Indie and Lo-Fi music reviews

Julian Cope is a bit of a legendary figure who has a tendency to write really earthy ragged pop songs with an offbeat edge. his songs are so great because he infuses them with pure personality. this kind of characteristic seems to drive the songwriting process forward into a solid effort everytime the studio reels start rolling. Cope's tunes are filled with joy, sorrow, confusion, and many times silliness. his love of obscure psychadelic music is well documented on his HeritageHead website; and his solo work draws alot of inspiration from that particular style. the guitar work tends to be a bit spacey at times, and the rhythms are primal and well thought out. every song seems to have it's own steady pulse and Julian rides over all of it like some sort of half-crazed insightful singing shaman.

"Peggy Suicide" is a crowning glory of an album. an epic slab of rock with lots of loose ragged edges. Cope's lyrics are splendid on here, and rather than print the lyrics out in the booklet, he opts to personally write his thoughts on the meanings behind the songs. his words are sung in a low slung drawl that delivers his wit and insight with a tense sting and a wink in his devilish eyes. the album is bookend by two tender ballads "Pristeen" and "Las Vegas Basement."

Julian Cope really is a very erratic performer: some of his albums play like St. Augustine on acid - sweet, divine, censorious, libidinous and completely mad...check out "World Shut Your Mouth" for a taste of what I mean.
The pattern holds here but it is clear that Cope has absorbed the lessons of the rather unhappy (and apprently somewhat corporate-coerced) "My Nation Underground" and produced a set of songs that are political, dramatic, hugely listenable and full of great hooks.
The textures include the prog-rock epic aspirations of "Safesurfer" - a song about contraception with tremendous lyrics like "Just another sheep boy/duck call/swan song/Donkey Kong/& I said: 'you don't have to be afraid love, 'cos I'm a Safesurfer darling'. Enigmatic and fascinating. The music is superb, too - waves of guitars beating the blazes out of one another.
Then there are the environmental anthems and sonic experiments of "Western Front 1992 CE", "Hung Up & Hanging Out To Dry" and the poll-tax riot song (complete with Lenny Bruce in scathing form) "Soldier Blue".
Not to forget the pure pop and jangly rock of songs like "Beautiful Love" (most folks rate this the albums best, but I'll pick the rocky, ardent and angry "Leperskin") and the anti-automobile vitriol of "East Easy Rider" and "Drive She Said". Poltical songs that pound in your ears yet melt in your mouth. Gorgeous.

This CD was all I listened to for 5 or 6 months back in the early 1990's and I still pull it out frequently, especially while driving. This collection of songs is environmentally aware, but not preachy, and I believe that this, coupled with superb song-writing and the sincerest of devotions to the future of what Cope calls "mother earth" is what makes "Peggy Suicide" a theme album that works.

Stylistically the spectrum is broad. "Pristeen", "Promised Land" and "Las Vegas Basement" are all slow ballads, the first two cresdendoing into a signature climaxes, the last remaining heart-felt and mournful. "Drive, She Said", "American Lite" and "Leperskin" are great classic rock anthems. "Head", "Soldier Blue" and "If You Loved Me At All" are groovy and psychedelic, but more accessible than a lot of Teardrop Explodes material of Julian's yesteryear. The gem of the collection is "Beautiful Love", a radio-friendly ode to divine charity inspired by swimming with dolphins.

Some songs will be a bit more challenging to traditional rock fans. "Hung up and hanging out to dry" is an orchestral monolith with only the seven words of the title seemingly caught once again in Cope's repetitive yet ever-building crescendo to an explosive climax. "Soldier Blue" was written about a protest in which the police became involved which includes a related Lenny Bruce routine to accentuate the theme. These are all catchy tunes, however, and even "You" and "Western Front", which might remind one of cartoon soundtrack material, will stick enjoyably in the mind of appreciative listeners.

It's well to mention that Peggy Suicide is drenched in Julian's sense of humor which co-exists quite naturally with his political message. He had stated in an interview shortly after the album was released that he wanted the album to be "righteous, not self-righteous" and so he wrote anti-driving songs, like "east Easy Rider", which contain the thematic message, but which he commented are "great to listen to while driving". Not being on the same page politically with Cope, I still appreciate his devotion and these songs remain some of my favorites ever.

The Gossip ROCK. They rock hard and hot. I love their music, i love their fire and i love their damn sexy lyrics. However, as much as most of the ppl who've reviewed this band love Ditto's voice... well some ppl just dont.
I played 'Swing Low' to my girlfriend, expecting her to love it coz... well coz its so damn awesome! And she gave me a look that said purely 'wtf is this s#*@?' Halfway thru she was mildly interested when she said 'is she gay?' But apparently she just doesnt like Beths voice. Not at all. So definatly dl some Gossip before you run off to buy it, just in case ur nuts like my girlfriend and dont like the most awesome voice i've ever heard.

The Gossip started a revival with this genre of music that was becoming scarce. When this album came out in the beginning of the year 2001, it is just what was needed in the world to wake everyone up. A lot of bands jumped on the bandwagon with this "new" sound. They are a three piece band consisting of merely a vocalist, guitarist and drummer. Some people say this album tends to drag in places, but I would say just the opposite. Beth Ditto has such a strong, sexy and bluesy voice, there is much to love about it. And their sound is pure garage/blues rock. The singer is openly gay, with very racy lyrics, which fit their sound perfectly. She turns what used to be just a church song, 'Swing Low, Sweet Chariot,' into a naughty song being sung to a bad girl; 'sweet baby/momma's baby/there's only one thing that can make you my lady/swing low, down low, sweet chariot.' Phew, makes me sweat. Long live the Gossip!

I'm usually a big fan of very carefully produced songs with intricate details. This is simply the opposite. It's raw, sweaty rock produced in someone's basement. Nothing is tweaked. It's just drums, a guitar and Beth Ditto's amazing voice wailing over it, pulling you under.

Before I actually heard The Gossip for the first time, I read dozens of articles about them. The critics had nothing but rave reviews. Once you hear this cd, though, none of that matters anymore. This music belongs to YOU. It pulses in you as if you were dancing with the rest of the crowd at the show, Beth's tremendous voice pulling at you. The simple, repeated verses of these songs are infectious and charming.

This is hot, lesbionic, Southern goodness. What more could you want?

here's the band who more or less took the afghan whigs' place as hot-new-buzz-band for subpop (after nirvana had left them in the dust, at least). they aren't nearly as good, but they're good enough to listen to, and this album was a pleasant surprise for me. i bought for a few nickels on ebay, planning to sell it back somewhere for a tiny profit, but i ended up holding on to it. it sounds exactly like what it is: post-grunge, with a bit more kick, and a bit more cleverness thrown in. "last man alive" is an unpredictably worthy anthem.

The Grifters are one of the most underated bands of all time! I can't believe that they are not huge. This must be the biggest underated album ever. All of the songs are unique. The Grifters have taken a step from their usual lo-fi act and brought in some really complicated stuff. Hopefully sometime in the future they get the credit theat they deserve.

I have too many albums. Too many to listen to on a regular basis. But Ain't My Lookout creeps up on me once a year and stays in the CD player for a few months at a time. Not bad for an album that came out 6(?) years ago. I can't even remember when it came out. A band that never took itself too seriously and was able to rock without getting too impressed with themselves. Best part of the album is at the beginning of "My Apology" when you hear one of them get into the mic and just say "booga booga hey hey" and then 20 seconds later admit "I've had a bottle to drink"

so i JUST got the cd finally, and therefore cannot make a complete analysis of the cd. that said, "jerusalem" was the first song i had heard off the album, which was enough to convince me to buy the cd. "the light" is a wonderful song, when she sings "raaaaiin" and "complaaaaiiin"!!! oh, her voice is just amazing! "the struggle" is a great song as well, but really, they are all good. i think the cd opens with a great song as well, and just takes you on a nice journey. i wish she hadn't decided to go on a year-long hiatus...i can only imagine how great it must be to see her live.

It's sort of surprising for me to see that other people rate C'MON MIRACLE as a relatively weak effort, not because I think it isn't true, but because this is the only one of her albums that I've heard, and I think it's fantastic.

From what I understand, the music on this album was influenced by the time that she spent in Buenos Aires, Argentina; this does across in several songs (not only "The Dogs of B.A."), as the songs are generally acoustic and unaccompanied by especially prominent percussion. It's decidedly pleasant.

What's really impressive about this CD, though, is the variety and innovativeness. In "We're both so sorry," for example, two voices (at least one is Mirah's, although they could conceivably both be hers) recite the same monologue simultaneously; in "The Dogs of B.A.," an Argentinian woman talks in spanish about a storm. Both songs are among the best on the album.

Mirah's voice is impressive as well, and her lyrics are generally very good (although she waxes a little preachy on "Jerusalem").

All in all, C'MON MIRACLE is absolutely worth buying, and I absolutely look forward to listening to more of her CDs.

At first, I was wary of liking this album and buying into the quasi- cult following of Mirah, but unbeknownst to me, i pretty much had no choice. The brief couple of days I was left without this album, (a friend was burning it) was like going cold turkey from a highly addicitive drug.

i'll grant you that some of these songs are a bit bumpy, but the good ones more than make up for the lapses. The gentle strumming of 'Nobody has to Stay' sets the stage for the album, Mirah's voice is at its best when its vulnerable. 'Jerusalem' is my personal favorite, and probably the most catchy song on the album. Along with its catchiness comes actual substance, a rare delicacy with today's current mode of music.

'Light' is a bit darker and more experimental. 'Dogs of B.A.' takes the culture of Buenos Aires and puts it into song. Some of the other songs may be a bit weak; such as 'We're Both so Sorry', which makes a valiant, if not flawed use of unconventional instruments.

the album as a whole is strong. buy it. now.

If you haven't discovered Edith Frost by now (and if you're reading this review -- you must have and are curious), you really need to take 5 minutes out of your life to listen to her CD. Soulful, purposeful, passionate....quiet. This is how I would sum up Edith Frost and especially her release "Calling Over Time."

You will be stunned by her music. Edith Frost is part of the Drag City crew, and you can find her on several other artists' releases. She is excellent on her own and she definitely adds a little extra to other's releases too. Nothing flashy, just down home alternative rock/country/folk....there's probably a million other ways to "categorize" her music, but I'll you, dear listener, be that judge.

Calling Over Time is that record you've been looking for...the one record you can put on when your alone in your room with a dim candle-light shimmering in the corner. You press play on your stereo sending forth the first haunting chord, and another, then a warm rush of energy tingles up your spine like a spider crawlling on her web: and angel softly cooes the most lush and beautiful sound you've ever heard...that's Edith Frost.

I first heard the song "Temporaray loan" (the first on the album) on a compilation. I found it wonderful: a song without many effects, a few chords, but an incredible atmosphere, absolutely mesmerizing. Infinite sadness, but quiet, without desperation. A few months later, I saw Edith Frost on stage in France, opening for the "Dutch Harbour" project (a silent documentary about fishing in Alaska, with a live soundtrack played by Edith's musicians). Beautiful gig. I bought the album which was really difficult to find. "Temporary loan" is maybe the best song, but all the others, including some happier ones, are great. I think Jim O'Rourke produced it. or maybe John McEntire. There are many Chicago post-rock musicians playing on it, and also Sean O'Hagan (High Llamas). They play just as they should, supporting lightly Edith's voice. If you like Cowboy Junkies, Tarnation, and all the new folk-country-indie scene, you will love this record.

While most indie rock aficionados hail Of Montreal as one of the finest of the "second wave" of Elephant 6 bands, it is usually on the strength of their conceptual albums such as the much praised Gay Parade or the electro-sheen of the newer Satanic Panic in the Attic. Cherry Peel is a different animal altogether, though no less enthralling. While less experimental from both a songwriting and recording point of view, this decidedly lo-fi production offers catchy pop songs from start to finish. It's easily the most fun, most melodic CD this Athens, GA collective (well, mastermind Kevin Barnes for all intents and purposes) ever released. Imagine Weezer scrubbed squeaky clean with the Beatles influence cranked up to 11 and you have an idea of what this album is like. Another home run for the Elephant 6 collective and a good purchase for indie pop fans.

Best Tracks:
"Everything Disappears When You Come Around" - Weird lyrics over a simple melody - pretty much this album in a nutshell. Fun track.
"I Can't Stop Your Memory" - Great kick in to the chorus on this alternating slow/upbeat number. Reminiscent of the cleverest Weezer tunes.
"Don't Ask Me To Explain" - Overly sugary power pop with a noisy instrumental breakdown (I'm pretty sure that's kazoo!)
"In Dreams I Dance With You" - An amazing Pinocchio fairytale set to a gentrly strummed acoustic track with a jarring waltz-y breakdown. My #1 track here.
"Sleeping In The Beetle Bug" - Just a great catchy pop tune. Nothing earth shattering but always on my stereo.

Of Montreal sprang into existance with their debut "Cherry Peel," but they might as well have called it "All You Need Is Love." It has cheery pop melodies and offbeat lyrics, but the most noticeable thing is the focus on love -- especially hearts-and-flowers, pounding-heart love.

It opens with "Everything Disappears When You Come Around," a charming acoustic ballad that is either really sweet or really disturbing, depending on how you feel about vanishing ears and headless birds. The vibe continues in songs like the electronic-tinged "I Can't Stop Your Memory," the rollicking "Don't Ask Me To Explain" and bizarre "Sleeping in the Beetle Bug."

The second half opens with a peculiar friendship/love ode that begins, "Tim, wish you were born a girl,/So I could've been your boyfriend." What follows is a mishmash of melancholy laments ("You looked in my eyes,/Then said, "I'm so sorry") and puppy-love songs, ending with the lines: "You've got a special gift./Do you see how you're changing the world/just by hanging around?" It doesn't get much more enchanting than that.

Love is something that seeps into almost every Of Montreal albums -- love, kissing, lovers, and relationships that either bloom or slowly decline. "Cherry Peel" is mostly on that subject, although it does dip into feel-good ditties here and there ("No matter how you died through winter,/In spring you're born again,/Your life might not be going good,/But spring helps you to pretend.")

The Elephant 6 bands are known for having a sort of sixties vibe. "Cherry Peel" has the sunniness from the best of the sixties pop, along with the sparkling multilayered melodies. But the musical tinkering is too sparse compared to their later work. The acoustic guitar takes center stage, with a bit of sitar and muted percussion woven in.

With music so simple, it's up to Kevin Barnes to keep things weird. Some songs have straightforward lyrics, but others say that "I'd like to marry all of my close friends,/And live in a big house together by an angry sea." Not to mention "The birds have no heads when you come around./Everything loses its legs when you come around." Is that a good thing or not? Who cares, it's all strange and sweet.

"Cherry Peel" is a relatively unpolished piece of work by Of Montreal, and doesn't dip as far into musical madness as their later work. But as a collection of oddball love songs, few things can match it.

Of Montreal's first, and still their best, "Cherry Peel" is an indie pop delight like none other. Though parts of the album are weaker, and it winds down near the end, Kevin Barnes' frank writings on the meaning of love (especially the puppy love of crushes) and the band's flawless pop style makes up for their shortcomings. It is dissapointing that Of Montreal will probably never make an album on this subject again, but on the other hand they don't really need to. If any song has ever captured the meaning of brief love, it's "Baby" and if any song has ever got down exactly how it is to be unsure about another's feelings and thus having a hard time sorting out your own, it's "Don't Ask Me to Explain".

It opens with a simple, but characteristically strange love song, "Everything Dissapears When You Come Around", and it never leaves it's core themes. And there's nothing wrong with that. It'd be a classic if it weren't for some of the later songs and the unfortunate fact that the cheap recording equipment mars the album's beauty at times. Still, I have to say you should pick it up.

This being the earilest works of the great indie trio known as sebadoh. The compliation here is a mixture of both weed forstein and the freed man, which were the trademark sebadoh sound before differences came about.

The music here is raw, not in a punk rock way, it's just primitive. Recorded in various basements using acoustics, minimal electronic effects and various experiments with tape, it does sound like something after a while, but it takes a couple required listens to get used to the low-finess.

Though the old sebadoh was split between Lou's neurotic songwriting and Eric's eccentric musicial style, it is more Lou then Eric doin up the albums finest tracks. Songs like Subtle Holy gift, Broken, Whitey peach, Brand new love and others get into your head and stay, the lyrics are sometimes a little too much, but that's the best part.

Eric's stuff isn't very different, just a bit more experimental then what Lou was doing. Wall of doubt, Made Real, Moldy bread, Bridge like you are all very simple but catchy and inspired.

Only drawback to me at least is the lack of eric's (and loobies) crazier works from the Freed man, Wall of doubt is remixed(?) on his one and Little man rears his ugly head.

This was my first ever Sebadoh record, and remains my favourite after all these years. Absolutely beautiful (and sad, and funny, and weird), it's a bit of a postmodern "Pink Moon," and perfect for fans of Lou's prettier, more acoustic stuff (like "Kath" and "Truly Great Thing"). Pick this one up if you can.

This is probably my favorite album ever. Amazing, beautiful, honest songs, recorded at home on 4-track or even with 2-track trickery. If most people tried this it would come out bad, but the fact that this album is so great shows you how talented Lou Barlow (and Eric Gaffney) is. One of the most personal albums I have ever heard, and was the perfect theme to my grade 12 school year. Every kid in high school should start listening to Sebadoh. It was the first time I actually started to understand what someone was saying in the lyrics, before I never really cared that much. After this album, I started buying albums for their lyrics as much as the music. It'll make you want to buy a 4-track and learn guitar. And yes, the track listing listed here is totally wrong (as far as the last half of the album goes). But of course it IS printed like that on the inside of the CD! The "Weed Forestin" part is identical to the original album, but the "Freed Man" half is quite different from the original. So don't think that you have the complete Freed Man LP if you buy this CD! Freed Man has many more songs (especially Lou songs (like 'Healthy Sick')) as well as different versions of a lot of the Eric songs! It is a must have! And so is "The Freed Weed"..

Good in parts but I wish it was a lot more "up". Peggy Suicide is fa-fa-better. I quite like Upwards at 45 Degrees, Mystery Trend, Fear Loves This Place & Tower. Necropolis is a killer track I can play over & over it's so much fun. Ahead of it's time in bleakness & a sign of a few of his albums to come I'm afraid.

This is an amazing album. Julian Cope is an amazing singer and his writing on this album is extremely mature. "Upwards at 45 Degrees" and "Fear Loves This Place" are chilling. This is one of the few albums I've ever heard where I say, "I wouldn't change a single thing about that record." And it's a very LONG record, so that says a lot in my opinion.

Julian Cope is a bit of a legendary figure who has a tendency to write really earthy ragged pop songs with an offbeat edge. his songs are so great because he infuses them with pure personality. this kind of characteristic seems to drive the songwriting process forward into a solid effort everytime the studio reels start rolling. Cope's tunes are filled with joy, sorrow, confusion, and many times silliness. his love of obscure psychadelic music is well documented on his HeritageHead website; and his solo work draws alot of inspiration from that particular style. the guitar work tendfs to be a bit spacey at times, and the rhythms are primal and well thought out. every song seems to have it's own steady pulse and Julian rides over all of it like some sort of half-crazed insightful singing shaman.

Jehovakill starts off alot like how Peggy Suicide ended. with the strums of an acoustic guitar and Cope's low voice telling us how he was "lost and loveless in your soul desert." a great beginning to a strange tale of an album. things seem to be a little more scaled back on this record...which draws out a very cool starkness to some of these pieces. particularly "Know (Cut My Friends Down)", "Slow Rider", and "Give Me Back My Flag." that same skeletal feeling is ripe on the 10 minute "The Tower." in my opinion, Jehovakill is just as good as Peggy Suicide and could almost be seen as companion albums.

Maybe this is one of those albums that gets better over time after you have listened to it for a few times. I've tried, I've really tried.

I am a big Palace fan since I first heard "New Partner" on the radio and have collected a lot of Oldham's music since. This is my least favorite album. None of the songs stick, the melody's are not outspoken and the lyrics are not the best he has ever done. Of course there are some songs that are not bad like 'Bolden Boke Boy' but the overal tone of the album is just not that good.

However, having read the other reviews, I'll try to listen to it a little more and maybe I will change my mind, in that case you will hear from me with a new revies.

but not my favorite palace album. That would be There is No One. Anyway, I just spent too much time checking out the reviews for James Blunt, and was befuddled at how many people passionately love him, when he obviously isn't that good. I really think what's going on there is that people want him to be deep and a genius so they make him one-so they get to listen to "deep" music without having to be challenged in any way. I know music is personal, but Blunt is tripe. But here, with Mr. Oldham, I could understand how opinions could defer so widely. His music is difficult, and therefore when you like it, it is really a personal, intimate thing. I love this album, and maybe even if you don't you could understand how someone could, unlike Mr. Blunt's pablum.

At first, it may seem dingy, purposefully clumsy, lame. Occasionally rocking, but nothing special. Then the iris opens, and its perfection is revealed. I have long claimed to not be so crazy about Will Oldham -- "I like more rockin stuff, less affected stuff" -- but the truth is, I rarely listen to this album just once through anymore -- I am ALWAYS hitting play once it's over. You have to give it time, though. Bravo, gentlemen! Robert Arellano who plays guitar on this just published a novel with Akashic books. And David Pajo... oh, Pajo!

Maybe this is one of those albums that gets better over time after you have listened to it for a few times. I've tried, I've really tried.

I am a big Palace fan since I first heard "New Partner" on the radio and have collected a lot of Oldham's music since. This is my least favorite album. None of the songs stick, the melody's are not outspoken and the lyrics are not the best he has ever done. Of course there are some songs that are not bad like 'Bolden Boke Boy' but the overal tone of the album is just not that good.

However, having read the other reviews, I'll try to listen to it a little more and maybe I will change my mind, in that case you will hear from me with a new revies.

but not my favorite palace album. That would be There is No One. Anyway, I just spent too much time checking out the reviews for James Blunt, and was befuddled at how many people passionately love him, when he obviously isn't that good. I really think what's going on there is that people want him to be deep and a genius so they make him one-so they get to listen to "deep" music without having to be challenged in any way. I know music is personal, but Blunt is tripe. But here, with Mr. Oldham, I could understand how opinions could defer so widely. His music is difficult, and therefore when you like it, it is really a personal, intimate thing. I love this album, and maybe even if you don't you could understand how someone could, unlike Mr. Blunt's pablum.

At first, it may seem dingy, purposefully clumsy, lame. Occasionally rocking, but nothing special. Then the iris opens, and its perfection is revealed. I have long claimed to not be so crazy about Will Oldham -- "I like more rockin stuff, less affected stuff" -- but the truth is, I rarely listen to this album just once through anymore -- I am ALWAYS hitting play once it's over. You have to give it time, though. Bravo, gentlemen! Robert Arellano who plays guitar on this just published a novel with Akashic books. And David Pajo... oh, Pajo!