Here are the official video for My Old Ways and a live video of Dr.Dog performing this same song on David Letterman respectively.
Friday, June 8, 2007
Dr. Dog- We All Belong
Have you ever felt like you knew a stranger on a far more personal level than you actually did? As if anything said individual would divulge would not be news to you whatsoever? Like you could predict every single plot twist of a teen drama without even knowing the premise of the program? And you simply needed the build-up to jog your memory?
That was my very first impression of Dr. Dog's latest offering We All Belong. With seemingly familiar instances at every turn, the heavily Beatles/Beach Boys influenced album felt like setting foot in a house I had grown up in but had completely forgotten.
Making a slight transition from recording on an eight-track to a 24-track for this album, Dr. Dog gets more adventurous on this release and puts forth a new take on their radiant, fuzzy pop songs. The band makes use of well-placed piano and string sections in addition to richer vocal textures to attain new musical ground and it is presented with great precision and panache. The record kicks off with Old News, a jaunty piano-driven number that sets the tone as the lead and background vocals ebb and flow to create an ethereal yet entirely pungent sound.
The juxtaposition of the light and delicate with the spirited and buoyant is a recurring theme on Dr. Dog's third full-length, as lo-fi almost sluggish verses hand the baton over to livelier choruses.
After the opener comes the first single off We All Belong, as a synth line ushers in My Old Ways. The bare-bones verses pour into a piano-laden bouncy chorus while the band expounds on "The lonely one who's never been alone" before claiming that "I don't ever want to go back to my old ways". A slight curveball is thrown at listeners late in the game with the title track holding the unorthodox position of closer. And We All Belong (the song) plays its part beautifully in concluding the album as the song is ambushed by jaw-droppingly orchestral vocals and marching band-esque percussion for the last 2 minutes or so.
The welcome addition of lush instrumentation to Dr. Dog's repertoire helps fill gaps in a previously stellar yet incomplete sound, which has in turn given the band a chance to finally flourish within (and with any luck, beyond) the indie genre.
Unlike the countless other bands taking cues from 60s pop icons though, Dr. Dog isn't as quick to add contemporary elements to its throwback sound. The end result is an album that really does sound like it could have been released 40 years ago. Sun-soaked melodies over fuzzy distorted guitars paired with witty, acerbic lyrics ("I don't want to die in your arms...I just want to die"- Die Die Die) makes for a winning combination.
In a just world, We All Belong would be a serious contender for album of the year. Long story short, this is what pop SHOULD be.
8.7/10
That was my very first impression of Dr. Dog's latest offering We All Belong. With seemingly familiar instances at every turn, the heavily Beatles/Beach Boys influenced album felt like setting foot in a house I had grown up in but had completely forgotten.
Making a slight transition from recording on an eight-track to a 24-track for this album, Dr. Dog gets more adventurous on this release and puts forth a new take on their radiant, fuzzy pop songs. The band makes use of well-placed piano and string sections in addition to richer vocal textures to attain new musical ground and it is presented with great precision and panache. The record kicks off with Old News, a jaunty piano-driven number that sets the tone as the lead and background vocals ebb and flow to create an ethereal yet entirely pungent sound.
The juxtaposition of the light and delicate with the spirited and buoyant is a recurring theme on Dr. Dog's third full-length, as lo-fi almost sluggish verses hand the baton over to livelier choruses.
After the opener comes the first single off We All Belong, as a synth line ushers in My Old Ways. The bare-bones verses pour into a piano-laden bouncy chorus while the band expounds on "The lonely one who's never been alone" before claiming that "I don't ever want to go back to my old ways". A slight curveball is thrown at listeners late in the game with the title track holding the unorthodox position of closer. And We All Belong (the song) plays its part beautifully in concluding the album as the song is ambushed by jaw-droppingly orchestral vocals and marching band-esque percussion for the last 2 minutes or so.
The welcome addition of lush instrumentation to Dr. Dog's repertoire helps fill gaps in a previously stellar yet incomplete sound, which has in turn given the band a chance to finally flourish within (and with any luck, beyond) the indie genre.
Unlike the countless other bands taking cues from 60s pop icons though, Dr. Dog isn't as quick to add contemporary elements to its throwback sound. The end result is an album that really does sound like it could have been released 40 years ago. Sun-soaked melodies over fuzzy distorted guitars paired with witty, acerbic lyrics ("I don't want to die in your arms...I just want to die"- Die Die Die) makes for a winning combination.
In a just world, We All Belong would be a serious contender for album of the year. Long story short, this is what pop SHOULD be.
8.7/10
Goombas Can Suck My Balls
Being the dork that I am, I stumbled upon a fairly amusing video of some dude trying his hand (and failing) at the most challenging Super Mario Bros levels I've ever seen. Really, the level of difficulty is epic. Enjoy.
Song of the day
I am unsure whether I'm going to write anything substantial today or not, but the least I can do is change the song of the day. Today's is Cold December by Matt Costa.
Wednesday, June 6, 2007
I'm A Cartoon, You're A Full Moon...Let's Stay Up
In case you missed Bright Eyes on David Letterman, here they are performing Hot Knives off their latest effort, Cassadaga.
Let Us Lay In The Sun
Here is a live video of Jeff Mangum performing the title track off the critically acclaimed In The Aeroplane Over The Sea, and sporting some ridiculously awesome sweater no less.
The Fool
What a relief. After months of failed attempts, I finally understand what all the buzz is about. I am at long last able to fully appreciate the band many have made a living out of lionizing: Neutral Milk Hotel.
While I still can't fully immerse myself in the band's work prior to 1998's In The Aeroplane Over The Sea (namely On Avery Island), said album is simply brilliant. I can now see the bearing this recording has had over many of the bands I enjoy and this renders the release all the more impressive. Anchored in Jeff Mangum's clever songwriting and plaintive, howling vocals, Neutral Milk Hotel came together to arguably form the blueprints of a genre thathas only recently began to flourish; freak-folk. Listeners can discern artists such as indie stalwarts The Decemberists and Arcade Fire who unabashedly wear NMH's influence on their sleeves (in The Decemberists' case, even comparisons about the timbres can be drawn). That alone makes In The Aeroplane Over The Sea a crowning achievement. Despite the credibility NMH has deservingly gained for the music it has helped spawn, let's not let this detract from the music itself. Mangum's aforementioned unique vocals paired with the strumming of an acoustic guitar constitute the core of Neutral Milk Hotel's sound. The band also makes use of quirky, unusual instrumentation to buttress Mangum's endearing albeit technically flawed vocals. Horns, the accordion, and the banjo are all seamlessly added into the mix, each tool playing its role in supporting what would otherwise be a fairly skeletal aesthetic. Neutral Milk Hotel are also a shining example of how to utilize a lo-fi sensibility to their advantage, as distortion soars over the listeners on In The Aeroplane Over The Sea's more raucous moments. All the noise isn't so much a nuisance as it is yet another instrument of sorts. The amalgamation of all of these disparate parties (vocals, unusual instrumentation, distortion) into one cohesive unit creates this dizzying, carnavalesque soundscape...and this absolute mess is gorgeous. I can't say I have encountered such an empassioned vocalist in quite some time (barring Conor Oberst) and backed by all of this cacophony, Jeff Mangum has crafted a raw, unadulterated, noisy sonic masterpiece.
Pick this up if you are in need of genuine, unconventional, and most importantly meaningful music. I don't blame Mangum and the boys for being on hiatus since 1999. I would need a rest too if I had created such an emotionally jarring yet sincere and beautiful album.
While I still can't fully immerse myself in the band's work prior to 1998's In The Aeroplane Over The Sea (namely On Avery Island), said album is simply brilliant. I can now see the bearing this recording has had over many of the bands I enjoy and this renders the release all the more impressive. Anchored in Jeff Mangum's clever songwriting and plaintive, howling vocals, Neutral Milk Hotel came together to arguably form the blueprints of a genre thathas only recently began to flourish; freak-folk. Listeners can discern artists such as indie stalwarts The Decemberists and Arcade Fire who unabashedly wear NMH's influence on their sleeves (in The Decemberists' case, even comparisons about the timbres can be drawn). That alone makes In The Aeroplane Over The Sea a crowning achievement. Despite the credibility NMH has deservingly gained for the music it has helped spawn, let's not let this detract from the music itself. Mangum's aforementioned unique vocals paired with the strumming of an acoustic guitar constitute the core of Neutral Milk Hotel's sound. The band also makes use of quirky, unusual instrumentation to buttress Mangum's endearing albeit technically flawed vocals. Horns, the accordion, and the banjo are all seamlessly added into the mix, each tool playing its role in supporting what would otherwise be a fairly skeletal aesthetic. Neutral Milk Hotel are also a shining example of how to utilize a lo-fi sensibility to their advantage, as distortion soars over the listeners on In The Aeroplane Over The Sea's more raucous moments. All the noise isn't so much a nuisance as it is yet another instrument of sorts. The amalgamation of all of these disparate parties (vocals, unusual instrumentation, distortion) into one cohesive unit creates this dizzying, carnavalesque soundscape...and this absolute mess is gorgeous. I can't say I have encountered such an empassioned vocalist in quite some time (barring Conor Oberst) and backed by all of this cacophony, Jeff Mangum has crafted a raw, unadulterated, noisy sonic masterpiece.
Pick this up if you are in need of genuine, unconventional, and most importantly meaningful music. I don't blame Mangum and the boys for being on hiatus since 1999. I would need a rest too if I had created such an emotionally jarring yet sincere and beautiful album.
Song of the day
First glimpse of the sun here since Saturday means the return of happy indie-pop songs of the day. Therefore, today's track is Jenny by I'm From Barcelona.
Monday, June 4, 2007
Song of the day
Well after being hit with a vicious bout of complacency last week, I am back and ready to assume my espousal duties for the many bands highlighted on this blog. Today's song of the day is To Build A Home by The Cinematic Orchestra off its latest stellar album, Ma Fleur.
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