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11-20-12 12:15 pm
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Leans towards overly straight-forward and the lyrics are about as bland as words get, but they keep a good beat, have nice synths and nicer basslines and even nicer choruses, and of course a notable singer. They don't truly convince me until the excellent grouping of tracks 5-7, other than that the okay songs are about even with the great ones.
When he's not detailing his drugs-for-sale repertoire while partying with your girl in the club while his P.O. thinks he's at home, he's getting stalked by fuckin' demons and desperately wailing for/taunting ex-lovers via namedrop. Luckily, this guy's got enough sympathetic warbly bedroom vocal hook charm to convert just about anyone, and the beats help get the job done - spacey, low-key, never too distracting.
In one way I love the aesthetic of it - cheap speaker vocals, live garage funk instrumentation, raw anything goes attitude, old-days hardcore tribute spurts. But then we've also got buried rhymes and an album that feels overstuffed. Good instrumentals, but the amount of them drag this one down a bit.
The king of polarizing frog-rasp vocals/adept lyricism backed by what we can only imagine as a blues-trained crew of drunken carnies who specialize in rickety-thump arrangements with any ol thing found in the troves, instruments and random objects alike. They even coax Keith Richards into the madness. Though this is a sprawler, it shows off their multifaceted talents - tender ballads, wild ruckus stompers, dark & dingy alleyway spoken word, low-key creepers, would-be hit singles if anyone else was singing, etc.
Today Is the Day
20 Jazz Funk Greats
In case you're not in on the joke, you're actually getting 11 Creep Noise Things. This is about as art-school as it gets but it usually keeps the ears intrigued - it's got the nightmare vibe going on, mystery noises, industrial skuzz, less-disciplined-Kraftwerk-and-Neu! beats and ambience, the occasional mantra.
July 10 11:06 PM
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