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

  Cloud Nothings - Here And Nowhere Else (2014) My copy: 2014 press by Carpark Records and Mom + Pop. Cloud Nothings had built up steam from their early, lo-fi rock sounds, now releasing material consistently for Carpark Records. Here And Nowhere Else heightened their mass appeal by focusing largely on heavy, post-hardcore production choices within mostly shorter tracks.  Dylan Baldi’s vocals have evolved, with his vocal melodies often standing as the most memorable parts of songs like “Now Here In,” which is able to work in poppier ideas without compromising too much on the punk sound. Unlike bands like Waaves, Fidlar, etc. Cloud Nothings are able to retain some semblance of mystique within what would otherwise be suitable writing for cock-rock. “Quieter Today” is a bit worrying with anthemic chords, but the riffs detour into dissonant bends that give an overall manic energy. The tempo rolls back a touch for “Psychic Trauma’s” verses, before upping the pressure for parano...

  Animal Collective - Strawberry Jam (2007) My copy: 2007 press by Domino. Following praise for their new take on indie-pop with Feels , complete with a full band embracing more traditional melodies, Animal Collective carried this momentum into the frigid, dynamic synth landscapes of Strawberry Jam. There are a few bumps in pacing, but their new sound is sharp and satisfying - trading warm, jangled guitar for brittle synth and crackling effects.  The introductory “Peacebone” immediately contrasts the gentle embraces found on Feels , instead opting for a collage of jagged samples and hissing synths that twinkle over a steady tom-focused drum beat. The vocals are more aggressive and indulge in visceral shrieks, though their melodic writing style maintains its innocent and playful tone. “Unsolved Mysteries” moves from shimmering, stilted guitar and synth to swaying rhythms complete with falsetto whoops. Their palate is now a mesh of refined digital elements, combining to crea...

  Mike Oldfield - Tubular Bells (1973) My copy: 1979 stereo reissue by Virgin. Mike Oldfield's ambitious 1973 album is most famous for the melody that became the main theme to the widely popular horror film The Exorcist . While the anxious piano composition is a core motif of the first half of the record, there is much more to this complex instrumental journey.  Elegance in layering is key when such a high number of instruments are involved, and Oldfield ensures that each unique instrument is bringing something special to the table. At first, the Exorcist theme dissolves into a much too sweet movement featuring an awful glockenspiel, but Oldfield's take on melodic complexity grounds the experience, often folding earlier motifs into new passages with different instruments. The best moment is when low, sinister bass tones wash over the piece with psychedelic effects, then turning to mysterious chords and later a humming vocal chorus. The final movement in which a series of inst...

  Modest Mouse - Building Nothing Out Of Something (2000) My copy: 2015 reissue by Glacial Pace. In the ambition of their early career, Modest Mouse had accrued a small trove of B-sides and bonus tracks; enough to warrant release of this compilation in 2000. While bonus tracks are often hit or miss with general consumers, Building Nothing Out Of Something actually contains some of the most interesting work of their early career.  “Never-Ending Math Equation” pitches down the middle tempo-wise with clever use of syncopation and existential lyrics. The production across the board is most reminiscent of The Lonesome Crowded West, giving their performances a nice balance between lo-fi grit and snappy indie-rock. “Interstate 8” is included from the EP of the same name, and impressively matches emotional waves of guitar with Isaac Brock’s embittered shouting. The first three tracks follow the groundwork laid by early emo/indie-rockers such as Lync and Built To Spill quite closel...

  Jethro Tull - Thick As A Brick (1972) My copy: 2015 reissue by Chrysalis.  Jethro Tull’s 1972 jab at conceptual progressive-rock records consists of the first ever full-LP-spanning song; that is, both 20+ minute sides are technically one long song (which suits their controversial sense of humor quite nicely). While the talent for arrangement and performance is there, Thick As A Brick begs an important question about satirical music as a whole: is music that is ironically pretentious genius, or is it just plain pretentious? If you have a firm relationship with music and its culture, you’ve probably been talked at by one of those prog guys about how Ian Anderson’s bold choice to stick it to his contemporaries by creating a mock concept album is one of the greatest achievements for the genre; and while the packaging, lyricism and production itself are impressive, the record seems to frequently forget that it’s supposed to be poking fun at prog concept albums. The rapid acou...

  Eels - Electro-Shock Blues (1998) My copy: 2015 reissue by Geffen Records and Universal Music Group International After the relative mainstream success of his first release for the Dreamworks label, Mark Everett followed up with the much more personal Electro-Shock Blues. Inspired largely by the tragic demise of Everett’s sister as well as his mother’s cancer diagnosis, the lyrical content frequently represents the author’s struggle with depression and anxiety though the music itself only dips into true catharsis occasionally.  “Elizabeth On The Bathroom Floor” recreates emotional numbness with quiet background distortion situated behind gentle guitar that brushes slightly with dissonance. Deep, buzzing bass dominates the mood of “Going To Your Funeral Part I” with instrumentals that borrow from the dirges of Tom Waits albeit with dramatic falsettos and dampened hand drums. Pseudo-industrial samples propel the slick choruses of “Cancer For The Cure” while the vocals bord...

  The Dismemberment Plan - Emergency & I (1999) My copy: 2011 limited reissue with bonus tracks by Barsuk Records. After building up steam through the mid 90s with two full-length releases, The Dismemberment Plan had reached the zenith of their sound in 1999’s Emergency & I. Spanning 12 operatic and demented rock songs that borrow from a slew of subgenres, the album’s biggest catch is its further synth experimentation, with the band often coating songs in slick, droning keys that exaggerate the frequently cold demeanor of the music and lyrics.  Easing in, the squirting bass and simple rhythms of “A Life Of Possibilities” may fool you at first. Chords rattle with each strum as guitars calmly ascend scales over Travis Morrison’s voice, which is delicately swinging between a middle register and falsetto. Even as the opening song becomes more forceful, it only hints slightly at the dystopian themes that are coming soon. The schizophrenic vocal and instrumental syncopat...