Crushing Krisis

Comic Books, Drag Race, & Life in New Zealand

reviews

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People who review music are interesting creatures. Do we listen to them because they offer us unique and informed insight into artists we both love and have never heard of? Or, do we enjoy their outrageous opinions and biases? Obviously the answer is a little of both. Some reviewers are so immersed in a love of music that they cannot give a bad review. Should any true musical effort get a bad review? Here i’m obviously differentiating between thoughtless or overly-produced music that one often finds on the radio and the totally opposite effortless or carefully assembled music that most people would consider as art. As much as i hate the new Radiohead, and though i might give it less than two stars if i were to review it for the paper, the review itself would doubtlessly offer many positives about the album so that people who liked those facets of it would know to buy it.

That, of course, is why album ratings are arbitrary; are they personal opinion or objective rankings? I found myself battling over such thoughts earlier while i was commenting on Nelly Furtado. While there are only a few tracks on her disc that i enjoy, a quick read through Amazon.com‘s reviews pointed out to me the many aspects of her disc that my ears weren’t open to. After several revisions, my review sounds like it should be nearly four stars, but i plan to submit it as a two star review on monday. Obviously i intend for people to glance at the rating and then read the article, because the rating is probably only applicable if they share an overwhelming overlap in musical taste with me. And, god help them if they do…

https://crushingkrisis.com/2000/10/1205352/

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Dave Matthews Band sucks. Really. They are surely decent enough, but the amount of hype they are prone to receive makes me want to hate them all the more. After having listened to some of Before These Crowded Streets last night for the first time in a while, i was simply struck by the fact that i listen to easily a dozen bands that are more dynamic than DMB. Matthews is all about abstract storytelling and thinly veiled sexual metaphor while the band totally obscures Dave’s dynamic guitar playing. On some songs like the uniquely executed “Stay” i love every second of it, but otherwise i am left reminiscing about when “Ants Marching” first came out and i could never discern between DMB and Blues Traveller.

I know that DMB are all talented musicians, and i know they’re a band and not a backup for a solo act, but jesus, why does every drunk frat boy and arty college girl love them so much? The only argument in their favour comes from the blue Luther College set that features Dave Matthews and his sideman Tim Reynolds all alone. Here we can see that Dave goes way beyond his empty bombastic vocals and prolific undifferentiated songs to prove himself as one of the premier singer-songwriters in our generation. Of course, afterwards he went back on tour with his DMB, which lets me easily forget why i found any reason to like him at all. But, i do have those blue discs…

https://crushingkrisis.com/2000/10/1205319/

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I can’t tell if Nelly Furtado is some horrid Jennifer Lopez wanna-be or an almost Patti Rothberg. Anyone listening to the first song on her album might say the latter, but past that all bets are off. The disc honestly isn’t too good, but i think that’s mostly the fault of her producers. He writing is fine and could develop into something great, and her voice is incredible. Oh well… her original influences aren’t exactly singer-songwriters, but as she grew older she picked up some great artists like Portishead, who are a personal favourite. Nelly does achieve some great pop moments on the disc, but they’re too muddled with stylistic confusion on the other tracks to make a difference. I look forward to a second effort.

https://crushingkrisis.com/2000/10/1203284/

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On the other hand, Nina Gordon’s Tonight and the Rest of My Life is a mostly banal pop effort, even when viewed without Veruca-tinted glasses on. You can see my review of the record later this weekend when my new section, Just Like Assholes goes up. Everybody’s got them, ya know…

https://crushingkrisis.com/2000/10/1198735/

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Veruca Salt’s Resolver is, if not the best album released this year, then by far the album with the best low-to-high volume contrast. With two out of my favourite three songs on the disc being quiet not-even-rock songs, the rest of the incredibly loud album makes a perfect balance. I hate when a band can’t do “loud” (or “soft”) despite being good at the other end of the spectrum, but Louise Post does not disappoint. Ultra-Highly recommended.

https://crushingkrisis.com/2000/10/1198644/