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

  The Microphones - Don’t Wake Me Up (1999) My copy: 2013 remastered reissue by P.W. Elverum & Sun, Ltd. Phil Elverum’s second full-length following ‘98’s Tests, Don’t Wake Me Up saw Elverum’s playful approach to experimental rock music bolstered by a firmer confidence in lush vocal harmonies, again featuring multiple additional voices to paint his often surreal lyricism in a whole new light. These early Microphones recordings are essentially the result of Elverum treating Calvin Johnson’s Dub Narcotic Studio as a sonic playground, frequently incorporating strange samples, eclectic instrumentation and loud sound effects for mere seconds at a time.  Elverum’s love of nature permeates the many field recordings found within tracks like “Ocean 1, 2 , 3” where a lone guitar is overwhelmed by a sea of voices and lo-fi synth, converting into a children’s theme for glockenspiel before rumbling, thunderous drums precede a bombastic climax; all this happening in just 3 minutes. “Florida

  Thee Silver Mt. Zion Memorial Orchestra - Fuck Off Get Free We Pour Light On Everything (2014) My copy: 2014 press by Constellation. Most recent album from the expanded form of Canada’s A Silver Mt. Zion, core member Efrim Menuck proves again that long, indulgent titles work best when they are attached to long, indulgent songs. That said, Menuck and co.’s brand of churning post-rock-meets-punk is actually moving enough to justify their overtly pretentious naming conventions.  Standing at just six mostly longer songs, this is actually one of their shorter records; kicking off with A tremolo-layered 10-minute title track that hyper-focuses on a convincingly jubilant main melody that is married surprisingly well to Menuck’s slightly awkward punk sneering. Where Silver Mt. Zion prevails most is their intricate layering of strings: not terribly much happens from a structural standpoint, but several violins reflect off of the ever-burning tremolo guitar to create a new and visceral tak

  Fishmans - 8月の現状 (8 Gatsu no Genju) (1998) My copy: 2007 Fishmans Rock Festival box set press by Universal Music and Polydor. Though technically just as, if not more rare than the legendary 98.12.28 男達の別れ , 8月の現状 (8 Gatsu no Genju) is often overlooked in regards to Fishmans live material (at least in vinyl form). While not as evocative and comprehensive as the enigmatic Dec. ‘98 performance, this record does collect some fantastically produced live takes as well as a couple of alternate studio renditions.  Advertised as a sort hybrid live/studio record due to their recording setup and audio quality, the attention to detail is immediately clear in both versions of “ナイトクルージング (Night Cruisin’).” Sato’s harmonies are lovely, and blend in with the dreamy audio samples perfectly. While it is difficult to imagine recreating some of these studio tracks in a live situation, Fishmans manage to include a surprising number of integral melodies from fan-favorites. The vinyl version mostly inc

  Women - Women (2008) My copy: 2008 press by Jagjaguwar. Women formed officially in 2007 in Calgary, eventually recording their debut full-length with Chad VanGaalen. Their sound manages to tread a careful line between sweetly melodic and harrowing, abrasive lo-fi rock. This debut, while intentionally harsh and under-produced, gives power to its occasionally sugary moments by making them work in conjunction with such atonal fits of noise.  Brief intro “Cameras” initializes the mood with disparate harmonies and rattling guitars, though a chirping synth appears as a light at the end of the tunnel. The improvised drum sounds of “Lawncare” further the industrial, alien gaggle of hissing syncopation before a lovely clean guitar riff cleaves the darkness in two along with tight vocal harmonies. This may be their debut as the band Women, but these are clearly experienced writers who understand how to re-contextualize important motifs at any given moment. “Woodbine” is a mirage of tambour

  Death Grips - No Love Deep Web (2012) My copy: 2023 limited reissue on green vinyl by Third Worlds and Harvest. 2012 marked the release of two major full-lengths for Death Grips, with their desire to complete and release No Love Deep Web in the same year as The Money Store resulting in their being kicked from the Epic Records roster. Label or no label, their influence on the world of off-kilter hip-hop was strong enough to earn Death Grips a mass cult following across multiple internet forums. No Love Deep Web isn’t quite as bombastic as its predecessor, but combines subtle punk influences of Exmilitary with the imaginative synthetic palette of The Money Store.  “Come Up And Get Me” is less frenetic compared to other tracks; relying on angsty synth and steady hip-hop beats to carry MC Ride’s panning, exasperated vocalizing. Ride is noticeably more unhinged, nihilistic and performative, diving into his role as one of the most enigmatic rap MCs out there. The tasteful, catchy hook

  Eric’s Trip - Love Tara (1993) My copy: 2015 reissue by Sub Pop. Canadian band Eric’s Trip may take more than just their name from Sonic Youth; but even on their occasionally heavy, distorted songs, they manage to wring-clean the dry cynicism of their aforementioned influence in favor of a more genuine, lo-fi romanticism that befits their minimalist production style.  “Behind The Garage” and “Stove” both favor cutesy acoustic indie rock, sharing similarities with contemporaries like The Supreme Dicks albeit with a less complicated/experimental take on the genre. Songs like “Anytime You Want” and “Follow” begin to dabble in distorted, sludge bass tones and duets between vocalists Julie Doiron, Rick White or Chris Thompson, all of whom provide words to the album. “Secret For Julie” instills a sort of playful psychosis - the chords and melodies are sweet but the performance and lyrics are notedly sinister; a style that has become popular with modern acts such as Alex G.  “Belly” f

  Animal Collective - Merriweather Post Pavilion (2009) My copy: 2009 press by Domino Animal Collective had brushes with mainstream popularity prior to 2009’s Merriweather Post Pavilion, but their traction easily doubled with the release of this intricately produced synth-pop double album. Now operating without Deakin (who primarily contributed guitar to this point), the trio filed what jagged, dissonant fangs they once bore down into a smooth psychedelic patchwork of tessellating keyboards and Beach Boys harmonies.  The subtle introductory weave of “In The Flowers” lulls with whispered sweet-nothings and mysterious, beckoning chords - the song at last erupting into a pulsing synthwave waltz that is only eclipsed by Avey Tare’s vocal yearning. While MPP deals more in production, its introduction does boast this songwriting highlight. “My Girls,” their big hit, expertly delays its cheerful chorus, chaining everything down to an endless stream of synth arpeggios. The harmonies ar

  Grouper - Grid Of Points (2018) My copy: 2018 press by Kranky. Liz Harris followed 2014’s impressive Ruins four years later with this short LP that is devoted entirely to piano lullabies. Harris’s production and confidence as a writer have both been significantly elevated, though Grid Of Points rarely innovates on its main premise. After a brief introduction of sweet self-harmonization, “Parking Lot” shows off a newfound affinity for concise, reflective piano pieces with more active vocal performances to show off Harris’s now spotlighted range. While the sound quality is far from the desolate, lo-fi droning of her other records there is still an ever-present background noise that heightens the emotional intimacy, as if Harris were in the room spilling her heart directly to the listener. “Driving” returns more openly to melancholy progressions and is noticeably patient, bordering on lethargic as a bittersweet motif eventually shifts into focus. Harris’s voice is perfect for these

  Songs: Ohia - The Magnolia Electric Co. (2003) My copy: 2013 deluxe reissue by Secretly Canadian. By 2003, Jason Molina’s sound had evolved confidently; firmly embracing country and roots-rock influence. The Magnolia Electric Co. was an identity-affirming piece for its author as it ushered in a whole new era and sound. This elaborately written record also contains some of Molina’s most emotionally impactful and intelligently woven lyrical stories of all his releases, with the musician also inviting guest vocalists to his ensemble cast of recording partners.  The seven minute opener “Farewell Transmission” gently invites listeners in with arpeggios and sweet lap-steel guitar melodies before Molina’s heavenly voice begins with its perfectly slight southern accent. Though lyrics tackle depression and other heavy topics, this is a song with bombast and relative vigor, coasting and peaking over steady waves of instrumental builds before slowly receding like a layer of foam that cooly di

  Santo & Johnny - Santo & Johnny (1959) My copy: 1959 mono press by Canadian American Records, LTD.  Born Italian-American Brooklyn natives, brothers Santo and Johnny Farina learned to play lap-steel guitar from a young age at the request of their father. They quickly gained an affinity not only for lap-steel, but traditional guitar as well, even modifying several guitars to experiment with sounds similar to lap-steel. Santo & Johnny is their first full-length endeavor following the massive popularity of their number one single “Sleepwalk.” While the full album received less praise than the single, it contains prime use of lap-steel guitar across several covers and three originals, proving that the instrument has far more potential beyond just background ear candy.  Their stripped down take on the classic “Caravan” is one of their finer displays of the unique dynamic between the lap-steel and their standard guitar, though the slow sunset saunter of “Summertime” might b

  BadBadNotGood - III (2014) My copy: 2014 press by Innovative Leisure Records. The spotlight had become focused on this Canadian modern jazz trio following their first two full-lengths and several high-profile collaborations with notable rappers. BadBadNotGood are best known for their fusion of jazz and hip-hop, with a production style that focuses heavily on rhythm and grit to highlight their modern approach to recording. On paper, three white guys updating jazz for modern hip-hop fans sounds dicey, but there are a handful of powerful moments, proving their talent for composition. It is quickly apparent that the band is at its best when focusing on dynamics: the pensive “Triangle” proves this with rocking piano melodies that bob and weave around the impressive rhythm section. The drums are the main hip-hop component, playing beats that would otherwise be rather ill-suited for traditional jazz. “Can’t Leave The Night” is their most fruitful proof of concept, infusing nocturnal, se