Crushing Krisis

Comic Books, Drag Race, & Life in New Zealand

reviews

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I think most people enjoy attending concerts where they know all the songs. I know i do. As much as going to a concert is for experiencing art in motion, it is also a selfish pursuit: you want to hear your favorite songs, and you don’t want them fucked with. There is a certain thrill that comes with the anticipation of a crashing bridge, or the appreciation of an understated vocal ad lib.

This approach is sometimes prohibitive to hearing new music, whether it be a new band or a performer debuting new material. But, no matter how well prepared you are, there can always be an opened band or a strange tune that punches past your lack of karaoke intimacy with to make you fall hard into aural love.

I found myself at the NorthStar Bar with a motley assembly of some of the most talented people i know to see just such a stranger: Kaki King. Anthony had described her to me by email earlier in the day – “Imagine Ani DiFranco on crack … She uses her right hand on the fingerboard to tap out bass lines, and her left hand on the fingerboard to play melodies simultaneously. It’s pretty impressive.”

I’ve come to accept my mediocrity as a guitar player — i’ve been playing only two years less than both Anthony and Kaki, but i am still easily impressed by simplistic guitar pyrotechnics. I was prepared to see a few interesting tap solos and some intricate picking, and to generally have my playing be humbled.

Really, though, i was not prepared.

I’ve seen a lot of random opening bands, many of whom i’ve derisively blogged about the next day, but Kaki King is the first artist since Peter Mulvey (and, to a slightly lesser extent, Erin McKeown) to ever leave me with my eyes unblinking, my jaw hanging loose, and my fingers twitching just in contemplation of my inevitable attempt to replicate the performance before me.

Kaki is, in short, the most astounding acoustic guitar player i have ever witnessed. It wasn’t just the casually arrived at alternate tunings, the tap & hammer solos, or even her simultaneous strumming & drumming on the guitar. It was her personality — quiet and simply smiling, but with a quick wit hidden beneath her swath of out-grown bangs. It was her ease — the way that after the audience’s obvious favorite song of the night she remarked to the effect of “That isn’t really finished yet; sometimes i just play the songs live and let them go in the directions they want to.” The way that, as opposed to how people joke about it with me, i really could not tell when her casual tuning and fretting ending and her songs began because at any point her hands were on her guitar the performance was underway.

Kaki has some MP3s on her site for your perusal, and while they will not replicate the awe that i was in on Tuesday night, i think they still speak adequately for themselves. And, please keep in mind that i typically range from indifferent-to-resistant when it comes to instrumental music, so Kaki must be pretty damned good.

Must be? Hell… she is.

https://www.crushingkrisis.com/2003/08/106140300363101718/

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So, we’ve all seen blogs with comments via YAACS, like cool indy music blog Buzzgrinder, right? Even Kat has them. Well, have you ever noticed that they’re hosted via RateYourMusic.com? Really? Well, have you actually looked at it? It’s a site where you can spend endless hours ranking your favourite (and least favourite) albums and writing capsuled reviews of them. So, if you were wondering what i was doing with the rest of my night, just remember: i own approaching 400 cds :p

https://www.crushingkrisis.com/2002/06/85173913/

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I am trying to land a position writing music reviews for the Philadelphia Independent – a new $.50 paper that has only released two issues so far. Their main page essays come off more like revised and extended blog entries, but their music section is brief and to the point. My challenge (from the editor)? Review two new records that aren’t my typical fare in a constrictive 100 words or less. My (personal) editors? Only the best: Martha, Andy, Jill, Maggie, and Liz. The results?

Wilco – Yankee Foxtrot Hotel

Grade: A+

Wilco is ambiguously labeled as an Alt-Country band, but more than anything else their newest release is a Rock record. Nearly every song is loaded with eclectic multi-instrumental riffing and studio buzz, but never enough to obscure the tunes at their root. The disc’s relatively vague lyrics are surprisingly introspective despite giving the sense of magnetic poetry assemblage. The album seamlessly combines sound collage techniques with catchy pop songs – sometimes within a single track. Borrowing as much from rock classics as from country standards, Wilco’s tunefully intricate acoustic sensibility is ultimately impressive and effective.

Standout Tracks: I’m The Man Who Loves You, I am Trying To Break Your Heart

Lauryn Hill – Unplugged 2.0

Grade: B

Unplugged is an unusual record, featuring 13 new songs performed solo rather than a glossy hit parade. The stripped down medium allows for an undiluted delivery of this hip-hop dissertation, complete with both rambling and eloquent spoken interludes. Lauryn plays uncomplicated acoustic guitar, but her MC abilities prove to be difficult to perform while strumming along. Though her playing occasionally suffers, her superb vocals are still silky and soulful. A few cuts are too long or simply lack a hook, but the strongest songs stand stronger alone than they would on a produced studio album. Overall Hill has scored one for her talent and musicianship – if not for her ability to produce hip grooves.

Standout tracks: Just Like Water, I Find It Hard To Say

There’s also an erstwhile Sheryl Crow review on my hard drive that i practically had rewritten for me by my first three review reviewers, but that had no bearing on whether i get the job or not. So, seeing as my typical reviews are more in the realm of 1,000 to 3,500 words, i’m tempted to ask you how i did. However, as much as i’d love to see your comments, i cringe at the thought of editing either of these any more – especially considering the fact that they are definitely not the ready-for-print versions should i get chosen to review for the next issue.

Argh, they’re still cutting down trees.

https://www.crushingkrisis.com/2002/06/85167070/

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I’ve been very good this year about buying new records – for the most part, i haven’t. Sure, there was a purchase or two a few months ago, but when my music allowance for the first four months of a year is under $100 you know i’m acting with some amount of restraint. Part of what kept my wallet firmly in my pocket is the knowledge that the past two weeks would see the release of over a dozen records that i was definitely eying up for purchase, and on Monday i picked up a few between AKA and South Street. Here are first impressions, in ascending order of quality:

  • Weezer – Maladroit sounds as though it has years of sonic maturity on last years’ disc even though some of its songs were written before the album went gold. This can safely be traced to Weezer self-producing the disc, which seems to be magic for them (they produced Pinkerton as well). However, the lyrics of these thirteen songs are so sparse and inspecific that their sum total of nearly thirty four minutes could easily be condensed down to a five track EP that would feel weightier than this ultimately empty effort.
  • Wilco – Yankee Foxtrot Hotel is the first record i’ve seen hailed as a second Kid A, only this time acoustic and homey instead of electric and expansive. The album has a high catchy-to-crappy contrast, sometime within the same song, but it’s ultimately too dense to tell much from casual listening.
  • Lauryn Hill – Unplugged 2.0 is an odd record, a double disc of Lauryn alone onstage with just a classical guitar talking as much as she is singing. While the set as a whole is overwhelmingly long and repetitive, songs taken in doses of twos and threes will entirely bowl you over; in case you had wondered, Hill is one of the most talented folk singer-songwriters of our generation.
  • Sheryl Crow – C’mon C’mon has been reviewed as everything from weary to worldy, and the record is definitely a little of both. Crow’s solo lyrics sometimes leave something to be desired, but the arrangements on this record are some of her finest (especial with co-writer Jeff Trott). The few weak spots are entirely forgivable in the face of classic rock gems such as the title track and opener “Steve McQueen.”
  • Sarah Shannon was definitely an enigma to me at this time yesterday, but now she very well might have made my favourite album of the year. The self-titled release from the former Velocity Girl member sounds like PJ Harvey fronting an amalgam of half of a big band and an early Sheryl Crow touring crew. The album’s tracking is impeccable, subtly changing from jazzy songs to more rocking fare, and by the time it’s over you just know you want to hear it again.

    https://www.crushingkrisis.com/2002/05/85090492/

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    Speaking of Yum, lots of intelligent new pop music was purchased yesterday — primarily the new Alanis and Lisa Loeb discs. I don’t have any review quality thoughts on either yet, other than to say that both have solidly migrated away from “alternative” to a comfortable position in pop – Loeb with her roots in lush harmony and arrangements, and Alanis all psycho-babbly with shimmery guitars and boisterous bass-lines, both offer up pop gems that could easily deflate the newest Britney hit single.

    At a glance, Alanis’s Under Rug Swept scores with the strangely catchy “Hands Clean,” and again with the deadpanned dissection offered up in “Narcissus.” Second single “21 Things I Want in a Lover” and radio-ready “So Unsexy” are both undeniable in their hookiness while coming off slightly awkward… with lines like “do you have a big intellectual capacity” and “i feel so ungood.” The latter song could be Alanis’s new masterpiece; it’s easily as catchy as the equally odd “Hands Clean.” Softer endeavor “Flinch” is a retread of similar material on her previous disc, but will please more casual listeners with it’s simple arrangement. Obviously i’m too busy with the first half of the disc to pay much attention to the sleepy “You Owe Me Nothing in Return,” and the flimsy folk in three/four of “Utopia.”

    Lisa Loeb has Ms. Morissette beat hands down all around with Cake and Pie… not only in her mature lyrics & arrangements, but also in graphic design and production. In fact, her disc begins with erstwhile Alanis producer Glen Ballard credited with co-writing the music “The Way It Really Is” (he makes nary an appearance on Under Rug Swept, which Alanis wrote and produced solo). The song is sonically as lush as the more impressive tracks of Firecracker, but has a string laden sense of drama that Lisa doesn’t usually bring to the table. She doesn’t let up on second track “Bring Me Up,” which is as catchy as anything on her debut album with its simple guitar patter and sighing background vocals. Similarly, the melancholy acoustic riffing on “Underdog” gives way to a softly defiant chorus co-written with beau Dweezil Zappa. While the anonymous “Everyday” falls a little flat, lead single “Someone You Should Know” repeats the playfulness featured on her release from the Rugrats movie. “We Could Still Be Together” is resurrected from soundtrack limbo to offer a throbbing 90’s-style rocker to pin down the middle of the album, and “Payback” is an uncharacteristic blues number complete with guitar solos and wurlitzer piano. Nestled between the two, “You Don’t Know Me” sells the disc on its opening riff alone : Lisa’s sweet pop combined with Dweezil’s guitar heroics winds up as a Matthew Sweet brand of perfect pop, and it doesn’t get much more perfect than this ode the the geek girl with a new boyfriend.

    Lisa’s album is not as cohesive as her last, and Alanis’s is more rambly — i’m hoping Loeb receives well-deserved attention for her impeccably produced effort, and Morissette learns to embrace the idea of having a little bit of outside input in hers.

    https://www.crushingkrisis.com/2002/02/10198585/