Review: Explosions In The Sky – Take Care, Take Care, Take Care

Explosions In The Sky is a band with an unfortunate burden. They have created an all time classic, genre-defining album. Most bands strive to achieve this feat, however, I must only assume they do not understand the consequences. EITS will never make a better album than 2003’s The Earth Is Not A Cold Dead Place. This is not my opinion, but rather a well-known fact. People are going to constantly compare every release to this album, as I will do later in this review. This kind of pressure would likely kill a weaker band, but fortunately for everyone who is a fan of the band, EITS are not quitters. They continue to try their asses off to stay at the top of the post-rock world, and have so far been successful. Aside from the album that I apparently missed in 2005, The Rescue, and therefore cannot comment on (but you can download it for free at the bands website), EITS released the phenomenal All Of A Sudden I Miss Everyone in 2007. The album had it all for an EITS fan. Instrumentals beautifully glistening via layered, drifting guitars, somehow finding themselves contorted into epic, cathartic masses of sound. They even threw in some piano (which I’m a sucker for). Now, in 2011, EITS are back looking to further cement their position as kings of the post-rock world.

Their latest effort, Take Care, Take Care, Take Care, is EITS doing their damn thing, and the listener will know this straight out of the gate. On the album opener, “Last Known Surroundings”, feedback swells through you ears, as guitars are interwoven with the steady, dynamic drumbeat of Chris Hrasky. However, it is the 3:15 minute mark where the true fun begins. At points in songs where it seems any other band would just be finishing up, EITS are just getting started. The drums fade out, and we are left with a sole guitarist finger-picking an entrancing riff, hypnotizing the listener and leading him or her to the finale of the song, in which guitars create a vast soundscape on which the frantic drumbeat marches. I used to think it was the loud, massive endings that make EITS epic, but I have since came to find that it is the slow, clean guitar lines the build the scene. They are the slow motion camera panning the worn-out, rugged soldiers as they line up for the final battle. And these parts are the overbearing reason why this album is not the instant classic that TEINACDP was.

Don’t get me wrong, there are slow parts. They are still well timed and beautifully arranged, but there is almost always something missing. At times they are too quiet and do not transition into particularly interesting parts (“Be Comfortable, Creature”). Other times, the drums are overused, which really kills that dead-space, lonely sound (“Postcard from 1952”). As a band built on dynamics, it seems they would be better suited to focus on the quieter rather than the louder, as they seem to have the latter down to a science.

Another problem with this album is the band created two of their worst songs ever… and put them back-to-back!!! C’mon, really, what is “Trembling Hands”? Far too upbeat, lacking creativity, void of emotion. Crap song. The next track, “Be Comfortable, Creature” is the polar opposite of its predecessor, which should be a good thing right? Well, the track starts off great, but the melody just slips into a slow beat that goes absolutely nowhere. It feels like a filler track where no filler track was needed (or wanted).

Despite those two unfortunate tracks, the album is still very good. The band, while maintaining a similar sound from album to album, tends to employ subtle tactics to keep everything fresh. On one of the album’s standout tracks, “Human Qualities”, EITS incorporates an entrancing electronic bear, softly clapping its way through slow-building melodies fading in and out of the speakers. This use of electronics, while at first coming off as a bit gimmicky, is quickly embraced by the listener before it segues wonderfully into the thunderous ending. The best track on the album is arguably the closer, “Let Me Back In”, which also brings a little extra somethin’ somethin’ to the table, with a calm, almost swing beat guiding the rest of the band through the dark, ominous intro. It feels wrong, but EITS make it work while surprisingly flowing it into one of the lighter moods on the album. The transition is made even more delightful by using a great, catchy little riff on all three guitars that is guaranteed to make your ears perk up a bit. The track proceeds by wallowing back into a low before erupting into a sea of distortion and guitar effects, continuing in this pattern until it fades into its (and the album’s) somber death.

As I said before, EITS are a band that carries a burden, scarred by a perfect album that will never be topped. But they seem to know this and use it as an excuse to experiment more with their sound. Take Care, Take Care, Take Care may not be a perfect album. Hell, it might not even be the best album in the genre released this year (I’m looking at you This Will Destroy You). But it is a very solid showcase from a band that puts tremendous effort into creating the art of music without words, diving headfirst into the challenge of displaying emotion without verbally saying how they feel once, and fuckin’ rocking that shit.

3.5/5

Review: Atmosphere - The Family Sign

Raw, relatable emotion is not something that is usually found in hip hop. You could argue that some modern acts, such as Kanye West and Kid Cudi, do seem to try very hard to put some emotions into their music, but the constant drug and fame references make it difficult for an everyday man, such as myself, to relate. However, if you can break the surface of mainstream rap and enter the world of indie hip hop, one of the first names you hear can open your mind to a brand of hip hop that truly describes what it is to live. That seemingly is seeing life through your own eyes. Welcome to the all too real world of Atmosphere.

Atmosphere, composed mainly of Sean “Slug” Daley on the mic and Anthony “Ant” Davis manning the production, have been pioneers in adding heart to hip hop for more than a decade. They have crafted album after album chock full of dark, minor key instrumental beats with lyrics that would fit well in any 16 year old emo kid’s AIM profile (somehow I mean that in a good way). Godlovesugly and Seven’s Travels saw Atmosphere begin to leak into the consciousness of the general public, with songs such as “Trying to Find a Balance” and “National Disgrace” even appearing in late night segments on MTV that actually played music videos!

Since those albums, they seem to be drifting through a musical metamorphosis. They became more inspired by blues and storytelling. Life’s trials and triumphs began to replace the depression caused by women and alcohol. They began to find their niche. This began to show on 2008’s on and off When Life Gives You Lemons, You Paint That Shit Gold (Best Album Title Ever). While a great deal of effort seemed to be put in this record, and some of the songs were truly emotional compositions that gripped you with believable, heart wrenching stories accompanied by equally jarring soundtracks (“Guarantees”, “Yesterday”), a good chunk of the record just seemed to fall flat. It seemed as though Slug and Ant were just testing the water, and that was only confirmed with their next full length album release three years later, The Family Sign.

The Family Sign is not an overwhelming change from the Atmosphere of old. You still get tracks that could seemingly fit on Godlovesugly, with Slug’s snarky cynicism and metaphorical sarcasm shining through minimalist, slightly murky beats on tracks such as “Millennium Dodo” and “Bad Bad Daddy”. While those kinds of tracks are good for what they are, Slug and Ant really shine when they delve into their newer sound. Album opener, “My Key”, really gives you a good feel of what they have become, with a slow guitar melody and almost mesmerizing, faint sung vocals, you are snatched back to reality as Slug comes in nearly two minutes into the song with “I watch the sunset, I saw the snowfall, I stole paint to write your name on the stone wall.” The song contains lyrics that show Sean analyzing his relationship, fatherhood, and what it really means to have a family he loves. While that track has somewhat of an uplifting vibe, the next song “Last To Say”, could be one of the most depressing songs ever made. Lyrically, it really shows Slug’s true power as a storyteller, as he details domestic violence being passed on from father to son. Every word is carefully scripted in a way that you feel it in your stomach and chest, his words grabbing your mind and imprinting images that are hard to get out. Again, Ant’s production is perfect, using light, minor key piano strokes with gently wailing guitar notes to create a very somber soundscape, pairing perfectly with the distressing lyrics.

Most songs on the album seem to be products of this new direction they have taken. “I Don’t Need Better Days” is a standout track, with its moody beat with a constantly riffing fuzzy guitar being the canvas for Slug’s dark but yet somehow slightly uplifting lyrics. “You’re Name Here” is a great dialog track that shows Slug having some fun with an awkward run in with the ex. “Something So” is a very beautiful track that builds as it progresses, which I personally love to hear in a track. The album ends with maybe the highlight track of the album in “My Notes”. It is a beautiful piano track that lifts you back up after all the despair and anguish that is portrayed in the rest of the album. My only gripe is it is a very short song, with only one verse.

Now don’t get me wrong, this record is not the perfect Atmosphere record, and there is certainly room for improvement. “Just For Show” is a song that seems like it was made solely as a single. With a catchy yet boring hook and a strange reggae type beat, it just does not hold your attention. The next song, “She’s Enough,” also does not hold up on the album. The beat sounds like a weird 90’s rock song and the lyrics are very uninteresting as Slug explains what he would do for his woman.

Besides a few songs not really holding their weight with the rest of the album, the mood of the album also can be a little off-putting. Songs about real life hardships do not make for easy listens. It is really a “in the mood” type of album. That being said, I’m not sure who decided to release this album in April, but really? You’re going to release one of the most somber, melancholy collection of rap songs right before summer. Poor life choice.

All in all Atmosphere are getting closer to achieving their perfect sound. With each record they put out, they give you more songs that are just seem to feel right, mixing heartfelt musical compositions with gritty but well crafted lyrics that will sound as if they’re the stories of a real person. Like you.

4/5

PS – Download the deluxe version so you get the song “Cut You Down.” Its good shit.

Live Review - Steve Aoki, DJ Capital, B. Martin, DJ Prophet

So last night was the Steve Aoki show at the Washington Avenue Armory. My expectations going into this show were really obscenely high, almost to the point where I was wondering if they could be met. Here's how it all turned out...

We got dropped off by the cab right outside the venue and were instantly greeted by an ambulance, and about half of the Albany PD. Not much of a shock considering the recent events taking place, mainly thanks to SUNY bros.

DJ Prophet was in the middle of his set when we went inside and it was subpar, at best. His mixes were weak and the music was not loud enough, at all (which can't really be his fault, to be fair). Also, compared to the massive space available in the Armory, it felt like no one was there. So overall, this made for a very lackluster environment. The only redeeming quality of the performance was that the main hype man looked just like Frigo from Adventureland. Next act, please.

I was really excited to see B. Martin. He's an Albany rapper who has recently started to make a name for himself by winning a national rap contest hosted by T-Pain. I was hoping to really hear him rap, but he played to the type of show he was at and his DJ (anyone catch the name?), seemed to be the focus. I can only recall him actually laying down a verse twice. I liked what I heard though, definitely the best out of the three local openers.

DJ Capital (who I'm told is the house DJ at Figure 10 on some weekend night) was the last local. He had some moments of brilliance, but several times, it seemed that once he had something good going, and the crowd was feeling it, he would switch to a new beat and just kill everything he had built up. Not knocking the guy though, I can see his sets at the local clubs being a blast.

At the stroke of midnight, finally, Steve Aoki graced the stage. By this point, the crowd was significantly larger, though the place still was not packed (side bar - I don't think the Armory can ever get packed). From the first drop to the last, the crowd was going absolutely nuts. Aoki had great energy and knew how to keep the crowd amped. Multiple bottles of champagne were sprayed over the crowd, in addition to a pool float being given to the crowd as a crowd surfing device. Also, probably some of my favorite moments were when Aoki would step out from behind the booth, grab the mic, and scream along to the song, bringing a new, primal level of intensity to the music. It was hard to pick a highlight from his set...about two-thirds in, he played his remix of Kid Cudi's "Pursuit of Happiness", straight into "I'm in the House"...two huge crowd pleasers. Directly after those, he played a new song, and unfortunately I didn't catch the name, because this song was a straight-up banger. The conclusion of the regular set saw Aoki break out some of his dubstep material. It was a welcome change of pace to the constant assault of house music. The encore was epic, simple as that. First was his "Lion King" remix...try to picture a huge crowd of twenty-somethings screaming the African opening to that song. It was a sight to behold. He closed the whole night with an absolute treat, at least for me...and judging by the reactions throughout the crowd, I think the majority agreed. Out of left field, Aoki dropped "Bulls on Parade" by Rage Against the Machine, and every ounce of testosterone in that room was going off the wall. He attempted to have the crowd pull off the "wall of death", which was only a mild success, but it still ended in just a mass movement and well, raging. When all was said and done, it was 1:30am when the Armory lights were turned back on. I couldn't hear anything, I could barely feel my legs, and I couldn't wipe the stupid smile off my face...that is, of course, until some SUNY bro got all aggro on me for asking if Beam and I could share the cab with him and his friends. Nice life.

Here are a couple blurry pictures I took with my phone: