How Come I End Up Where I Started?How come I end up where I went wrong?So basically nothing of interest has happened in the past few days, but since I've been getting plenty of new music from Codi's laptop and the big fucking library of CDs in WMEB's main office, this'll be primarily dedicated to two of the new albums I've got. Without further ado, here are New Music Scores By Brian!  #1: “Post” by Björk. Iceland is one of those countries that is so very unassuming in cultural impact, yet simultaneously has its fingers on the pulse of England’s creative muse. As the Madchester scene was exploding in the late 80s, Iceland responded with The Sugarcubes, fronted by a young, powerful and slightly mad woman by the name of Björk Gudmundsdottír. When Madchester died, The Sugarcubes died with it, but its lead vocalist set up shop in England and collaborated with various producers and artists to consolidate a successful solo career. Post is Björk’s second release during the golden age of trip-hop, so it’s no wonder that the list of persons involved in production and songwriting include names like Graham Massey (of 808 State) and Tricky (formerly of Massive Attack). Most of the songs co-written by them display industrial, John Bonham influenced drum samples and heavily distorted electronica. Coupled with Björk’s bilingual shrieking and growling, tracks like “Army Of Me” and “Enjoy” make Portishead sound ridiculously tame in comparison. The other side of Post lies within her solo compositions and cover tunes, which makes effective usage of more organic instruments and ambient noise, a style that Icelandic counterparts Sigur Rós would replicate several years later. Even though Björk has the power to channel the spirit of Janis Joplin and proceed to scare the hell out of people with it, she decides to hold it back until the most opportune moments. The result allows Post to exist as a well-rounded, damn near perfect album that (almost) anyone could pick up. Download: Army Of Me, Isobel, Cover Me.  #2: “Fantasies” by Metric. Sometimes there are these bands that pop up in this country or that country that pose as doppelgangers to this other band that’s in this other country. Canadialand’s Metric is one of those bands that listened to both The Strokes’ Is This It and Muse’s Origin Of Symmetry a few billion times and then decided to form a band because they were such an inspiration. So if you know both of the albums by heart, you already know what this particular album sounds like. But to those who don’t, just think of the catchiest pop-rock song ever, and then removing the annoying factor out of it. For the most part, Metric sticks to that particular Strokes-y song craft, but once in a while they’ll dabble in Muse’s obsession with the science-fiction with songs like “Twilight Galaxy” and “Collect Call”, synth-heavy tracks with semi-complex structure (akin to Canadian counterparts Rush in the late 80s). Emily Haines’s voice is easily the most interesting aspect of Metric’s sound; no matter how hard she tries to sound like Julian Casablancas, she’ll naturally add dipthongs and weird accentuations in the wrong places, making her voice immediately recognizable and original. But speaking of original, let’s make one thing perfectly clear, Metric aren’t that. Yet trying to fit into both The Strokes and Muse’s shoes is by far no trivial task, and from what I’ve heard on Fantasies, Metric do it rather well. Download: Help! I’m Alive, Twilight Galaxy, Gimme Sympathy. Today is Saturday, so for those who don't have anything to do at midnight tonight (EST), tune on in to "Inertia!" here at wmeb.fm. Other than that little advert, that's about it. Keep the faith, don't believe the hype, give peace a chance and let yourself become submissive when you're drunk...that way I don't feel so bad about letting people take advantage of me when I'm submissively drunk. Later, kitten. - Brian  What's wrong with my voice? There's nothing wrong with MY voice, maybe there's something wrong with YOUR voice! - Simmons/O'Malley, Ep. 100 S5. |
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