Daily Album Digest: June 28 - July 11, 2015

Carrying on February's Music Writer's Exercise (#MWE), each day I listen to a new album and tweet a brief review of it. Then every two weeks compile those tweets here with some extra thoughts.

6/28: The Rakes’ Klang: "The Light From Your Mac" and "1989" have their charms. I don't know about the rest of it though.

Why? Spotify recommended it to me because of the Strokes.

Additional Thoughts: I try my best to be constructive, find the good in things, and not sink into ranting and hate, but oh boy, was this album an unpleasant listen for me. One review recommended it for people who enjoyed pre-Tonight Franz Ferdinand, which would make me want to flip every table if not for the fact that it does sound like Franz – if Alex Kapranos couldn’t sing at all.

6/30: Radioactivity's Silent Kill: Great energy and flow. "No Connection" almost sounds like a punk rock Buddy Holly.

Why? New release. I’m not sure if the title was meant to be a riff on Silent Hill, but that’s my headcanon and why I chose it, so there.

Additional Thoughts: Some pretty straightforward punk with awesome energy. I like how many of the songs flow so well into each other, which is helpful since many of the songs are quite short (most are two minutes or less) and that flow makes the album feel cohesive. As for “No Connection,” I think it’s the vocal melody that reminds me most of Buddy.

7/1: Laurel Halo's Quarantine: The purposely ugly vocals make it unnerving and stand out, but I don't know if it works.

Why? A review on the Needle Drop made me curious.

Additional Thoughts: I would feel presumptuous calling the vocals “purposely ugly” if not for the fact that the album’s final track, “Light + Space,” proves Laurel Halo can carry a tune well. The juxtaposition of these often very pretty synth and electronic pieces with distorted, unconventional (if not, out of tune) singing and unnerving lyrics makes for an interesting listen, if nothing else. Personally, I don’t dig it very much, but she does have talent and ambition which I do applaud.

7/3: Son Lux' Bones: I like much of the atmosphere and beats, but it gets repetitive lyrically and drags a bit.

Why? 2015 release.

Additional Thoughts: Unfortunately, I feel that tweet about sums it up. The only thing I’d add is that the vocals remind me of Brandon Flowers, in a way. That isn’t a judgement call or anything, just an observation.

7/4: The Rolling Stones' The Rolling Stones: A wide stylistic gulf sits between the covers and the one Jagger/Richards track.

Why? I’ve mentioned on Twitter that I’m currently taking a course called The Music of the Rolling Stones. I listened to this not long after completing the corresponding lecture.

Additional Thoughts: Prior to starting my course of them, my knowledge on the Stones was quite limited. I basically know their prevalent image – the Bad Boys of Rock ’n’ Roll. Their debut certainly hints at that as well as showing their love of blues, but that’s mostly through covers. However, their one original track is so typical early 60s pop and as well as sticking out among all the early rock and blues, not what I would’ve expected from them at all.

7/6: Mini Mansions' Mini Mansions: There's much to like ("Crime of the Season"), but it's hard ignore a blemish like "Girls"

Why? I enjoyed The Great Pretenders and wanted to check out their debut.

Additional Thoughts: As I said, I really enjoyed The Great Pretenders, so I went into this one with kind of high hopes which was probably a mistake on my part. I try very hard to steer clear of making too many Beatles references, but this record, with its Lennon-esque lead vocals, harmonies, and psychedelia, invites those comparisons itself and most of the time it works. However, “Majick Marker” proves that for all the snide comments made about it “I Am Walrus” is very hard to replicate and I can’t help but cringe at “Girls,” particularly the line “Fond of fondling you, while you fondle me too.” It’s not sexy and it’s not funny (unless you’re in middle school), it just awkwardly and obviously sits there.

7/7: Hilary Duff's Breathe In. Breathe Out.: Decent ear candy, if you can ignore the often bewildering lyrical choices.

Why? 2015 release. A friend’s opinion on it made me curious, but I perhaps should’ve listened to them.

Additional Thoughts: Honestly, I should’ve run screaming from this record when the chorus of “Sparks” turned out to be just whistling. I wish I didn’t have to be harsh. I have no beef with Miss Duff; she seems like a nice person and I’ve liked singles of hers in the past, but yeah, I didn’t like this album. The music itself is passable pop, the melodies sweet, and her voice is pleasant to listen to. The lyrics are a big problem though. I’m not sure I can call the metaphors bad or even metaphors at all (see: “Confetti”), because that would imply the writers had a point to make beyond filling space with random words. I mean, look, I’m a big fan of Lady Gaga and she writes some pretty tortured metaphors, “Hair” for instance, but even when her metaphors don’t work you can at least see what she was going for with them. Or Gaga’s track “MANiCURE,” which has a fairly silly premise, but she throws herself in it and goes so hard vocally you can ignore that. Hilary Duff, by comparison, simply doesn’t have the vocal prowess or charisma to distract from lines like “Your television life couldn't channel this love” and “Hot sweats in cold sweaters.”

7/8: Pastel Ghost's Abyss: A beautiful mix of synths, chiptunes, and ethereal vocals that is wonderful to sink into.

Why? Spotify recommended it.

Additional Thoughts: I really like this album. My main criticism would be that the vocals are so low in the mix, which makes the lyrics barely audible. But I realize that’s likely the point. It forces you to pay attention since in order to catch the lyrics you need shut your eyes, lay back, and dive into the music.

7/9: Snow Patrol's Songs for Polarbears: The unassuming and open "Mahogany" stands out the most on this album.

Why? Front man Gary Lightbody has been tweeting up a storm lately, which made me track down whether or not I’d listened to this album. I hadn’t. It was time to rectify that.

Additional Thoughts: According to Last.fm, I “first scrobbled Velocity Girl on 13 Jun 2005” which makes my timing with this listen kind of funny to me. I can’t believe it took me a little over ten years to listen to this in its entirety. That said, I don’t know that I see myself going back to this album very much. Then again, Snow Patrol frequently takes time to grow on me. As debut albums go this does do a job of showcasing a lot of their qualities, for good and ill, which would become even more prevalent in time. Case in point, the straightforward lyrics of “Mahogany” remind me a great deal of Final Straw’s opening track, “How To Be Dead” and that song’s one of my biggest favorites in their catalog.

7/10: The Bird & the Bee's Recreational Love: From "Young & Dumb" to "Lovey Dovey" this record is simply exquisite.

Why? New release. Their Spotify bio intrigued me, especially the bit about jazz and “60’s tropicalia.”

Additional Thoughts: Some themes have definitely emerged among the 2015 albums I’ve loved the most; progressive rock/baroque pop, pyschedelia, sweet vocals, and echoes of R&B. Recreational Love contains those last two for sure. I just really love this record. I’m glad I took the chance to give it a listen and I look forward to checking out their other stuff.

7/11: The Rolling Stones' 12 x 5: So. The Stones did a faithful cover of "Under the Boardwalk" ...and I am confused.

Why? As with the previous Stones album this listen was influenced by my “The Music of the Rolling Stones” class. You all should probably expect a lot of Stones in the coming weeks/months.

Additional Thoughts: As I said earlier, I have very limited knowledge of the Stones and my image of them is definitely getting a shake-up. I never would’ve pegged them as fans of the Drifters, but right here is a very faithful cover of “Under the Boardwalk.” I don’t know that there’s much else I can say about this album, though, as it’s not very different from their debut. All I’ll say is this regarding their cover of "If You Need Me": Mick Jagger is no Wilson Pickett. Sorry, man.

All albums available to stream on Spotify. 

If you'd like to suggest an album, comment on this entry or tweet me. 

"The Monkees" Rewatch: Your Friendly Neighborhood Kidnappers

In “Your Friendly Neighborhood Kidnappers” the Monkees make it to the finals of a talent contest. Nick Trump convinces the band to take him on as their PR agent, because the rules require them to “submit to exploitation and publicity.” They agree to multiple publicity stunts with the final one being a staged kidnapping attempt meant to drum up interest until they’re freed right before the contest. The only wrinkle? Trump is actually manager for rival band the Four Swine and the kidnappers aren’t actors, but actual criminals.

This episode feels like a good time to bring up a concern I’ve had regarding these posts: spoilers. Sure, the show is nearly fifty years old and I bet most would say that the statute of limitations is up when it comes to spoilers. However, I’ve always felt that using the age of a work as an excuse to ruin it for someone who has yet to experience it is, well, shitty. Take for instance Hamlet or Romeo & Juliet; they’re hundreds of years old, but plenty of people still haven’t seen or read them and I’ll be damned if I’m going to ruin them for those people. That said, I will concede that after a certain point you can’t expect to go into an older work completely cold. When it comes to The Monkees, while I do worry about giving away too much plot, my biggest concern is spoiling too many of the jokes and I think it’s a tightrope I’ll be walking throughout this whole project.

Now, I’m sure my sympathetic take on spoilers might seem ironic in light of how I opened this post, but that just leads into another sitcom trope: dramatic irony. Dramatic irony basically entails that the audience know what’s going on, but the character(s) do not and the humor or drama comes from the build-up to a reveal. It’s a common literary technique, but sitcoms use it quite often and would probably be among the most easily recognizable examples to people. As for this episode, the audience sees during the opening that Trump is the Four Swine’s manager and encourages sabotage against the Monkees. Even after the boys accept his offer all his publicity stunts seem intent on causing them humiliation or pain, so when Mike expresses doubts about the kidnapping plot one might hope they’d heed it. They don’t, of course, but it does make for some great moments. The hoods, Horace and George, hired to kidnap them are pretty fantastic. Plus, the “answering service” exchange Micky and Mike have while waiting for them to show up is probably the best part of the episode, at least for me.

The only proper romp in this episode is a chase scene set to “Last Train to Clarksville.” The romp also includes the same performance footage as earlier episodes and I can’t help but be curious how many times it was used throughout the show. Also of note, this is fourth episode of the show and “Last Train to Clarksville” has already been used in three romps. The heavy usage makes sense as it was their big single at the time these episodes aired and the show was a vehicle for the music as much as it was anything else (sometimes even before it was anything else.) I’m sure a spike in “I’m a Believer” romps coincided with that single’s release and popularity as well. I get it, believe me, but… I know I’m about to commit Monkee fan heresy, I just don’t like “Clarksville.” I can certainly see why it was a hit and endures and I wouldn’t call it awful, but it’s not for me.

"The Monkees" Rewatch: Monkee vs. Machine

In “Monkee vs. Machine” the boys decide to find day jobs to help pay the rent. Peter is rejected for a job at a toy factory when his interview, conducted by one of the company’s advanced computers, goes horribly and hilariously wrong. Mike comes to the rescue and earns the job after he overloads the machine with his own questions and comebacks. Though glad to have the job, Mike feels conflicted with his position as Daggart’s assistant. Daggart wants all the company’s products to be designed by his computers and to push out a man who has designed for the company his whole life. To help Pop Harper keep his job, the other three boys (in mother-son pairs) infiltrate the focus group meant to test the toys.

Neat bit of trivia, this is actually Peter Tork’s favorite episode of the show and I must admit that it ranks very high up for me as well. There’s just so much in this one to love. Peter and Mike’s interviews are both hilarious. Case in point:

Peter: My name is Peter, you dig? Pete.

DJ61: You dig Pete? Occupation: Pete Digger.

The scenes in the focus group probably steal the show, though. The combination of the guys in drag and dressed as kids kicking Daggart in the leg is magical, especially when Micky attempts a lady voice. Between the band’s antics and the kids turning on him, Daggart damn near has a nervous breakdown. His attempts to keep his cool among exploding pies and getting pelted with bridge pieces fail to fantastic results.

As one can probably guess by my gushing over the song “Tapioca Tundra,” I have a deep affinity for Mike Nesmith, so I have a soft spot for Mike-centric episodes such as this one. Of course I love his comedic timing and facial expression, but his morals and sense of duty make him so endearing as a character. It’s easy to see why in moments of distress they (especially Peter) will turn to Mike or he’ll just fly in to the rescue on his own, like in “Monkee vs. Machine.” There are deviations occasionally, but the Monkees’ characters remain fairly static throughout the series.  Many older sitcoms don’t have continuity in terms of an overall plot for a series; most of the connecting threads are running gags and characterization. Another example of such a sitcom would be The Golden Girls, which is loaded with tiny contradicting details that take a backseat to their character archetypes and “back in St. Olaf” stories. Well… unless you’re like me and have watched the series a bajillion time, but even then it doesn’t ruin anything at all.

The episode also means a lot to me, because it really takes me back to that first summer I spent watching the show. According to my mother, I watched the show when MTV aired it in the mid- to late eighties, but I don’t remember that at all. My memories of the show begin in 1997 when VH1 and Nick At Nite would have weekly marathons of the show. I still have VHS tapes of Nick At Nite’s Monkee Mondays. I want to say VH1’s marathon aired on Thursday, but it could’ve been Wednesday as well. I’m a bit unclear on that detail. I spent so much of that summer (and the following summer) watching the show and holding my radio up to the TV to record songs and favorite bits of dialogue so that I could listen to them outside. I have really fond memories of running and swinging to “Saturday’s Child” (the first romp in this episode), so hearing that song or watching “Monkee vs. Machine” instantly brings me there. 

"The Monkees" Rewatch: Monkee See, Monkee Die

In “Monkee See, Monkee Die,” the boys travel to Cunningham Island to collect an inheritance from “eccentric millionaire” John Cunningham. When they arrive they meet Mr. Cunningham’s butler (Ralph), travel companion (Kingsley), spiritualist (Madam Roselle), and grandniece, Ellie. Besides being the person Davy falls in love with “for the very first time today,” Ellie is meant to inherit the mansion, but she must spend one night there before she decides to keep it or give it up. Cunningham left the Monkees the library organ and when they try to “inherit and run” the island’s “foggy season” forces them to stay the night.

Straight up, I love this episode. The writing is on point; the jokes tighter and snappier and more quotable than “Royal Flush,” for sure. Take the opening scene with their landlord, Mr. Babbit, threatening to kick them out. Less than a minute in, two great exchanges occur:

The first: 

Davy: Hey, what’s the matter we paid the rent the first of September?

Mr. Babbitt: Yeah! But that was for July!

And then: 

Mr. Babbitt: Fix? What fix? This place, this place is like a castle!

Mike: Yeah, well okay, in this castle the moat overflows.

Micky: The, eh, roof leaks.

Peter: And the plaster’s falling.

Davy: Yeah, and the phone doesn’t work!

Of course, as awesome as the episode’s writing is the best part is simply the image of the guys in three nightgowns and an onesie screaming and flailing at every creak and bang in the house as the other characters get knocked off. Another great visual (sort of running) gag in this episode is Mike’s attempt to get a message out by luring various animals, like a carrier pigeon with breadcrumbs and a dog with large bones he found in a closet. Incidentally, despite their growing fright that last detail passes without much notice, which is surprising. I would think random bones would raise some flags, especially since everyone seems to be dropping dead. But, then again, I shouldn’t overthink it too much.

The romps in this episode are pretty fun as well, though “Tomorrow’s Gonna Be Another Day” is my favorite of the two. I briefly mentioned the romps for “Royal Flush” and I suppose I should elaborate the terminology a bit for the unfamiliar, because it plays a big role in the show. The romps are basically music videos that act as a way to incorporate the music into the show and some songs got multiple romps throughout the course of the series. As can be expected, the romps differ from episode to episode, but overall they tend to include performance footage, stock footage, old clips from the show, and the guys running in silly costumes or goofing around. Some tie better thematically into the episode than others, like this episode’s version of “Tomorrow’s Gonna Be Another Day” which includes footage of the guys running around in monster masks and capes. I’m probably not making this all sound too entertaining, but just trust me, it’s quite endearing in practice.

Daily Album Digest: June 14 - 27, 2015

Carrying on February's Music Writer's Exercise (#MWE), each day I listen to a new album and tweet a brief review of it. Then every two weeks compile those tweets here with some extra thoughts.

6/15: The Libertines' Up The Bracket: An enthusiastic and infectious debut, though perhaps a bit bittersweet in hindsight.

Why? Apparently though I’ve listened to their self-titled I missed this somehow, so it was time to rectify that.

Additional Thoughts: I wish my view of the Libertines (and the connected band, Dirty Pretty Things) wasn’t so colored by all the drama and drugs. I wish that, but I suppose that can’t be avoided sometimes. In this instance it mostly makes me sad, because this album sounds so enthusiastic and… man, I can’t help but wish for some alternate universe where it hadn’t gone to hell.

6/16: Nate Ruess' Grand Romantic: Restraint doesn't seem Ruess' forte and I, for one, am very glad for that.

Why? New release.
Additional Thoughts: I saw some compare this record to Some Nights and while he does quote the title track, for me, this feels closer to the bombast of Aim & Ignite. I love the bombast and I love his intensity. He has such a powerful voice, both in terms of technical range/ability and his sincerity. Also, there’s this lyric from “Moment”: "And when I think about the ways / That you never waste your breath to say you love me / How you always held your lost loves above me / As you kept your other hand on the door,” ooof, too close to home, Nate. Too. Close.

6/17: Leon Bridges' Coming Home: A debut as impeccably crafted and timeless as the classic soul that inspires Bridges.

Why? NPR First Listen. I read their description and windmill slammed listen: “A young singer who works in the mode of classic soul, Leon Bridges' songs are made with deep respect and bottomless affection, and his studied appropriations are so detailed that they come alive.”

Additional Thoughts: I get the feeling Bridges might be a divisive artist - among music writers anyway. Some critics don’t take too kindly to artists who so prominently wear on their sleeve how indebted they are to the past; others eat it up (including me, in this case.) I touched on this idea a little when I discussed Alabama Shakes back in April. While I do think some people maybe revere the past too much and hold it on too high a pedestal, I also think there is value in preservation and reinvention of the past. There are always going to be artists who try to push for completely new things and of course that has value, but being new doesn’t automatically make it good just as being old school doesn’t automatically make something good. Anyway. This is all just rambling speculation on my part so that I have something to talk about here, because really Coming Home is impeccable. Like I’ve said before, some albums and songs are so good you simply can’t break them apart and analyze them.

6/18: Jack White's Lazaretto: "That Black Bat Licorice" makes me feel like I just got into a fight.

Why? I suddenly remembered I had yet to check this out.

Additional Thoughts: And speaking of artists with great affinity for the past, my main man, Jack White. Now, I loved his first solo album, Blunderbuss, but this album, frankly, knocked me on my ass. I described Sparks’ Hello Young Lovers as being chased by a runaway train and while that might also be fitting here, the fight analogy works, too. The album mercilessly yanks you back and forth, musically and lyrically. He’s a musical madman and even in individual songs there’s no predicting where they’ll end.

6/19: Active Child's Mercy: Beautifully crafted and delicate, but I feel like the latter often works against it.

Why? New release. 

Additional Thoughts: This album immediately reminded me of Caribou’s Our Love, which I discussed some weeks ago. Both have similar willowy falsetto vocals and central themes (love and loss.) I didn’t really connect with Our Love, but it did have some grooves that one could hold onto; Mercy, as I said, is very delicate and that often causes songs to disappear in the ether once they’re over. It’s a nice listen when it’s happening, but doesn’t stick, at least not for me.

6/20: Dr. Feelgood's Malpractice: While "pub rock" might be more suited to a live setting this is still bluesy and fun.

Why? It had been sitting in my Spotify “queue” for a while.

Additional Thoughts: I can’t lie; a big reason for this album being in my queue is the influence Dr. Feelgood had on Franz Ferdinand, which becomes more apparent when looking at bands’ live shows than listening to this. Honestly, I’m not really feeling this album and I think that’s due to the fact that they are so obviously a live band. I just get the sense that the show would be miles away from this and no recording could truly capture it. Incidentally, that’s a problem Franz run into as well. Go figure, eh?

6/22: Soap&Skin's Narrow: A bit short, but so raw and dark it packs more of an emotional punch than albums twice its length.

Why? I saw it reviewed on the Needle Drop.
Additional Thoughts: According to Wikipedia, this album is “sadcore,” which seems a bit reductive and insulting (as genre labels often are). It’s also described as “neoclassical dark wave,” which seems a better fit from what I read about it. Genre talk aside, this album is intense and heavy and given that it was created after the death of Soap&Skin’s father, I suppose it’s appropriate. Even though the music itself isn’t always loud or heavy, lyrically the album is always dealing with some deep pain and dark imagery and metaphors (“Vacuum of God / Gobbets of me / Wrapped in tissue through the side blow”). “Deathmental” and “Big Hand Nails Down” are two tracks where the music is heavy, foreboding, and plain terrifying. I don’t know if I like it, per se, but the album certainly makes an impression.

6/24: Adele's 21: Break-ups inspire a lot of righteous anger; luckily this also contains introspection and self-awareness.

Why? I listened to 19 a long time ago and somehow forgot to get to this one until now.

Additional Thoughts: “Rolling in the Deep” is quite misleading as an opener, because most of the album is softer and not as vengeful as this song would suggest. I’m glad for that; a full album of my-ex-is-total-asshole would get tiring. Like break-ups themselves, break-up songs and albums are going to include a lot of anger, no matter whose “fault” the break may be, but in reality, it’s rarely just one person’s fault. 21 does a great job admitting and examining the flaws and mistakes on Adele’s part that contributed to the relationship’s downfall. There aren’t any cartoon-y villains out to “break me down” or what-have-you here, just the reality that people screw up, accidentally and purposefully.

6/25: Wolf Alice's My Love is Cool: "Silk" is great, but I just can't get on the hype train behind this right now.

Why? New release, this week; I saw DIY call it an instant classic and I couldn’t help but be curious.

Additional Thoughts: Honestly, that whole “instant classic” thing should’ve made me run screaming. Let me clear, I don’t think this album is bad by any means - and if you like the idea of grunge with bits of Britpop with a prettier voice then Wolf Alice is for you - I just don’t get all these proclamations of it as the best debut of the year/decade or the album of decade or band of a generation. Like, man, cool it. I get it – no one wants to be lumped in with past maroons who besmirched the likes of Paul’s Boutique and Pinkerton, but is the solution to overly praise things just. in. case? I don’t know. I feel a bit cheated. I’d prefer to just talk about the album itself and I want to like this much more than I do, but sometimes the hype train derails something that could’ve been awesome if people had just let it be instead forcing a legacy upon it before it’s barely out the door.

6/27: Joy Williams' Venus: A tweet isn't any near enough space to express how much I *love* "Woman (Oh Mama)".

Why? Joy did a duet with Paramore and Hayley Williams mentions her frequently, so I wanted to check her out and NPR streamed the album early.

Additional Thoughts: I wonder if I could make full entry of “Woman (Oh Mama)”, because it is magnificent. As for the album as a whole, I don’t know what I was really expecting from it, but I dig it. I like her voice, though I can’t quite place who her voice reminds me of. The Tori Amos comparison is apt, but I don’t think Tori is where my mind went when I first heard Joy. Anyhow, the album also has an underlying drama and heaviness to it that I really like. 

All albums available to stream on Spotify. Except for Venus which can be streamed at NPR.

If you'd like to suggest an album, comment on this entry or tweet me. 

"The Monkees" Rewatch: Royal Flush

As I’ve talked about before I am a huge fan of the Monkees, both the show and the band. Recently, I decided it might be a cool idea rewatch the series and write about each episode. It’s not a “new” idea, of course, but I figure it could be fun, why not? So, with that, each Monday I will watch another episode and have the recap post up by the end of Tuesday. Hopefully. (This week is the obvious exception.) I will be watching the fifty-eight episodes in broadcast order as well as the specials 33 1/3 Revolutions Per Monkee and Hey, Hey, It's the Monkees. I think I’ll save any discussion of the film Head until after the specials (that could change), because I suspect that it will be way more involved than these posts will likely be. As for what these posts will be, well, that largely depends on the episode in question. It could be a lot reminiscing, music, uncomfortable portrayals (to say the least), magical realism, psychedelia, or silly fan theories and headcanons. I want these posts to be quite off-the-cuff, so basically anything that comes up is fair game.

I know given all the various projects I have in the works this probably seems like I’m simply adding to the list of things I’ll likely fall behind on, so I’d like to explain why I’m doing it. For one thing, I’ve been trying to take to heart this piece of creative advice from Alex Steacy of LoadingReadyRun frequently says: do a lot of work. That advice is part of why I decided to take part in the #MusicWritersExercise, which then morphed my daily albums tweets and the biweekly digests. Also, projects like the Franz Retrospective, Working Macca, and the RS500 require a big amount preparation and I put a lot of pressure on myself to get them just right. I need to let go of this paralyzing idea of perfection and I feel having these daily, weekly, and biweekly deadlines for posts with a much looser tone can help facilitate that. Another reason is that as ambitious as Working Macca and the RS500 are, I’d like to do a project with a more definitive endpoint. And finally, well, I’ve never watched The Monkees in order before and there are portions of the second season I haven’t seen nearly as many times as early episodes. I want to rectify that.

And so, that brings us to season one, episode one “Royal Flush.”

The premise behind “Royal Flush” is straightforward: while at the beach, Davy Jones saves a girl who nearly drowns in a wave when her raft pops. Turns out, the girl is Princess Bettina and the raft has been tampered with as part of an evil plot by her uncle, the Archduke, to kill her. The boys have to keep her safe until she “becomes queen upon my eighteenth birthday” the next day. After all, as Mike says, “Well, if she’s got your jacket.” Admittedly, later episodes get rather weird in both premise and execution, but still this does seem a rather strange way to introduce a show that’s ostensibly about a teen band living at the beach. Then again, I’ve never been very big on this episode, so perhaps that plays into it. (Though probably not.) Despite my lukewarm feelings on it, it does have some highlights. The first is Archduke Otto’s hapless flunky Sigmund, who I find hilarious and endearing and another is the second “romp” of the episode during which Davy and Otto fence off to “Take a Giant Step.” I don’t know I just always liked the overlay joke during it: “It always worked for Errol Flynn.” And even with all the scheming, half holes, and stealing of hotel towels, I don’t think Davy got his jacket back. 

Daily Album Digest: May 31 - June 13, 2015

Carrying on February's Music Writer's Exercise (#MWE), each day I listen to a new album and tweet a brief review of it. Then every two weeks compile those tweets here with some extra thoughts.

5/31: The Unicorns' Who Will Cut Our Hair When We're Gone?: Very rough, lo-fi, silly, a bit morbid, and so charming.

Why? It was in my Spotify recommendations. I wish I knew how it got there.

Additional Thoughts: Much of this album feels like it came from an alternate universe where the Beatles were never under the tutelage of George Martin. Definitely not something for everyone, but I find it charming.

6/1: FFS' FFS: Unless I misheard, this album contains the line "Carrying a Hello Kitty oozie." How could I not love it?

Why? NPR streamed it a week prior to release and I just couldn’t help myself.

Additional Thoughts: I’m going to go deeper into this album in its own post, but for now I’ll say this: Just as Tonight put into relief all Franz did wrong on You Could Have It So Much Better, FFS shows just how much they were coasting on Right Thoughts Right Words Right Action.

6/1: Blur's Modern Life is Rubbish: Could've used some edits, but a definite improvement from their debut, nonetheless.

Why? I have a list of discographies I want to get through; after The Magic Whip I’ve decided to go through Blur.

Additional Thoughts: I feel like that tweet just about said it all. Maybe I just need to spend more time this album and/or Blur, but I’m not grooving with them as much as I thought I might. I do really like “Star Shaped,” though, so there’s that.

6/2: Zella Day's Kicker: A bit of a slow start, perhaps, but promising. "Jameson," in particular, is quite moving.

Why? New release. I read about her on witchsong and quite like “1965,” so I figured I’d give this a shot.

Additional Thoughts: Zella’s been compared to Lana Del Ray and I don’t know enough about Lana to agree or disagree. I do know that the vocalist she reminds me of is Stevie Nicks. I can’t put my finger on it exactly; it’s something about her lower register, like on “Jerome.” Does she have the exact same weight and bewitching quality that Stevie exhibits? Not quite, but this is only her debut, she may get there in time.

6/3: Mount Eerie's Clear Moon: Romantic (in the literary sense), atmospheric and challenging. Highlight: "Over Dark Water"

Why? I saw it reviewed on the Needle Drop.

Additional Thoughts: I’ve said before that I hesitate when music is described as “challenging,” but I really know no better way to describe this album. It’s a hard listen. One reason for that is, as I tweeted, the lyrics are very Romantic as they are very focused on nature and the way one interacts with it, which might seem obtuse or strange to some. It’s also challenging because the obtuse lyrics are delivered with vocals that are often quite meek and get buried in the mix.

6/4: Mariah Carey's Emotions: Impressive vocally, as always, but how is "The Wind" not more well-known?

Why? I’ve always loved Mariah, but there are some gaping holes in my knowledge of her work. I’m going about rectifying that.

Additional Thoughts: The tweet was mostly rhetorical, by the way. I know why “The Wind” doesn’t get much attention. It’s a jazz influenced tune about death/possible suicide – not really a good topic for the pop charts, even (or especially) if you’re Mariah Carey.  

6/5: Unknown Mortal Orchestra's Multi-Love: Some fantastic and funky psychedelia that is really a joy to listen to.

Why? Recent release; I dug the title track when I first heard it, so I figured I’d give it a listen.

Additional Thoughts: There’s been a lot of psychedelia influenced work coming out this year that I just love. I don’t why that is, but I’m going to ride the wave. This album also reminds me a lot of Stevie Wonder, such as tracks “Like Acid Rain” and “Ur Life One Night,” which are also pretty damn awesome. I feel like I should dig into the album on its own. We’ll see.

6/6: Mariah Carey's Merry Christmas: Wasn't going to mention it, but "O Holy Night" gave me too many goosebumps not to.

Why? I’ve always loved Mariah, but there are some gaping holes in my knowledge of her work. I’m going about rectifying that.

Additional Thoughts: Yeah, you could probably put Christmas albums in the same “difficult for me to discuss” category as live albums and greatest hits compilations. Christmas albums have the added difficulty of overcoming the possibility of blending together in a mush of sleigh bells. Of course, any album can run into same-song-over-and-over territory, but since Christmas albums have to stick to one theme/subject it’s especially easy for it to happen to them. Does this album fall into that? A bit. For example, “All I Want For Christmas Is You” and the arrangement of “Santa Claus Is Comin’ To Town” are very similar. Is that on purpose or an oversight? I don’t know. That said, man, I still love “All I Want For Christmas Is You” and I’m a sucker for a good “Hark! The Herald Angels Sing / In Excelsis Deo.” Plus, Mariah made me briefly forget my I-don’t-ever-need-to-hear-this-again twitch in regard to “O Holy Night,” so I consider the album a success.

6/7: Jacaszek's Glimmer: A beautifully melancholy experimental mix of classical and electronic music.

Why? I saw it reviewed on the Needle Drop.

Additional Thoughts: It’s very reminiscent of Danny Elfman scores or Wind In The Wires era Patrick Wolf, so it’s right up my alley. One thing that does bother me, though, is that sometimes the use of distortion doesn’t seem to add anything interesting to it and seems like just noise. I suppose that’s part of the point in mixing seemingly opposed things such as electronica and classical, to also mix beauty and melody with sometimes dreadful noise. Still, I enjoy it.

6/8: Mariah Carey's Mariah Carey: Her rap(-ish) verse in "Prisoner" makes me wonder why 97's Butterfly shocked anyone.

Why? I’ve always loved Mariah, but there are some gaping holes in my knowledge of her work. I’m going about rectifying that.

Additional Thoughts: I will say one thing (besides the seemingly random rap verse) did shock me about this album - how poppy and upbeat much of it was. Music Box and Emotions are quite heavy on the soft rock and ballads, so I expected move of that here. “Prisoner” also ended up taking precedence over the track I thought I’d highlight through most of the album, “Vanishing.” I could be wrong, but I seem to recall Mariah once listing it as a favorite and I can see why.

6/9: Tove Styrke's Kiddo: Ironic the voice of this strong personality often feels buried in the mix. Highlight: "Decay"

Why? New release; I didn’t want to crack into Muse’s Drones yet and I already listened to FFS, so I decided to go with someone I’d never heard of before.

Additional Thoughts: Apparently buried vocals are a theme among this grouping of albums. No idea how that happened. Anyway. A good example of Tove’s strong personality is “Even If I’m Loud It Doesn’t Mean I’m Talking To You,” which contains the line, “I know you feel that pop doesn’t really have a clue.” 

6/10: Alpine's Yuck: The sweet, sometimes breathy harmonies remind me a lot of Janet Jackson. Highlight: "Come On"

Why? NPR featured it as a “First Listen.” I figured why not?

Additional Thoughts: While Alpine is described as “indie-pop” much of this album feels more like R&B. As I said, vocally it recalls Janet Jackson’s sweet and breathy moment, but musically it also feels like her track “Empty”; minimal yet full. 

6/10: Frog Eyes' Tears of the Valedictorian: Some see it as a toning down of their "manic" style and I doubt I can agree.

Why? It was in my Spotify recommendations based on the Unicorns.

Additional Thoughts: When I said “some” I was mainly referring to this review. Admittedly, this is my first exposure to Frog Eyes, so I could be wrong. However, given what the album sounds like, it feels like nitpicking. To my ears, this album is crazed and frenzied. It’s also frustrating, because (like Mount Eerie) the lyrics are quite wordy and involved yet buried under the instruments or the often incomprehensible singing. I can see how it relates to the Unicorns (manic, lo-fi, Canadian band, experimental, etc.), but it lacks any of the charm that made me like their record.

6/11: Alpine's A Is For Alpine: Bit repetitive lyrically, but the sweet harmonies and disco vibes make a pleasant listen.

Why? I really dug Yuck, so I wanted to give their first album a listen.

Additional Thoughts: I realize given what I’ve said about Sparks’ Lil’ Beethoven and Hello Young Lovers that me criticizing an artist for being repetitive lyrically might seem inconsistent or some such. But, as with anything, it depends on how it’s done and why. In a track like Sparks’ “The Rhythm Thief” the repetition builds rhythm for the track the way a beat would. While other times repetition just feels lazy or like an artist didn’t know what else to say. I wouldn’t categorize A Is For Alpine as lazy, but while perhaps they might have been going for something minimalist in the writing, it does sometimes feel like they just ran out of words.

6/13: Zhala's Zhala: She describes her music as "cosmic pop" and that's especially true of the gorgeous "Right Way's Wrong."

Why? Recent release I’ve been meaning to get to for a couple weeks (I think), because she’s the only other artist signed to Robyn’s label and that intrigued me.

Additional Thoughts: Something I found interesting about this record is that, overall, the first half feels very high energy that kinda climaxes with “Prophet”, while the second half is mellower (by comparison) and feels like a good comedown. At present, I think I like the second half better than the first, but that could change. As noted, “Right Way’s Wrong” is great, but another track I found noteworthy is “Prince in the Jungle.”

All albums available to stream on Spotify. Except Yuck, which can be streamed at NPR.

If you'd like to suggest an album, comment on this entry or tweet me.