Out of Steam

So I've been pretty busy and thus haven't had much time to take in and process any new stuff in a while. Hopefully, I can get something done soon. But in the mean time, I love this song.

Dueling Reviews

She and Him - Vol. 1

by Andrew

I'm really concerned. Is this the first step into "easy listening"? Surely, my ear was instantly drawn to my future wife's effort with Matt Ward, but I have a few reservations after running over this album a few dozen times (don't accuse me of obsession - its less than 40 minutes, ok?!). The production swings for the fences a bit much at times; I'm sure there's a lot of respect for the master, but here's hoping M. Ward doesn't go too much more "Phil Spector" on us or his girlfriend. I guess the more important point about the production is that Ms. D's voice is so lovely, so front and center (and I can't wait until she sings me to sleep every night, don't get me wrong) that the "Him" gets lost in the crowd. If you haven't heard Ward's 2006 effort, "Post War," chances are he's on a recording that you already love. Between his arrangements, production, and session guitar work with slouches like Jim James, Neko Case, Jenny Lewis, Connor Oberst, etc., Ward is quickly becoming our generation's JJ Cale. I guess the last beef is "Swing Low, Sweet Chariot." Here's to them leaving "Amazing Grace" off of Volume 2 (already in the works).

But such reservations are fodder. It's got everything a big retro album should have. Go listen-- just try to pay attention to Him, if you could? Trust me, I know it's tough.

Starter Tracks: "Why Do You Let Me Stay Here", "Change Is Hard", "Take It Back", "Really Got A Hold Of Me"

Best Played With: warm evening breeze, rolled down windows, country road, restraining order from Zooey Deschanel

She and Him - Vol. 1
by Sean

She and Him is a twosome comprised of some guy and an almost famous actress whom I've never heard of. They write decidedly old-timey songs, with sounds ranging from Patsy Cline-ish twang, Billie Holiday sultryness, and female Motown do-wop, all with an updated sound, of course. Zoey Deschanel's crystal clear voice cuts through the music and takes its rightful place at the forefront. Due in part to the simple yet pleasant arrangements, but also because of her strong and full-timbered voice.

The album opener, “Sentimental Heart,” is clearly the standout (for me), with it's steady piano and dancing strings, before the rest of the instruments and backup vocals kick in. The simplistic imagery of her sentimental heart is forlorn but in a teenager-crush kind of way so you don’t feel bad for her because you, in your infinite adult wisdom, recognize that it will simply pass.

Another highlight, “I Was Made For You,” with all of it’s “ooh dum-dee-dum’s” in the background, conjures pink bubble gum and beehives. “Take It Back” is a mellow number that you could imagine your grandparents slow dancing to. The album begins to meander into mediocrity on the back half with a cover of “You Really Got A Hold On Me,” which doesn’t really hold a candle to Thao’s cover of the same song earlier this year. And their Don Ho-esque cover of the Beatles “I Should Have Known Better” lacks the upbeat tempo and signature harmonica riff that makes the original what it is. Fortunately, there are plenty of bright spots on this album and I look forward to Vol. 2.

Blog, be cool!

Beck - Modern Guilt

Disclaimer: the author has not been the most diligent Beck fan, having passed over much of Beck's output between Odelay and The Information.

After deep rumination, I've finally come around to Modern Guilt, the latest offering from Beck. There were a few factors at play here that affected what I wanted to say about this album.

First, this is undeniably a Danger Mouse project. And after the egg DM laid with the Black Keys last disc and the uneven affair of Gnarls Barkley's The Odd Couple, this writer was not one to warm to another Mouse album so soon. Don't get me wrong, I love much DM's body of work, specifically the first GB, his work with Gemini, and Damon Albarn. But the risk of being so in-demand and acquiescing to the demanders is spreading yourself too thin which this reviewer thinks has been happening as of late. Also, I felt as if much of the music from Modern Guilt and the latest Gnarls album could have been interchangeable.

But, I'm not forgetting that this is a Beck album. And Beck is as Beck does, meaning he complicates things. First, there's no stand out pop jem which he's been known for. It's one thing to make pastiche, kitchen sink music, but to do it for 10+ years while maintaining the level of popular consciousness that Beck has is impressive and requires a knack for, either intentionally or unintentionally, making songs that everyday peeps can enjoy.

My next issue is with Beck's vocal delivery. He sing-speaks on the entirety of the album rather than rap-speaks like he did on much of The Information (which, btw is extremely strong on the first half but then really falls off). Also, here's a little experiment to gauge Beck's mood on this album. I randomly move to a middle point of a song on iTunes and see what the next lyric is: "so alone," "from a house that's burning," "I feel so cold when I'm at home," "when those walls are falling down on you," "I've been drifting on this wave so long I'm not sure if it's already crashed," and "I'm tired of evil." Not exactly a happy-go-lucky outlook.

But, after much struggling I've come around to this record. Nothing here is mind-blowing but Beck and D.M. just make damn good songs. The adequate, but somewhat snoozer-of-an-opener Orphans leads into the surf influenced 'Gamma Ray' which really picks up the pace. 'Chemtrails' features a slow meditative melody before the drums kick in then die out only to come back and ascend to a furious ranker. 'Youthless' and 'Modern Guilt' both feature beats that would be at home on The Information, with the former being more straight forward and the latter more freak-funked. 'Soul Of A Man' has the kind of grizzly guitar edge that should have been on the last Black Keys album.

So, in lengthy conclusion I give Beck's Modern Guilt two snaps with a twist. It took some getting used to, but Beck always comes different and sometimes it takes a little longer to come around. Click here for a sweet bonus remix of 'Gamma Ray' by Jay Reatard.