Initial Reactions (2012): Bruce Springsteen, Magnetic Fields, Father John Misty
May 13, 2012 Leave a comment
Initial Reactions are just that: my reactions to records after only a few listens (usually 2 or 3). I try to be fair, but if a record doesn’t make much of an initial impression on me, someone’s going to need to tell me to pay closer attention if they think it deserves better. (see the sidebar for rating descriptions)
Bruce Springsteen – Wrecking Ball [A-]: A strong record that could have been stronger. The problem? Springsteen picked a potent theme (avarice), gave it a compelling banner (who or what is the wrecking ball here?), and then cast it in pristine production. The result is a good, maybe great record instead of a classic. It’s a winner for sure, but dressed up too pretty for a blue collar manifesto. Still, surprisingly fine. ("Wrecking Ball", "Land of Hope and Dreams")
Magnetic Fields – Love At The Bottom Of The Sea [B-]: That first track is funny and all, but the double entendres start to ring hollow around the album’s middle, if not sooner. Now I’m not enough of a follower to know how this fits into Merritt’s career, but what I do know from my copy of Holiday is that the man doesn’t need to rely on cheek to create a compelling record. Sure, it can be fun for the novelty, but overall, the results are forgettable. ("God Wants Us To Wait")
Father John Misty – Fear Fun [B]: Good night! J. Tillman tries hard to make a great record and makes a decent one. There’s 5 times he comes close to writing a classic tune, but he crams so much in that the tunes sag under the weight. At times, I get the sense that he’s so taken with his own abilities that he forgets to serve the song. Now I know that sounds oh-so-criticale, but just listen to track 10. Not writing a novel sir – writing songs. ("Funtimes in Babylon")
The Shins – Port of Morrow [B+]: James Mercer is looking for a fresh start with this one, the chance to embark on voyages heretofore unknown with a new crew. While promising, his refitted outfit is less scrappy. Where Chutes and Wincing both sounded ready to spiral out of orbit into pop hyperspace, there’s a definite restraint here. The wild-eyed vision seems to have taken a backseat to professionalism. Also, first half strong, second meh. ("Simple Song", "Bait and Switch")
Chairlift – Something [B]: As much as I like Chairlift’s synth-pop sound, it ultimately underwhelms. The songs are packed so dense that they can barely breathe. There’s a punkish vigor here, but a more restraint in instrumentation would go a long way. The result is a record that is frequently interesting and beautiful, but never quite glorious. Girl can sing though… ("I Belong In Your Arms", "Cool As A Fire")
Andrew Bird – Break It Yourself [B]: I feel like a heel awarding anything less than an ‘A’ to a talent like Andrew Bird. Break It Yourself, however, lacks for memorable songs. Sure, 8 of the 12 tracks would qualify as excellent, but nothing about this record culls my subconscious into a return. So God-given ability is one thing, but in my defense, would anyone rate a Joe Satriani album as "great" just because he can shred? I rest my case. ("Give It Away", "Hole in the Ocean Floor") 
Memoryhouse – The Slideshow Effect [B+]: So close to greatness. It seems they are starting to move away from their ambient, Engima-esque roots into something more poppy, and while TSE pleases and soothes, I do wonder if that threatens their distinctiveness. I’ll certainly stick around, but I am disappointed that this one didn’t completely roll me over. Love that gal’s voice though. Brainy and sultry at the same time. Also, 
The Cranberries – Roses [B]: Once upon a time, The Cranberries created a triad transcendent; “Linger”, “Dreams”, and “Ode to My Family” are all sublime. Roses, their first album in 11 years, starts off promising, with the band sounding completely rejuvenated on "Tomorrow." However, after "Fire and Soul", things become dull and predictable. There’s not really a bad moment here, it’s just that most of these tunes are sans thorns, pleasant and inviting, but lacking any sense of danger in beauty. ("
New Multitudes – New Multitudes [B]: More reminiscent of Middle Brother than Mermaid Avenue. That’s not say it’s bad, just that it doesn’t quite have that joyous spark that made MA I such a treasure. The big surprise: Andres Parker steals the show. His cuts range from pastoral ("Fly High") to alt-rock artistry ("Old L.A.") to downright grungy ("Angel’s Blues"). The rest of the troupe deliver as you’d expect. Any of Farrar’s tunes could have been Son Volt cuts, and Yames mostly lends that golden voice. As for Will Johnson, I’ve heard of his band, but none of his stuff here impresses me. BTW, is it a coincidence that 
Punch Brothers – Who’s Feeling Young Now? – (B): This is the first PB record that I’ve really engaged with, and it both satisfies and leaves something to be desired. On one level, their efforts to bridge bluegrass into an experimental realm are highly admirable. It might have been “Enter Sandman” on banjos, but PB let loose with a stunning and haunting opener in “Movement and Location” and their cover of Radiohead’s “Kid A” (!) nails it. I admire their aim, without a doubt. They’ve made a good record in Who’s Feeling Young Now? However, being very familiar with Thile’s work in Nickel Creek, I know he’s capable of writing not just good but exquisite and beautiful songs. Next time around, I hope he channels some of those old songwriting chops. It’s time to take the gloves off and give us a shiner. (“Movement and Location”, “Kid A”)
Sharon Van Etten – Tramp – (B): The first artist that comes to mind with SVE is PJ Harvey; though her music is approachable and occasionally grungy/poppy, it menaces as well. Still, while she’s certainly an impressive talent, and every track on Tramp is above average, they just don’t have the “sticky” factor, the ability to lodge themselves in your imagination. At this point, my main criticism would be that Van Etten projects rather than draws. She seems to want to stick it to you, but a little mystery might help us let down our guards against all the hype. “Leonard”, with its Eastern bloc underpinnings, comes closest, but at this point I fail to see what all the fuss is about. (“Leonard”, “I’m Wrong”)
The Big Sleep – Nature Experiments – (C+): I heard “Ace” on a sampler, and that one drew me in, but after a few more listens, I think it must have been a flash of brilliance rather than a beacon in the night. They sport a very 90′s sound, reminiscent of the midwestern melodic emo bands of that era. However, they fail to distinguish themselves by going beyond it. With the standouts I detect great ideas little explored. “1001″ hints at Boards of Canada, and “Wood on the Water” might have reached to something haunting and numinous. Unfortunately though, nothing more than an average indie rock record is realized. (“1001″, “Wood on the Water”)
Tennis – Young & Old – [B+]: Deuce. A slight improvement on 
Dr. Dog – Be The Void – [B]: Good and enjoyable rock and roll with a classic vibe. It’s hard not to like Dr. Dog, but it’s equally hard to love them. I think what they lack is a sense of personality. I mean, I get it. These are laid back dudes. They’ve played Lebowski Fest. But maybe they need to add a lady to the mix? And not just any lady, a real firecracker, a Neko. After all, even The Dude found his Maude in the end. ("These Days", "Get Away", "Do The Trick")
The Little Willies – For The Good Times – [B]: The Little Willies play well enough. Unfortunately, the song choices leave something to be desired. "If You’ve Got The Money" and "Jolene" = obvious. Think instead of Hem covering "Radiation Vibe" or "So. Central Rain." That’s grade-A song choice, the kind I’d expect from cosmopolitan musicians living in The City. Good times (but almost great when Norah’s got the lead). ("I Worship You", "Tommy Rockwood", "Fist City")
Kathleen Edwards – Voyageur – (B): Edwards’ first two albums are Americana masterpieces. Since then, she’s struggled a bit to make her next giant leap. While Voyageur has its moments, it all seems a bit tepid, especially given Edwards biggest past triumphs (see, for example, "
Cloud Nothings – Attack on Memory – (A-): You gotta admire the aim. Cloud Nothings went from bedroom pop-punk to devastation post-punk in about a year’s time. Is Attack on Memory great? I’m not sure, but it’s a big fat maybe. The first several cuts are grabbers - "No Future/No Past" nails a sound I haven’t heard since about the mid-90′s. AoM satisfies, but is it devoid of filler? We’ll see where this shakes out a year from now. ("No Future/No Past", "Fall In")
First Aid Kit – The Lion’s Roar – (A-): Aims to put stars in your eyes. Canyon-carving vocals, fiery harmonies, and great tunes abound. These ladies sing with conviction something like religion. My only complaint is that The Lion’s Roar could have boasted a little more variety. You know, more like "Blue", which hits upon a playful pop sensibility that’s otherwise absent. All in all, promising. ("The Lion’s Roar", "Emmylou", "Blue")
