What's New?: 12.27.2011

Andrew Hill — A Beautiful Day (2002)

Pretty decent post-bop, free-leaning stuff. And yeah, I know these are all Andrew's original compositions, but I've never really liked when he got so attached to the horn arrangements, like he does here. Most of the arrangements are dominated by the horn charts, in fact. But when Andrew takes a solo, wowweeee! That rare occurrence on '5 Mo' illustrates just why the man is a legend. It's almost like he deliberately creates these scenarios where he must rebel. The song's head is one of the more chaotic of the bunch here, so he appropriately takes a wandering, melodic solo in the face of otherwise dissonance. He is not up front for most of the proceedings here, but the tunes are all nice, if not a little more leaning towards his more rambunctious side. 'Faded Beauty' and the title track are both the sort of kind of free, mostly just searching tunes that Andrew used to make his own voice. Certainly not his most approachable work, but darn good for the already converted.

Jónsi — We Bought a Zoo (2011)

I've become such a big fan of Jón Þór Birgisson and his band Sigur Rós over the past two years that I am essentially at a clamoring state right now for anything new. I had high expectations for this one, perhaps foolishly. As far as the new material, it is definitely in soundtrack mode, as it essentially sounds like outtakes from what Jónsi does otherwise. Unfinished song ideas that don't sound totally right without the visual accompaniment. But still, it's music written in the style that will be familiar to fans of his previous work, so there's plenty for us dorks to latch onto. Most of the new material is instrumental with fleeting "Oooohhhhh aaahhhhhhh" vocals, but there are a couple of genuine brand new, fully fleshed out tracks here and they're surprisingly lost in the shuffle of the rest of the album. I mean, I like them just as much as anything else here, but they're not completely standouts, y'know? (the tracks in reference here are 'Ævin Endar' and 'Gathering Stories'). Still, even though this music probably serves its purpose quite well in the film —and yet, is somehow disappointing to me as a fan of the musicians creating it— I have to say that this will keep me satisfied for at least a little while. It's not a major revelation —or, indeed, a revelation at all— but it's still darn good. And it definitely has that feeling to it (the one that keeps me coming back to anything with Jón's name on it in the first place).

The Cure — Bestival Live 2011 (2011)

New Cure album and who gives a shit? ME! Because I'm a hardcore fan and I'm clearly who this 2 disc, 32-track, 140-minute behemoth was aimed at. I will keep my comments brief, because it is just a live album after all (despite that it's their first official live album in nearly twenty years and it marks as an account of an official lineup change [Porl Thompson is back out and Roger O'Donnell is back in!]). They sound infinitely better when hitting those earlier songs. Cons: crappy drum sound, predictable hits being played up front, Robert's 'spoken' vocals. Pros: jesus, are they having fun or what?, 'PUSH'!!!!!!!, the whole concept that they just played this show a few hours before I was at this show is somehow awesome to me, all the songs that they haven't played regularly in forever and finally 'THE LOVECATS'!!!!!!! Audience singalong FTW! Seriously, the FREAKING LOVECATS!!! YES!!! Overall, it's nothing that will appeal to anyone except dorks like me, but enjoyable as all hell. The fucking Cure, man. They're one of my favorites for a reason. All profits go to charity, buy it.

Solbakken — Music for Lost (2004)

They are the Mighty Bakk. And I love them. This is probably the Mighty Bakk's most post-rockin' affair, as it's easily their most instrumental album. It's also a soundtrack, so there are a few songs here that I knew previously (namely, 'Entertain the Elderly' and 'House Been Taken' from Klonapet and 'Your Cave' from their In the Fishtank session with the Black Heart Procession). But besides those, everything else was new to me (this is the only album of the Mighty Bakk's that I didn't buy at the time because it was brand new, ungodly expensive and nobody had it). The instrumentals range from short and sweetly bleak vintage numbers ('Hell Impro Insect Outburst' and 'Saloon'), to goofy (the pseudo-rockabilly sendup cover of 'Ring of Fire') to just downright incredible moments ('Birth of a Jumper'). The new vocal songs are dark and gloomy, but with that great injection of catchiness that the Mighty Bakk is just perfect at. If this is to be their last album (which is most likely), it's a strange one, but still exceptionally good. I still find much to go back to on this one, even with the recycled material. They are quickly becoming one of my favorite bands of all time.

~Austin

Jónsi — Go Live

I guess consider me rather late on this one, as it has been available on his website since late last year. But, you know what? It's not how long it takes you to get there that matters, it's what you see when you do that does.

And, boy oh boy, I see many things.

Just ignoring the fact right up front that the entire first half of this album is one of the quietest, most reserved and downright spiritual pieces of live music I've ever heard, I will say that it feels like pure giddy triumph when he bursts into a piece of totally rare stage chatter after the whole thing and the opening glitchy sampled vocal loop of 'Godo' begins and the crowd, subsequently, finally relents and there are some genuine and very audible 'WHOOOOO!!!!!'s to be heard (amidst a clap-a-long, of course — yes, it gives me chills).

Now, I liked Go. It sounded exactly like I hoped it would: reminiscent of Sigur Rós, but with more of a poppier slant and a sort of streamlined approach to the band's music. Nine songs; none in great excess of the five minute marker and all with a nice layer of post-production and a delightful sheen that was neither kitschy nor over the top. And yet, it left something to be desired.

(in a good way, but I digress)

But this guy right here?

He's a bit of different beast altogether.

Where Go felt very much like a knee-jerk reaction against his band's never ending funereal pace, Go Live is just as much an affirmation of that kickback as it is a reassurance that Jón Þór Birgisson, as the frontman of one of the most unique and important bands of the past decade —the singer and guitarist as most of his listening audience knew him prior to his solo album— is still very much the artist and the man that made them love him in the first place.

As you can see above, the album wears a sticker that boasts five new songs among its contents and they are very much more along the Sigur Rós brand of Jónsi's repertoire, filling out the album's spiritually (and revelatory) calm first half; not only with compilation tape fodder but with genuine and true SONGS that make this a rare case where the live album bests its studio counterpart. The performances are great, sure. But it's the sequencing here that sets this one apart from the rest.

As I said above, the slow and quiet bunch is packed up front. Starting with the nearly solo acoustic "new" song 'Stars in Still Water', the album begins on this somnambulist, nearly pastoral thirty-seven minute meditation of ballads and, predictably, it's the perfect soundtrack for watching slideshows of aurora borealis (that is, unless you can watch the real thing in person). The third track is 'Icicle Sleeve.' Easily on par with the best of anything Jón has previously done, it's definitely the highlight of this album for me. As the song seamlessly segues into 'Kolniður,' everything comes fully into focus: this is no toss-off of a live album. This is the real deal.

Capturing the musician in a venerable stage of unsureness, presenting the new songs to an audience unfamiliar of the material but familiar with the musician's new (yet, unheard) direction is a rare thing these days. Hell, people with the stature of Sigur Rós rarely even play b-sides, not to mention completely unheard material. It makes the opening five song suite as heard on Go Live extra special as, not only do the songs flow flawlessly, the audience is on Jón's side the whole way. And it's a little redemptive to hear someone present so immaculately such definitive versions of the songs. New or familiar; doesn't matter. The familiar songs had emotional aspects to them before, but with the new songs and the intimately perfected familiar ones, these are all the most poignant recorded renditions of the tunes.

And when those uptempo numbers kick in on 'Godo,' it's just complete chills. He just poured his soul out to complete strangers and now it's time to dance a bit, okay?

Man.

The anticipatory between song claps, the chorus to 'Animal Arithmetic' sung in Icelandic, the extra long, noisy (noticeably Sigur Rós-esque) coda to the closer 'Grow Till Tall'; it all feels very celebratory, very rewarding.

I liked Go.

I absolutely love Go Live.

It harkens back to a time in rock music when a live album was supposed to be a statement within of of itself — a unique entity that was more than just a complimentary piece.

Far more than just "recommended if you like", Go Live is the definitive account of Jónsi as a solitary unit outside of Sigur Rós. He is a unique and infinitely intriguing musician on his own; this album has plenty of evidence.

The accompanying DVD isn't too shabby, either, presenting nearly all of the songs on the audio half in alternate recordings and professionally shot.

The stuff that I keep listening to music for.

Go Live can be purchased from Jónsi.com

~Austin