Amazon.com's Best of 2001

The Microphones are a one-man band in which Phil Elvrum (Old Time Relijun) makes soft, psychedelic nylon-stringed guitar jangle sound both humble and heroic. While operating in an all-analog "lo-fi" mode, in the vein of Elephant 6 collective bands such as Olivia Tremor Control, Elvrum's no wannabe. The Glow, Pt. 2, his fifth release, is his most cohesive yet. All the musical elements gel with concept (in this case, fire) and breathe with the sort of spooky, misty clarity that arguably can only be captured in an intimate, non-digital production. The solitary quality of the Microphones could be compared to that of Bright Eyes, Syd Barrett, and Graeme Jefferies on Messages for the Cakekitchen. On the soothing opener, "I Want Wind to Blow," Elvrum's plaintive whisper-singing might lull you into a dream--but the bloodcurdling commando-style distortion of the second and title track will shake your senses. The Glow, Pt. 2 is like a giant ocean liner on which the songs and all their disparate elements--stark solace with violent, beautiful, otherworldly weirdness lurking beneath--control the ebb and flow of your emotional response. --Cyndi Elliott ... Read more

Reviews (29)

Desolation
Length - 66:50
Sad songs never sounded so good. Phil Elvrum seems like one twisted soul, the Johnny Depp of music, but he can sure pen a song. By the end of I Want Wind to Blow, you'll be far from this world. The tribal stomps offset by shimmering guitars simmered in Phil's dreadfully heartfelt vocals will cascade upon your heart in a smoky haze of sorrow and longing. Yet each songs pervasive beauty will still be holding your hand, beseeching you to carry on, as disconsolate as your disposition may be. The Glow conjures stars, twilight, moons, planets, dread, fear, despair, longing and everything else a sad soul can repine over. On the liveliest of songs, Phil sounds a bit like Jeff Mangum from Neutral Milk Hotel. At other times of melancholia, Songs Ohia and Elliot Smith come to mind. Unlike those other artists though, The Microphones exude an incomprehensible effluvium that seems to put me down, but prop me up at the same time. There is the deepest longing behind this album, a deep desire that can be felt immediately after listening. The Glow is profound in its enigmatic sorrow. Those who are searching for a dreary yet inspired adventure should invest their hearts in this aberrant recording.

In Phil We Trust
You there! Yes, you! The one with the credit card and eager appetite for adio exellence. I'm not sure how you arrived here, a mouse click away from purchasing The Glow, Pt.2, or what your personal taste in music is, but I can assure you, you've happened upon something entirely new. However, don't be surprised if what you hear seems eerily familiar. The Microphones consist of a number of extremely talented people, but at its heart, the Microphones are Phil Elvrum, a studio whiz kid and straight-up musical genius out of Anacortez, WA. The Glow, Pt. 2 is more or less an account of Phil's struggle to connect with his environment within the confines of his body. The music is generally calm and moody with occasional instrumental outbursts all layered and manually put to tape. Elvrum's lyrics paint sprawling landscapes of the Northwest hardly containable in the form of song as his voice seems to wander aimlessly, nailing each melody with intentionally impresise presision. The best I've ever heard somebody describe the music of the Microphones was, "it sounds like a guy lost in the woods." Guitar strumming moves from one ear to the other as organs meld with Elvrum's vocals, all the while a distorted fog horn recorded from a tugboat leaving the port drones off in the distance. It is immediately apparent that Elvrum has captured the world around him with The Glow, Pt.2, the struggle arises when he faces where he belongs in that world. This is not emo. This is not music to listen to while you're locked up in your room. This is music for human ears. Listen to The Glow, Pt.2 while you are locked up in your body.

And do see the Microphones/Mt.Eerie in concert if you have the chance. Whatever Elvrum decides to do, it won't dissapoint.

Phil Elvrum - this generations Brian Wilson?
I believe that Phil Elvrum is a modern day production genious, and this may be his masterpiece - thus far anyway...I just can't help but think of him in the same light as Brian Wilson or Curt Boettcher - he's so unique and inspired. This album absolutely requires headphones to be fully appreciated - it is so intimate and lovely - it is not mainstream, though it is pop, just unique pop which requires a bit more attention - but its rewards are substantially greater - so try it, I think any true music fan would appreciate this haunting and warm collection of brilliantly produced music.

Intimate and holy
This album is a miracle. When I listen to it, I find myself barely breathing, afraid that the least bit of motion will somehow disturb its gentle equilibrium.

What's it sound like? Lo-fi, to be sure, though meticulously produced (the acoustic guitar on 'The Glow Part 2,' and its masterful panning never fail to give me chills). The mood is decidedly melancholy and hushed, and then exploding into rapturous noise.

But I'd sum up the whole album with a single word: intimate. It's as if you opened an undiscovered door in your living room, to find an unknown room, filled with Phil Elvrum and company, making this blissfully ramshackle noise, with Phil whispering something enigmatic in your ear (and, related to that, this album is, lyrically, superb).

All in all, listening to this is as close as I come, on many days, to a religious experience. Excellent.

Stunning
Very rarely do I have to listen to an album so shockingly beautiful more than once to fully digest it. This had somewhat of a "turning on your head" effect on me, as I tried to wade through the lushness to see what this album meant to me. The lyrical quality is absolutely impressive, and the musicianship and melodic innovation is mind blowing. "The Glow pt.2", and "The Moon" are both just absolute perfection, and the rest of the album doesn't stray far from the same vein. All this is made more impressive considering this is all the musing of one man.

All of the songs cohesiveness and relationship to one another gives the album almost an ambient feel, like an alternative prettier Brian Eno. It's like he tried very hard to capture simplistic beauty, and he succeeded for the most part. The album's only flaw is that some songs rely to heavily on the fact they're pretty. They depend solely on melodic beauty with not much else adding to the artistic sentiment. These songs are deeply satisfying in the moment, but have little use when the album fades away from being new. However, if that is the only thing you can find wrong with a recorded work, then how lucky you are (as I am with this album). It's like saying you love your favorite kind of candy, but it's a little to sweet, that never stops you from guiltlessly enjoying it now does it? ... Read more

Album Description

UK pressing of 2004 album features 13 tracks including 2 bonus tracks, 'Amourissima' & 'L'Amour Ne Dure Pas Toujours'. Feist is a Canadian songstress, hailing from Toronto. Her first album 'Let It Die', is produced by Renaud Letang & Gonzales. Feist has been Gonzales' fellow for years. Part of the Canadian collective band, Broken Social Scene, Gonzales convinced her to come to Paris to record this first album. The journey started in an out of time, out of norm atmosphere, whose lush grooves are offset by a thoroughly enjoyable live performance, with members of the Germany via Toronto Kitty-Yo crew such as Peaches, Gonzales, & Taylor Savvy. Features 13 tracks including the singles 'Mushroom' & 'One Evening'. Universal. Polydor. 2004. ... Read more

Amazon.com

Before "Loser" skyrocketed him into the pop-star stratosphere, Beck recorded this album of lo-fi tunes and ballads in the basement of K Records founder Calvin Johnson. This largely acoustic LP is a snapshot of the troubadour life Beck led when he was more likely to be found Dumpster-diving than predicting the Zeitgeist. The backwoods folk of "He's a Mighty Good Leader" and Delta blues of "Fourteen Rivers Fourteen Floods" shows past intent study of American traditional music, whereas the cynical critique of California culture voiced in "Cyanide Breath Mint" highlights the lyrical agility of a postpunk poet. In a tribute to the virtues of this album's simplicity, rocker Tom Petty covered "Asshole" with remarkable restraint, leaving the pleasures of the three-chord lament intact. As Beck morphs his way into the cultural landscape, this record lets us know that at least he has roots somewhere. --Lois Maffeo ... Read more

Reviews (53)

Spending An Afternoon in a Day-Glo, Tear-Stained Playground
That's what this album feels like. The emotional complexities, wry wit, and daydreaming observations make this album a one-of-a-kind experience. The music sounds like something you've heard (or felt) all your life, but could never touch upon.

This was recorded before Beck became inflated by the media as the savior for music in the new millenium. The lyrics and music are heartfelt and sincere, and do not contain that slick nineties irony that permeates so much of his later albums. Don't get me wrong, I love every Beck album, but "Mutations," while an unbelievable record, lacks the geniune bittersweet feelings that make "One Foot in the Grave" Beck's masterpiece.

This album -- along with the "It's All in Your Mind" 7", the album's companion piece -- reminds me of childhood, summer, and feelings that cannot be described. I guess that is why Beck is blessed -- he can put those feelings into his words and music.

great music.
this is a classic indie album. when i play this record i dont skip tracks i just listen to it straight through. every song is a classic from the soft folk of "mighty good leader" to the closing slide geetar riffs on "atmospheric conditions". sure, its not at all like "odelay", most of "one foot" was recorded live in the studio. there is no sampling on this record but each song is still excellent in its unproduced bliss.

even if you hate folk you will still be able to rock out to "burnt orange peel" which is a bass-driven live track, full of energy.

i strongly recomend this album for anyone, even if you dont like beck, get this record.

She'll do anything
This is a low-fi recording by Beck. It's mostly acoustic, with a few electric performances. It has a feel like "Beck got together with some of his non-professional friends and played some songs". This album could actually be mistaken for a collection of demos. It features Beck's usual kind of oddball songwriting. People that are already Beck fans should enjoy it, but other people might not find it too interesting.

woah...
ok, right. the musicality of this record is terrible. everything is so incredibly out of tune and off key you'll be cringing and gritting your teeth the entire time. to be honest, i found it literally painful to listen to. i guess there's some novelty appeal to the CD, otherwise the music is quite simply bad. it's a bit suprising amazon actually carries this.

my favorite beck album. . .
and they're all great. this minimal, cheaply recorded collection of songs features some of beck's most memorable songs. in my opinion, the limited production values just make it easier to apperciate the raw genius of beck's songwriting. ... Read more

Reviews (49)

Don't needa support system
Whip-Smart has to be one of my most favorite albums. Even though at first I found it really hard to listen too it soon began to speak to me. Liz Phair is a very interesting artist because her lyrics and song arrangements are different from the mainstream.
Whip has some very fun and playful songs such as Supernova and Whip-Smart. At other times the songs are confessional, like Chopsticks, where she sings about having a one night stand with some dude she met at a party. My favorites on the album are Shane,Nashville,Dogs of L A, and May Queen. Shane is a song that goes with our current times because of the 9-11 attacks.

HA HA
Sorry, I just can't help laughing outloud at the pathetic reviewer below me. Liz needs to take voice lessons from Celine Dion?! Ha! Now that really is funny. Look if you're into adult contemporary then why would you even bother listening to an album like this? How is Liz a wannabe? Liz Phair is a very interesting artist because her lyrics and song arrangements are different from the mainstream. Whip-Smart takes listeners of top 40 radio music and wakes them up to see that there is something else out there. Something very good out there. Liz's songs have personality and spunk...you have to get to know them, give them a chance to speak to you. Sorry if I sound like I'm rambling, but I hate to see someone bash this album when it's obvious that they don't understand it. Oh yeah and I think Celine Dion is vastly overrated. She can't even write her own material! Pfff.

Letz be fair and say Liz Phair rocks!
The popy rock Whip-smart was my introduction to Liz Phair after I heard her single from the previous album. I liked the song and video and I just had to get this (at the time) new release, especially after I heard "Supernova". The whole album was even WAY better than I had hoped it would be, and I was very pleased. Apart from the fact that she is so HOT, Liz Phair has a great deep smooth singing voice that is to die for. I could listen to her croon all day :). Her and Jewel were my teen obsessions :). This thin, thin-lipped, long-eye-lashed, blue-eyed babe has a rich, long-range voice, GREAT tunes, and can give Sheryl Crow a run for her money any day. I even wrote a poem about her in my book.

David Rehak
author of "Poems From My Bleeding Heart"

This is supposed to be music?
This CD is a complete joke. I bought it because I liked one of her songs, and it turned out to be the only decent song on the entire album. She needs to take vocal lessons from Celine Dion, a real singer. This woman is a wannabe! Her voice is like a cat screaming.

Cool "Whip".
Even though her debut is considered to be her best album, and I really like "Whitechocolatespaceegg", "Whip Smart" is my favorite. It could be because "Supernova" is one of the best alt-rock songs of all time, but I think it's because the whole album is super. "Chopsticks" is a good intro, and "Support System" is fun to whistle along with. Then there's some slower tracks like "Shane" and "Nashville" that are still cool. Not every song is a winner, but overall this sounds as good as she looks. It'll go great with your "PJ Harvey" and "Juliana Hatfield" cd's. ... Read more

Album Description

This quartet effuses vitality, all the while infusing their damaged melodies with casual charm. "Rogue Wave seems like a classic Bay Area band, in the tradition of Thinking Fellers and Barbara Manning--they've just got that vibe"--Carl Newman, The New Pornographers. This debut was originally released in a limited quantity on the band's own label in 2003, and has been re-mastered for this re-release. ... Read more

Reviews (8)

appeals to a wider audience
i actually came upon this album because a good friend of mine in the bay area had a copy of the original release. i'm not a huge follower of indie music, but i would have to admit that after listening to their album more than a few times while i visited out there, i had to get my own copy. i liked what i heard, and that's it. i hope to catch them live someday...

Great
Why do "indie rock critics" ignore the fact that music is for enjoying, not for comparing against your precious, "indie" criteria. Maybe our reviewers below should turn off Deep Space 9 long enough to enjoy the music itself. I didn't buy this because of a label (which is dumb reason to buy a record); I bought it because my friends like it, and they were right.

btw - show me music without influences, please. This is a great record, just to listen to, not rip apart.

Blah
I, like many people, buy records because of the label on the back. If it says Matador, Merge, Sub Pop, Saddle Creek etc., I'll usually give a new band the benefit of the doubt and buy their cd regardless of press, hype or the lack thereof. Most times I'm pleasantly surprised, and well, other times you come across a dud. This my friends is a dud. My problem with the record is that it sounds like second or even third rate new pornographers meets elliot smith. There is absolutely nothing new or fresh here. It's all been done before and done much better by others. One thing bands like this need to do is burn the "how to be indie handbook" and just concentrate on making original music. With "Out of the Shadow" every song sounds like an indie pop re-hash. Nothing sticks at the end of a listen and to be honest the hooks are kind of half baked. It's the equivalent of indie rock elevator music, it's just there. So I'll reccomend this cd for people who need background music to drown out traffic or street noise, but that's about it.

boring beyond belief
saw 'em open for spoon...they were blown off the stage. saw 'em open for the shins...again, they were blown off the stage. i bought the record anyway and i gotta say, there's nothing there. nothing but boring songs and arrangements, not to mention all the songs kinda sounds the same. if this is the hope for bay area music, i gotta move.

Amazing
Really amazing record. Every song is great! ... Read more

Album Description

This new LP takes the next leap after the well received "Pistols At Dawn" EP to bring 11 tracks of catchy beats and melodies crammed with blown out drum sounds, blip pop synths, and campfire pianos. The press continues with comparisons to The Flaming Lips, Frank Black, Grandaddy, and Menomena. Since the move from Tulsa, OK to Seattle 18 months ago, Aqueduct's sharp-witted bedroom pop has earned them praise and opening invitations from Issac Brock of Modest Mouse and Death Cab/Postal Service frontman Ben Gibbard. ... Read more

Reviews (4)

Excellent "under the radar" album
I found out about Aqueduct from the excellent folks at the internet-only station woxy.com ("the future of rock'n'roll"). I loved what I heard and purchased the album. As the liner notes make clear "David Perry is Aqueduct... Aqueduct is David Perry". Aqueduct is pretty much a one-man synth-based band (Perry), assisted on some tracks with drums and guitars. If you're not familiar with Aqueduct, imagine a mix of Flaming Lips with Grandaddy, with a splash of Beck and the Faint, although that description does not do justice to the unique sound of Aqueduct.

"I Sold Gold" (11 tracks, 37 min.) starts off with a blasting "The Suggestion Box". The album mixes up harder charging tracks (the pulsing "Growing Up with GNR"--with multiple references to Axl) with more delicate songs, such as the excellent "Heart Design", the highlight of the album in my book. "Laundry Baskets" is another standout. The instrumental "GameOver" is the weakest track, but it is followed by the excellent closer "The Tulsa Trap", a look back to Terry's origins in Oklahoma.

This album will not sell a bezillion, or even million copies. What a shame. This is an excellent album. Aqueduct is coming to Cincinnati soon, and I can't wait to see how the songs from "I Sold Gold" will translate in a live setting.

The best CD of 2005
Aqueduct is the newest thing on the indie scene. The band was "discovered" by Ben Gibbard (front man for Death Cab for Cutie and The Postal Service) in Tulsa, Oklahoma and soon after packed up and moved to Seattle, where they were signed to Barsuk Records (the biggest indie label around).

Aqueduct is really just one person, David Terry. The people who perform with him alternate, but the current band make-up consists of Andrew Rudd, Chris Barnes and, of course, David Terry. David Terry began recording his music in his bedroom, after coming to the realization his musical career wasn't going anywhere.

In an interview with the Rolling Stone, Terry recalls a time ona bus ride between San Francisco and Los Angeles, "I kept seeing signs for the huge aqueduct that's basically giving life to the desert in Southern California. I was like, 'I am going to make my own music.'"

And that's what he did. This CD is perfect! I first heard the song "Hardcore Days and Softcore Nights" on The OC and couldn't get the chime-like song out of my head. So after a long search I found the CD and haven't stopped listening to it since.

The CD is thirty-some-minutes of excellence. It starts out with "The Suggestion Box" where he blows off some steam about a not-so-loving lover. Then it shoots right into the best song on the album "Hardcore Days and Softcore Nights" which is the song you may have heard from this band at a party and if not, then as a featured artist on the Fox phenomenon The OC. I was expecting it to stop here and to sink into a state of "blah." Fortunately, it just kept going!

Terry manages to pull of an excellent balance between indie and pop music, which is most likely what moved Isaac Brock (Modest Mouse's front man) to invite Aqueduct to open for Modest Mouse.

I wasn't sure what to rate this CD because I haven't owned it that long, but I can't find ANYTHIHNG wrong with it. This CD is catchy, humorous and most of all, entertaining. It's definitely worth the ten dollars to buy this CD and I promise it will remain in your CD player or walkman for many years. Although a debut album, the sound is so mature that it deserves every one of its five stars.

Good melodic pop.
Mixes synth with some of the best use of programmed drums I've heard in a while. Funny and entertaining lyrics. Track #1 which reminds me of The Postal Services' Nintendocore side. Track #2 pokes fun at the common "macho tough guy image," with comical lyrics. Good pop album. Suggested tracks are 1, 2, 3, 6, 7.

Too much previously released material...
I've been quite excited for Aqeduct's follow-up to "Power Ballads" for a while now, but I have to say I'm pretty disappointed when listening to "I Sold Gold." It's not because of the music; the music is all great, solid stuff. This is amazing pop songwriting, with absolutely infectious and deadly melodies. Top notch. Truly.

However...

Of the 11 tracks, 5 have already been released in one form or another.

"Growing Up With GNR" and "Heart Design" both appear in the same recordings on Power Ballads, Aqueduct's first (self-released, I think) LP. They're both amazing songs, but I see no reason for them to be released again. Also, on Power Ballads, "Heart Design" appears as the opening track, while here it is stuck behind "GNR" as the fourth track. To me, the song works far better as an album opener.

Also appearing on Power Ballads and I Sold Gold is "Frantic". There is a difference here, however. On Power Ballads (Harrison Ford Version) it worked as an instrumental, a sort of segue or intermission in between to split up the album. And it worked wonderfully. On I Sold Gold's "(Roman Polanski Version)", vocals have been added, and it sounds as if the music was re-recorded. In my opinion, the vocals and re-recording tarnish the greatness of the original. It just lacks the same pop it once had.

The last two previously released songs, "Hardcore Days & Softcore Nights" and "Tension" both appeared in various forms on Aqueduct's recently released EP Pistol At Dawn. This, I'm fine with. It's normal to release an EP of album material before the release of an album. However, the EP contained the "(Piano Verite)" version of "Tension," which I just think is a much better version of the song than the glitchy, tension-filled (wink) version that appears on the album.

With all of this said, I must say that for somebody who has never listened to any other Aqueduct releases, I Sold Gold is probably a great place to start. The only problem is for people (like me) who are already fans of the band. Listening to all of this material that I've heard before just isn't fun. I guess can understand how Barsuk would want to make sure to release Aqueduct's best stuff, since they're probably a new group to most of indie-America. I just hope that the next LP comes soon, because I'm only half satisfied with this one.

And while I'm writing, I have to point out that Power Ballads (which apparently you can't buy on Amazon, and which I HIGHLY recommend you seek out) was recorded before The Postal Service's "Give Up" was ever released, so all of the critics who mention anything about Aqueduct ripping them off or something like that really don't know what they're talking about. ... Read more

Album Description

1997 release 'Brighten The Corners' is a record thatreveals its gifts gradually, giving you enough informationthe first time to make you want come back for more. Matador Records. ... Read more

Reviews (43)

Indie pop rock heaven
The most accessible Pavement album full of melody but still has that quirkiness that we all love so much. If you are new to Pavement this is where to start - it is where I did and this is still my favourite to this day (next try Crooked Rain, Crooked Rain).

I can't believe how many people say that this album is Pavement's weakest. I have all of their album's (except for Wowee Zowee - too weird for me) and this is the one that shines above the rest - and that is a huge call. It echoes the melodic genius that appear in Crooked Rain eg Gold Soundz and Cut Your Hair.

You know that feeling you get in your stomach when you hear music that really moves you - this whole album does it for me. The whole album is consistent and must be listened to and appreciated as a whole from the rocking Stereo through to the rip snorting guitar solo finale on Fin - this album is a must have for any rock music fan.

It is a work of a musical genius/s. Buy it now - you won't regret it.

Musical magpies, but they do it well
Let's face it. Pavement are a post-modern rock band. They believe in appropriation. As with earlier albums, large portions of 'Brighten the Corners' just sound like *someone else*. The songs play like collages of old rock gestures - just as 'Crooked Rain, Crooked rain' draws on source material like Buddy Holly, Desmond/Brubeck, and the ever-present Beach Boys, BTC's musical tone wavers between The Velvet Underground ('Type Slowly'), The Byrds ('date W/Ikea'), drum 'n' bass ('Blue Hawaiian') and The Beatles ('We are Underused') (and track three sounds a hell of a lot like obscure guitar impresario Roy Montgomery). Which is by no means a bad thing.

What Pavement remind me of most are artists like Jasper Johns and Robert Rauschenberg - the elements they work with aren't original, just cribbed bits of pop-culture and old styles. What they do is create chaotic, drunken, free form sculptures in which the appropriated elements merge and meet and fall into new configurations. The lyrics follow the same pattern - free associations of words and weird slogans and fractured trains of thought placed end on end. The end result is a song like 'Type Slowly', where second album Velvet Underground merges with words like 'terrarium' and 'Futurist' and the mad yet compelling image of a blue incandescent guillotine to create something truly original, despite its obviously recycled source material.

This is a great, subtle, ever-shifting bundle of an album.

Amusing and fun CD.
This CD is a fun listen. Pavement's unique lyrics and musical style shine through on this album. While this music may not be "deep" and meaningful, it certainly is worth listening to. If you are looking to have fun with a CD, this is the one for you.

come on, people!!!
sorry, but this album is NOT good. the only pavement albums worth buying are those BEFORE Crooked Rain, Crooked Rain. When you get to CR/CR, you will start to notice fewer and fewer good songs per album. By the time Brighten the Corners appeared, you could practically hear Malkamus forcing the energy, so clearly faked. This album is uninspired in the the literal sense, it was created with no inspiration. If you are new to Pavement, do yourself a favor... buy all of their older catalog, and don't ever, ever, ever listen to their later stuff... you will love them forever this way.

Underrated and well worth adding to your collection
This is not among the much-hyped Pavement outings ("Slanted"..., "Crooked Rain..."), but it belongs in the same class. All the usual ingredients are there (ingenious lyricism, gorgeous melodies, fantastic guitar work). The album is arranged well, and nicely bridges the gap between their low-fi days and their Nigel Godrich collaborations. Certainly worth adding to anyone's collection. ... Read more

Album Description

This is the sixth and final album in a series of solo efforts released in 2004. "Curtains" is all acoustic, and it follows "The Will To Death", Ataxia's "Automatic Writing", "DC EP", "Inside Of Emptiness", and "A Sphere In The Heart Of Silence". ... Read more

Amazon.com

Given his endless roster of side projects in addition to his main gig, Sebadoh, it would seem Lou Barlow just can't get enough of himself. But as the king of lo-fi, it's Lou's job to be a compulsive releaser of material. In committing so much to tape, Barlow gives us an intimate view of a songwriter in all his moods and various states of polish.Barlow appears on 9 of 13 cuts on the soundtrack of the much-discussed film Kids, mainly as part of a duo with John Davis called Folk Implosion. While there's a spare Sebadoh oldie ("Spoiled") and an angry punk exorcism from the four-man Deluxx Folk Implosion ("Daddy Never Understood"), mostly we hear Barlow in mellow dance mode with the groove-based Implosion. Over trancelike mechanical beats and synth effects that verge on ambient at times, Barlow delivers vocals in as plain and funky a style as a nerdy white boy can. It's a shame that songs like "Natural One" and "Wet Stuff" barely appear in the film; they create a perfect backdrop for Kids' confused adolescents. --Roni Sarig ... Read more

Reviews (14)

Kids = Folk Implosion Promo-CD ???
The Music isn't bad, but I can't remember the songs "wet stuff" and "nothing gonna stop", "good morning captain" and "Natural one" from the movie itself? Where are all the cool rap songs??? Just one short song from Lo-Down... It seems that this soundtrack was used just as a Promo-CD for the Folk implosion and slint... If you search a CD of the "REAL" kids soundtrach, then don't buy this one. I am searching for the names of the artists and the song titles of all the rap songs! please write me if you know them!

just wanted to say some things...
great soundtrack, don't really need to go into that. but to everyone who's been wondering about where to find out the full soundtrack listing (which includes all the hip-hop tracks and the jazz ones, in addition to all the ones shown here) go to imdb.com (Internet Movie Data Base) and search for the movie (Title) KIDS. once you get to the movie page, go to "soundtrack listing," (it'll be on the left somewhere) and it's all there; every song, every artist, though you might not be able to find them all on a single compilation. you might have to check out all the artists individually.

also, another thing: if you guys wanna check out something similar to the lo-fi folk implosion/lou barlow-type stuff, look for a song by john frusciante (yes, the chili peppers' guitarist) called "ants." it was featured in the jane's addiction film "gift," and it's really wonderful. it's a very short song (like 2 and a half minutes) so it's probably not worth 15 bucks for the single song, but it IS really worth finding. i don't think it's on any of his cd's anyway, so you'll probably wanna download it, or if you're a jane's fan, buy the GIFT vhs (it plays during the scene toward the end where perry's cleaning, and you see ANTS! you'll know it when you see it). sonically, it could have easily fit into the KIDS soundtrack, and it shows you a real interesting side of frusciante; an amazing little song i must say (believe me, if you liked the folk implosion stuff but don't like the chili peppers, you'll probably like this, as it sounds NOTHING like the chili peppers.)

all right, hope this helped someone. peace.

This one's for the children.
This disc is pretty much dominated by Lou Barlow. Nothing like his former band "Dinosaur Jr.", but plenty from "Folk Impolsion" and a track from "Sebadoh". There's a few other tracks here, but mostly it is all lo-fi stuff. The "Casper the friendly ghost" song is cool. Most of this is good for just chillin' though. The big song here, and probably the best, is "Natural One". That's incredibly addictive. I do agree with another reviewer that "John Frusciante's" solo stuff is much like this, and mostly good. In the end, this might not be as entertaining as the movie, but it is pretty cool.

magnificient!
I love this album. I can listen to it when I work out (it's very beat driven), I can listen to it when I'm falling asleep or hanging out (it's very mellow) and I can listen to it after I watch Kids and love it love it love it. Although I can listen to the whole thing without skipping any songs, I think the stand-out tracks are "Jenny's Theme" and "Natural One" both by Folk Implosion, "Spoiled" by Sebadoh and "Good Morning Captain" by Slint. I think my parents like "Natural One" even more than I do, maybe it reminds them of seventies rock? I'm too young to know. All are deliciously guitar-y backed with wonderful drumming and Slint is a marathon long, which I always enjoy. "Daddy Never Understood" is the song featured in the previews and is punky, but not overwhelmingly so and the Daniel Johnston songs are especially wonderful... two of the few songs that have lyrics. I think the weakest parts are "Simean Groove," only because the wolf howl is a bit cheesy, and "Mad Fright Night" becuase it is the only rap track on the album. This album opened me up to a whole new world of music, as cliche as it sounds, and I'm planning on buying many Sebadoh and Slint cds now, haha. Everyone who loved Kids should immediately purchase this.

An incredible soundtrack for an incredible film.
This has to be one of the greatest albums I've ever owned. From the soft and subtile riff of "Spoiled" to the angst ridden "Daddy Never Understood" this album contains all the sonic range required of a fantastic CD. Barlow has proven his songwriting genius once again as he has for years in his other various projects (Sebadoh, Sentridoh, etc.). A moody, intellegent, and brooding album that simply cannot recieve enough praise, and that's the truth. ... Read more

Reviews (6)

Something refreshing!
Its hard to pinpoint what exactly makes C'Mon Miracle so good...it could be the beautiful vocals, the imaginative instrumentation, or the gentle mood that enmeshes the entire album. Whatever it is, it's caught my attention and made me feel excited that their's still artists out there who aren't afraid to go against the grain and create music thats original and inspired by more than just money. I like listening to each song on this album, and its very hard to find a record that I dont want to skip through the bulk of. Some reviewers have seemed a bit dissapointed with her latest effort saying that it's strayed somewhat from Mirah's previous albums; but I think that C'Mon Miracle is a natural prgression that fits all of her previous musical ideas into a coherent little package. If you like Mirah, you should also try listening to Tegan & Sara, they're two female twins from Canada who sound kind of rocky, kind of acousticy, and kind of folky...I'm allowed to make up words on here right?!

Good (but not great) Stuff
Mirah's lilting voice and tight, endearing songwriting combine with Phil Elvrum's strong contribution as producer to create an album that is well-done and completely listenable, but a little bit of a disappointment in the context of her earlier work. I still dole out four stars, so I don't mean to imply that the album's not good; it's just not what I hoped it would be.

C'mon Miracle does however show a lot of maturity. With quiet, string-accompanied pieces like "Nobody Has to Stay" and lo fi, rambunctious songs like "The Light," Mirah shows the ability to retread the broad range of musical ground she covered with her earlier albums. Still, some songs, like "Jerusalem," seem to fall uninterestingly in the space between her heady and low brow approaches to making music.

There's enough good music here to keep most anyone happy, though. While some of the highs of the her earlier albums seem to be missing, songs like "We're Both So Sorry" and "The Dogs of B.A." are compelling enough to keep the listener's interest. They just don't happen to be as compelling as some of Mirah's earlier work. If just you're discovering Mirah, I'd recommend trying another album. If you're already a fan, you may not be blown away, but you'll be pleased.

Mirah's most cohesive album yet
I thought it was about time that Mirah got back into the studio to do what she does best, and where she belongs. I mean, I loved Songs from the Black Mountain Music Project but the confines of a studio atmosphere really ironically allow for the fleshing out of her ideas better than their stripped down counterparts, especially when Phil Elvrum is on hand to produce.

I think something happened to our Mirah during her trip up into the Black Mountains. Perhaps it was the influence of cabin partner Ginger Brooks Takahashi, but Mirah has returned with a new outlook on songwriting. The songs on her previous albums were serious enough musings on love, sex, and friendship, but she's moved on to--while not less personal, certainly heavier subjects. There is nothing on C'mon Miracle to match the epic heights of "Cold Cold Water" (evidently a one-shot deal), but these are songs on subjects that are obviously very meaningful to her. My only concern is that they may turn off her fan base, who look to her to sing what they're thinking and feeling about their own lives, and that these songs may be too personal to reach universality.

The very mellow "Nobody Has to Stay" introduces the mood that pervades the album, with "Jerusalem" (download)--an open letter to the Holy City--only upping the tempo slightly. Heavy production first crops up on "The Light" (one senses the hand of usual producer, and Microphone, Phil Elvrum). The grinding, popping, and blipping accompany Mirah's voice nicely, and an added bonus is a jangly guitar bridge that takes this sweet song to its end.

The first of two songs recorded while Mirah was in Argentina, country-folk strumming and some restrained brushwork (from Bryce Panic) are a part of "Don't Die in Me," a definite highlight of C'mon Miracle that starts out simply but slowly builds to a crescendo of power that continues in "Look Up!" which showcases Mirah's voice to great effect. Unfortunately, her voice is the only good thing in "We're Both So Sorry," yet another breakup song that is way too weird musically and, thus, way too long.

"The Dogs of B.A." (Buenos Aires, this is the other Argentinian recording), however, is a quick, poppy, bass-driven song that is infectious and the usual recipient of a press of the Repeat button. The spoken Spanish interlude near the end only adds to the charm, even though I have no idea what is being said. (That's probably best, now that I think about it.)

There's no particular standout along the lines of "Words Cannot Describe" (from You Think It's Like This, But Really It's Like This), "Cold Cold Water" (from Advisory Committee), or "Oh! September" (one of the Songs from the Black Mountain Music Project), but despite the many musical styles evident (and the few duds present) on C'mon Miracle, it is Mirah's most cohesive recording yet. Even the lesser songs fit well in the whole scheme of the album and Mirah's songwriting just keeps getting more and more interesting. This reviewer, for one, expects that more great things are in store.

wow - great indie-pop -
I am a big microphones fan - hadn't checked out Mirah's solo stuff before though - This album is really good - definetly apparent is Phil Elvrum's influence - but Mirah has her own style - I think her vocals are great - but most of all, the production sounds lovely - especially the second half of the album, which takes on a quieter, calmer, more somber feel - the album is a great listen - highly recomended!

hey
While Mirah's third full-length album is not as remarkable as "Advisory Commitee" it is still, without a doubt, a remarkable album. Although some songs struck me more than others (such as the heartbreaking sort-of break-up song, "We're Both So Sorry") and I actually disliked one track (the slightly too thematic "Dogs of B.A."), as a whole, this album is an admirable achievement. It is more constant in mood than Mirah's past releases, but just as varied in musical influence. This constistency, however, prevents the album from having one outstanding track (like "Cold, Cold Water" on "Advisory Commitee" or "Sweepstakes Prize" on "You Think It's Like This..."). When it all comes down to it, I am somewhat disappointed with "C'mon Miracle," but I am by no means saying that this is not a fantastic album. 'Cause it is. ... Read more

Reviews (5)

fun album, not spectacular
So Im a bigtime blur fan, but I've always avoided Graham Coxon's solo work. However, after reading some of the reviews of this album that talked about how it was sorta like Parklife-era blur, I was interested. After hearing "Freaking Out" on the radio, I was sold.

Well, the album is okay, nothing too special. Some of the bluesy stuff is a tad cringe-inducing. It has its moments, but there is nothing as sublimely amazing as Coxon's guitar work with blur. The whole exercise just a rings a bit hollow for me. It doesn't seem like Mr. Coxon is really giving his all.

A surprising return to form
It might be sad, it might not, but the best pure-Blur album since 'Parklife' is probably Graham Coxon's new album 'Happiness in Magazines.' It's a guitar frenzy of 3 minute pop songs that make his contributions to Blur extraordinarily obvious--he wasn't just guitar riffs, he was also melody and movement.

Graham's solo albums up until now have been indie-rock experiments with only a nod or two to his populist past, though you could feel him starting to become comfortable with actually recording "songs" on his last one, 'The Kiss of Morning.' But now that he's officially out of Blur and Damon's smoking a ton of weed and fooling around with drum machines, Graham isn't afraid to cut away the fat and stake a claim to the legacy by hiring Stephen Street to polish up some (dare I say?) "fun" guitar jaunts like the roller coaster melodic "No Good Time" and the driving-rock-yell-the-chorus-from-the-rafters anthems "Spectacular" and "Freakin' Out." And "Bittersweet Bundle of Misery" is a 2004 version of "Coffee & TV" that's more fun than the original. Graham's having a lot better time being an ex-member of Blur than he had as a member of the post-Britpop-borderline-art-rock band who recorded '13'--I mean, who would have thought the miserable looking sod would end an album by singing "Life, I love you...?"

Graham one-man-band's it on the majority of tracks but the sound is leaner and punkier than even "Song 2"--his voice has gained confidence and strength and his guitar playing is loud and raucous without being stupid; it reminds you why even NOEL FREAKIN' GALLAGHER said that Graham was one of the best of his generation (hopefully John Squire is paying attention after forgetting to play guitar and attempting to "sing" on his recent solo albums.) Graham is retro without being sad, reminiscent without being cloying, rock that rolls without selling it's soul to the latest trends. 'Think Tank' was a bong load of tomorrow coming today, 'Happiness in Magazines' is an old friend that you didn't realize you missed until he sits down and steals your cigarettes.

InstantClassic
Wow. It's hard to find new music nowadays that stays with you.There is alot of great music out there, but for some reason I don't see myself listening to much of it in 10 years. Until I heard this. I definitely hear the Robin Hitchcock and XTC similarities that the other reviewers refer to, but if you are not a fan of either of those, please don't disregard this album.
Nothing ground breaking here, but the album sounds really... fresh. I can actually say I was transfixed upon first hearing it. That never happens. Some great straight ahead rock songs, with a few really fine ballads (try 'All Over Me') mixed in. An excellent listening experience.

It grows on you.
Picked this up after reading a rather favorable review in the Washington Post.Initially I felt a little underwhelmed by the effort, feeling that Graham Coxon was in dire need of significant bandmates.But I left the disc in the player for a couple of days and I have to admit the more I hear it the more I seem to appreciate its humor and style.Not quite Robyn Hitchcock meets Rocket from the Tombs.Not mindblowing (but what is these days?) but more than enjoyable.

Why Doesn't Good Music Get Noticed Anymore?
Graham Coxon (ex-Blur guitarist) has turned in a solid effort here, which may make you think of mid-90s Blur (think "Charmless Man" or "Beetlebum"), or maybe even XTC circa "Black Sea". His off-kilter sense of humour shows in lyrics like "People of the Earth" ("People of the Earth, you are not cool/You eat hamburgers and go to school"!), while the guitar playing remains excellent throughout. The better songs here suggest who was really the talent in Blur... ... Read more

Reviews (9)

My favorite Goats album...
I own a few Goats albums and this is my favorite - The lyrics are terribly brilliant - from start to finish this album, with it's ridiculously low-budget production values and flawed guitar strums is warm, full of life - brimming with humanity, flaws and all - Darnelle is so full of charm and intelligence, and these songs potray his quirky personality quite well. Seeing The Mountain Goats live recently was tremendous and an encore performance of the song "Jenny" from this album reminded me of how much I love it - a voice, a guitar, and a hissing tape recorder - it shouldn't be as good as it is, but it is - another little miracle I guess...Enjoy!

the bare bones of beauty
I agree with the post-rock comparison of the other reviewer. While it may be hard to tell through the extremely lo-fi nature of the recordings, through close inspection, the guitar riffs are strongly emotive in the vein of shogazer and post-punk and definitely post-rock. The act of translating these unorthodox feelings into stripped-down folk music reminds me of Gastr De Sol, Secret Square, Guided By Voices, One Foot In The Grave-era Beck, Neutral Milk Hotel, and emo-favorite Bright Eyes. However, this is much more lo-fi, and not nescicarily better, than all of them. I'm in a band that's influenced by post-punk, shoegazer, post-rock, and avante-garde (you know Sonic Youth, Slint, My Bloody Valentine, the standards). I've heard our guitarist and good friend many a time playing his various riffs to stripped-down acoustic guitar and making up random lyrics, in various different areas of existential isolation and such, and this cd brings back fond memories. THe combination of mostly pretty riffs and clever lyrics (that range from introspective cynical reflections to blissful romantic poetry to more playful and sarcastic tales), helps complete the memories. This isn't the most rocking, or even the best in terms of psychadelic or surreal music, but it's certainly reminescent of some sort of sublime dream in which the music is sweet and simple, almost like a recording of a melancholy man who lived and died his life in complete obscurity. You can feel these songs bleeding like transmissions from beyond the grave. *also highly recommeneded are the previously mentioned One Foot In THe Grave, which includes some of Beck's most beautiful material, and Secret Square, a little known band on Elephant 6 that plays otherwordly extraterrestrial folk music*

I just can't get sick of it
First of all, it's not pretentiously underproduced. it isn't produced at all. by recording an album with only his voice, an acoustic guitar and a boombox, john darnielle has stripped music down to it's original american folk/blues roots and implicitly declares himself a storyteller, or poet. it's not too hard to understand why the music's so great. he's a brilliant lyricist. he's a master of the pen. he turns relatively uninteresting songs into small slices of culture. it took me a few listens to get past the outlandish nature of his stories and begin to realize that these songs are from the heart. they're tales of lost loves, broken dreams, and searching for happiness in all the wrong places. to like Tallahassee and despise this album makes me wonder why you would like the mountain goats in the first place. as you can tell by the spare instrumentation of Tallahassee, Darnielle uses careful thought when adding any element to his songs beyond the voice and guitar. he sings with more authority than any vocalist of our time. make no bones about it, All Hail West Texas is brilliant

Help me understand what's so great about this band?
I am postively serious about this. I want as many people who see this review to send in their thoughts, opinions, and other complaints to tell me why I don't get this. I seriously want to know what I'm missing because I'm just not hearing it apparently.

If it weren't for my lofi indiefolk loving friend, I probably wouldn't even be writing this review. However the more I think about this album and its opening track, the harder and faster my teeth seem to rub together. Yes people, this CD is that painful to listen to. From Darniell's inexplicably irritating tone and delivery and grinding, distorted accoustic guitar(no people, that's not a good thing) to its drastically underproduced(I know he can produce because Tallhasse has production and I like that album) pretensious sound, I find nothing interesting or even enjoyable about this album.

So please people, help me understand. What am I missing? Is there some sort of clever joke that is being played on me or someting. Because if there is, I don't find it funny at all.

Renew your faith in Lo-Fi
Perhaps you've heard the recent buzz around so-called "post-rock" bands. These bands, led by Godspeed You Black Emperor are good bands and they make good music. But the Mountain Goats proves that it is just too early to be post- anything. All Hail West Texas is the perfect foil to the ambient difficult-to-pin-down emotion of post-rock. It is straight-forward, it is simple, but it is perfect. It is a guy, a guitar, and a tape recorder. I am tempted to say that the emotion of this album is on the surface, but it is ground deep into every pop and click of the tape recorder.

Other reviews might say that the recording quality is poor. The recording is perfect. Sometimes the sound drops out in one side or another, sometimes you can hear the motor of the tape player, but this is no accident. And this is where The Mountain Goats connect to post-rock. This guy-with-guitar is more than some guy with a guitar in a bar. He knows that background noise is as important as notes and that the fuzz of his voice makes it sound more real. This is the small idea that Godspeed You Black Emperor brilliantly transformed into a movement, but The Mountain Goats have mastered it in a way that seems so basic and natural.

Have you ever found a tape that your mom recorded of you speaking when you were little? That is what this album is like. ... Read more

Reviews (15)

An extension of Mellow Gold
To me, Beck has two styles: the R&B, hip-hop mix that has gained him commercial success (ie tracks off Odelay or that sad excuse of Music that is Midnight Vultures) and the more subtle indie/alt rock that not many aknowledge him for (One Foot in the Grave, Mutations.) The Loser single incorporates both styles for both casual listeners and Beck completists alike.

The title track speaks for itself.

CORVETTE BUMMER is another rappy entry, but it is fair in comparison to its cousin tracks on Mellow Gold.

ALCOHOL is a beautifully slow, mellow song along the lines of Black Hole and Nobody's Fault But My Own. Some compare it to Steal My Body Home with its wonderful percussion coda.

SOUL SUCKING JERK is an alternative version of the Mellow Gold track of the same name that, while interesting, is inferior to that on the album.

Lastly, there is FUME. To be honest, this track is the reason as to why I purchased the single. It reflects the indie rock humor, sound, and lyrics of other Beck classics such as Satan Gave Me a Taco and Bogusflow, and, in the Beck tradition that he does at the end of his LPs, gets noisy in the end.

All in all, this is highly recommended to all Beck fans who appreciate all of Beck's sounds, old, new, and just plain obscure. You'd better order it online or find it in a good shop in the city, however, because this disc is rather hard to locate otherwise.

if you liked mellow gold and want some more...
this is the place to go. Most of these songs are actually stronger than some things that ended up on that album. Since it's short and because I can, I'll go through each track now.

1. Loser - Not much I can say here. the same old single we all know and love.
2. Corvette Bummer - Nice groove. I love the fact that despite being a "rap" song, most of the lines don't actually rhyme with each other, and yet it takes you a while for you to notice this because Beck makes it flow so well. Somehow I really like the way he's spitting out his "p's" in the vocal delivery. The ending is bizarre and hillarious as well.
3. alcohol - a pretty folk song about being drunk. This song has always kind of creeped me out in a way. I remember when I was 13 and accidentally played it on the jukebox because it was the b-side to "Loser" it freaked me out, especially that weird unexpected noise coda, and the line "if I stay in the same place, the animals will lick my face". Nowadays I'm somewhat used to weird noises leaping out of my stereo thanks to hearing a few residents albums, but it's still eerie, albeit in a good way.
4. Soul Sucking Jerk (Reject) - While the version of this song on mellow gold has it's own appeal in it's pure bizarre trippiness, I prefer the more straightforward funkier version found here. I love the bit towards the beginning where Beck announces "rockin' the town like a moldy crouton!", and the long funky organ solo (which is mostly why this version's longer). Only thing I don't like is that the verse order is switched around a bit, partially because it throws me off trying to sing along, and partially because it starts off with what I always thought to be the weakest verse lyrically.
5. fume - funny and yet kind of scary. Apparently inspired by the true story of a bunch of kids who drove around in a truck full of nitrous oxide and died. The details like the images of them cranking Molly Hatchet and their previous attempts at getting high by "smoking broken pencils" put a comic spin to it, as does the chorus, but there's still something unsettling. I love the woozy sounding slide guitar during the chorus that fits perfectly with the subject matter. Bit of a surprise ending as well, but I'm not going to give it away.

So in conclusion, if you liked mellow gold, you'll pretty much like this, especially if you sort of wished there were a few more funky numbers like "beercan" in there.

two versions
Evidently, there are 2 versions of this single. I bought one way back in the day which has LOSER on it, accompanied by CORVETTE BUMMER and these two other UNBELIEVABLE songs! TOTALLY CONFUSED, a mellow song with (get this) a female back up singer, and one of Beck's greatest songs of all time--MTV MAKES ME WANT TO SMOKE CRACK, where Beck tears it up on the piano. You need to find this version of the single as well, because the songs on this particular version are really cool, but having a Beck collection at your home without MTV MAKES ME WANT TO SMOKE CRACK is like showing up at church naked...it's UNSPEAKABLE!

I'm a loser babyyyyyyyyyyy, so why don't cha kill meeee???
Best song ever written, dude!!!! DUUUUUUUUUUUUHHHHHHHHHH!!!!!

Gonna fly like a dog..
This EP is absolutely perfect, I bought this based on hearing "Loser" on the radio again recently, and the best song on here has to be "Corvette Bummer", can't see why it failed to get on the album."Gonna walk around this town with a can of whiskey, gonna fly like a bird..", and the reject version of "Soul Suckin' Jerk" is also superior to "MellowGold"'s version. "Fume" is also awesome, "Smokin' broken pencils and drinkin' a Coke" will make you just crack up. Put this one in your cd changer in your trunk for sure. ... Read more

Amazon.com

Midwestern obscure-rock archivists and curators Guided by Voices are back before you could consider them gone with another fun-filled, hook-happy hodge podge of songs, half-songs, ideas, and vaguely pleasing sounds to get you through summer. How many influences can you find in this picture? A Beatles harmony and a Syd Barrett musing here and there are easy to spot, but how about the pack of no-name psychedelicists and prepunk garage dwellers that only Guided by voices have ever heard of? Could be thousands.GBV are so good at integrating references, in fact, their records sound like nothing more than well-groomed and quirky modern rock. Call them post-postmodernists--what else to brand a group that sings a song named "The Golden Heart Mountain Top Queen Directory" without even a smirk and doesn't come off disgustingly pretentious? Sincere? Timeless? We get the joke while they swear they never made one. --Roni Sarig ... Read more

Reviews (61)

Auditory Rorschach sketchbook from a master
Ever wonder if some rock bands have tried to mask subliminal "play me again, this is the best music you've ever heard" messages on their albums or songs, cause you can't get them outta your head?
Neither have I. Anyway, here's one that surely doesn't need to. These songs truly merit the description "haunting," an eclectic collection like a rough and ready "White Album"--one gem after another, each exploring and invigorating old forms with amazing melodic hooks. Lotsa surface noise, straight from the four-track to your heart. GBV's leader Robert Pollard is one of the best lyricist/singers around in rock--for instance, the bitter tale told in "Smothered in Hugs" (sheathed in My Bloody Valentine-like grinding guitars) is the most mysteriously moving thing I've heard in years. "Gold Star for Robot Boy"--instrumentally, a bassless & dissonant din--is transformed by Pollard's biting lyrics and vocal part into a casually brilliant masterpiece. "Her Psychology Today"--a punk song in multiple and simultaneous time-signatures, edging into Beefheart territory....
Just try this CD--it might change your life. BEE THOUSAND is enough to make any pop musician who sketches out songs on a fourtrack tape cash it in for good.

The more you listen, the more you'll like it
My first experience with Guided by Voices came at a live show during a radio festival, and I was absolutely blown away by the band. Soon after, I rushed out and bought Bee Thousand because it contained my favorite song from the evening - Smothered in Hugs. I admittedly was at first disappointed by the album due to its lack of dynamic sound. However, it's three years later, and I am still listening to this CD a couple times a week. Forget the sound; the songs are the key, and Bee Thousand delivers at least 12 classics amongst its twenty songs. My faves are Hugs, Tractor Rape Chain, Awful Bliss, Echoes Myron, and Peephole, but the capper for me is the largely unheralded Queen of Cans and Jars, which I would pay mucho bucks to hear Pollard and co. play live someday (they never do). Rock fans with pop sensibilities should really give this band a try - check out the more recently released "Do the Collapse" as well if you're new to GBV.

GBV is the s***.
Like many people who have heard this recording, at first I didn't like it. The musicians are relatively elementary in their skills and Bob Pollard's fake McCartney-esque accent isn't exactly rangey. But it grew on me, of course. The record is very consistent (for Pollard, of course) and over half the songs are great. The very best song here is the startling "Tractor Rape Chain," which I think is one of the best, if not THE best song Pollard ever wrote. He also cranks out some gems, like "The Goldheart Mountaintop Queen Directory," "Smothered in Hugs," "Queen of Cans & Jars," "Kicker of Elves," "Hardcore UFO's," and the gorgeous "Yours to Keep." Tobin Sprout writes two stone cold GBV classics: "Awful Bliss" and "Echos Myron." It's a shame he didn't contribute more and was thrown out by Bob.
But this is a GBV record and "Demons Are Real," "Peep Hole," and "Ester's Day" are awful, but that's what can be expected. I remember a reviewer saying it would better to spend time on ten songs rather than 20 songs with lesser quality. That is true, but that is the charm of GBV; they hastily write, record and release with no compromise (until Do the Collapse, of course)
and as much spontaneity as the best true rock 'n roll.

Low-fi Magic
Let's get the negative out of the way quickly--the album sounds like it was recorded in the basement on a 4 track recorder. The reason this is the case is because that is exactly how it was recorded. Once you unpolish your ears, and get used to the low-fi sound, you will begin to appreciate this album. The first time I listened to Bee Thousand, I didn't like it because I thought it "sounded" bad. This just goes to show you how much we rely on SOUND quality as opposed to SONG quality when we judge an album. After I listened to it about 5 times, and got used to how it sounded, I started to realize how great Bee Thousand is. This album stands up as a classic solely because it does not rely on studio tricks or gimmicks. The songs are great not because they sound great, but because they are so well written. Robert Pollard has a way with melodies that will remind listeners of The Who or The Beatles. He manages to do this while at the same time creating a sound and style that is uniquely his.

I like the fact that many of the songs are less than 2 minutes. I get frustrated listening to songs these days that feel the need to repeat the chorus 13 times at the end so that the song is 4 or 5 minutes long. GBV attacks songs like a covert ops team attacks its target: get in, get it done, get out as fast as possible, and don't waste time. After all, sometimes it is better to be brief. How many times have you written something and made it worse be padding it with meaningless fluff just to make it look longer?

It's hard to pick favorites on this album, but I'll give it a try. "I am a Scientist" and "Echoes Myron" are both catchy, and "Buzzards and Dreadful Crows" straight up rocks. "Tractor Rape Chain," despite it's title, is a piece of pop-rock magic. "Gold Star for Robot Boy" taps into Pollard's experience as a teacher, and "Hardcore UFOs" gets right to the roots of what being in a band is all about.

This album is not for causal listeners. If you give a CD one shot to hook you, then you will miss out on this one for sure. If you are a fan of powerful music with great melodies, and you don't mind spending time with an album learning to love it, then this album is an absolute must have.

Misguided by Voices
I don't get it. These guys have an odd loyal following or a lot of friends. The recording is crap. I've made better recordings on my four-track in my basement. This is hard to listen to. Even after a dozen or so attempts to try and find something likeable. The lyrics are interesting, which is why I didn't rate it one star. Instead of twenty short songs, how about putting some effort into at least ten decent sounding tracks. I'll take quality over quantity any day. ... Read more

Reviews (6)

Best Mountain Goats album
This is an excellent album. The rest of the Mountain goats albums are mostly good, but none is as cohesive as this one. If you are interested in hearing him, this is the one to buy. It will take some getting used to, but you will grow to appreciate what he does. Music that is largely based on lyrical imagery and vocal delivery, but you'll be singing along as well

Close to perfect.
Damn good. I cannot stop listening to The Mountain Goats. Words cannot describe how good these albums are.

my favorite Mountain Goats CD
Great stuff here. If you're looking for intelligent lyrics full of mirth and sadness, this is the place. If your looking for a great singer and complex musical arrangements, move right along now. The Mountain Goats are masters of the former and Sweden is their most complete work.

I will ocassionally go many months between listening to this CD and every time I do, a new song emerges as my favorite. Currently, it is 'Prana Ferox,' which while telling a story of moonshine whiskey and a heat wave, makes one feel happy to be alive. Snow Crush Killing Song and Sept. 19 Triple X Love! Love! are other highlights. And Cold Milk Bottle is the best telling off of God there is, beating out Jed Bartlett in the West Wing's Season 2 finale. While there are a few songs that don't stand out--like FM and Tollund Man--there are none that are bad.

The best thing I can say about this CD is that is incredibly rewarding. Every time you listen to the lyrics, you discover another beautiful nugget. I'm sure next year, I'll listen to the CD again and pay closer attention to FM then I ever did before and start raving about it instead of the other songs.

Simply Wonderful
Sweden is a masterpiece. Heart-rending lyrics accompanied by the simple song stylings of John Darnielle. Mere words cannot describe the impactful imagry and vocals that mix together in this wonderous tapestry of an album. Any fan of the mountain goats, any fan of music, this is a must have album.

a great introduction for first time listeners
From an old fan's perspective this album is a wonderful start for people curious about the Mountain Goats. Thematic in alot of it's songs without sacrificing the beautiufl singularity of a pop classic. Yet it is more. The way in which the songs are recorded add to the impact as much as the jam-packed narrative lyrics. this album is the second to last album to inlcude the duo of John Darnielle and Rachelle ?. This captures them in a time period of technical and musical innocence that reflects both the freshness of the earlier work and the more polished sounds to be found on later albums. For folks in love with good harmonies, acoustic guitars and sad stories. ... Read more

Reviews (66)

There's a great twelve-song album in these eighteen tracks
Depending on who you talk to, Wowee Zowee is either one of Pavement's greatest masterstrokes, or a bastard child they sent down the river to their unsuspecting fans. Personally, I'd balk at the idea of labeling it at all, since the album's deliberate obliqueness almost defies categorization. Taken purely as a musical artifact to be dusted off and examined though, Wowee Zowee stands as the purest testament to the warped kaleidoscope of Steven Malkmus' mind. If the previous albums were showcases for Malkmus' peerless ability to ransack the past and mold his own vision from the spoils, then Wowee Zowee simply makes the thievery a little less veiled. For while the album sports its share of true Pavement songs, especially in the near flawless first half, they feel overshadowed by the genre experiments and song fragments which punctuate the album's eighteen-song length.

Despite this disjointed nature, with epics like "Rattled By The Rush" and "Fight This Generation" standing among the pedal steel beauty of "Father To A Sister Of Thought," the Stereolab drone of "Half A Canyon," and the punk burst of "Serpentine Pad," the album doesn't really feel like a mess. That's probably because Pavement wisely pared most of the experiments down to the two-minute mark and let the fully-formed works shine a little longer (the exceptions to each rule being "Half A Canyon" and "Black Out," respectively). As for the song order, I'm not sure if any thought at all went into the album's sequence, though at the same time I'm not sure I could have done any better. After all, the drunken hilarity of "Brinx Job" seems just as good as any other song to bridge the carefully considered works on either side, when one considers that even some of the individual songs on the album (like "Grave Architecture") are in and of themselves cases of conflicting identities.

There are some who see this as Pavement's most deliberately anti-pop album, and listening to a live recording of a pre-Wowee Zowee concert, I became acutely aware of the straightforward work it could have been. Gems like "Black Out," "Grounded" (Malkmus' ode to his doctor and his collection of German automobiles) and an instrumental "Brinx Job", when removed from the clutter of unimpressive tracks like "Flux=Rad" and "Western Homes", show that Malkmus indeed had the goods to deliver an album cut from the cloth of its predecessor, the landmark Crooked Rain Crooked Rain. On top of all that, you've got Scott Kannberg's best Pavement song ("Kennel District"), the soaring guitar work of "Pueblo," and the perfect absurdity of "AT&T." So maybe this was supposed to be Malkmus' retreat from the spotlight, but like say, Nirvana's In Utero, Wowee Zowee ultimately proves that Pavement can hardly even try to make an alienating beast of their music.

In the end, Wowee Zowee is the least immediately accessible work of Pavement's discography, and consequentially one deserving of repeated listens. Somewhere in the chaos of these eighteen tracks is a great twelve-song album, and the joy of the record is finding it. At the end of "Black Out," Malkmus wonders aloud, "Up on the trail high/I need to know/Where does it go/How do I get there/And what will I find?" The winding path of Wowee Zowee may not reveal itself immediately, but it's well worth the journey.

Masterpiece!!!!!!!!!!!!
Wowee, Zowee is by far the best album that the guys of Pavement ever put out! I remember purchasing this album and never really finding time to listen to it entirely and when I did that one afternoon, I fell in love with it! Wowee, Zowee, the pinacle of their diversity! The album is a departure from "Crooked Rain, and thank God it is! Only Pavement fans would understand what I'm saying, Crooked Rain is a superb album, but that's their Swan Song and it's so sad that rock critics and these alternabandwagonjumpers put so much emphasis on that album, as if that was the only album they'd release with credibility! Wowee, Zowee, came back and showed these so-called people that they're capable of so much more! The songs themselves will speak for themselves, for example; the first single released, "Rattled by the Rush", is such a moving song, it has this strength and listen carefully to the lyrics, Stephen's a genius and his lyrical content on the entire album is impressive! Father to a sister of thought, FLUX=RAD, Motion Suggests, and especially, GROUNDED, are my favorite songs! If you just stumbled upon Pavement and discovered that you enjoy what you're listening to, go out and purchase Crooked Rain, but if you're familar with Pavement you HAVE TO BUY THIS ALBUM AT ONCE! This album will change your life!

Let's face it........................
These guys could release an album constituted of farting into a microphone and I'd probably dig it. They are that unique. Wowee Zowee is the perfect centerpiece of my second favorite band's career (R.E.M. still holds firm at #1 ... just listen to the I.R.S. years for Godsake, you'll understand).

seriously...
I get chills just thinking about this album. If I could make love to it, I would! Seriously people, simply put, this album is a f***ing masterpiece! Malkmus is a genius! If you have any sense, you'll buy it right now.

Can't go wrong with Pavement
Pretty much every thing in the Pavement cannon is worth owning. I remember this album came out and all of my friend's including myself felt like it was a huge disappointment. Well I remember a few weeks later wondering if it was such a disappointment then how come I'm listening to it all the time? I can't recall ever having an album creep up on me and blowing me away like this one did. It turns out all of my friends were on the same page because we spent the entire summer of '94 playing this one. This album is sort of a fractured, eclectic split of pop, avante garde, and rock with tongue in cheek humor. The songs scream, twist, laugh, cry, and often self destruct. The guitar solo on Rattle By The Rush starts out sounding like Jimmy Page, and ends with the notes coming off in demolished pieces. It's the classic Pavement twist- the catchy pop song with something off putting or silly, but still the juxtaposition comes off brilliantly. I've never heard of a band take so many wild chances and land on their feet as well. The disappointment that really happened the time this album came out was the lack of interest this band got on that joke of a tour Lollapalooza put on by that Schmuck Perry Ferrel. ... Read more

Reviews (47)

untitled
StereopatheticSoulManure might be sometimes compared 2 Mellow Gold, probably because they're both recorded as "musical scrapbooks"- they contain loads of scratched and broken styles "served" in lo-fi (Odelay might be one too, but it's not that lo-fi...). Those two are different from each other, basiclly because SSM hes much more songs = much more styles. And it's so wonderfully lo-fi... Some songs were probably recorded on some damn old tepe recorder, maybe while a performance live - wherever- you can hear people laughing. On the whole this album is funny - don't say you didn't smile hearing "Modesto" or "Thunder peel" - I love those wimpy vocals, sad Beck learnt to sing nowadays :). Well... I don't think my review makes the point, but I think this album is really worth a listen, cos there aren't any like that (and good like that) around. You Americans should be happy to have the best artist ever living in your country...

beck bundles up some craziness
This album is a laid-back assortment of scraps and complete songs. For example: a folk ballad about eating a taco from satan, a live ozzy osborne parody, a long hidden track featuring vocals recorded backwards. Only a couple things give this album continuity: a.) vocal blips of some rascally kid recalling his adventures with weed wackers and the like (the songs with dates as titles) and b.) very clean, melodic country sounding songs to start it and end it (Rowboat and Modesto)

The album reminds me of Nirvana's Incesticide. It sounds like Beck, but it's more eclectic and more revealing about him and his influences than his major albums.

If you liked Mellow Gold all the way through you will definitely enjoy the culturally american back water tone which he simultaneously parodies and participates in.

uneven? yeah. ultra-weird? you bet. brilliant? totally.
a compilation of all manner of early material by beck. some of it is accessible and enduring, some of it just weird for weirdness's sake. overall, don't buy this if you don't like noise or long detours into weird, somewhat directionless territory.

The 1st CD released by "Bizarro" Beck
I picked this CD up only after I was prodded to do so by my wastoid friends. Fresh out of college, I wasn't impressed much by this song "Loser" I kept hearing on the radio. In 1994, I was much more interested in Soundgarden and Nirvana to care. A buddy made me listen to this "alternate" CD that Beck released simultaneously with "Mellow Gold." We smoked out, and the journey began...
What people don't understand is that Beck enjoys playing two definitive styles of music. There's "disco" Beck (Mellow Gold, Odelay, Midnight Vultures) and then there's "bizarro" Beck (Stereopathetic, One Foot in the Grave, Mutations, Sea Change). Unlike many pop stars today, he chooses NOT to mix all of his influences together to make one watered down, radiio friendly CD. He'd rather allow the music to stay pure, almost as an homage, and address his listeners with his amazing versatility. This man can play the piano, guitar, lap guitar, banjo, drums, and countless other intruments! He presents a tune from a familiar genre, and accentuates it with fantastically crafted, witty, hilarious lyrics, to which any young, lost liberal can relate. I am 32 now, and I still love blasting MODESTO, SATAN..., ROWBOAT, OZZY and THE SPIRIT... for my neighbors. I've played this CD for my buddies who like country music, and they really DON'T dig it--which is fine by me. This is not a country CD! There are a number of "folk" tunes, I'd say, with that undeniable Texas influence. You will never experience another CD like this one....I promise. If your metal head friends don't get it, blast PINK NOISE for them...all that late 80's hard core and speed metal come alive again! Listen to this CD, and you'll realize why Beck sings, "MTV makes me want to smoke crack." Apparently, he DID, and this may be the fruits of his "labor." A must have.

This Album Is A Must Have.
I don't really care what that guy down there said about how this is a crappy record. This is really great. Seriously. I like it alot. And it makes you understand how Beck has experimented with different sounds in music throughtout the years. It doesn't bother me one bit to listen to Sea Change and change over to Steropathetic Soulmanure or One Foot In The Grave. Yeah, this album has some songs that get annoying. But don't all albums? This album is great. You should most definetly get it. ... Read more

Reviews (60)

Gentle Rain
Hem's "Rabbit Songs" is a beautiful mix of soft gentle melodies that soothe and lull you. At the same time, there's a lyrical edge as in "When I Was Drinking," "When I was with you living it up when the rent was due." Dan Messe's piano on "Halfacre" gives a sweet undulation, "So we carry every sadness with us." "Burying Song" is a lovely instrumental that flits by quickly. Sally Ellyson's vocals are soft and beautiful like a high flying bird on "Betting On Trains," "I held a silver dollar tight inside my fist & let you go." There is a classic feel to "Leave Me Here" with the yin and yang of a happy piano and sad viola. "I got shadows snapping at my tail who say I'm no damn good," Sally sings on "All That I'm Good For," with its feel like a gentle rain. "Idle (The Rabbit Song)" gives a carefree feel, "Gonna waste some time with you & let this world go." Part of the magic Hem creates comes from its sterling attention to the arrangements. On "Stupid Mouth Shut" we hear viola, cello, clarinet, flute, oboe, piano, guitar, and pedal steel guitar! "Lazy Eye" is a sentimental remembrance, "I can still see the hem of your dress." "Salior" is a dreamy float made magical with Tim McCarthy's french horn wafting over the clouds. "Polly's Dress" is a pretty instrumental piano piece. My favorite track is Steve Curtis' "Night Like A River" with the happy pluck of strings, "I could live a long while on the sweetness of her breath." Hem does a great reading on the traditional song "The Cuckoo." The instrumental "Waltz" is a very dear reflective piece with Meese's piano and Heather Zimmerman's violin. The CD concludes with "Horsey," "You float over everyone in your rings and your wing-tip shoes." "Rabbit Songs" is a delightful CD because it is both well done and different; it feels old and new at the same time. This is one for the quiet moments. Enjoy!

Grace and brilliance
Sally Ellyson's heavenly voice, unaccompanied, quietly singing a lilting lullabye opens the masterpiece of an album that is Rabbit Songs.

The remainder of the album paints a haunting picutre with mixed musical influences. If I had to classify, I'd be most tempted to file this one under country, but it's a far cry from Shania Twain. Folk, gentle pop, bluegrass and even some moderate rock all spill into the stew as well.

Ellyson's smooth, almost smoky vocal sings out lilting tales of lost loves ("When I Was Drinking," "Lazy Eye", almost loves ("Stupid Mouth Shut") and current loves ("All That I'm Good For," "Idle"). The lyrics spawn some memorable images ("I'm not so strong out of my shoes / dragging like anchors" - from 'Sailor,' "restless stars through the trees / enough to fall to our knees / make no sound so no one sees" - from 'Idle'), and definitely aren't anything close to bad, but in the same breath, they're not the star of the show.

The music succeeds, more than the lyrics, in creating the albums colour. Most songs rely on a piano and/or acoustic guitar, usually with some gorgeous horns or strings and some light percussion backing them up. "When I Was Drinking," "Horsey" and "All That I'm Good For" have a definite twang to them; "The Cuckoo" could've been on the 'O Brother Where Art Thou' soundtrack; "Leave Me Here," "Sailor" and "Lazy Eye" are sublimely slow numbers and "Stupid Mouth Shut," "Night Like a River" and the absloutely fantastic "Half Acre" have a more folk/pop flavour, through all of which floats the beautiful vocal.

There are also three instrumental tracks. "Burying Song" has some light, plucked guitar, countered with an oboe, a violin, a flute and some piano. "Polly's Dress" is a shy, piano driven number with a supportive string arrangement. "Waltz" is also piano driven with a violin lead and is somwhat somber and moody.

This is not loud, abrasive or anything like that, but if you're a fan of softer music, you'd do well to give this a spin. The band has created a beautiful, haunting peice of work, and I for one, eagerly await their follow-up.

This is a gentle, superb work
5 stars. I don't give many 5 stars out, but this album absolutely deserves it. The music, the lyrics, the singing, the choice of instruments, the muscianship, the melodies: it all comes together to produce, well, just about the richest musical experience I have ever experienced in one sitting, in toto. It's a real delight to listen to, and that experience does not diminish over time.

Just lovely
I bought this album as a present for a friend of mine who loves to sing along with Gillian Welch, Norah Jones, Joni Mitchell, and the Indigo Girls, but I ended up keeping it for myself.

Saddled firmly in the beautiful space between country, folk, and bluegrass, the meloncholy songs on this album continually please. Sally Ellyson's breezy vocals set the tone for a consistently strong, but delicate album. As far as instrumentation goes, most of the songs are centered on piano or acoustic guitar, but they are wonderfully layered with fiddle, lap steel, and orchestral flourishes. The musicianship is top notch -- and I can't help wondering whether these guys spend more time in Nashville than their stated home of Brooklyn.

The lyrics are simple and heartbroken. Solid for the genre, but neither an asset nor a distraction.

Of the selections Amazon lets you try out, "When I
was Drinking" and "Half Acre" are the most consistent with what the rest of the album has to offer. Give those a listen, and it should be pretty easy to make up your mind. If you're anything like me (or my poor friend who gets no present), Rabbit Songs will become part of your collection.

One small caveat: the reason I gave this album four stars instead of five is because it's not for everyone. If you're into this genre, you'll definitely like it, but I know a lot of people who would be bored or put off by its slowness. Also, there are better albums that are very similar to this one (Gillian Welch's "Soul Journey," for example).

Still, if you like your music like a pretty morning sunrise, go no further.

it doesn't get any better than this
this album is closer to perfect than anything I've ever heard. ... Read more

Amazon.com

After stepping up to the major-label plate with The Moon and Antarctica, Modest Mouse reach back to their roots with Sad Sappy Sucker. Sucker is actually the band's first recording, released in 2001 but created back in 1994. It was shelved in favor of Lonesome Crowded West as their debut, but Sucker is still a fine piece of the Modest Mouse lineage.

Although parts of Sucker are experimental compared to the band's current polish, this isn't some rarity to be enjoyed only by collectors. Breezy melodies build into jagged choruses as singer Isaac Brock shows he can be both tender and playfully aggressive. Most of the songs clock in between two and three minutes, leaving room for numerous gems in the course of the 24-track album. While 12 of the songs come from a recording session with K Records' Calvin Johnson, a chunk of Sucker material comes from Brock's "Dial-a-Song" phase, during which callers heard new songs by dialing into his answering machine. These experiments range from lo-fi combos of distorted instruments and whiny vocals to complete songs, like the bluesy rock jam on "Secret Agent X-9." The Dial-a-Songs--and a message left by Murder City Devils front man Spencer Moody ("Call to Dial-a-Song")--are both comic relief and proof that Modest Mouse didn't gain their indie-rock cult status by accident. The talent's been there from the beginning. --Jennifer Maerz ... Read more

Reviews (23)

I am Obviously Lost
Where to begin....well for starters this cd is REALLY bad. I love Modest Mouse (Lonesome Crowded West still being the most played cd of my collection), but this is bad. Listening to Worms Vs. Birds I thought 'This is pretty good' then I heard the rest of the cd.
I for one, do not see a brilliance here. There is one song that he just repeates Ping Pong! Ok possibly funny for 5-10 seconds but its almost a minute long. Issac's voice always is on a thin line of beautiful and intolerable (I know sounds weird but really its the truth). The biggest problem is the overall lack of song stucture, not to say that it has to follow the same formula, but seriously! Nothing holds the songs together, and the emotion for me just isn't there like it was in songs like trailer trash, or anything like LCW.
Anyway, Sad Sappy Sucker, not even compared to LCW, is unlistenable at best. There are amazing Modest Mouse material, this however, isn't one of them.

Representing Cleveland Ohio
It is sad to see this album get such bad reviews. I can only say one thing, if your a true modest mouse fan then you will like sad sappy like any other mouse albums. Yes it is a little raw but hey what do you expect, it is a lot of their early stuff that ya, probably was recorded in a basement or a shed. The second half of the album are songs recorded in the early days, on their answer machine for people to call in and listen to. You must remember who modest mouse really is. Not a mtv pop band but teachings from the divine right. If you are wary of this album which I was at first, listen to it again, and if you still don't like it as much as the others listen to it again, and then once more all the way through. After that if you still don't like it their is no hope for you.

True fan, still a bad album
Its great to see that an album can in fact be recorded using nothing but crappy equiptment, but for christ sake, keep it in a vault, far far far far away from a cd store shelf near me. Lo-fi is one thing, this falls under the category crap-fi.

Sad it is
The title of this album fits it very well. Modest Mouse should have just kept it mysteriously floating around the net. Get the Moon and Antarctica instead.

Primordial
"Sad Sappy Sucker" is not Modest Mouse's best work ("Lonesome Crowded West" is), but neither is it trash. In fact, it serves as a fantastic left book-end to the group's career thus far. Granted, the production even on the best tunes is awful, the answering-machine ditties are largely annoying, but still, this record gives the listener a chance to hear one of rock's greatest bands in its infancy, and the experience is a most rewarding one. Themes both musical and lyrical that Modest Mouse will later give definitive treatment to are first explored on "Sad Sappy Sucker", and this is reason enough to buy and enjoy it. ... Read more

Album Description

This is the new project from Blake Sennett, co-singer/songwriter of Rilo Kiley. "Me First" includes the help of Mike Mogis (Saddle Creek Records partner and producer extraordinaire), Jimmy Tamborello (Postal Service, Dntel), Jason Boesel (Rilo Kiley), Daniel Brummel (Ozma), Orinda Fink (Azure Ray), Jenny Lewis (Rilo Kiley, Postal Service), Schmed (Arlo), and many others. It incorporates everything from lap steel to melodic, glitchy electronics. A compelling, cinematic framework for Sennett's exemplary songwriting. ... Read more

Reviews (4)

Top 5 of the year!
Just go buy it. This is definitely one of my top 5 albums of '04. If you like Death Cab for Cutie, The Thrills, Beck (Sea Change) or Travis you will love this album!

Familiar and new all at the same time
The moment I heard the first cut on this CD I was mesmerized. Three days later and I still can't stop listening to it. I keep rediscovering each song with every listening. It's familiar and new all at the same time. I don't like to use genres to describe music, I like to compare it with other things I already know. At first listen, it really reminded me of Sparklehorse, Ween's country album, and Beck all rolled into something that Gram Parsons might be doing today if he were still alive and if he had a penchant for electronic gizmos whirring and buzzing textures into each song. You'd be wise to grab this CD now and be ahead of the pack that will surely take notice.

best cd of 2004 so far
Ok, I know its early in the year, but this cd has the potential to make everyones top 10 list for 2004. Its amazing. ALright, the type of music is kinda like folkly pop indie rock. I'm tryin to think of some bands to compare too, but I'm drawin a blank right now, the lead singer does sound kinda similar to Conner somethingorother from BRIGHT EYES.
Anyways, every song on this cd is good, no wait, AMAZING, seriously folks, I speak the truth. If I had to pick a favorite song, I'd pick 'greetings in braille' but its a close call. Anyways, buy this cd, you won't regret it. And if you do, you can come on over and kick me in the belly.

A Fantastic Fusion Of Folk And Finesse
Yes, that sums it up fine. The Senate (or THE ELECTED I guess, as they're now called) disc is a masterpiece from the guy who used to be on a Nickelodeon show titled Salute Your Shorts. I came across this disc by way of the bassist of the record (Daniel Brummel from OZMA) back in April, and I was very skeptical to the sound at first. Lead singer Blake Sennett (guitarist from Rilo Kiley) takes a turn from the pop rock he's used to performing and made a disc of, well, pop folk. The disc hasn't changed much from when I first recieved it in April, only the track order and band name, and that's a good thing. (While I don't really like the new band name!) The cd was near perfect before, there was no reason to change it. Some new synth sounds have been incorporated into the work, thanks to the producer (didn't he do Bright Eyes?), but other than that it is the same flawless folk rock record I first heard almost a whole year ago. If you like The Allman Brothers, Dire Straits, Neil Young, CSN, or Bob Dylan, give this a try; if Me First had been released in the glory days of those artists, it would today be considered a flawless and classic production. ... Read more