Pat Mastellotto: Recidivate

I'm hesitant to call Pat Mastelotto’s latest release a ‘solo album.’ I read somewhere someone called it a ‘Retrospective’ and I liked that, so I’ll go with that, as the two disks of Recidivate showcase the highlights of a career spanning decades, encompassing numerous projects, not limited just to what Mastelotto’s been doing lately. ‘Solo’ is also a misnomer, because he isn’t. Accompanying him on this record are easily a dozen musicians, most if not all of them he has worked with before (Robert Fripp, Trey Gunn and Steve Wilson, just to name a few). So to call this a solo album would not only be giving Mastelotto more credit than perhaps he can claim, but to deny the rest any of the credit they’re due. Recidivate is a vehicle for the remixes, outtakes, sneak-peeks, extras and hits for Pat’s numerous projects and pals.

Recidivate is separated onto two disks: Traps (short for ‘contraptions,’ what drummers of yore called the assemblage of percussive paraphernalia attached and enjoined into what we now call ‘kits’ or ‘sets’), and Buttons (short for ‘buttons,’ what contemporary ‘drummers’ push to program and/or sequence beats digitally). In Mastelotto’s own words: “one disk is more played and the other more programmed…but neither is completely one or the other.” Make sense?

This album is really a reviewer’s dream come true, because it comes complete with a user’s manual of sorts. A companion piece on his website basically describes the how, the where, the why and sometimes the who for each track. It’s like the album was made with musicians in mind as the intended audience (i.e. Pat and his friends/band mates). As a craftsman, it’s fun to hear musicians talk shop, but as a critic it’s almost necessary if you want to get the whole picture. It helps in identifying the instrumentation for specific tracks as well, because with enough effects and processing anything can sound like anything else.

These ‘liner notes,’ for lack of a better term (which you can check out here and here) do take the wind out of the speculation sails however. What fun is wondering what could be, when what is and what isn’t, is laid out in black and white, straight from the horse’s mouth? Thankfully I can enjoy Recidivate from the detached, clinical, insider’s perspective which the accompanying practical explanation all but forces upon the listener, just as much as I can (or could have enjoyed it) from the involved, emotional, outsiders point of view which comes with not knowing how something’s done.

The links in the previous paragraph should provide you with the only real “review” of this album you’re likely to need, so I shan’t waste your time (or mine) rehashing and possibly contradicting what’s already been established as fact. All that’s really left is for you, the listener, to decide if you like it. But, since “he already did it” isn’t going to get me out of reviewing this record, I’ll go ahead and share with you some things that I like about Recidivate, because knowing what I like might help you articulate what you like. Here we go:

The first track that caught my ear off the Traps disk was “Soup,” a quirky, silly track about supercolliders. Best line: “They got a supercollider down in Texas/Twenty miles of tunnels they could pave/It cost so much they never finished it/They should’ve rented it out and had a rave…” Prog Rock can get pretty serious some times, so it’s nice to see an injection of humor once in a while. Can’t beat that groove either. The Supercollider/Primordial Soup dichotomy introduced at the end is a nice touch too.

The Traps disk (the one that’s more “played”), is dominated by the works of TU, KTU, MPTU, and Tuner. A lot of what you get on the first disk is kind of herky-jerky, disjointed prog on the order of King Crimson (which makes sense considering Mastelotto’s status as a KC alum, and his long standing collaboration with Trey Gunn, who’s no stranger on this release either). This style is salted with other influences as well. Some tracks, like “Queen,” infuse this style with hints of blues. “Green Manalishi,” too. Most of the MPTU stuff is bluesy-er, but still stands firmly on prog/fusion ground.

On my first pass through listening, I made a note that “Makes No Sense At All” was one of the stand-out numbers. Looking back though, this makes no sense at all. It’s a fine track, still one of the top picks on the first disk, but it’s hard to say exactly why. The vocals are pretty raw, and it’s pretty lo-fi; maybe that’s it. On that same pass through I also wrote down “Optikus,” and as I’ve returned to it again and again, it’s easier to see why. If this song doesn’t get you moving, you might want to have your ears, or possibly your whole head examined. It’s got a primal, jungle groove, strange squeals and wails, and vocal samples that could favorably be described as off-putting and unsettling. I highly recommend you watch the video below. It’s longer than the album version and it’ll do a better job explaining itself than I could.

On the whole, the tracks on the Buttons disk are shorter (though not by much) and more experimental. They tend to incorporate vocals less, employ vocal samples more, and rely on the more eclectic elements of composition: strange time signatures, bizarre instrumentation, &c. For example, on “Dervish” and “Angst,” according to his website, one of the “instruments” Mastelotto played on the recording was a “plastic bag of microwave Pork Rinds, eq’ed to sound electric.” It’s impossible for me to tell if he’s joking or not. I still can’t discern anything particularly plastic-y or pork-y about the percussion, but like I said earlier, “with enough effects and processing anything can sound like anything else.”

“Nano” reintroduces the accordion sound that I enjoyed so much from “Optikus.” It’s the same KTU guys (I think), recorded and produced under different circumstances, closer to Mastelotto’s home base. The notes are pretty vague about this one. All you’re gonna get is how much these Finn’s love their Ping-Pong.

“Kill The Road” reminds me that it’s been a long time since I’ve listened to some Battles. It’s a simple riff with some strangeness laid over-top; short but sweet. And at the risk of making (or continuing to make) comparisons that can’t be lived up to: the “Abandoner remix 2” reminds me of some of Radiohead’s dreamier stuff. The half-spoken/half-sung pseudo-falsetto throws of a York-ish vibe and it’s got that electronic break beat thing going on.

The second to last track, “The Use of Black,” is the highlight of Buttons the way “Optikus” is the highlight of Traps. And, like “Nano,” the notes are equally ambiguous. It was clear about one thing though: the significance of the Theremin on this track, one of my favorite modern instruments. The texture that a Theremin gives a song, any song, is almost without comparison. There really is no substitute.

This massive dose of Mastelotto (just over 150 minutes long, pushing two and a half hours) is ideally suited for the die-hard Pat fans, or for those who can only buy one record a year, and really want to get the most bang for their buck. Based on size alone, Recidivate is daunting. Listening to it in one sitting is a test of endurance as well as dedication. It creates a good atmosphere, but to appreciate the subtleties it’s best to take it in smaller doses rather than let the whole thing ride.

originally published @ MuzikReviews.com

Red Orchid: Blood Vessels & Marshmallows

At first I was intrigued by the title, Blood Vessels & Marshmallows. I mean, everyone needs at least one of those things to live, right? Beyond that, I didn’t have much more to go on. You never know what to expect with a two-piece, but I’ve had good luck in the past. Out of Vienna, Virgina, US, Red Orchid (Tom Dupree – Drums/Sanmeet Sidhu – Not Drums) would most readily draw comparisons to El Ten Eleven, another loopy, spacey, post-rock duo from the opposite coast (LA). If that’s your bag (as it is mine) then you should waste no further time in getting your hands on a copy. If you’re new to the scene or just not sure, read on:

BV&M leads with its title track which starts off sounding alternately like a beating heart and a ticking clock; a real slow, heady intro. And it isn’t disappointing, falling somewhere between Prog- and Post-on the Rock Spectrum. Once this album gets off the ground, it doesn’t touch down again. Not even when it ends. Instead, it just drifts off into the stratosphere.

At first, Red Orchid use guitars like some bands use keyboards: more for texture than for melody. On the B-side of the album they (the guitars) resume their traditional function as piano and synthesizers make their presence heard. Taking the vocals out of the equation, the music is somewhere on the order of a mid-set Mogwai or Arab Strap: reassuringly repetitive riffs, clean arpeggios over distorted progressions, nothing fancy from the drums. Just enough rhythm to remind you they’re there. The vocals, when present, are minimal and understated, which is a plus. Music like this is largely about the monotony of the riffs, the droning, repetitive, &c. Vocals only serve to break up the monotony, thereby dampening the intended effect. Not to overstate the obvious but when it comes to minimalism, less is more.

“Silent Train” is one of the album’s highlights, incorporating elements of the psychedelic sound as well as Middle Eastern themes. I hate to compare anything to Pink Floyd, because it creates unreasonable expectations and it’s inherently unfair (and I mean, who hasn’t been influenced in some way by Pink Floyd? They’re one of those seminal bands to which comparison is essentially meaningless.), but by the end of “Silent Train” Floyd is invariably who I am reminded of. “Bitter Hands” seems out of place on the album. It’s an acoustic ballad that’s almost entirely incongruous with the rest of Blood Vessels & Marshmallows. On it we are treated to the more melodic side of Sanmeet Sidhu’s vocals. It’s not a bad tune, but it’s certainly a departure, and by the end you are left wondering if the duo just decided midway through production to become a completely different band. And then so swiftly you’d think the track had changed, it returns to the sound they spent the last thirty minutes establishing. If there’s a track to skip, it’s “Bitter Hands.”

The most interesting percussion on BV&M can be found buried among the layers of space junk which comprise “Flabbergast Butterfly,” the albums ten-minutes-plus Überjam. If you started from the beginning, and you’re still listening by the time you get to it, there’s no reason you won’t like it (unless of course you’ve hated the whole thing and you’re still listening just to punish yourself).

This is not the album for listeners craving hooks. You can’t dance to it, and it might make you a bit dizzy. It has depth but not breadth, heart but not soul, and form but not function. It’s smart, but not genius. You’ll either like it immediately or know halfway through any track you choose that it’s not for you. (Or maybe you’ll warm up to it slowly, liking it gradually more over time. Who knows?) I would recommend this album more than most.

Originally published @ MuzikReviews.com

Earth: Angels of darkness, Demons of Light II

With an ever-changing lineup and erratic schedule of releases, Earth is a hard band to keep locked in your sights. Their latest release, Angels of Darkness, Demons of Light II, continues to explore the sound established on its predecessor (AoD,DoL I). If you heard last year’s release and enjoyed it, then this one’s a no-brainer: stop reading and start listening.

Those who haven’t heard Earth since the pre-hiatus days of the early-mid ‘90’s may do well to prepare themselves for a perspective shift when encountering the ‘New’ Earth. Though still slow and heavy, and remaining true to the drone/doom aesthetic, a psychedelic sound becomes more and more apparent with each subsequent Earth release. With a fuller line-up, the instrumentation conveys an understated elegance that their music was previously lacking. Early Earth is about as subtle as a brick to the back of the head, but Earth now sounds more sophisticated in their execution of sludge.

Lori Goldston (whose cello adds the most character to the sound of both albums) has joined the roster for both the Angels of Darkness, Demons of Light releases, along with bassist Karl Blau. While front man/guitarist Dylan Carlson remains the only consistent member of Earth since its inception 23 years ago, Adrienne Davies (drums/percussion) wins runner up for having played on every album since 2005’s Hex. The cast for AoD,DoL II is exactly that of AoD,DoL I, which marks the first time (I think) that the same musicians have appeared on two consecutive Earth records, but since Angels of Darkness, Demons of Light is really a two part set, it makes sense that the members are the same for both. You wouldn’t re-cast roles in a film halfway through shooting. Since there hasn’t been any mention of continuing with a third installment, I wouldn’t be surprised if the next album brought yet another incarnation of Earth.

The riffs aren’t as intricate as they were on say, The Bees Made Honey in the Lions Skull, but the sound is just as huge. It’s not as thick though, in fact it sounds almost hollow, with lots of room for the sound to bounce off itself. The addition of the cello darkens the tone and deepens the texture. II differs from I in that it creates a bigger atmosphere. There is less progression; the tracks are a little less engaging, less grabby. The swells created by the interplay of strings on “The Corascene Dog” for instance create a shimmering ebb and flow, like moonlight reflecting off the receding tide.

“Waltz (A Multiplicity of Doors)” sounds like the type of slow doom-jazz I associate with Bohren & der Club of Gore, again with cello in place of the equally mournful saxophone. This is the song they play for the last slow dance at the senior prom in hell, right before everyone drinks the punch and dies, only to awake the next day and relive the nightmare all over again. “The Rakehell” meanwhile, sounds like The Black Keys on the worst day of a heroin bender. (I mean all of this in a good way.)

Earth may not be for everyone; their type of sound kind of forces you to change the way you listen to music (at least this kind of music), and that’s not always easy to do. But if you can tune your ears to the right frequency, the rewards are great.

Chromeo: Taking Care of Business Casual

A while back we posted the video on the Facebook page for the new Chromeo single, 'Night by Night' (if you missed that: HERE IT IS). Well here it is 6+ months later and the rest of the album has been released, to give whatever passes for album context these days to that lonely single hanging out there all alone. First impressions can be the worst impressions and the hardest to recover from. If it weren’t for that I were reviewing it, Business Casual might not have made it past a second or third full rotation.

The first couple of times through, BC’s presence was defined by absence. I could only hear it for what it lacked. It was when I forced myself to listen a little closer that I began to hear less of what wasn’t there, and more of what was. Turns out what was missing may have just been one more song. It is one song shorter than both She’s In Control and Fancy Footwork, though average total length in minutes is right around the 40 mark, which is pretty much par for the Chromeo course (SiC and FF each clocking in at 44.5 and 39.8 respectively). Once I stopped waiting for a song that never came (a song like “You’re so Gangsta’ or ‘Bonafied Lovin’ (Tough Guys)’ that catches your ear and won’t let go), I began to hear that what was left was still a pretty cohesive and relatively well thought out album that kicks out the jams when it has to and knows pretty much where it’s going the whole time. There seems to be a gradual shift in overall tone from get-the-party-started to general seduction, as if they’ve finished their introductions and are ready to do something about it.

There are enough jams on this album to satisfy any fan, easily as many as their previous two titles. It’s not always possible, or wise, to best oneself. Sometimes one must settle for just as good. Which should be fine. A consumer of any media, anticipating a new release to be gangbusters, is setting themselves up for disappointment from the get. Basically what I’m trying to say is that the artist doesn’t owe the audience anything, except a presentable body of work (which when read back sounds way more defensive than intended, and also implies a lot more than I’m willing to admit or even really agree with within the parameters of this essay, so I’ll leave it at that for now) (and by "presentable body of work", I mean literally able to be presented. I’m not willing to concede conceptual art for this point.). Thanks to the internet, there is no excuse for buying an album you don’t like any more. We have more than enough chances to try before we buy, as it were. So I guess what I’m trying to say is how can anyone complain about anything, ever? Let’s try and be a grateful audience for once, and forget all this fashionable irony and affected cynicism and hip to the fact that if you’re not paying it forward by creating some art of your own, then you need to pay it back. Huge. And if neither, than shut the hell up.

At Long Last, The List...

"and it went a little like this..."

There has been a slight change in the process of bringing to you the most beloved albums of the past decade (hence, the massive delay). Pretty much most of the second paragraph of the last post can be disregarded. Forgoing the categories, the albums will be filed under their respective year of release and presented in a neat and orderly fashion for your perusal. Pigeonholing these albums into specific categories was not only an exercise in futility, it was exceedingly unfair. The rest of the previous post still applies, however.

The only part of that second paragraph that still stands is that bit about the 1%. I’ve picked the best, and separated them from the rest, and naturally am saving them for last.

[REMINDER: all the albums were considered together. That is to say, albums from 2000 and 2001 were up against albums from every other year, not just their own. Some years are just going to be better for music. Hence the TC count. The TC (or Total Considered) is the number of albums from any given year that were beaten out for the slot on this list. It is followed by the percentage of records from that year that made it to the list.]

So, without further ado (let’s just get this over with already), here are:

The Best albums of 2000: (TC 77: 7.79%)

Dead Prez – Let’s Get Free; Loud Records (If you've seen Chappelle's Show, you've heard This Beat...)

Deltron 3030 – Deltron 3030; 75 Ark Records (Secretly plotting your demise...)

Iron Maiden – Brave New World; EMI

Johnny Cash – American III: Solitary Man; American Recordings

The Mighty Mighty Bosstones – Pay Attention; Island Def Jam Records (Remember third-wave ska-core? It was hot in those suits...)

Richard Cheese – Lounge Against the Machine; Ogilo Records (It's an improvement...)

Ween – White Pepper; Elektra

Wesley Willis – Never Kill an Ape; Wesley Willis Records

The Best Albums of 2001: (TC 95: 11.58%)

Aesop Rock – Labor Days; Definitive Jux Records

Andrew WK – I Get Wet; Island Records (I know someone who does exactly this...)

Clem Snide – The Ghost of Fashion; spinART Records

Daft Punk – Discovery; Virgin Records (It's my understanding that this mostly happens in Spain...)

Fugazi – The Argument; Dischord

Manu Chao – Próxima Estación: Esperanza; Virgin

Necro – Gory Days; Psycho+Logical-Records (Valuable lessons...)

Oysterhead – The Grand Pecking Order; Elektra Records (I was there when this happened...)

Spoon – Girls Can Tell; Merge Records

System of a Down – Toxicity; American Recordings (This is how it started...)

Tenacious D – Tenacious D; Epic Records (And so it was written...)

Tool – Lateralus; Volcano Entertainment (If you watch only one of these videos, let it be this one...)

The Best Albums of 2002: (TC 104: 9.62%)

Bad Religion – The Process of Belief; Epitaph Records (The singer is a science professor...)

Boards of Canada – Geogaddi; Warp Records (This is the best way to listen to this song...)

Bohren & der Club of Gore – Black Earth; Wonder Records

Elvis Costello and the Imposters – When I was Cruel; Island Records

The Flaming Lips – Yoshimi Battles the Pink Robot; Warner Bros. Records

The Les Claypool Frog Brigade – Purple Onion; Prawn Song Records (Buckle up...)

Nekromantix – Return of the Loving Dead; Hellcat Records (I wish they all could be Subcultural Girls...)

The Roots – Phrenology; Geffen Records (They didn't get here by playing to Jimmy Fallon every night...)

Strung Out – An American Paradox; Fat Wreck Chords

Wilco – Yankee Hotel Foxtrot; Nonesuch Records (A double kick drum by the river in the summer...)

The Best Albums of 2003: (TC 116: 6.03%)

Bonobo – Dial ‘M’ For Monkey; Ninja Tune Records

Children of Bodom – Hate Crew Deathroll; Century Media

Infected Mushroom – Converting Vegetarians; BNE/Yoyo Records

Jay Z – The Black Album; Roc-A-Fella/Island Def Jam Records

Electric Six – Fire; XL Recordings

The Mars Volta – De-loused In the Comatorium; Universal Records

Radiohead – Hail to the Thief; Parlophone Records

The Unicorns – Who Will Cut Our Hair When We’re Gone?; Alien 8

The Best Albums of 2004: (TC 163; 6.13%)

The Arcade Fire – Funertal; Merge

Clutch – Blast Tyrant; DRT Entertainment

Fintroll – Nattfödd; Century Media

Grizzly Bear – Horn of Plenty; Kanine/Warp Records

GWAR – War Party; DRT Entertainment

Hella – The Devil Isn’t Red; 5 Rue Christine

Interpol – Antics; Matador

Iron & Wine – Our Endless Numbered Days; Sub Pop

Mastodon – Leviathan; Relapse Records

Marigold – Half Winter, Half Spring in the Unreal City; Self-Released

MF Doom – MM Food; Rhymesayers Entertainment

Ted Leo & the Pharmacists – Shake the Sheets; Lookout! Records

Tom Waits – Real Gone; ANTI-

The Best Albums of 2005: (TC 161; 6.83%)

13 & God – 13 & God; anticon./Alien Transistor

Bloc Party – Silent Alarm; Wichita Recordings

Bright Eyes – I’m Wide Awake, It’s Morning; Saddle Creek

Clap Your Hands Say Yeah – Clap Your Hands Say Yeah; Self- Released

Dangerdoom – The Mouse and the Mask; Epitaph

Death Cab For Cutie – Plans; Atlantic

K’Naan – The Dusty Foot Philosopher; BMG Music (Canada)

M83 – Before The Dawn Heals Us; Groom (Europe)

Minus the Bear – Menos el Oso; Suicide Squeeze

My Morning Jacket – Z; ATO

The New Pornographers – Twin Cinema; Matador

Wolf Parade – Apologies to the Queen Mary; Sup Pop

The Best Albums of 2006: (TC 138; 9.42%)

!!! – Mythtakes; Warp Records

The Arctic Monkeys – Whatever People Say I Am, That’s What I’m Not; Domino

Band Of Horses – Everything All The Time; Sub Pop

Beirut – Gulag Orkestar; Ba Da Bing!

Buckethead – The Elephant Man’s Alarm Clock; TDRS Music

Built to Spill – You in Reverse; Warner Bros.

The Decemberists – The Crane Wife; Rough Trade Records

Girl Talk – Night Ripper; Illegal Art

The Knife – Silent Shout; Rabid Records

LCD Soundsystem – 45:33; DFA

M. Ward – Post-War; Merge Records

Mogwai – Mr. Beast; Matador

Peeping Tom – Peeping Tom; Ipecac Recordings

Ratatat – Classics; XL Recordings

Rodrigo y Gabriella – Rodrigo y Gabriella; ATO Records

Zombi – Surface to Air; Relapse

The Best Albums of 2007: (TC 66; 18.18%)

Animal Collective – Strawberry Jam; Domino

Battles – Mirrored; Warp Records

Chromeo – Fancy Footwork; Turbo

Crystal Castles – Crystal Castles; Last Gang Records

Dan Deacon – Spiderman of the Rings; Carpark Records

Golgol Bordello – Super Taranta; Side One Dummy

Justice – Cross; Ed Banger Records

Menomena – Friend and Foe; Barsuk

MGMT – Oracular Spectacular; Sony/Colombia

The National – Boxer; Beggars Banquet

Of Montreal – Hissing Fauna, Are You The Destroyer?; Polyvinyl

Shellac – Excellent Italian Greyhound; Touch & Go

Yeasayer – All Hours Cymbals; We Are Free

The Best Albums of 2008: (TC 17; 17.64%)

Does It Offend You, Yeah?! – You Have No Idea What You’re Getting Yourself Into; Virgin

High Places – 03/07 – 09/07; Thrill Jockey

Sigur Rós - Með suð í eyrum við spilum endalaust; EMI

The Best Albums of 2009: (TC 14; 53.71%)

Eminem – Relapse; Interscope

Monsters of Folk – Monsters of Folk; Rough Trade

Mos Def – The Ecstatic; Downtown

Phoenix – Wolfgang Amadeus Phoenix; V2 Records

Taken By Trees – East of Eden; Rough Trade

...Links to follow. Maybe. Or not.