RadioBallet's Opinions on Sound Waves

[RadioBallet]

Welcome!

Got a brand new account, you can follow along here as I start from scratch. I'll be exploring all sorts of things in no particular order, but I will post every album I listen to here as well as track ratings and a few thoughts and opinions on each. I'll be giving each album and artist a lot of research and enough listens before rating. That means I might not be the fastest-growing log around here, but at least my opinions will not be rushed or vague. I hope you'll enjoy it! Follow my chart as it grows along too.

*Rating System:
0 - Redefines failure
1 - Saved by a single redeeming quality
2 - Terrible
3 - Bad
4 - Poor
5 - As bad as it is good
6 - Decent
7 - Good
8 - Exceptional**
9 - Amazing
10 - Essential

The same rating system goes for songs, but any tracks that are more like interludes, skits or addornments will be given a +, = or - depending on how the track contributes to the album as a whole, rather than enjoyment on its own. An underlined track signifies a favorite from the album

*My rating system borrows directly from 32mos42, I hope he doesn't mind! It's very effective (for me, anyway)
**Cut-Off point for Overall Chart entry

[RadioBallet]

Godspeed You! Black Emperor - F♯ A♯ ∞



(CD edition)
Year: 1997*
Label: Kronky
Genre: Post-Rock
Producer: Don Wilkie // Ian Ilavsky // Godspeed You! Black Emperor

Tracklist:
1. The Dead Flag Blues // 8
2. East Hastings // 7
3. Providence // 8

Godspeed You! Black Emperor's debut album begins on an ironically apocalyptic note with The Dead Flag Blues (please note that I am writing about the CD edition, NOT the vinyl release). We are welcomed by a dismal portrayal of a world in mid-collapse, with cities ablaze and infrastructure failing, which to me is the immediate highlight of the whole record. This opening section is crucial to the album, as it immediately provides a solid foundation and a backdrop for the listener to fall upon as he/she tries to find meaning in the rest of the piece. The next parts of the opening track, "Slow-Moving Trains" (which is pretty much what it sounds like) and "The Cowboy" give this opener a lot of potential for artistic interpretation and a sense of direction. I enjoy the chord progression and build-up on the long instrumental segment but I feel like it could have been a tad more climactic. Lastly, I find that the outro doesn't exactly fit in, but the entire track is still a great experience.

The second track is not as well-grounded as the first, but this makes its place in the whole of the album more open to interpretation than the rest. I like to think of this track as a sort of flashback to the state of the world before the apocalypse in the opener occurs. Everything seems to be escalating in volume and intensity until the point where the track ends in some very unsettling noise and a terrifying, pulsating sound that is reminiscent of that line in the opening monologue, "we are trapped in the belly of a horrible machine, and the machine is bleeding to death".

As it is in my head, the closing track takes place right before the apocalypse described in Dead Flag Blues begins. After that fitting interview which opens up the piece, Godspeed shows their great ability to get from a whisper-quiet point A to a blistering point B with an exciting build-up. The track ends with some explosions and mayhem that I assume are the beginning of the end. I really like the interplay between the strings and guitars here, particularly in that second instrumental section. It's also worth giving props to whoever recorded the drums, they always sound amazing on Godspeed albums. Yet, I feel that some of the ideas presented in this track don't mix entirely well with each other.

As for the message of this album, it's always the same, no matter how you experience or piece together these 3 tracks. First, it helps to look at the title to understand the concept here. F# and A# are the two keys in which the two pieces begin (on the original vinyl version, at least) and infinity refers to the loop that is found at the end of the record on vinyl copies that allows it to run on until, well, forever, alternating between F# and A#. This is symbolic of mankind's fluctuation between desire and regret that goes back and forth like a cycle, or, a loop (look for "Faulty Schematics of a Broken Machine", a drawing that explains the album's concept that is found among the packaging in vinyl copies). This concept gives the album a great deal of depth and allows it to be more than a meaningless concoction of instrumental ideas.

Album Rating: 8

*Technically, the CD edition of this album was released in 1998, but for simplicity's sake, 1997

[RadioBallet]

The Smiths - The Smiths

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(American Version)
Year: 1984
Label: Sire
Genre: Alternative Rock
Producer: John Porter // The Smiths

Tracklist:
1. Reel Around the Fountain // 8
2. You've Got Everything Now // 8
3. Miserable Lie // 6
4. Pretty Girls Make Graves // 7
5. The Hand That Rocks the Cradle // 7
6. This Charming Man // 8
7. Still Ill // 8
8. Hand in Glove // 8
9. What Difference Does It Make? // 9
10. I Don't Owe You Anything // 8
11. Suffer Little Children // 7

It's a very common sight to see bands struggle to find an identity or an unique sound, but this was not the case for The Smiths. You could play any song from this record and any music fan could tell you who the artist is, which is something rare to see in a debut album. But a large part of what makes The Smiths' sound so unique is due to their lead singer, Morrissey. He's got an extremely uncommon vocal style for a frontman, and is pretty much the opposite of what you would expect when you refer to a "rockstar". Character aside, I enjoy his vocal performance all the way across this album, he's shameless, energetic and has a ton of attitude. Another band member that is indispensable to this band is Johnny Marr, whose riffs, tones and playing style were defining and influential for alternative and indie rock guitarists of the future. His work on songs like What Difference Does It Make? and Miserable Lie provide an explosive boost of energy. The rest of the band is tight as well and play as if they've been doing it for years.

Now, despite how developed the band's sound is, the production was lacking in this album and results in a somewhat crowded and cluttered mess. Although the mix is not to my liking, there is a very unpolished and raw feel to it all, much unlike future releases like The Queen Is Dead. This unrefined sound creates a raw energy that keeps things exciting, even in the slower songs. And that's another important aspect of the album, as it does not become formulaic or boring in terms of song variety. It has a good range of tempos, moods, and topics that showcase The Smiths' talent. Not to say that all the songs here are great, but none of them are below average. The music here does not carry too much on its own though, as the lyrics are remarkably witty and provide a lot of the value that this album has to offer. The lyrics on songs like This Charming Man, Hand In Glove and Suffer Little Children are good examples of what Morrissey was able to achieve lyrically. Overall, I don't have too many complaints, but there's always room for improvement.

Album Rating: 8

[RadioBallet]

Vampire Weekend - Vampire Weekend

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Year: 2007
Label: XL
Genre: Indie rock // Indie pop
Producer: Rostam Batmanglij

Tracklist:
1. Mansard Roof // 8
2. Oxford Comma // 9
3. A-Punk // 9
4. Cape Cod Kwassa Kwassa // 8
5. M79 // 7
6. Campus // 7
7. Bryn // 6
8. One (Blake's Got a New Face) // 4
9. I Stand Corrected // 7
10. Walcott // 7
11. The Kids Don't Stand a Chance // 7

If you're wondering why I've only done debut albums thus far, it's because I'll more or less be going through the discographies of noteworthy bands in a chronological order, perhaps skipping some weaker albums along the way (I'll obviously do one-album wonders like Marquee Moon or Pet Sounds though). Well, with that out of the way, today's album is Vampire Weekend's self-titled debut record. These guys come out of New York with a really unique sound that I would describe as afro-influenced indie pop (for this album at least). Their music is very rhythmic, often exhibiting an african influence and even a tinge of baroque, but even more noticeable are their numerous catchy melodies.

This album is packed with upbeat and infectious tunes that channel nothing but clear skies, fun, and sunshine. The album begins with Mansard Roof, an effective opener that showcases the band's unorthodox instrumentation and excellent incorporation of african beats and rhythm into pop rock, which will later seem to include some classical elements in tracks like M79. As the opener ends and we move into Oxford Comma and A-Punk, we are not only treated with extremely entertaining and well-crafted music but with dense and cryptic lyrics which become commonplace throughout the rest of the album, as well as their discography. Most songs on this album seem to be influenced lyrically by the band's ivy league origins, often referencing college life and the city of New York, as well as growing up and relationships to a certain extent. I love the band's sound, and I love the lyrics, but sometimes the production really messes up the experience for me. In the large scale, the instruments sound good and are well mixed, but there are a lot of iffy choices and slip-ups in details. After the first 4 songs, things stop sounding crisp and get a little messy. Sometimes a certain instrument is blaring obnoxiously and overpowering the rest of the music, as is the case with the strings near the end of M79, as well as the end of Walcott. I also noticed a lot of distracting inconsistencies with the recording of certain instruments, such as the drums sounding clean-cut in many songs but drowned in reverb on tracks like Walcott. I understand this is largely due to recording circumstances but these kinds of details really get to me. Lastly, some hooks and refrains are not very good. I mean, some are simply annoying (take Blake's Got a New Face and the guitar riff in Bryn) and require the songs' structures and attention-grabbing arrangements to stay alive. Despite these flaws, the best songs here, namely Oxford Comma and A-Punk are always a joy to listen to and are enough to draw me back to this album on their own. An unique, refreshing, and entertaining sound can only do so much to cover up the production flaws in here. Even with a sound like this, you need a consistent collection of stand-out songs to achieve greatness. This doesn't blow me away, but it is in no way a bad album.

Album Rating: 7

[Rhett]

On Pet Sounds being a one-album wonder. If you look at the rankings here of the other Beach Boys albums, they have a significant number of albums pretty high up. (Sure, it's Pet Sounds that was most influential now, but it used to be one of their lowest-selling albums.) I know people say this a lot, but I don't think they're really a "one-album wonder" band.

[RadioBallet]

The Beach Boys - Pet Sounds

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Year: 1966
Label: Capitol
Genre: Art Rock // Psychedelic Rock
Producer: Brian Wilson

Tracklist:
1. Wouldn't It Be Nice // 9
2. You Still Believe In Me // 8
3. That's Not Me // 8
4. Don't Talk (Put Your Head on My Shoulder // 9
5. I'm Waiting for the Day // 8
6. Let's Go Away Awhile // 8
7. Sloop John B // 8
8. God Only Knows // 10
9. I Know There's an Answer // 8
10. Here Today // 8
11. I Just Wasn't Made for These Times // 8
12. Pet Sounds // 8
13. Caroline, No // 9

On my last post I referred to Pet Sounds as a one-album wonder, but after browsing around a bit I realize that there's at least one or two more Beach Boys albums worth visiting in the future. Nevertheless, this got me craving for this album so I said, why not review it next? Pet Sounds comes at a crucial time for popular music. Being inspired by The Beatles' filler-less* Rubber Soul Brian Wilson literally decided to make the greatest rock album ever, and some would argue that he did exactly that. This is one of the very first rock albums that were made solely for listening rather than dancing, elevating popular music as an art form to a new level.

What I love most about this album is the way it makes me feel. From the very first moment to the end, each song manages to draw an unparalleled amount of emotion out of me. These songs are incredibly relatable, as they deal with human interactions that we're all familiar with in some way or another, whether it be newfound love, the loss of love, or the fear of growing up and losing innocence. Though I wouldn't consider this a concept album, the lyrics all seem to deal with similar topics and ideas of this nature. Production-wise, creativity runs wild on this album. Wilson used a ridiculous amount of instruments (including coca-cola bottles and electro-theremin) in ways that they were never meant to be used, both musically (like using horns as a background instrument for brief moments, unheard of in rock music at the time) and literally misusing instruments, like playing the piano from the inside (they did this by plucking the strings as the keys were held down, in case you were wondering). Pet Sounds also stands as a monument to Phil Spector's wall of sound technique. The album flows beautifully, showcasing a cohesiveness that is still impressive to this day. Creativity was also showcased in large amounts in the album's compositions and musicality. Brian Wilson surpassed numerous genre labels by incorporating styles like classical and jazz into pop rock and even including a couple of instrumental compositions on the final cut. The most amazing part about the instrumentals is that they manage to hold their own well against the other songs on the album, which says a lot considering the quality of the other compositions. None of these songs are anything short of exceptional, but if one stands out from the rest it's God Only Knows. Whenever I hear this song I get chills running up and down my spine ceaselessly, and I'm even brought to tears sometimes. That's what it usually takes for a song to be a 10/10 in my books, it's not just a critical thing at that point, it's gotta be something special. That same standard goes for albums, and I'm glad to say that Pet Sounds fulfills it perfectly.

Album Rating: 10

*Filler-less to Wilson, you'll see my opinion on it soon enough

[RadioBallet]

The Clash - London Calling

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Year: 1979
Label: CBS
Genre: Post-Punk // Punk Rock
Peoducer: Guy Stevens

Tracklist:
1. London Calling // 9
2. Brand New Cadillac // 7
3. Jimmy Jazz // 7
4. Hateful // 8
5. Rudie Can't Fail // 9
6. Spanish Bombs // 9
7. The Right Profile // 8
8. Lost in the Supermarket // 9
9. Clampdown // 9
10. The Guns of Brixton // 9
11. Wrong 'Em Boyo // 8
12. Death or Glory // 8
13. Koka Kola // 7
14. The Card Cheat // 9
15. Lover's Rock // 7
16. Four Horsemen // 7
17. I'm Not Down // 9
18. Revolution Rock // 7
19. Train in Vain // 9

This album comes at an important time for The Clash. The english punk-rockers' first two albums had created a lot of hype in the punk scene, and many felt that the band did not live up to it. Things looked somewhat grim as the band had parted ways with their manager (thus losing their rehearsal studio) and about a year of writer's block, yet things would quickly look up as the band began breaking free of their popular punk rock sound and started implementing various musical styles into their songs.

London Calling is usually labeled off as a 'punk' album, but to be honest, how in the world is Lost in the Supermarket a punk song? Other cuts like Revolution Rock and Wrong 'Em Boyo resemble reggae and ska more than anything The Clash had previously done, and yet the band still sounds like themselves. That's one of this album's most intriguing qualities: its ability to touch on a variety of musical styles without disconnecting from the band's image, flow, or energy. I'm not saying the songs themselves are perfect though. I mean, compare the directionless Revolution Rock to the irresistible Train in Vain. I don't dislike any tracks here, by any means, but numerous tracks here don't stack up against the best this album has to offer. It's hard to choose a favorite, but production-wise I love the sound of Guns of Brixton, Spanish Bombs is the strongest track lyrically but the aforementioned closing track may take the cake for its sheer charm. As for the album's production I've got nothing but praise. Everything sounds freaking amazing, from the tiniest detail in the auxiliary percussion to the blend of the horns and the band, top marks there. The album's subject matter is contrastingly dark and serious, as the topics range from the end of the world to social injustices, paranoia, drug abuse, the effect of capitalism on society and even safe sex. I already crowned my favorite song in terms of lyrical content, but it's only a photo finish between that track and Lost in the Supermarket which I admire for its humorous yet disheartening look at capitalism and how it controls your life in one way or another. Clampdown is also a lyrical highlight. It's always a noteworthy feat when an album this long can be this entertaining.

Album Rating: 9

I'm not writing anymore verdicts, you probably get the idea by the end anyway. If you've got suggestions or comments PM me, even if you just wanna give me your two cents on this album or the others I've reviewed.

[RadioBallet]

Hannah Georgas - This Is Good

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Year: 2010
Label: Hidden Pony Records
Genre: Pop Rock
Producer: Howard Redekopp // Ryan Guldemond

Tracklist:
1. Chit Chat // 7
2. Lovesick // 8
3. Dancefloor // 5
4. The Deep End // 7
5. Lovers Breakdown // 8
6. Thick Skin // 7
7. This Is Good // 9
8. Bang Bang You're Dead // 6
9. Your Ghost // 8
10. Shine // 7
11. Something for You // 8

Hailing from Canada, Hannah Georgas is a pop-rock singer/songwriter. Though she was born in Ontario, she hit it big when she moved to Vancouver and released an EP in 2009 which brought a lot of attention to her. By 2010, she had released her debut album, which I hold close to my heart (personal connection IS an important factor and its effect on this album is obvious. I explain all the emotional touchy-feely crap on my chart though, you won't find that here). Anyways, here goes.

Aside from having a soft, beautiful voice, Georgas is also a talented songwriter. She wrote all of the songs here herself (she collaborates on a couple tracks but whatever), and they're all good tracks, as long as the compositions themselves are concerned. What makes the enjoyability of these songs differ is the way they are performed and produced. Some feel so fast-paced that they sort of cut the flow of the album, particularly Dancefloor, while other tracks are very well written but fall short in detail like the way the mix sounds somewhat muddied and sloppy on The Deep End. Some songs are much more crisp and clean like Lovers Breakdown, but then, there's the title track. This song is a freaking drug. Everything is so bright, so punchy, so clean, so catchy, infectious, and downright irresistible that I can't help but recommend it if you want something simple, fresh, and fun. Yet, no song here is missing a flaw. Some fall victim to plain and slightly brainless lyrics (Dancefloor again, even the title track lacks depth), and it also seems like the strongest songs lyrically are the weakest in other aspects (The Deep End has some great lines in it). And yet there's this whole personal connection I've got with the album that allows me to look past its flaws and enjoy it a lot more than I should.

Album Rating: 8

[RadioBallet]

Arcade Fire - Funeral

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Year: 2004
Label: Merge Records
Genre: Indie Rock // Baroque Pop
Producer: Arcade Fire

Tracklist:
1. Neighborhood #1 (Tunnels) // 10
2. Neighborhood #2 (Laïka) // 9
3. Une année sans lumière // 8
4. Neighborhood #3 (Power Out) // 9
5. Neighborhood #4 (7 Kettles) // 8
6. Crown of Love // 8
7. Wake Up // 10
8. Haïti // 8
9. Rebellion (Lies) // 9
10. In the Backseat // 9

Haven't posted in a while, been really busy. I found myself with enough free time last night to listen to this album (though I ended up binge-listening to all of Arcade Fire's discography because I can't help but procrastinate and I needed my fix.) Anyway, with the way things are looking, I'm going to have to sacrifice the amount of writing I do in order to listen to more music and therefore post more often. I'll give a short thought, but nothing close to my previous posts. Hopefully I'll have more time as the semester carries on, though the opposite seems more likely. Regardless, here are a couple thoughts:

I like the theme of this album. It takes the clichéd "never growing up / fear of adulthood" idea, and looks at it from a mature perspective that your local tween garage band could not deliver. It also doesn't impose these ideas on the listener, rather, stories or metaphors are set to convey the message indirectly. It does this beautifully too, as the lyricism on this album is remarkably poetic. Perhaps just as remarkable is the ridiculously ambitious instrumentation and production that the band manages to pull off without sounding the least bit forced. Can't see this being anything less than a 10, it's nearly flawless.

Album Rating: 10

[RadioBallet]

Arcade Fire - Neon Bible

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Year: 2007
Label: Merge Records
Genre: Indie Rock
Producer: Markus Dravs // Arcade Fire

Tracklist:
1. Black Mirror // 8
2. Keep the Car Running // 8
3. Neon Bible // 7
4. Intervention // 9
5. Black Wave/Bad Vibrations // 7
6. Ocean of Noise // 7
7. The Well and the Lighthouse // 7
8. (Antichrist Television Blues) // 9
9. Windowsill // 7
10. No Cars Go // 8
11. My Body Is a Cage // 9

Stronger lyrically than its predecessor, though not nearly as exciting musically. I also get that the production was meant to make the atmosphere big and somewhat dark, but I find that it ruins a lot of potential highlights for me, such as The Well and the Lighthouse where too many elements feel cramped too tightly together. I totally love the lyrics though, if there's one thing that Arcade Fire can do is make an album that focuses well on a particular theme. Solid.

Album Rating: 8