Okkervil River – Down the River of Golden Dreams Jagjaguar, 2003 Acquired: Love Garden, New, 2008 Price: $12 Another step towards Okkervil River finding their sound. The second album improves on the first by dropping the mandolin and focusing on being a literary indie-rock band. Basically. “The War Criminal Rises to Speak” is not only one of the best songs on this record, but it's the next step in Sheff's songwriting process. It correlates with the narrative structure of “Westfall,” this time focusing on a newspaper article about a lieutenant in some foreign army that killed a village of kids. Sheff then ponders this and finds a way to humanize the villain. Not in a way that like, shines a positive light on him, but looking at him as a human being, etc. Black Sheep Boy is haunted by killers, and The Stage Names and The Stand Ins do nothing but focus on characters. Maybe that's what I mean: Will Sheff is amazing at writing songs about characters, that's his thing, and he does it better than anyone writing songs right now. As for the record as a whole, it has better songs, the band has started to figure itself out, and it's an overall more satisfying listen. “It Ends With a Fall,” “The Velocity of Saul at the Time of His Conversion,” “Dead Faces,” “Maine Island Lovers” (which is pretty slow but lyrically is pretty excellent) and “Seas Too Far to Reach.” Oops, spoke too soon. The mandolin shows up again on the forgettable “Yellow.” But overall, this one is a winner. Not an amazing album, but it's got some amazing songs.
Okkervil River – Don't Fall in Love With Everyone You See Jagjaguar, 2002 Acquired: Love Garden, New, 2008 Price: $12 Okkervil River's first album. And it's pretty fucking good and totally makes sense that they would refine their self and put out a couple of masterpieces later in the decade. Actually, not a couple, a few. This band just keeps getting better, and this got them off to a great start. It was also the first Okkervil River record I heard. I saw them open for John Vanderslice at the Bottleneck in 2003 with my sister. The show took forever cuz Minus Story took forever to set-up, but it was worth it. Okkervil River played to basically no one and Will Sheff was going crazy, standing on the bass drum, almost falling off it, etc. I downloaded this record and the one they were touring in support of, Down the River of Golden Dreams, when I got home. It's got some pretty immediate stand outs. Opener “Red” is still one of my favorite songs of theirs and “Kansas City” I love for obvious reasons. Upon recent listens I've paid more attention to the lyrics. “Westfall” is pretty amazing and foreshadows the narrative structure of a couple of songs on Down the River. This record is actually pretty ambitious. They get Daniel Johnston to sing on “Happy Hearts,” however the song suffers a little bit. I always wondered why he was singing so funny. The B-Side kind of falls apart. “Dead Dog Song” is a mandolin-heavy attempt at a sort of old folkie stomp, however, “Listening to Otis Redding at Home During Christmas” is a gem. Overall it's an incredibly solid debut.
Of Montreal – Hissing Fauna, Are You the Destroyer? Polyvinyl, 2007 Acquired: Love Garden, Used, 2008 Price: $12 This is a sonic return to Satanic Panic in the Attic and treads on uncharted thematic territory for Of Montreal. That is, this record is fucking depressing. It's also my favorite record Kevin Barnes has produced. The single “Heimdalsgate Like a Promethean Curse” sums up this record pretty well: It captures the pop-concept perfectly, that is, singing misery over upbeat melodies and bright arrangements. I could probably write an essay about this record. There are so many things going on. It is a concept album not just about a divorce, but about Kevin Barnes transformation into the mythical sex-funk trannie singer Georgie Fruit. The transition happens after “The Past is a Grotesque Animal,” in which having purged all of this information he has a mental breakdown of sorts as a coping mechanism. Or that's how I read it. How could he not. “The Past is a Grotesque Animal,” the 12 minute centerpiece of Hissing Fauna is one of the rawest things I've ever heard, emotion spewing wise. It's an ultimate break-up song of sorts. The double LP actually includes the Icons, Abstract Thee EP on the fourth side, which is allegedly 4 songs that precede “The Past is a Grotesque Animal” but were cut for the sake of the album's flow. This is a good thing, because the sequencing on this record is fucking jawdropping. The flow, especially on the second half of the record, is constructed like one long piece featuring a series of movements. The last four songs are strung together, the most potent pairing being the insanely catchy single “She's a Rejecter” with the catharsis of “We Were Born the Mutants Again With Leafling.” It's as if Georgie Fruit is subdued (perhaps do to a chemical reaction hinted at in “Heimdalsgate”) and Kevin Barnes is commenting on “The Past is a Grotesque Animal,” seeing the brighter side of things...kind of. “Sometimes we're not legible/ But we're the same strange animal,” Barnes sings. He follows that in the next verse with “We won't let it end in disaster/ You are my twin, no I will never go there,” referencing The Sunlandic Twins (as the Sunlandic Twins are Kevin and his wife Nina, I guess). Man, this is a hard record to write about. So much is going on and this record is so important to me. One of my ultimate, go-to records for heartache. I think the reason Barnes cut the 4 songs on the 4th side is because they're too happy. It throws off the record. “Du Og Meg” is a love song that tells of he and his wife's first meeting. Their meeting is also mentioned in “The Past is a Grotesque Animal” (“I fell in love with the first cute girl that I met/ Who could appreciate George Bataille/ Standing at a Swedish festival/ Discussing “Story of the Eye”), but this version, with this triumphant horns, is just too fucking happy. “No Conclusion,” however, is a fuckin' downer. It's the pit of hopelessness. It doesn't work quite as well as “Grotesque Animal,” but it's full of good sad-bastardy lines like “I'm allergic to the world when we're separated” and “I never, ever, ever wanted to write this song/ I always thought things would change somehow.” It's pretty good, actually, and sad as hell. Imagine “Grotesque Animal” but about suicidal thoughts (turning to meta-suicidal thoughts) in traditional upbeat Of Montreal style. OK. Done writing about this.
Video:
And because I'm a glutton for punishment. Although turning it into an emo song isn't THAT farfetched:
Of Montreal – The Sunlandic Twins Polyvinyl, 2005 Acquired: Amoeba Music, Los Angeles, CA, Used, 2005 Price: $8 I don't know why I got all of my Of Montreal records out of state, it just happened that way. I think this one is a gem, and I have some fond memories from it. I remember Of Montreal played Lawrence a month after freshman year and Annie and I went together. It was right when we were getting to be superfriends, and this is like, the first major event. Most importantly, we almost died after the show on the way home. We'd somehow gone the wrong way on K-10 and on our way back to the real K-10 we hit a dead deer. It was pretty intense, but a bonding moment. Anyway, it was one of the better shows I'd seen in my time. The electro-pop groove established on Satanic Panic in the Attic is still present, but this is where Kevin Barnes started getting a little funky (which has come to dominate Of Montreal's output). Peep the groove on “I Was Never Young,” it's pretty indicitave of what's to come. For some reason this record got panned when it came out, and that makes no real sense to me because it's way good. Maybe it's because Barnes is writing from a point of happiness, and as we know from Hissing Fauna, he writes better from misery. But that doesn't make this a bad record! It's super fun and despite the fact that they sold “Wraith Pinned to the Mist and Other Games” to Outback Steakhouse (I can't listen to this song without replacing the chorus in my head with “Let's go Outback tonight/ Life will be there in the morning”), this record is REALLY fun. It makes sense that it was their breakthrough record, and it's even better that Barnes payed no attention to that and followed it up with something dark and depressing. The LP comes with a bonus disc full of EXCELLENT B-sides. “Art Snob Solutions” and “Family Nouveau” use the same instrumental track as I was a Landscape in Your Dream,” and either of those would fit in on the record. “Everyday Feels like Sunday” fits all the criteria of a perfect b-side. That is, one that very much comes from the sessions of an album, but clearly does not fit on the record. However, it is a perfect single because it is an excellent song. “Art Snob Solutions,” like “Rapture Rapes the Muses” for appealing to my film geek side and name dropping Tarkovsky...though the song criticizes people who criticize people who don't know who Tarkovsky is, amongst other artists. Nina Barnes sugary sweet Swedish vocals on “Keep Sending Me Black Fireworks” are lovely as hell, and the lilt of that song again, makes for another offshoot perfect b-side. This EP disc actually might be why I love this record. “Family Nouveau” is really sad, in that it's the last song on the EP and how Hissing Fauna is about the dissolution of the family he sings about. Compare this with “The Past is a Grotesque Animal” and it gets even sadder.
Of Montreal – Satanic Panic in the Attic Polyvinyl, 2004 Acquired: Reckless Records, Chicago, IL, Used, 2007 Price: $10 Satanic Panic in the Attic was the toast of the indie kids at high school during second semester of senior year. It was the first time any of us had heard Of Montreal and we were freaking out. I remember Nick Summers and I lobbied for it in drawing class, and would make an effort to get there every morning before the asshole dudes who always insisted on Lynyrd Skynyrd. These guys were assholes, and wouldn't even put up with the Shins! Though I'm sure those guys LOVE the Shins. And one of the dudes, their leader, thought Pink Floyd was coming to Lawrence. He bragged about already having tickets before someone told him it was a Pink Floyd tribute band and that Pink Floyd had disbanded a long time ago. He looked so sad. This guy also drew a realistic drawing of Lynyrd Skynyrd for a project. The project was “Draw something that makes you emotional,” or something like that. To put this in scope, I drew something about the Holocaust. So, yeah. Anyway, the guy called us a couple of fags when we played this. I don't know why though, because Kevin Barnes hadn't even started playing up the homoerotic schtick yet. This was just some straight up weidro indie-pop, this time with tons of driving synthesizers. At the same time, all those summery indie-pop elements that made Of Montreal great to begin with are still here, even though this was the first Of Montreal record Kevin Barnes made pretty much by himself. However, the best tracks are the full on electro-pop sex jams like “Rapture Rapes the Muses,” “Disconnect the Dots,” “Lysergic Bliss,” and “Vegan in Furs.” “Rapture Rapes the Muses” is the gem here, though, and one of my favorite songs Kevin Barnes has written. The line “You hit me so hard like a Wong Kar Wai beginning” killed me, as I was just beginning my film geekdom. I also remember Taylor Ford and I discussing the songwriting here, at some point during college. Notably the line “You keep me lit like antediluvian Troy/ But one always reveres what one's bound to destroy.” The words not only perfectly aid the vocal line, but it's fucking WEIRD and at the same time it flows off the tongue. Certain tracks are a hybrid of the two and they work marvelously, like “My British Tour Diary.” I will say though, “Disconnect the Dots” would be on the soundtrack to my high school years. Come to think of it, that might be a fun project! Twenty songs that represent high school, because the soundtrack certainly run through my head when I ruminate on my formative years at Olathe East. I think Kevin Barnes was always weird, and looking at the direction the band has taken, it seems like a logical progression (though Skeletal Lamping might be the first of many missteps, as Barnes seems to have been completely taken over by the Georgie Fruit persona). Maybe they jumped the shark when pictures of his dick showed up on the internet, I don't know. But I have faith! Things will work out!
Jennifer O'Connor – Over the Mountain, Across the Valley and Back to the Stars Matador, 2006 Acquired: Love Garden Blowout Location, Used, 2009 Price: $2.50 This record is REALLY GOOD. I reviewed O'Connor's latest record for KJ and thought it was surprisingly good. Surprisingly because during my tenure at music staff I had a penchant for reviewing female singer-songwriters (which there are many of, maybe as many as there are men) and they almost always sounded the same (as did the male singer-songwriters). But every once and a while you get a Mirah or a Tender Forever or a Cat Power (whom most of these singer-songwriters sound like). Jennifer O'Connor has something special though, and it's veiled behind something that seems incredibly normal. Her skill lies in her exquisite yet subtle melodies and her songwriting, which is top notch. She waffles between folk and rock and it works incredibly well. Check the delicately finger-picked and totally sad “Today” back to back with the awesomely titled and jangly “Bullshit Maze.” Rad dudes like Britt Daniel and James McNew show up here and there, which is cool. There seems to be a history of the rock chick in here, with debts to Liz Phair (before selling out, natch) with influences ranging from Elliott Smith to Mazzy Star, along with the Dylan influence that every singer-songwriter bears (see: the acoustic Dylan-esque strum of “I'll Bring You Home”. She's at her best on the folky acoustic numbers, such as “Today,” “Tonight We Ride,” and “I Was So Wrong.” Those kill. “I Was So Wrong” reaches right down into my heart and starts punching it. It punches my heart and it makes my heart HURT! And I'm listening to this song as I'm watching the wind blow leaves from the orange and yellow trees. It's all quite poetic, really. Great record!
The top shelf is done! And as the money-count gets higher and higher, I feel sicker and sicker because I don't know how I'm gonna pay the rent this month. I listened to most of these N records while cooking, just a little fact. Again, though the number up there makes me sick, these records are my atonement for years of stealing music. I'm thinking of it as a tax, or something like that.
Anyway, I found this when I was looking for a visual aid for Nuzzle. Enjoy.
Nuzzle – San Lorenzo's Blues
Troubleman Unlimited, 1999
Acquired: Love Garden Blowout Location, Used, 2009
Price:$1
What can I say? I'm a sucker for album art. And given that it was only $1 and on Troubleman Unlimited, why the fuck not? Seriously, there's no excuse. I've been selling a lot of records for super cheap, and selling them at prices I'd probably buy them for. I just started selling off DVDs and CDs on half.com, too, and that's distressing because I'm not making a lot and it would be easier to keep that stuff. Alas, I need to pare down my possessions. But the record collection has a special privilege. It gets to grow, because I desire a big wall of records someday like Rob Gordon in High Fidelity. But I will never have that, because vinyl is dead. ANYWAY, allmusic defines Nuzzle as a “Santa Cruz emo-quartet.” That's exactly what this sounds like. It sounds like a bunch of dudes WAY into Sunny Day Real Estate. And, since I love SDRE, I think this is really good! Troubleman Unlimited is a label that I've heard of, but never really explored. However, after looking through their discography, I can say that they are LEGIT AS FUCK. Looking it over, I now remember where I first thought this label was cool! They put out Titus Andronicus' The Airing of Grievances! One of my favorite albums of..shit, the decade. Jersey rules, I guess, record label-wise. Ok, but this record. This one is really good! I'm surprised. It wasn't even in the first batch I picked up before the sale went to 75%! Regardless, this is a little gem.
Nothing Painted Blue – Power Trips Down Lovers Lane Kokopop, 1993 Acquired: Love Garden, Used, 2007 Price: $5 Funny story with this one. So, I saw the Mountain Goats play in the Fall of 2007 and they covered Nothing Painted Blue's “Houseguest.” So I downloaded Nothing Painted Blue records. Then I found this one at Love Garden. So, I peep the credits list and notice that the producer is one R. Vodicka. In my head, I remember that my Western Civ II professor next for the next semester's name is Robert Vodicka. After some research, I find out that it's the same dude! Long story short, I did really shitty in his class, which was embarrassing because he was super cool. Super cool to the point where he would play rad songs before each class (stuff by Devo, Big Dipper, and I think he even played a Nothing Painted Blue song once). Anyway, this record is pretty damn good mid-90s college indie-rock. Frontman Franklin Bruno is tight with John Darnielle, and thus turns up on most of the recent Mountain Goats records (usually playing piano). He was also in the Extra Glenns, with Darnielle, and they made a fantastic record together called Martial Arts Weekend. The Go-Betweens are an obvious touchstone, with maybe a little REM thrown in, but everyone had a lil' REM in their sound back then. Also sensing a little GBV. Placeholders is their best record, but this one is pretty fine!
I know "Houseguest" isn't on this album, but this video features not only Franklin Bruno playing electric guitar, but John Darnielle dressed up in a Batman costume.
NOFX – The Decline
Fat Wreck Chords, 1999
Acquired: Fatwreck.com, New, 2003
Price: $8
If only NOFX knew they were being prescient. This was my soundtrack for the Bush Years. On top of that, it's the best thing NOFX has ever done. Yes, better than Punk in Drublic. It's the ultimate political punk song, if only for it's epic length and it's covering pretty much every issue you care about. Guns, religion, war, the prison system, drugs, television, greed, complacency, etc. It's summed up at the end by Fat Mike: “We know the truth but prefer lies.” And thus it's not the government but ourselves that are leading us into the Decline. Instead of revolt, we rely on the Soma-esque “pill” to kill the pain. Thinking about it, I'm pretty sure this is the reason I am politically minded. Yes, I politically minded because of NOFX. No shame there, though, because this is an excellent piece of work. I got it when I was about 15. It was right after the towers fell and I was confused as hell. How was I to do anything BUT think America was great! We'd just been attacked! Then eventually I got really politically, slowly but surely over the next six months. This was at the center of it, along with a LOT of Jello Biafra and Henry Rollins spoken word and a LOT of Dead Kennedys, Black Flag, and Anti-Flag. And not only is it lyrically spot on, but it's the best music NOFX have ever been responsible. Everyone seems to be on. The music tends to change from section to section and it keeps this whole song interesting for 18 minutes. El Hefe drops some trumpets in, the bass lines are “sick,” and the power chords are pretty damn powerful. And after all of this, you get the wonderful palate cleanser on the B-side, “Clams Have Feelings Too.” It's a really smart move, because it's NOFX telling you that they're still dumb-fucks, separating themselves from the Anti-Flag-esque political bands who always tended to take things too seriously.
This is kind of goofy, but I like that someone actually went to the effort to make this:
