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Review: Tortoise, Beacons of Ancestorship

4.0

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Tortoise, Beacons of Ancestorship

Without hearing a single minute of Beacons of Ancestorship, I knew a few things would be true simply by virtue of it being a Tortoise album. The music would consist of inventive indie prog, played virtuosically by a team of musicians boasting, among other things, one of the best rhythm sections in the music underground. Their inner jazzmen would allow the band to couple, as only jazzmen can, all of the thrill of meticulous songcraft with a sense of near-improvisational looseness. So, from a critic’s standard, this would be a no-brainer, right? After all, it was these winning attributes that made the band’s pair of late ‘90s classics, Millions Now Living Will Never Die and TNT, such sublime accomplishments, what made 2001’s evocative Standards a compelling counterpoint to the melodrama of Tortoise’s post-rock followers. In those days, each Tortoise album was a clever pastiche of leftfield genres, a showcase of indie’s best instrumentalists playing as a unit like no other band could.

Unfortunately, Tortoise’s output since 2001 has included just one proper album, 2004’s water-treading It’s All Around You, and a collaboration with Bonnie “Prince” Billy. Despite being as distinctively Tortoise as their ancestors, these efforts were spotty at best. Both the 2004 album and the collaboration saw Tortoise’s once-thrilling compositional style lapse into self-parody. On It’s All Around You, all of the eclectic pieces—the jazzy fills, the dub breaks, the tempo shifts—came in exactly where you’d expect them to. In some ways, the band was shoehorned by its own good taste. In search of a sound that betrayed neither its influences nor the band’s emotions, Tortoise ended up with songs that were also incapable of surprising listeners. Thankfully, Beacons makes it clear that Chicago’s avant-vets still have some spark left. Nearly all of the tracks shake up the band’s formula, and that special feeling that comes from hearing a team of talented players fuse their restless visions permeates the record.

Ultimately, Beacons is a funkier, more playful take on the band’s familiar sonic motifs, balancing out the familiar musical explorations with groove-oriented tracks that actually groove, and rock-oriented tracks that actually rock. The songs come easy to digest too: Only two tracks run over the six minutes, and more than half wrap up before the four-minute mark. The minimalist side of Tortoise shows up in intervals, but the time between is full of vibraphone and synths that go beyond adding texture to provide a real rhythm. On the guitar front, Beacons features some of the best riffs and solos of the band’s career, even if they surface briefly. Mostly, Beacons is manic: shifting textures, tempos, and moods in a constant flux of aw-shucks-lets-try-that-too energy.

One mid-album highlight, the inscrutably titled “Yingxianghechengqi,” makes the best argument for Tortoise’s eclectic approach: It’s a tightly wound knot of furious riffing, with snarling low-end synth and bass contributing additional chaos. At the same time, drummer John McEntire pulverizes his kit in a jazz-metal barrage that would make Mastodon’s Bran Dailoir jealous. The whole thing implodes after three minutes, and the track ends amid rumbling ambiance. If that cut might fit, albeit imperfectly, on a Lightning Bolt album, then follower, “The Fall of Seven Diamonds Plus One,” could be Tortoise’s contribution to an Ennio Morricone soundtrack. The darkly textured piece sets up a backdrop of acoustic picking and a shuffling drumbeat, foregrounding metallic clanks and stomps, complete with “Huh!” sound effects. “Northern Something” is another standout, sounding like Battles doing dancehall, its mathy percussion alternately matching then riffing off of a chugging dub beat. Only one track sounds like a TNT throwback: the unwieldy “Gigantes,” which should have been half its length. Elsewhere, another long cut, “Minors,” gets lost in its own spacey void. These missteps, however, go down easier thanks to their accompanying material being so strong. And the brief interludes—“Penumbra” (a chirpy, major-key synth swooner) and “de Chelley” (a trembling instrumental ballad), each under two minutes—lend a lively pace to the album in spite of its occasional obtuseness.

Beacons demonstrates that Tortoise is still more than capable of releasing an exciting album. A few tracks still find the band veering off into aimlessness, and the album, return-to-form that it is, still pales next to the band’s best work. To be sure, Tortoise has written masterpieces before, and this is not one of them, but as a consistently engaging and vital record in its own right, it suggests that the band might have another one in them.

Label: Thrill Jockey Release Date: June 17, 2009 Buy: Amazon

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Review: Guster’s Look Alive Is the Sound of a Band Rejuvenated

Guster’s eighth album buzzes with inventiveness, charm, and youthful dynamism.

3.5

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Guster, Look Alive

Guster has long been associated with “college rock,” and not without reason. Even though every member of the Boston-based band is now over 40, they still make bright, hyper-polished alt-pop tailor-made for campus radio. The band’s eighth album, Look Alive, adds synths and contemporary production flourishes to their sonic repertoire, but all the hallmarks of their sound remain: winsome melodies, soaring hooks, and tight, immaculate songcraft that combines the best of Britpop, 1960s folk, and post-grunge.

Like most Guster albums, Look Alive has a few duds, a few modest successes, and at least one showstopper—a song that makes you wonder why the band was never more successful. On 2006’s Ganging Up on the Sun, that song was “Satellite,” a shimmering power-pop masterpiece that split the difference between the Shins and Neutral Milk Hotel. Here, it’s “Hard Times,” which also happens to be the least Guster-like track on the album. Drenched in Auto-Tune, buzzing synth frequencies, and stadium-ready percussion, the song doesn’t sound anything like “Satellite,” let alone like the band’s output before 2000. Yet, true to form, it’s a remarkable piece of pop. “Sinister systems keep us satisfied/These are hard times,” Ryan Miller wails. It’s a simple statement, but it makes for a stunning chorus, and Miller’s effusive delivery renders it the most cathartic moment on the album.

On “Not for Nothing,” the band ventures into dream-rock territory, surrounding themselves with icy synth textures that wouldn’t sound out of place on a Wild Nothing track, while “Hello Mister Sun” is unabashed bubblegum pop that pays homage to whimsical Paul McCartney tracks like “Penny Lane” and “Good Day Sunshine.” Likewise, the sprightly “Overexcited” bounces along with a spoken-word verse and pounding, piano-centric chorus. While none of these tracks tackle complex themes, they’re playful, infectious, and eminently listenable.

Many of Guster’s best-known songs delve into same subject matter: newfound love, crippling heartache, the pain of being young, restless, and alone. Yet much of Look Alive is more elliptical. “Maybe we’re all criminals and this is just the scene of a crime,” Miller sings ambiguously on “Terrified,” forcing the listener to fill in the blanks. “Summertime” similarly defies easy explanation: Brimming with obscure religious imagery, whispered background vocals, and references to an unspecified war, it follows no logical narrative, instead allowing the track’s mood—a feeling of triumph over some great adversity—to tell the story.

For better and worse, Look Alive’s production mimics the spacious, ‘80s-inspired aesthetic that pervades much of contemporary indie-rock. “Don’t Go” transplants a prototypical Guster melody into a synth-soaked songscape, while the title track seems expressly engineered for Spotify’s Left of Center playlist. Still, the album never feels like the work of aging musicians struggling to stay relevant; it buzzes with inventiveness, charm, and youthful dynamism.

Label: Nettwerk Release Date: January 18, 2019 Buy: Amazon

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Review: Toro y Moi’s Outer Peace Bends Boundaries with Mixed Results

Chaz Bear’s sixth album as Toro y Moi bends the boundaries of club music, albeit with mixed results.

3.0

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Toro y Moi, Outer Peace

Having already concocted brainy dance music under the alter ego Les Sins, chillwave trailblazer, synth-pop alchemist, and psychedelic rock enthusiast Chaz Bear fully embraces the dance floor on Outer Peace, his sixth studio album as Toro y Moi. Pulling from sources as disparate as R&B, tropical house, and trap, the California-based singer bends the boundaries of club music, albeit with mixed results.

Upon first listen, it seems like Outer Peace colors a rough sketch of a dystopian future where the material is mistaken for the immaterial, technology becomes a gateway to the metaphysical, and fleeting pleasures, prompting ever greater hedonistic pursuits. It doesn’t take long to realize, though, that this dystopia isn’t some future prospect, but the present moment. With lines like “Mystic staring at his phone for oneness,” Bear masterfully defamiliarizes our world, exposing the absurdity of the digital age.

Bear charmingly pairs this oft-heavy subject matter with club-ready grooves. The existential crisis of “Who Am I” is juxtaposed with sweetly pitched-up vocals and a fizzy patchwork of synths. Bear’s playful approach to house music ensures that no amount of existential dread and doom can dampen the mood he creates throughout the album.

Bear’s tinkering, however, isn’t always transportive. The rather vanilla tropical house beat of “Baby Drive It Down” recalls Drake’s dancehall-lite, with a lifeless performance from Bear. His experimentation with trap is at first promising on “Monte Carlo,” with the support of a dreamy pillow of vocal samples, but coming in at two minutes, the track feels one note, lacking any tempo changes or even a bridge, suggesting it was perhaps better fit for an interlude.

The cover of Outer Peace depicts Bear gazing intently at a computer screen, surrounded by instruments in a clean, sterile room. He reportedly created the majority of the album during an unaccompanied two-week retreat off Northern California’s Russian River, and this isolation can be felt throughout. The album’s title represents the remarkable possibility of finding freedom from the outside world by letting loose on the dance floor and experiencing liberation in a crowd of strangers. Bear certainly takes the album there at several points, but in the limited scope and cerebral slant of these too-brief songs, he loses that outer peace.

Label: Carpark Release Date: January 18, 2019 Buy: Amazon

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Review: Joe Jackson’s Fool Is a Concise and Punchy Nostalgia Trip

On Fool, Joe Jackson sounds younger and angrier than he has in years.

3.0

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Joe Jackson, Fool

Joe Jackson has spent the better part of four decades trying to put some distance between himself and his debut, Look Sharp!, a collection of acerbic new-wave pop songs that earned him the label of “angry young man.” But on his 21st album, Fool, he sounds younger and angrier than he has since 2003’s deliberately retro Volume 4. Maybe it’s a symptom of nostalgia: Fool, after all, is being released almost 40 years to the day after Look Sharp!, accompanied by a tour that promises to draw from Jackson’s entire career.

The album’s first two singles, “Fabulously Absolute” and “Friend Better,” both seem to deliberately rekindle the spirit of 1979: the former with its wiry post-punk guitar and synth riffs, the latter with its snotty vocal cut from the same cloth as early Jackson hits like “Is She Really Going Out with Him?” Even the refrain of the opening track “Big Black Cloud”—“No luck, no money, no sex, no fun”—is torn straight out of the London punk playbook.

Not all of the album calls back so specifically to Jackson’s debut: With its jazz-inflected piano and flute, closing track “Alchemy” is a welcome return to the moody sophisti-pop of 1982’s Night and Day. More often, however, Fool‘s refined pop-rock recalls an amalgamation of styles from Jackson’s “classic” era while also reflecting his late-career maturity. Tracks like the elegiac “Strange Land” marry his long-standing jazz and classical ambitions with his undeniable knack for pop melody in a way that doesn’t shortchange either.

Jackson, though, still hasn’t quite shaken his tendency to overextend himself. The title track is well-played, with some virtuosic runs by longtime bassist Graham Maby, but it also careens from Jackson rapping into a megaphone to a madrigal-like bridge to a synthesized surf guitar solo. The Beatles-esque “Dave” holds together better musically, but its character study of a pure-hearted but simple-minded everyman, who could have something to teach us about slowing down and enjoying life, feels cloying and condescending.

If Fool doesn’t quite measure up to Jackson’s sterling early work, it’s still more concise and punchy than 2015’s Fast Forward and less self-consciously arty than his late-‘80s and ‘90s work. By now, Jackson has surely come to terms with the fact that he’ll never be able to outrun his new wave days; keeping it as just one of the tools in his expansive arsenal is a fine compromise.

Label: earMUSIC Release Date: January 18, 2019 Buy: Amazon

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