3 posts tagged “meeting the future at full speed”
What music blog is complete without a yearly wrap-up on the releases of the year that stood out, for positive or negative reasons?
Admittedly, I have not been as in touch with the releases of the year and must preface this entry with stating that there are going to be glaring omissions from this list. Life has kept me from music this year, be it keeping me from concerts I wished to see, keeping me from the time to listen to albums I want to hear, or making it difficult to listen to certain artists without feeling uncomfortable. However, I do have several albums upon which to rave or rant, so here's what you get.
This was a year where my stalwart music artists took the backseat for others, where single songs possessed my devoted attention, while albums were generally shunned. It was a year of nostalgia, as I turned to older favourites for comfort in trying times. But beyond that, I found this year's music lacklustre and not to my liking, perhaps due to the concentration of artists in genres I'm not fond of. For several months, I was “off music”, something that has never happened before to me. It was disorienting, to say the least.
The concerts I saw this year were fewer than I would have liked, but none of them disappointed. All of them delivered beyond my hopes and expectations. It was a year of seeing new artists and old favourites. If I were to rank a top five of shows I saw this year, it would go a little something like this:
5. Rilo Kiley at The Phoenix: Solid set, great energy, tight openers including Thao Nugyen
4. Paramore with Jack's Mannequin at The Kool Haus: Amazing energy, three solid openers, and Jack's Mannequin renewed my love for Andrew McMahon
3. Melissa Etheridge at Massey Hall: Three hours of non-stop, high energy music with powerful and moving banter between songs. A first time for me with Melissa and hopefully not the last.
2. Matthew Good at Massey Hall: This man never disappoints me with his intense delivery on every song, his caustic wit and his genius songwriting. So grateful this became a live album.
1. Amanda Palmer at The Mod Club: It had every element going for it – incredible setlist, stellar performance, fabulous openers, and incredible theatrics and stage presence. Easily one of the best performances I've seen Amanda give (and I have 8 other points of reference).
And now, without further ado, here we go with my personal 'awards' for 2008:
Album That Sends Me Into Fits Of 80's Nostalgia: Saturdays=Youth by M83. This album is utterly fantastic, with tracks like Couleurs, Highway of Endless Dreams and Skin of the Night leading the charge into a soundscape that evoked Erasure meets Conjure One meets Arcade Fire's intelligent layering and music craft. I easily find myself lost within the tracks of this album in a way that lands on par with Explosions In The Sky and Max Richter.
The Album That Lived Up To The Hype: Donkey by CSS. I'm not much of a trend follower, and even the critical darling pieces often leave me cold (see: You Say Party, We Say Die!; most of Radiohead's post-OK Computer output; Coldplay's discography). CSS however live up to the excitement, and Donkey is just so much fun to dance around to, one can't resist it. There's not a single bad track, although some are stronger than others. I'm fond of Believe Achieve, Jager Yoga and Let's Reggae All Night, myself.
Reviving The Now Crowded Male Singer-Songwriter Folkie Genre: Charmed and Strange by Yoav. I first had a taste of Yoav's music as he opened for Tori Amos' American Doll Posse tour in 2007. At first, I took one look at a lone guy and a guitar and immediately wondered how Tori kept finding Howie Day part nauseum. Yoav, however, is far more clever as a lyricist, and his musical palette is more acoustic Red Paintings than Jason Mraz. Adore, Adore, There Is Nobody, and the soulful One By One set Yoav miles ahead of a crowded field.
Bringing The LOLZ To Musicals: Dr. Horrible's Sing-Along Blog. Joss Whedon remains my master after he cleverly proves that you can give a product away for free and then sell it... and make a profit! Neil Patrick Harris singing about freeze rays? An Evil League of Evil run by Bad Horse? Each song is so silly and fun, I can't help myself. Once More With Feeling was one of Joss' finest Buffy hours. Perhaps he should write an actual musical, complete with ridiculous stage sets? I can dream!
The Slightly Guilty Musical Theatre Junkie's Pleasure: I Stand by Idina Menzel. Are some of the lyrics cliched? Sure. Are some of them dripping with the saccharine Celine Dion is famous for? Hell yes. Does Idina kick ass and take names vocally, making the album enjoyable all the same? You bet your (tattooed) ass. Check out Brave, I Stand, I Feel Everything.
Solid But Sorta Overrated: Third by Portishead. This is where gasps of indignant objection begin. I am not, let me stress not implying Third isn't a solid album of quality music, good news for a band that took such an extended hiatus. But on repeated listenings over time, I can't say the album stands out enough as a whole to make me want to listen to it over and over. Some tracks are absolutely stunning (We Carry On; Silence; Nylon Smile), while the others are solid but not worth the prostrating critics gave it. I coin this Radiohead syndrome.
Letdown of the Year: Acid Tongue by Jenny Lewis. When Rilo Kiley's Under The Blacklight came out, my personal theory for the album not being to par with their previous outings was that Jenny and Blake were both 'holding back' for their solo projects. Unfortunately, that may have not been the case with Jenny. It's not a bad album, per se; tracks like Jack Killed Mom and Pretty Bird resonate with me. It's just not memorable; each song blends into the next, lacking the wordplay jabs and sonic shifts throughout Rabbit Fur Coat.
Best Album That's Not Really An Album: No, Virginia by The Dresden Dolls. Consisting of outtakes and old live favourites finally recorded for official release, No,Virginia feels rather all over the place at times. But when viewed as a b-sides/rarities collection, this is acceptable, and the quality of the material is enough to enjoy it. Dear Jenny, Mouse and the Model, The Gardener, Lonesome Organist Rapes Page Turner... All the typical fun and punk cabaret you'd expect from the Dresden Dolls.
Best Return To & Reinvention of Roots: The Slip by Nine Inch Nails. Is Trent in angsty form? Oh yes. Do I detect a strong flavour of the 80's tinged Depeche Mode-ness of Pretty Hate Machine? Yes, yes I do. Does this album deliver both rocking and despairing tracks with a lyrical flavour that feel more self-aware and self-mocking than self-loathing? Damn right it does. I love this album rather passionately, and offer you 1,000,000, Discipline, Demon Seed and Letting You as the places to start your love affair.
Favourite Local Album: Meeting The Future At Full Speed by Karen Kosowski. I've already covered this album in extensive detail in this blog, but it deserves its mention here. Karen remains one of my favourites among the Toronto-area indie artists I've come to know and love, and this album only builds on her previous stellar album, Out Here At Sea. Earnest and hopeful, its electro-pop vibe will leave you humming your way through the day, even at its darkest.
And now, *drum roll* the big awards...
Best Album of the Year (live): Live At Massey Hall by Matthew Good. After such an extensive catalogue, it was long overdue that the raw emotional intensity of Matthew Good be captured for prosperity on CD, and this disc is special in that, other than edits to correct lost audio the night of, it is an uncorrected live album. Having been at the show it was recorded at, it takes me back to one of the best concerts I saw this year. The set strongly slants towards Hospital Music material, which to me is one of his very best albums. In light of the loss of my grandfather to cancer, 99% Of Us Is Failure hits particularly hard and is one of the highlights of the 2 disc set. Many songs are much richer live (She's In It For The Money is painful to listen to because of the raw pain in Matt's delivery; A Single Explosion closes on a haunting powerful note), which makes this album a must have for fans and a fantastic introduction to his genius.
Best Album Of The Year (studio): Who Killed Amanda Palmer by Amanda Palmer. I've been with Amanda since a friend encouraged me to download Girl Anachronism in 2002, and I am with her for the long haul. I dearly love her work within the dynamic of The Dresden Dolls, love the playful cabaret feel of the drums and piano coupled with incisive and something darkly amusing lyrics. This album bring those elements of lyrical finesse and dark humour, but it also brings a more personal, deeper look into the human condition with songs like Strength Through Music and Have To Drive. Coupled with Ben Folds' guiding advice (the usage of a very raw demo vocal for Leeds United was a brilliant move that only adds to the song) and the gorgeous strings created for the album, Who Killed Amanda Palmer is the album Amanda was born to write, and the one album that you must try, no matter what preconceptions you may have of The Dresden Dolls or Amanda herself. Get started with Astronaut, Leeds United, Guitar Hero, Another Year and Have To Drive.
And now, a few older discs worth mentioning...
Rediscovery of the Year: Act I: Goodbye Friends of the Heavenly Bodies by Neverending White Lights. An album from 2005, it's always been one I have endorsed to fellow music lovers. The ethereal moody feel of Daniel Victor's compositions, complimented by haunting and heartbreaking lyrics performed by a who's who of the Canadian alt rock scene, this album crept up on me and demanded centre stage in 2008. The lyrics weave a set of stories about loss and love that interconnect subtly, adding a delicious cohesion. Sample The Grace, I Hope Your Heart Runs Empty or From What I Once Was.
Better Late To The Party Than Never: Kala by M.I.A. I'm not generally a girl who goes for hip hop, rap or R&B; it's just not my scene. The odd song will catch my ear, but nothing that has me buying a CD, not since Salt N Pepa's Very Necessary. But with Kala, M.I.A. has created something so utterly fun and sassy, one can't help but be drawn in. Paper Planes caught me, hook, line and gunshot sample, and that has led to an affair with $20, Come Around and XR2. Where was I in '92? Wishing for music this ridiculously enjoyable!
Better Late To The Party Than Never, Part Two: The Awakening by Melissa Etheridge. Passed a copy of this by a friend prior to my live experience with Melissa, it's fast become an album dear to my heart and almost a metaphor for my entire year. While some may find the spiritual elements a little off-putting (there is some God mentions, but most of it is general spiritual belief), it's an incredible testament to the journey Melissa went through emotionally as she battled breast cancer. There are scathing political references as well, fitting in light of this election year, and songs of regret and heartbreak. But the end feeling is one of being able to rise above everything, if we believe that all can be possible, and that there is something larger than us. A solid, well-written album that doesn't have a single dud to it.
This is what happens when life interferes with entertainment: it becomes a rapid fire of concerts squeezed in before overnight shifts in a corporate slavery machine downtown, with scarce time to revel and enjoy them… let alone blog them. So here we go: an attempt to play catch-up from March.
(Shameful! If only a magazine would hire me to write and blog for a living!)
Skidding into the Rivoli’s back room on the evening of the release of one of my favourite releases of 2008, Meeting The Future At Full Speed, the cheery festive vibe is palpable, moreso than the previous CD release I attended for Karen. Just as the album itself is lighter in spirit than its predecessor, Out Here At Sea, the actual vibe in the crowd felt airy as attendees flitted by each other. The opener, local band Sunshine State, likely contributed their own fair share of happy-go-lucky free spirits into the mix, making for a very pleasant night.
Sunshine State’s opening set was solid, a duo effort featuring superman James Bryan, fresh from the Earth Hour festivities down the road (how he played three(!) sets there to pull another out at the Rivoli, I do not know) and the lovely Aleza Coldevin, about who I can never say enough good things. Their usual humour and down to earth attitude carried the crowd easily into Karen’s headlining set.
Karen’s set was tight, with a highlight for me being the rare occurrence of seeing Marc Rogers, Karen’s staple of bass, abandon his usual post for keyboard magic. He was definitely into it, as were all of us. It was a very laid-back, ‘family gathering’ sort of atmosphere.
Factoid of the obsessive: this was the first show since its live debut (as best as I can remember) that I did NOT hear Love & Bandaids at a show. Whoa.
Highlights:
Land On Your Feet: I started off years ago being ‘interested’ by this song, moving to ‘this is pretty sweet’ and now, it’s pretty much on my list of requisite ‘want in every setlist’ songs. That’s a remarkable feat! It’s perfect summer listening, and it came off strong on this night.
Tragic: Piano Tragic owns the universe. I need to acquire a live recording of the latest version to demonstrate the wonderful metamorphosis *coughKaren?cough*
Love You Anyway: This song felt very strong vocally on this particular night. It’s enjoyable and I like hearing it, but it doesn’t usually jump out at me as a set highlight. This night was an exception.
Stars In Our Eyes: This becomes tighter with each live performance, and Marc was particularly grooving to this track, which evoked memories of National Sound performances. I’m also gradually adjusting to and coming to equally love the MTFAFS variation of this track (as opposed to the original National Sound take), which I’d wagered upon in my review of the disc in January.
Faded Souvenirs:
This really and truly is becoming a top 5 track for me in Karen’s
catalogue, deftly cutting its way through long beloved tracks like Don’t
Assume. It has such a deliciously slow
build to the intense vocals of the outro that I find irresistible.
Sunshine State's Official Site: http://www.sunshinestate.ca/
Karen's Official Site: http://www.karenkosowski.com/
SETLIST – SUNSHINE STATE @ THE RIVOLI (3/29/08) *OPENER*
Thank You (For Leaving)
Booty Call
7 Months
One Night Stand
Holiday
Day Job
Drug Dealer (A Love Song)
SETLIST – KAREN KOSOWSKI – CD RELEASE @ THE RIVOLI (3/29/08)
Meeting The Future At Full Speed
Land On Your Feet
Your Day Will Come
Over & Over
Important
Life Is Short Enough
Tragic
Can’t Fail Anymore
Love You Anyway
More Than A Sign
Stars In Our Eyes
Encore:
Faded Souvenirs
"You're watching everything you say
In each decision, you're scared of a mistake
It's like you're waiting for life to shoot you down
Like you're preparing for when you hit the ground
There's no need to be frantic and hurried
There's no need to be anxious or worried
I still believe you'll land on your feet..."
Land On Your Feet - Karen Kosowski
It is a music lover's delight when artists he or she enjoys grow better with every album released; it's rare that an artist manages to not only reach but raise the bar with each new project (The Beekeeper by Tori Amos or Rilo Kiley's Under The Blacklight, as evidence of the rarity, anyone?). It almost (and I do stress that word) makes you want to ask the artist to stop producing, so that this magical experience can never be disrupted by a melody that doesn't quite jive, lyrics that don't quite resonate, compositions that don't gel as one would wish.
But then, you'd be depriving yourself of amazing tunes sure to spring from the pen and pipes of said artist. And that, my friends, will not do.
The preamble, which is about to go somewhere, is here because Karen Kosowski has somehow managed to be one of those artists. For those who are familiar with the entire catalogue from Rogue's Gallery to the riveting Out Here At Sea, you'll likely understand when I say that Karen has been evolving, slowly but surely. The potential and promise have always been there from the start; the Karen of Live At Rogue's Gallery (no longer available, my pretties) has raw vocal talent and a knack for clever melodies and emotional lyrics, but she's still finding her voice, still growing into her powerful pipes. Planet demonstrates what Karen can do in a studio, and her voice is stronger, but not quite there. It reminds me of Ani Difranco circa Puddle Dive, an album that for me is hits and misses, where Ms. Ani is still finding the precise formula of lyrics+music+delivery+production=brilliance. The evolution continued with Optimist Party, a fan favourite without question, and the first full-length studio effort. By this time, Karen had grown into her vocal range and mastered live staying power (with the live show outshining any studio recording, simply due to its evocative, gut-wrenching presence when unleashed without the 'producer/self-critic' being there to say, "Wait! Stop! Take two!"), but most importantly, she'd mastered the crafting of clever folk-rock with hooks that linger long after first listen.
It was at the Optimist Party stage that I first saw Karen perform (and promptly took the CD home). I was impressed by the catchy and easily related to lyrics, stories of loves lost and sought, of personal journeys and painful knowledge gathered along the way. But still, I was looking for something a bit more: I was looking for Karen to step outside of her personal sphere and tell me about the world at large as well as her personal world. Karen's answer - and the album I affectionately dubbed the 'Not A Pretty Girl' of her catalogue, in reference to Ani's first perfect album - was Out Here At Sea, a hybrid of the folk-rock that made Optimist Party such a fun listen, with throwbacks to Planet (the title track's moody feel and piano, more than anything) and new experiments with ethereal ambiance and computer loops. It spanned personal and political, traversing from Karen musing about the 'fantasy come true' to a lonely soul drifting, having pushed everyone away and yet knowing that it was all one's own doing. I honestly didn't think Karen could top the album; I knew she'd match it, having found a groove, if you will, but how do you surpass Desert Island Album List material?
Apparently, you do it in a little package called Meeting The Future At Full Speed.
Unlike OHAS, nothing on the first few listens seems 'skip-able'. Does it seem contradictory to call an album genius while admitting you don't always play it in its entirety? It really isn't. As a whole, each song is needed to tell the story, to take you on the journey. Therein lies the genius. But sometimes a song, for whatever reason, doesn't sit right on frequent listens; in the case of OHAS, the brooding Tell Me What I'm Doing Wrong doesn't always spin when I have the album in the player. It may be that somehow, it feels too short; live, it almost becomes a jazzy jam piece, and I think the studio cut's abruptness just throws the album's flow off for my ears at times. MTFAFS, however, flows beautifully, with each song feeling like a natural progression of the one previous, building to a chilling outro on the final track, Faded Souvenirs. I've always felt that OP suffers from being too long, with songs I'd call B-Sides on the actual body of work, taking attention away from the gems. OHAS and MTFAFS clock in with less tracks, but are stronger for it. They're wisely selected.
If OHAS was the brooding depressive reflecting on how disheartening life, love and the world can be, MTFAFS is the cautious optimist, looking for the silver lining that just has to be in the damn clouds overhead. Drawing on the electro-pop influence of Karen's side project National Sound and the strongest elements of OHAS, and tossing them in a blender with delicious string arrangements, MTFAFS reaches out, tugs at your heart, and demands to be remembered. I dare anyone to walk away without at least one chorus, one verse, one melody sticking in your mind. The songs are an antidote to the frustration and fearful worldview of OHAS tracks like We'll Find You and No One's Watching. If OHAS left you longing for a more lighthearted Karen, yet enjoying the new gadgets and toys, MTFAFS is precisely what you were looking for.
Is there a weakness on this album? It's slight, and it's the nitpicker in me who's been spoiled by far too many live sets and acoustic duo shows speaking. Karen live > Karen in studio, anyday. Her voice is incredible live. While MTFAFS does a better job of capturing 'live' Karen, there are songs like More Than A Sign where I play a live version alongside the studio and find the emotion carrying the moment on the bootlegs adding just that little extra something. Then again, perhaps that's the point: why else would you come to the live show, if you could stay home in your PJs and hear the exact same thing?
Karen is a perfectionist, which is why I've chosen the lead-in lyric that I have. There really is no need to worry; you've landed firmly on your feet.
Briefly (since this has become anything BUT), a track by track...
Meeting The Future At Full Speed: Opening with the title track, the mood and intent of the album is set for our sonic stage. Karen has seen the future, and will not back down, no matter what may come her way. It's almost an anthem for the unsure and unsteady, a rallying cry to shun the status quo and stand out, leaving fearlessly. The strings add oomph in just the right places.
Land On Your Feet: In live incarnations in the lag between albums, this song went from "pretty catchy" to "oh my God, I think I may be obsessed". It may be that the song is speaking to my life at this very moment and where it stands, but I think it's also pop-perfection. I'd like to see this as a single; I think it has the potential for universal appeal, both sonically and in terms of its message.
Over & Over: This is one song that has benefited from the full band and studio treatment over the more stripped live arrangements. With a catchy chorus that sticks in your head(Òver and over, you drop the ball/I don't know what you're running from/Over and over again/Over and over, you fantasize/But when will it materialize?/When will tomorrow begin?"), this is about the point on first listen of the album that I said, `Yeah, I can`t NOT play the whole album now, work be damned`. Its outro reminds me of National Sound-esque material, which ties well into the next two tracks...
Your Day Will Come: Live, Your Day Will Come originated in the mix of songs from the National Sound project. Karen soon reclaimed it as a solo song (as she later did with the next track, Stars In Our Eyes). It was the first optimistic piece to seep out between the heartbroken Slide and the wrenching beauty of Important, insisting that "Everyone has a choice/to lower or raise their voice/And I hope you'll make some noise..."
Stars In Our Eyes: Stars was originally a National Sound track, and in a rather different form; the vocals were softer, more subdued, and the piece was a more driving electronic-ambient piece, with a thumping insistency to it. I loved it. This version is different; it features strings, stronger/fiercer vocals, and the 'thumping' is abandoned in favour of a more rock feel. It works incredibly well, but the original captured a feeling of space and the night sky for me in a way this one doesn't. However, the emotion behind the lyrics is clearer and in the forefront on this version, which works better in the context of this album and its narrative. The contrast also makes me think: remix!!
Life Is Short Enough: Soft, more stripped than most tracks, and... happy? A happy love song? This is what Sarah McLachlan was trying to do with her track Answer on Afterglow, only Answer is boring as hell, while Life Is Short Enough is tugging on my sappy `so in love` heartstrings.
Love You Anyway: What a sharp contrast from Life Is Short Enough! Yikes. Bipolar love stories, party of one? Your table is ready. Catchy as hell from moment one, with the wry sass of Monday (from the Wish On A Star compilation) in the lead-in, it definitely tugs on the heart... Differently. These two tracks nearly form two sides of a coin; I could almost see it as being an answer to the sentiment of the other. I suppose it brings the mood down a tad in this order, but in terms of flow, it's necessary as a lead-in to the end of the disc.
Can't Fail Anymore: This is an example of where Karen has managed to capture her live voice on a disc, especially towards the end. The song reminds me of New Year's resolutions: we start off so well-intentioned and talk a great game... and then, reality sets in, and we realize just how hard our 50 changes are.
More Than A Sign: I think this track is suffering the same problem as Stars In Our Eyes: I'm so used to the solo piano version from live recordings, I don't quite know what to make of a full band version. The strings are incredibly satisfying, accenting the parts of the song that chill me, but somehow, I think the loudness of the band detracts from the verses. It's still an amazing song as presented here, and one of the strongest lyrically that Karen's done, but I need to forget live versions and keep listening to this to fully embrace it. It may also be that the album, on the whole, has very few 'slow' pieces, and perhaps this one could have been one of the few? In any case, it makes for a powerful transition to the finale.
Faded Souvenirs: I love this as the closer for the disc, because for me, it is a mirror to the title track of Out Here At Sea, which closes that album. In Out Here At Sea, Karen sings, "Say that you don't care/Pretend you don't/That's all they have to know/You asked for this, you hypocrite/Let go...", it ends the album on a very melancholy moment, one that asks if we can rise above mental prisons of our own creation, and if so, how do we let go? Can we? As Faded Souvenirs builds to its outro (which caught me so completely off-guard that my jaw dropped, my fingers stopped typing, and a chill crept over me), Karen tells us in emphatic fashion, "And by letting go, I finally realized...". Thematically, Faded Souvenirs deals with our memories and baggage that often weigh us down, hold us back, and keep us from our dreams and from seeing that even when every door seems to shut, there are more doors to find. One of the best uses of strings on the album, I would love to strap down the Juno Awards Committee and force them to listen until they named it Song Of The Year. Love & Bandaids has always been my favourite song of Karen's, but this and More Than A Sign are giving it a hell of a run for its money.
Meeting The Future At Full Speed will have its official release on CD on March 29th. For now, it's available as a digital download via Dropcard purchase at shows. Karen's official site is here; her MySpace is here.
