Bobbyisms: A different approachable
I write about random things a lot. I write a lot about random things. It's funny, writing about music can be just as tainted by double meanings as any other kind of writing. For example, if a reviewer writes that a record is ‘approachable,' it could mean that that band in particular has changed their sound, for better or for worse, and released a record very close to the mainstream.
Conversely, it could be a far more literal remark upon how positively listenable a record really is; the context and meaning rely heavily upon the band and what you already think of them. This last week, there were two records released that are approachable in very different ways.
Say Anything, Say Anything
The latest disc by Max Bemis and his band is approachable in the most positive of ways, even better than a return to form of the days of their debut record all those years ago. If you're not familiar with the band, their sound is a little hard to explain - there's a definite theatric feel, but the music itself is still deeply rooted in rock. It's like listening to a record that was almost a rock opera. The album's lead single, Hate Everyone, is very reminiscent of classic Say Anything, as though to acknowledge the band's history before embarking down the new road that is a new record. Also characteristically evident is the genre-bending songwriting, and excellent use of other instruments and effects.
There is something about this disc, however (particularly as the record comes to a close), that makes it seem as though Bemis is still searching for something. Time will tell where he takes us, but for now at least he's not running out of things to say - check out some insightful social commentary in Mara And Me.
Top five songs: Mara And Me, Fed To Death, Hate Everyone, She Won't Follow You, Property.
Twenty per cent that I would cut (three songs): Crush'd, Cemetery, Young Dumb And Stung.
Weezer, Raditude
This new disc is approachable in a different way altogether; here is an example of an album that is bereft of any discernible substance, to the point that it's unclear as to who the record is intended for. It's literally a shopping list of all things mainstream, thrown callously together, and it renders Weezer a shadow of their former selves (remember Pinkerton?).
It opens with the fantastic uptempo single (If You're Wondering If I Want You To) I Want You To, and limps along the same energy through the next two songs. From there, I'm afraid it goes unmistakably downhill, through confusing use of R&B techniques and even samples of world music. Don't even give this record as a gift this year... unless you're trying to tell the person how weak or whitewashed you think they've become.
Top five songs: (If You're Wondering If I Want You To) I Want You To, The Girl Got Hot, I Don't Want To Let You Go, In The Mall, I'm Your Daddy.
Twenty per cent that I would cut (two songs): Can't Stop Partying, Love Is The Answer.
That's all, but there are many notable discs due out now that we have a firm foot in November. Check these out, find me, and tell me what you think. I'm out of words.
Conversely, it could be a far more literal remark upon how positively listenable a record really is; the context and meaning rely heavily upon the band and what you already think of them. This last week, there were two records released that are approachable in very different ways.
Say Anything, Say Anything
The latest disc by Max Bemis and his band is approachable in the most positive of ways, even better than a return to form of the days of their debut record all those years ago. If you're not familiar with the band, their sound is a little hard to explain - there's a definite theatric feel, but the music itself is still deeply rooted in rock. It's like listening to a record that was almost a rock opera. The album's lead single, Hate Everyone, is very reminiscent of classic Say Anything, as though to acknowledge the band's history before embarking down the new road that is a new record. Also characteristically evident is the genre-bending songwriting, and excellent use of other instruments and effects.
There is something about this disc, however (particularly as the record comes to a close), that makes it seem as though Bemis is still searching for something. Time will tell where he takes us, but for now at least he's not running out of things to say - check out some insightful social commentary in Mara And Me.
Top five songs: Mara And Me, Fed To Death, Hate Everyone, She Won't Follow You, Property.
Twenty per cent that I would cut (three songs): Crush'd, Cemetery, Young Dumb And Stung.
Weezer, Raditude
This new disc is approachable in a different way altogether; here is an example of an album that is bereft of any discernible substance, to the point that it's unclear as to who the record is intended for. It's literally a shopping list of all things mainstream, thrown callously together, and it renders Weezer a shadow of their former selves (remember Pinkerton?).
It opens with the fantastic uptempo single (If You're Wondering If I Want You To) I Want You To, and limps along the same energy through the next two songs. From there, I'm afraid it goes unmistakably downhill, through confusing use of R&B techniques and even samples of world music. Don't even give this record as a gift this year... unless you're trying to tell the person how weak or whitewashed you think they've become.
Top five songs: (If You're Wondering If I Want You To) I Want You To, The Girl Got Hot, I Don't Want To Let You Go, In The Mall, I'm Your Daddy.
Twenty per cent that I would cut (two songs): Can't Stop Partying, Love Is The Answer.
That's all, but there are many notable discs due out now that we have a firm foot in November. Check these out, find me, and tell me what you think. I'm out of words.
