Quick Reviews (LP): Majesty Shredding by Superchunk

superchunk majesty shreddingSuperchunk
Majesty Shredding
Merge; 2010

My Rating: B-

Best Tracks: “Digging For Something”, “My Gap Feels Weird”

Good ol’ Superchunk: Chapel Hill’s own indie rock working horse. These guys (and gal) have cranked out at least one truly distinctive record in their existence (Foolish), and their other albums have otherwise been pretty good, kind of like this one. I’d say that the whole point of this record is to get the band back to the sound that made them Superchunk. This is the hard stuff, old school indie before things started getting too pretty. Nothing even close to earth-shattering here, but plenty of big, bright melodies and loud, chunky guitars for the old school indie set. It is a little homogenous, but if you are so inclined, enjoy the heck out of yourself.

Band website
Pitchfork review
Metacritic reviews

Best Breezes: 5/31/10 – 6/6/10

Been away for a little while. Should be pretty consistent this week…

NPR: Best Opening Tracks?

(via NPR Music) If you follow this blog, you know by now that I am a music obsessive. So I love lists, especially when they discuss things like “best opening tracks.”  NPR’s editorial list can be found here. Interesting stuff. I’d have to include:

REM (“Radio Free Europe”, “Harborcoat”, “Finest Worksong”)
Radiohead (“Airbag”, “Everything In Its Right Place”, “15 Step”)
Wilco (“Misunderstood”, “I am trying to break your heart”)
Crain (“Car Crash Decisions”)
Slint (“Breadcrumb Trail”)
Rodan (“Bible Silver Corner”)
Belle & Sebastian (“Stars of Track and Field”)
Innocence Mission (“Keeping Awake”)
My Morning Jacket (“Mahgeetah”)
Mark Knopfler (“What It Is”, “Why Aye Man”)
Elvis Costello (“Accidents Will Happen”, “Clubland”)

in my own long list.

New Sun Kil Moon

(via onethirtybpm) I have a friend who was really into Mark Kozelek’s Red House Painters in high school, back when it was hard to get your hands on their stuff. I never got into them myself, but after hearing these new tracks from Kozelek’s Sun Kil Moon project (awesome name by the way), I might just dive headfirst into the world of “the other” MK.

GY!BE + “Weird Al” = WHAT???

(via Pitchfork) File this one under strange, even by the standards of both artists. Dear Lord, let there be a collaborative effort in the future.

New Superchunk On The Way

(via onethirtybpm) New Superchunk on the way. Superchunk is hit or miss with me, but when they hit, they knock it out of the park. (See “Driveway to Driveway”, “The First Part”, “Hello Hawk”, “Burn Last Sunday”)

A.C. Newman: Get Guilty (2009)

Album Cover via eMusic

A.C. Newman
Get Guilty; 2009
Matador Records

My Rating: 74/100

Power-Pop Hitman Guilty As Sin

I have a guilty pleasure I need to admit: I am a huge fan of pop superstar Phil Collins, especially his mid-80’s heyday. I am such a fan that I recently created a mix CD entitled “Phil Collins Galore.” Something about that man’s music simply butters my bread. Still, whenever I ponder the career of (the original) Dr. Phil, I often scratch my head about the ping-ponging he did between his solo career and Genesis, because when it all comes down to it, for the longest time I couldn’t differentiate between the two. In fact, at this given moment, I couldn’t tell you whether “Sussudio” is a Genesis or a Phil track. And that’s the way I feel about A.C. Newman’s solo work. Unlike the other two major indie artists working in the New Pornographers (Dan Bejar of Destroyer & Neko Case), Newman’s eponymous output  bears little immediate difference from the NP-sound. It can lead one to cynicism about the whole affair: “Why even bother?” However, a few careful listens to Newman’s second full-length shine a spotlight on the specific and dissimilar merits contained therein. For starters, there’s a rhythmic angularity and experimentalism that is, for the most part, absent from the hyperactive power pop of New Pornographers (“Like A Hitman, Like A Dancer”, “Elemental”), in large part thanks to the unorthodox drumming of Superchunk’s John Wurster. Second, while the songs are hooky and immediately accessible (“Young Atlantis”, “Prophets”), they are also deeply mysterious and entirely unyielding. These are tracks you can dwell in for a good while, discovering additional layers here and there to relish. Third, because he isn’t forced to share the spotlight with anyone else, we get to focus on Newman’s greatest strenghth: his penchant for writing memorable and distinguishable pop songs. Overall, Newman is at his best when he builds the song around a mind-blowing hook and lets it breath. His esoteric/enigmatic lyrics don’t distract so much then, but instead become the alternate universe into which we are initiated by a hummable, repeatable motif.  Get Guilty provides clear indication that Newman’s solo career is not merely a vanity affair. The record is an impeccably-crafted album of left-field baroque pop gems, as satisfying as any of the New Pornographers’ long-players, and ultimately the work of a master craftsman. Highly recommended.

Cohesion (5/5)
Concept (4/5)
Consequence (4/5)
Consistency (4/5)


1. There Are Maybe Ten or Twelve (4/5)
2. The Heartbreak Rides (5/5)
3. Like A Hitman, Like A Dancer (4/5)
4. Prophets (5/5)
5. Submarines Of Stockholm (5/5)
6. Thunderbolts (3.5/5)
7. The Palace At 4AM (4/5)
8. The Changeling (Get Guilty) (3.5/5)
9. Elemental (4/5)
10. Young Atlantis (5/5)
11. The Collected Works (4/5)
12. All Of My Days And All Of My Days Off (5/5)

What do you think of A.C. Newman’s Get Guilty?