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Sach’s quarterly Indie Pop/Rock Round up · by Sach O
As noted in our year end list: I listen to white people music too.
I’m rapped out. The 4th quarter had some good (The Doctor’s Advocate, Hell Hath No Fury, More Fish) some bad (nearly everything else) and a whole lot of ugly (Kingdom Come and Hip Hop is Dead) but this unexpected post Holiday surge has been hitting on all cylinders. Chamillionaire, Talib Kweli, Brother Ali, Sean Price and X-Clan have all either leaked or released albums that are worth proper repeated listens and it’s going to take a while to get through them. To make matters worse, there’s also a bunch of great indie projects out right now to distract me from getting to the bottom of this mess, some of which may interest you if you’ve absorbed as much new Hip Hop as I have in the past few months.
The Good The Bad and The Queen
There’s nothing particularly “indie” about Damon Albarn fronting a super group consisting of Dangermouse, Fela Kuti percussionist Tony Allen, Clash bassist Paul Simonon and Verve guitarist Simon Tong. Nothing except they’ve made a puzzlingly uncommercial record of gloomy dub influenced rock. Sounding like a soundtrack to post-bombing London, there’s a bitter and hopeless resignation to the album as Albarn unleashes the full force of a bleakness only hinted at on his poppy Demon Days. Where that project featured some of Dangermouse’s wildest production, The Good the Bad and the Queen keeps the eccentric producer on a short leash, limiting his role to mixing and a few synthy flourishes. The resulting album lurches forward and never really picks up the pace but it isn’t music to drown one’s sorrows to, it’s something to put on the morning after a particularly awful bender as the airy gloom somehow sounds comforting. None of the tracks stand out as particularly single ready and I wouldn’t expect any to have an impact on radio unless Clear Channel’s programming directors suddenly and collectively suffer from a bout of acute depression. Still, as far as capturing the downcast mood of the times, Mr. Blur is doing as fine a job as anybody: I just wish the international mood would shift back to something that would inspire a sequel to Parklife.
Pop Levi – The Return to Form from Black Magick Party
I have no idea what that album title means, but that’s in line with almost every experience I’ve had in relation to Pop Levi. The first time I heard his music, an unhinged take on rough-and-tumble psychedelic glam rock, was on Ninjatune’s website while researching the line up for what turned out to be a terribly lame trip-hop event. Later, when I went to see Levi’s live show, I consumed a few too many fungi and ended up fleeing the room before he came on due to some absolutely terrifying performance art by the opening act. None of this should discourage you from checking out his full-length debut however as Levi’s music is fun, energetic and slyly clever in its mix of 70’s pomp and modern electronic flourishes. Subtle tape loops interact with triggered handclaps, jukebox rockers mix with acoustic jams and somehow it all comes together without feeling like gimmicky retro music (Wolf Mother) or a slavish remake of a long gone era (Jack White’s music). Rather, by synthesizing electronic production with classic songwriting Levi’s essentially resurrected the ambition and range of album oriented rock without the bad hair and excessive flamboyance. Plus dude’s got a pretty good singing voice.
RJD2 – The Third Hand
RJD2 on the other hand, does NOT have a particularly good singing voice and his third album, his first away from Def Jux, never quite gels. What may seem ambitious and defiant to fans of his DJ Shadow inspired debut really isn’t much more than a bad Postal Service imitation to anyone aware of the scene he’s trying to integrate himself into. The outcome is an awkward shift from something he did quite well (brooding trip hop) to something he’s rather mediocre at (dreamy indie pop). RJ may not have deviated a whole lot from Shadow’s blueprint on his earlier albums but at least he had an interesting take on it. The same can’t be said about his current music and The Third Hand proves that he’s definitely not ready to compete with the big boys of rock until he finds himself a compelling front man and loosens up his overly stiff programming.
Menomena – Friend of Foe
Well the internet was going gaga over this so I decided to give it a shot. Supposedly Menomena invented its own sequencing software to process and arrange the sounds they came up with while jamming and then converted those arrangements into full songs. While technically impressive, this wouldn’t mean much if the results weren’t there but thankfully Menomena mostly delivers. The album isn’t the most amazing thing since sliced bread but it’s a cohesive and interestingly crafted collection of experimental pop, unique in its sound while relatively accessible in its structure. While it didn’t exactly blow my mind, your mileage may vary. It’s worth a download regardless and hopefully it’ll grow on me.
Of Montreal – The Hissing Fauna are you the Destroyer
Ok, let’s get this out of the way: Of Montreal’s Satanic Panic in the Attic is easily my favorite non-rap album of the decade. The perfect mix between the band’s earlier Elephant Six style recordings and their following space-disco phase, it pretty much sums up what I want out of pop music right now (Beatles + electronic drums!). The Hissing Fauna isn’t nearly as sunny, psyched out or rock influenced as that masterpiece so any comparisons are pointless; still I can’t help but be slightly disappointed that Kevin Barnes and company have gone in a dancier and angstier direction without first expanding on that one perfect album they released in 2004. The internet doesn’t seem to agree with me on this one though as The Hissing Fauna is finally getting the sort of ridiculously positive reviews that Of Montreal’s music was always deserving of but never got.
A concept album built around Kevin Barnes’ move to Norway, his subsequent depression and his separation from his wife and child, The Hissing Fauna is easily the darkest and most personal work Of Montreal have ever released. Things get weird with trashy drag queens, ambiguous sexuality and sugar-happy melodies thrown into the mix and the whole thing is vaguely frightening in a Syd Barret/Arthur Lee sort of way. The childish innocence that once turned off mainstream listeners is now turned inward into a bizarre nightmare as Barnes’ man-child like persona goes through every stage of break up grief before finally getting his act together and reuniting with his flame. To compound matters, this is all set to some of the most exuberantly joyful music you’ve ever heard resulting in a bizarre and self-contradicting near-classic that equally recalls Bowie and Prince as processed through Andre 3000’s production equipment and an acid head’s music collection. In the end, it may not be the album I wanted from the band, but it’s a testament to their talent that they managed to amaze me with it anyways. Particularly since I’m no fan of drag queens and I abhor white Prince pastiches.
Incidentally, Of Montreal is pretty fucking amazing (and even scarier) live. They maintain a rigorous touring schedule so if ever you’re wondering what kind of demented individual could come up with this stuff, get yourself a ticket. I recommend hallucinogens or at the very least a couple of spliffs for that sort of concert though, particularly if you’re used to the informal hardcore rap jam and not the weird guy-in-a-dress-with-a-guitar show.
Comments for "Sach’s quarterly Indie Pop/Rock Round up"
I didn’t know RJD2’s new drop had leaked. The Of Montreal is real cool, and I haven’t spent enough time with Albarn’s new group’s disc to really give an opinion. But lo-fi Gorillaz? Better than nothing!
— Renato Pagnani Jan 27, 06:49 PM
Call me close-minded or racist if you will, but I NEVER read these indie rock posts you spring on us every few months
— R.H.S. Jan 27, 09:49 PM
^ ^ that’s great you close-minded racist
— Jay B Jan 28, 12:11 AM
FETA Kuti!
— noz Jan 28, 03:11 AM
rjd2s joint is ill to me.. and i gotta check that good & bad joint.
by the way…..Chase The Cool.vvvv
chesing.blogspot.com
— Small Eyez Jan 28, 10:13 AM
RHS: I honestly don’t think you’d dig the music so it’s no real loss to you honestly. That said I’m genuinely curious about your non-rap listening.
Noz: Let’s be fair you wouldn’t have noticed had I mangled one of the 50 white people’s names in this thread. Ah well,
— Sach Jan 28, 10:59 AM
Not that I’m comparing Kuti’s musical contributions to anyone in this post mind you.
— Sach Jan 28, 11:01 AM
That new RJ is horrible. I had no idea that was him singing. I was wondering why he got the same wack singer on there again and again. There’s my answer. The only cut that’s nice is “Get it”, the rest of that shit is garbage
You should develop another blog to review albums like these on, you could update it each quarter or something.
— Skylar Jan 28, 03:19 PM
“Noz: Let’s be fair you wouldn’t have noticed had I mangled one of the 50 white people’s names in this thread. Ah well,”
Your point?
— noz Jan 29, 03:26 PM
Yeah, I noticed that but I was too lazy to find out whether it was somehow a cheesy pun (lolz) so I could fix it.
— David Jan 29, 09:06 PM
Noz: Basically I’m hating on you for finding a really embarassing typo.
David: Never assume I’m remotely that clever.
To keep this on topic: That Of Montreal CD keeps getting better.
— Sach Jan 29, 09:58 PM
for what it’s worth, i thought it was hillarious. i’m sure a greek afro beat cover band could put it good use.
— noz Jan 30, 01:02 PM
Seeing a “weird guy in a dress” Of Montreal show should ruin the “hardcore informal rap jam,” and pretty much every other live concert experience, for anybody who sees it. They put on a preposterously good live show. Watching a douchebag pace back and forth on stage while mumbling about how the soundman sucks and the crowd won’t “get live” into the microphone he’s cupping just isn’t the same after that. Their new album is the trifecta.
— El Keter ben Tzadik Feb 3, 02:25 AM