Blue Cadet-3: A Music Blog by Josh R.

  Unknown Mortal Orchestra - Unknown Mortal Orchestra (2011) My copy: 2011 press by Fat Possum Records Unknown Mortal Orchestra (or UMO for short) is the project of Ruban Nielson. UMO’s self-titled release is a lo-fi garage rock treat that showcases the project's humble roots. “Ffunny Ffrends” kicks off the tone of the record with buzzing guitar melodies and a very distinct vocal production that gives the harmonies a deeper ear-worm quality. Nielsen demonstrates a talent for writing concise and catchy pop, “Bicycle” is a relatively simple song with a bouncing bass line, crooned sing-song vocals and clever guitar lines. There are tinges of bubble-gum pop and psych on songs like “Thought Ballune,” which features fun synth/affected guitar ambiance. Nielson finds a way to eloquently ride the line between jagged garage-rock guitar licks and lo-fi pop music; it is mostly the juxtaposition of the grinning tongue-in-cheek vocal lines with the occasional raw and powerful solo that giv

  Brian Eno - Reflection (2017) My copy: double album at 45 RPM by Warp Records Brian Eno is a legend in ambient music and production for a reason. Reflection was gifted to me by a relative who knows that I enjoy Eno's other works, and it became clear upon first listen that Eno has not lost his touch. Reflection is an hour-long piece that is broken into four separate sections for the vinyl release. Unfortunately one of the core issues I have with the piece is that nothing really changes all throughout; yes the ambient swells are different and the chimes ring out at different times but actively listening to the record in one go can be a bit of a chore. Eno would probably think the idea of "actively listening" to ambient music to be a foolish endeavor however, as it was he who famously defined ambient music as a style that is meant to be enjoyed passively. Reflection works perfectly as a background mood piece; its high pitched warbled synth tones give off images of a hazy

  Lightning Bolt - Fantasy Empire (2015) My copy: 2015 double album on black and white swirl by Thrill Jockey 2015’s Fantasy Empire is ironically a bit of a black sheep in the Lightning Bolt catalog for how normal it is in comparison to what came before it. The duo opt for raw noise-rock energy on this record and that’s clear right out of the gate with the searing track “The Metal East.” Lightning Bolt is simply bass and drums, and in order to shake things up, bass player Brian Gibson uses various higher gauge strings to allow him to play the higher pitched riffs that are present across the album. Lightning Bolt has a fascinating dynamic; Gibson is able to play both melodies (crude and piercing ones, but melodies nonetheless) and also shift to growling, sludge-y bass lines at any time due to his unique setup. Meanwhile, drummer Brian Chippendale blasts his kit as if he were a mad animal that could only take its rage out through percussion. “The Metal East” Introduces the core conce

  Loren Connors - Angels That Fall   (2017) My copy: single-sided pressing by Family Vineyard Loren Connors is a master of crafting quiet atmospheres. The now 74 year old artist/musician certainly would agree with the idea of “less is more.” I initially became familiar with the work of Connors with Airs, an improv ambient guitar album with a modest, echoing atmosphere that hypnotized me upon first listen. As a massive fan of ambient recordings, I picked up Angels That Fall on a whim. Angels is a 17 minute longform guitar and piano piece that was recorded live in a church. This album is not for everyone by any means; it requires a general enjoyment of slow, subtle ambiance. The majority of Angels consists of echoing electric guitar that is patiently plucked and strummed with the addition of a few other effects to create louder drones. The sound of movement and room noise can be heard in the background, which allows the listener to feel as though they are a fly on the wall as Connors

  Unwound - Leaves Turn Inside You (2001) My copies: 2018 reissue by Numero Group, 2021 limited repress on “scarlette” red vinyl by Numero Group and the 2023 limited tour pressing with inverted colors by Numero Group. I am always eager to praise this record as one of the best pieces of guitar music offered by the 2000s. Leaves Turn Inside You is the final endeavor from Tumwater, Washington’s Unwound; an hour and sixteen minute journey into paranoia, lethargy and anguish. The length of this project is almost wholly justified, as even on first listen it felt as though it flew by. Unwound’s previous albums mostly focused on the hardcore aspect of “post-hardcore” with some standout moments on Repetition and Challenge For A Civilized Society. On Leaves the band pulls out a swath of influences from psychedelia to post-rock. “We Invent You” encapsulates listeners in a nihilistic drone that eventually melts away into the opening chords. This album is a testament to subtlety and patience, i

  The Microphones - The Glow Pt. 2 (2001) My copy: 2013 gatefold reissue by P.W. Elverum & Sun Limited The Glow Pt. 2 is a force of nature. Potentially Phil Elverum’s most iconic record, it also stands as a glowing midpoint in his musical career. Early on, Elverum dabbled in noise experimentations eventually utilizing Calvin Johnson’s Dub Narcotic Studios to record drums and churning layers of sounds. The early Microphones records are not without pop undertones, and on The Glow Pt. 2 Elverum manages to perfectly marry his playful brand of primal density to a heartfelt, folk influenced brand of sincere pop music.  The Glow Pt. 2 stands as a bible of sorts for fans of lo-fi rock music; there is an almost childlike nature to the raw, honest production and acoustic performances that allows the album to feel more personable. Guitars clatter and rattle out of time and sometimes just slightly out of tune. There is a warmth to the singer-songwriter tracks such as “Headless Horseman”

  Wild Nothing - Gemini (2010) My copy: 2020 limited repress with silk-screened jacket on blue translucent vinyl by Captured Tracks Gemini is an album about self discovery and uncertainty. Jack Tatum is the lone man behind Wild Nothing and he explains in a forward provided with the album that Gemini was written in the midst of college-aged feelings of nostalgia, fear and longing. While this album is good at what it is trying to convey, it very much stays trapped in a singular style throughout its 40ish minute run time. Tatum has created a reverb drenched bed of shimmering guitars and enchanted synths. From whispered vocals to syncopated arpeggios, this is everything a fan of dream-pop could hope for. While the songs are well crafted, the unfortunate reality is that there is little deviation between stylistic choices and one might come away with only a few tracks really standing out. “Live In Dreams” and “Chinatown” are the obvious popular songs, with earworm vocal choruses and sim

  The Books - Thought For Food (2002) My copy: 2016 reissue by Temporary Residence LTD. Thought For Food is exactly as its name implies: a digital and instrumental stream of consciousness in which all sorts of samples, cracks, pops and bangs are whirling all about at once. “Enjoy Your Worries, You May Never Have Them Again” excellently eases newcomers into what they should expect: acoustic instruments are slapped and plucked and utilized more as a percussive element rather than a melodic presence. The Books borrow from freak-folk, IDM, and plunderphonics by constantly feeding the listener new sounds, even if only for seconds at a time.  Thought For Food is a maximalist avant-garde electronic adventure, and yet it is grounded by its clever usage of string instruments; it feels at times like a computer attempting to generate the collective consciousness of a small rural town. Thought For Food is not always so jittery, there are moments of ambient introspection on tracks like “Contem

     Grampfather have been hard at work across the years, putting out a slew of records spanning multiple genres and musical styles. The last Grampfather record took on elements of prog, alternative and psych while maintaining an ineffable proclivity for pop hooks. This time, the guys in Grampfather have proven that one of the consistent features of their music is an insatiable drive to mess with conventional songwriting in whatever style of rock they are tackling. New single “Rot In Bliss” snaps between airy and heavily psyched out passages while effortlessly changing time signatures to keep the listener engaged. There are obvious indie-rock influences present, but with an ultra tight focus on dynamics and momentum. The song breathes and churns simultaneously, only to eventually break down and shift into a groovy and danceable second half that serves as a juxtaposition to the stilted nature of the first half of the song. If you’ve ever seen Grampfather live, you already know that thes

  Purple Mountains - Purple Mountains (2019) My copy: 2019 press by Drag City Traumatic albums such as David Berman’s Purple Mountains can be very difficult to review. For those who don’t know, David Berman was an underground icon known for blending his sardonic and clever lyricism with alt-country, folk and pop-rock in his main project Silver Jews. Berman committed suicide shortly after completing his work on Purple Mountains essentially confirming that the album is more or less a suicide note that delves into the severe depression he had been experiencing in his final years.  As a huge fan of Silver Jews, this loss was significant and reshaped my interpretation of the entire album. You’ll notice that Berman simplifies the writing process and tone of the album, opting for a more straightforward take on country-rock, folk and honky tonk. In spite of the uncomplicated songwriting, a litany of instruments join the compositions ranging from sighing harmonicas and mellotrons to powerfu

  Candy Claws - Ceres & Calypso in the Deep Time (2013/2014) My copy: 2014 first pressing by Twosyllable Records As far as 2010s shoegaze music goes, Ceres and Calypso is one of the best. Candy Claws had refined their dense, obscured sound down into a concentrated form with Ceres, and the band borrowed the best elements from their prior albums while shaking off the chaff. It is worth noting that Ceres is a highly conceptual record, the back of the record sleeve explains the storyline of the lyrics and the main characters. Ceres is a white seal that can control time while Calypso is a young girl who ends up on a journey through the past with Ceres. “The Deep Time” is also credited as a character and I’ve always interpreted it as the metaphysical representation of the character’s journey (but who really knows, man).  If you don’t care about the conceptual gimmicks then fear not, this record is a fully realized, dense piece of modern electronic shoegaze with a unique sound that wi