First off, I swear WBH is not turning into a music-only blog. Promise.
Secondly, while listening to epic synthman Moroder’s epic live set , one song stuck out, at once familiar and brand new – early 80s sounding with 21st century atmospherics. I could swear I’d heard it before, but couldn’t place it at all. Apparently I was so caught up in the hype of Random Access Memories that the fact that GIORGIO HAS A NEW SONG OUT!
Once again, utter ace, tip top. Just what you’d imagine GM to sound like in 2013. It’s actually the “soundtrack” to Google’s Chrome experiment, Racer. Google Shmoogle. MORODER IS BACK WITH A VENGEANCE AND THAT’S ALL THAT MATTERS. LONG LIVE GIORGIO!
It’s FINALLY here – Phoenix’s Bankrupt! – the most anticipated album of 2013 (except maayyybe for that Daft Punk thing coming out in 4 weeks…), the long awaited follow-up to 2009’s utter masterpiece Wolfgang Amadeus Phoenix. So how is it? (rating at the end)
If any of you Phoenix fans are fans of MGMT, then you might remember the anticipation, hype, and disappointment that Congratulations was to its brilliant predecessor Oracular Spectacular. Effortless, electronically-tinged, catchy pop, followed by bizarre experimentation and a rejection of everything that made MGMT good. The good news for Bankrupt! is that it’s not like that! It is, like its comparator, a bit more experimental, less immediately catchy. A bit more deliberate feeling, as opposed to WAP‘s effortlessness. But the hooks, synths, brevity, and sense of cool that made Wolfgang Amadeus Phoenix such a work of art are still there.
In Phoenix’s feature-of-the-month, cover story interview with Spin , they mention that the success of WAP means you’ll probably give the new one 3 listen-throughs by virtue of the hype and expectations. There’s some truth to that – when they released it streaming over iTunes, I listened to it at least that many times, and with each time grew fonder and fonder. Indeed, the same thing happened with Wolfgang. Although Bankrupt’s tracks aren’t as effervescently poppy as its predecessors, I didn’t really think that about the last album until a few listens through. What Bankrupt really portrays is diverse musical texture and layers (lots of new sounds and key changes), and a more grown up, at times even psychedelic sound. Don’t worry, by the way, the vocals make just as little sense as they did on Wolfgang, but singer Thomas Mars delivers again.
Enough generalizing! Track-by-track review:
1. “Entertainment”, the big first single, huge synths, Chinese-sounding main melody, oddly has echoes of “Armistice”, the fantastic closer of WAP. One of the catchier tracks, also the most upbeat by a significant bit. I suspect this will get a lot of airtime this spring and summer.
2. “The Real Thing” takes the drums straight out of Prince’s epic “When Doves Cry”. Synth pads, soft vocals, and a sick chorus chord progression. Good music to chill to in the afternoon on a warm day.
3. “S.O.S. in Bel Air” – Very Wolfgang-y upbeat verse, ethereal, dreamlike chorus, overall great song.
4. “Trying to be Cool” – Reminds me a bit of In Ghost Colors era Cut Copy, or Empire of the Sun. Medium-tempo jam, with detectable guitars beside the synth pads. More banger chord progressions in the chorus and a huge, effective key change towards the end.
5. “Bankrupt!” – Let’s be upfront, this is this album’s “Love Like a Sunset” (the epic 7:39 mostly instrumental synth epic from Wolfgang). The comparisons are just too easy, at nearly 7 minutes, with synth chirps and warbles, a slowly building beat that suddently shifts to a quick piano line, then into nearly Baroque-sounding square-wave synthesized arpeggiated goodness. Mars and guitars return at the end, much like “Love…”, but in an achingly beautiful minor key minor key that may be the vocal highlight of the album. Excellent.
6. “Drakkar Noir” – sounds like it could have been a hit in an alternate universe mid-80s, if only the 80s had the Phoenix touch. Strong track, typical Phoenixy synths, typical Mars vocals riding atop the Phoenix beat. This shows a very strong link to WAP, and wouldn’t have been out of place if it were released in 2009 – dare I say it has elements of “Lisztomania?”
7. “Chloroform” – again a bit 80s sounding. The critics seem to love this song, but apart from the occasional beautiful blooms of synths, the highlight of the song is the last minute, where the instrumentation changes (softer sounding synth pads and melodies, synth bass, and another key change) and Mars shines again.
8. “Don’t” – An upbeat rocker, more classic tried-and-true Phoenix sound, though without any guitars – More Wolfgang-esque material but with arpeggiators. This song gets better with each listen. Another of the catchier tracks, this one is another highlight, and I can easily see it released as the next single, and it has great live potential.
9. “Bourgeois” – a brilliant repeated synthesized harpsichord motif opens, then the rest of the band comes in before a scratchy acoustic guitars and Mars perform a quiet duet,,before everyone else comes back in and the song really kicks off. It’s not especially catchy, but the melody certainly beguiling and captivating, and it has the most balanced instrumentation on the albums, mixing guitars, real drums and bass with their synthesized counterparts beautifully. A beautiful, under-the-radar track.
10. “Oblique City” – forget what I said about Baroque sounding earlier, the opening keyboard line to this one is straight up Bach. But that ends quickly, transforming quickly into an upbeat rocker, with some pretty crucial instrumental/key/time changes. The acoustic guitar ending is especially pretty. Another one that I’m sure sounds great live.
So, it should be clear that I generally like Bankrupt! As I said, none of the tracks jump out the way nearly EVERY song on Wolfgang Amadeus Phoenix did, but if Phoenix managed to pull that off, they would be superhuman (or they’d be robots…like…well you know). Standout tracks include “Entertainment”, “S.O.S. in Bel Air”, “Bankrupt”, and “Don’t”, with “Drakkar Noir”, Bourgeois, and “Oblique City” coming right behind them. So that’s 7 of 10 songs as either very good or really quite good. The remaining three, while not my favorites on the album, have their own redeeming features, mostly in the form of tempo, key, and instrumental changes that highlight Phoenix’s self-declared “experimentation” on this album. This is really the first full album review on We Ball Harder (not counting my mini review of the Raveonettes), so there’s my attempt at methodology. I’d say Bankrupt! warrants an 8/10. Very creditable, more mature, more diverse musically, and pretty solid tunes. It’s no Wolfgang, but it’s no disappointment. Well done, Phoenix! Allleeeezzz!!!
PS – yes, I bought another CD, just like I did with Observator by the Raveonettes. These things are hard to track down these days!
Click for a funky preview!
Or 21st if you live in the Unfunky States of America. Daft Punk’s fourth studio album shall be released. And we shall party. That is all.
Various online leakers have announced that a Sony online registration form now lists a full album’s worth of new songs by Daft Punk for release this year! 13 songs, nearly 75 minutes, recorded 2013. That’s all the info that’s out there, but all I can say is HELL YES! The gods of French house and fathers of modern electro are back!!!
This brings us to the song of the day, “Around the World/Harder Better Faster Stronger”, from Alive 2007 – a recording of their legendary concert at Bercy (near Paris), and one of the highlight tracks from the album. Recorded at the height of their influence (Justice, anyone?), it’s a Daft Punk only mashup, only the mashup was done live with racks of synths, midi controllers, and computers, so it’s really like instant remixing and mashing. Madeon probably wouldn’t be anywhere without this pure unadulterated electronic robot bliss:
As a nod to the great nation of Canada, responsible for one the best breeds of dog in the world* and home to both my favorite city and brewery in North America**, today’s choon is from my favorite band from the Great White North, Death from Above 1979***. The best two-person band in history [eat it, White Stripes] – Jesse F Keeler (later of MSTRKRFT) on the most distorted, aggressive, riffy bass, and Sebastian Grainger on pounding drums and punky vocals. Formed in 2001, broke up in 2006, and only one killer full length album – but what an album – joyful, earsplitting noise in the best possible way. The band has reunited and is working on a new album, and I can’t wait. This one’s one of my favorites from the old days:
live in the pre-breakup days
the MSTRKRFT edition, a brilliant remix from Jesse’s next outfit.
*the Labrador retriever, based upon the St John’s water dog, from Newfoundland. I had a great one before, and just got a puppy today:
**Montreal. Really. Go if you haven’t been, it’s starting to thaw out. Also, Unibroue.
*** Or, just Death from Above, their original name. James Murphy, the overrated fuckwit behind LCD Soundsystem and manager of Death From Above Records engaged them in a legal dispute, and they chose to add “1979”, because, to quote Grainger, “1979 is the year of my birth, 1979 is the year of Off the Wall, 1979 is the year of The Pleasure Principle, 1979 is the last year of the last cool decade, 1979 is scratched into my arm, 1979 is scratched into my arm, 1979 is scratched into my fucking arm.” DFA’s reaction to James Murphy and his label also was the only thing on the band’s website for a while, and here it is, verbatim:
“FUCK DFA RECORDS FUCK JAMES MURPHY WE DECLARE JIHAD ON THEM HOLY WAR ENDING IN THIER [sic] DEATH AND DISMEMBERMENT… james murphy is a selfish piece of fuck that will burn in the flames of a specially dedicated rock and roll jihad. if i had the resources i would fly a plane into his skull.”
Rock on brother Jesse and brother Sebastian!
One of the greatest currently active bands, Muse, those West Country wizards, have released a new single from their forthcoming album, 2nd Law, due October 2. It’s called “Madness” and it’s an entirely new sound for the band…almost like a 21st century minimal electro classic George Michael vibe, in a very good way. Sparse beats and an even sparser guitar solo for lead singer/guitarist/pianist Matt Bellamy, with some cool atmospheric synths and electronic melodies thrown in. Give it a listen:
He’s awesome, he’s a genius, he rocks a mean dancefloor, he’s the bo-est selecta out there, and he only just turned 18 yesterday. You may remember him from the genius of “Pop Culture” last year. I saw him in concert two weeks ago, and he ain’t no mere flash in the pan. Madeon is the real deal. He just released this preview of his upcoming single today, and it is HUGE. Like, the electro/house equivalent of a summer blockbuster movie. Enjoy.
Quick thought here. Read any “respectable” piece of print and the guy who rocks a dancefloor, gets down on the wheels of steel, or drops a bo choon, selecta! is referred to as a “deejay.” NO NO NO. It looks stupid – nobody writes “teevee” – and no self-respecting artist would spell it like that. The word is an acronym, and should ALWAYS BE WRITTEN DJ. This goes for MC, too, by the way. That’s all I have to say on that. Rewind, selecta!
LITTLE BOOTS’S NEW ALBUM DUE THIS YEAR!! Best news of the day by far!
I just saw this and am in awe. Madeon, a 17 year old digital DJ on Youtube, is now officially God of Sampling Brilliance. He calls it a mash-up, I say that’s an injustice. This is rather THIRTY NINE songs with random snatches of each thrown in at one second and taken out at another, all creating a whole new and truly epic bouncy electro pop track. Like Girl Talk, if Girl Talk didn’t suck. Kudos to Madeon!
It also seems he’s done a pretty good remix of Yelle: