We’re off to a slow start this year, not a lot of great tunes surfacing this month. That’s why activity on this page has been slow. But not to despair fellow rockers, there is a lot to be excited about in the coming year (more on that later).
Here are a few notables from this month. no order.
Panic! at the disco - Death of a Bachelor
This is a cool record.. almost got its own review. The opening track, Victorious, is a nice anthemic jam waiting to be used by high-school sports teams after a big win. Vocals on this are very solid, elements of Sinatra permeate the latter half of the record. Recommended for fans of Fall Out Boy (who probably already know that).
The Anchoress - Confessions of a Roma
some solid easy listening. Recommended for fans of PJ Harvey Natalie Merchant, and the Dixie Chicks
John Cale - Music for a New Society
You may know John Cale for his proto-punk work in the Velvet Underground. But unlike his sidekick Lou Reed, Cale went down a path that was more avant garde, and less rock’n’roll.
Megadeth - Dystopia
Megadeth has a new one, and if you like Megadeth, you’ll probably like this one. But then, if you like Megadeth, you probably don’t need me to tell you that. I never developed a taste for their flavor of metal, so this just sounds like more of the same to me. But for a more enthusiastic view of this record, check out my buddy Jack’s review here:
http://jackwillowbee.blogspot.com/2016/01/2016-megadeth-dystopia.html
David Bowie - Blackstar
I wrote a separate post on this one shortly before news of his death. Looking back, I have a new-found appreciation for this record. It plays as a sort of musical last will, as he clearly knows he is dying. I guess I wouldn’t expect that to be his most exciting work. But it is remarkable artistically, to have a portrait of the artist as a dying man. For Bowie, art, music, and life were always intertwined.. so too with death. “Isn’t that just like me?”
Chairlift - Moth
Easy listening, spunky and playful. bonus, they’re from Colorado. slow start with the first track, a skipper
Ignite - A War Against You
Ok, I realize Ignite is an old band. SoCo hardcore circa 1993. well, they have a new one. If you like that style ala Sick of it all, Rise Against, BoySetsFire, AFI, etc. here you go. It’s pretty good. Sing-o rather than screamo so I can dig it.
Daughter - Not To Disappear
Anyone need more shoe-gaze in their lives? I’m probably OK without it, but this is not bad. Pleasant, ethereal vocals, good ambience. recommended for bed time. or maybe not at all.
Savages - Adore Life
something like post-punk near the intersection of Erase Errata, Au Pairs, A Lines, and Hunter Valentine. Evil has a beat I could almost dance to.
Bloc Party - Hymns
seems like an aptly named band, because there are some party vibes and chillin beats on this record. If you're looking for some background music for a house party, there may be a few tracks here for you. If you're looking for some seriously exciting spunk (I hope you are!) then I'll have some better suggestions coming soon.
Peace and Love
Sunday, January 31, 2016
Sunday, January 10, 2016
New Record Review: David Bowie Blackstar
New Record Review: David Bowie Blackstar, Jan 8, 2016
David Bowie is a prolific, innovative, musician who has played a large role in the development of pop culture and rock’n’roll, dating back to the 1960’s and continuing to the present day. Any criticism I offer should be interpreted in that context.
The new record is hit-and-miss for me; more miss than hit. At its best, it has some interesting Jazz/Rock fusions reminiscent of what Ornette Coleman was doing in the mid 80’s. The other 60% of the record finds Bowie singing in a sleepy, dead-pan tone that feels like his goal may be to generate just enough material to satisfy a record deal. I admit to not being the biggest Bowie fan, not having studied each of his records in detail, as many, I’m sure have. Feel free to speak up in the comments if you think I’m missing something.
Track 2, ’Tis a Pity She Was a Whore, starts with some interesting jazz sounds and a tempo to keep me awake. It picks up where Bowie’s 2013 The Next Day left off (example If You Can See Me). It would have played better as the first track IMO. Unfortunately, to get to this point, we have to wait through the 10-minute opening title track. boring.
Lazarus falls on the boring side again, but the tempo picks back up with Sue. Girl Loves Me has some strange vocals and Dollar Days some interesting instrumentals, but really, it is left until the last track to pick back up with the interesting themes moving around in this record. So, 3 songs out of 7, about 15 minutes out of 41, where Bowie’s creativity and spunk can shine. My take: interesting at times, but ultimately disappointing.
David Bowie is a prolific, innovative, musician who has played a large role in the development of pop culture and rock’n’roll, dating back to the 1960’s and continuing to the present day. Any criticism I offer should be interpreted in that context.
The new record is hit-and-miss for me; more miss than hit. At its best, it has some interesting Jazz/Rock fusions reminiscent of what Ornette Coleman was doing in the mid 80’s. The other 60% of the record finds Bowie singing in a sleepy, dead-pan tone that feels like his goal may be to generate just enough material to satisfy a record deal. I admit to not being the biggest Bowie fan, not having studied each of his records in detail, as many, I’m sure have. Feel free to speak up in the comments if you think I’m missing something.
Track 2, ’Tis a Pity She Was a Whore, starts with some interesting jazz sounds and a tempo to keep me awake. It picks up where Bowie’s 2013 The Next Day left off (example If You Can See Me). It would have played better as the first track IMO. Unfortunately, to get to this point, we have to wait through the 10-minute opening title track. boring.
Lazarus falls on the boring side again, but the tempo picks back up with Sue. Girl Loves Me has some strange vocals and Dollar Days some interesting instrumentals, but really, it is left until the last track to pick back up with the interesting themes moving around in this record. So, 3 songs out of 7, about 15 minutes out of 41, where Bowie’s creativity and spunk can shine. My take: interesting at times, but ultimately disappointing.
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