Pavement - Speak, See, Remember (Terror Twilight)

Pavement’s swan song, Terror Twilight, reveals a muscular, mature band strutting a decade of indie cool without batting an eyelash. Speak, See, Remember is a Jekyll and Hyde romp. The first section is a jazzy number, pushed along by Mark Ibold’s walking upright bass and rippling guitar textures.

Pavement's

Stephen Malkmus, lead singer of Pavement

The second section of Speak, See, Remember explodes with full electric destruction. A landslide of sound is unleashed as Stephen Malkmus (of The Silver Jews and The Jicks) offers a searing critique of capitalism run-amok.

Buy now!
Develop the coast and raise the sight lines
The ocean’s moving out
And someday
Develop the coast and sell the air
You know if we could we’d sell the air
Stand back!
Expansion is what we do the best
I don’t see the grass and the fields
I see an epicenter with agendas
And you’re aware they must be next
I hope you’re aware they must be next

The tempo ratchets up, distortion kicks in. Classic rock riffs. Pavement takes the song to 11 with surgical precision, a triumphant refutation to anyone who’s ever accused them of being sloppy.

Sounds like the love child of: The Clash and The Replacements

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The Roots of Orchis - Contorted Face of Mercury

Two basses twist together, playing out a deep, low groove. Chimes are heard in the distance. Up come the drums. Oh, Contorted Face of Mercury, what secrets do you hold? You twist back upon yourself, with grace and elegance. A snake stalks its prey, prepares to strike. Taughtly coiled, all energy and wicked intelligence.

Roots

The Roots of Orchis hint at the knowledge of good and evil, with a poison that seeps into your system, slowly drags you down into its melodic embrace. You are drawn to the drums of war. The diner bells rings, your mind a serpent’s feast.

Sounds like the love child of: The Black Heart Procession and Cal Tjader

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Martin Sexton’s Recipe for American Candy

Martin Sexton Sings Candy from The American

A big, sluggish alternative rock song full of chunky chords, Candy lets Martin Sexton’s overpowering voice… overpower. Sexton’s range, from low to high, vibratto, falsetto, and a bunch of other latin words, sends shivers every time I hear them. Candy is one of the many highlights from Sexton’s album The American. Sexton is more than a powerful singer, though, he is a master story teller.

Hey little jail bait
Tell me a story
Let me bum a smoke and we can chat a while
I only need a moment
One moment in your glory

Lyrics delicate, precise, but obscured by the smoke as well. A metaphor so clear it’s meaning nearly disappears. When it does, Sexton’s voice remains, roaring and rising, raging and resigning.

Sounds like the love child of: Dave Matthews and Van Morrison

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Photo by Peter Kelly

The Dismemberment Plan - The City (more than lyrics)

A lot of people have trouble with The Dismemberment Plans’ lead singer Travis Morrison (now of the Hellfighters). His voice grates. He released “the worst solo album. ever.” Other people find The Plan’s music full of anxiety. Or depressing.

Maybe.

But on this paean to a special soul in a big city, The Plan spin perfect poetry. With a simple guitar riff, distinctive drumming, a fat, dirty synth and heart-wrenching, vivid, lucid lyrics. Lyrics few writers have the depth or melancholy to draft.

The Dismemberment Plan Sing The City

Now I notice the streetlamp’s hum
The ghosts of graffiti they couldn’t quite erase
The blank-faced stares on the subway
As the people go home
The parks lay empty like my unmade bed
The streets are silent like my lifeless telephone
And this is where I live, but
I’ve never felt less at home
So I’m not unsympathetic
I see why you left
There’s no one to know
There’s nothing to do
The city’s been dead
Since you’ve been gone…

Sometimes I stand on my roof at night
And watch, as something seems to happen somewhere else
I feel like the breeze will pick me up and carry me away
Out and over this iridescent grid
Up and away from the bar fights and neon lights
Out and away from everything that makes me what I am
So I’m not unsympathetic
I see why you left
There’s no one to know
There’s nothing to do
The city’s been dead
Since you’ve been gone…

 

These are stark, stark words to describe a city no longer inhabited by anyone of emotional significance. A city that lacks its relevant animus. A mere entropic collection of humanity and decay. And yet it’s oddly beautiful.

All I Ever Say Now is Good-bye

As the song drives to its jerky conclusion, the drums hit: bang bang bang. Then sleek, drawn out notes float in, build up. Screams of “Good bye” rend the air. And then a gentle let down, like letting go, walking away from a lover forever, without looking back.

Sounds like the love child of: Controlling the Famous and Fugazi

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Super Furry Animals - Cloudberries

Editor’s Note: The following is a short story inspired by The Super Furry Animals’ Clouberries, please give it a listen while reading this post.

She cried, but not loudly. It was a low sounding drip, settling into the rhythm of busses and laughter that spread out from her ground floor window. How can you change? she thought. What kind of platform did she have to jump off from, at this point? It was an old, grey day; it had been too long since she thought in these comfortable spirals. She dropped to the floor, curled up next to a heating vent, and clicked the old stereo on.

Billy Allen, Billy Allen. It all came down to him, his cocky smile, his veiny fingers, his brusque way of existing in a world that was too simple for his tastes. The last time she saw him - the memory that set her emotions rustling out of the gate, a moment ago - he was wearing a too tight, over-clean suit, shaking her hand and that of her aging father, with a sideways smile. A few months later, she saw the headlines.

Super Furry Animals Cloudberries
It was an old wood paneled floor, the kind that accumulated old dust and absorbed the creaking heat from the vent her back was pressed on. It was a shabby sort of comfort - she felt old fashioned, like she was existing in an old story that she had never properly visualized before, The Dead. The radio hummed slowly but with a strangely full sound, touching every harmonic, like a giant walking home from a too-easy victory, shamefully aware that he monopolized the attention of everything he passed.

She stretched her arms, almost touching the opposite wall - it was a narrow hallway. There was a rusty sounding guitar somewhere close, not coming from the radio. Perhaps out of fear, she only allowed herself to be halfway aware of it, but then the metallic hum started slipping from one side of her to another. Was it her imagination?

She stood up with a start, wringing out a spastic shiver, as if that would end the sounds - but it didn’t. They built up, playing scales, swimming carefully and sadly along the wave of sound flowing from the radio. And then she saw him. He walked through the door, with that same hesitant smile he gave her five years ago.

Do you hear it? she asked, her mouth drying up.


I think I hear something different, he said.He gave her a knowing smile, a loungey wink, snapped his fingers, and started dancing, pointing his fingers from side to side, looking at the floor with a bit lip of bemused concentration. The music came from every direction, it was a sort of old fashioned jazz lounge jive. Her cat slid on her back paws straight through the room. A pigeon slammed into the window, but wasn’t harmed. He put his arm around her, and they shimmied across the overlapping wooden slats of the hallway, laughing at the giddy beat.

Super Furry Animals Cloudberries

It was a perfect moment, though she knew that some part part of it proved that she had, right there, given up her sanity. As soon as that thought fully formed, he turned and slammed his hands on the wall, in an all together over dramatic scene, from what she remembered of him. No, he said, this will only be a moment. I’ve demasted, sure, I’m out there, drinking what’s left in the liquor cabinet and drifting farther into the Atlantic. The newspapers are right. But you’ll keep going, you’re changing already, look at your hair - it’s shorter than I’ve ever seen it. But I thought you needed this.
Super Furry Animals Cloudberries
So this is it?

He gave her no answer.

Of course, she thought. She closed her eyes, endlessly depressed, slinking to the floor, forgetting him again.

When she opened her eyes - just a second later - everything was the same again. Just her and a dusty hallway. She thought she heard the radio still playing, but it was only a car horn, some disgruntled driver, blowing through the street. The song must have ended.

Who Killed the Zutons??!?

Listening to The Zutons is like walking through a carnival fun house - your body maintains its character, but it gets reflected in all manner of mutations. These Liverpudlian’s debut album Who Killed The Zutons? is a frenetic romp through front man Dave “Dickhead” McCabe’s twisted mind.

Featuring multi-part boy/girl harmonies, catchy guitar riffs, arena-rock drums, manic bass playing and highly original use of the Saxophone, The Zutons create an EXTREMELY compelling series of texture. The album includes, “Havana Gang Brawl,” arguably one of the top-ten English language songs written about the Cuban Revolution this Millennium.

Simply put, this is a really exceptional album that rocks hard but makes space some surprisingly touching ballads.

Who Killed The Zutons

“You Will You Won’t” sounds like a modern stomp in the vein of Credence Clearwater Revival, complete with raspy vocals, anthemic choruses and sizzling guitarwork. It’s the lyrical equivalent of the eternal Loony Toons debate between the angel and devil on Bugs Bunny’s shoulder. I think.


Well the devil’s standing tall on the top of the hill
Pointing down his fork and betraying your will
You gotta make decisions whether old or new
Then god comes from the heavens and he’s saying to you
You will you won’t
You do you don’t
You’re saying you will
But you know you won’t

Sounds like the love child of: Kiss and Credence Clearwater Revival

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Photo by Splendour in the Grass

Lali Puna - Bi Pet, Haunting, Simple Lyrics

Wisps of sound flit like fireflies, Valerie Trebeljahr and Markus Acher’s (of the Notwist) voices mix syrupy, tender, but also monotone. They channel sentiment more than emotion, like the 8-bit soundscape that iterates to higher and higher resolutions of blips and bleeps.

Lali Puna - Bi Pet, Haunting, Simple Lyrics

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Born
Bored
Discovered
All the things we do are pin-up sweet
Born
Bought
Discouraged
All the things we do are pin-up sweet
In between we’re recorders
In between we try

The lyrics have the depth and simplicity of a haiku. Stark meaning builds through repetition. Despite the desolation, Lali Puna hints at hope, that there is still a reason to try.

Sounds like the love child of: The Notwist and Mouse on Mars

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Controlling the Famous - Automatic City - Two Sides

Controlling the Famous Automatic City Two Sides

Max Hellmann and John Collins’ angular guitars battle it out to lay claim to the irresistible introduction of Controlling the Famous’ stand-out track Two Sides. A propulsive drum and bass carry you along, sweep you down, lock in a fiery rhythm. The song, and the rest of the stellar album Automatic City, deal with how you define and build a stable life when you’re young, alone, poor in a fast city, and then, then the song hits it on the head:

A smile on my face
A car to drive
Someone in shotgun, by my side

And the soul decides to make one congruent line

Explosive guitars jingle and shimmer. And with that thought the song returns to its primeval rhythm, now marked by a new knowledge, peace, comfort and a soaring harmony.

It’s a shame Controlling the Famous have decided to call it quits.

Sounds like the love child of: The Dismemberment Plan and Minus the Bear.

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Photo by Nevbrown