feels rough and bold, like the younger more immature brother of Innerspeaker. Enough guts to put in a
melody that sounds like it was ripped from a cheesy 70’s pop hit, yet slathers
it in messy post production effects, and puts in a bridge which extends the
track for another 2 minutes. It blends pop and psychedelic rock in a way which
has not been done before. Tame Impala is in a league of their own, creating
music that’s instantly gratifying yet rewards more listens as the tracks open
up with the amount of depth they have the more you listen to them. This is a
record which allows us to peek into a world of simultaneous bliss and
melancholy. We should be thankful that music like this exists and is still
being made.
The upcoming major label-debut from Kendrick Lamar entitled good kid, m.A.A.d. city has been one of my most highly anticipated albums almost all year, with great tracks released in that time such as "Swimming Pools (Drank)", "The Art of Peer Pressure", and Lamar's collaboration with Dr. Dre, "The Recipe". Unfortunately, aside from the deluxe edition, the latter track did not appear on the album's recently released tracklist; but fear not, because Dre will appear on the album's closing track, aptly named "Compton", released yesterday via an "official leak" by Lamar himself. This is without a doubt the most grandiose out of all the tracks released thus far leading up to the album. The beat by Just Blaze (which has apparently been kicking around for around 3 years) is gigantic, lush, and gorgeous; it reminds me of the kinds of beats Kanye West produced on albums like Late Registration. Couple that with Kendrick and Dre ripping fire with their flows while paying tribute to their city, and we have a classic album closer at hand.
In the hectic musical month of October, with new albums from Death Grips, Godspeed You! Black Emperor, and more, I hope good kid, m.A.A.d. city finds a place in your playlist when it drops on the 23rd. I know it definitely will be on mine.
(Follow Robby on Twitter @ClydeNut for more music news)
