The Cardigans - First Band On The Moon (1996) Album Review

I've always had a fascination for the smash hit "Lovefool". I didn't quite comprehend how big the song was, being just a kid when it came out. But it was HUGE. It topped charts across the world including Billboard, and was featured in several Hollywood movies- most notably Baz Lhurmann's Romeo + Juliet. But time has passed, and the lesser I hear the song, the more obscure the band got for me. In those rare occasions when it does go on the radio I'm like "Which band was this again? This isn't The Cranberries, but I'm damn sure it starts with a 'C'!" - which is weird because I kept remembering The Cranberries (which I still find obnoxious), but always seem to forget The Cardigans. But anyway, the last Lovefool "serving" I got sent me searching for this Cardigans album, and so goes the rest of my story.

The Cardigans

This Danish-Swedish band, as far as I can tell, are masters of the retro sound. But don't let the sunny, sugary exterior of this album fool you. Closer examination of the lyrics reveal much much darker themes, mostly about a woman who readily and willfully accepts abuse from a partner who couldn't care less. Whether Nina Persson, the band's vocalist, was subjected to the same kind of relationship during the writing of these songs remains up for question. The low esteem and self-deprecating nature of the lyrics, although sad, is ironically amusing at the same time. "Oh, I think you're standing on my left foot. It's hurting but it's okay cos I'm in your way." The same stories of abuse and sado-masochism aren't exactly a rarity since I do happen to know a couple of women who are willing to take an emotional beating just to save their relationships. Seriously, ladies. Enough with that stuff! Man the f*** up!

Reality aside, this album presents these dark themes into a carefully woven piece of sunshine that is sure to delight and bring some smiles and disgust from its listeners. The rhythm section is among the best when it comes to the indie/retro sound, not to mention the cute vocals - which seemingly buries the underlying themes beneath the ground. That would of course explain why a lot of people who lived through the 90s often misunderstood this band as just another schmaltzy pop act (and that includes me). Definitely something worth remembering and worth recommending to coming generations.

My score:
8 out of 10

Regina Spektor - Soviet Kitsch (2004) Album Review

I like Regina Spektor. Her voice blushes with versatility, and she has her own outlandish way of utilizing it. But regardless, she knows how to use it, no doubt about that. She plays a mean piano, and to top it all off, she's just utterly cute. Proof of cuteness come in little pieces. Her quirky live performance is a given, but let's dig a bit more. Say, a video footage from one of her concerts where she messes up Fidelity halfway through. But before that happens, everyone was singing along and having the time of their lives while she was playing the piano and singing to her heart's content. Then she stops singing, quickly fixates her eyes on the keyboard and realizes she has forgotten the notes. She tries to find the correct keys in a panic - like a little kid who desperately scours for a lost toy in the midst of bedroom clutter - but utterly fails, ultimately ruining the song. Everyone starts to laugh and she starts to laugh as well. Ashamed, she continues trying to find the right keys, but then decides to just finish the part by singing a-capella, now with the whole room singing with her. Ecstatic applause follows. Really, you just have to see it for yourself. Now, I don't know if this is just vendored naivete trying to win audiences over with oozing cuteness, but let's leave that particular train of thought to the "professionals".

Ts-tss-ts-ts-tss... stoyle.

What's this all got to do with this album - you might ask. Well, I am talking about her because listening to Regina Spektor really isn't just about the music. More importantly, it's about her. When you listen to her records for a bit, and when you get to know her a bit (her public persona, that is), you begin to adapt a habit of thinking of this sweet, coy, honest, humble, talented artist behind that peculiar wall of sound. In some cases, you'll probably forgive the excessive peculiarity only because it is she who's singing. I can't exactly pin-point which version of my "Spektor-liking" self is listening when her stuff is playing. But damn, she sure is a delight.

I don't think I've ever heard a voice with this much personality before. It's as if you can see the fibers of her being in all its eccentricities. And perhaps you'll find it less and less spontaneous with each listen (most notably Carbon Monoxide's "walk-a walk-a walk-a" gimmick), but there's actually another barrier to break, one with no vocal surprises but with profundity, or perhaps vagueness masked in profundity, whichever floats your boat. But it's evident that she's a gifted writer and poet.

In Ode To Divorce, she pictures being stuck inside her ex-boyfriend's mouth who engages in a passionate "killer" lip-locking with his new girlfriend, but then proceeds to do something as unflattering as begging for money right afterwards. Way to throw everyone off the mood, Spektor. But clever, I must say you... I can say the same for Chemo Limo, which espouses dying in style, hence the limo, rather than try grueling chemo for chances of a cure. Having "crispy crispy Benjamin Franklin" synonymous to money is also a nice touch. Most of the poetry is subjective and open to individual perception, but not overly vague for everyone to develop a deep liking for all things "Spektor". Just have the patience to keep an eye out for it, lest you end up with another female with a fancy way of singing about nothing.

My score:
7 out of 10

José González - In Our Nature (2007) Album Review

I was recommended to José González' In Our Nature no earlier than 2008, but I only got to listening to him quite recently. A long time coming, thanks to our not-so-harmonious first meeting. At the time of introduction, I thought the album was pretty lo-fi, and I've always been somewhat prejudiced to all things lo-fi. However, I did like it to a certain degree despite the "static hum" sonically plastered with the songs throughout the album, but I grew distracted with other music, other things shinier, other things more polished, and ultimately, things I probably didn't care enough to remember. I did set the record aside ever-so-gently (and by that I mean letting it get lost in my cluttered MP3 folder as opposed to being sent to the recycle bin) and off I went to greener pastures. That hiatus would end a few months ago, as I dug this record out. I've been listening since.

As an acoustic artist, he reminds me of Nick Drake - but not as gentle nor as pleasant. José González' music has this certain abrasiveness and rawness to it, and it gives the record its core appeal - nay - his greatest and most defining appeal, in fact. And I can imagine the luck of those dreamers and film-makers who happen to stumble upon his "dimension" of music and use it to amplify their own thoughts and imaginations. There's just an endless stream of profound imagery to be had - one seemingly inherent to great melodramatic motion pictures. The music just oozes with that 'it' factor - whether for film or dreams.

José González

I actually see José González as some kind of disciplinarian here. The songs are about human nature - in all its meanderings and irrationalities (hence the album title), and it scolds you for being so damn... uh... "human". Ironically, he doesn't sound like some douchebag when he does it. It's cleverly veiled with the gentle plucks of the acoustic guitar, and the strangely "prophetic" sound of his voice. The whole ensemble is pretty effective and I can't help but take heed.

In How Low, he sings about selfishness and how someday "you'll end up to your knees in the shit you seed". That's an album opener for you. In Killing For Love, he proclaims "what's the point of a love that makes you hate and kill for?". Kind of reminds you of some religious sect doesn't it? And in Cycling Trivialities, he talks time and how much of it people waste on petty stuff on a day to day basis - stuff that probably won't matter in a couple of years. Like he says, it's in our nature. But nonetheless, the song proclaims a resounding "reassess! reassess! reassess!", an implorement for one's desire for self-improvement - as has always been for people who are motivated enough to be better than their current selves, even if it only exists in their minds. Also check out his cover of Teardrop by Massive Attack, quite magnificent, I must say.

This is an album you will want to continually play over and over again, if you give it a chance and if you're not previously being too rigid like I was. As of today, I can't count the times my iPod reverted back to the intro riff of How Low without feeling I've had enough.

My score:
8 out of 10

Other stuff:
Down The Line Music Video

Sufjan Stevens - The Age of Adz (2010) Album Review

If you happen to be situated somewhere far away from any kind of indie scene like myself, Sufjan Stevens proves to be quite the guilty pleasure.  You should never, by any means, play Sufjan tracks on your stereo when you have metal-head friends in the same room.  Doing so will warrant a disgusted look, followed by comments such as: "what the hell is that shit?".

For someone in my current geographical location, I would deem Sufjan Stevens music as strictly private - one that you should NOT recommend to just anyone, unless you're particularly sure that that someone is as elitist, indie, and as seemingly pretentious as yourself.  Neither should you play Sufjan at parties- though some of the music can be effectively used at parties aimed for children aged 5 and below, and, more appropriately, parties filled with wannabe hippies and supposed artsy people.

That said, and as much as I stubbornly refuse to be called pretentious, I did honestly enjoy Illinois.  I wasn't much into the story telling (although I found the homo-erotic ones worth gossiping about on the internet) but I did enjoy the music in some way.  A lasting memory transports me back to a time when I once longed for the American dream.  A time that I daydreamed about walking the streets of Chicago without having to worry about being stared at for wearing too much clothing (or, similarly, for looking really dope).  A time that I longed for more concrete and less dust, less heat, less beggars, and less abusive drivers. I walk the streets with an entourage, nay- a PARADE! And the centerpiece is me! Balloons balloons everywhere! And the camera frantically swirls around me as the music swells, and then... I orgasm. (Imagine the look on the faces of my metal-head friends.)

That is my definitive Sufjan Stevens experience. I can still force myself to have that experience every time I do listen to the record, but probably without the excessive drama (and the orgy).

As for The Age Of Adz, I am not quite sure where it wants to take me.  First impressions were not good, reminding me of this constant occurrence where I'm lying in bed and I leave the computer on, playing whatever music was on the playlist, while I tried to doze off.  I would then wake up in a panic- thanks to some "sonic jerk"* from some random song.  But the thing is, with this album, I get that same "sonic jerk" even when I'm wide awake.  Mr. Sufjan's new knack for SCATHINGLY LOUD electronics was just not naturally welcomed by my ears.

I want to reinvent myself. So bad.

Time would mildly change that.  It's like a horror movie actually - the more times you watch it, the more you'll get used to that scene where the idiot main character ventures into the attic and you jump out of your seat as the killer comes out of nowhere and shivs the guy repeatedly with a sharp knife.  Likewise, I wonder why Mr. Stevens does the same thing to his music.  He probably hated it so much that he thought he might as well make a mess of it, or maybe it's one of those gimmicks to give it some "abstract feel", like a painter would to a painting (and every other pretentious twat).  But all in all, I think it is deliberate.  He is deliberately destroying his "sound", probably in hopes to reinvent himself.  Commendable at least, but I still don't think it was a good idea.

How so? Simple. Imagine The Age Of Adz sans all the electronics. How much better would that sound? Mr. Stevens even gives us a taste of that momentarily near the end of Impossible Soul! Full band, full choir. That authentic Chicago-like feel that made Illinois extra special.  No wonder why so many people think it's the best track on the album.  But alas, the other songs did not receive the same treatment.

But hey, don't fret.  Ultimately, once you've grown acclimated to the spiking electronics, you'll inevitably begin to notice the many layers underneath it.  The wide array of organic instruments that flows to and fro- even the vocals seem less heavily rendered.  You'll notice that the main character wasn't just stupid- he also wanted to check if his old Nintendo was still in the attic- you just missed that bit the last time because you were covering your eyes.

My score:
5 out of 10

*get it?

Miike Snow (2009) Album Review

I was familiar with this band's name long before I heard any of their music.  The first time I did though was in an unusual way for me - inside a video game.  That video game would be NBA 2K10, and the song would be "Black & Blue".

I've been listening to the album since.  So this is electro pop.  I actually expected something as fast-paced as "Black & Blue", or something I used to associate with the word.  ELECTRO... ELECTRO... I don't really follow the genre much, but when I think of that word "electro", I think electricity.  Heavy synths.  Huge beats.  Neural shocks.  Gigantic headaches.  I'm not even sure if this is any kind of electro at all.  While there's a fair amount of synths present on the album, there weren't any headaches whatsoever when listening to it, nor did I expect it to be the way it is.

This is a pretty chill record actually.

The songs have obvious pop sensibilities, songs that make you sing once you figure out what the singer is saying.  But what makes them shine so brightly are the subtle sounds sprinkled throughout the record, brilliantly added and placed in the songs.  I call these moments moments (pun).

Miike Snow (covered in snow)

An example would be the chimey keys to the intro of "Burial".  Another would be the nintendo-esque sounds that immediately follow after singer Andrew Wyatt's first "ssssiiiiillllvvvviaaaaa" in the final part of the song "Silvia".  Actually there are a couple of amazing moments to that song, and it's probably the best song on the album.

"Sans Soleil" is another of my favorites that has a kind of uniform samba or rhumba beat throughout (sorry if I'm wrong, but as a child they're the preset beats I recognize from an old Yamaha keyboard my father had).  The weaving in and out of the vocals is the final piece that makes this such a beautiful song to listen to.  "Hard. You make it hard. Hard."  Yep.  That's what she said.  But while it's kind of a humorous read, it's entirely magical when heard from the song.  Trust me.

Then there's "Cult Logic".  Downtempo disco updated and probably at its best, hearkening back to disco radio in the late 80s.  (Seriously, I do not know what the hell I'm talking about.  Just trying to pick up the pieces of what I thought I heard as a child).  It's one of those songs that make you smile while hearing it from afar- thinking "yep, that's my song.  And damn, does it sound so good".

A low point in the album for me would be "A Horse is not a Home".  There's something wrong with the title and the way the music was constructed in order for those words to be sung.  It just doesn't work.  It's a metaphor, alright.  But it still doesn't work.  Well, maybe for some people, but not for me.

All in all, it's the first album of its kind that I thoroughly enjoyed.  One thing is for sure- I won't back down from searching a remedy for the bones I broke.  Nyahaha.

My score:
8 out of 10

Verdict: Bipolar by Up Dharma Down

So a few months have passed.  Not much of my early thoughts have changed, except that I did think this album needed repeated listening to be truly appreciated by anyone - after suspecting that my first few listens were just part of the 'getting to know' process, infantile opinions that would gradually change over time.

No.

New thoughts however, there are certain parts where the music tries to sync itself with a certain emotion or 'feel', only to depart abruptly into quirky breaks or stop altogether.  If you like music with a healthy supply of  quirks, inconsistent feels, unpredictable endings, and incessant wailing by a seemingly drunken female, this album is for you.

My score:
4 out of 10

UDD Bipolar: '1st' thoughts

First and foremost, I know Up Dharma Down is well-respected among several circles. I even came upon American hippies who were familiar with them on some internet forums, and left me thinking their music must know no boundaries after the fact. I casually listened to Fragmented for a bit and thought it was okay, never really seriously dug into it, then I pulled my pants up and moved on to other music. When Bipolar came out, some reviews were just going crazy over how 'good' it is. So here I am- trying to find out once and for all what the 'buzz' was all about.

My first listen was a week ago, and decided right then and there that I needed to give this one a few more spins.  Definitely not impressive at first, but I told myself it's one of those albums where some mandatory "ear-grinding" was necessary to actually make sense out of the tracks. 

So as of now, I think I'm done with my 6th or 7th run. I decided to listen to the album once more and pretended it was my first time- all while writing my observations spontaneously.

I call this my "Bipolar Experiment", and these were what my 'notes' looked like (unedited):

Blessed - Haunting bass.  Break.  I love the explosion into a Mogwai-esque rock number at the end.

Clockwork - I waited for something to happen.  There's the distorted bass break, but nothing special.  Still can't make out anything the singer says.

All Year Round - sweet downtempo track.  Singer sounds like she's suffering from stomach pains.  Still waiting for something to happen... track ends anyway.

Taya - finally the first song that actually sounds like a song.  'Kagabi' and 'Kakitiran' - the way she sings those words is really annoying.

Unspoken Definites - I have a feeling she's only jamming those words in just to say them.  Good song for night-driving in the city.  First song I can think of playing while doing something.  Track reminds me of Zero 7.

The Cold is Warmth - Thom Yorke-esque type of instrumental.  Tuned up the volume for this one.  Sounds good.  Ends without notice.  Filler.

Two - By this time I figured you need to turn up the volume to appreciate what the other band members are doing.  Of course, that would mean subjecting yourself to louder drunken singing, but she actually sounds a bit bearable in this song.  By the way, I have nothing against singing like you've just drank a whole bottle of Tanduay, but at least make an effort to let us understand what you're saying.  Song ends ubruptly- again.

Sana - sweet song.  I actually like this.  No surprises, straightforward track.  Finally.  The guitar plays the role of lead guitar with loud distortion.  Song ends after loud guitar. ? Okay, I like this.

Return, Saturn, Return- Intro sounds like Thom Yorke / Radiohead's Kid A yet again.  Nice guitar when the beat kicks in. Ends. Filler.
Note#1: ALBUM HAS TOO MANY FILLERS.

Every First Second - weird dynamic at play here.  I like its awkwardness.  The chorus finally rocks the open hihat.  I like the chorus.  Progresses into something else... breaks.  Back to chorus.
Note#2: Her sharp voice soars above the rest of the instruments, in such a way one can't help but notice.  And NOTICE I do. She minces words too much that they're barely recognizable.  I don't care if everyone calls it "artsy singing", it's just bad singing to me.

Furnace - Piano track.  I like it.  Reminds me of Olafur Arnalds.  OVer quickly.  Filler again.

Silid - Night-time electronic track.  Lonely track.  Changes tempo in the middle.  Okay, so it's a night-time DRIVING track.  Love the mood of this one.  ENDS???  too short, WTH. FILLER.
Note#3: It's becoming apparent this band likes ending songs without climaxing (pun!). Numerous times I waited for something to happen, and it just ends.

Sugarcoats and Heartbeats - stripped down track.  electronica again.  Bursts into drumming.  Well, what do you know?  A track that actually tells you that it will end any minute now!
Note#4: I feel this album only works when you're alone at nighttime, while driving your car or in your room perhaps, and perhaps best for people who have trouble sleeping (I meant that in a good and bad way).

Okay, I edited that a bit. I just added the note numbers.

The band is creative, no doubt about that. But my biggest gripe? Her singing. "It" seems completely independent from the songs. The songs change, the instrumentations change, but her singing remains the same. Not always annoying, but most of the time anyway. Her style is just, uhh, not my cup of tea.

Okay, imagine you're on a luxury tour around the world. The songs are the countries you go to, and her voice is like the annoying alcoholic grandma who tags along.

Good enough?  No? Okay, I'll shut up now.

(The album is looking grim, but I feel I still need to do more listening for my sake. Will let you know what I find.)