Review: Sufjan Stevens: "The Age of Adz"

In 2009, Sufjan Stevens contributed a song called "You Are the Blood" to the excellent compilation album, Dark Was the Night.  At the time it was released, it was one of the first original Sufjan pieces I'd heard in years, and at 10 minutes, it seemed to signal a change in the style of music the artist was interested in creating.  It was not only the song's length that gave it away, but also the heavy emphasis on electronic instrumentation.  While the more dedicated fans out there know that electronic music is nothing new to Stevens, he had yet to really combine it with his more orchestral pieces in the way that he did in that song.  I, for one, found it to be refreshing take on his usual schtick which, like it or not, just wouldn't have been as enchanting now as it was in 2005 (if only for the fact that we've all been listening to it for five years).  With The Age of Adz, Sufjan continues to evolve his sound in a similar manner to "You Are the Blood," with almost-perfect results!

The album begins with "Futile Devices," a beautifully soft acoustic song that serves more as a palette cleanser than as a track indicative of the whole of Adz.  Sufjan's billowy vocals float lightly over his delicate guitar-picking, putting the listener at ease and giving us the chance to enjoy the wonderfully-written lyrics.  It ends abruptly, if not beautifully, running head on into the glitchy percussion of "Too Much."  This song is the real primer for  The Age of Adz.  It adds synths and electronic percussion to great effect, but simultaneously retains what was always so great about Sufjan Stevens' music - namely, a brilliant composition, lively vocal arrangements, and music that is constantly engaging.  It literally sounds like a classic 50-states era song with some newly-introduced instruments.  It's easily one of the album's catchiest tracks, and the one on which most opinions will be hitched; positive or negative.

From here, Sufjan continues to trek into new territory.  Title track, "The Age of Adz" begins with a flood of horns and flutes that make it sound more like the soundtrack to an epic battle scene than a Sufjan Stevens song.  Unfortunately, a lot of that momentum is thrown out soon after and the song reveals itself to be a bit more ho-hum than it led on - like a sheep in wolf's clothing.  "The Age of Adz" reveals pretty plainly what the album's greatest flaw is, and that is Stevens' reoccurring difficulty to write a compelling vocal melody.  The same guy who was able to make a song about a serial killer into a oddly-catchy sing-along can barely assemble a strong string of notes on a few of the songs on Adz.  Granted, on tracks like "All For Myself" or "Bad Communication," he seems more focused on creating an atmosphere than a melody, but he does so at the expense of arguably one of his greatest talents as a songwriter.

"Get Real, Get Right" picks up where "Too Much" left off, blending upbeat glitch percussion and more traditional instrumentation with a strong hook.  Surprisingly strong, in fact, considering it features Sufjan and Co. singing "Do yourself a favor and get real, get right with the Lord."  Sufjan's never been one to shy away from his faith in music, but it's rarely been so plainly written and joyfully executed.  Whether it's done in jest or in earnest is debatable, but the brilliance of the song is not.  A person with a less open mind might be quick to judge then when Sufjan proudly declares just a few songs later that he's "not fucking around" - but I personally find it to be one of The Age of Adz's most-enjoyable moments!  The moment happens in the second half of "I Want to Be Well."  On first listen, I was caught off guard by the sheer brazenness of the language.  Sufjan has always been a very delicate writer.  However, by the time he's passionately shouting the line over a chorus of vocals singing "I want to be well," I'm right there with him, cheering him on!  This is not an emotion we are used to from this guy, and it is made all the more powerful as a result.

A lot will probably be said about the way that Sufjan decided to end The Age of Adz.  Any song that clocks in at over 25 minutes is certainly a sign of overindulgence, and "Impossible Soul" is certainly not an exception to this rule.  But to its credit, the song never tires, never bores - not once in its 25 minutes!  Plus, the song gives us a featured performance from Annie Clark, a dance section, and one of the most tragic endings to a song I've heard all year.  Is it unnecessary?  It's hard to say, really.  To be sure, his use of auto-tune in one section is questionable (and perhaps unintentionally funny).  But at the same time, the technology has definitely been used to worse ends in the last few years!  And let's not forget that "Impossible Soul" is perhaps more accurately viewed as the second half to a double album or an EP within an LP.  Even without its inclusion on Adz, the album is brilliant, however its place at the end of the album gives The Age of Adz a more touching ending and an increased depth.  There is a lot to take in here that many of listeners may not appreciate until after repeated listens.

Whether people end up hating or loving The Age of Adz, one can't really fault Sufjan for wanting to try his hand at self-reinvention.  In 2005, this guy was on top of the indie music world.  It would have been easy to milk that success with a few more albums about states in the same vein as his previous critically-acclaimed albums.  Instead, he retreated into pet projects and relative obscurity, all the while crafting an album that is bold, entirely unique, and unfailingly captivating!  The Age of Adz is refreshing in ways few albums have been since Illinois was released over half a decade(!) ago.  While it won't hold a candle to some of his past albums, The Age of Adz stands entirely on its own as a brilliant work of creative genius!  Sufjan is back, and thank god, he hasn't lost it!  Not even close.

Key Tracks:
1. "Futile Devices"
2. "Too Much"
3. "I Walked"
4. "Get Real Get Right"
5. "I Want to Be Well"

8 out of 10 Stars  

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10/8/2010: LCD Soundsystem w/ Sleigh Bells - Houston, TX

Typically when ACL comes around, Houston gets a few minor residual bands who do a show on their way through the state.  But this year has been good to us.  On one night I get to see Beach House and Vampire Weekend.  On the next, I see LCD Soundsystem and Sleigh Bells.  While Vampire Weekend was certainly an excellent show to see, this one totally blew it away!

This is Sleigh Bells.  That is a moderately large wall of amps.  My ears are still ringing.

I've been a fan of Sleigh Bells from the moment I first heard "Kids" and seeing them live has been an experience I've been dying to make reality.  They do not disappoint.  Quite the opposite actually; they're freaking amazing!  I had seen a few YouTube videos of their shows, and none of them come close to matching the sheer energy that is on display!  Derek's guitar shredding is enthralling and Alexis has the stage presence of Alice Glass.  She certainly knows how to get the crowd going.  Every song they played was amazing, primarily because they left out "Rachel" (thank heavens!).  I will definitely be seeing them again!

Next up is LCD Soundsystem.  Now, I've been hearing about how awesome LCD shows are for years, but until last night I have never seen one.

Damn.

This could very well be one of, if not the best live show I've ever had the pleasure of attending!  From the moment the band walked on stage, the Verizon Wireless Theatre turned into one giant party.  The band wisely eschewed some of their slower songs and kept the energy turned up with the best songs from all three albums.  This is Happening received most of the love, as expected, but it's also LCD Soundsystem's best album.  So fair trade.

It's blurry because I'm dancing.  No need to stop for a picture, really.

James Murphy.  How do you do it?  How do you take something so repetitive and easy and make it into some of the greatest music of the last decade?  How do you transform that into something that I'll not only pay to see, but pay to see again and again?  There wasn't a damn thing wrong with last night's performance.  And sure it could've been that I was a little tipsy, or that I was in the company of some very nice people; but that show was amazing, and I had the time of my life!  For real.

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10/7/2010: Vampire Weekend w/ Beach House - Houston, TX

A few nights ago, two really great bands came through town.

Beach House performs "Norway." Meanwhile, iPhone takes poor pictures.

Beach House has been getting regular plays on my iPod for months now, but mostly just the song "Zebra," which I adore.  The rest of their most recent album is awesome, but it's just not going to be featured on my regular rotation.  But damn, Beach House was amazing the other night!  Hearing "Norway" live was probably the highlight of the evening, besting anything that Vampire Weekend could come up with.  The band has this sort of ethereal sound that just flies out of the speakers and hits you in the chest.  If you're going to listen to Beach House, live is the best way to do it!

And then Vampire Weekend came out and put on a hell of a show!  This was the first time the band has ever been through Houston, and I feel like we did them right!  The crowd was loving everything they were playing.  Even total balls songs like "Taxi Cab" - just a live bore, really - was treated to applause and niceties.

Vampire Weekend does their thing.

One thing the band definitely has is showmanship.  Whether it was bursting onto the stage to rap music, Ezra's undeniable stage presence, or Chris Tomson's amazing drumming, the band is absolutely captivating!  In the little over an hour they played, they hit all the highlights of their first two albums, though I was a bit disappointed that they left out "I Think Ur a Contra."  Granted, it wouldn't really have livened up the crowd, but it is a gorgeous song.  Best song of the night was easily "Oxford Comma" which remains their crowning achievement in general.

It was a wonderful evenening and I had a great time!  The only thing better than this night was the next.

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9/13/2010: Crystal Castles - Houston, TX

Dear Crystal Castles,

This being the second time I've seen your live show in the last month, it should go without saying that I really enjoy what you do.  Your dedication to your music really comes through in the live setting in a way that I've rarely seen in all my years.  Crystal Castles is one of the few groups who actually sound better live than on recordings (more or less).

Ethan is god-like.  Whether he's playing a really cool retro synth or vocoding the crap out of Alice's vocals, his skills are easily the backbone of the group.  And yet despite this, Alice remains a particularly mesmerizing figure live; bringing a punk rock authenticity to a genre of music that is typically plastic and hollow.  Seeing her get molested by the crowd only to go back on stage and light up a smoke like it's no big deal is pretty badass.  Oh and Chris' live drumming?  Just perfect!  You guys really have your thing down!

If you ever come back to Texas, I will be seeing you again.  And so I thought I would politely request that if you're only going to play a 45 minute set that you make sure the intermission between the opening act and your act isn't an hour long.  That seems like an especially shitty move, considering that the only thing required for setup is clearing off his table and pulling a couple of black sheets of a drumset.  Also, it's also not good when the opening act "plays" a longer set than the headliner.  I certainly didn't pay to see a dude try to hype up the crowd for an hour, and I feel as if I'm not alone in that.

But seriously, you guys rock.  I have the sweatty clothes, sore muscles, and sleep deprivation to prove it!  Just keep the bullshit to a minimum in the future.

Much love,
Cale

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Review: of Montreal: "False Priest"

In 2005, Kevin Barnes and of Montreal briefly flirted with the mainstream with the release of The Sunlandic Twins.  That album got them a lot of deserved attention.  And though each album since then has garnered much more commercial success, the music has taken a decidely non-mainstream turn.  Not that that's necessarily a terrible thing.  For as unfocused and schizophrenic as 2008's Skeletal Lamping was, it wound up being one of the group's most astonishing and endearing achievements.  False Priest picks up where Lamping left off, with Barnes once again calling upon his Georgie Fruit persona for inspiration.  Though less ambitious than its predecessor, False Priest is still a deserving addition to of Montreal's already stellar catalogue of music.

Like most of Montreal openers, "I Feel Ya Strutter" starts the album off with a bang!  The piano-led, upbeat pop song showcases what is likely to be the most divisive aspect of  False Priest, Barnes' heavy-reliance on falsetto singing.  Barnes has never had the least-annoying voice in indie pop, but hearing him wail in falsetto makes his voice even that much more polarizing.  As initially off-putting as it may seem, Barnes' embrace of this new-found liberation from vocal restraints makes the music even wilder and more enjoyable than it would have otherwise been.  On "Strutter" you can practically hear him singing off his shackles, and to great effect!  The song - about Barnes' realization that he is "blessed" to be with someone - finds its antithesis in the next track, "Our Riotous Defects" - a song about the crazy ex-girlfriend.  Its spoken-word verses are not new in the world of of Montreal, and neither is its conspicuous humor.  Kevin's reminiscing of the ex in question killing his beta fish as punishment for contradicting her in front of her friends is laugh out loud hilarious!  Janelle Monae joins in on the song's coda, sounding lovely, if not underutilized.

Intra-album genre-hopping has never really been of Montreal's strong point, but on False Priest they manage to arrange an eclectic array of tunes into a relatively cohesive whole.  Whether it's the unapologetic funk of "Hydra Fancies" or the smooth R&B sounds of "Enemy Gene," there are a lot of styles to take in here.  The former song is my personal favorite on the album, featuring one of False Priest's catchiest hooks and an absolutely infectious synth solo towards the end.  "Sex Karma" is equally as endearing and likely to be the album's second single.  Solange Knowles absolutely kills it on the song's chorus, going tit for tat with Barnes' sex-crazed persona and singing such memorable lines as"You look like playground to me, playa" and "I kiss you where I shouldn't be."  Also particularly brilliant is, "Coquet Coquette" - a great choice for the first single, as its easily the album's most "normal" , least-convoluted track. It's spanish guitars and catchy bassline make for repeatedly enjoyable song.

More often than not, of Montreal sounds more at ease with upbeat tunes than the more solemn songs.  The depressing "Casualty of You" is a complete dud; not because it's unexpected and seemingly out of place on an of Montreal record, but just because it's boring and unaffective.  of Montreal's "thing" in the last 5 years has been catharsis through pop music, but "Casualty" is a prime example of how to do that entirely wrong.  Likewise, album-closer (and awesomely-titled), "You Do Mutilate?" ends the album with Barnes in the pulpit.  His spoken-word sermon about respecting your fellow-man is admirable, to be sure, but it comes off as poor interpretation of a Michael Jackson acceptance speech and is no way to end an album.

But overall, False Priest is quite an enjoyable experience.  Kevin Barnes has never been one to play it safe, and False Priest is an excellent example of this.  Therefore, like all of Montreal albums, a listener has to go into it with an open mind.  While a lot of it may seem  too outlandish upon first listen; Barnes' unbelievable ability to craft memorable hooks from the most bizarre places will eventually win over the majority his detractors.  Though the album's greatness wavers towards its end, there is very little on False Priest that isn't at least slighty awesome.  It's a welcome addition to my of Montreal collection, and something I'll certainly be listening to for months.

Key Tracks:
1. "I Feel Ya Strutter"
2. "Our Rioutous Defects"
3. "Coquet Coquette"
4. "Hydra Fancies"
5. "Like a Tourist"

7 out of 10 Stars

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7 Pop Albums No Dude Should Be Ashamed to Love

Pop music gets a bad wrap these days, and for good reason. The majority of modern pop music is just the same song, regurgitated and sprinkled with an extra layer of glitter. Click here if you don’t believe me. But there is some good stuff out there too. The problem is, your average dude’s perception of modern pop music is that it’s girly, chick music made for preteen girly-chicks; which isn’t an entirely invalid assessment. The flipside is that most dudes are also going to think that the only music out there for them is going to be the macho-man, power chord-filled (POWER!!! RAWR!!!) nonsense that gets played on modern rock stations. But hey, there’s nothing wrong with loving pop music as long as it’s good! After all, a dude who only listens to Nickelback isn’t really a dude at all. He’s just a douche.

7. Yelle: Pop-Up (2007) – Don’t think I would set out to compose a list like this without giving your manliness a little bit of a challenge. The country of France is like one big inside joke to us in the States, especially when it concerns issues of masculinity. So if you’re going to give pop music an honest shot, why not put yourself out there by listening to a little bit of French pop music. That’s right, Yelle is a French pop band with songs sung entirely in (you guessed it) French! If that alone makes you want to pop in your Staind CD and drink a Keystone, you may want to skip ahead. However, if you’re down for some inventive, catchy dance-pop, grab a copy of this album and get ready to experience something unlike anything you’ve ever heard on American radio. Definitely download: “A Cause Des Garçons”

6. Ellie Goulding: Lights (2010) – Now that we’ve left France behind, why not make a stop in the U.K. to introduce you to Ellie Goulding? Goulding is fairly well-known in her home nation for her own form of pop music, which relies heavily on dancy, club beats and better-than-average lyricism. The lyrical prowess could stem from her oft-referenced folk background, but don’t let that throw you off because Lights is a pop album through and through. So why should you, a dude amongst dudes, listen to Ellie Goulding? Simple. It’s really good. It’s what Miley Cyrus would sound like if she weren’t spoonfed ridiculous lyrics. It’s what Katy Perry would sound like if she didn’t rely on producers whose only goal is to make her sound pander to the lowest common denominator. And she’s super cute. Which is cool too. Definitely download: “Guns and Horses”
 

5. The Bird and the Bee: Ray Guns are Not Just the Future (2009) – The Bird and the Bee is a boy-girl pop duo from California whose sound is pop for sure, but also draws heavily from jazz and lounge music. Ray Guns is their sophomore album and ended up getting a respectable ranking among my Top 15 Albums of 2009. There’s a little bit for everybody here; from straight-up dance songs, to more bubblegum fare. One of the great things about this album is its diversity, so if you’re not immediately sucked into its web of awesome pop goodness, give it a few more tracks before you dismiss it entirely. Definitely download: “Ray Gun”
 

4. Fiona Apple: Extraordinary Machine (2005) – The only thing more agonizing then wait for Fiona’s 2005 masterpiece is the wait that many are enduring in anticipation of the follow-up. Why? Because Extraordinary Machine is one of the most perfect pieces of pop music to arrive in this century! Fiona may still reside in the body of a small white female, but she’s got the soul and vocal capacity of Aretha or Gloria! Listening to her pour out her heart on ballads is like witnessing a tragedy of Shakespearian gravity. At the same time, Fiona’s not one to shy away from her playful side, which she does magnificently on “Tymps” and “Not About Love.” As an artist, she arguably possesses more talent than any one else on this list, and for that alone you should listen. Definitely download: “Tymps”

 

3. Cibo Matto: Viva! La Woman (1996) – Because pop music is rarely timeless and usually only relevant during for a short period of time after its creation, the majority of the music listed here was made within the last seven years. Why then do I include Cibo Matto’s debut, which is now more than 14 years old? Because Viva! La Woman is an album that was so ahead of its time that, even now, it sounds like nothing else on this planet. Pop is only one genre to which this album could be pinned, but if you find yourself famished for trip-hop, rock, or just music about food in general, then it works well there too. That’s not to say that Cibo Matto is in any way accessible. There are very few people who will throw this album on and immediately fall in love with it. But it features some of the most creative production and unique lyrics that I’ve yet to hear in my 26 years! Cibo Matto’s approach to creating music is something that continues to perplex people to this day. If part of being a dude is being adventurous…this is about as adventurous as pop music gets! Definitely download: “Birthday Cake”

 

2. The Postal Service: Give Up (2003) – There are a few dudes out there who still hold to the tried-and-true caveman method of bagging a classy lady. However, there are also those of us who prefer to inject a little emotion into our relationships with the fairer sex. For us, The Postal Service’s one and only album serves as an excellent companion. It not only serves as this writer’s personal favorite pop album, but my top album of the last decade and of all time as well! Death Cab for Cutie’s Ben Gibbard teamed up with Dntel’s Jimmy Tamborello to create an electronic pop album that was unlike anything ever heard before, and better than any wannabe that has come since (lookin’ right at you, Owl City). At its most cliché, pop music is about love. The great thing about Give Up is that it takes love and presents it in an entirely non-clichéd way. Countless pop artists have written about a love that “looks and sounds like a movie,” but only The Postal Service has actually described the making of a home-movie in which Gibbard tries to recreate that idealistic love. I only wish I were man enough to try to pull that off! Definitely download: “The District Sleeps Alone Tonight”

 

1. Wallpaper.: Doodoo Face (2009) – For the uninitiated, Wallpaper is a pop/funk duo from Oakland, California that makes songs about partying, drinking, sex, and not paying utilities. Yes, Wallpaper takes the top spot here because unlike every other album on this list Doodoo Face seems specifically crafted for a male audience. There are songs that mention throwing up in the bathroom stall, sex with celebrities, pre-partying, and dating models; all stuff that any self-respecting dude can certainly appreciate! But beyond lyrical content, Doodoo Face also contains some of the freshest production and catchiest melodies to ever grace pop musicdom. It may take you some time to get past the heavy auto-tune, but it’s worth it. Totally worth it. Definitely download: “ddd”

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The Top 5 Songs of 2010 (So Far...)

We're officially halfway through 2010, and damn there was some good music that came out!  Here's the best of it.

5. "Infinity Guitars" by Sleigh Bells, from the album, Treats - I could throw down a lot of criticism on Sleigh Bells for their repetitive music and meaningless lyrics, but instead I choose to love every bit of the dance rock madness that they put out. "Infinity Guitars" stands tall above the rest for the last 40 seconds only. A distorted, bass-heavy breakdown that shatters all preconceived notions of what "heavy" music really is. God, I love it so much! Speakers up as loud as they can go, people! Don't half-ass this stuff!

4. " Up in the Dark" by The New Pornographers, from the album, Together - The New Pornographers have always had a pretty tight sound, but they've rarely sounded as perfect as they do on this standout track from their awesome new album. The vocal back and forth between Carl Newman and Neko Case obviously steals the show here, but the rest of the band are playing their hearts out as well. Few songs have been able to illicit such joy from me, but this one does it without missing a beat.

3. "One Touch" by LCD Soundsystem, from the album, This is Happening - James Murphy has never been one to shy away from long-ass tracks, but even an 8-minute dance song seems like he may be pushing it a bit. On paper, at least, because "One Touch" is not only one of the catchiest songs of 2010, but one of the most consistently captivating ones as well. Between the unparalleled production and the artist's engaging wordplay, there's so much to love about this song and almost nothing to hate.

2. "Flash Delirium" by MGMT, from the album, Congratulations - When I reviewed Congratulations a few months ago, I was quick to point out that it's a very difficult album to get into. After a few weeks of letting it digest, I handed it a 7/10 rating and went on my merry way, not realizing that the album wasn't yet finished with me. Since then, Congratulations has become a frontrunner for "Album of the Year" and "Flash Delirium" plays a large role in that. According to my iTunes, I've logged over 45 listens to this song in the last 3 months alone and I'm still not tired of it! If you haven't heard it at least 5 times, you're missing out There are always new things to discover.

1. "Zebra" by Beach House, from the album, Teen Dream - I first listened to Teen Dream at the beginning of the year when it released. It wasn't until several months later when I would cross paths with it again. During that second run through, this song stuck out and it hasn't left me yet. Every other song on this list is an upbeat, fun track. That really speaks a lot to what I've been into this year. The fact that "Zebra" - a methodical, passionate, ballad by any standard - takes top honors here is a testament to its brilliance. It is one of the most beautifully simple songs I've ever heard, and I'm in love with it. You should be too.

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