The Rock Blogger

The Twilight Sad. Forget the Night Ahead . 2009. 4 stars .

A solid sophomore effort from this underrated Scottish band. Like its brilliant predecessor Fourteen Autumns and Fifteen Winters , the music on this album evokes cold, rainy and grey spaces, where traumatic childhood memories collide with the fractured relationships of adulthood. The lyrics are cryptic, lonely, vaguely menacing, as singer James Graham cloaks his brooding anger and disappointment with a very distinct Glasgow accent.

The music itself is gloriously loud and melodic, combining the distorted post-rock styling of Mogwai with the soothing waves of My Bloody Valentine. The exchanges between Graham’s bellowing voice and the crescendos of guitar noise are weaved together beautifully, creating an unique and dynamic sound that blends together shoegaze and post-punk elements.

The album’s first half contains some of the band’s best material to date. First is the slow-burning "Reflections in the Television" with jangly guitar noises and terse, restrained verses that build suspense, with warnings of "people downstairs". Post-punk aficionados may hear shades of Joy Division’s "Atrocity Exhibition" in the grim spaces of this track.

"I Became a Prostitute", the first single, picks up the pace with careening riffs and aggressive percussion, producing a dark and catchy tome about some poor and used-up soul left "bawling her eyes out" on the rain-slicked streets of some shitty town. "Seven Years of Letters" is slightly more optimistic, with strong melodies underlying the coy exchanges of some failed love affair. "Made to Disappear" begs us to "forget the night ahead" as Graham follows the movements of lost, shadowy figures struggling with guilt and dishonesty.

After the hazy instrumental interlude of "Scissors", the second half of the album shifts between slow piano-driven balladry and cathartic outbursts. "That Room" is a haunting track that recalls the tormented spaces of some uncertain youngster, underpinned by plodding keys that hammer down like foreboding steps outside the bedroom. "Floorboards…" and "At the Burnside" follow a similar, creeping dynamic.

"That Birthday Present", "Interrupted" and "The Neighbors Can’t Breathe" are faster, grittier tracks that swirl around lean Interpol-style riffs and mournful lyrics. While all of these tracks are tense, atmospheric and intoxicating, the lyrical phrasing and instrumentation is not as focused as their earlier counterparts. Most the second half bleeds together, losing some of the sharp distinction that the first half showcases so well.

Despite the unevenness of this record, it still packed with strong melodic movements, passionate vocal performances and intense personality. Overall, Forget the Night Ahead is a worthy follow up to one of 2007’s most earnest albums and an emotional display of the band’s talents. As the temperature drops this season and the chill sets in, this slow-growing album may provide just the right therapeutic release. These gloomy fellows are likely to be sharing your pain.

Matthew Good. Vancouver . 2009. 3.5 stars .

On his latest record, Matthew Good takes revenge on his former hometown, attacking the pervasive ignorance and ennui that lies in the political struggle between new affluence and extreme poverty. Evoking scenes of mountain wildfires, needle-strewn fields and claustrophobic spaces, Good’s lyrics are direct statements against the extreme disparities of urban life.

Despite the openly political nature of his songwriting, the music itself doesn’t carry the same subversive edge as his earlier work. Good’s music has always swerved between two poles, passing from caustic dark humor (Load Me Up, Born Losers, Everything is Automatic) to haunting emotional frailty (Apparitions, Blue Skies Over Badlands, Fated) with remarkable ease. On Vancouver however, the contrast is softened and diluted, opting instead for grand symphonic excess that, while sounding lush and epic, ultimately loses its urgency.

The strongest tracks on Vancouver are the most restrained, like the stunning "Silent Army in the Trees" that paints a sad portrait of the disillusioned soldier, far removed from the heroic fantasies of their childhood. The message here is clear and unequivocal, supported by lean guitar riffs, rousing vocal harmonies and gentle acoustic arpeggios."Fought to Fight It" comes out swinging with a post-punk verve not unlike New Order, with electric percussive elements pushing the song to its rollicking climax where Good’s voice rings with incredible confidence. These are the moments that appropriately showcase Good’s instrumental and vocal talents with intense precision.

As a long time fan of Matthew Good, the general shift towards the climatic aesthetic is somewhat disappointing, given that he can do more with a lot less. It is not that this record is overblown, on the contrary, it is focused and intelligently written. It just comes off as being uneconomical and overly self-conscious, standing in a confused space between Neil Young’s "Keep on Rocking in the Free World" and the conventions of radio-friendly alternative rock. Nonetheless, this record is a noble effort, opening some space for reflection and action on troubling social issues that extend far beyond British Columbia. Here’s hoping that his music remains a hallmark in Canadian culture, even if it lacks the macabre tones that made him famous.

What has become of all of us, all ceilings, all skies
is that, the stars can swim a thousand dark miles
before they ever see the floor again
with their backs against the wall on these last days
but then, we knew that would happen anyway
you drop that pitch-black pall
over us, one and all, again
to propel your national machines
giving us all the disease, but not the vaccine
a thousand tiny lives
disappear into the black depths
I guess I thought I’d feel something but I didn’t
yes, that’s a myth
I would give anything
for a cool glass of water
without this poisonous oil
no
it’s never going to be good enough
there’s no air anywhere
it’s all money now
wouldn’t you do the same?

- Have a Nice Life “Waiting for Black Metal Records to Come in the Mail” Deathconsciousness 2008

The Mars Volta. Octahedron . 2009. 4 stars .

In what is their most streamlined and restrained album to date, The Mars Volta have crafted surrealistic prog-balladry that weaves between weepy sentimentalism and desert-tinged psychedelia. Touching off brief moments of accessible clarity that spaced out dizzying spasms on their previous albums ("Televators", "The Widow"), TMV have opted for strong, emotional lyricism over exercises in raw dexterity. The move is a welcome one, given that the band’s pristine abilities, especially Cedric Bixler-Zavala’s acrobatic vocals, often became muddled under a mass of texture.

"Since We’ve Been Wrong" is the clearest marker for this shift in songwriting, with mellow acoustic riffs and crystalline electric arpeggios that climb across Cedric’s gentle verses. The song carries with it a warm, evening atmosphere, recalling the purple shadows of some distant, lovelorn summer. With it’s focused presentation and memorable lyrics, this stellar opener stands as one the band’s best songs.

"Teflon" and "Halo of Nembutals" are more aggressive and centered on heavy percussion. However the focused songwriting remains intact as the musicianship seeks to line the stunning vocals with complementing bursts of color. Cedric`s vocals shift between the nasal and helium-induced ecstasy as he spouts nonsensical lines about hanging ring worms, hostages and burning tires. I`m sure there is some cogent story to be found here, but I don`t have the right drugs to go looking for it.

With Twilight as My Guide is similar to the firefly radiance of the first song, with shimmering atmospheric noises and patient acoustic picking. The song stretches out into sputtering drones as subtle syths play over. The effect is enticing, as it lulls the ears into some ancient hidden cavern. And so flows the rest of the album, alternating between shrieking and punctured jams (Cotopaxi, Desperate Graves) and slow, cinematic buildups (Copernicus) complete with electronic beat-pulses and piano lines.

Overall, Octahedron is a satisfying album that goes well with sun-baked slumbers. While certain moments of this album still bear the trademark confusion that has typified The Mars Volta (bizarre lyrics, ear-piercing climaxes), it still bears moments of enriched lucidity. Though I doubt they will ever reclaim the power of their debut album (Deloused in the Comatorium ), Octahedron shows The Mars Volta altering their sound and finding new and rewarding paths across the deserts of the mind.

An excellent performance of one my favorite Bjork songs. Her voice is so strange and evocative and the sound of that music-box gives me chills. This song can be found on Vespertine (2001).

Afterlives is an acoustic/lo-fi rock project from William Barrett on Enemies List Recordings, the home recording label that produced Have a Nice Life and Nahvalr. This video is incredibly simple but it has an ominous, psychedelic feel to it. I’m looking forward to hearing the debut EP A Ticking Clock That I Couldn’t Stop, which can be streamed on Last.fm

And You WIll Know Us By the Trail of Dead. The Century of Self. 2009. 4.5 stars.

Yes, I will use a tired cliche and call this a return to form. After being bogged down by progressive aspirations and awkward experimentation on their previous two LPs, Trail of Dead have returned to a more cohesive state with the brilliant Century of Self, an epic collection of arty, indie rock songs that are packed with urgency and grandeur. A far more energetic, fluid and fast paced work than its predecessors, The Century of Self has managed to balance their earlier punk-inspired assaults with bombastic segues and progressions, making it a vivid illustration of the band’s lengthy development. While less noisy and raucous than the now classic Source Tags and Codes, this album still retains the soaring dynamic of that release despite the occasionally pompous frills lining the edges.

The first half of the album is exceptionally strong, with rocking numbers like “Far Pavilions” and “Isis Unveiled” revealing that this is not your ordinary indie punk album. These tracks feature beautiful transitions between clamoring guitars and dreamy bridges with orchestral tinges. The latter song in particular will bring back fond memories of TOD’s earlier incarnations, with its incredible pace, literary lyrics and driving percussion. The bridge for this song is a barn burner that clunks by with the same battle-ready intensity as “Will You Smile Again”, the undisputed highlight from Worlds Apart. The opening momentum continues through to the neo-psychedelic flourishes of “Halcyon Days” and the sweeping, sea-faring imagery of “Bells of Creation”, which graced last year’s Festival Thyme EP.

The latter of half of the album is somewhat more melodic, with the rousing and inspired multi-vocal chorus of “Fields of Coral” providing an emotional anchor for the album. Lined by dizzying piano lines and fantastic drumming, the band sings about staying true to one’s beliefs and ideals. With such a strong instrumental backing, they have never sounded so sincere. “Inland Sea”, another Festival Thyme song, is also driven by piano keys and is a pretty counterpoint to the rancor of the preceding tracks. “Luna Park” continues on to even softer territory with piano and acoustic guitars tracing the more sensitive lines of Conrad Keeley’s lyrics. The reflective mood extends onto “Pictures of an Only Child”, where Keeley’s vocals are more understated and effective. Far more earnest than anything on So Divided, the band manages to gracefully incorporate true balladry into their work.

While the album’s final moments aren’t nearly as moving, they are still full of interesting ideas, including the catchy two-vocal exchanges on “Ascending” that adds a stirring sense of comradeship to the disc. While the piano solos that seque between this and the final track are somewhat forced, they helped wind the journey down to the chanting chorus of “Insatiable Two” which brings the whole affair to a satisfying conclusion.

So long story short, The Centruy of Self is a great and beautifully composed album that draws in disparate elements from across the band’s career and fuses them together seamlessly. While they do get a little too interlude happy on some of their songs, which could have used some extra trimming, the overall aesthetic of this album is undeniably epic and rich with detail. Fans should rejoice over the band’s regained confidence as they tear through these tracks. This is easily one of their best albums and can be placed on the same pedestal as their previous masterpieces.

Bells of Creation - Live in Germany

Isis Unveiled

“The Man from Harold Wood” - Matthew Good Band.

Time lapse photography set to Matthew Good’s brooding instrumental track. The song’s title and Arsenal game samples are supposedly tributes to his English father. It can be found on the Loser Anthems EP and the deluxe In a Coma compilation.

Law school is hard.
I’m trying to get a fictional heroin addict off a possession charge
Maybe if I imagine that my client is Chris Cornell or something, I can get it done
Or maybe I should try heroin?
No, I think I’ll just listen to Chris Cornell.

A Perfect Circle - 3 Libras

Threw you the obvious and you flew with it on your back,
A name in your recollection down among the millions there:
Difficult not to feel a little bit disappointed,
And passed over
But I look right through see you naked but oblivious…
But you don’t see me
But I threw you the obvious just to see if
There was more behind
The eyes of a fallen angel eyes of a tragedy
Here I am expecting just a little bit too much from the wounded
But I see, see through it all
See through
See you
Cause I threw you the obvious to see what occurs behind
The eyes of a fallen angel eyes of a tragedy oh well
Oh well apparently nothing apparently
Nothing at all
You don’t see me
You don’t see me at all