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- Charles Dodge - The Earth's Magnetic Field
- Îlhan Mimaroglu - Prelude No. 8
- Ingram Marshall - Cortez
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On her last album, Caitlin Cary displayed a more folk/rock/country hybrid sound than her fans were used to. True, mostly that was due to the differences in her sound from her former band Whistkeytown: the absence of Ryan Adams' trademark wail and the switch of Cary from background to lead vocals. She also seemed to want a more roots sound than Adams did, as he went more rock and she went more folk after Whiskeytown's demise. She wasn't without Adams on While You Weren't Looking, though, as he appeared on the bonus disc. This time, Cary went it alone, sort of, as she and her band came off the road with some bold new songs and went right in to the studio with Chris Stamey.Yep Roc
The results shown on I'm Staying Out are a return to form for Cary, as she rocks out more, but the whole album is stronger than anything she's done yet, period. Cary seems more comfortable in the leading role, and the appearance of Mary Chapin Carpenter gives her a bit more credibility. It's the songs, though, that are the real strength, as Cary has found a key group of musicians and songwriters that are guaranteed to create sparks. Bittersweet is still the primary flavor, with songs like "Sleepin' in on Sunday," and "I Want to Learn to Waltz With You," mixed with "Please Break My Heart," and the title track, which is about knowing when it's time to move on even though your partner is expecting you to walk through the door. It's not a perfect record for Cary yet, though, as most of the songs, while pleasant to listen to at first, are utterly forgettable on repeat listens. A few, though, hit the mark and stay there, like "You Don't Have to Hide," "Cello Girl," and "Please Break My Heart." It's on these where Cary gets in touch with classic country through a modern lens, and that's what makes it so stunning. She's improving, and there's no doubt she'll blow us away sooner or later, unlike Adams, who seems to get more and more discombobulated. Hopefully we won't have to wait too much longer for Cary to amaze us once and for all.
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This new mini-album by Asa-Chang & Junray doesn't point to a new direction for the group, but rather brilliantly confirms that the audaciously original musical experimentation heard on last year's Song Chang was far from a fluke. Percussionist Asa-Chang, tabla master U-Zhaan and programmer Hidehiko Urayama have produced another masterful album in the spirit of kidoairaku, loosely translated as "anything is possible."
Kidoairaku is a peculiarly Japanese approach to composition, where disparate elements are put together in an exciting, dramatic way that is as vital and immediate as pop music. Tsu Gi Ne Pu contains five tracks that encompass some of the myriad of possiblities offered by this approach. The first track 'Toremoro" utilizes sampled sound effects from the original Star Trek series - the chirp of the transporter, the whoosh of the automatic doors, the birdsong of the communication devices. Soon, a lulling shakahuchi melody is joined by the ever-present tabla. Five minutes in, the trademark tabla singing begins, this time edited to hyperrhythmic precision by Urayama's laptop expertise. This song is an exciting auditory experience, best experienced on an expensive set of headphones. 'Tsuginepu to Ittemita' is made up of high-pitched electronic drones, with more of the phonetic, staccato singing from Yoshimi P-We of The Boredoms. 'Xylophone' is the rare instance of an Asa-Chang and Junray song that you can actually sing along to. For its three-minute running time, Asa-Chang and Junray manage to reign in all of their random, abstract tendencies to produce an supremely catchy pop song. 'Kaikyo' matches a plaintive trumpet melody with field recordings of the ocean, and builds to a shattering climax reminiscent of Ennio Morricone on several tabs of Japanese acid. The disc closes with the short 'Kutsu No. 3', a slight piece featuring a sad trumpet, hypnotic harmonium and a playful chorus of digital blips and birdcalls. Fast forward ten minutes to an eight-minute hidden track with Yoshimi and Asa-Chang counting in Japanese against a background of shrill digital arpeggios.
Tsu Gi Ne Pu is a worthy follow up to Song Chang, and it makes me wish that there were more artists on the scene today that made high-concept experimentation this exciting and listenable.
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- Ghost Trains (with Morgan Geist)
- Like Gold (with Schneider TM)
- Prego Amore (with Jolly Music)
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