Day 0979 - Dear Science

TV on the Radio “Dear Science” (2008) – got it

I came to TV on the Radio via the project Nevermen featuring TVotR’s Tunde Adebimpe, rapper/producer Doseone and a favourite of mine Mike Patton.   When I heard about the project I decided to check out TVotR who I had been vaguely aware of (if only by name) for a while.

After a bit of youtubing I picked up their excellent full-length debut (if you don’t count the self-released “OK Calculator”, and it sounds like the band themselves don't count it much) “Desperate Youths, Bloodthirsty Babes”.  I’ve since collected all of their albums including this one.

While I found their second album “Return to Cookie Mountain” to be a bit of a muddy, messy affair audio-wise, “Dear Science” is crisp and catchy.   With the band being full of producers and multi-instrumentalists it would be easy enough for it to be a “too many cooks” situation, but they seem to find their way around it.

The album owes a debt to the 80s, without sounding derivative or ‘retro’.  It's more like the 80s is the starting point and then there are enough looped fuzzy beats, interesting production and other 00s touches to make this fully contemporary.

Opener “Halfway Home” is all glorious synths and soaring vocals, followed by “Crying” which has more than a hint of Bowie to it.   “Dancing Choose” is a favourite of mine with its pulsing beat, hand-claps and speedy vocals from Tunde.   "Golden Age" and “Red Dress” bring the funk.   “Lover’s Day” is Prince making sweet sweet love to Peter Gabriel while he does his thing.

The album nicely tows the line between melodic atmospheric pieces, and funky danceable grooves.

Day 0859 - Ladies and Gentlemen We Are Floating in Space

Spiritualized "Ladies and Gentlemen We Are Floating in Space" (1997)

To my tastes this is an improvement on the previous Spiritualized album in this list (entry 721).   They'd taken that sound that I'd classed as "digital shoegazer and ramped up the pop aspect of it.   The opening title-track has an almost 60s folk-pop sound while still being drenched in synths, guitar and spacey production.  

The tracks move between melodic aural overloads, and dreamier, more stripped down tracks like "Stay With Me".

Would happily listen to it again.

Day 0800 - A Northern Soul

 The Verve "A Northern Soul" (1995)

 

Okay, I have to admit that my only real experience with the Verve was the "Urban Hymns" album.   This whole psychedelic rock with hints of droney shoegaze took me (pleasantly) by surprise.

There are some almost dance-influenced beats like on "Life's an Ocean", mixed with the noisy wash of guitar that is reminiscent of bands from My Bloody Valentine, Ride and maybe the Happy Mondays.

The long, slow moody mellow atmospheric "Drive you home" is quite dreamy and wonderful.  

The  band broke up after this, but reformed and hit new commercial heights.

Day 0633 - Buenas Noches From a Lonely Room

Dwight Yoakam "Buenas Noches From a Lonely Room" (1988)

How country can you get?   "Dwight Yoakam" is probably the answer to that one. 

It seems odd to me listening to his music now, that it was initially rejected in Nashville as it sounds like it'd be right up their alley.  He moved instead to Los Angeles and got his career on the move, including producing a couple of no.1's and making more appearances on 'the Late Show' than any other musical guest.

I guess this could be another one of those situations where the style that Dwight was playing has become common since/because of him.   His mix of honky tonk, country and pop into what he classed as 'urban cowboy' music sounds as country-as-country to me, so I find  it odd that it wasn't accepted at the time.  I find country music to be hit-and-miss, but this album is a solid collection of songs.

Day 0571 - Talking With the Taxman About Poetry

Billy Bragg "Talking With the Taxman About Poetry" (1986)

The book talks about Bragg's ability to find the personal in politics and the political in the personal.  As is often the case, I didn't really pay much attention to the lyrics so I didn't really pick up on that so much, but I did enjoy the album musically.

Bragg's reverb drenched guitar manages to accentuate a variety of styles, from rockabilly, folk, pop and country.  I didn't even realise the first time I listened to the album, but there's little-to-no drumming in it, and the songs don't suffer at all as a result.  One or two tracks have limited percussion but that's it.

The album also features contributions from the Smiths' Johnny Marr, and Kirsty MacColl (of 'fairytale of New York' fame.

Day 0558 - Meat is Murder

The Smiths "Meat is Murder"

I'll admit to not being hugely familiar with the Smiths' music.  They were solely active in the 80s which was not a time that I was actively seeking out music.  Once I was more into music I was more interested in 60s pop or loud distorted guitars; the Smiths don't fit the bill in either case.  A teacher of mine who also helped out one of the high school bands I was in recommended the Smiths to me and I listened to one or two tracks, but it didn't really peak my interest.

So essentially I came to this fairly 'blank slate', the only song I was familiar with on this album was "How soon is now?" (only featured on certain versions of the album) as the theme tune to the tv show 'Charmed'.

I'd say there are more than a few connections that could be made between the Smiths and U2; both bands with solid rhythm sections, sonically explorative guitarists, and cause-heavy lyricists.

Guitarist Johnny Marr is the real star on this album, his guitar sounds ranging from jangly rockabilly, wicky funk, extreme tremolo guitar overlaid with slide lead parts, delicate acoustic guitar, clean new-wave-style guitar.

Morrisey's vocals seem to largely follow the pattern of being emotive and drenched in reverb.  While he is all about his causes here (pacifism, anti-monarchy, and the obvious vegetarian message of the title track) he does occasionally show a bit of a sense of humour, which I'm not sure is still present in his more recent work.