John Zorn- Nosferatu
I don’t really get many John Zorn albums anymore. It’s not that I don’t like them. I just have A LOT. Way more than I have time to listen to. So I’m a lot more choosey these days. This one struck me as pretty unique.
This is a score Zorn composed for a Polish stage version of Nosferatu. The quartet of musicians includes long-time collaborator Bill Laswell.
There’s quite a bit of diversity throughout this hour of music. It opens with ambient sounds and textures. There are the louder more abrasive songs that Zorn is known for (although not even close to Naked City-type stuff) juxtaposed to calm quiet piano tracks. The album varies from experimental to psychedelic electric jams. There are even traditional jazz saxophone and piano pieces.
Anyway, I haven’t seen the play but the album works great on it’s own. It’s probably one of his more accessible albums and has something for everyone (disclaimer: not everyone).
Review: Gringo Star – Count Yer Lucky Stars
Glam yelping introduced, retro splashing together of The Byrds and The Kinks rubbed dry by a psychedelic towel, summarises the jangle percussion shoved, inner-spirit releasing, ‘Shadow’. The versatile vocals take on a bluesy nudge to face-off against the pop-rock revolving guitar led instrumentals, ‘You Want It’. It helps this Atlanta quartet make the statement that with this second album, they will explore some of the different angles alternative rock has to offer. A sharing of vocal duties helps Gringo Star to provide a bit of variety in their exploration of rock gone by.
‘Beatnik Angel Georgie’, filters in a country rock twist, as the slightly intoxicated vocals stumble over the trotting percussion of Pete De Lorenzo. His adroit often sets the tone. A prime example of this is the echoing pop-rock cruising title track. Featuring some humbling lyrical simplicity:
“Everybody falls, falls sometimes.”
The creepy, haunting instrumental of the light rock ballad, ‘Come Alive’ contrasts with uplifting message and represents an effective departure for a band that, at times, is in danger of being labelled too backward gazing and derivative. The slow building acoustic strummed, ‘Esmeralda’ makes for an achingly reflective interlude, before a bit of chilled out The Coral veined psychedelic flavour adds a bit of spice to the epic, people musing that’s on display. A snappier folk-pop-rock pushed ode to a special gal, ‘Jessica’ keeps the psychedelic touch ticking over. Acoustic weaving and psychedelic mystery mingles well with weary vocals for the mystical lyrics decorated, ‘Light The Sky’. Lending more variety to test the mettle of decorated producer, Ben Allen (Gnarls Barkley, Deerhunter), but he proves up to the task, as this second album stands out from the retro crowd, mainly for the ground covered and the vocal range on display.
A longing almost harrowing, bedraggled low-key rock lagged, ‘Make You Mine’. Communicates the need to be wanted and, is admirable for its Beatles-esque ability to deliver simple lyrics with belief, whilst also shrouding them in mystery. It helps to underline an accomplished second album. Already you can’t help but ponder what approach they will take when they tread boldly into third album territory? One thing’s for sure, they’ll at least get there.
Review: The Futureheads – The No.1 Song In Heaven/Meet Me Halfway
Gospel undercoated, ambient backing is all that accompanies the longing, echoing and slower than normal cry of Barry Hyde to introduce the adventurous a cappella cover of The Sparks’, ‘The No.1 Song in Heaven’. There is a blasé tongue in cheek element that filters into the lofty vocal approach and playful “de dee didlleeee” backing. Whether it is mockery of Sunday morning praising or they are just giving way to their playful side? Whatever it is, it still leaves you questioning the merits in abandoning their signature guitar hook laden approach.
The a cappella fountain flowing, continues with laboured vocal exercising, introducing the echoing blues slanted, Black-Eyed Peas cover, ‘Meet Me Halfway’. Just when you expect the song to build up towards a thrusting indie/mod twisting energetic chorus; the pedestrian pace simply continues. Given that the approach that The Futureheads have taken to these covers, makes you focus on the lyrics. You can’t help but feel that they might have chosen songs with a little more lyrical depth?
Beak – Eyrie
Chicago quartet Beak released their debut EP earlier this week. Honestly it’s a little tough to pin this album down. The term post-metal seems to the most applied subgenre on various websites, but that’s not apt. There’s a lot more going on in the near 25 minutes that comprise Eyrie, ranging from ambient psychedelia to hard core to doom. It definitely all blend though. At no point does it feel forced. Anyway it’s a really good album. If you like slightly complex metal with a lot of changeups, check it out.