Inbloguration

Lame, I know. Anywho, as mentioned several times over the past month, some new friends have joined WWR, which will hopefully allow us to provide more regular reviews. We've already premiered Sarah W., and next in line is Jason C. He has the unique position of being the only real musician amongst us, along with possessing extensive and diverse musical knowledge. Take it away, Mr. C.

P.S. - Welcome to the new millennium.

M83 - Saturdays = Youth
By Jason C.

For my inaugural review, I felt the need to highlight an album that was snubbed by my fellow WWR bloggers, leaving it out in the cold, when it should have been in the warm, cozy shelter of our Top 20 list. I speak of Saturdays = Youth, the latest from French artist Anthony Gonzalez, a.k.a. M83 (named after the spiral galaxy "Messier 83"). For his fifth and finest record, Gonzalez creates a spiritual, sonic landscape that lives up to all of his previous work.

What sets this one apart from his other releases is that it is a concept record. He pays homage to his favorite decade (the 80's) in a unique way: by focusing on John Hughes' films. While this undertaking could have lead to a contrived and derivative musical statement, it actually accomplishes its goal. The songs are simultaneously fresh yet familiar, walking the fine line of tribute and original expression honestly and effortlessly, all the while retaining M83's signature aesthetic stamp.

I, like Gonzalez, was not a teenager in the 80's; we were 90's teens who grew up watching 80's John Hughes comedies. In this aspect, there is an enormous audience of listeners who will hear this album for it's nostalgic charm. But S=Y's grandeur comes not from the execution of it's conceptualization, but from its beautifully written and produced songs. The album opens with the melancholy piano tones of "You, Appearing" which builds into a crescendo of cascading melodies escorting you directly into the 'hit song' of the album, "Kim & Jessie." It then continues with a pattern of well placed tunes, altering between spaced-out ambience, anthemic pop, and dance-y trance beats. The closing tracks act as a decompression chamber, each one drifting more and more into a pillowy cocoon, ending finally with the eternal sprawl of the instrumental "Midnight Souls Still Remain."

So, who is this music for? It is an album for people who A) love catchy, simple pop songs; B) miss long summers and lost loves; C) have a soft spot for John Hughes films; or D) all of the above. I know I fall into the "D" category, which is why, for me, "Saturdays = Youth" is a stand-out record of 2008. For something so time-specific, it is also timeless. It creates a great escape, and just like his moniker, it's a galaxy all to itself.

Andrew Bird - Noble Beast

By Andrew C.

Andrew Bird's Noble Beast seems to be the first in a few albums where Bird seems to be looking back to his more eclectic Bowl of Fire days. There is still plenty of trademark whistling, loops, and violin, but Bird seems happy to dust off sounds from the past that are equal parts folk and juke jazz. "Effigy" and "Fitz and Dizzyspells" both hark back to Weather Systems with the glimmer of a seasoned producer and songwriter. Still, a song like "Not A Robot, But A Ghost" seems out of place on the album, perhaps the victim of overproduction or a lyrical idea that wouldn't go away.

While Bird's trademark sounds are well known, his lyrics are equally spellbinding and identifiable. The guy has a knack for invented words that might as well be real, blending narratives spliced with bizarre commentary on history and nomenclature, all with the self-awareness of a Charlie Kauffman screenplay. In the standout "Anonanimal", Bird's wordplay, self-effacing instructions, and proclivity for elastic tempos all mesh in a way that he's been building up to for years.

After reading about the production on Noble Beast (You are definitely going to want to click that last link, Ed.), Bird seems absolutely embarrassed about being pigeonholed with a "sound", and constantly seems to be challenging himself to organically grow out of his classical and jazz background, often with 14 hour work days and 200 shows per year. Noble Beast is an indication that he should feel vindicated in his hard work. The album feels new, even with all of his trademark tricks in tow—tricks that, at their best, don't ever predicate the predictable.

Starter Tracks: "Oh No", "Anonanimal", "Fitz and Dizzyspells",
Note: An album of instrumentals "Useless Creatures" will also be released in January.