on deck

Adam Ant - Dirk Wears White Sox
David Axelrod - Earth Rot
Peter Hammill - The Future Now
Mighty Sparrow - Hot and Sweet
Toro Y Moi - Underneath the Pine

Ultravox - Ultravox!

Two strikes so far for Ultravox. I'll try Systems of Romance before I call it quits, though. The two Ultravox albums I have tried seem too inconsistent. Most of this album (their debut) sounds like Space Oddity leftovers, so if there's something special here, I'm missing it. Brian Eno is credited as a co-producer on the album, but as far as I can tell, only the closing track "My Sex" has his touch. Compare that track with what Eno did two years prior on Another Green World:

dead ends

Gong - Camembert Electrique
Hawkwind - Space Ritual

I suppose the genre here is space rock. Gong was formed by a co-founder of Soft Machine, which seemed promising. And Hawkwind was a name I saw as an influence of several prog and even (inexplicably) some punk bands. But really both albums are of the wankish prog/hippie jam band variety; I have little tolerance for that.

Nilsson - Son of Schmillson

Most of what I had read about this album characterized it as the indulgent follow-up to his most popular work. That description also fits two of my favorite albums, the Clash's Sandinista! and Todd Rundgren's A Wizard, A True Star. But if Schmillson sounded just as charming as Nilsson looked on the cover of that album--waking up in a bathrobe, hash pipe in hand--then Son of Schmillson sounds like what he probably smelled like later that day. Perhaps I'm going in the wrong direction with his discography; from now on I will only venture into the albums leading up to Schmillson.

'O'Rang - Herds of Instinct

This band is basically the rhythm section of Talk Talk, and the album was 'written' in much the same way as later Talk Talk albums: improvised sessions were recorded then pieced together. But unlike Talk Talk, they didn't really have a rough blueprint prior to the sessions. Also, the sound here is much more diverse than Talk Talk's. Later Talk Talk albums were already treading delicately on a tightrope above a vast pit of pretentiousness; 'O'rang's more esoteric approach is just as audacious but not quite as skillful.

The Art of Noise - Who's Afraid of the Art of Noise?

This is a bit frustrating, but I'm trying to remember how I came across this band. I know I had seen a few of their albums when flipping through the 'punk / new wave' sections of record stores, but unless an album has a very distinct cover and I made a note of it, that's typically not the way I find things that might be worth exploring.

Every now and then you come across something that sounds as if someone made a mistake somewhere and perhaps time and space are not one-way vectors, as surely for an album like this to have existed in 1984 is evidence of a rift in the space-time continuum. It's not that it sounds way ahead of its time; it's just that assigning this to any specific point in time seems arbitrary.

Who's Afraid is best described as a sound collage, two words that normally translate to 'stay away'. But what a mistake that would've been--I wouldn't have heard the full 10-plus minute version of "Moments in Love," a beautiful, chilling opuses of avant-garde synthesized goodness. Of course it has been sampled numerous times since then; even the band made dozens of different versions of the song.

(Ignore the video; it's the only full-length version of the song I could find on YouTube)



But really, most of the album isn't really like that. The remainder is closer to the other big hit from this album, "Close (to the Edit)." By no means is that a bad thing; it's just been copied so much that it's hard to separate the original from the cliche imitations. Witness the fables of the deconstruction:

on deck

Hawkwind - Space Ritual
Nilsson - Son of Schmilsson
Toro Y Moi - Causers of This
Ultravox - Ultravox!
Wedding Present - Watusi

Japan - Adolescent Sex

YES, how did it take so long to come across this. An album from 1978 that straddles funkish punk or glam-rock of the 70s and the synthesized New Romantic movement of the 80s, confidently dipping its essence square on your head. It's as if Nile Rodgers of Chic produced a David Bowie album...except that actually happened in 1983 and it's not as good as Adolescent Sex. Or if Gang of Four sang about sex instead of politics, although Japan does have a song about "Communist China." Maybe I'm not good at analogies. At any rate, this album is swagger incarnate. Witness halfway into "Performance," when those high xylophone notes hit. YES.

Pure X - Pleasure

I want to aim for new music to be about 10% of the albums I'm exploring here. Finding new music is not an easy task, and I find Pitchfork to be unreliable and too scene-happy. So when Pure X's debut album Pleasure was mentioned in a thread about how Pitchfork's Best New Music category seems to skip over the, um, best new music, I thought this might be a good one to start with.

At first glance, there's a lot to like about this album: a swirling, pedal-heavy guitar sound, peaceful vocals that might as well be Sigur Ros, and simple, clean songs. In reviews you'll see mentions of 'beach album' and 'rainy day', two seemingly contradictory moods that nonetheless are simultaneously conjured up here. On repeat listens though, that swirly sound blurs to the point where it's tough to distinguish tracks. It's strange--for an album that rewards headphone use, it still never seems to emerge from the background when played through speakers.

Overall I think favorably of the album and expect it will end up on several year-end lists, but I hope they can expand their palette, as Pleasure is proof that guitar pedals do not an album make.

Ultravox - Vienna

When exploring synth-pop, Ultravox was a name that came up often. I believe I briefly tried their best-of, Dancing with Tears in My Eyes but I don't remember. Any anyway, if a band is worth a damn, their albums are usually better than best-of compilations. So I started their 1980 album Vienna, as it was rated the highest on AllMusic. Because iTunes is generally worthless, my first few listens to this album were with an out-of-order tracklisting, and I was not impressed.

It's amazing what a difference the tracklisting can make, but even upon correcting the mistake, I still feel like this is a pretty inconsistent album. The opening track is great, as are the two penultimate tracks, "Western Promise" and "Vienna"; really the album should've ended with the title track. The remainder of of the other songs are cringe-worthy ripoffs of other synth-heavy bands, like Kraftwerk ("Mr. X") and Devo ("All Stood Still"). Vienna ends up as a slight disappointment, as this album easily could be sliced down to a very solid EP.

Still, I expect I'll try some other Ultravox albums and will hopefully have better results. If not, then I guess it's back to Dancing with Tears in My Eyes.

In the meantime, I could live in this song for quite a while:

on deck

The Art of Noise - Who's Afraid of (the Art of Noise)
Gong - Camembert Electrique
Japan - Adolescent Sex
'O'rang - Herd of Instinct
Wedding Present - Seamonsters

Squarepusher - Music is One Rotted Note

I'm guessing this one came up in response to the question, "What else sounds like Bitches Brew?" Some come close: Squarepusher is a drum'n'bass guy, but the majority of this 1998 album falls squarely in the jazz-funk fusion camp. While some is reminiscent of late Miles, I'd say it's even closer to some of Crossings and Sextant-era Herbie Hancock, as there's a good bit of keyboard noodling served up here.

Still, if I wanted to hear this kind of sound, I'd rather reach for any of about half a dozen Miles Davis albums. Which is not to say I'm done with Squarepusher, as I may check out the album that came before this one, Hard Normal Daddy.

The Monochrome Set - Strange Boutique / Love Zombies

Some members of the British art-school punk band the B-Sides became Adam and the Ants; others formed the Monochrome Set. I'm not familiar with Adam and the Ants, so perhaps this wasn't the best place to start with these guys. Anyway, the compilation Colour Transmission is basically their first two albums, 1980's Strange Boutique and 1981's Love Zombies; the latter being the better of the two.

I'm not 100% sure of the chronology, but my impression is that these guys heard The Feelies' "Fa Ce La" when it was released as a single by the Monochrome Set's label Rough Trade in late 1979, and generally ripped that off, as much of their sound reminds me of Crazy Rhythms. Apparently the two bands did tour together in 1980, so perhaps it's unfair to say either stole the other's sound, even though they're nearly identical. At any rate, I think The Feelies did it better.

Here's the Monochrome Set's song "RSVP" where they sing in French, a la "Fa Ce La".

Directions in Music - Directions in Music

I'm not sure how I came across this one, but Directions in Music was a one-off album from three guys in the Chicago post-rock crowd, done in 1996. They got together just long enough to make an album of eight instrumental, untitled tracks. Imagine a post-rock impromptu jam session after hours at the Grand Ole Opry, and you'd be close...and perhaps disappointed. Much of the album sounded like a less interesting version of Gastr del Sol's Camofleur, or early Tortoise, which makes sense given the people involved. Overall, a nonchalant pass.

Here's Directions in Music


Compare that with Gastr Del Sol's "Black Horse"

a new approach

Taking a different approach with this site...

I've stopped tracking my purchases, as I'm essentially no longer buying CDs now that I have a turntable. And now, about half of the time, the vinyl I'm buying is just duplicating what was already in my CD collection, which is dumb; I should be exploring some new music.

So now just going to post five albums to listen to over the coming week. If any are worth writing about, I may make a short note of it here. Otherwise, I'll consider them dead ends.

To start:

Directions in Music - Directions in Music
The Monochrome Set - Colour Transmission
Pure X - Pleasure
Squarepusher - Music is One Rotted Note
Ultravox - Vienna

purchases

From the CD cellar:

Dinosaur Jr. - You're Living All Over Me
Flamin' Groovies - Red Hot Flamin' Groovies (collection of first three albums)
Radiohead - In Rainbows

Lizzy Mercier Descloux - Mambo Nassau

Out in some alternate universe, where old songs float around in space, there is a bridge that links Talking Heads' "I Zimbra" to the same band's "Born Under Punches." That bridge is formed by nine of the ten songs that make up Mambo Nassau, Lizzy Mercier Descloux's second solo album. Whether or not Descloux's severe yet foreseeable change in approach had anything to do with Talking Heads' own development is not (widely) known. It is known that she had become inspired by the traditional world music released on France's Ocora label, and in 1980 she took drummer Bill Perry down to Nassau to record at Compass Point, where she was aided by a number of people, including keyboard wiz, arranger, and -- ding ding! -- future Talking Heads associate Wally Badarou. The intent was to incorporate African elements into Descloux's existing vibrant mix of arty funk, disco, and film music, and the result was an album that nearly rivals just about any other rhythmically inventive release that came from the rock world at the time. Naturally, Mambo Nassau is even more adventurous than Press Color. The instrumental setup -- with the exception of some of the percussion -- is completely Western and rock-oriented, with Badarou's excitable synthesizer often figuring prominently, whether churning out squiggled melodies or affecting the mood of the song with sensitive accents. The interplay between all of the instruments is positively acrobatic, including off-kilter time-keeping, wriggling guitars, and plump basslines that seem to twist in place. And, of course, there's Descloux's voice at the center of it all, adding even more life to the material with infectious wide-eyed exuberance. Eight of the album's ten songs are originals. Once you hear the cover of Kool & the Gang's "Funky Stuff," you'll realize that no one has ever had as much fun as Descloux had playing that song.

(Lizzy Mercier Descloux - Mambo Nassau)