Album Review: Bass Communion III

My copy of the reissue of Bass Communion III finally came in the mail yesterday, which makes me very happy since a) I'm a Steven Wilson fanboy and b) This was one of the very few records of his that I had yet to obtain a copy of (it has been out of print for some time and very difficult to find).

Bass Communion III was really just a selection of leftovers created between 1995-1999 that didn't get included on the first two albums. This means that it doesn't really have the single tone that most every other Bass Communion albums have. It's also kind of a transition album between the style of the early albums (warmer and more melodic), and the more moody drone pieces that would come following this.

In fact, the leadoff track, "Amphead", is a definite nod in the direction that SW would take starting with Ghosts On Magnetic Tape (which is probably my favorite ambient album of all time). I'd heard a lot about "Amphead", and it definitely lives up to the hype. The whole 13:17 piece is done entirely by processing the static from an open guitar pickup. It's just amazing how much can be done with a single source, and the way this piece builds and layers, growing darker and darker in tone before resolving and lightening back up again is outstanding. Probably one of the best Bass Communion pieces I've ever heard, and highly recommended for the drone lovers out there.

The rest of the album is far easier to get into if you're not an ambient/drone fan. Slut 2.1, another highlight, actually has beats! Starting with a deep repeating bass beat and fuzzy bass line with a great Theo Travis flute line looped over it, the track slowly builds with some reverbed guitar, spoken word samples, and weird keyboard effects, as the basic track loops. Killer stuff, especially the ending.

This comes with the new reissue of BC II/III (in the same package) on Beta-lactam Ring Records. Pretty cheap, too, for a Bass Communion release anyway.

New Album Review: Marillion - Happiness Is The Road

The late, great Frank Zappa once noted, "Writing about music is like dancing about architecture." I completely agree with him. But I also figure that reviewing stuff is fun, and it might inspire other people to check out some pretty cool stuff, so thus this blog.

I'm going to start out with a review of Marillion's new double LP Happiness Is The Road, released just a few weeks ago. As this is Marillion's 15th studio album, it's pretty hard to not let albums 1-14 color my views here. Marbles (2005) was nothing short of brilliant (I'd rank it in my top 3 or 4 Marillion albums), but they followed that up with last year's Somewhere Else, which is hands down my least favorite Marillion album.

And now here comes a new one so soon afterwards--and a double album at that. Needless to say I approached this new entry cautiously, though still caved in and bought the expensive Deluxe Pre-order version of the album anyway (the packaging is stunning--kudos to Carl Glover for another fine job). And the result...

Absolutely blown away. A real return to form for the boys, and surely an entry in my end of the year Top 10 of 2008. Not so much a double album as two distinct single albums, with two different vibes.

The first disc (titled Essence) is one great big piece of music, and very strong. They haven't tried this sorta thing since Brave, and I was really happy to see them give it another go. I'm particulary impressed with just how well everything holds together--it isn't 10 songs with some transition effects between them. Everything from the lyrics to the choice of tones used on the instruments really feel cohesive. The overall tone is very low key, down tempo, and textural, but at the same time being very melodic. The first couple of listens I really felt like I was just kinda floating along through the album as I focused in on just enjoying the mood. Highlights for me were "Liquidity," "Wake Up"(I love the abrupt shift in tone towards the beginning), and "Trap The Spark," but it really does feel like one song and should probably be treated as such.

The second disc (titled The Hard Shoulder) is a collection of the material that didn't really fit on the first disc. I'd say that this one isn't quite as strong as the first disc, but is nonetheless a great listen. Overall we're looking at a more upbeat affair than Essence was, but while still being Marillion. Particular highlights here are "Asylum Satellite #1" (love the build up to the end where H sings "We can see the madness perfectly from here"), "Whatever Is Wrong With You" (Marillion usually sucks at trying to do catchy rockers, but I love this one), and "Real Tears For Sale."

This is exactly the sort of album I love. It starts out being pretty good, and then slowly sneaks up on you the more you listen to it as you start noticing all of the little details in the production and the melodies start to stick with you. Love the way it sounds too. Everything has its own distinct spot in the mix, and Pete's bass tone sounds particularly nice.

My big complaint with this album is Steve Rothery. Where is he? Where are the solos? His role on this one is very subdued, and I've gotta admit that I'm a little disappointed by that. I know that H is constantly trying to shed the neo-prog label that the band built up back in the Fish days, but a few guitar solos wouldn't have hurt.

Overall, a true return to form. Perhaps not as good as Marbles or Brave, but definitely a product of the same band that made those masterpieces. I'm seriously looking forward to Marillion Weekend if Montreal this February now!

What Made Milwaukee Famous: The Sugarhill Sessions EP

The phrase "pop sensibilities" gets overused, but it applies fully: The new EP The Sugarhill Sessions by What Made Milwaukee Famous (from Austin, not Milwaukee, for those playing along at home) is equal parts smart and adorable. Featuring re-recorded, acoustic versions of five songs from their first two albums, this EP is a perfect introduction to WMMF, especially since the EP is available as a free download from Barsuk Records until November 17th.

My two favorite tracks on the EP are "Sweet Lady," originally on the 2006 album Trying to Never Catch Up, and "Self-Destruct," from this March's What Doesn't Kill Us. The EP starts with "Sweet Lady," a jangly, silly-sweet song with playful piano and acoustic guitar parts, conjuring the image of a wacky-plan win-her-back montage from a sitcom. If Don McLean had recorded "Everybody Loves Me Baby" in 2008, it might have sounded a lot like "Sweet Lady." Fair warning: you will be dancing in your chair and singing backing vocals to this song. "Self-Destruct" is reminiscent of the way sad ballads are fielded by the Barenaked Ladies, and I mean that with praise; it reminds me of being thirteen years old and wistfully listening to "Call and Answer," and it's at least as strong a song. There's nothing lovelier than a pop ballad that eschews cliched lyrics, and the strength of the music and vocals steps up to match.

Although the EP certainly has its stronger and weaker songs (sorry, but "Cheap Wine" gets on my nerves), it's overall a great listening experience, and if you've heard of What Made Milwaukee Famous but haven't checked them out yet, you can't do better than this charming five-song EP. Download from Barsuk.