Yo La Tengo - Stuff Like That There
Rare is the band that can cover themselves. Rarer is the band that would even think of it and rarer still is a band that would return to the conception and re-imagine its first breakthrough record. Someone may have read recently that old quote about how “in not knowing history one is doomed to repeat it.” There’s not another band that I know that is less doomed than Yo La Tengo. As stated previously, the album features covers from bands other than themselves: The Cure, Hank Williams, The Lovin’ Spoonful and more. Stuff Like That There, a 14 song collection of covers, originals and reworking(s) happens to coincide with the 25th anniversary of the Yo La Tengo’s landmark 1990 album, Fakebook. Recorded with Gene Holder (The Feelies), Stuff Like That There as the trio of Ira Kaplan, Georgia Hubley and James McNew augmented by the guitarist and former Yo La Tengo member Dave Schramm, with James negotiating the wonders of the upright bass for the first time. This specific fearsome foursome — playing material from Stuff Like That There and maybe, possibly/probably (we really don’t dictate repertoire around here) ‘Fakebook’ will kick off a world tour on September. This album has be dreamed about by Yo La Tengo fans for decades and the wait is nearly over.
After she completed extensive touring in support of Is Your Love Big Enough?, Lianne La Havas visited Jamaica with her native Jamaican mother and connected with distant relatives. Additionally inspired by her Greek roots through her father -- hence the album's title -- and possibly fortified by her experiences recording with Prince, Alt-J, and Tourist, Blood is no mere rehash of the Top Five U.K. debut that preceded it. Matt Hales, aka Aqualung, remains on board as a production and co-writing partner, but he contributes to fewer songs. Among the collaborators here are Stephen McGregor (son of Freddie McGregor), retro-soul specialist Jamie Lidell, Disclosure's Howard Lawrence, and pop heavy weights Mark Batson and Paul Epworth. La Havas goes for a bigger, bolder, more produced sound without glossing over her singer/songwriter/guitarist origin. The point is made in the opener, a storybook love song about being swept away that is carried on a rhythm firmer than anything heard on the debut. On "Tokyo," La Havas' yearning and state of disorientation is intensified by hazy effects and an appealingly chunky and slow groove that wouldn't be out of place on Jessie Ware's Devotion. "Midnight" and "Ghost" likewise wouldn't have the same resonance if merely sung and strummed, while "Never Get Enough" enters discretely but repeatedly veers into a dissonant stomp of lust and vexation. A few moments, like the wistful "Wonderful" and candid closer, are as hushed and restrained as the first album's highlights. The most vivid autobiographical song is "Green & Gold," a standout Lidell collaboration referencing La Havas' growth into an adult who is proud and understanding of her background and identity. This work leaves the debut, impressive as it was, in the dust.~Andy Kellman, allmusic.com
2015's Poison Season marks prolific songsmith Dan Bejar's tenth LP, and it's an intensely wistful, strings- and horns-washed epic exploration of New York city life. At nearly an hour in length, it feels immense, but more so from its unexpectedly cinematic stylings than from playing time -- with rotating, scene-setting arrangements (rock, jazz, chamber music) and beat-poetic narrative vignettes of a gritty reality seemingly from another time, or another mind. The string ensemble arrangements on the sparse opener, "Times Square, Poison Season I," proclaim yet another change in texture between albums for Bejar. It's a dramatically haunting, impressionistic, talky piece that could serve as an opening to an ominous musical, with lyrics like "The writing on the wall wasn't writing at all/Just forces of nature in love with a weather station," and later "You can follow a rose wherever it grows/Oh, you could fall in love with Times Square." Traces of Kaputt's sophisti-pop linger in the horns, piano, and delicate, extended guitar chords of "The River," on the tender "Solace's Bride," and on the sultry, jazzy "Archer on the Beach," but Poison Season stands alone thus far in Destroyer's catalog. Co-produced by frequent Destroyer and New Pornographers collaborator David Carswell, there's no new mastermind involved here, just the bewildering Bejar, and nearly 20 years on, Destroyer is still as surprising and inspired as ever. "I got paid and then I wrote a song. I got paid and then I rode a song into the heavens." ~Marcy Donelson, allmusic.com
Meliora, the third long-player by Sweden's Ghost, looks back at what made their 2011 debut, Opus Eponymous, so special: Beautifully written, hook-laden, hard rock songs with clean (and even serene) singing. Produced by pop-heavy hitter Klas Åhlund (Usher, Katy Perry, Madonna) and mixed by Andy Wallace (Slayer, Rob Zombie, Sepultura), Meliora is a calculated step into accessibility, and offers a clear window into the band's collective career ambitions. Their anonymous, cowled and masked monk costumes and the skull-faced, anti-Papal dress of their frontman Papa Emeritus III (same guy as Papa Emeritus I and II), who delivers lyrics of unabashed, worshipful Satanism, however, are their only links to black metal. The rest comes straight out of rock's storied past, from Alice Cooper and Blue Öyster Cult to Witchfinder General, Venom, and many, many more. (The gorgeous vocal harmonies woven throughout the album reveal they've also spent time listening to the San Francisco, L.A., and Laurel Canyon sounds of the late '60s and early '70s ). Schtick aside, this band's songwriting makes for some of the most compelling hard rock out there. "From the Pinnacle to the Pit,"'s verse recalls Alice In Chains, yet contains one of the most compelling refrains since "Don't Fear the Reaper," with a large church organ sifted in for measure. Closer "Deus in Absentia" pays homage to Thin Lizzy with its dual lead guitar harmonies, and to BÖC (who seem to haunt all Ghost's albums to some degree) with a pumping acoustic piano and thundering tom-toms. Meliora jumps so quickly from classic hard rock to prog to glam metal it can be dizzying (and perhaps even dazzling) for listeners. What holds it all together is solid writing that sticks close to stock pop/rock methodology. Ghost's lyrics often turn to Lucifer for comfort and consolation here -- their loving allure may prove to be shocking to parents (who may indeed enjoy the melodies). But the kids get the gag, and they'll have the final say as to whether Ghost achieves the mass popularity they so desperately seek.~Thom Jurek, allmusic.com
Jason Isbell's 2013 breakthrough album Southeastern was written and recorded in the wake of Isbell's newfound sobriety, and it often sounded and felt like a musical version of the Fourth Step, in which Isbell took a long, hard look in the mirror as he came to terms with the emotional wreckage he left in his wake during his years as a drunk. By comparison, Something More Than Free, Isbell's 2015 follow-up, plays out as the work of a man a year or so into his recovery, grateful but still working with the nuts and bolts of living as a better and more mature man while the shadows of the past remain faintly but clearly visible. The opening tune, "If It Takes a Lifetime," is sung in the voice of a man adjusting to a quiet existence, not in love with every aspect of life as a working stiff but happy to be in a better place, and it sets the stage for a set of songs that move back and forth between past and present as Isbell's characters deal with lovers they wronged ("How to Forget"), the burdens of family ("Children of Children"), the dignity and restlessness of labor ("Something More Than Free"), and making sense of the responsibilities and disappointments of adult life ("Hudson Commodore" and "The Life You Chose"). Something More Than Free lacks some of the keen focus of Southeastern, in part because it plays on a broader emotional backdrop, and musically the set has a more eclectic feel, with poppier accents and a tone that's a bit more artful (there also isn't a full-on rocker here like Southeastern's "Super 8"). But Something More Than Free makes clear Southeastern was no fluke; the insights Isbell gained as a songwriter are just as evident on these 11 songs, and as a performer he's attained a nuanced maturity that demonstrates how far he's come since his days with the Drive-By Truckers (where he already sounded like a prodigy), but without a hint of pretension. Southeastern was a triumph from a talented songwriter and vocalist who stepped up to a new level; Something More Than Free shows Jason Isbell knows he just got there, and is still making use of that hard-won knowledge -- it confirms his status as a major artist. ~Mark Deming, allmusic.com
La Luz are clearly not afraid to mix things up, taking the reverb-soaked guitars of vintage surf rock, the harmonies of '60s girl group pop, and the simple, revved-up melodies of first-generation garage rock and twisting them together into a sound that miraculously stays true to its influences without sounding like the musicians are struggling to live in the past. La Luz aren't trading in irony or misplaced nostalgia on their second long-player, 2015's Weirdo Shrine -- they've simply appropriated bits and pieces of rock & roll's past the way a kid might build a hot rod out of scattered parts found at a junkyard, and like that hot rod the band has created something that runs like a top and has a personality and swagger all its own regardless of how it was put together. While producer and engineer Ty Segall might have been expected to add some of his own speaker-blowing psychedelia to La Luz's formula on Weirdo Shrine, he's clearly put his own ego on the back burner at the service of the band's own approach, and he's given Weirdo Shrine a sound that's tight and uncluttered but also captures the energy and space of a live performance. The interplay between guitarist and lead vocalist Shana Cleveland, bassist Lena Simon, keyboardist Alice Sandahl, and drummer Marian Li Pino is excellent, just loose enough to suit the often languid mood of the surf-influenced tunes but tight enough to deliver when the band cranks up the amps and makes with the rock. And if the vocals are further back in the mix on Weirdo Shrine than they were on 2013's It's Alive (which was already a bit murky), making it hard to tell just what Cleveland is here to tell us, the harmonies are executed with skill, and the overall vibe is smart without forcing any particular issue. Weirdo Shrine shows La Luz are more than living up to the promise of their early work, and that they're still one of the most interesting and entertaining acts on the Pacific Northwest scene in 2015. ~Mark Deming, allmusic.com