From Glam to Ambience to Pop: Highlights from an Underrated Eno Album

A Brian Eno of another Era

So I moved a few weeks back; the wife and I bought our first house, pretty crazy... I was sorting through some neglected CDs and came across a wonderful album by Brian Eno, an album that, from my experience, seems to be overlooked & underrated. Pitchfork’s review of the release gave it a lukewarm 6.1 rating, calling it “a decent album at best.”  Brian Eno did something unexpected in 2005 with his album, Another Day on Earth (Hannibal Records); he released an ambient, vocal-centered pop record, which caught some critics off-guard I guess.  To quote pitchfork: “In my mind Brian Eno's ambient music is completely separate from his vocal work-- so much so that I can in hazier moments forget that one man was responsible for both....”  In the critic’s mind, Eno’s ambient experiments do not go with his other modes of music-making, especially any vocal-centered songs, but I have to adamantly disagree with this notion. I think the critic needs to open his mind a little bit and give this record another spin.

That was the opening track of the album, entitled “This,” and it’s a really great album opener.  Every critic agrees that the opening track is the album’s strongest moment, and they’re probably right about that; it definitely sold me...  I remember when I bought the CD on a whim; I was in school at the time and stopped in the now-out-of-business Tower Records store near NYU (after attending a class I think). I listened to the first track, “This,” at the sample station and was surprisedly hooked.  The thing is I’ve often been a little impatient with the ambient side of the Eno discography. I do like his experimental release, Thursday Afternoon (1985 Polydor Records), however, and Another Day on Earth explores soundscapes of a similar nature, but in a more contained, pop-oriented format.  What I like about this release is exactly what makes it difficult to categorize in the terms mentioned above.  I love how the organic vocals and instrumentation blend so seamlessly with synthesized, computer-generated sounds, and Leo Abraham’s guitar work in the above song is simply perfect (go to about 1min 48sec to see for yourself...).

The entire album was recorded on Brian Eno’s mac over a 4 year period, and the artist claims that the whole record was built around the 2nd song, “And Then So Clear”:

It’s a beautiful, minimalist song.  The heavy, auto-tuned processing of Eno’s vocals reminds me of the methods of some recent, popular artists like Bon Iver and James Blake.  Again, Eno employs vocals seamlessly as an an atmospheric instrument that adds even more layers to his deep, ambient compositions.  The song, “Bottomliners,” demonstrates similar vocal processing:

The title track of what seems to be a kind of concept album (as stated before, the songs were all written in relation to one original composition) echoes the rhythm and structure of the opening track “This” quite nicely.  It rivals “This” as the other most “straightforward” pop song on the album; here’s “Just Another Day”:

In terms of favorite song, I tend to oscillate between the already posted “This” and the track, “How Many Worlds.”  This song deserves to be listened to on some good, sound-reducing headphones at a fairly loud volume; it’s absolutely beautiful.  Here’s the song, accompanied by some great animation:

These are some of the highlights of what is an altogether underrated album of pure sonic excellence.  This is ambient Eno at his best and most approachable.  Definitely check out the entire album.

P.S. Brian Eno has recently worked with the above-mentioned guitarist, Leo Abrahams, on the experimental album, Small Craft on a Milk Sea (2010 Warp Records), and he has just released a new collaborative album, Drums between the Bells (2011 Warp Records), with poet, Rick Holland.  Both albums are much more experimental than Another Day on Earth.  Unlike these recent releases, Another Day is an album for everyone, so I'm surprised it hasn't had more success.  I can't recommend this one enough.

ADoE:  http://www.mediafire.com/?mbdmmtlmywm

What I listened to on the Way to Work Today: Jack Snider’s Sharks Keep Moving

Sharks Keep Moving

Woke up this morning feeling groggy and devoid of energy, dragged my feet in the darkness, through the cold, to my car to make my way to work in the routine, highway traffic.  While in a state of robotic autopilot-ry, I put on a cd without much conscious decisiveness, and the sounds woke me up. “Hey, that sounds like Jack Snider’s vocals..., but this is much better than anything by Minus the Bear!” I quickly removed the cd; it was an album burned by a friend: Sharks Keep Moving’s EP Desert Strings and Drifters (1998 Second Nature Recordings).  Sharks Keep Moving was a short-lived project involving Jack Snider of Minus the Bear fame that played and recorded during the late 90s.  They released one self-titled full-length in 1999 on Static Records as well as some EPs and 7”s.  I have had recordings of this project for a while but paid little attention to it.  After today, I’ve ordered their aforementioned Ep on Vinyl and their full-length on CD to add to the ever-growing library.  The sound is what one would expect: Emo-Math Rock sensibilities with a mature sense of songwriting composition.  What attracts me to this more than Minus the Bear is the tendency to experiment with freeform Jazz sounds.  Check out the song “Cashmere, Washington”:

The song is off of the EP mentioned before.  I apologize for the sound quality; it’s the best YouTube could provide.  There is less pop here and more experimentation than the songs of Minus the Bear; I love the horn sounds with the guitar lines and effects... there’s definitely a lot of layers of instrumentation here.  Check out the magnum opus of the Ep release, “Arizona”:

I’m definitely a sucker for the strings when it comes to Emo-influenced Math Rock.  I cannot recommend this band enough.  A definite listen for fans of Minus the Bear, June of 44, Owls, Rockets Red Glare, and many other bands mentioned on this site.

Sharks Keep Moving - s/t - http://www.mediafire.com/?0bmfjxpjcby

Sharks Keep Moving - Desert Strings and Drifters - http://www.mediafire.com/?nzmfgua3kum

Selections of Shoegaze: First Stop, Dallas Tx’s True Widow

True Widow

I want to do some posts on favorite selections of Shoegaze Rock, and I thought I’d start local and post on the emerging Dallas act, True Widow. A friend turned me on to the group when I moved to the Dallas area, and recently, music critics like the loath-able fascists of rich dorks, excuse me, pitch fork.com, have been sounding praises of the band’s latest album, As High As the Highest Heavens and From the Center to the Circumference of the Earth (Kemado Records 2011). The group is composed of 3 players (drums, bass, guitar), and the sound is as full and thick as any multi-membered heavy metal band. That’s right; they’re some real heavy Shoegaze. Some have called it “Stonergaze;” others have pointed out the overlap of dreamy space pop and sludged-out doom metal. Someone in the blogosphere described the act as a heavy version of Low, and I would agree with that description. As just stated, the band has released two full-length records, their first being a self-titled release on End Sounds in 2008. The two albums demonstrate a natural growth with a distinct, focused style that one can always expect. It fulfills one’s expectations in good way because one quickly senses an assurance or confidence of artistic vision in their constant, heavy-mellow sound. Pitchfork complimented their 2nd release as being a “complete mastery of control,” and I think the critic is expressing a similar insight there. Check out the track, “Skull Eyes”, from their latest full-length; here’s the “official video”:

Album covers of As High As the Highest Heavens and From the Center to the Circumference of the Earth & their self-titled release.

I recently saw the group perform with Kurt Vile in Dallas... Great show. I would say that some of the texture and contrast in their sound was lost in the fuzz when watching them live. The records are amazing, however. Here’s the opening track, "Jackyl," of the latest release:

The music is thick, heavy, and real crunchy, but it mellows one’s soul as well. It kind of reminds me of an independent, Christian act of the 90s called Starflyer 59. I don’t know how many people remember that band; I saw them play in a church once when around the age of 15. Check out the track “Blue Collar Love”:

Or here’s an “official video” of the Starflyer track “Housewife Love Song”:

Starflyer 59 recorded some great fuzzy drone rock much like that of True Widow, so check their early albums, Silver (1994 Tooth & Nail Records) & Gold (1995 Tooth & Nail Records). Definitely check out the first, self-titled True Widow as well. I’ll leave with a great tune from T. Widow’s first release, the song “AKA”:

Self Titled:

http://www.mediafire.com/?nmmmm4yizkn

As High as the Heavens:

http://www.mediafire.com/?jqx471yamyfve7z

Feel free to comment, and enjoy!!

What do you get when mixing Louisville Math Rock with DC Post-hardcore? Answer: Jeff Mueller’s & Fred Erskine’s June of 44

RODAN

So our story begins in Louisville, Ky circa 1992.  Jeff Mueller & Jason Noble (along with Tara Jane O’Neil and Kevin Coultas) formed the influential math rock group, Rodan.  The band, along with acts such as Crain and Slint, defined the Louisville Math/Post Rock scene.  Although Rodan’s career was short (they broke up in 95), the members went on to form other significant acts of indie & post rock music (Retsin, Rachel’s, The Sonora Pine, and others that will be mentioned below). In 1993, the band recorded their only full length, Rusty (1994 Quarterstick Records); the album’s name was inspired by their producer’s nickname, Bob “Rusty” Weston (of Shellac & Volcano Suns fame).  They recorded a demo and some 7”s, and they did a John Peel session in 1995.  Their sound, like many Math Rock acts, ranges from quiet & minimal to loud, chaotic, and dissonant.  The vocals vary as well from spoken word & haunting melodies to screams & wails of rage. At times the rhythms are calm and subtle, while at other moments, the rhythms explode into angular, frantic beats.  A band like Rodan makes clear that Math Rock, Hardcore, and Post Rock all have common roots as musical genres.  Here’s the epic track, “The Everyday World of Bodies,” off their full-length, Rusty:

That’s some lovely Mathcore dissonance. Now here’s a shorter number, “Shiner,” a song that clearly demonstrates their more “hardcore” influences:

Now take a listen to the last track, “Tooth-Fairy Retribution Manifesto,” a song that anticipates the ever so popular phenomenon of Post-Rock:

As stated before, the dynamic Louisville band unfortunately broke up in 1995, but the members went on to form acts of equal importance.  In fact, Mueller went on to form the legendary Math Rock group June of 44, but first, our story returns to 1992 to the legendary hardcore scene of Washington DC.

http://www.mediafire.com/?gnoy4lzndwm

HOOVER & the CROWNHATE RUIN

Around the same time Mueller and others were forming Rodan, Fred Erskine teamed up with Alexander Dunham, Christopher Farrall and Joseph McRedmond for the post-hardcore act Hoover.  Like similar acts of the region, they recorded their (first & technically only) full length The Lurid Traversal of Route 7 (1994) on the formative label Dischord Records.  Dischord/Fugazi fans know what to expect here; in fact, any Dischord enthusiast is probably already well aware of this record.  I cannot stress how great an album this is! Some people argue that this an Emo record; I definitely agree with the insight that Emo was born out of the vibrant Post-Hardcore scenes of cities like DC, Chicago, and San Diego, but this is closer to Hardcore than Emo Rock to me. Check out the opening track off their full length, “Distant”:

Somewhere on the internet, I read the statement that this might be the best DC post-hardcore band that does not include Ian McKaye. One could make the case; the record is better than much of the later Fugazi catalogue, for sure.  Here’s another track, “Electrolux,”  that perhaps demonstrates elements of mathy post-rock (like the sounds of Rodan...):

I hear connections to Rodan in the above track, and like Louisville Math rockers, Hoover had split up by 1995.  They recorded some 7"s in addition to their album, and they later reunited to record an unfinished self-titled record in 1997 (Slowdime Records).  Around when Fred Erskine joined Jeff Mueller to form June of 44, he and other Hoover members formed an even shorter-lived Post-Hardcore project, The Crownhate Ruin, in late 1994.  They recorded some 7”s (including one with Boston’s Karate on Art Monk Construction in 1995) and eventually released a single full length album, Until the Eagle Grins (1996 Dischord Records).  Here’s the opening track, “Ride Your Ride”:

The music is very similar to the previous project, but it’s no Hoover if you ask me.  The group quickly disbanded, and it was at this time that Rodan’s Mueller connected with Fred Erskine to develop the band June of 44. 

H: http://www.mediafire.com/?wmtzvozgdnj

CR:  http://www.mediafire.com/?9n8ddmysz0d

CR/K split: http://www.mediafire.com/?hyycw1mzxdw

Erskine and Mueller were joined by Sean Meadows (of Lungfish, yes, I said Lungfish...) and Doug Scharin (of HiM and Rex) in 1994 to form what one might deem a “supergroup.”  June of 44 were a Math Rock collective that toured and recorded consistently until 2000. Although they are commonly labeled a Math Rock group, their music includes elements of Emo, Post-Hardcore, Post-Rock, and dub-style Jazz, so their albums tend to be more accessible than the heavier projects that preceded them.  Their first album, Engine Takes to the Water (1995 Quarterstick Records), remains close in sound to Mueller’s and Erskine’s previous projects; here’s the 2nd track “June Miller” (as in Henry Miller’s 2nd wife; I believe she has something to do with group’s decision to be named June of 44):

One can definitely hear the influences of Louisville bands like Rodan and Slint as well as the styles of DC Post-Hardcore.  The following year they released Tropics and Meridians (Quarterstick Records), and they immediately began to develop their sound in multiple, experimental directions.  Bob Weston (of Shellac) reunited with Mueller and began working with the group as well. Their 3rd release, however, Four Great Points (1998 Quarterstick Records), represents the band’s development from sophomore sounds to more mature writing & composition.  It’s mellower, less angular, and more expansive in its range of styles.  To me, late June of 44 sounds more like modern Post Rock music than say 90s Mathcore.  Check out the opening track, “Of Information and Belief” from their 3rd full length:

Although mellower, their music has an edge for sure.  June of 44 released their final studio album Anahata in 1999 on Quarterstick, once again recorded by Bob Weston.  The album pursues similar experimental paths of Four Great Points; I highly recommend it as well.  Before the group broke up in 2000, they did record one last record, a live In the Fish Tank studio session.  Oddly enough, June of 44’s In the Fish Tank 6 (1999 Konkurrent Records) is one of my favorite records to listen to..... Maybe that’s due to the fact that I’ve been nerding out on cheesy Post Rock for the last couple years.  Check out the song, “Henry’s Revenge”:

The last track recalls Post-Rock groups like Tortoise, Mogwai, etc.; it would have been interesting to see where June of 44 would have gone musically in the 21s century.  I personally think the closest answer to that question can be found in the recordings of Jeff Mueller’s latest project, Shipping News.

ETttW:  http://www.mediafire.com/?mqwoocmqr15

FGP:   http://www.mediafire.com/?immna4l5l2hmsix

ITFT:  http://www.mediafire.com/?m6mvs58u07c1aa4

SHIPPING NEWS

The group formed in the late 90s when Mueller reunited with Rodan’s Jason Noble. Like Rodan & June of 44, the group has been called Math Rock, Post-Hardcore, as well as Post-Rock, but like June of 44, the maturity of their sound becomes clear because they obviously don’t rely on the conventions of any of those genres.  Their compositions are very diverse and original.  Shipping News has released several albums over the years (most on Quarterstick Records).  Personally, I love their 2nd studio album, Very Soon and In Pleasant Company (2001); the track “Actual Blood” is my favorite Shipping News song:

That’s a beautiful song, but it’s not an accurate portrait of Shipping News’s wide range of sound. I highly recommend all of Shipping News’s releases, particularly their 4th album, Flies the Fields (2005 Quarterstick Records).  The tempo of their music isn’t always so slow; they can pick it up and rock as well.  Definitely support their live performances.

This post could keep going, but I will end it here.  I will return later to Louisville to post more gems from the city’s legendary music scene (such as Squirrel Bait, Slint, Crain, etc...).  For now, take care and enjoy!