Looking for new music? DJs at WVAU share their thoughts on a range of recent releases.
Jack White | Blunderbuss
Over the last 10 or so years, Jack White has created the type of rock-star mythology around himself that really doesn’t exist for anyone else in this era. Whatever mystique Bob Dylan had about him in the sixties, or what David Bowie had in the seventies — that is what Jack White has right now.
So, the question lingered ever since news about his solo debut was announced: would this finally be White’s first truly personal, perhaps confessional, record?
While the answer is never clear with him, the lyrics sure say otherwise. White is coming out of two of the most important relationships in his life: his marriage to supermodel Karen Elson and his career in The White Stripes. Therefore, it’s not surprising to hear White spit out line after bitter line on the fairer sex: “When someone says that they just can’t live without you/They ain’t lying/They’ll take pieces of you,” “She doesn’t care what kind of wounds she’s inflicting on me,” “And you’ll be watching me, girl/Taking over the world/Let the stripes unfurl/ Gettin’ rich singin’ poor boy, poor boy.”
Musically, White manages to reference all of his three previous bands while still coming up with a new, fresh sound.
The album is driven primarily by piano rather than guitar, and some of the melodies are downright Beatles-esque, as if Paul McCartney decided to record Bob Dylan’s “Nashville Skyline.”
White has clearly grown as an arranger, as these songs sport some of his most clever structures yet, including the mini-rock opera “Take Me With You When You Go.” Between his growth as a lyricist and composer, this album ranks among White’s very best, and probably stands as his finest achievement since “Elephant.” So while there are very few explosive riffs or garage rockers, Blunderbuss is a fascinating listen that reveals more and more about itself with each listen.
Recommended If You Like: “Nashville Skyline”-era Bob Dylan, Paul McCartney, The White Stripes
By Cameron Meindl
“Rhyme and Reason,” Sundays NOON-2 p.m..
Screaming Females | Ugly
While always consistent on their recorded material, Screaming Females have, up until this point, lived and died by their live performances, bringing a raw, aggressive and immensely talented energy that is hard to replicate. On “Ugly,” their fifth album, the intensity and fun of their live show has been translated better than ever, from frontwoman Marissa Paternoster’s excellently off-kilter vocals to the tight yet exhilarating backing of the bass and drums.
What is here is a unique blend of hard rock/grunge with indie rock sensibilities, providing both superbly catchy choruses with some of the most interesting and skilled guitar solos you’ll hear all year. There is no premium on guitar chords here, with Paternoster essentially playing full-song length guitar solos while performing normal vocal duties on more than a few of the songs. It’s edgy, aggressive and downright fun to listen to, all at the same time.
RIYL: Jeff the Brotherhood, Nirvana, Arctic Monkeys, Ted Leo and the Pharmacists, guitar solos
by Richard Murphy
“Lionheart James,” Thursdays 2-4 a.m.
Eight and a Half | Eight and a Half
A new side project from members of Broken Social Scene and the Stills is here, and guess what? It sounds absolutely nothing like either of them!
Eight And A Half falls into the company of Washed Out (although you can understand all of the vocals) along with the softer side of the electronic scene. The lyrics are practically dipped in sugar, both in content and in style. The lines soar over keyboards and drum tracks that do incite head nods, but aren’t necessarily danceable. It ends up suiting the whole vibe quite nicely.
RIYL: Washed Out, M83, The Postal Service, Passion Pit
by Spencer Swan
“traveling west on swans,” monday 6-8 p.m.
Toro y Moi | June 2009
“June 2009” is for the fans, an interesting chapter in the evolution of an already idiosyncratic young musician, but a step down from his first two excellent full-lengths. It is boilerplate glo-fi à la Ariel Pink: basic drum machines, multi-track vocal reverb, lazy guitar and a certain warm haze hanging about simple, yearning pop songs.
But the songs can’t be mistaken for anybody else but Toro’s. The funny thing is that when Chaz Bundick recorded these songs, he had no idea that he’d be famous. There are moments here that sound like nobody was originally meant to hear them. This may be a major label release but it’s a comp of bedroom recordings that makes no attempt to hide it.
Highlights include the surreal surf “Dead Pontoon,” the jerky pick-bass funk of “Drive South” and “New Loved Ones,” in which Bundick calls out for salvation from Jesus (actually) over strummed acoustic guitar (actually).
RIYL: Ariel Pink, Ducktails/Real Estate, Neon Indian
by Jesse Paller
“we like music,” wednesdays biweekly 10 p.m.-midnight.
