Day 0951 - Rejoicing in the Hands

 Devendra Banhart "Rejoicing in the Hands" (2004)

I'm 50/50 on this one.  There are some interesting sounds on here, with compositional ideas ranging from dusty Americana, Eastern influences and indie-folk.  It's a pretty stripped down record mostly centring around Banhart's high, tremulous voice and nimble guitar.    

 

On the other hand, I got a little tired of the constant count-ins at the start of every second track.  Not particularly difficult to edit out.. "yeah we get it, you're not recording in a professional studio and it's all very DIY".   Also, the stripped down sound and shortness of most of the tracks started to grate on me.  As much as I often prefer songs not to overstay their welcome, I fee like some of the songs here could have used a bit more time to connect with the listener.

In that respect, some of my favourite parts on the album are when it changes up its approach, such as penultimate track "Insect Eyes" taking around 5 minutes to make its point. "When the Sun Shone on Vetiver" provides a welcome change of sound with string arrangements mixing melodic parts with scratchy discordant strings.

"Fall" sounded familiar but I'm not sure if I've heard that song or if it' just Banhart's general sound that's familiar.

Day 0900 - Lost Souls

It'll be interesting going into the 00s.  With the earlier albums on the list it's a lot easier to justify their place in the list based on longevity or influence on subsequent artists and genres.  I imagine the selection criteria will be less clear as it goes on.

 

0900
 

Doves "Lost Souls" (2000)

The book mentioned something about DJs/dance music so I thought I'd be listening to something in that vein.   Turns out that was Doves' previous incarnation 'Sub Sub' where they worked in the dance genre.   Their studio space burnt down, and the band lost their equipment and the music they'd been recording at the time.  The band used the insurance money to re-start and shift into a more alt-rock sound... and I like it!

They still have a bit of a dance approach to their tracks in that they seem to build a lot of the songs on repeated/looped ideas, and there's some nice production touches in place, but with more of an organic feel that dips into pop, indie, post-punk and even a touch of shoegaze.   They build up layers of sound, which is an approach that I dig.

The title track builds until it feels like a rising wave of voices rolling into shore.   "Catch the Sun" is a catchy, upbeat propulsive pop track built over a fuzzy drone.    "The man who told everything" is a more stripped down alt-rock track that brings strings and clean guitars over the choruses.   

 

Closer "A House" is an almost an alt-country track but with the sound of burning buildings fading in and out of the mix.   It's a musically adventurous and interesting album.

Not bad, 2000.  You're off to a good start.

Day 0872 - Deserter's Songs

Mercury Rev "Deserter's Songs" (1998)

Another of those "I knew the band-name but not the music" situations.  Apparently this isn't necessarily the album to start on with this band as it was a bit of a departure from their previous albums.  It's baroque pop with a range of interesting rock and orchestral instrumentation (right up my alley).

The book makes comparisons to the Beach Boys, and while that is usually made as a lazy comparison to say they have nice vocal harmonies (I should know, I've used the reference myself at times), this is actually quite reminiscent of Brian Wilson's sonic experimentation in "Pet Sounds" and "Smile".   

Another comparison made was Neil Young Singing over Pink Floyd... true, vocalist Jonathan Donahue does have a similar voice to Young and the music does have a Floydish vibe in places.   I'd add a third reference to the pot, Flaming Lips.   Donahue's high, clean vocals over such progressive, swirling pop can't help but bare a resemblance to that other innovative art pop group.

Day 0854 - In it for the Money

Supergrass "In it for the Money" (1997)

The "difficult second album" and yet I would say this is easily Supergrass' best (of what I've heard).   They developed naturally from their cheeky and often whimsical pop-rock of debut "I Should Coco" and bring a more mature sound.

The self-titled track opens with an almost sinister tone that rises up to a chant of the title and a catchy rock song.  "Richard III" likewise opens with a sinister 'devil's interval' before Gaz Coombes gives a peppy 'whoo' that launches a rock riff that is excellent in its simplicity.   A couple of tracks later things slow down and show the band's increasing maturity.  The moody, acoustic "Late in the Day" may get a bit bouncier in the choruses (mirrored in the pogo-sticking music video) but is still somewhat contemplative.

Much of the rest is just catchy and enjoyable, with single "Going out" being a remaining nod to their lighter hearted debut.   The album finishes on an interesting note, with the pop-jazz feel of "Hollow little reign" and album closer "Sometimes I make you sad" which could almost be described as 'vaudeville techno' with a crazy speedy guitar solo partway through.

Brilliant album and I'm not quite sure why I don't own a copy.

Day 0841 - Dig Your Own Hole

Chemical Brothers "Dig Your Own Hole" (1997)

The Brothers Chemical (not their real names, I checked) moved quickly to follow up the success of their debut “Exit Planet Dust”.   They released the EP “Loops of Fury” in 1996 and plunged on with work for their second LP.

Electronic music is not my first love, but even I find this to be an exciting collection of tracks.   From the staccato opening bassline and punchy, ever-changing beats of opener “Block Rockin’ Beats” the album takes you on a journey of big funky bass (“Get up on it Like This” and “Lost in the K-Hole”), quirky 'found sound' laden dance tracks "Piku", to psychedelic looped soundscapes (“Setting Sun” “Where Do I Begin”).  

 The album features guest vocals from Beth Orton and Oasis’ Noel Gallagher.  The latter had met the Brothers (y’know what, they have different names… I’m not even sure they are legitimately related) and complimented them on “Exit Planet Dust”.   They contacted him about singing on the track “Setting Sun” and the result was reminiscent enough of the Beatles' groundbreaking track "Tomorrow Never Knows" that that band's lawyer attempted to sue the Brothers (you know what, they don't even look alike... really don't think they're related) for sampling it... they hadn't.

The album was another success and the brothers (y'know what, maybe it's not strictly familial, more of a term of endearment) were soon in hot demand as remixers, as well as continuing to make great music of their own.

Day 0549 - Hunting High and Low

A-Ha "Hunting High and Low" (1985)

You could be forgiven for thinking that this Norwegian pop group found fame solely based on one hit, a pretty singer, and high rotation of a music video using the aforementioned hit and singer.

This album though is so much more than just "Take on me" and Morten Harket's beautiful, beautiful face.  Gorgeous new-romantic synth pop sounds abound.  There are some sections that almost border on orchestral/operatic, while in others it's simple, upbeat power pop.

A strong album, with only one or two slightly more 'filler-esque' tracks.

Day 0515 - The Violent Femmes

The Violent Femmes "The Violent Femmes" (1982)

The band were discovered while busking.  That stripped-down 'playing on the street' sound remained relatively untouched by studio gloss on this album.  Sticking largely to Victor DLorenzo's minimal drum kit, Brian Ritchie's upright bass and Gordon Gano's guitar and vaguely strung out vocals, the Femmes' sound came pretty fully-formed.

There seems like a pretty straight line between the Velvet Underground and the Femmes, though the Femmes seem potentially a bit lighter.  Less heroin and BDSM, and more run-of-the-mill sexual desperation.

The album would go on to sell over a million copies but never troubled the charts too much in the process, as it took them a gradual 4 years to amass those numbers.