RIYL: Hammock, Death Cab for Cutie, Pink Floyd

It’s hard to believe this is the Album Leaf’s fifth album release, and that the group, led by mastermind Jimmy LaValle, is celebrating 10 years of existence. But here it is, A Chorus of Storytellers, the group’s new one, and it’s the same dreamy alt-pop LaValle and company has become known for – but even more polished, if that’s at all possible. Only four of the ten tracks on A Chorus of Storytellers have vocals, but it’s not like you expect an album from these guys to be full of vocal music anyway. In fact, some of their instrumental material is their best, the kind of music that takes you away to a far-off euphoric island and lets you forget about everything going on around you. Of course, it’s also incredibly pleasant music to work to or play in the background of a hipster party. The ten tracks on here flow nicely together, but some of the standouts are the melancholy instrumentals “Within Dreams” and “Stand Still,” and the dark yet strangely uplifting “Until the Last.” But LaValle really shines on the vocal number, “We Are,” which has a beautiful melody and subtly awesome harmonies against a stunning musical backdrop. Too many adjectives? Maybe, but The Album Leaf’s music continues to be adjective-inspiring. (Sub Pop 2010)

The Album Leaf MySpace Page

RIYL: Les Claypool’s cover album of Animals, charity compilations, not Pink Floyd

The decision for the Flaming Lips to cover, in its entirety, Pink Floyd’s classic Dark Side of the Moon has certainly been met with a lot of hostility by people who consider the original to be a sacred artifact of a bygone era that should be treated with an almost religious reverence. Those people have decided to hate this album without ever hearing it, and that’s a shame, because if they did take the time to listen to it, they would have plenty of reasons to hate it on its own merits.

Okay, that’s a little harsh; this bizarre little experiment isn’t horrible by any stretch of the imagination, but it’s certainly not good, and is, as the purists love pointing out, entirely unnecessary. Most of the time the Lips (and on occasion Stardeath And the White Dwarf, who are credited as the sole performers on two tracks and as a back-up band on four others) just don’t seem to be trying. Their big creative decision seems to be on “Money,” when they sing through vocoders. The rest of the the time they just aren’t doing enough to make it really stand out from the original. “Time” gets some looping cough effects for some reason, and “On the Run” is transformed into a bass-heavy acid Jazz jam. The rest is pretty much just Dark Side with added wacky effects and cranked-up bass. It’s not weird or exciting – it’s just boring, not to mention lazy and predictable. Is anyone surprised by the fact that the Flaming Lips happen to be huge Floyd fans? I mean…duh. If the Flaming Lips really want to create a WTF moment, they should leave classics like Dark Side alone and take on something truly unexpected, maybe REO Speedwagon’s High Infidelity or Genesis’ Invisible Touch. Wayne Coyne singing “Land of Confusion,” now that would be a track worth hearing. (Warner Bros. 2010)

Flaming Lips MySpace page

RIYL: Beck, early ’70s Miles Davis, pre-Dark Side Pink Floyd

It would be far too easy to call the Flaming Lips’ new album Embryonic “trippy.” Any of the albums they’ve released over the past decade could fit that description. But as it stands, the 18-track double disc affair is in fact pretty far out, even for the Lips. Drawing from the sound palettes of early ‘70s Miles Davis (the instrumental “Scorpio Sword” is particularly reminiscent of the edge-of-insanity performances that marked the days when Chick Corea and Tony Williams pushed Miles into serious avant garde territory) and pre-Dark Side Pink Floyd (think of Floyd’s soundtrack work on More), Wayne Coyne and crew have woven a heavy, dynamic soundscape that works best as a piece.

Indeed, few songs stand out from the whole, one of the exceptions being the typically novel “I Can Be a Frog,” which is impossible to hear without thinking of its accompanying video. And while Wayne’s voice has taken a beating over the years, he sings to his strengths and lets the fuzzed-out guitars and vintage electric piano sounds take center stage throughout the disc. In fact, in most cases vocals are mixed about equally with the rest of the instruments, avoiding pop melodies and song structure altogether.

This very well could be the greatest album the Flaming Lips have concocted to date, though there’s so much happening here that it might take a few years to sink in. The Soft Bulletin and Yoshimi Battles the Pink Robots can retain popular favor in the meantime, but Embryonic is bound to fascinate and confound for years to come. (Warner Bros. 2009)

The Flaming Lips MySpace
Click to buy Embryonic from Amazon

How great is that picture? That must have been so fun.

According to the Los Angeles Times, the Flaming Lips have already recorded a new album hot on the heels of Embryonic, which was released on Tuesday of this week. For whatever reason, they’ve decided to recreate Pink Flyod’s 1973 classic Dark Side of the Moon.

The band will release a track-by-track interpretation of Pink Floyd’s “Dark Side of the Moon” in the near future, which it recorded with Stardeath and the White Dwarfs, a band that features Coyne’s nephew Dennis.

Henry Rollins and Peaches make guest appearances on the album, Coyne told the crowd during a pre-concert question-and-answer session. A Flaming Lips spokesman says the album will likely be an iTunes-only release, at least initially.

It will certainly be a more comfortable — at least familiar release — than the sonic experimentations of “Embryonic.” But the Flaming Lips’ fan base is one that’s always ready for a challenge, at least that’s what Coyne is betting on.

“I think our audience would forgive us for going out in the further regions of whatever we could think of,” Coyne says. “But I don’t think we’d be worthy of being forgiven if we didn’t do that. They’re giving us the freedom, the encouragement, the money and the time to say, ‘Go somewhere where no other band could go, and come back and tell us what it was like.’”

We’re all familiar with tribute albums and one-off covers, but I don’t think a popular band has ever recorded and released a legendary band’s masterpiece. When Beck and his buddies get together and do something similar, the results are more silly than anything. If the Flaming Lips were just goofing around, they shouldn’t charge for the thing. Maybe this is some sort of artistic conquest, I don’t know. But why this album and not one with less merit? Dark Side of the Moon doesn’t need an updated version.

There’s always been a hint of a Pink Floyd fixation in the Clean’s efforts; the title of their 2003 live album, Syd’s Pink Wiring System being but one indication. On their new album, the New Zealand ensemble – which celebrated their 30th anniversary this past year – make further bows to those psychedelic forebears in ways that leave no doubt as to both their references and reverence. Make no mistake, Mister Pop also lives up to its title’s billing, but given the glassy-eyed chants of “Are You Really On Drugs,” the psychedelic stirrings of “Asleep in the Tunnels” and the celestial send-ups of instrumentals like “Loog” and “Simple Fix,” the band’s cosmic inclinations remain all too evident. Happily, the Clean can still rock – or, shall we say, romp – with songs such as “In the Dream Life You Need a Rubber Soul,” “Tensile” and “Back in the Day,” conveying a distinctly appealing and infectious sound that clings just as mightily to those aforementioned pop precepts. When taken in tandem, Mister Pop provides a strangely surreal serenade. (Merge 2009)

The Clean MySpace page

Combined with the band’s landing at the musical crossroads of shoegaze and Pink Floyd, and singer/guitarist Allen Epley’s uncanny vocal resemblance to Jimi Goodwin of Manchester, England’s Doves, one could be forgiven for thinking The Life and Times must be British. Yet, when Epley begins to sing on “Que Sera Sera,” the opening tune on The Life and Times’ second full-length album, Tragic Boogie, about the last place that comes to mind is Kansas City, Missouri. But there it is – The Life and Times are the American Doves, albeit with more emotional detachment in their layers of guitars, a hard hitting drum sound recalling Clouds Taste Metallic-era Flaming Lips, darker chords and an overall envelope of sound that eclipses the words. It all sounds amazing, even if it doesn’t quite connect on a visceral level. But it comes close enough to warrant repeat listens and raise hopes for the next album. After all, they’re already a step beyond the previous one, so keep an ear open. (Arena Rock 2009)

The Life and Times MySpace page

Most men hate Valentine’s Day, but we at Bullz-Eye actually love it, though for different reasons than you might suspect. The majority of us are either happily married or in long-term relationships (except for our fearless, terminally single leader), so Valentine’s Day is a sweet reminder of how happy we are that we’re no longer playing the dating game. (It’s fun when you’re young, guys, but trust us, you won’t miss it.) But the real reason we love Valentine’s Day is because it gives us an opportunity to make fun of songs that pretend to be heartfelt, but are really just sad. And we don’t mean “Brian’s Song” sad. We mean Milhouse Van Houten sad.

It all started with a Coldplay song. As we’re tapping along with the drums, we put the lyrics under a microscope and thought, “Did he really just say that? That’s pathetic!” From there, we began analyzing other songs that appeared to be sweet, honest confessions of love on the surface, but were just sorry cries for help in disguise or, worse, disturbing preludes to what a defense attorney would call “crimes of passion.”

We have broken our subjects down into three categories: stalker anthems, love songs for the spineless, and murder ballads, the last of which are mostly minus the ballad. Our research uncovered dozens upon dozens of songs that fit one bill or another, but for the sake of time and space, we’re whittling the list down to our favorites (all apologies to Elton John’s “Sorry Seems to Be the Hardest Word”). And, as a public service, we have provided musical antidotes for every song we dissect, in case anyone is overwhelmed with a case of the willies. Perhaps the most disturbing thing we uncovered is that one of the more sinister repeat offenders was…Barenaked Ladies? You better believe it.

Now I’m following you: Songs that profess a more “dedicated” kind of love
There are certain songs that love you. Like, really, really love you. Wait for you at the elevator love you. Watch through your window as you sleep love you. Whether you love them back is irrelevant – you were made for them, and it’s only a matter of time before you accept this to be true.

Song/Artist: “It’s No Good,” Depeche Mode
Incriminating Lyric: “The gods decree, you’ll be right here by my side / Right next to me / You can run but you cannot hide.”
Creep Factor: Low. Dave Gahan ranks just behind Jarvis Cocker on the list of least intimidating rock stars.
Musical Antidote: “You’re No Good,” Linda Ronstadt

Song/Artist: “Number One Crush,” Garbage
Incriminating Lyric: “You will believe in me / And I will never be ignored.”
Creep Factor: Admittedly, the lyric sheet reads like a diary entry written by Glenn Close in “Fatal Attraction,” but if you have a thing for sulky redheads in raccoon eye makeup – as many of us clearly did in the ’90s – the song is really sort of adorable.
Musical Antidote: “Puppy Love,” Paul Anka

Song/Artist: “Obsession,” Animotion
Incriminating Lyric: “I will have you, yes I will have you / I will find a way, and I will have you / Like a butterfly, a wild butterfly / I will collect you and capture you.”
Creep Factor: Too turned on to be creeped out. Keep in mind that one of the next lines is “Who do you want me to be to make you sleep with me?” so if we’re just talking about casual sex, wouldn’t you rather it be with someone who’s a little nuts and willing to role play? You bet your ass you would.
Musical Antidote: “We Don’t Have to Take Our Clothes Off,” Jermaine Stewart

Song/Artist: “I Will Possess Your Heart,” Death Cab for Cutie
Incriminating Lyric: “You reject my advances and desperate pleas / I won’t let you let me down so easily.”
Creep Factor: Holy shit. Most of the time, Ben Gibbard sounds like a harmless nerd, but with this song, he let us know that he’s just as capable of making us wonder if we should call the cops.
Musical Antidote: “Let’s Be Friends,” New Edition

To read the rest of Songs That Bare Their Souls and Freak Us Out, click here.

Every music lover has been there – in front of the television or a set of speakers, listening for the first time to the work of a critically revered artist whose songs are supposed to change the way you look at the world…only to come away wondering what all the hype was about. For the iconoclastic among us, these moments are opportunities to prove what independent thinkers we are; for everyone else – a group that often appears to include virtually every name-brand music critic on the planet – they’re opportunities to turn off your ears, nod your head, and smile. What kind of self-respecting music writer doesn’t love the music of Bruce Springsteen? U2? Elvis Costello? A total hack, right?

Maybe. Or maybe we tend to forget that one of the most wonderful things about art is the utterly objective way we respond to it. One establishment’s treasure can be one lonely listener’s source of constant befuddlement, consternation or outright rage – and with that in mind, your Bullz-Eye Music staff put its heads together and drew up a list of all the bands and artists we’re supposed to love…but don’t. Each of the writers who contributed to this piece is speaking solely for himself, and you’re sure to disagree with some of the names mentioned here – and, of course, that’s sort of the point. But enough of our introductory babble – let’s break down some critical idols!

The Doors
“…don’t even think about describing their sound as “timeless”; you’ll be hard pressed to find music as trapped in time as these peyote-fueled dirges, and no one summed up the life and legacy of Jim Morrison – whose death was as brilliant a career move as you’ll ever see – better than Denis Leary: ‘I’m drunk, I’m nobody. I’m drunk, I’m famous. I’m drunk, I’m fucking dead.’”

Bruce Springsteen
“Perhaps Jello Biafra put it best when he referred to Bruce Springsteen as ‘Bob Dylan for jocks.’ But I can sum up what I dislike about the majority of the Boss in one word: Glockenspiel.”

Pink Floyd
“If you’re 14 and discovering pot, Pink Floyd’s a must. Hell, Dark Side of the Moon is practically a gateway drug in and of itself. If you’re out of high school and still into ‘em, you’ve got a problem.”

Conor Oberst
“…his songs are duller than a steak knife in a prison cafeteria. I’ve tried repeatedly to ‘get’ Oberst’s work, but each time, I come away further convinced that his music is an elaborate prank hatched by the editors of Pitchfork.”

To read the rest of the bands Bullz-Eye doesn’t get, click here.

If you’re curious to hear (most) of the songs I picked for the current Pink Floyd Deep Cuts piece, then head on over to Sniff The Tip and listen to your ears’ content. That is all. Happy weekend to you all.

When it comes to a band like Pink Floyd, assembling a Deep Cuts list can be rather easy, if only for the fact that the band really didn’t release too many singles during its time. Of course, once they got the ball rolling and F.M. radio stations took off playing entire chunks of their albums, picking Deep Cuts gets a bit trickier. All in all, a basic paradox. For the most part, though, this list uncovers some groovy nuggets before the band became larger than life with Dark Side of the Moon. There are also a couple selections from that famed album as well, and some other odds and ends during their big heyday and post-Roger Waters era. If you only know the band from their biggies, then this list is for you. All the diehard fans can chew over the selections as well and remind me of anything I may have missed. If your personal favorite isn’t here, there may actually be a good reason for it.

Check out the full list here.