Indie and Lo-Fi music reviews

A decent album with pros and cons. This version takes out a few of the curse words Beck was known for using in his earlier pre-Odelay days. A fun album, lots of different styles, probably his most diverse album from 'Golden Feelings' and 'Western Harvest' to 'Sea Change'. Includes 'Loser,' one of the few songs that changed much of pop music in the nineties being one of the first to mix the pop formula with hip-hop (just about any big pop star in the nineties was either influenced by this song or by the post-grunge movement or both). The clean version isn't better or worse to the listener, just cleaner. I guess one could say that you're not listening to it the way the artist intended, but to average listeners the music holds up the same.

Loser is the best song ever. period. If that doesnt make you sing along nothing will. Beck is a great artist

I enjoy artists like Beck. When he created this CD he clearly didn't care what was popular and what would sell. Instead, he did his own, often quirky, sometimes amusing, and nearly always enjoyable, thing. The range of styles is interesting. On this CD are elements of thrash ("Sweet Sunshine"), blues ("Whiskeyclone, Hotel City 1997" and "Pay no Mind", where he also sounds a bit like Dylan), progressive ("Blackhole"), and grunge ("Loser"). There are even hints of pop, hillbilly and folk. Beck chooses elements that fit his concept for a particular song and I suspect he cares little whether a particular listener likes or does not like a particular song.

I can see how some listeners might not like this CD. The styles are too broad for people with a narrow range of tastes, or for those whose definition of cutting edge music is limited to one genre. Beck has a relatively mellow style on this CD, as the title suggests, that might also put some listeners off. However, while the style is generally mellow, there were enough pace changes to hold my interest from beginning to end.

The lyrics owe more to blues than to pop or rock. Beck nearly always seems to want to tell a story or make a point. That doesn't mean that Beck sings the lyrics in a blues style, only that Beck likes to have a purpose to his lyrics, which is a characteristic of blues. Some listeners may object to the lyrics because this CD is the so-called "clean" version. The "explicit" version contains four-letter words. Artistically the "explicit" version was Beck's original intent. You should choose the version that meets your sensibilities.

The music itself is wonderfully bizarre. The range and combination of instruments I can barely begin to guess at because Beck combines electronic effects with various combinations of instruments and frequently bizarre vocal effects to create a complex mix of sound that challenges my ability to decipher. Beck combines this mixture with the previously mentioned combination of styles to synthesize quirky, yet interesting sounds. For an example of what I'm talking about, listen to "Truckdrivin' Neighbors Downstairs (Yellow Sweat)." The principal instrument in this song is an acoustic guitar, but the vocals range from a falsetto to a bass in a bizarre combination. This last song might have been something that Frank Zappa might have sung, though without the four-letter words.

Perhaps the best-known song on this CD is "Loser," which received a fair amount of video airplay on MTV and VH1. The video was every bit as experimental as the remainder of the CD is musically. With elements of grunge and no real plot or theme, the video is impressionistic, and has more of a theme than a story. However, given the range of music on this CD, do not judge the CD by "Loser," because it is the only song like it on the CD.

"Steal My Body Home" sounds like psychedelic rock. Cool song, very slow, interesting electronic effects. Turn on the black lights! I had to mention this song because I like its combination of retro-psychedelic sound with grunge and other elements. The next song is "Nightmare Hippy Girl," which seems to fit with the psychedelic song just previous, but the styling of "Nightmare Hippy Girl" is more folk-rock than psychedelic rock. Yet, it fits.

My favorite song is "Blackhole." The progressive elements have tinges of The Moody Blues from the time of "Every Good Boy Deserves Favour" and "Seventh Sojourn," but of course Beck has made this in a style all his own. At about five and a half minutes into the song, the music stops, and when it restarts it is no longer music, it is a bizarre combination of sound effects a la King Crimson, but sped up and with a greater range. It sounds weird, but interesting.

This CD is so weird that it may be inaccessible to some listeners. However, it is this wonderfully strange and weird music that drew me to progressive music in the first place. Beck is a music artist, experimenting to create the unusual. He certainly does that here. I recommend this CD to those who like music as art, particular for those who like mellow progressive rock.

As I noted above, this version is the so-called "clean" version. Be sure you choose the version that you think is best for your needs. Good luck!

A so-so collection featuring the amazing "Where It's At," two so-so remixes of that track and two atrocious remixes of "Devil's Haircut." (Remixes, in general, are a waste in my opinion). However, if you're a Beck fanatic like myself, it's worth getting for "Clock", a magnificently funky, hip-hop track that stands with anything on "Odelay."

Where It's At! This is probably the coolest of the many cool Odelay import eps out there. Clock is an excellent, highly catchy song... and the remixes of Where It's At are worthwhile, too. The Devil's Haircut remixes are all available a number of different places..
As is always the case with these deals, though... it's way expensive.

Don't buy this expecting this to be a representation of Modest Mouse. Most these songs are little quirky tracks that are hit and miss i really couldnt call this an alblum there are a few good songs on here but mostly just short stuff. Your better off getting Lonesome Crowded West or Moon and Antarctica i prefer lonesome though

No Music has perfection... and overproduced records are polished surfaces....This shows the early essence of Modest Mouse at its prime...and it shows the energy of that indie guitar sound of minor melodies and chaos through the early years....
When I saw the abstract cover in a independent record store...I was curious of what it would be like....As noisy and garage it may sound, the guitar clashing of complex melodious chords, and Issac Brock's vocals sound expressive like beat poetry, words that come straight out of nowhere, then put into lyrics. This album sounds so pure and to me remains a classic indie record...It sounds like fragments
of an analog tape collage of sound to form into that work of art.....that came from musicians that wanted to make music out of the equipment that they had....
It's a perfect example...it shows that whatever you record; even if it is lo-fi equipment: you could do amazing things with it if you have any crazy creative, imaginative ideas formed into sound....

I must admit, that if i were reviewing this album two years ago when i bought it, i wouldnt have given it much more than 3 stars, i listened to it a few times and put it down. This became my least listened to modest mouse album and not until recently did i have the urge to pick it back up.
Let me start off by saying that i am a very enthusiastic modest mouse fan and i celebrate everything that they have released. What i like about this album is that it is very unique (like every other mm album) for their style, it stands out as unlike anything else they have done. Their most similar album would have to be their ep "The Fruit that Ate Itself".
The songs on this album are short and probably wont be appreciated by new modest mouse fans in the least, not to mention them being underproduced (because chronologically, its their first album). The first half of the album is the actual album, which i enjoy immensely, but the second half is where it gets really Lo-Fi with Isaac Brocks "Dial-a-song" songs. I enjoy these short little sporatic tracks because they are material that used to only be able to be heard by calling Isaac's house and getting the answering machine. This is sweet for me because i like seeing how bands that i love progress over the years, especially when you can see hints of their later style in their early work.
So if you are a modest mouse fan, then buy this album, if your not, then dont. If you like what you've heard on the radio, and havent been exposed to anything else, then buy their other albums first. Even then, you just may not like it, its an acquiered taste.

The higher than average rating on the All Music Guide should have given me a clue; after all, the rock critic mafia only bestows high marks on uncompromising (read unmelodic) work, eschewing the hits that we mere mortals seem to enjoy. Dancing about architecture, anyone? I cannot recall a single memorable tune on this album which, aside from that Gothic Archies EP/coaster, is the only Merritt album I have ever returned. One or two listens is all it takes to discern magic from tedium. I left Eban & Charley at the listening post, won't even touch Pieces of April and am now officially worried about 'I'. Has the well run dry?

This being the first Future Bible Heroes CD I've purchased (my first purchase of Merritt's that wasn't by his beloved Magnetic Fields), I have to say I'm not all that impressed.

"Losing Your Affection" just seemed to be a dull pop song that had the same noise throughout all of its four and a half minutes. "Doris Daytheearthstoodstill" and "I'm A Vampire" were probably the only two songs that really stuck with me. I'd actually give the album five stars if I were just looking at "I'm A Vampire", which is one of Merritt's best pop songs. But it's not one song that makes an album, and sadly, the album didn't have much gas left after that. "Find An Open Window" had good lyrics, but awful music.

"Eternal Youth" ends with "The World Is A Disco Ball", which is an okay song, but it's just not enough.

And as for Claudia Gonson being the vocalist on all the songs... I'm not complaining. She has a wonderful voice, but the music in this album is what ruins it. I do hope the next Future Bible Heroes album has Claudia Gonson on all the songs- just with better music.

Okay all you Buffyheads, if you liked anything you ever heard by Steve Merritt and friends, you'll find this witty, sometimes poignant, unexpectedly tuneful song collection a CD you'll play more and more as time goes by. I know I have.

It's not all about vampires, but many songs are, and most of the rest touch upon time passing, death looming, and, of course, love. Like a lot of Lou Reed, sometimes these songs are as musically sweet as ABBA, and yet they're edgy, sometimes dark, and mordant. "Losing Your Affection" still has the power to make me smile after two years of regular play. But behind the exuberant word play, the underlying bittersweet sentiment remains true for anyone who has ever been deeply in love and had it returned. "Thousand Lovers in a Day" just seemed perverse on first hearing. On rehearing, it became a mournful and defiant response to the recognition that youth is rushing by way faster than we want. One or two tracks remain a bit weak, but for me (an admitted Merrittmaniac and Buffybrain) this CD remains one that sometimes I just have to play right-this-minute.

I am a certified (certifiable?) Copey drood. This album is a real disappointment & sounds like a lot of lazy demos strung together. It's the least appealing of any of his albums. It's worse than Jehovahkill & 20 Mothers. If you really like his "pop" side try Interpreter instead - that's a great album.

This is the first Cope CD I bought and it opened my eyes and is still my favorite. His angry violent tripped out, yet brilliant vibe fills the CD throughout. From ranting rages to humor tinged comments on the impossibility of living outside of where you live. He takes car culture out back for a good flogging but admits "There ain't no gettin' 'round gettin' 'round"

This is the album Psychic TV should have made.

Mention should also be made of Thighpaulsandra's excellent synths and production. His hand is apparant in the lushness of the overall sound and the brilliance of the synthesizer work (it was his connection that got me to buy this record in the first place). I think the 3 records he worked on are the best produced of what I've heard by JC.

This album may just blow your mind and tune you into a Head Heritage you never suspected was there.

It is not as strange as Cope's more recent projects, as there are the project that I cannot name, but the albumname is Metal Ambient and the other project, called Queen Elizabeth with that awsome album, but it is there second album, check it out and you'll know what I mean.

Autogeddon is more in line with albums like Jehovakill, Peggy Suicide and 20 Mothers, but, at the other hand, Autogeddon is also NOT in line with the aforementioned albums. Autogeddon is more like sketches of those albums. It's like a notebook. It is as if Cope awakened one night with some need ideas for songs, and he grabbed a guitar and played and sung a bit in a dictaphone so he wouldn't forget what the ideas were in the morning, and it is as if he just published what was on the dictaphone and did not bother anymore 'finishing' the songs.

So what you'll here are not songs, they are IDEAS for songs. And they're great ideas. It's like watching a documentary about how the greatest album of all time was composed, only you'll have to fantasise how the album would have sounded if it WAS finished.

Autogeddon is a good album. It is spontaneaous. It is living. It is in progress. And Cope is nothing short of a genious. Just like Cope is singing in the Archdrude's Roadtrip-part of the Paranormal in the west country-medley: "I love my life; I love it...; if I were Cope I would be rather crazy about my own life too...!

Sure, this is a great cd! (if you like listening to nothing at all) Will Oldham is becoming a living legend for the rich, interesting song writting skills he poured out with his PALACE works. This one however, is nothing at all.

First, I am a die-hard Will Oldham fan. So it disappoints me greatly to say this CD is a self-indulgent throw-away. There seems to be only a couple of different songs here, played over again with only a slight change here and there. Sorry Will:( But I still can't wait for Lost Blues 2.

I am a first time Will Oldham listener. I got his CD Ode Music for free from Will Oldham himself. He lives a few houses down from my home, his CD is pretty good and I really like it although he repeats his sequence of music in most of the tracks, but the music is pretty relaxing to me and it's a perfect 5.

I had heard a few songs if Trembling Blue Star's from a friend, and thought I liked them enough to buy the album. The band doesn't lack in the talent area, however, the album, as a whole is VERY mellow. The more upbeat songs are toward the end of the album, a funny place to put them. Not to say I didn't like the album, but the fact is, when you need to rock, this album isn't your man. "With Every Story", "Here All Day, and "Maybe After All" are the gems of the album, and Robert Wratten of Field Mice fame writes beautiful, lovelorn lyrics. Just not overall knock-your-socks-off exciting.

By the time the second track of "Alive to Every Smile," titled "With Every Story," blasted on my stereo, I had suspected that this could easily become Album of the Year. This song could easily be played on mainstream radio. It's simply beautiful, and I've been listening to the song for days now.

Trembling Blue Stars, who really is just Robert Wratten and a few female backup singers, have consistently put out above-average pop records for the past few years. On "Alive to Every Smile," he continues this tradition, with some interesting results. However, Wratten loses two stars on this album, for a couple of reasons. One is overproduction. Although such complex production works on "With Every Story," it does not with many of the songs on the album. This reflects one change from Wratten's previous album, "Broken By Whispers." Some of the songs suffer from the complex rhythmic arrangements and the radio-fuzz. Wratten is known for writing songs about broken hearts. With complex production, it's just simply too much to get the point across. Although it does sound interesting in places, it is not consistent enough to ward Ian Catten's (i.e., Producer for Saint Ettiene) need for a big sound.

Lyrically, Wratten is beginning to suffer in some places. On "Here All Day," he begs to "Stop the hands of time/Every ticks a cruel blow," amongst a reverb backdrop and keyboard. Alright, that's nice enough, but it borders on cheesy. However, on other places, he's sharp and focused. On the opener, "Under Lock and Key," ...with some interesting rhythms and electronics in the background.

The album will definitely appease fans such as myself. There definitely are some endearing moments on the record, but, on the whole, "Alive to Every Smile" is largely average. That being said, the album does show a lot of direction and promise for Trembling Blue Stars.

A silly but endearing little record. Forlorn little love songs dripping with regret and sugary keyboards. The sort of thing I'd listen to once or twice and shelve, except that it has maybe my favorite song I've heard in the last six months or so. "The Ghost of an Unkissed Kiss," ludicrous title and all, is an instant classic in my book, and I'll be putting it on mix tapes for years to come. (Long after we'll have forgotten what actual 'tapes' were.)...this song has not one or two but THREE hooks any songwriter would die for, and a deliciously lovelorn lyric straight out of a sixteen year old's diary. And he MEANS it. Awesome.

This band gets a lot more attention than they deserve. EP band member Laura Carter is cozy cozy with NMH's Jeff Mangum. Well howdy hoody ho. Doesn't mean EP is great, or even bearable. If you are looking for some excellent Elephant 6 sounds- look elsewhere. The creme de la creme of the scene is Neutral Milk Hotel, Olivia Tremor Control and Apples (in Stereo).

I enjoy this. Elf Power has progressed so much since this but without changing their sound. The guitars on here (which as a guitar player are what I really listen for) sound just like they do on The Winter Is Coming. A lot of these songs sound like prototypical versions of songs on that (amazing) album. Anyone who would give this 1 star shouldn't be listening to Elf Power or lo-fi music in general. At least listen to their later work to put this in perspective.

I'm shocked people don't like this, it's not a one time thing though, upon coming back to it after a while I can see how it's a big more stripped down than their others, but it's still has the same charm, the same stylings and inklings that these guys are gonna keep making great stuff, I'm a fan of the band Home and after hearing this again see some similarities, it's a subtle sort of scratchy fuzz delivery, it's a unique and timeless sound, I don't know if Dave Fridmann is involved here, but it's got that touch to the recording to be sure.

i saw the movie, then i decided to buy the soundtrack, cause i really liked the song that charley sings for eban when they're back from the beach,( after u've seen the movie that song reveals to be the most important of them all ), so i got the cd i listened to it and when it was over i was still waiting for that song. now, tell me what kind of soundtrack is a soundtrack that doesn't even include the main song?? the rest of the music isn't even that good actually it's everything but good, this is just a waste of money and time so **** it

This soundtrack contains both the songs and the background music from the movie and of it's 16 tracks, ten are the latter. Further, the background music is mostly experiemental and, in my opinion, not particularly interesting. Some of the six songs are great, though. I love "This little ukelele.' More than any other song on this album, it sounds like a Magnetic Fields tune and ranks among Stephen Merritt's best. "Poppyland" and "Some Summer Day" are also strong songs with all of Merritt's emotion. "Water Torture," on the other hand, is truly torture.

Stephen Merritt fans should definately buy this CD. If you don't know if you're a Stephen Merritt fan, buy "Get Lost", "Distant Plastic Trees" and "69 Love SOngs" buy the Magnetic Fields first and then buy this once you fall in love those CDs. (Of course, even then, you'll want to buy some othe Stephen Merritt CDs first.)

Despite his knack for coming up with some of the best band names on record (besides the flagship MagFields,
there's the Future Bible Heroes, the Gothic Archies, and 6ths), Stephin has decided to resort to his
birth moniker for the first time on his latest release.

That's not the only thing that makes this unusual for a Stephin Merritt record. After a simple
thirty-second piano introduction, the first appreciable track, "Cricket Problem," is not properly
a song at all, but a sort of interlude comprised entirely of mechanical whirs and rattles and the sounds of baby toys,
interrupted occasionally with a stumpy drum machine. This is quickly followed by a more typical piece, a downcast folky
tune about postponed love, but similarly odd, 'experimental' tracks continue throughout the majority of the album.
Naturally, the preponderance of instrumentals and mood pieces (including dulcimer-sounding renditions of
"Greensleeves" and "O Tannenbaum") is due to the fact that this is a soundtrack. (The film, set for release in July,
apparently chronicles "unflinchingly" an intergenerational Gay relationship between a fifteen-year-old and an
"ex-soccer coach," who sounds like a real loser.) It's hard to know if Merritt put together the instrumental fragments to
augment and justify the inclusion of his other songs in the movie, or if he was more interested in experimenting with
filmic incidentals and included the pop tunes out of obligation to his fans. Though there's nothing wrong with the
instrumentals (they work quite nicely as background music and lend an interesting flow to the album), I suspect that
most people are more interested in the songs. There are six of them, and they are very much worth your time. The
hummable melodies are very typical of Merritt, as are the quirky, reverb-laden arrangements. Standouts include the
gorgeously sung "Maria Maria Maria" and the appropriately titled "This Little Ukelele," but the best thing here is
probably "Poppyland," a bouncy ode to a utopia where, in a line whose authorship is unmistakeable, "all your favorite
things/are painted on the wings/of the butterflies." In comparison with other Merritt releases (say, oh, 1999's
staggering 69 Love Songs, these six pretty little ditties hardly make this a must-purchase. But they should serve
perfectly adequately to tide fans over for now. (Oh, by the way, the Magnetic Fields just signed a new record deal with
Nonesuch, besides which Stephin is apparently working on a new Future Bible Heroes album, as well as some project
of songs based on childrens books.) (6/10)

Stephen Merritt, mastermind behind The Magnetic Fields, Gothic Archies, the 6ths, and Future Bible Heroes, is certainly prolific. Consistent, too, as the 69 Love Songs box set will attest. Due to the heft of 69 Love Songs, it comes as no surprise that FBH's I'm Lonely (And I Love It) EP feels tossed off. Could it also be the retro-80s cast of these 5 tunes? The title track and "Hopeless (Remix)" are gay bar phenomenons that've already happened; "Good Thing I Don't Have Any Feelings" sounds like Pet Shop Boys fronted by Leonard Cohen; "Caf� Hong Kong" an OMD construct featuring Anna Domino. Only "My Blue Hawaii" has the fresh perspective that makes Merritt's 80's tributes take flight. After the long haul of 69 Love Songs, Merritt probably needed the respite of this mini-LP. Whether or not you need it is up to you.

Although the production and intention is excellent - Giorgio Moroder meets Leonard Cohen - this isn't really satisfying stuff. Stephen Merritt's aesthetic is admirable but suffers from an over-emphatic delivery ("I'm an artist, dammit! And I will realise my vision!"), resulting in beautifully melodious and incisive songs that ultimately become unbearable because of his foghorn voice. Please, Stephin, give a really good singer a chance!

Perusing some of the other reviews of this EP, I wonder if the other reviewers are even aware that FBH came out with a brilliant full length LP, "Memories of Love," in 1997. Additionally, I feel other have been unduly harsh on this EP release. "Memories" was one of a scant few recordings that almost instantly entered my top ten of all time after hearing it. I've called it a "perfect album": adventurous synth pop with incredible lyrics and fitting vocals (Stephin Merritt's mellow...baritone and Claudia Gonson's breathy alto trappings). It's no wonder then that as soon as this EP was released I had to have it. I see it as merely a teaser for great things to come from FBH; almost like a promo more than a proper EP release. It took me a bit to get used to the subtly different approach from "Memories" (a bit more dancy), but I ended up loving it all the same. The title track is a breezy synth pop tour de force - a perfect break up song. "My Blue Hawaii" grated on me at first, but after a bit I found I couldn't get it out of my head. The lyrics may be trite, but it's camp fun (and sounds exactly what you'd imagine a synth pop song about Hawaii to sound like). "Cafe Hong Kong" just knocked me right out. A slow, swaggering piece of night time alleyway synth jazz, anchored by Gonson's desperate, gentle cherubic vocals. "Good Thing I Don't Have Any Feelings" sounds as if it could have been an outtake from the "Memories" LP, thereby making it my favorite track. A concise three-minute synth pop nugget, again returning to the theme of breakups (Stephin seems to be at his best when using "brevity" as his watchword). The "Hopeless (remix)" marks the *third* occasion the song has been released by the group, so they're obviously fond of it, but it does little to improve on the already fabulous "Memories" LP version. If you're a Merritt addict, this is definitely a required purchase (aren't they all?). If my review has piqued your interest, I'd suggest starting with the LP "Memories Of Love," or perhaps delving into Stephin's amazing main musical vehicle, The Magnetic Fields ("Get Lost" makes an excellent starting point).