Dumbo Gets Mad - Elephants at the Door (2011)

"Elephants at the Door" is a mighty impressive album, especially considering that's it's the work of just one man (with the occasional guest vocals from his girlfirend). That man is an Italian guy with a cool mustache. And that's all I really know about him. His girlfriend looks pretty cute too though. Google that shit.

Remember a few months ago when those wikileaks cables came out and everyone was shitting their pants? And remember those leaks about Italian prime minister Silvio Berlusconi and his private sex parties with his voluptous blondes at his country mansion? Well I bring this up because parts of this album sound like the perfect sountrack to a Silvio Berlusconi sex part-slick, layered and smoooth. Either that or some sort of high-class, erotic coctail party.

"Elephants at the Doors" is what RYM calls "neo-psychedelic", and this seems like a pretty apt label. The album is full of shiny, lush, funky pyschedilia that still manages to sound modern. Like an "Elephants at the Gates of Dawn" almost. It even has, to my ears, Dream Pop elements in parts (for instance, on "Marmelade" and "Electic Pawn").

"Harmony" sounds like a porno versio of "Winter Wonderland" mixed with mgmt. That's a good thing btw.

"Plummy Tale" is a standout. I don't know what to say. Youtube that shit. Wear headphones though, cuz that bass man. Makes me feel like i'm cruising on a submarine.

Earlier I reviewed the album "Native Speaker" by Braids, which I liked, but felt there was something missing. I feel like "Elephants" is what "Native Speaker" could have been. "Native Speaker" was full of gloss that just sort of bounced around and then on top of that were these sort of contemplative, "what is life maaan lyrics?". Like an angry, acned teenager having fun at the beach. But whereas "Native Speaker" just bounced around, "Elephants" submerges you and goes straight for the heart. The chorus on "Plummy" for instance is just "la la la la" but that's all it needs.

"Elephants" is like a less gay MGMT, now that i think about it.

Also, now that i think about it, I should rewrite this review sometime.

8

Live Review: Melvins/High On Fire Bodega Wellington New Zealand

This gig was highly anticipated for me, having never seen either band before when the announcement was made last year they were coming and playing in the city I live it was very easy for me to make the decision to attend. However the day of this show (22^nd of February) ended up with New Zealand’s biggest natural disaster in the last 80 years (or so they say) taking place in Christchurch. Now this took place well away from Wellington but this was much closer to both bands. Both bands were checking into Christchurch airport when the earthquake hit, both bands fine, but now had no way of making the Wellington show, making it postponed till the 23^rd.

Now to the show, High on Fire were up first and the three piece metal act from Oakland, California came out and tore it up from start to finish. Starting the set with Speed Wolf from the album Surrounded By Thieves was a welcome opener and showed their intentions to play songs from later album and not just last year’s Snakes for the Divine. Next they played Frost Hammer one of the better tracks off the latest and it seemed like it was well known within the crowd because the crowd really got into this one with Matt Pike showing similar intensity on stage with his sludge metal sounding guitar work and Brent Hinds like vocals (or you could say Brent sounds like Matt). It’s always nice when bands never played in your country before and have multiple albums in their discography that they play some older tracks and this was the case even more with High on Fire. Playing the songs Blood From Zion, Hung Drawn and Quartered and Rumours Of War, from the albums The Art Of Self Defense, Surrounded By Thieves and Death is This Communion.

They ended the set with two more tracks off Snakes for the Divine, those two being my favourites Bastard Samurai and the other being the album title track Snakes for the Divine. Both tracks were probably the most explosive of the set and the crowd were into it till the end. Between tracks the band dedicated their last track to Christchurch a nice gesture after all they of all people would understand what happened being there and all. A Great set of about 45 minutes that showed a polished performance putting absolutely everything into it.

Next up were none other than the Melvins, this was not only the first time of me seeing them but also a band that incorporates two drummers. Once started this was nothing less than spectacular standing two from the front and in front of Buzz you could see early on why they are such a revered live act. Kicking off the set with The Water Glass from their latest album The Bride Screamed Murder we were immediately shown how tight this live show was and why the duel drumming combination of Dale Crover and Coady Willis is so good to watch. Now other bands that incorporate two drummers play the exact same note but what I loved about the Melvins was that they weren’t playing the same thing at all times. The set is full of songs from the latest album and while the set is missing classic songs from it (particularly my favourite Honeybucket) it still produces an amazing set.

Being in front of Buzz one thing you notice is the man’s stage presence, he owns the stage from start to finish and pulls off a perfect performance and one that I’ve rarely witnessed. The man has everything he does down to a tee and shows all his experience throughout. Standout tracks from the gig include Evil New War God and Electric Flower. The sheer heaviness of the show but at the same time still being able to pick up all the small things involved makes it even more amazing.

This was truly an amazing show and for those that decided to choose Queens of the Stoneage (which was cancelled on the day) you sure did miss out on something we might never see here again and I’d certainly hope not under the same circumstances.

Rating: 9

Eisley - The Valley (2011)

Over a year ago Eisley announced they were leaving Warner Brothers. They announced in November, of 2010, that they'd moved to Equal Vision. The Valley is the long awaited follow up to 2007's Combination. Now despite the four year gap, Eisley had begun work on this album in 2008 and through a series of Warner Brothers fuck ups (here on out referred to as WBFU, even though I will probably only use this phrase once more), including the delaying of an EP order, failure to provide merchandise, and as well as life happening to the band members, the band has finally been able to release this, despite the WBFUs (see, I mentioned it again. Yeah it was unnecessary, whatever.)

On my first listen, all I could think was I wish I wasn't listening to a stream (link: http://www.spin.com/articles/exclusive-stream-eisleys-new-album) of this and had waited until the album actually came out. So I could listen to it on my new record player (I got a new record player, it's not actually news. It's used and old, but whatever. VINYL HIPSTERS FOR LIFE. I don't even know if they're releasing it on vinyl) and get the full sonic experience. The production does sound really clean (and while typically I'm all for lo-fi production, and production that's too high-fi bugs me, I think it's an aesthetic that has always worked well for Eisley) but the sound quality is iffy, again, damn you stream and damn my need for instant gratification.

Now despite my quality gripings, I think this album is worth it. As always, Stacy and Sherri sound like a couple of sad, beautiful and at times angry angels. This album shows the many ways in which the band has grown. Two songs which stick out to me, possibly because pre-release I sat with them longest, are "Ambulance" and "Smarter." These two tracks represent very different sides of Eisley, Smarter is probably one of the most rocking things they've done and Sherri manages to sound both intimate and angry (as she notes and "apologizes" for from the very beginning) as she spits line like "you are the narcissist / you're everything you saw in me." Juxtapose this with "Ambulance" which Stacy sings so beautifully it could make angels and super pissed off biker types begin to weep and ask her if she needs to be hugged (even though the fangirl in me would note it was written for Sherri, and therefore she deserves the hug but if given the opprotunity I think angel/pissed off biker should hug both. Fangirl rant over, though I'm a fanboy, but that's not as fun.)

Another stand out is "I Wish" an acoustic guitar driven song which reminds me of stuff on Room Noises, and the vocal meloldies and harmonies on that sound like an orgasm, except not really because that's much more breathy and awkward. I just am trying to avoid comparing them to angels again because I'm starting to feel creepy. The opener, "The Valley" is noteworthy for it's use of strings and also it's general driving feel (something which many of the tracks have, which will please fans of Combinations because that's when I think they really developed their drumming and when Weston started kicking alot more ass.)

I feel awkward - most of this review is praising Eisley, and when listening to their music it's hard to see any flaws, but I don't want to say this album is perfect. It still feels like something is missing, their evolution as a band has been subtle and, while still firmly rooted in music like Sunny Day Real Estate, and the Bends, they're moving past that and creating their own niche. Like I said, there's few flaws to point out. The album is full of seamless pop songs, that are very ethereal and beautiful. This is where Eisley's strength is, but there's an element of humanity lacking. While when harmonizing, Stacy and Sherri can sound like the angels, sometimes it's a little too perfect and sounds almost manufactured at times (this feeling could stem from my distaste for high quality product. A lot of hi-fi releases feel empty to me.) Moments like "Smarter" where they really let loose more, show a touch of humanity that lends a lot of strength to their music, strength, that I think isn't present on some of these songs, which while sounding pretty, are often too pretty, if that makes any sense. Still, despite that, Eisley can at times be one of the emotional bands ever. I dare you listen to "The Ambulance" and not be touched.

8

Desolate - The Invisible Insurrection (2011)

The debut album of Desolate has arrived and it's not a letdown whatsoever. What you get here is some quality ambient dub with a heavy dose of future garage influence. The sound explored on this release showcases minimalism achieved flawlessly by Sven Weisemann, delving deep into a variety of aural textures and drums that groove in the same vein as beats in dubstep. As with all people that approach making music like this, they will definitely face a lot of negative criticism from a few dipshits saying "This is just another Burial clone, let's sweep this album under the carpet.". Though I can understand the comparison, why would people make out that it's a bad thing? How can having more than one act that sounds like Burial possibly be bad?

Although the comparison can easily be drawn, I wouldn't say that The Invisible Insurrection is a direct copy of anything by Burial. The sound explored is varied and the emotive feel that I gathered from the album came off a lot different to how I felt when I listened to Burial. The textures aren't all dark and grimy - instead they come across more spacey, making you feel like some sort of futuristic space trooper, as opposed to a homeless dude drunkenly basking in his own piss in London. It's an enticing sound, and once you're in the grips of the first track, you'll be held captive until the very end, where you'll be released and probably have a whole different outlook on the world around you. Much like those people that were held captive by the Taleban. Well, the ones that didn't get gruesomely executed, anyway.

If you're upset because it's winter, or if you're thinking "Man, I can't fucking wait until it's winter", just give this album a spin. You'll be glad you did, as I assure you that this, in combination with a cup of coffee, will warm your body, heart and soul. You'll definitely be coming back to this album. Even if you forget about it, it sure as hell won't forget about you.

Creepy.

8.5

Radiohead - The King of Limbs (2011)

Obviously one of the most highly anticipated albums this year, Radiohead's shortest and most electronic release ever, The King of Limbs, is already shaping up to be one of the most divisive releases in recent years. Many of the contributors here at People Who Stare At Rugs have a lot to say about it, so we figured: why not give everyone a voice who has one...to talk about this year's most talked about release by far? We couldn't think of a reason not to open the floor for questions and answers. We ask that our readers remember this is our first time, too. So lay back and let us do some work for you, like always.

I don’t understand why people seem to be upset with the fact this album is nothing like OK Computer or The Bends considering that Radiohead has not sounded like that in about 14 years. To me, this album seems like the next logical step in the band’s progression of their sound; combine all the 2000’s work of Radiohead, and you get The King of Limbs. Layering, stellar production, those evocative Thom Yorke vocals: all the things we have come to love Radiohead for in their 00’s work are all here and executed excellently. One remark that many people have been seeming to make is the lack of a real standout song, which is somewhat agreeable. However, this is compensated by the seamlessness of the album, flowing from one song to the next perfectly. Even the clear stylistic change from the first half to the second half is almost overlookable due to the smooth transition. While Radiohead claims this is a newspaper album there are no real “headlines” to speak off. Radiohead has become a band focused on details; be it the light guitar in the background of Give Up the Ghost, the subtle synth reverberations in Separator, that low buzz that persists in “Feral”. In the OK Computer days, there was a greater focus on melody, but now there is more of an emphasis on using instrumentation tastefully and trying to get a more cohesive result out of it, a more challenging songwriting process, and for the listeners, a much more satisfying listening experience. ---Vr00m

Once again Radiohead do something a bit unexpected with their new album. This album harkens back to the style of Kid A. Not so much in sound but in construction. Listening to this album the first thing you realize is that no one band member takes charge, everybody just contributes to the overall “feel” of the songs. The King of Limbs goes for a more specific sound than In Rainbows or even most of their other albums. Whereas on an album such as Amnesiac you’re never really quite sure what type of song you may encounter with every track this album sticks to the layered, looping approach throughout nearly every song. I wouldn’t call this one of the stronger releases overall from Radiohead but it shows that they’re willing to do whatever they want and never play it safe. For that I’m glad that they made an album like The King of Limbs. ---Paul

It's pretty much impossible to find a stand out track for me, but that's so far from a bad thing on this album. In fact, the way it all blends together reminds me of the cohesiveness they had working for them on Kid A, just without those highlight band-defining tracks. I like that they continue to introduce these underground electronic genres to the mainstream like they've done in the past, this time around it's got that new experimental garage/dubstep feel to it. You're going to love it if you love Radiohead, and even if you just dig electronic music, you're still going to dig it. If that's not your thing cuz you came for some more In Rainbows/Bends guitars, then you'll be pretty disappointed. Although, I'd be surprised if you didn't expect electronics out of Radiohead at this point in their career, so it should hardly detract from your experience of it. Instead, it will probably enhance it greatly. Guitar definitely takes a back seat on this one, but the rhythm section is some of the best work of their career imo, especially out of Colin. This continues the personal warmth of In Rainbows while furthering the electronic experimentation of albums like Hail to the Thief and Amnesiac. But most of all, it's entirely and only Radiohead's creation. ---deaconzonday

Y'know what makes me absolutely happy about this Radiohead release? It is its own album. I mean, you could argue that all Radiohead releases are their own album, but this one breaks away from a lot of their previous material. Sure, it's not as if they've never experimented with electronic music in the past, but I'm compelled to believe that this album sees Radiohead attain mastery over combining electronic sampling with rock music. The result of this is nothing short of breathtaking, and what you have is one of the most relaxing and evocative experiences of 2011. I've seen many people try to make comparisons between this album and previous efforts, and I'm very certain that in doing so, it has ruined the album for them. This is something I cannot fathom - why the FUCK would you listen to an album and then instantly compare it to another album, without even paying attention to what's happening in front of you? Absolutely retarded. Listen to this album with open ears and an open mind and you will be rewarded. ---UberKvltPancake

http://www.youtube.com/watch?v=dvdU7pRcMzU ---wantabodylikeme

So if you couldn't tell already, we're loving it. Expect The King of Limbs to 'conclude' or something ridiculous in another month. For now, these 38 minutes should be a welcome grace to your ears.

9