Showing posts with label ryan wolf. Show all posts
Showing posts with label ryan wolf. Show all posts


Album Review: Cloud Nothings - Here and Nowhere Else


Cloud Nothings' face-crunching fourth album is a fearless, assertive follow-up to 2012's Attack on Memory. Oscillating between a chaotic rush of existential howls and throaty but tuneful melodies, Here and Nowhere Else pounds its presence out through furious snare slams and clamorous cymbal crashes.

For better or worse, Cloud Nothings are as foggy and nihilistic as their namesake implies. "You're born / you're gone," cries frontman Dylan Baldi repeatedly on "No Thoughts," succinctly whittling the human condition down to its coming and going. As in the songs of similarly-minded peers Titus Andronicus, however, the absurdity and cruelty of existence makes for some pretty addictive punk rock. 

Here and Nowhere Else largely consists of blurry, anti-pop assaults of pop song-length. Baldi is a dynamic vocalist, sliding from screams to Strokes-style singing with relentless charisma. Even as he complains that "Life gets boring, it fades away," he seems impassioned enough to annihilate the ennui he fears.

On the seven minute penultimate track, "Pattern Walks," Cloud Nothings' piercing songwriting dissolves into textured noise roughly halfway through, then changes pace yet again. Suddenly upbeat, the song reaches skyward with transcendent drive before the album's catchy closer, "I'm Not Part of Me," arrives for grounded final reflections.

Though Baldi speaks of "moving toward a new idea," what registers stronger is a sense of permanent loss. Ultimately, Here and Nowhere Else suggests that the present may not be as thrilling as the "live for today" crowd insists. Nonetheless, claims of hopelessness aside, Cloud Nothings seem to be making the most of their moment in time.

Grade: B+






Tonight: House Concert w/ John Langford & Skull Orchard


Get up close and personal with Jon Langford & Skull Orchard tonight at the Boratin-Tanner home in Hamburg. Langford, a versatile folk-punk musician, has performed in the backing band for This American Life and is considered a staple of the Chicago music scene. Local songsters Unwelcome Guests will kick off the event with an acoustic set at 7:30pm. Don't miss this unique and bound-to-be-great house concert.




Album Review: The Hold Steady - Teeth Dreams


The Hold Steady, as their name suggests, have always been consistent. Each record contains the same classic rock bravado, the same gritty tales of skaters and punks, druggies and barflies, "kids at shows" and their "scene leaders." Jesus is found and lost, beverages consumed and vomited, girls hooked up with then abandoned. And yet, through all the recycled imagery, frontman Craig Finn keeps his storytelling gripping and sympathetic, caring deeply for the life-hungry characters he creates as they binge-and-purge their way through the city's slimy little sins.

Teeth Dreams, a more straightforward affair than some of their records, is no deviation from the Hold Steady's concentrated vision. Although Finn has stated that the album's title was inspired by a David Foster Wallace passage, Jack Kerouac still serves as his main literary muse. Soaked in booze and blood, the songs lift themselves up from the barroom floor to reach toward the flickering light of salvation.

"I Hope This Whole Thing Doesn't Frighten You" kicks the album into gear as a boyfriend introduces the new girlfriend he's brought home for Christmas to a few unsavory connections he's failed to mention. "Spinners" then rocks a little harder, chronicling a single woman's misadventures and deluded mantras ("Salted rims and frosted mugs / It's a big city, there's a lot of love").

The title's teeth dreams appear on "The Only Thing," where the song's speaker obsesses over a woman "sleeping at a storage space by the airport." Her accommodations are an improvement over "The Ambassador" of the follow-up track, however ("There wasn't much diplomatic there / The space between the skin and all the blood").

D.F. Wallace gets referenced again during "On With the Business," a song lamenting the "American Sadness" brought on by consumerism, in which the speaker admits he "said a couple things that probably weren't technically true" during an apparent drug deal. "Big Cig" and "Wait a While" are both rousing odes to ill-chosen romantic entanglements, before things get more harrowing on "Runner's High," a track that apexes amidst a near-death experience.

"Almost Everything," a reverb-drenched acoustic dime leads into "Oaks," the Hold Steady's most expansive song to date. At nine minutes in length, the album finale stretches beyond the city limits toward "mountains all covered in oaks... trees as they turn into smoke."

"Our minds are the windows / Our bodies are screens," concludes Finn, "We scratch / We scrape / And we dream." If the Hold Steady continue to release such solid work, may they scratch and scrape and dream for many records to come.

Grade: B+






Album Review: Kevin Drew - Darlings


Though Broken Social Scene have been less than sociable as of late, one of the collective's major masterminds is out to prove he still has a pulse. Kevin Drew, who will soon be releasing a collaboration with Andy Kim of "Rock Me Gently" fame, is sending forth his second solo album. And even if it's been years since he ventured out alone, the Canadian songwriter seems dependable as ever.

Ambient-focused and sex-obsessed, Drew is a thoughtful recorder of shattered intimacy and soul-stung longing. Dark, sensual, and often cryptically moving, Darlings simmers in a state of sonic bliss that only Drew can cook up. Even if he seems unable to get past the tortured lyrical themes and semi-sultry musical ideas that have always haunted his work, there is a breathing beauty to the lush new record.

With layered synthesizers, relaxed drum machine beats, and a few chill guitar licks, Drew builds a warm wall of sound his voice crackles along with. Songs like "Body Butter" and "Good Sex" feel more polished and tactful than their titles suggest, bolstered by the careful production. Elsewhere tracks like "My God" slink along sadly with spiritual desperation or swell with epic weight as in the Feist-featuring "You in Your Were."

Ultimately, Darlings is an album that finds Drew comfortable with his talents. For fans of BSS or of Drew himself, the record, like "good sex," should more than satisfy.  

Grade: A-






Album Review: Arthur Beatrice - Working Out



On their debut album, English indie-rockers Arthur Beatrice are already exhibiting a singular sort of ambition: "All I want is to be warm at home and be well-known," sings chief vocalist Ella Girardot with a certain caustic precision. Apparent sarcasm aside, the band's soothing style and recognizable affability seems to straddle both impulses. Arthur Beatrice creates music that does feel like the warmth of home on a winter's day. It also feels ready to inhabit the same super-chill niche acts like Beach House, the xx, and Young Galaxy have successfully established.

Working Out is more lyrically complex and emotionally ambiguous than most titles sharing its aesthetic ideas. Girardot and co-vocalist Orlando Leopard trade singing duties with smooth finesse and the production treats the band's guitars, keyboards, and drums as humble partners with their voices. Arthur Beatrice has emerged from the ether polished and prepared to accompany morning walks through the city, wind-down bedtime routines, and late-night studying sessions.

Even if Working Out fails to break new musical ground, it succeeds as a superior example of its sub-genre. It would be more than uncharitable to dismiss such a lovely, intelligently wrought debut for sounding too much like other very good bands. The talented members of Arthur Beatrice should have a fine future ahead of them.

Grade: B+






Album Review: Jonny Greenwood / Bryce Dessner - St. Carolyn by the Sea / Suite from "There Will Be Blood"


Although indie and alternative music might aspire toward a certain avant-garde edginess, much of it is, from a music theory standpoint, fairly simplistic. Perhaps its the three-to-four chord punk and folk influences at play. Perhaps its the scene's initial emphasis on DIY ethics and a certain scorn toward polished, overly academic approaches to songwriting. Or perhaps rock n' roll in general will never quite compete on a technical level with Beethoven's symphonies. Regardless, and minus a few post-rock/baroque pop exceptions, music from indie and alternative bands often seems quite distanced from the classical tradition. 

Radiohead guitarist Jonny Greenwood and Bryce Dessner of The National, however, testify to other possibilities for artists typically associated with alt-rock. On a split compilation released through Deutsche Grammophon and Universal Classics, the two present original compositions of elegant, at times harrowing, classical music.

Dessner's three lengthy tracks on the album do make some use of electric guitar. This occasionally reminds listeners of his contributions to The National, particularly around the halfway point of "Raphael." In general though, Dessner has eschewed the electronic influences that accompany many instrumental works performed by contemporary artists associated with rock bands. His gorgeous, ornate, orchestral creations sound timeless and sincere.

Greenwood proves the grimmer of the pair, offering nine shorter pieces from his score to Paul Thomas Anderson's 2007 masterpiece There Will Be Blood. His music is sharper and more malicious than Dessner's, bringing a menacing undercurrent to the fluttering arrangements. "Henry Plainview," with its beehive of strings is particularly unnerving, if not muted on record compared the film's use of the theme. 

Throughout the compilation, both Greenwood and Dessner emerge as accomplished composers. They demonstrate that though experimentation in the arts can be illuminating, at times older notions of beauty resonate even as aesthetic trends, fashions, and priorities change. 

Grade: A-







Album Review: Angel Olsen - Burn Your Fire For No Witness


Angel Olsen's emotive voice effortlessly lends itself to the brokenhearted folk musings that begin Burn Your Fire For No Witness. But when the fat, crunchy, garage rock chords of "Forgiven/Forgotten" stomp onto the second track, Olsen's musical scope emerges as a force far wider and fiercer than first anticipated. After "Hi-Five" finds Olsen's pipes straining into semi-operatic, countrified territory, her extraordinary artistic range becomes all the more impressive.

The Leonard Cohenesque "White Fire" follows its slow-burning charms with the Old West barroom pop of "High & Wild." At one moment, Olsen may sound like an indie reincarnation of Tammy Wynette. In another, she is reminiscent of a contemporary like Sharon Van Etten. Yet for all of the album's stylistic shifts, the production feels unified, and the figure at its center bewitches and hypnotizes.

Olsen, who has collaborated with folk icon Bonnie "Prince" Billy, may well become an icon herself. Burn Your Fire For No Witness balances strength and fragility, frustration and hope, with ethereal ease. Although her record's title might suggest Olsen's work requires no audience to burst brightly, the Missouri-born songwriter is a spectacular talent to behold. 

Grade: A-






Album Review: Broken Bells - After the Disco


Up for round two of his collaboration with star producer Danger Mouse, the Shins' James Mercer has happily resurrected and re-packaged the Bee Gees on Broken Bells' second record. His debt to the Brothers Gibb is most apparent on the duo's first single, "Holding On For Life," an eerie and artfully structured justification of After the Disco's title. Throughout the record, Mercer exhibits a fine falsetto and updates popular disco cliches. 

It would be misleading, however, to label After the Disco Mercer's "Bee Gees" album. Much more vocally varied, indie-infused, theremin-laced, future-minded, and downright melancholic than classic seventies dance anthems, the songs on After the Disco are a delayed hangover from a lost era. The tracks contain excellent pop hooks, but there is a weariness and desperation that muddy the sharply produced fun.

Glumness aside, After the Disco is highly accessible and should have a wide appeal. Mercer and synth-pop mix better than early Shins records ever would have implied. Artists must inevitably evolve to survive, yet it does seem bittersweet to find Mercer so estranged from the subtle loveliness of his younger days. An old song like "New Slang" feels oceans away from Broken Bells' overall mission.

After the Disco is an above-average pop album, with an engaging first single and an inviting eighties-styled opening track ("Perfect World"). On it, Mercer sings "I've got nothing left, it's kind of wonderful." And though After the Disco is musically "kind of wonderful" at times, it's the nothingness at its philosophical core that both elevates the work's artistic complexity and drains it of the exuberance it sometimes needs. 

Grade: B






Album Review: Damien Jurado - Brothers and Sisters of the Eternal Son


Damien Jurado, once known chiefly for his intimate storytelling and somewhat morose (but always beautiful) indie-folk, has been wandering into wider plains as of late. Venturing through the spacey and metaphysical, Jurado has now produced a sequel of sorts to 2012's Maraqopa. A structurally progressive, enviromentally entrancing, and spiritually-minded record, Brothers and Sisters of the Eternal Son is a passionate and playful display of Jurado's stunning songwriting capabilities.

Album opener "Magic Number" sounds something like a James Bond theme performed by a high school marching band on the verge of a nervous breakdown. Its follow-up, "Silver Timothy," continues the tone, delving deeper into the psychedelic sci-fi textures that define Jurado's "Return to Maraqopa." From there, the musician continues to build an ever stranger sonic world that culminates in the stomping fever dream of "Silver Donna."

This, however, is not the final destination of the artist's journey. "Silver Katherine" and "Silver Joy" ("silver" seemingly BASOTES' precious metal of choice), step away from the ethereal and return to the grounded style Jurado has long espoused: earnest lyrics sung to simple arrangements. The album is then rounded out by "Suns in Our Mind," a bright compromise between BASOTES' two stylistic pulls.

Remarkably, running at less than 35 minutes, the record feels as expansive and overflowing as a double LP. Matching aural ambition with humble devotional poetry, Jurado has created a magical music vision and what might be the first essential record of 2014.

Grade: A-






Album Review: Bruce Springsteen - High Hopes


The title of Bruce Springsteen's new album has invited a lot of clever riffing from critics debating whether or not the work lives up to its "high hopes." Though the Boss's "late-career" songs are unlikely to claim the airwaves as tracks from his younger years once did, there is something to be said for critics hoping for greatness from the musician. Springsteen has been known for bridging mass appeal with widespread critical acclaim.

In truth, however, High Hopes doesn't feel like an album made with critics in mind. It isn't novel or inventive or particularly unexpected, yet it is what most fans of Springsteen likely would have wished for. Beginning with the funky jangle of the title track, it automatically connects with the casual listener looking for a good time.

But Springsteen is offering far more than that. High Hopes isn't merely dumb fun. It presents the workingman blues Springsteen perfected with a genuine sense of comradeship with its audience, and a poetic intelligence that never condescends. "Down in the Hole" even provides a strange, ghostly reprieve from the poppy anthems that make up most of the record's middle. 

Although High Hopes might feel corny or overdone at times (did Springsteen really need to rework "The Ghost of Tom Joad?"), the alleged "unevenness" cited in the mixed reviews it has received seem somewhat unfair. There is no half-hearted filler on the album. There is only Bruce Springsteen doing what he loves the way he loves doing it, and his amiable authenticity sounds pretty swell to this critic.

Grade: B






Tonight: Crows and Jays



Join Batavia's Crows and Jays as they perform new songs from their upcoming album Indian Falls. The folk-rockers blend indie and classic Americana influences to form a relaxed riverside rambling sound. The warm alt-country concert will take place tonight at The Waiting Room. Sonny Baker and the Justin Reynolds Band are opening; tickets are $8.






Tonight: Dee Adams


Join Buffalo's very own Dee Adams as she takes the floor tonight at the Sportsmen's Tavern. Self-described as "Indigo Girls-meets-Rolling Stones," Adams, who has won numerous local music awards, was once featured in a nationally released fundraising album including tracks from the likes of David Bowie, Tom Waits, and Roseanne Cash. The bubbly, versatile singer-songwriter will be accompanied tonight by Brian Wheat, Justin Williams, and Sonny Baker. Expect storytelling and live collaborations. Doors open at 8pm and tickets are only $3.



buffaBLOG Holiday Party Artist Spotlight: SPORTS


Joining us from Rochester, SPORTS bring their game to Buffalo as the second act of buffaBLOG's Holiday Party 2013. Known for their tight indie pop songs, the band have opened for Ra Ra Riot, Beach Fossils, and Wild Nothing. Alternately recalling the Cars, Elvis Costello, and Vampire Weekend, SPORTS blend organ and guitar rock with addictive results. Come party with them on December 21 at Duke's Bohemian Grove Bar as buffaBLOG celebrates a new holiday tradition.





Tonight: Son of the Sun


Local alt-rockers Son of the Sun will be livening up happy hour tonight at the Burchfield-Penney art gallery in an event billed as "Happy Hour with Music." Named a "band to watch for" by The Buffalo News, the group have opened for
Edward Sharpe & the Magnetic Zeros, The Tea Party, Blue Oyster Cult, and Our Lady Peace. Entrance to the art gallery is $10 for adults, $5 for students, and free for Burchfield Penney members. The special event runs from 5:30-7:00pm in conjunction with screenings, lectures, and workshops as part of the gallery's "Second Friday" series.




Album Review: Nick Cave & The Bad Seeds - Live from KCRW


Following up one of this year's most mesmerizing records with a last-minute live album, Nick Cave & The Bad Seeds have remained fully engaged as of late. Comments about aging and fine wine aside, the band have never sounded sharper and cleaner. Their restrained performance at the popular LA radio station KCRW only cements the latest phase in Cave's artistic maturity. 

Given her media dominance in 2014, the songwriter's lyrics about Miley Cyrus now seem even more relevant than when they first emerged months ago, so perhaps it is fitting that the album opens with the extraordinary "Higgs Boson Blues" (wherein "Hannah Montana does the African Savannah"). This is followed by the gorgeous "Far From Me" and a period in which Cave tries to take audience requests. He ultimately lands on "Stranger Than Kindness" from 1986.

When Cave breaks into "The Mercy Seat," his most popular anthem, it receives the quiet treatment, a great distance from the terrifying soul-angst of the death row original. Although the drop in intensity might frustrate some, the grace with which Cave performs reflects the style and character of his recent work. Through the side-project Grinderman, Cave proved he can still rock as hard as anyone, but there is something to be said for his subtler side.

Live from KCRW is, in fact, almost entirely an expression of this "subtler side." "And No More Shall We Part" and "Wide Lovely Eyes" sound beautiful under the swell of Cave's croon and the subdued instrumentation that propel the songs onward. The background vocals on "Mermaids" mimic mythic siren calls before moving to the lounge piano of "People Ain't No Good."

The record ends with the haunted "Push the Sky Away" and a rousing, impromptu take on "Jack the Ripper" (the double LP release also includes two other renditions -- "Into My Arms" and "God is in the House"). With "Jack the Ripper" finally allowing the band to indulge a bit, the live recording feels complete and Christmas-ready.

Grade: B+





Tonight: The Buffalo Folk Heroes Album Release


The Buffalo Folk Heroes live out their namesake. A collective of area musicians featuring members of The Albrights, Country-Punk Extravaganza, and Second Trip, the band play, as the bartender from The Blues Brothers would say "both kinds of music" (country and western), much of it about the Queen City. Tonight the joint-stock songwriting company will perform at 9pm at the Sportsmen's Tavern to celebrate the release of their first album. Tickets for the downtown ho-down are $7. Donations for Music is Art will be collected at the lively, pro-Buffalo event.








Album Review: Shearwater - Fellow Travelers


Covers albums generally aren't considered the height of artistic achievement. While there certainly have been covers that gain more traction and popularity than their source songs (from Aretha Franklin's "Respect" to Hendrix's "All Along the Watchtower"), the idea of a "covers album" more often than not suggests a cop-out. Though the Beatles and the Stones might have started out playing mainly covers, the bands were still learning and honing their craft. More established musicians (take Rod Stewart for instance) might get away with reaching back into the past for entire records worth of inspiration, but there still lingers a sense that the artists have lost creative steam.

Austin, TX's Shearwater, fronted by Okkervil River alumni Jonathan Meiburg, seems to completely sidestep any of the preceding concerns. Reaching to frame their cover album as an organic-sounding, unified work, Shearwater genuinely claim the songs they steal as their own sonic property. All of the tracks performed are significantly re-shaped into fluid "Shearwater songs."

Though it might superficially seem that Shearwater's absorption of the music of others is semi-parasitic, Fellow Travelers is ultimately an innovative tribute to those who have shared the road with the band. Each of the chosen covers can be traced back to acts that Shearwater has either opened for (see Coldplay) or headlined with. The Austinites even throw in a fresh duet with Sharon Van Etten for good measure, again re-considering the idea of "fellow travelers."

Fellow Travelers might not rise above its "cover album" status, but it does wear the stigmatized badge with charming pride. It's a joy to revisit the songwriting of underrated musicians like Xiu Xiu and The Folk Implosion, to witness how solidly structured their work is regardless of who is singing. But perhaps more original gems from Shearwater would have been more welcome?

Grade: B





Tonight: Stephen Kellogg


After seven albums with Stephen Kellogg and the Sixers, singer-songwriter Stephen Kellogg has gone solo. Comparable to Ryan Adams or Josh Ritter, Kellogg's music is built from a moving, full-blooded Americana mindset. Blunderstone Rookery, his David Copperfield-influenced new record, is a stunning and earnest fusion of classic rock and country-folk influences. He will be joined tonight at the Ninth Ward of Babeville by fellow folk songsters The Saint Johns and Rebecca Brooks. Doors open at 8pm and tickets are $20. 






Album Review: Death Grips - Government Plates


Can anyone ever complain about free music? Experimental hip-hop act Death Grips have been kind enough to drop a complimentary full-length (again). Their last album, leaked by the group without label permission, might have found them forcefully booted from Epic Records, but now Death Grips have the commercial and artistic freedom to basically be music's most generous sonic-psychopaths.

Government Plates is a face-to-the-curb onslaught of splintered sounds, tic-like profanities, and exhilarating industrial momentum. As chaotic as the Sacramento trio are, there is a precise vision behind the noise that holds the music together. Call it calculated insanity, tight looseness, or whatever oxymoron you may, Death Grips make hip-hop sound fresh and transgressive. There is nothing bland, safe, or pandering about their work.

Death Grips have handed listeners a relentless swirling stream-of-consciousness barely contained by its running time. This is intense stuff, though not without a bizarro sense of humor (the first Dylan-referencing track is called "You might think he loves you for your money but I know what he really loves you for it's your brand new leopard skin pillbox hat"). Best of all, it's yours for the low-price of $0. One can only say, "Thank you, Death Grips!"

Grade: A-






Tonight: House Concert w/ Will Johnson


For those seeking out some quality entertainment tonight in an informal setting, Will Johnson is performing in Hamburg (address and event details available on Facebook) following a pot-luck dinner. This is no ordinary show: Johnson is making this scheduled stop as part of his 2013 Living Room Tour. The Midwestern musician has collaborated with Jason Molina (remember Molina and Johnson?), David Bazan, Vic Chestnutt, and Jay Farrar, in addition to touring with super-indie-Americana-group Monsters of Folk (Conor Oberst, Jim James, M. Ward, Mike Mogis). A dedicated singer-songwriter above all else, there's no better way to encounter Johnson's music than in a living room space.

Tickets must be bought in advance (the suggested donation is $15) and the show, featuring an opening performance by Sonny Baker, begins at 8pm.