Tag: writing

Garbage vs. Andrew WK

by KevinLeave a Comment on Garbage vs. Andrew WK

Best Record of 2001: Day 27

Good morning!

Today we’re taking a look at beautiful garbage as it faces off against Andrew WK’s I Get Wet.

Note: As many of you saw, I recently wrote about a Best Record of 2001 challenge and noted that I’d be writing some of these up.

The plan is to do quick hits on each first-round matchup and post them directly to the page. Some will be longer, some won’t, and some might just be a handful of sentences. There’ll probably be a few typos. We’ll also have a few guest posts along the way, so make sure to stay tuned for those!

Check ’em out and let me know your thoughts! Chin wags & hot takes welcome! Sharing and restacks always appreciated.

KA—

You can tell who is from Madison and who isn’t by how they describe the traffic. If they tell you it’s awful, they grew up here. If they laugh and say it’s not too bad, they’re a transplant. The only exception to this rule (IMO) is East Washington Avenue (aka East Wash). The arterial runs through the city and gets more treacherous the closer you get to the capital. While you’re fighting to stay alive, you might miss what’s left of Smart Studios.

Standing there forlorn at the intersection of East Wash and Baldwin streets, it’s easy to forget that some incredible records were made in Madison on the isthmus. Records from L7, Nirvana, Smashing Pumpkins, Young Fresh Fellows, and many, many more were all made there.

So it only stood to reason that when some of the people behind the boards on those records decided to make their own, the result would be great.

Former Angelfish frontwoman Shirley Manson joined producer Butch Vig, Duke Erikson, and Steve Marker, and together they crafted something unlike everything else we were hearing at the time. It’s safe to say that Vig was one of the architects of the grunge movement. It’s also safe to say that this record doesn’t sound anything like it. Whether it’s the woozy, buzzsaw opening guitar on the opener “Supervixen,” the creeping sound of “Queer,” or the in-your-face menace of “Vow,” it was exactly the new sound needed to fill in the void as the grunge wave began to ebb. Garbage 2.0 was more of the same, and we couldn’t get enough.

Would beautiful garbage keep the streak going?

Opener “Shut Your Mouth” sure makes it seem like it. The band–and specifically Shirley Manson— roar back with their trademark mix of snarling vocals and gritty industrial sounds. It’s all on brand and makes it easy to assume this’ll be a record stylistically similar to the two records that came before it.

Not so fast.

“Androgyny” leans a bit toward the pop light with an infectious hook and sing-along choruses. It’s catchy enough, but something feels undercooked here. I can’t quite put my finger on it. Maybe the edges were sanded off just a bit too much? Then we get to “Can’t Cry These Tears.” This one goes all in on electro pop, right down to including some bells. I’m scribbling these notes the day we learned Nedra Talley of The Ronettes has passed, and all I keep coming back to is “this is a song they totally could’ve pulled off.”

Garbage is best when there’s some fuzzy guitar right up front, and “Til the Day I Die” has got that for days. And is it just me, or did they lift the riff from Funky Cold Medina?

“Cup of Coffee“ is the band’s stab at a ballad. Manson’s voice can carry just about anything, but I don’t think a ballad is what people are looking for from them.

“So Like a Rose” is a woozy bit of dramatic pop. Like if Kevin Shields let the fog clear a little bit.

Stylistically, this record is all over the map. There’s a fine line between “pushing creative boundaries” and “mixed bag,” and beautiful garbage isn’t quite sure which side to land on– especially when compared to the first two records. Part of me wonders if they were afraid fans would reject more of the same. I doubt it. People loved that! We wanted more of that spark; more of that techno-meets-industrial-meets chanteuse (with a little sampling thrown in for good measure).

It wasn’t exactly a world beater at the register, either. It wasn’t drawing in new fans and seemed to turn away older fans (though that seems to have changed over time). I’m sure dropping a record in the first few weeks following 9/11 didn’t help, nor did dropping “Androgyny” as the first single (one of the weaker tracks on the album, IMO). It’s not terrible, but just feels labored. Like they were meeting a contractual obligation, but were too proud (and too good) to drop an overtly shitty record.

Over time, people seem to have warmed to beautiful garbage. I wonder how much of that is down to being able to stream the good tracks whole, leaving the others behind.

The building where Smart Studios is located is now an Airbnb, and how people react to that is also a tell. Some think it’s lovely and are happy to see it invested in, while others see it as heresy. What’s not up for debate is that some world-changing sounds came from inside those walls, and Garbage’s is but one of them. And it still sounds like nothing else.

While Garbage may have worried about their record sounding like everything else they’d already done, Andrew WK bet the other way, going all in on being a one-trick pony. And taken at face value, it works. It’s a simple premise- make an over-the-top party record. Not everything has to be so serious all the time! There’s a time & place for that, and there’s a time & place to record that helps you just check out for a bit. This is the sort of thing that’s really easy to dismiss, but it takes a lot of work to make something look easy. It’s safe to say that a lot of music scolds were annoyed by this record. It’s also safe to say that’s always a good thing. Sometimes you just want a record so outlandish that it defies description. Something that sounds good cranked to 11 as you barrel down the freeway.

Bottom Line: Tough call. At first blush, I think Garbage will go through to Round 2 on reputation alone. Plus, I like that it was recorded a few miles from where I now live. OTOH, I like how forcefully I Get Wet pushes back on some of the navel-gazing styles people were embracing in ‘01. I Get Wet also doesn’t try to be anything more than what it says on the tin. My bracket pick and vote will go to Andrew WK.

Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!

Discussion: What’re You Listening To?

by KevinLeave a Comment on Discussion: What’re You Listening To?

You’d be hard-pressed to miss the trend back toward friction. For some, it’s fueled by a nostalgia for a simpler time. For others, it’s pushback against a digital world constantly asking more and more of them. Whatever it is, dumbphones are high in demand. Vinyl is still enjoying a resurgence. Parties where people leave their phones at the door are a thing (we used to just call these “parties” or “functions”). Do they listen to music at these? If not, they should. Listening to cool music with cool people is where it’s at.

A lifetime ago, the airline I worked for did its own cabin cleaning. There are few things that will make you lose faith in humanity faster than this work. There are also few things that make it more bearable than listening to music. We used to do this by taking the interphone, jury-rigging it to stay on (as if someone was talking), and then sticking it in front of a boom box. The radio was usually powered by an extension cord run out from the jet bridge’s cab. In other words, a lot of friction. But also very much worth it.

Why am I telling you this? Well, all those years ago, I lucked into working with some of the coolest guys going. And they liked John Hiatt, which meant we listened to him a lot (and JJ Cale, etc). At the time, they all seemed so old, but really were only about as old as I am now. Most of them have long retired and moved to places like Arizona. I was hoping to be there this coming weekend for a wedding and thought it might be a good idea to look a few up, get caught up, and commiserate about the old days. The universe had other plans, so that’ll have to be some other time.

In the meantime, we’ve got one of the most played Hiatt tracks from those days, no interphone required.

We’ve also got brand new stuff from Doug Gillard, Afghan Whigs, Future Islands, and our pals Brian K. and the Parkway. There’s also some sonic comfort food in the form of Jawbreaker, Push Stars, and GBV.

This week, Side A is tracks 1-14 (ends with “I’ve Got My Mind Set On You”). Side B is tracks 15-29.

On to the music…

KA—

Other sources: Apple | Qobuz | YouTube Music |


Now it’s your turn.

Any new releases or shows you’re looking forward to? Whatcha got? Share your thoughts in the comments!

Rooty vs. Read My Lips: A Tale of Two Dance Records

by KevinLeave a Comment on Rooty vs. Read My Lips: A Tale of Two Dance Records

Best Record of 2001: Day 24- Basement Jaxx vs. Sophie Ellis-Bextor

Good morning!

Today we’re taking a look at Rooty by Basement Jaxx as it faces off against Read My Lips from Sophie Ellis-Bextor.

Note: As many of you saw, I recently wrote about a Best Record of 2001 challengeand noted that I’d be writing some of these up.

The plan is to do quick hits on each first-round matchup and post them directly to the page. Some will be longer, some won’t, and some might just be a handful of sentences. There’ll probably be a few typos. We’ll also have a few guest posts along the way, so make sure to stay tuned for those!

Check ’em out and let me know your thoughts! Chin wags & hot takes welcome! Sharing and restacks always appreciated.

KA—

Basement Jaxx- Rooty

I’m gonna carbon-date myself here, but there used to be a time when you could buy ringtones for your phone. There was a whole-ass marketplace that sprung up selling (first) 8-bit interpretations of these, and then actual clips of songs or sounds themselves for your flip phone. Was this legal? Beats me, but 25 years ago this was cutting-edge stuff. I did this exactly twice: one was for “One Step Beyond” by Madness and was relatively short-lived. That was replaced by Basement Jaxx’s “Where’s Your Head At?” and it stayed until I got rid of the phone.

Let’s get that one out of the way first: it’s still catchy AF, sounds as good in the club as it does coming out of your car speakers (or phone), etc. Oh, and it samples not one, but two Gary Numan songs. So yeah, 11/10. No notes.

For those that don’t know: this is my kind of house. Think more big, bouncy beats and less bleep-bloop type stuff. It’s usually right in the pocket BPM-wise, and if there’s any sampling, it over-indexes on soul, early R&B, or disco. In other words, it sounds like it’s coming from the future but with a ton of retro pop flavor. That’s some serious dissonance, but when it works, it works.

That’s a good chunk of this record—specifically “Where’s Your Head At,” “Jus 1 Kiss,” and “Get Me Off.” “Do Your Thing” is a little acid house with a really cool jazzy piano and vocal that will remind you of Moby before he decided to double down on being weird (in the studio and real life). Those four alone should be enough to get this through to round two.

Other tracks are a little too chopped up for my taste (looking at you, “Crazy Girl”), but zooming out, I get why people dig them.

And just when you think Rooty can do no wrong, we… get interludes. For those that don’t know, these are one of my pet peeves. I know this was still the early days of CDs, and artists/labels felt like they had to fill that space to justify the extra cost, but no one wanted these. There’s no value add in tracks like “Kissalude” or “Freakalude” other than juicing the track count. These mar what is otherwise a killer record.

I know they usually wipe phones before reselling them, but I’d like to think they missed this with mine and someone, in some corner of the world, charged it up, got it ready to go, and then had their mind blown on that first incoming phone call.

Sophie Eliis-Bextor- Read My Lips

One of the knocks against Basement Jaxx is that they tried to be too much and delved into too many genres. One of the knocks against Read My Lips is that it doesn’t go far enough. Fair enough. This record is solid, if unremarkable, dance pop. It’s the sort of thing you’d hear in the lobby of a downtown Marriott. It’s energetic but never distracting. I will say that I was stoked to see Gregg Alexander had his hand in this record. The New Radicals frontman’s second life as a writer/producer doesn’t get nearly enough attention. Also, “Move This Mountain” has bells in it—something that’s almost always a plus in my book.

I sometimes like to read reviews while giving a record a first pass, and I’ve gotta say I was surprised at how widely this was panned. To hear some of these tell it, Read My Lips was an affront to humanity. Ellis-Bextor already had a solid résumé before going into the studio and more than once had been tabloid fodder. I wonder if some of this was a bit of tall poppy syndrome? I will say that in isolation, each of the tracks is solid. Ten in a row, though, and they start running together. I can’t help but think that if these had been released as 12” singles, the overall reception might’ve been more positive.

At any rate, it’s very much a 2001 dance-pop record—the sort of thing Kylie Minogue (and everyone else) was making at the time after that last wave of SAW records passed through. Ellis-Bextor has a fantastic voice that carries a lot of the load here. This is the sort of record I might put on at work to keep things moving but wouldn’t mind missing a lyric or two if the phone rang or we got a blitz of teletype messages.

If they set out to make a record that people would regard as “pleasant,” mission accomplished.

Note: looks like this was reissued for this year’s Record Store Day as an “RSD First” release, featuring exclusive voice recordings incorporated throughout the album, plus rare bonus tracks and reimagined artwork. Releasing exclusively as part of Record Store Day 2026 on a limited edition red transparent glitter 2LP, each copy will be numbered and housed in a single sleeve with reimagined album cover art, plus printed inner bags featuring new unseen imagery compared to previous reissues. Okay, then.

Bottom Line:
On a surface level, both are dance records for different audiences—one very much high-sheen and one a little grittier. But only one sticks with you long after the record is over. Basement Jaxx it is.

Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!

Dylan vs. Wu-Tang: Love and Theft Takes on Iron Flag

by KevinLeave a Comment on Dylan vs. Wu-Tang: Love and Theft Takes on Iron Flag

Best Record of 2001: Day 23

Good morning!

Today we’re taking a look at Love and Theft by Bob Dylan as it faces off against Wu Tang Clan’s Iron Flag LP.

Note: As many of you saw, I recently wrote about a Best Record of 2001 challenge and noted that I’d be writing some of these up.

The plan is to do quick hits on each first-round matchup and post them directly to the page. Some will be longer, some won’t, and some might just be a handful of sentences. There’ll probably be a few typos. We’ll also have a few guest posts along the way, so make sure to stay tuned for those!

Check ’em out and let me know your thoughts! Chin wags & hot takes welcome! Sharing and restacks always appreciated.

KA—

Bob Dylan- Love and Theft

The last bracket challenge was for 89, and, of course, there was a Dylan record that year, which meant it would get nominated and be voted in. It was seeded at #66, which struck me as a bit low, but that speaks to the voting bloc demographics more than anything (add 10-12 years on and I guarantee that number’s somewhere in the teens).

Anyway, in the interest of putting my priors on the table early, here’s what I wrote then, and 10 months on, it still rings true:

I know that no matter what I write, no matter how many angels sing, I will get at least one reply telling me that it wasn’t enough, that I hadn’t quite prostrated myself correctly at the feet of Dylan. And how dare I?

There will invariably be some invective telling me to go F myself as well. Which, ok. I mean, I get it. This is a man people love dearly. He could read the phone book, and someone, somewhere, would laud it. Someone else would pore over the lyrics with a Talmudic intensity, searching for hidden meaning from our Minnesota magi.

I am not one of those people.

I can respect the love people have for him. I find his influence on music and pop culture interesting. But I have to be in the mood—I mean, really in the mood—to hear some Dylan, and even then, it’s limited to small doses. My runaway favorite song is this version of “Jokerman,” and most of that is because he’s playing with The Plugz.

If you ever want to summon a certain cohort of music fans, do a Top 100 of all time and leave Bob Dylan off the list. You don’t even have to go that far; your partner can submit one on his own, and you simply have to offer insufficient tribute. Highway 61 Revisited is…fine. I said what I said.

I think part of the allure is that it’s Dylan; you’re just supposed to like him. Whether you actually do or not is a different story. For older fans, I think it’s so representative of their formative years that they’re willing to overlook just about anything (you know, like his voice). And that’s fine! We like what we like. And mortality is a helluva drug. My contention is that in 10-15 years, I’ll ramble on too long about New Order or some ‘91-era band and get a comment about getting back to the home. Whatever.

What you should know is that by the time Oh Mercy ended, I’d had a small change of heart. nothing to shift my overall stance, but it wasn’t awful. It’s all relative, but I’d say the same for Love and Theft, too. These are the early days of Dylan’s current phase, and Love and Theft feels like he’s… having fun? What would the radicals-turned-stockbrokers think of that? Nothing’s gonna dethrone the version of Jokerman I mentioned above, but man, did Lonesome Day Blues and Mississippi come close. The former is noisy and fun, and the latter’s a mid-tempo rocker. There’s some swing (”Summer Days”) on here, but I’m willing to overlook it as having been caught up in the (regrettable) fad of the era. I like the overall blues-y direction this one takes. It feels effortless and easy.

See ya in my inbox.

Wu-Tang Clan- Iron Flag

Wu Tang is for the children, but this record is not for me. These are some of the best to ever do it, but this record feels like they’re going in 9 different directions. Props for the Flavor Flav guest spot, but not even he could save some of these joints. “Da Glock” is an absolute clunker. That said, it is Wu-Tang, and when they’re good? Godamn, they’re good. Check out “Y’All Been Warned” and “Radioactive” for a little bit of what makes’ em so lethal.

Bottom Line:

My bracket pick say Wu-Tang, but Lord have mercy, I’m voting for Dylan here. Who even am I anymore?

Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!

Old 97’s and The Knife: Two (Very) Pleasant Surprises

by KevinLeave a Comment on Old 97’s and The Knife: Two (Very) Pleasant Surprises

Best Record of 2001: Day 22

Good morning!

Today we’re taking a look at Satellite Rides by Old 97s as it squares off against the self-titled debut from The Knife.

Note: As many of you saw, I recently wrote about a Best Record of 2001 challengeand noted that I’d be writing some of these up.

The plan is to do quick hits on each first-round matchup and post them directly to the page. Some will be longer, some won’t, and some might just be a handful of sentences. There’ll probably be a few typos. We’ll also have a few guest posts along the way, so make sure to stay tuned for those!

Check ’em out and let me know your thoughts! Chin wags & hot takes welcome! Sharing and restacks always appreciated.

KA—

Old 97’s- Satellite Rides

Thought for sure this would be one of those records where I’d know a track when I heard it, but no dice.

Rhett Miller strikes me as a poppier version of John Hiatt and a less sarcastic version of Paul Westerberg. The kind of guy who’s a bit of a wiseass (or asshole) on the surface, but is also somehow the first one over the table to defend you. My hometown was lousy with this sort of guy — they just weren’t singing about it. Maybe he hasn’t seen as much yet? You can see a world-weariness looming on the horizon, but it’s not quite at the door.

In the meantime, we get uber-catchy pop rock with some country and just enough Americana to keep everyone honest. The lyrics take layered looks at the people in the songs and the human condition overall. It’s a record that evokes scenes of surfing the dial while driving across Texas, and like that dial, the album has a little something for everyone. Want pop rock? “Rollercoaster Skinny” is just what the doctor ordered. Want to slow it down just a touch? “Buick City Complex” is right next door. Need a little twang? They’ve got you. Want some earnest, “I’m being serious for once” type stuff? Can’t go wrong with “Question” and “Am I Too Late” (it’s twangy AF, but with heavy lyrics).

I didn’t do any kind of research, but I suspect a lot of dudes in my demographic used “Question” as a pillar in marriage proposals. “Am I Too Late” is what happens when you don’t say what you want until it’s way too late. Regrets? Miller’s had a few. But at least we got an upbeat song out of it.

Tell someone how you feel today. And if it goes sideways? Well, at least you can say you did it. And there’s plenty of rockers on here to soundtrack your escape out of town. If it goes great? Maybe you can spin up a proposal using “Question.”

This is way catchier than I bargained for. It grew on me quickly, and lord help me, it’s a goddamn delight. Am I… am I an Old 97’s fan now? One record does not a discography make, but we’re off to a good start. It’s radio-friendly, with just the right amount of mesquite flavoring. Perfect for your next drive to Champaign or for filling the roadhouse jukebox.

The Knife- S/T

I like Fever Ray (“Even It Out” is my hipster pick for favorite Halloween song — you can only go with Ministry so many times!), but in limited doses. I think I’d like it more if I still got high.

I’d totally spaced that The Knife was Karin Dreijer’s earlier project with her brother Olof. There is something compelling about her vocals — whether in Röyksopp, as Fever Ray, or here. It’s novel, but not a novelty. I hope that makes as much sense on the page as it does in my head. It’s the same pull that Björk grabs me with.

On a track like “I Just Had to Die,” you’d be excused for thinking you’d popped Post in the tray by mistake. Doubly so for “I Take Time,” though that leans more toward a Björk/Flock of Seagulls mash-up. Something I’d definitely search the web for if high enough.

At any rate, couple all of that with a raw, gritty synth sound and you get the gist of this record. If you like that sort of thing, “Kino” will be a highlight. Dig a little chiptune? There’s some of that on here, too (“Zapata”). This record might be old enough to rent a car, but it somehow still sounds like it’s coming from the future. It’s a little delirious, but unapologetically so, and we’re better for it.

Bottom Line:
Both of these were pleasant surprises and a nice blast of color after wading through all kinds of beige indie rock over the last few matchups. My bracket tells me I gave Old 97’s the nod, likely on name recognition, but my vote? Man, I didn’t know. It’s going to be a game-time decision, I think.

Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!

Takeoffs, Landings, and the End of the Joke

by KevinLeave a Comment on Takeoffs, Landings, and the End of the Joke

Best Record of 2001: Day 21- Rilo Kiley vs. Blink 182

Good morning!

Today we’re taking a look at Rilo Kiley’s Takeoffs and Landings as it faces off against Blink-182’s Take Off Your Pants and Jacket.

Takeoffs and Landings vs. Take Off Your Pants and Jacket. There’s a joke in there somewhere…

Listening to Rilo Kiley’s 2004 track “Portions for Foxes,” it’s hard to believe how much difference just three years makes. It’s loud, full of bombast, and chock full of whatever it is that makes self-defined “music people” stroke their chins and nod approvingly. Whatever. It’s just a great song.

That sort of thing is nowhere to be found on Takeoffs & Landings. Following a well-received EP, this was their shot at showing the world who they were and what they could do. And at the time, what they could apparently do was the same sort of purpose-built-for-coffee-shops stuff a lot of other bands were doing.

I once made a glib remark that “indie folk” was the most overused term in PR circles, with seemingly everyone using it to describe the release they were shopping. What I have in mind when I think of indie folk is a track like opener “Go Ahead,” with its fingerpicked guitar and twee lyrics. It’s upbeat enough, I guess, with lines like but they’ve always struck me as too clever by half.

If you know me, you know I’m an avgeek, so I’ll take any aviation reference I can get. Title aside, the line “Sometimes, planes, they crash up in the sky/ Sometimes, lonely hearts, they just get lonelier” on “Wires and Waves” is a helluva couplet, if horribly timed. “Science vs. Romance” is the best track here. I know the band caught flak for playing it on Dawson’s Creek, but hey—might as well shoot your shot, right? And besides; it’s not like other bands weren’t doing it at the time. Maybe that was the idea being passed around PR circles back then.

The idea of escape feels like it’s hovering over the whole record, but it’s hard to buy Lewis & co. as truly going through it. What we get instead feels like their idea of what that might sound like. Unfair, maybe—but it’s hard to ignore, especially knowing what came after. Compared to later records, there’s a lack of firepower here, a more subdued approach. It’s not bad, and it’s not boring. It just feels…not quite there yet.

Maybe it’s first-record jitters. Maybe they hadn’t fully hit their stride. It is, after all, the start of a really solid three-year run. Either way, this feels like one that could’ve stayed in the hangar a little longer. That said: “Science vs. Romance” → “Wires and Waves” → “Pictures of Success” is a fantastic three-track run. If only the whole record kept that momentum…

If Takeoffs and Landings is the start of a run for Rilo Kiley, TOYPAJ (I will never not use this acronym) is the end of one for Blink-182—or at least the end of the beginning. Dude Ranch → Enema of the State → this—that’s basically the band’s whole early arc: novelty, hitting their stride, hearing the joke one too many times.

The good news is there’s no real drop-off from Enema. If anything, it holds steady. But the writing’s on the wall. For as insufferable as self-serious indie writers can be, frat-boy heroes have their own expiration date.

It’s probably better to think of this as a transition record. Can a band built on pop punk and porn star cover art pivot to something heavier? Maybe. Yeah, actually. But they’re not there yet. TOYPAJ sits right at that inflection point, balancing the juvenile stuff with some genuinely solid writing. And it helps that it’s all delivered in family-sized, hooky doses of pop punk.

There’s still room for the raunchy jokes (see also: “Happy Holidays, You Bastard”), and making that kind of thing work is harder than it looks. Even if the joke’s wearing thin, they’ve still got some runway left.

Earlier this week I quipped on Bluesky that I never thought I’d write “Blink-182 will be a refreshing change.” I was only half-joking—but after a couple more listens, I stand by it. TOYPAJ might not be regarded as a “timeless classic” in most circles, but outside those gates, it still hits.

Bottom Line:
The easy point to make here is that this comes down to taste. Do you like loud rowdy sounds, or do you prefer a more twee experience? I think one’s answer will depend a lot of their age. “What’s My Age Again,” amirite?

Put another way, I think anyone who had aged out of things like the Warped Tour by ‘01 will land solidly on the side of Jenny Lewis & co., where as a younger cohort— and I don’t think it takes all that great of divide; maybe just a few years?— will remember Blink-182 a lot more fondly. As for me, I’m not a fan of getting older (So this is growing up), but I am solidly in the former camp. Rilo Kiley it is…

Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!

Messy Over Monotone: The Microphones vs. Elbow (2001)

by KevinLeave a Comment on Messy Over Monotone: The Microphones vs. Elbow (2001)

Best Record of 2001: Day 20

Good morning!

Today we’re taking a look at Elbow’s Asleep in the Back as it faces off against The Glow Pt. 2 from The Microphones.

Note: As many of you saw, I recently wrote about a Best Record of 2001 challenge and noted that I’d be writing some of these up.

The plan is to do quick hits on each first-round matchup and post them directly to the page. Some will be longer, some won’t, and some might just be a handful of sentences. There’ll probably be a few typos. We’ll also have a few guest posts along the way, so make sure to stay tuned for those!

Check ’em out and let me know your thoughts! Chin wags & hot takes welcome! Sharing and restacks always appreciated.

KA—

Elbow-Asleep in the Back

My notes have all of two lines on them:

  1. Why this band name?
  2. Debut record.

I should’ve added a third: I was very surprised to see they have almost 1M monthly listeners. How have I never heard of them?! Part of it again has to do with where I was in May of ‘01. My (now) wife was winding down her time on the corporate hamster wheel and looking to try something—anything—new. I was getting ready to start what was supposed to be a 4-month temporary position back home in Portland. Lots of packing, paring down, and gearing up. A debut record from a band with an offbeat name just wasn’t in the cards…

“Any Day Now” kicks things off low-key. There’s a really solid bassline groove, but a lot of layered vocals, which I don’t seem to have much patience for these days. Okay, so not the best of starts, but it is strangely infectious.

“Little Beast” has that same creeping uncomfortableness that Portishead made famous with “Sour Times.” Is it a pop song? Is it soundtracking a spy movie? Why not both? 4+ minutes is about 90 seconds too long, and that leads to my biggest gripe about this record.

We’ve talked about “sameness” before in this series. Not the worst thing in the world, but it’s a hurdle that keeps a lot of okay records from being good ones. Asleep in the Back doubles down on that, and each song is about a minute too long, but they’re also roughly the same. Look, I’m not expecting a metal song in the middle or anything. No one in Elbow needs to rap (seriously, please don’t do that), but a little mixing it up would go a long way. There are a couple of exceptions, but really, the only variety here is the placement of frontman Guy Garvey’s vocals in the mix. Sometimes he’s right up front, and sometimes he’s further back. I’ll carve out worthy exceptions for “Bitten by the Tailfly,” featuring bursts of jagged guitar hooks, and “Newborn,” which bursts into something really atmospheric…except we have to wait almost 6 minutes to get there. Otherwise, this is 61 minutes of what is often diplomatically referred to as “brooding,” “melancholy,” or intense.”

Doing some reading ahead of this, I saw that they were a live band for some time before heading into the studio. I can absolutely see an Elbow concert as being an incredible experience. A lot of bands are good in the booth, only to see it translate poorly on stage. Elbow strikes me as betting the other way. If only we were reviewing concerts instead of records! These days, Radiohead has cornered this market, but Asleep in the Back certainly gives ‘em a run for their money.

Highlights: Any Day Now, Bitten by the Tailfly, Asleep in the Back

The Microphones- The Glow, Pt. 2

On paper, this is a record I should like. They’re on K records→ It’s Calvin Johnson’s label→ I like Beat happening!→ They’re from Olympia.→ Some of the best bands and the best shows I’ve ever seen have taken place right there in Washington’s capital city.

And to be fair, I do… in parts. There are fleeting moments in songs that very much pull you in. A couple of times, I found myself thinking, “This is peak Olympia” (not derogatory). But while Asleep in the Back was held back by its sameness, The Glow Pt 2 is held back by its variety. It’s all over the map. Also, for some reason, the sort of nasally vowels made famous by Isaac Brock were in vogue here for a while. At times, singer Phil Eleverum reminds me of Stephen Malkmus. Other times, it models the worst parts of Brock’s. Johnson’s voice was a million miles away from both. Why didn’t he say something?! Look, I get that cities like this foster creativity in all kinds of ways, but that doesn’t mean you have to try to squish them all into one song, or even onto one record. This project excels at lo-fi sounds. There’s no reason for MBV-esque walls of distortion to pop up like thunderclouds on this thing. The Glow Pt. 2 is magnificent in parts and grating in others.

Highlights: I Want Wind to Blow, The Moon, I Felt Your Shape.

Bottom Line:

This comes down to choosing a wide palette of colors over a more monochromatic one. Variety is the spice of life and all that, I guess. The record cover looks like the sort of sticker I’d put on my car. Plus, The Microphones are from the PacNw, and like we saw yesterday, I’m not above factoring that into the equation… The Glow Pt. 2 it is.

Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!

The Best Record of 2001: Day 19

by KevinLeave a Comment on The Best Record of 2001: Day 19

Built to Spill vs. Mercury Rev

Good morning!

Today we’re taking a look at Built to Spill’s Ancient Melodies of the Future as it takes on All is Dream by Mercury Rev.

Note: As many of you saw, I recently wrote about a Best Record of 2001 challenge and noted that I’d be writing some of these up.

The plan is to do quick hits on each first-round matchup and post them directly to the page. Some will be longer, some won’t, and some might just be a handful of sentences. There’ll probably be a few typos. We’ll also have a few guest posts along the way, so make sure to stay tuned for those!

Check ’em out and let me know your thoughts! Chin wags & hot takes welcome! Sharing and restacks always appreciated.

KA—

At one point during Riot Fest, I posted a screenshot of Sunday’s lineup to IG with the caption “please help.” The dinnertime choice was a 3-way tie between Dinosaur Jr, Best Coast, and TVOTR. The night would end with Jawbreaker’s reunion, an incredible moment I feel lucky to have been a part of. The day had kicked off with an early afternoon set from That Dog (killed it) and The Mighty Mighty Bosstones (meh, but it was hot, and they still insisted on wearing suits. Who could blame ‘em?!). Anyway, in between all of that, Built to Spill was slated to play. The latest in many, many opportunities we’d had to see them over the years. We chose to…go get something to eat instead. I say this not as a dig against the band, but to set the stage (sorrynotsorry) for my relationship with them. They’ve always been sorta in my orbit, but never really grabbed me the way they did other friends in my circle. I thought having a specific reason to listen would pull me in where other circumstances have failed. Dear reader, this did not happen. I kept waiting for a lightning bolt of revelation to strike. I’m still waiting.

A record should grab you by the collar and make you gin up excuses to put off whatever it is you’re supposed to be doing. For this match (both records, really), I kept finding reasons to stall playing them.

Part of this, I think, is that 2001 itself was such a weird era for me, life-wise. Weird in a good way, but one almost utterly bereft of any new music discovery or going to shows. Along with that, both Built to Spill and Mercury Rev were “bigger” in an era when I was looking the other way. My diet was a lot of synthpop, some industrial (see also: the trifecta of Ministry, NIN, and New Order, back-to-back on Friday), and then 80s college radio staples like The Replacements and REM. Keep It Like a Secret and Carry the Zero were already in the rearview mirror, and I hadn’t even turned the radio on.

Mercury Rev was the sort of fever-dreamy music usually enjoyed by people with big thoughts and who wrote think-pieces. Which is to say I find it exhausting. There are some strings, and it’s symphonic, but it all strikes me as a try-hard version of The Flaming Lips. I hate punching down (there’s no glory in emulating early era pitchfork), but this sort of overwrought, overbuilt material has always struck me as unnecessary. And I’m someone who likes symphonic and melodic (see also: New Order above). Maybe I should have done more hallucinogens. My biggest takeaway from All Is Dream is that I’m happy I was on the clock while listening to it.

Ancient Melodies of the Future is…fine. I will say that “Strange” is a killer track, and while listening (okay, 3x in a row), I wondered if I’d been mistaken for overlooking them all these years. “Fly Around Little Miss” is pretty good, too! Had it come out a few months earlier, I could very easily see myself singing along to it as I drove cross-country back to Portland. I found “In Your Mind” relaxing (?). Maybe not the best adjective for a record beloved by hipsters the world over. So be it. The rest, though? Just sorta went by in a blur. And in the end, we’re right back to where we started. Enjoyable enough record. Solid even. A couple of highlights I’m glad I found. But nothing compelling enough to stall getting work done or even going to get something to eat—I decided to go to lunch before playing it. Long live Doug Martsch, and good on him for being one of Boise’s best exports. Maybe one day I’ll get it, but today’s not that day.

Bottom Line:
Went with Built to Spill on the strength of “Strange,” and they’re being (more or less) a PacNW band.

Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!

The Best Record of 2001: Day 18

by KevinLeave a Comment on The Best Record of 2001: Day 18

Pulp vs. Les Savy Fav

Good morning!

Today we’re taking a look at Pulp’s We Love Life as it takes on Go Forth by Les Savy Fav.

Note: As many of you saw, I recently wrote about a Best Record of 2001 challenge and noted that I’d be writing some of these up.

The plan is to do quick hits on each first-round matchup and post them directly to the page. Some will be longer, some won’t, and some might just be a handful of sentences. There’ll probably be a few typos. We’ll also have a few guest posts along the way, so make sure to stay tuned for those!

Check ’em out and let me know your thoughts! Chin wags & hot takes welcome! Sharing and restacks always appreciated.

KA—

Pulp – We Love Life

I’m writing (at least) the early version of this on my phone in the basement. Nothing says ‘fun’ like being woken up by tornado sirens at 12:30 AM. At least they work, I guess? This was also how I learned that New Order/Joy Division had finally (!) made it into the Rock and Roll Hall of Fame. Cue some pithy bon mot about silver linings, etc.

Anyway…

Last year, Pulp made a lot of waves with More, their first record in over 20 years. They were back, baby, and made sure we all knew it. It’s a good record, and even made the annual Best Of list in this here newsletter, with me writing:

Has it really been 20+ years since Pulp put a record out? Man, time flies. Anyway, in my head, I have this vision of someone my age(ish) seeing their kid come home with this record, which leads to busting out a copy of Different Class, and it becoming some sort of “warm memory.” That won’t happen with me; one kid likes metal, and I’m not too sure what the other one is into right now. And tbh I didn’t get into this band until several years into their hiatus. But they’re back, and we’re all the better for it. More is, well, more. I mean, what else were they gonna call this thing? It’s a little more of a muted affair in places. It’s a little more catchy in others. It’s a little more mature. I guess even Jarvis Cocker grows up at some point? Mostly, it’s more of what most people loved about this band, and a whole new generation gets to experience it for the first time. Viva Pulp!

So that was their triumphant return. We Love Life was were they’d left off. And 2001 seems to have found them in a more sanguine—or at least reflective—spot than previous records. To be sure, they were as self-assured as ever, but Jarvis Cocker and co seem to be less interested in caustic wit and more into things like…trees? And FWIW, ‘The Trees’ is my new favorite song by the band. This is not what people are usually looking for when they pick up a Pulp record, which is might explain why it seems to get overlooked or underrated in any discography discussions. It was until last year, the band’s parting shot, and I wonder if people saw it as going out with a whimper. Maybe people prefer anthems about class over tracks talking about weeds.

I think they made the record they wanted to make, and in the course of doing that alienated a huge chunk of their audience. Again, I’m doing a post-mortem here as I wasn’t a fan until long after they’d gone on hiatus. I’m happy to be corrected!

Either way, it’s a shame really, because, well, its a good record! Maybe not on the same level as Different Class or His & Hers, but it certainly holds it own. Besides ‘The Trees,” “Sunrise” and “Bad Cover Version” are both fantastic. No one needs to wade through 8+ minutes of “Wickerman,” though. Take that out of the mix and one could make a solid case for this rounding out their top 3.

Les Savy Fav-Go Forth

Being terminally online as left me completely internet poisoned. When I saw the avatar for this band on Apple Music, my first thought was…fuuuuuuck. One of them is wide-eyed and huffing on a fire extinguisher, and I thought we were in for the same vein of unserious—and incredibly tedious— shit I mentioned earlier this week. Not so fast! This was a good bit of agitpop in some spots, while in others, if you squint you could almost see a Stereolab record in the background. Even the cover reminds me over Emperor Tomato Ketchup. I have to think this is a one-and-done record for this bracket, but well, we’ve seen what happens wen I assume. Either way, it was a pleasant surprise.

Bottom Line:
I gotta think Pulp runs away with this one, but if nothing else I found a new band, and that was pretty cool, too. (Insert second bon mot about silver linings…)

Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!

Check out the full bracket here.

Info on the tourney, voting, and more is here.

As always, thanks for being here.

KA—

The Best Record of 2001: Day 16

by KevinLeave a Comment on The Best Record of 2001: Day 16

The Best Record of 2001: Day 16

Good morning!

Today we’re taking a look at It’s a Wonderful Life by Sparklehorse as it takes on The World Won’t End by the Pernice Brothers.

Sparklehorse- It’s a Wonderful Life

Sparklehorse often feels like a car crash. Some of that (okay, a lot) had to do with Mark Linkous, whose life was very much a proverbial car crash for large stretches. That’s not to speak ill of the dead, but it’s true. Sometimes that makes for good records, and sometimes it makes for almost losing your legs after an OD. Linkous had the good/bad fortune to do both.

Like most of us, he contained multitudes, and for context, you should know that “Some Day I Will Treat You Good” is the litmus test for which I measure everything else in the catalog. It’s a high bar, but I think it’s a fair one.

It’s a Wonderful Life works best as a full listen. It stays in one emotional zone, which is to say sorta bummed out, but with flashes of light that keep it from collapsing under its own weight. That balance gives the album its shape, and it helps that Linkous brought some friends along for the ride.

The guest list is impressive, with Tom Waits, Dave Fridman, PJ Harvey, John Parish, and Nina Persson all making appearances, yet the album never feels crowded. A solid roster! All of them are adding something to the album in their own unique way.

The instrumentation is fantastic throughout the record, and while engaging, it doesn’t overtake the lyrics. Speaking of which, Linkous could pen some pretty surreal shit when he wanted to. It’s a fine line between offbeat and nonsense, and with any given verse, it’s always anyone’s guess which side of the line he’ll land on. I suppose that’s part of the appeal. Wouldn’t be a linklus record if it were as AB-AB-AB pitter-patter about puppies and ice cream, would it?

If there is a weakness, it’s that the album can wear thin after a while. Maybe it’s just me, but I can only do “wallowing” or tortured artist for so long. It’s a bit that doesn’t have staying power. A little more variation would’ve gone a long way. I mean, look at this guest list! Do some zigging! Maybe a little zagging! I also miss some of the rougher experimentation (and poppier elements) that show up elsewhere in Sparklehorse’s catalog. If pressed for time, ignore what I said about listening to this in its entirety and check out ‘Piano Fire” and “King of Nails.”

It’s not necessarily an album I’d play on repeat (or even revisit), but I get why others might dig it.

The Pernice Brothers- The World Won’t End

Last night, my wife and I went on something called a “date” and saw a movie. We’re in the throes of the Wisconsin Film Festival up here, and every year I’m reminded of how lucky we are to live in a place that punches above its weight. Ask me this again when it’s -22 and snowing. But I digress.

The film we saw was The Last Critic. Half documentary, half hagiography, it traces the rise of music critic Robert Christgau and frames him as sort of the last man standing. Lots of “they broke the mold with him,” type stuff. Love him or hate him, his reviews can be a work of art, telling an entire story in just a few lines. At the risk of cannonballing into the shallow end, allow me to try to channel my inner Christgau here:

With lovely, intricate melodies and an ear for gentle pop that would (should) make most bands pack up their gear, The World Won’t End is a template for some of your favorite bands and opens the door for some of the most annoying. Hipster outdoor goods stores rejoice! Your in-store playlist is here (not derogatory). B+

Bottom Line:
Both surprised me and busted my expectations. I enjoyed The World Won’t End far more than I thought I would, and can easily see myself playing it again. On paper, It’s a Wonderful Life is the one I’d gravitate towards, but I found myself clockwatching while playing it. That’s never a good sign. I guess it depends which sort of melancholy you prefer. I am once again going against my own bracket pick and will be voting for the Brothers Pernice.

What do you think? Did I get it right here, or am I way off the mark? Share your thoughts in the comments!

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