(Let's try something a little different. Single reviews!)
"Laura"
By- Bat For Lashes
From- The Haunted Man (release date: October 12th, 2012 in UK, October 23rd, 2012 in US)
Length- 4:27
Song available at your favorite legal digital music provider
All throughout 2012, I've been discovering new people and getting into various types of music. By the end of the year, I should have a nice list for y'all to peruse. Though with the thrill of discovery, it is always nice to hear from a familiar voice. It's like finding your friend amidst the crowds of the mall during Black Friday. Imagine my delight during my musical journey to find that Ms. Natasha Khan a.k.a. Bat For Lashes was not only out with a new single, but a new album too!
The first single (and video) from the upcoming album is a heart-aching ballad called "Laura". From the video, one could assume the song is about a former singer/dancer. But if you listen to the song by itself, it seems to be more about the narrator, who is close to the titular Laura, trying to cheer her up after life has kicked her down. It is a tender piece, capturing the genuine sadness and heartfelt optimism of Khan's delivery. I always love a song that emotes perfectly, not leaving the listeners to guess whether it was tongue-in-cheek or not. The music being soft and in the background gives the song almost an a-capella feel, the listeners get a better view of the vocals. A good decision.
It is much different than the mega-hit "Daniel" from Two Suns, but a good artist must evolve and try different angles. You go, Ms. Khan. Welcome back to the fray.
Showing posts with label music criticism. Show all posts
Showing posts with label music criticism. Show all posts
Friday, September 21, 2012
Friday, July 20, 2012
How Not to Talk About Tusk
Fleetwood Mac's Tusk
By Rob Trucks
Barnes & Noble link
(For those interested in learning more about this amazing book series, check out their website at http://www.33third.blogspot.com/)
There is nothing greater than reading an entire dissertation on a classic album. That's where the 33 1/3 series comes into play. This is their bread and butter, letting writers to properly geek out and write about an album, approaching it from any angle they desire. Almost reaching that sweet spot of 100 entries, nestled into the 77th spot, is Rob Trucks' slender entry on the iconic and controversial Fleetwood Mac album Tusk. Would it be a straightforward historical document? A journey deep into the psyches of the band members? Or would it be a missed opportunity to talk about its nuances, but in its place "quirky" autobiographical details that really add nothing to the big picture? It's all of the latter.
The book can be separated into three parts: one part Trucks' autobiography during the pre- and post-Tusk release, most of the time having nothing to do with the album (who cares, really?); one part interview with Lindsey Buckingham (most of it just stuff you can learn by reading other interviews), and one part interviews with various musicians about how they feel about Tusk (lemme get a "who the f*** cares?!" over here!) It is a convoluted mess, plain and simple.
None of it makes sense, especially the life and times of our author, who honestly shouldn't insert himself like this in the history of such a game-changer of an album. So what if you were having neighbor issues while you were researching the album? What does this have to do with everything? Yes, "Tusk is a symbol", but not the way you think it is. Big deal, I was about six months old when Tango in the Night was released and you don't see me make a huge to do about it.
There are times when the author can insert themselves into the time period that the album was released, capturing the mood and time with precise, sharp detail. That is where Jonathan Lethem succeeded with his take on Fear of Music. Rob Trucks failed because he couldn't resist making it all about him and how Tusk happened to be a blip in his world. Once again, how special snowflake of you, sir.
Please skip this entry with no doubt in your mind. You are missing nothing. I just hope that if 33 1/3 allows do-overs, someone can give Tusk the proper treatment it deserves. Without pretension, without unnecessary interviews, without a self-centered author.
By Rob Trucks
Barnes & Noble link
(For those interested in learning more about this amazing book series, check out their website at http://www.33third.blogspot.com/)
There is nothing greater than reading an entire dissertation on a classic album. That's where the 33 1/3 series comes into play. This is their bread and butter, letting writers to properly geek out and write about an album, approaching it from any angle they desire. Almost reaching that sweet spot of 100 entries, nestled into the 77th spot, is Rob Trucks' slender entry on the iconic and controversial Fleetwood Mac album Tusk. Would it be a straightforward historical document? A journey deep into the psyches of the band members? Or would it be a missed opportunity to talk about its nuances, but in its place "quirky" autobiographical details that really add nothing to the big picture? It's all of the latter.
The book can be separated into three parts: one part Trucks' autobiography during the pre- and post-Tusk release, most of the time having nothing to do with the album (who cares, really?); one part interview with Lindsey Buckingham (most of it just stuff you can learn by reading other interviews), and one part interviews with various musicians about how they feel about Tusk (lemme get a "who the f*** cares?!" over here!) It is a convoluted mess, plain and simple.
None of it makes sense, especially the life and times of our author, who honestly shouldn't insert himself like this in the history of such a game-changer of an album. So what if you were having neighbor issues while you were researching the album? What does this have to do with everything? Yes, "Tusk is a symbol", but not the way you think it is. Big deal, I was about six months old when Tango in the Night was released and you don't see me make a huge to do about it.
There are times when the author can insert themselves into the time period that the album was released, capturing the mood and time with precise, sharp detail. That is where Jonathan Lethem succeeded with his take on Fear of Music. Rob Trucks failed because he couldn't resist making it all about him and how Tusk happened to be a blip in his world. Once again, how special snowflake of you, sir.
Please skip this entry with no doubt in your mind. You are missing nothing. I just hope that if 33 1/3 allows do-overs, someone can give Tusk the proper treatment it deserves. Without pretension, without unnecessary interviews, without a self-centered author.
Monday, August 22, 2011
Book Review 14 of 24 (In Which We Learn the Internet is A DeLorean)
Retromania: Pop Culture’s Addiction to Its Own Past
By Simon Reynolds
Barnes & Noble link
(I dedicate the Doctor Who references in the beginning paragraph to my Amy Pond-cosplaying, Dalek-hugging little sister. Keep on shining with your Sonic Screwdriver.)
I shall never doubt the contents of the introduction ever again. When I cracked open Reynolds’ latest offering in music criticism/history, the introduction led me to believe that all the arguments were going to be a big load of “cool story, bro” and at worst, pathetic. By the fourth chapter, I was thunderstruck. Yep, seems like society jumped into a TARDIS and went back without warning the rest of us. And we left the Good Doctor behind.
By Simon Reynolds
Barnes & Noble link
(I dedicate the Doctor Who references in the beginning paragraph to my Amy Pond-cosplaying, Dalek-hugging little sister. Keep on shining with your Sonic Screwdriver.)
I shall never doubt the contents of the introduction ever again. When I cracked open Reynolds’ latest offering in music criticism/history, the introduction led me to believe that all the arguments were going to be a big load of “cool story, bro” and at worst, pathetic. By the fourth chapter, I was thunderstruck. Yep, seems like society jumped into a TARDIS and went back without warning the rest of us. And we left the Good Doctor behind.
Monday, July 11, 2011
Book Review: 13 of 24 (First Lady of Rock Criticism)
Out of the Vinyl Deeps: Ellen Willis on Rock Music
Edited by Nona Willis Aronowitz
Barnes & Noble link
This was a book I wasn't sure how to approach when it came time to finally review it. At first, I abandoned the idea of doing this, since it is the first book of its kind that I ever reviewed (here or anywhere else). But after some consideration, the review will go on. This unsung lady of rock journalism shall not go ignored any longer! With a little help from her friends (and daughter too), the late Ellen Willis gets a fitting tribute in this collection of her greatest hits in Out of the Vinyl Deeps.
Edited by Nona Willis Aronowitz
Barnes & Noble link
This was a book I wasn't sure how to approach when it came time to finally review it. At first, I abandoned the idea of doing this, since it is the first book of its kind that I ever reviewed (here or anywhere else). But after some consideration, the review will go on. This unsung lady of rock journalism shall not go ignored any longer! With a little help from her friends (and daughter too), the late Ellen Willis gets a fitting tribute in this collection of her greatest hits in Out of the Vinyl Deeps.
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