Category Archives: Album Reviews

April 16, 2012

1966 Revolves around Revolver

By Matthew Coleman

WINNER

#3 Seed: Revolver

Take the Rolling Stones top 500 albums list for what it is – a subjective list of “game-changing” albums culminating (like most all-time album charts) with Sgt. Peppers at top – but prior to discussing how a 3-seed defeated #1-seeded Pet Sounds handily in the finals, I want to talk briefly about the Rolling Stones list. After Sgt. Peppers, the list goes Pet Sounds (2) and Revolver (3). First, isn’t it extraordinary that three of the greatest rock albums ever released hit record stores in around a 13-month span of time? Secondly, perhaps I misjudged Revolver. I recognized it as an inspirational album that, like Pet Sounds, revolutionized the sound of rock n’ roll music and helped introduce a generation to psychedelic music, but perhaps I underestimated its true force and influence.

Revolver may be #3 on the Rolling Stone list, but, according to our poll’s small sample, the top two albums ever released should maybe go Sgt. Peppers followed by Revolver, which would be representative of how incomprehensibly talented the Beatles were. In 10 months the band released two of the greatest albums ever. This is unparalleled in music and it is tough to find an equivalent in any form of talent, creativity, or sport. Mozart in his prime. There is one!

I voted for Pet Sounds. So did three others. The Beatles won 8-4 after sliding through the entire competition. This means that they, according to Music Court viewers, released the best album in 1966 and 1967. So how did this 3-seed take down the uber-talented Beach Boys and their Pet Sounds. Both bands were experimenting with tape delays, creative instrumentation and recording techniques, manipulated vocals, and drugs. Both bands tapped into the minds of all band members to create a unified sound that translated into excellent music. What was the difference besides the roots of the bands (surf vs. bluesy beat)?

The answer is simple. Nothing. Yes, the songs do sound different because the two bands are, well, clearly different, but as for impact and experimentation, there is really no difference. Revolver and Pet Sounds are near perfect albums (I reserve the title of perfect for two albums – Sgt. Peppers and Dark Side of the Moon). The Beatles are more popular so they may have won because of that, but, supposing that is not the reason, I want to look at two songs that may have helped propel Revolver to victory.

“Eleanor Rigby”

“Eleanor Rigby” is one of the most known and popular Beatles songs ever released and I think one of the reasons for this (besides the fact that it is just an excellent song) is it is so different. The song is carried by the staccato rhythm of a backing orchestra that sounds like it is narrating a tense scene in a horror movie (at times – the orchestra was inspired by the compositions of Bernard Herrmann – “Psycho”). Besides this, the song is just Paul McCartney singing with the occasional harmony. The lyric, which was created in a conjoined band effort, is just perfect. It paints a sad and simple image of the “lonely” Eleanor Rigby and her life and death. It is an untraditional rock song, not featuring any other instrumentation, yet it is wonderfully melodic and incredibly popular. The Beatles were changing the ears of a listening populace.

“Tomorrow Never Knows”

This song is not anywhere near simple. “Tomorrow Never Knows” is an Indian-inspired composition that features several psychedelic effects like tape delay, oddly patterned drumming, reversed guitar, and droning vocals. The song features the psychedelic works. It is an LSD-influenced dreamy ending that leads right into Sgt. Peppers, an album that features even more of this musical experimentation (which is pretty much what this song is). But, because this is the Beatles, the song is excellent and highly listenable.

So what do you think? Does Revolver deserve the title? Do you want to see this game played next year (and with what year?) I’m eager to hear your opinions. Thanks for playing!

8 comments   |  tags: , , , , , | posted in Album Reviews, Court Polls

January 13, 2012

A Man of Many Different Parts – New Music from Andrew Sheron

By Matthew Coleman

Andrew Sheron

 
Andrew Sheron is a multi-instrumentalist from Brooklyn, NY who refuses to be bogged down by genre constraints. What do I mean? Sheron’s nine-song debut release Travelling Time which he released with his band Everyman of Parts is an excellent example of musical diversity. I cannot label it because each song has its own distinctive flavoring. The album is like a layered dip – you scoop the concoction up with a chip and, is that guacomole?
 
Travelling Time , which can be streamed in full for free on Everyman of Parts’ bandcamp (click Travelling Time), features a wide gamut of influences. We move from conventional folk to funk to alternative metal to classic rock to jazzy piano. When an artist attempts to tackle so many influences in nine songs the result is usually disastrous, but Sheron and his band delicately interweave these influences back-to-back so listeners are able to follow along and enjoy the music.
 
The best way to review an album like this is to just get to the music. The curious bunch has already clicked on the link above and are listening to some of the songs. If you haven’t, no worries, I am going to highlight a few tracks from the album that I am enjoying on my first listen.
 
Before I get to this, some long-time readers of the Music Court may recognize the last name Sheron. You are not losing your mind. He is related to Daniel Sheron of Balto who we featured way back in April of 2011 (okay not really way back). You can read that post here.
 
Now let’s move on with the show.
 
 
We are starting with an upbeat tune called “Display Case” that infuses indie sensibilities with pure funk. I think the funky, skillful guitar is well done by Sheron. The piano, which is also played by him, carries this 60′s Hammond organ theme that I not only enjoy, but also respect. I love tangible hearing classic rock influences in modern music. The backing horns in the culminating choruses are excellent – credit to Joseph Peterson – Trombone and Marc Plotkin – Alto Saxophone  as well as the horn arrangers Anne H. Goldberg and Sheron himself. This is a treat.
 
 
“Are you Cold” begins with a simple Cat Stevens’-like acoustic guitar riff. This song features Sheron’s voice which is smooth, tender, and emotional. He is clear and concise. The lyrics are able to shine through and gems like the lyric, “I wonder if she’s beautiful to me because she’s frail, and if under her distrust and pain I’ll find my holy grail,” shine. The song rises with strings and bravo to Christopher Marion – Strings & String Arrangements – the strings are perfect, especially the end. The harmony that creeps into the song before Andrew Sheron’s awesome falsetto is wonderful. The song is itself a beautiful portrayal of insecurity.
 
 
I am bouncing between tracks. This is track three on the album and, wow, a bit of a difference right. This was what I labeled alternative metal. It seriously sounds like Rage Against the Machine. And it is so unexpected. The grunginess in the vocal is actually well done. There is an interesting harmony that meshes well with the highlighted blues. There is also a wall of sound effect that the heavy guitar and drums (excellent in every song – kudos to Alex Raderman) fosters.
 
 
The last song on the album, “The End of the Rope” is my favorite. There is an obvious soberness to the sound but that does not mean that the song is downright lachrymose and depressing. No. I feel that it is more just an introduction to the neat jazzy part that you are about to experience. Wait for it. Yes, there is the piano. Sheron is a great musician. This airy solo features so many influences. There is an element of bassy grunge, acoustic folk, jazzy piano, and vocal honest. It is a perfect close to an excellent debut release.
 
Visit the band’s website, Facebook, Twitter 

1 comment   |  tags: , , | posted in Album Reviews, Artist Profiles, New Band Palace

September 6, 2011

Albums after Labor Day – A Fall 2011 Preview

By Matthew Coleman

It’s almost time to reap Fall’s musical harvest and hunker down for winter. Okay, not really. We are still in early September and summer hasn’t even officially ended. But the coolness of Fall is beginning to wash over NYC and I thought this would be a good time to provide the seasonal album preview post. There are several albums that will be released to the public during the Fall, including high-profile releases from band’s like Coldplay and Florence & The Machine. Below is a short list of album’s you should look out for this Fall, 2011.

 

The Beach Boys
The SMiLE Sessions –  November 1

 

 

 

 

 

 

 

 

 

For those unfamiliar with the story of Smile let me quickly review the tale of this gigantic release that never was. Intended as the follow-up to the massively succesful Pet Sounds, Smile fell apart because of Brian Wilson’s increasingly fragile mental state and erratic behavior, as well as impending business and legal issues for the entire family band. And, despite various attempts to release the album, the project was abandoned and Wilson fell deeper and deeper into the wormhole of drug-induced psychoticism. A dark, dark time.

But we are in the new century now and efforts to release the album have resulted in success, creating now one of the most exciting releases of the Fall and, hell, the last 50 years. While Brian Wilson did release elements of Smile as a solo album in 2004 (which ended up winning him some Grammy Awards), it was not the original recordings of the songs.

Well, come November 1, the recordings will finally be available for the world to hear. The album is scheduled to be released in a 2-CD package under the title The Smile Sessions. A limited edition box set will comprise 5 CDs, 2 LPs, 2 45rpm singles and a 60 page booklet; there will also be a digital download version. Going to be A-W-E-S-O-M-E.

Blink-182
Neighborhoods – September 27

 

 

 

 

 

 

 

Here is something I don’t think many people thought they would see in the year 2011. A new Blink 182 CD? Their first album of new material in eight years. And, in between those years there has been a band hiatus, drummer Travis Barker’s near-death experience in a plane accident, and Jerry Finn’s death. Finn was a staple on  Blink 182 albums as a constant producer. But after the three-piece band got back together in 2009, they all came in with song ideas and they immediately began recording new material. The album, self produced because of Finn’s death, is sure to have a massive amount of emotion in its tracks, and, according to the band, it is weird and expansive, covering the music tastes of each individual member. Consider this. Mark Hoppus is almost 40. They have come a long way since “All the Small Things.”

 

Coldplay
Mylo Xyloto - October 25

 

 

 

 

 

 

 

 

 

The album name is gibberish and we are still waiting for the band to tell us what the hell it means. Or, perhaps, the name has no meaning, but is just a string of letters picked out of a scrabble pouch. Who knows? It is Coldplay we are talking about. Coldplay is well on their way to releasing this album in October. They released the first single, “Every Teardrop is a Waterfall” on May 31 and will release #2, “Paradise” on Sept. 12. Prepare yourself for a more intimate album than Viva La Vida.

 

Florence and the Machine
tbd November – November 7

 

 

 

 

 

 

Just to clarify for any literalists, the name of the album is not TBD. But it is Florence and the Machine’s new project and it will be released in early November. This much anticipated release will be more soul-influenced than Lungs. The band has revealed that one track is called “Strangeness and Charm”, which Florence Welch describes as “about seven minutes long and pretty relentless.” And, the first single, “What the Water Gave Me” was released in June. What’s with all the Fall water motifs? Will The Machine, well mainly Florence, fall into the Sophomore release trap, or will they succeed. I have faith in them. But Lungs set the bar high, so we will see.

 

Other Interesting Releases:

Metallica & Lou Reed | TBD
Date: Nov. 1 Twitter: @Metallica,

SuperHeavy | “SuperHeavy”
Date: Sept. 20 Twitter: @SuperHeavy

Evanescence
Evanescence October 11

Feist
Metals October 4

Leave a comment | posted in Album Previews

July 12, 2011

If Not Now, When? Incubus’ New Album Put Under the Microscope

By andrewleibo

The album cover is a picture of high wire artist Philippe Petit, the subject of the documentary Man on Wire, that focuses on his death defying wire walk between the Twin Towers of the World Trade Center in 1974

Incubus’ new album, If Not Now, When? hit the shelves today and it does not disappoint at all.  Though the album lacks the harder rock feel evident in Make Yourself and Morning View, every song contains brilliant harmonies and an easy relaxing tone.

It’s no secret that Incubus has been moving towards more experimental sounds with less punch and aggression, and this was made clear by the album before this one, Light Grenades. If Not Now, When? is the evolved state of that transformation.

With that all said, this album has Incubus’ pure sound that is undeniably their own. As with every album produced thus far, Brandon Boyd’s voice gives a unique sound that dots the i and crosses the t in the sound produced. Every song on this album could arguably be plugged into any of the other Incubus albums and it wouldn’t feel too ridiculously out of place.

Most of the songs are about love and relationships, making for lyrics that could sweep a girl off her feet.

“Friends and Lovers” and “In Company of Wolves” fit into the parameters of experimental tunes while others fit into slower rock expected from Incubus such as “Isadore” and “The Original.”

A trend I noticed in the album is that in the “experimental” songs, Incubus seems to harmonize and create melodies with an organ/synth in the background, which is a slight abnormality.

“Isadore” and “Adolescents” are my two favorite songs off of the album. In “Adolescents,” the band really rocks and this gives Jose Pasillas a chance to show what he can do on the drums. Pasillas doesn’t have formal training on the drums, but can blow most drummers out of the water. He doesn’t get to showcase himself as much as he could in songs such as “Pardon Me” and “Stellar,” but he adds so much to the album with his skillful fills that never sound out of place.

The album is only 11 songs long, however it does leave the listener satisfied. All but two songs are longer than four minutes (leaving a few songs dragging on just a bit too long,) while “In Company of Wolves,“ (the most experimental song of the album especially after the 3:30 mark) is well over seven minutes long.

The one song that feels out of place in context of the album is “Switchblade.” While it is a good song that would fit in other Incubus albums, it seems out of place as it goes faster and Boyd is on the verge of rapping during some of the verses.

I miss Incubus’ use of turntables in the album. The turntables allowed for an interesting twist that normally isn’t found in rock songs. They never over-used the tables; listen to the pre-chorus of “Drive” and it belongs perfectly.

I would highly recommend this album. It’s relaxing and has a mix of both enjoyable rock and songs jam-packed with constantly changing harmonized melodies. The album leaves you wanting more and, because of this, the tour should run smoothly.

For those who just like downloading individual songs off of iTunes I would recommend “If Not Now, When?,” “Promises, Promises,” “Thieves,” “Isadore,” “Defiance,” and “Adolescents.”

If you have any views, comments, or questions, please comment on this article or tweet me at @MusicCourt or @AndrewLeibo and I’ll be happy to discuss or debate with you.

Here is “Isadore”:

Leave a comment   |  tags: , | posted in Album Reviews

June 24, 2011

Heavy Glow and the Midnight Moan – Album Review

By Matthew Coleman

Heavy Glow

On June 23 of last year I profiled Heavy Glow on the New Band Palace. It is sheer coincidence that I am bringing the band back on the blog today. Something about June and Heavy Glow, I guess. Never heard of Heavy Glow? Click on their name above for last year’s post on the three-man hard rock group. Their new nine-track release Midnight Moan treads the line between hard blues rock and heavy metal. But not the heavy metal that you may immediately think of. Heavy metal traces its roots back to the late 1960s when blues rock and psychedelic rock collided and formed a genre of massive sounds and heavy distortion. The genre immediately focused on heavy guitar and hard drumming, hence heavy metal. Heavy Glow, an apt band name, is just that. They play to the sounds of the progenitors of the genre, i.e. Deep Purple and Black Sabbath. Yes, their music is highly modernized. Heavy Glow uses several recent distortion techniques and the electric hard guitar sounds much more like recent metal guitar than early 70′s rock, but they are familiar with their roots, even experimenting with some acoustic blues at the end of the album.

Right out of the gate Heavy Glow demonstrates their grasp of classic rock blues. “Lose My Mind” entraps listeners with its traditional blues feel mixed with a hard-hitting rhythm and a clean, but raw solo. I particularly enjoyed its shortness. The song only takes up 2:45 of the album. Like a book’s first sentence, the first song of an album should be representative of the material you will experience throughout and it should be intriguing. “Lose My Mind” makes you want to listen to more.

Track two, “Slave Dance,” is modern blues/metal. The riff is effectively slow and monstrously well struck. It is a pump-up riff that acts as a drawn-out head banger, a perfect compliment to the celerity of the first song. “Slave Dance” develops small verses and more rock experimentation culminating in a planned solo attack that acts as a solid firework before the song’s ending.

“All My Money” which falls in the fourth spot on the album is the most catchy track and I will mark it as my favorite because of its carefree rock flavor that is refreshing when you are trapped in a sea of near-metal explosion. Check it out:

While track four may be my favorite, I particularly enjoyed the last few tracks on the album, where Heavy Glow decided to experiment with some old-fashioned acoustic blues, an unexpected but welcome transformation from the modern heavy rock we hear at the album’s outset.

“Smithereen” is an unusual tune, melancholic but melodious. The acoustic guitar work is appreciated and vocals are not to shabby. By the way, the following track “Midwestern Lullaby” is a 1:42 pure instrumental treat and it leads into the plus seven-minute finale.

Solid effort by the young band and an enjoyable album indeed.

Check out and buy the album:

www.heavyglowmusic.com

Leave a comment   |  tags: , | posted in Album Reviews

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