The Man in the Gray Flannel Suit

Sigh.  Once again there’s so much music and so little time.  In fact, most of albums on this list can’t properly be considered “new” anymore, but that’s life.

Dave King – Indelicate (Sunnyside Records)

King has already established himself as a jazz percussionist par excellence with the Bad Plus and Happy Apple, but here he decides to carry the entire load himself.   While I’d love to say that Indelicate is a prime example of a talented artist finally allowed to break free from the shackles of the group format, that isn’t really the case here.  King’s muscular and primal rhythmic approach to the drum kit carries over to the piano but it becomes clear fairly quickly that while King has a number of good ideas (among them the simple but engaging “Homage: Young People” and the bouncy “I Want to Feel Good”), he really needs someone like an Ethan Iverson to translate them into something more.  In the end, Indelicate feels more like an experiment than an album and while I’m sure it’s artistically rewarding, it doesn’t really make for a consistently rewarding listening experience.

One notable instance where King trades brawn for subtlety is “I See You, You See Me”, which offers a glimpse that he does have a melodic touch.  I do also dig the unsettling and appropriately named piano solo, “The Black Dial Tone of Night”.

Midlake – The Courage of Others (Bella Union)

It was probably inevitable that I would be a bit let down after the superb The Trials of Van Occupanther.  But really, The Courage of Others is a good effort from the Denton, Texas quintet.  There is a real sense of single-minded purpose on this album, it just lacks the “wow” moments that Van Occupanther had in spades.  Or to be more blunt, it lacks the songs.  The opening cut, “Acts of Man”, plops you in medias res into the album’s palette of subdued but lush folk rock dourness (I swear that on “Fortune” the group channeled the spirit of Peter, Paul and Mary).  There really isn’t a lot of deviation from that formula throughout the record’s 42-minute running time, so you’ll know by the third track if you want to stick it out to the end.  If you’re not inclined to do so, at least check out “Rulers, Ruling All Things” and “The Horn”, which do manage to distinguish themselves.

Stone Temple Pilots – Stone Temple Pilots (Atlantic)

The fact that we even have a new STP album to listen to is in itself a minor miracle.  As band devotees know, frontman Scott Weiland seems to be forever flirting with disaster, and his extracurricular activities have robbed the band of a lot of prime music-making and touring time.  As a result, it’s been nine years since the group’s last effort, the underrated Shangri-La Dee Da.  But in truth, the heart of STP has always been the DeLeo brothers, Robert and Dean, anyway.  The brothers’ knack for hooks is keen indeed, so how have they fared on this eponymous release?

For the most part, pretty good.  The energy is there, and the musicianship is top-notch as always.  The only major change is one of approach.  This record sounds like STP-lite in most places.  The beefy, muscular hard rock of past albums is eschewed in favor of a leaner, poppier sound.  For those needing a point of reference, this record most resembles Tiny Music…Songs from the Vatican Gift Shop in sound, although minus the freaky-deaky musical detours and psychedelic dabblings.

“Between the Lines”, the album’s first single, is vintage DeLeo craftsmanship.  It storms in, worms its way into your brain in under three minutes, and then it’s done.  The album continues in this vein, throwing in a bit of ’70s Aerosmith on the excellent “Huckleberry Crumble”.  At the halfway point comes the first letdown, “Cinnamon”.  It’s generic contemporary pop rock and sounds like something you’d hear on the soundtrack to an American Pie movie.

The group recovers from that misstep, but the album never really regains its early momentum.  You can’t blame that on Weiland, who sounds strong and confident on every song.  Perhaps the missing ingredient on this release is producer Brendan O’Brien, who is replaced behind the board by the DeLeo brothers.  Gone with O’Brien is the forcefulness and aggression that propels much of STP’s best material (even poppier tracks like the classic “Interstate Love Song” have a certain bombast that is essential to their success).  All that said, Stone Temple Pilots is a respectable entry in the band’s catalog and does nothing to diminish my appetite for more from the group.

Backyard Tire Fire – Good to Be (Kelsey Street Records)

On “Roadsong #39″, opening salvo of the fifth studio effort for the Ed Anderson-fronted trio, Backyard Tire Fire adds a whole lot of spit, grit, and groove to their alt-country sound.  Things settle down from there, though, and the rest of the album feels a lot more like the group’s last several releases.  Still, there are some welcome sonic changes, thanks in part to new producer Steve Berlin (of Los Lobos) – the arrangements are more expansive and nuanced, and not as dry and direct.  It was a bit jarring hearing the orchestral-esque backing on “Learning to Swim” at first, but it’s a nice addition on second thought.

Ultimately BTF sinks or swims on the strength of Anderson’s songwriting, which shines in spots on Good to Be.  The aforementioned “Roadsong #39″ is a gem, and the poppy choruses on “Estelle” are a pleasant surprise.  There are some songs that feel a little too familiar, though, such as “Food for Thought”, the title track, and “Hell and Back”.  It’s a testament to Berlin that some of the more predictable songs still engage.

Maya Beiser – Provenance (Innova)

The term “rock star” isn’t really applicable to the world of the cello, but if it was then Maya Beiser would be one.  She has toured and collaborated with the likes of Tan Dun, Philip Glass, and Brian Eno, and she’s been the featured cellist on the soundtracks to movies such as The Happening, The Great Debaters, and Blood Diamond.  Beiser’s latest effort, Provenance, manages a neat trick.  It’s chock full of rich textures that unfold slowly, but is always engaging and listenable.  Her quest on the record was to transport the listener back to the golden age of Medieval Spain – a period when Muslims collaborated and lived with Jews and Christians.  Whatever her intentions, this music sounds timeless but never dated.  The last track, a cover of Led Zeppelin’s classic Middle Eastern-tinged “Kashmir”, doesn’t rock quite as hard but adds some additional authenticity that turns it into a fresh take.

Beiser’s skill with the cello is undeniable – she seems to be able to wrench a wide range of emotions from her instrument, to the point that it sounds like a de facto vocalist (her take on the aforementioned “Kashmir” is very reminiscent of Robert Plant’s vocal melody).  This release should appeal equally to fans of contemporary classical, world music, or really anyone who just enjoys listening to great music performed with equal parts skill and devotion.

Trombone Shorty – Backatown (Verve Forecast)

Wow.  Just wow.  This is the album you should force someone to listen to if they complain that there’s nothing good or fresh about today’s music.  Troy “Trombone Shorty” Andrews has crafted an early contender for album of the year, and he does it by brewing an intoxicating blend of rock, jazz, blues, hip hop, metal(!), and soul.  There’s no lengthy exercises in musical skill, as no track cracks the four-minute mark.  It’s just round after round of exciting and engaging music.  Hell, Andrews should score points just for getting Lenny Kravitz to sound relevant (“Something Beautiful”).   This is a bold, brassy, and beguiling album that will probably be overlooked for much safer fare.  A damn shame, really.

A pair of new albums from both sides of the Atlantic have found their way into my rotation this week.  From the good ol’ U.S. of A comes Backyard Tire Fire‘s The Places We Lived (Hyena Records), the followup to last year’s excellent Vagabonds and Hooligans.  Stylistically, this album shares many traits with its predecessor but is definitely not a rehash.

Checking in at just over the half-hour mark, frontman and guitarist Ed Anderson and company (brother Matt on bass, Tim Kramp on drums) get right down to business with the deceptively simple title track.  It didn’t make a strong impression on me when I first listened to it, but days later the main guitar riff was still rattling around my head, a tribute to Anderson’s songwriting.  The integration of synths and chimes (not to mention a brief, Beatle-esque trumpet part) into the song is a welcome touch.

The album boasts other strong songs, my favorites being “Shoulda Shut It” and “How in the Hell Did You Get Back Here?”.  The former is a rich, mid-tempo Wilco-like number that sounds like it could’ve been part of the Vagabonds and Hooligans sessions, while the latter is balls-out rocker that will probably sound phenomenal live (should BTF choose to include it in their set).

In contrast to Vagabonds, The Places We Lived is heavy on slower, piano-driven songs, a creative direction that may alienate some fans.  That’s not to say guitars aren’t still a big part of the BTF sound, they’re simply a bit further down in the mix compared to past efforts.  What is undeniable is that due to their presence and also to the band’s devotion to analog recording methods, this album exudes a warm, down-home vibe.

What holds this album back from overtaking Vagabonds as the group’s best work is the inclusion of a couple of decent tracks that don’t feel fully formed (“Everybody’s Down” and “One Wrong Turn”), and a feeling of sameness on some of the tracks.  There is, however enough strong material here to make The Places We Lived worth getting, and getting into.

Track listing:

“The Places We Lived”
“Shoulda Shut It”
“Everybody’s Down”
“Time With You”
“Welcome to the Factory”
“How in the Hell Did You Get Back Here?”
“Rainy Day (don’t go away)”
“One Wrong Turn”
“Legal Crime”
“Home Today”

The second album up for review is the eponymous debut of Peter Brewis’s new project, The Week That Was.  Brewis is a name that should be familiar to fans of quality indie music.  He and brother David co-founded Field Music in 2004, and released two outstanding studio records.  They stopped being a band in 2007 and are now a brand, allowing the brothers to pursue their musical muses without the restrictions they felt being in Field Music placed on them.

David was the first to release a new album from the Field Music brand School of Language, the superb Sea From Shore.  Now it’s Peter’s turn with The Week That Was (Memphis Industries), released last week in the UK and this week in America.  It’s definitely a darker and more complex effort than I expected, but it is a totally satisfying one as well.

A lot of comparisons have been made between this album and early ’80s efforts from Kate Bush and Peter Gabriel, and while I have never bothered with Kate Bush I can buy the Gabriel references.  The heavy percussion and guitar stabs of tracks like “Learn to Learn” and “Scratch the Surface” recall Gabriel’s third album right and Abacab/Mama-era Genesis away.  Field Music’s signature sound is all over this record, however, just in slightly skewed form.  Think of the moodier and denser tracks from Tones of Town and you’ll get the idea.

The Week That Was is actually a concept album, dealing with the twin strands of crime and our relationship with mass media.  It was inspired both by Brewis’s self-imposed one-week retreat from television and by the crime fiction of Paul Auster.  The problem is that with only a half-hour to tell its story, the album is more about ideas and impressions than a concrete story.  But that’s a minor inconvenience when weighed against the music, which is highly rewarding.

While there are not as many “wow” moments on this album as there are on Sea From Shore, The Week That Was is the rare album that actually does get better with subsequent listens – so those seeking instant gratification should look elsewhere (more immediate songs like “The Airport Line” and “Scratch the Surface” not withstanding).  Now that two excellent post-Field Music albums have been released, I can confidently declare that the future looks bright for fans of all things Brewis.

Track listing:

“Learn to Learn”
“The Good Life”
“The Story Waits for No One”
“It’s All Gone Quiet”
“The Airport Line”
“Yesterday’s Papers”
“Come Home”
“Scratch the Surface”
“A Waltz in the Park” (bonus track exclusive to eMusic)

Video bonus!  Check out the promo clip for “Scratch the Surface”, directed by (and starring) Peter Brewis:

From two completely different ends of the musical spectrum comes a pair of albums – one new and one upcoming – that both get the coveted GFS stamp of approval.

First up is the self-titled debut EP from Build (New Amsterdam Records, 2008), a Brooklyn-based indie classical quintet formed in 2006.  Now I know what you’re thinking: “Classical music?  Boring!”  Stop thinking that, you’re wrong.  This are modern, tuneful compositions that bears precious little resemblance to your father’s classical music.

For those familiar with Penguin Cafe Orchestra, Build takes a similar approach to their music.  It’s never stuffy or rigid, although it’s far from poppy or light.  Composer/violinist Matt McBane has written five songs that are challenging enough to reward multiple listens, but aren’t complicated for the sake of being complicated.

You can listen to songs from Build either on the group’s MySpace page or on the New Amsterdam Records site.

Track listing:
“In the Backyard”
“Magnet”
“No Response”
“Imagining Winter”
“Drivin’”

Next up is one of my recent favorites – Backyard Tire Fire.  Ed Anderson and the boys are set to release the followup to the superb Vagabonds & Hooligans, The Places We Lived, on August 26.  I’ve only sampled the three streamable tracks on the group’s website, but I like what I’ve heard so far.  It sounds different enough from the last album to indicate some growth, but it still retains the BTF sound I really enjoy.  It treads some of the same alt-country ground as Wilco (a very good thing in my book), but it’s more straightforward.

Those of you in the Midwest can catch BTF live on tour starting in August (dates available from the band’s site).  But everyone can download the the title track from The Places We Lived on the Hyena Records website, or you can just listen to it here (sweet!).

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Track listing:
“The Places We Lived”
“Shoulda Shut It”
“Everybody’s Down”
“Time With You”
“Welcome to the Factory”
“How in the Hell Did You Get Back Here?”
“Rainy Day (don’t go away)”
“One Wrong Turn”
“Legal Crime”
“Home Today”

I recently had the chance to conduct an interview with a real live band – well, over email that is. As a result of an earlier post on this very blog, the manager for Backyard Tire Fire wrote to me, and one of the end results is that I was able to get the band featured on Blogcritics as this week’s Band of the Week. It was definitely a neat experience, and my first foray into interviewing since my days as a high school sports reporter in the ’90s.

So to sum up – check out the interview and check out the band. Quality stuff indeed.

Once in a while I fall into a bit of a rut with my music and get the urge to strike out and discover some new bands or some new styles. And by “new” I mean “new to me.” The last time I did this was about 6 years ago when I started seriously developing an affinity for jazz. That period bore a lot of fruit and allowed me to get into groups/acts that have really had an impact on me, such as Miles Davis, Bill Evans, Wes Montgomery and many others.

This time I decided to delve into so-called “indie” music. I made an earlier attempt around 1998 but didn’t really get too much out of it. I was a bit turned off by the shoddy production values I heard on many of the records I sampled, and quite honestly found a lot of it rather boring. I won’t name any of those bands here for fear of getting a bunch of responses along the lines of “You gotta give them another chance maaaan!” or “You closed-minded moron!”

First up is Cold War Kids, who I heard of mainly because they recently opened for the uber-awesome Muse. I downloaded Robbers & Cowards and loved it right away. The songwriting grabbed me and I already can’t wait for their next album.

Next is The Hold Steady. I listened to Boys and Girls in America and picked up on a 1970s Springsteen vibe, minus the pompousness. I haven’t listened too much to the album in about a week, but I’ll go back and listen some more, as well as check out their earlier stuff.

I can’t say enough about Tapes ‘n Tapes. I don’t even remember where I saw the name the first time but I’m glad I did. The Loon has been out now for almost two years, and I may be prepared to call it one of my favorite records from the last five.

Finally, there is Backyard Tire Fire. I guess you could call them alt-country, although I’m in unfamiliar territory with these indie labels so don’t shoot me if I’m wrong. All I know is that there is a sincerity and down-home vibe on Vagabonds and Hooligans that I’ve been missing from most of the other music I listen to. I had never heard of this band or Ed Anderson before, but I am pulling for them to be around for a long time.