Frightened Rabbit "Winter of Mixed Drinks" (Album Review 9/52)

Just over a year ago (February 22, 2010), I posted a video for a forthcoming album from the band Frightened Rabbit. Since the album "Winter of Mixed Drinks" was released last march, I have to say that it's moved me as much as any other musical work ever has.

As I was looking back at the albums I've reviewed since this little project started in January, it struck me that while I've really enjoyed them all, nothing has moved me the way that "Winter of Mixed Drinks" did last year. So, as I was trying to decide what to review this week, I decided to bring this album back to the top of the pile.

I'm not naturally attracted to sad and depressing emotions in music, so this is an odd choice as one of my favorite albums ever. But the raw emotion of Scott Hutchison's singing, the cohesive emotion, and the complete treatment of the thethroughout the album more than offset my natural sunniness.

In her preview of the album last year, Heather Armstrong makes a point of saying that the "Winter of Mixed Drinks" tells a story of a man healing, compared to the downright oppressive "Midnight Organ Fight" (the band's previous album.

One of the things I find so interesting about this album is that so often now, you find an album is a collection of singles. Of course, that model makes perfect sense in today's music market. If you have any interest in the market for music, you should have seen this post about the current state of music sales.

The fact that this album makes sense the way albums used to - as a coherent work of art - makes me love it even more. There is a progression in this album from pain to hopefulness. In the post from the I Am Fuel Your Are Friends blog above, Heather totally nailed it, based on what she heard from the one song available at the time, but it hold all the way through the album.In the first part of this album, the songs evoke the pain of a break-up; but by the end you start to see the glimmer of recovery.

A couple of weeks ago, we were having the perentheme nial discussion of the greatest lead-off songs on an album. I'd like to nominate "Things" in that category. In this song, Hutchison sorts through the physical detritus of his relationship, but acknowledges that its not the things he misses, but the person:

Never need these things
I'll never need them, oh
This is you and me, you are human heat
And the things aren't holy things
And the things bring me light, they bring me
Never need these things
I'll never need them, oh
Never going back, so we can drop the past
And we'll leave it on the floor and run for dear life for the door

The second song "Swim Until You Can't See Land" is equally powerful. I mean, at it's heart it's a song about a man considering suicide. Doesn't get more bleak than that. The emotional kick of this song blows me away every time I hear it. Heres the video:

The bleakness (and the emotional punch) continues with "The Loneliness and the Scream"

Finally, however the pain starts to resolve and you begin to see the light. My favorite song on the album is "Nothing Like You." Although it's a long way from resolution, you can see a glimmer of hope in a new relationship:

While it's the least interesting video of the bunch, it is remains my favorite songs after a million listens. The healing continues in the song "Not Miserable Now"

Though the corners are lit
The dark can return with the flick of a switch
It hasn't turned on me yet, yet

(I am)
Not miserable now
No one knows
No one knows
I'm not miserable

By the time we get to the last several songs on the album, you can feel the pain beginning to recede and the songs begin to look forward. We're still a long way from hopefullness, but signs of life return. The song "Living in Color" promises a future:

Though i dreamt with a rapid eye
By day i hope to rapidly die
And have my organs laid on ice
Gave to somebody thatll treat them right
And as the night started swallowing
You put the blood to my blue lips
Forced the life through still veins
Filled my heart with red again

Bottom line: I hope that you will buy and listen to this whole album. It's an under appreciated classic. Plus - let's just admit it - to an American, almost anything sung in a Scottish accent sounds cool.

Beady Eyes "Different Gear, Still Speeding" (Album Review 8 of 52)

First and foremost, Beady Eye's debut album "Different Gear, Still Speeding" is an homage and an evolution of the sounds of English rock and roll that have explicitly influenced frontman Liam Gallagher.  While I was surprised to hear it as explicitly as it comes across on this album, I think it really works. As weird as it sounds to say this in 2011, if you love the Beatles, you have to give this album a listen.

Former Oasis frontman Liam Gallagher and the rest of the most recent iteration of Oasis announced in 2009 that they were separating from Noel Gallagher. After a number of tumultuous years between the brothers (Noel and Liam), it surprised few that this would happen eventually.

Also not surprising is the evolution of the sound of Liam Gallagher's music. Although Liam Gallagher has consistently acknowledged the influence of the Beatles in his music, it has never been more readily apparent than it is in this album. Pick any track on this album and the influence is unmistakable. Personally, I could hear it in Oasis' albums from the 90's. But it's right up front here, and they do nothing to allay that perception in the look, sound and feel of the band's image.

For example, take a look at this screenshot from the front page of their website. I know that it comes straight from a Beatles or Stones photo, but I just can't place it. If it doesn't, then they've accomplished the feat of creating memories that don't exist. Your help in ID'ing this memory for me would be much appreciated.

On to the music: There are any number of great tracks on this album, but let's start with the first single, "The Roller."

I'll take you somewhere you never knew you'd been
I'll give you something you never knew you'd feel
The only thing is everything is really tonight, tonight, tonight
Just call me the roller
I'll squeeze and unfold ya
Call me the roller
I just go to show ya

Just look at Liam Gallagher in this video and tell me he's not channelling John Lennon.

It's a cool song and a great video.

One last note about the Beatles sound on this album. Gallagher embraces the comparison and shows that he's confident in his ability to stand up to it in a song unapologetically titled "Beatles and Stones". How many bands do you think could get away with a lyric like this:

I’m gonna stand the test of time
Like Beatles and Stones
I’m on my way home,
just get back to what’s mine
And when I get home, well I’ll be alright
What’s that you say?
Get out the way!

Beyond the "English sound", there are some exceptionally strong rockers on this album. The song "Four Letter Word" has a thoroughly modern musical drive to it. Interestingly enough though, the look of the video is all The Who with the Mod look.

So, I've gone on and on about comparisons to the Beatles. Is there room for a "New" Beatles in the rock world. My answer is yes. Thus sound and the feel of this music sounds fresh. If anything, it rekindles my appreciation of the great legacy that Beady Eye has inherited and moves forward on this album. Thanks, Beady Eye. Now I think I'm going to go listen to a little John Lennon before I go to sleep.

The Civil Wars' "Barton Holow" (Album Review 7/52)

When I was soliciting suggestions for interesting and different music to review a couple weeks ago, a friend recommended The Civil Wars (thanks Kirk - @dkirkmcdonald). I guess that I've seen them mentioned on some of my regular music blogs a couple times, but hadn't really given them a second thought. Also, I've never gotten into Grey's Anatomy, where the song Poison & Wine was featured (more on that later).

Anyway, I decided to give it a non-casual listen - and I'm glad I did, not only because I really like his album, but also because my wife actually likes it too (which isn't the case with everything I play for the whole family). So, thanks for that, Civil Wars.

The Civil Wars are a duo based in Nashville consisting of John Paul White (various guitars and vocals) and Joy William (various keys and vocals). Here's their website.

One other bit of business before I move on to the music: the first time I listened to it, I was already formulating comparisons in my head to The Swell Season. The comparison is obvious on the most elemental level - a man and woman playing acoustic songs about relationships. But the more I listened, the bigger the differences become. The Civil Wars draw heavily from a country/bluegrass/Southern vibe that differentiates them from the Swell Season. In fact, the more I listen, the less apt the comparison seems... In a good way.. For both groups... Comparisons may help us to simplify and compartmentalize what we hear, but I caution myself, and you, not to let simplification limit our horizons.

The Southern influence is most pronounced in songs like the title track Barton Hollow. This song owes a more to great blues traditions than anything else. Joy White's beautiful harmonies on this song belie the desperation in the lyrics. This is my favorite song on the album.

So, I ask you does this lyric look like it comes from a an indie music duo or Robert Johnson?

Ain't going back to Barton Hollow
Devil gonna follow me e'er I go
Won't do me no good washing in the river
Can't no preacher man save my soul

Here's the official video:

For comparison and as a "live performance check", here's a 1 guitar, 2 voice acoustic performance of the song:

One of the great things about YouTube is that you can now see how artists actually sound in live performance. It's one of my favorite ways to gauge artists. As much as I appreciate a great studio recording, if an artist can't pull off a version that's as good or better live, I always think a little less of them. The Civil Wars performance here is every bit as compelling as a studio recording, to my ear.

The group's breakthrough was when their song Poison & Wine" was picked up by Grey's Anatomy and played in it's entirety over a montage of two characters' relationship during season 6 of the show. Here's the video to Poison & Wine

Here's another cool thing. Early in their careers, (their second show, actually) they played at Eddie's Attic in Decatur, GA. The club's sound guy recorded the show and gave them a copy. They released the complete recording and you can download it for free here. That's cool; props to the band for making that available. It's a great show.

That's all for this week, music lovers. Thanks for reading, and let me know what you want to hear about next.

Local Natives' "Gorilla Manor" - Album Review (6 of 52)

"Gorilla Manor" is a nuanced,layered, atmospheric work. Pretty much, you could say that it was written for someone with precisely my taste in music. My bottom line on this album is that it is very good but just a tad bit short of outstanding. In the end though, I chose to review this because I found myself thinking about it late in the day after having listened to it while working early on Thursday, i.e. the music stayed with me. And that's the kind of visceral, subconscious reaction to music that makes me love it.

Once again this week, I was sifting through suggestions and new releases, looking for something to inspire me... something I just HAD to write about. I posted a Facebook and Twitter status soliciting suggestions and got a lot of good ones. Ohio musician, and friend of friends, Lizard McGee of the band Earwig (Review of "Gibson Under Mountain" forthcoming) reminded me of this album, which I bought several months ago, but hadn't really paid enough attention to.

To start off with, a little background on the Local Natives. I love these guys' story: basically, they formed as a band in high school, graduated and moved into a house together in an LA suburb. This album is self-funded, and they kicked off their career by heading off to on a European tour. Kudos for chutzpah and self confidence. The other thing I love about their bio (at least as told on Wikipedia, which I assume is their own story) is that EVERYTHING is 100% collaborative. I like the vibe and I like the result.

Anyway, on to the songs: the first song on is "Wide Eyes" Here's the video:

Interesting video to say the least. I like the message, obviously a song about confronting inner demons. I love the texture and feel of this music: that feel runs throughout the album and makes it very enjoyable to my ears. But could they have gotten a less cheesey-looking shark? Nevertheless, if that's a sound that works for you, read on.

The second song is "Airplanes". Despite the silly intro, this is my favorite song on the album. Here'sYouTube:

It's a great song because it's so simple. Compared to the lyrics to the last couple albums I've reviewed, the lyrics to this song are like a Tweet. But they're powerfully delivered. At the end:

It sounds like
We would have had a great deal to say too each other
I bet when I leave my body for the sky
The wait will be worth it.

It's now getting late, and I need to start closing this up.  However, I do want to add that this album maintains a consistent quality throughout.  There are a couple of weaker (to my ear) songs, but overall, I like most everything they offer up on this album.  In particular, I'd direct your attention to "Shape Shifter,"  "Warning Sign,"  and "Stranger Thread."

I guess that one of the hesitations that I have about a full-on 100% endorsement of this album is that I really do like this sound. But there is already someone else (as it were) who's captured my ear. I think this sounds like, but not quite as good as The Whiles "Colors of the Year", which is hanging in there as one of my favorite albums of all time. But I shouldn't hold that against the Local Natives, I just encourage you to get both...

And with that, I'm going to start doing one of the things I really want to do on this blog, which is introduce my friends in Columbus and everywhere else to some of the great music coming out of Columbus, Ohio.  Next week, I'll tell you why I love "Creature" by the Phantods.