A crucible for music exploration

Wednesday, July 29, 2009

Escaping Low-Fi Cynicism


The genre of Downtempo, colloquially referred to as 'chill-out' or 'low-fi', hit a popularity streak a decade ago and then eased itself into a stagnant pool of boring music. Although recent releases from Thievery Corporation and Nightmares on Wax were certainly above average, they displayed a complete lack of innovation. In essence, their 2008 albums present nothing musically that wasn't already played to death during the 1998-2002 golden era of Ibizian Chill-Out compilations. So when I came across a slew of contemporary Downtempo artists from Britain, Switzerland, and Sweden, I was extremely skeptical, to say the least.

Much to my surprise, Bibio, jj, Air France, and Low Motion Disco (links to buy albums) are pioneering a complex blend of resplendent tracks that help low-fi listeners escape from a much deserved cynicism. These are artists that transcend the 'chill-out' moniker to produce great music, plain and simple.

Bibio displays a mastery of diverse compositional forms and hip-hop style sampling, while jj manages to bring a post-modern Swedish ethos (think The Knife) to Balearic sunshine and Lil Wayne lyrics.
Hailing from the same record company (Sincerely Yours), Air France sounds more like Bibio with their use of samples. Yet for an interesting contrast with jj, play 'Things Will Never Be the Same Again' and 'Collapsing at Your Doorstep' back to back with a little crossfade action. The violin samples are identical, yet the tracks reach such different aural outcomes.
Enjoy this relaxed cluster of tracks as summer begins to wind down.

Friday, July 24, 2009

Disco Pop (part II)

[Nostalgia already?]

Standing on the shoulders of yesterday's brief pop-remix reflection, the second part in the ongoing Disco Pop series presents four mainstream electronic artists who stand on the cusp of appealing to a wide and heterogeneous array of listeners.

As I've mentioned before, The Twelves recent output of mixtapes and remixes places them on an inevitable path to popular reception, and their latest production is virtually identical to a Top-40 pop love song.
With their melodic and slightly dubbed out remix of Phoenix back in May, Classixx corned the market on a unique varietal of popular summer house music. "I'll Get You" features similar synthesizer notes, yet introduces a more repetitive vocal structure and pushes the up tempo, making the track a suitable start to weekend.
While the abymsal chorus on "Audacity of Huge" threatens to relegate the latest Simian Mobile Disco release to the dustbin of obscurity, Chris Keating from Yeasayer saves the track with his superb delivery of prescient post-Golden Age lyrics.
Part intellectual, part rap star, Keating regales us with a series of boasts, "I got that Mama Cass you know I got that Peter Tosh / Book collection with an autographed James Joyce / Double Dutch dinosaur duplex in Dubai / I’ll be there with my friend the Sultan of Brunei," only to hit us with his modern quandary, "I got it all / Yes it’s true / So why don’t I have you…"

Thursday, July 23, 2009

Disco Pop (part I)


It's fairly safe and banal to posit that the electronic dance track is the present and future medium of popular music. Although the term ‘dance music’ packs a complex and variegated genre into a convenient conceptual package, the sounds emerging from this box over the last five-years are becoming exponentially more appealing to mainstream listeners. In this sense, ‘disco-pop’ occupies an artistic middle ground between the esoteric hedonism of club tracks and the ubiquitous synthesizers of a Timbaland production. Hence, the new Disco Pop series at Lyrical Smelter aims to explore this rapidly stabilizing equilibrium.

While dance music often shares a similar 4/4 beat pattern with hip-hop, recent remixes of Shwayze and Tellier underscore the ease with which the genre produces sonorous instrumental hooks, thereby providing the perfect backdrop to pop/rap lyrics. Plus, the orchestral breakdown at 3:40 on the Tellier remix retrospectively gives Mozart a Funktion One sound system to play with.
Approaching the mainstream from a different angle, the Golden Filter and Trentemoller consistently demonstrate an incredible ability to remodel fairly mediocre indie tracks into quintessential pool-party disco anthems (see An Hour in the Smelter DeeJay Mix). However, to give full credit to Peter, Bjorn, and John, their official video does feature an awesomely strange Euro dance off at 2:50.
In the final analysis, though, the listener can often be left wondering what a remix or electronic cover adds to the original. Does Night Waves give us anything that Phil didn't already deliver decades ago?
Tomorrow, part 2 of the Disco Pop exploration features several new artists whose productions, rather than remixes, stand on the cusp of mainstream recognition.

Monday, July 13, 2009

Comfortable Angst: Wilco Live


[Guest review from L. Hintz: Wilco @ Wolftrap, July 8, 2009]

Under a moon just shy of full, Wilco proved yet again that they are one of the best live bands out there, demonstrating soul, technical tightness, and dynamism. The heart-breaking gentleness of “At Least That’s What You Said” in its opening notes exploded into a frenetic guitar performance by Nels Cline that hovered between the sublime and the freakish. The simple and intimately familiar lyrics belied the intensity of the rhythm pounding through “Hate It Here.” The performances of “Shot in the Arm,” and the climactic closer “I’m a Wheel” should have critics shelving the label “dad-rock” for good.
Wilco live is a magical mixture that eclipses any album play – especially their most recent releases. Critics and fans alike have commented since Sky Blue Sky and Wilco (The Album) that the band seems to getting into its groove, finding itself, and getting comfortable with just being Wilco. (Is it wrong that I don’t want them to get comfortable? If so, how wrong?) Still, getting comfortable as a unit – so comfortable that they rocked the guitar-shredding “Spiders (Kidsmoke)” as an encore – doesn’t mean getting complacent. The angst and tension that seem to vibrate beneath the surface of much of what makes Yankee Hotel Foxtrot and A Ghost Is Born phenomenal may make only rare appearances on newer album tracks such as “Bull Black Nova,” but the band delivered new and old alike with gusto, much to the crowd’s adoration.
Yet, as mind-blowing and as visceral a performance as the band delivers with favorites such as “I Am Trying to Break Your Heart,” Wilco live does indeed break our adoring hearts just a little bit. They have us at a note: one scream of feedback slices through the evening air and we’re giddy with anticipation for “I’m the Man Who Loves You.” But you kind of get the sense that he doesn’t. Jeff Tweedy, that is. An artist and perfectionist, the lead singer/guitarist is no one’s eager crowd pleaser. Anyone who has listened to Kicking Television: Live as many times as I have will know that shouts from the audience elicit responses from Tweedy such as “Thanks for coming from Kansas City. Now be quiet;” or “Isn’t it past your bedtime?” Last night Tweedy only semi-teased the crowd with “It sounds like about 16 people liked that one,” showing a little of the self-deprecation that underscores so many of his lyrics as well as a sense of separation. As enraptured as the audience is with the sizzling atmosphere Wilco creates, it seems as though we are kept at a slight distance. Of course, you certainly can’t blame a band for not loving us at a meta-level quite as much as we love them – especially given some of the fans Wolftrap’s otherwise welcome policy of BYOB encourages.
Still, it’s almost as though the band is so comfortable with themselves as a cohesive unit that they don’t really need us. And, as selfish as it is, that’s a little heart-breaking.
Set List:

Wilco (The Song); Shot in the Arm; At Least That's What You Said; Bull Black Nova; You Are My Face; I Am Trying to Break Your Heart; One Wing; How to Fight Loneliness; Impossible Germany; Deeper Down; Jesus, Etc.; Sonny Feeling; Handshake Drugs; Hate It Here; Walken; I'm the Man Who Loves You; Hummingbird; You Never Know; Heavy Metal Drummer; Misunderstood; Spiders (Kidsmoke); I'm a Wheel

Sunday, July 5, 2009

The Sturdy Bridge of the Cover Song


In many ways, listening to a cover song is akin to walking across a bridge. The listener starts on one side, confident and safe enough with the original version to journey towards a new artist. As the cover starts, the listener begins to traverse the arch, stopping at familiar points (a melody here, a chorus there) to marvel or retch at how the architect rendered an old track fresh and unique. At the other end of the bridge, the cover artist stands anxiously; ready to administer more oral acupuncture if desired. Enjoy these links between the collectively known and the newfangled, esoteric, or just different.