Indie and Lo-Fi music reviews

Psycho-delica with a sugar coated axe. These wacky Georgians explode through the colon of the Elephant 6 scene with a bag of rock/funk/stories/pianos/staple guns/toy horns/ and a zealous desire to bathe your ears in sonic enjoyment. A concept album that utilizes the listeners desire to breath intoxicating substances into every orifice...A concept album that bangs the gong on freeze frame ideology...if one could concentrate the French New Wave Film Movement this would be the sound track to a 24 hour screening of Jean Luc Goddard films...A great Pop sensibility that is sheltered in rocking grooves...I love this album, and I miss Andy...please come back.

The Pet Shop Boys developed the habit early of doing remakes of famous songs, and of doing them in between albums. In a way, it was a great marketing ploy. This particular single, a remake of the Elvis Presley song 'Always on my mind', came out after the album 'Actually' had received worldwide acclaim, and had generated several hits, including 'It's a Sin' and 'What have I done to deserve this?' In the lull between waiting for the next album, and about the time the PSB were exploring new territory with their not-so-magnificent film 'It Couldn't Happen Here', they released this over-the-top poppy version of 'Always on my mind' to the criticism of a few, but the enjoyment of many.

This was still the time of vinyl, so one had to seek out an expanded record shop (most did not carry extended singles in those days unless one was in the urban areas of New England and California). Or, one could repurchase the album 'Actually' with the extended single of 'Always on my mind' bundled with it. It was actually a very clever marketing ploy. I still have both vinyl versions of 'Actually'.

This contains the radio edit of 'Always on my mind', the extended version of 'Always on my mind' (which was done back when extended versions really were extended versions of the song, and not complete make-overs), and a bonus track, 'Do I have to?' This is an interesting, enigmatic song of which I've heard half a dozen interpretations, but the lyrics are fairly typical of the PSB - erudite, poetic without being heavy, and interesting. This song was remade by another group not too long ago.

In all, this is one for fans of the PSB as well as those who aren't so much fans but who like the 'Always on my mind' rendition. It is now considered a classic of dance-club remakes.

I'm a fan, but I agree with an earlier review -- the extra material seems to undermine the original album. A single disc with eight or ten bonus tracks would have been much better. Listening to Pavement shouldn't feel like work; wading through two hours of scraps comes awfully close. It's great to have "Raft", "Picket Fence", "Nail Clinic", "Soiled", "Brink", and "Sutcliffe" all in one place, but I won't be listening to this set much. Anybody new to Pavement should definitely get the original album(s).

The original is a four star album. It's a bit more cheerful (Get a Haircut, Gold Soundz) than usual Pavement and a bit country (Range Life.) Oh how I love the scratchy noise of 'Slanted' and the sparse bummer ditties of 'Watery Domestic'. There's more sunshine here. Nice and lazy vocals of cryptic innuendos(?) There are too many outtakes on here for my liking. The second half of disc two is pure garbage. 'Grounded' is a phenomonal tinkly guitar jam, something Sonic Youth would be doing on something like Sister. One of the reasons I didn't give this reissue a 3 star rating.

One word that has often been used to describe Pavement is genius. And now their best work of art has been re-released in a 2 cd box. CD 1 included the brilliant 'Crooked Rain, Crooked Rain'

You know when a band is considered great when other bands are compared to them. And Pavement was one of those. On their first singles and albums they were still a noisy, Sonic Youth type band but this album shows that they were now on their own. It also represents the move from pure noise to songwriting. This album is a balance between these two.

If the 90's were a reaction to the 80's, CRCR is a good example. Warm guitar sounds with emotion and lyrics fighting the fakeness of their day, to be seen in some bands (Stone Temple Pilots, Smashing Pumpkins) but also as shown by the fast and furious life in Los Angeles. Bye bye cold 80's and welcome warm 90's.

There are so many good songs that are indie classics on CRCR. 'Cut Your Hair' with the sighed chorus (and hilarous video) or P 'Range Life', with some harsh words about the Stone Temple Pilots and Smashing Pumpkins, sung over a rolling country beat.
Of the best songs ever is the love-song 'Gold Soundz'. This song is almost too amazing to describe and maybe pure genious shouldn't be talked about too much.

CRC made Pavement and Stephen Malkmus an instant hero in the (intellectual) indie scene around the world, up there with J Mascis and maybe Lou Barlow and Doug Martsch.

The rest of CD 1 is mostly songs that were not good enough to make it on any album, and you can hear. But they are still well worth listening too.

I consider this CRCR with a lot of bonus songs. A great overview of the period in which Pavement made one of the best indie albums in history.

The package itself also includes a fine booklet with some commentary on all the songs by Stephen Malkmus and also a history of the band and the album. Worthwhile.

Very disappointing in all respects. Usually a Lucinda Williams recommendation is right on, but not the case here. Angell rips off Faithful with no sense for a melody. Repeated listening solidfied my assessment.

Tara Angell's Come Down is simultaneously an immediate and timeless album. Each track's first spin is received like a fine dish that heightens all the senses and leaves you wanting more. And with time, listening to Come Down is like dipping into a vintage drop that's only getting better with the years.
Lyrically and in delivery there's an obvious sadness that pervades this album. Whether it be from heartbreak or loss, the water from Angell's well is coming from a dark place. It's a taste we all know. But this is anything but a miserable experience. Rather, Joseph Arthur's production lifts everything up into a sphere of hope and positivity. These contrasting emotions are melded to perfection from start to finish.
Tara Angell's voice has received comparisons to Marianne Faithfull and Lucinda Williams and while these artists may be inspirations in sound and spirit, Angell has in fact created a sound that transcends any influences. There's something so raw and true going on here that the before mentioned artists would no doubt feel privileged to have Tara compared to them.
Of the twelve tracks on Come Down pretty much all of them are top shelf. Opener Untrue is a slowly reverberating wave of numbed-out pop that sets a scene that could go anywhere. Hollow Hope kicks in with an upbeat rocking groove and a chorus as catchy as a ball skied deep into the outfield. Uneven is the album's masterpiece though. Amongst backwards guitars and tastefully lush backing vocals, Angell's delivery is a song within a song. Closer, The Big One is equally beautiful and restrained. Like the album as a whole, nothing is overplayed and there's enough air left to breathe throughout.
It may only be March but Come Down is hands down the album of the year so far and Uneven can wear the crown (or tiara) of best track. If there's any sense or justice in the music world, Tara Angell and Come Down will be received like saviours by all those who care about music.

tara angell is the best new artist i've heard this year. her voice is remarkable, her songs are haunting; dark and lovely at the same time. remember her name, we are going to hear it again and again.