Date Posted: May 17, 2011
Print Edition: May 13, 2011
The Foo Fighters – Wasting Light
The Foo Fighters, being alternatively described as “Nirvana-lite” or “rock gods,” have never relinquished either title. Their albums, from the self-titled debut to 2002’s One by One, are generally well-loved staples of modern rock. Yet, their past two efforts fell flat, with mediocre reviews by fans and critics alike. Enter Wasting Light, the Foo Fighter’s seventh studio release is an unabashed return to roots. Songs like “Arlandria” and “White Limo” would fit nicely between “Monkey Wrench” and “Hey, Johnny Park.” There is no wild experimentation here; those days seem to be behind the band. If you are looking for crazy new ideas, pass this one up. That isn’t to say that Grohl and company have no musical chops; they play with the verve of youth and the experience of age. “I Should Have Known” is an emotional song that, for better or worse, will stir the pot on Kurdt Kobain’s legend and prove there is more to Grohl’s than his hard rock exterior.
– Paul Falardeau
Okkervil River – I Am Very Far
Brooding, nautical, and opulent, Okkervil River’s I Am Very Far couldn’t be further from the sunny pop revelry of The Stage Names and The Stand Ins, the folk-rock band’s companion albums about the seedy underbelly of the entertainment industry. The hooks are still there, just obscured by layers of instrumental detritus and affected vocals. Though the album is remarkably consistent, the irresistibly anthemic “Rider” threatens to steal the show with its heart stopping chorus. Always in top form, bandleader Will Sheff unleashes liberal doses of wildly evocative lyrics like, “It’s just a loud crowd crush. It’s just a thrush, seen flying through the late autumn dusk for the very last time,” on album opener “The Valley.” Most importantly, I Am Very Far showcases Okkervil River’s incredible versatility. While “We Need A Myth” features orchestral flourishes and a melodic playfulness that would make Brian Wilson smile, the snaky, disco inflected “Piratess” recalls Different Class era Pulp.
– Nick Ubels
Panda Bear – Tomboy
Following the resounding success of his 2007 solo release Person Pitch and Animal Collective’s subsequent 2009 release Merriweather Post Pavilion, the pressure was on for Noah Lennox on his fourth solo outing, Tomboy. Enthusiasts of Person Pitch are liable to be initially frustrated by Tomboy, as Lennox’s sprawling cascades of texture are kept to a minimum and replaced with rough and droning resonance. The samples Lennox used on Person Pitch are a far cry from the live percussion and poignant melodies of Tomboy. These modifications allow the listener to step back and take in everything that is happening in a more simplified musical landscape and is especially noticeable midway through the album on the track entitled “Scheherazade.” Returning to the circular style of song writing and pop sensibilities of his previous releases, Lennox’s ability to condense his songs into more accessible pop tunes is perhaps the most drastic shift demonstrated on Tomboy.
– Tim Ubels
Liturgy – Aesthetica
Metal can be a disconcerting genre to listen to from an inexperienced standpoint. The screaming and loud instrumentation can be off-putting, but listening to the more sophisticated groups is an interesting departure from more gentle forms of music. Liturgy, firmly-grounded in the Black Metal world, provides a progressive look at metal music. Their first song on the album, “High Gold,” begins with what sounds like an electronic mandolin, repeating single tones until the sound is reduced to grey noise. The song, typical metal fare, rises out of this – but the interesting beginning works with the background that is reminiscent of a string quartet, presenting an accessible angle for future listens. Another feature of the album is the beautiful choral lines throughout; these juxtapose with the harsher tones and make for a great listen. These are just a few points to extract. Overall, Aesthetica provides listeners with many new facets to enjoy, making this a great contemplative album and a good introduction for inexperienced metal listeners.
– Karen Aney
