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...when the tissue paper layers of his songs build to sufficient thickness, it’s impossible not to be swept away, as evidenced by Blues Funeral.
Blues Funeral is the first album released under the name Mark Lanegan Band since 2004’s Bubblegum, but don’t think Lanegan hasn’t been busy. He has released albums with Isobel Campbell, The Twilight Singers, Soulsavers, and The Guttertwins, in addition to making numerous guest appearances in the meantime. Despite eight years and nine albums separating them, Blues Funeral follows logically from Bubblegum. Blues Funeral is the more cohesive of the two, yet rarely dips into monotony. Guest appearances by frequent collaborators, Josh Homme, Greg Dulli, and Jack Irons connect the album to Lanegan’s other projects.
Blues Funeral is best enjoyed in its entirety in a darkened room, through headphones, with a bourbon in hand. Throughout the whole, lyrics are placed front and center, where, like the Man in Black, Lanegan yearningly explores unwholesome themes with only a flickering hope of Christian redemption.
It appears as though the idea with Stars was essentially to avoid over-thinking: seventh track "Looking Through", for example, was recorded the day after it was written. The result is an album that immediately sounds familiar, not because it's a retread but because Nada Surf have so aptly captured the shimmering, lovely essence of what makes them so enchanting in the first place. Opener "Clear Eye Clouded Mind" bursts with punchy, high energy guitars and (of course) flawless harmonies. I suspect it will be a highlight of live shows on their current tour and beyond. "When I Was Young" is no less than an indie-riffic masterpiece, slowly building into a heart-wrenching instant classic.
Though I didn't really need further convincing, Stars reaffirms Caws' place as perhaps the greatest writer of pop tunes in America (all due respect to Adam Schlesinger!). With Nada Surf, what you see hear is what you get. And in this instance, that's a beautiful thing.
Latest comment by: Kenny: "Nada Surf deserve all the money in the world. They are masters."
I have come to expect a few things from TMBG: Brass and polka-tron influences, references to interesting people of historical significance, and to err on the side of the absurd. TMBG have a strange influence on their fans - they appeal to children as much as adults, but one would should not mistake brevity for simplicity. I was delighted to find several TMBG tracks were included on a shyly-collated mixtape from my boyfriend; many years later we would play several of their songs at our wedding. I was sitting in a play a week ago, and the cast included "Ana Ng" in their scant soundtrack, without it sounding out of place. TMBG have a diverse appeal, in all their galloping, oom-pah-pah craziness and joy.
Tom Waits has had an incredible career in that he has managed to somehow careen in the opposite direction of most artists: his first records are his lightest, most palatable ones -- for example, Closing Time almost sounding like The Eagles at moments -- and his later albums just get stranger and more uncompromising with time. (It is impossible to deny that if Waits heard Real Gone in 1973, he likely would have fallen over.) He has also achieved something that I cannot say any other musician of his age has done, which is span several decades without making one lousy or even mediocre album. This accomplishment alone sets him apart from nearly all of his contemporaries. And with this in mind, we have his new release Bad As Me, an album that explores the musical territory one would expect, but does not whatsoever translate as mundane. It will come as no surprise to state simply that this is yet another beautifully alien collection of songs from the now 61 year-old legend.
{On Sunday, October 9th, Dum Dum Girls are playing at 6 p.m. with Wavves at 7 p.m. at the Pacific Industrial Center, 2960 4th Avenue South, Seattle, WA 98134. And then later on at Neumo's the same night with The Crocodiles and Colleen Green, doors at 8 p.m., $13 advance, 21+.}
"I do not pray but tonight I am begging," she sings on "Heartbeat," five tracks into Only In Dreams, the Dum Dum Girls' second album. Dee Dee of Dum Dum Girls writes songs out of longing. For a boy, the feeling of when she first got high, the kiss that felt like a punch. All pop music is probably about longing, and I hate to bring authenticity into anything, but "Bedroom Eyes" (on the DDG's intimidatingly glistening, nervously adult sophomore set) sounds like she really wants (him/the love object/you) there.
She wrote the song when she was lonely, according to the bio, after returning jet-legged from a European tour, and lonely. Really fucking lonely. She says she was alone at home, and insomnia was grinding in her bones, and she read a poem by Rosetti, and she had to bum some zonk-pills off her pop and she scribed this aching, ennui-stricken anthem -- thus we have the audio-poetic equivalent of "Ambien zombie sex."
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