By Ashley Zimmerman
By Dana Krangel
By John Hood
By Ashley Zimmerman
By David Von Bader
By Sayre Berman
By Steve Brennan
By Ashley Zimmerman
Most bands work within established genres, such as rock, folk, or blues. Some mine more specific veins, like fusion or psychedelia. A few bands fall into minicategories; acid-jazz or chamber-pop come to mind. The High Llamas, however, model their work on a single song: the Beach Boys' "Let's Go Away for Awhile." That track, from the landmark album Pet Sounds (1966), stands as one of Brian Wilson's most evocative compositions -- a pastoral landscape painted with golden horns, bright xylophones, and syrupy strings -- and it pretty much serves as the blueprint for everything the High Llamas have created throughout their six-year career.
The High Llamas are a fluctuating group of musicians who assemble under the leadership of Sean O'Hagan, a versatile Irish popsmith and composer who also serves as the string arranger for the electronica group Stereolab. O'Hagan is likely responsible for that band's steady drift toward Muzak; Stereolab's mellifluous last album, Dots and Loops, sounds very much like Cold and Bouncy. Thematically, however, Stereolab likes to venture into chilly space, while O'Hagan prefers to traverse the green pastures of Earth.
O'Hagan sometimes explicitly states his destination (as with the albums Santa Barbara and Hawaii) and sometimes leaves it to the listener to make a guess. (Gideon Gaye's corny, cozy melodies seem to depict a quaint Irish village.) But Cold and Bouncy conjures up a whimsical fantasyland -- perhaps an upscale bar on H.R. Pufnstuf's Living Island. Songs such as "Lobby Bears," "Evergreen Vampo," and "Didball" bear the usual High Llamas trademarks (happy banjos, soothing flutes, those too-cool xylophones), and O'Hagan still sings and writes like a children's entertainer ("Christmas hitlist/Scared half witless/Showstop hip-hop/Drifting on the dial"). But new sounds indicate that Stereolab's futuristic music has rubbed off on O'Hagan. Computers chirp along with his friendly voice on "Three Point Scrabble," while Star Trek choruses abound on "Glide Time." And everywhere there are banks of bubbling, squirting synthesizers.
These sixteen compositions are, like all of O'Hagan's work, phenomenally sophisticated. Like Brian Wilson, O'Hagan has an instinctive genius for effective studio arrangements and instrumental combinations; his music is by turns wistful, grand, and even stirring. Yet O'Hagan will probably always be stuck in one place: the Southern California coast, circa 1966. Come to think of it, that was a fantasyland, too.
-- Rafer Guzman
Let It Come Down
Nobody likes a whiner, unless that whiner is backed by a wall of amplifiers the way Billy Corgan usually is. The leader of Smashing Pumpkins gets away with his laughable self-pity ("I'm in love with my sadness") by burying it all under mind-numbing power chords. Unfortunately, Smashing Pumpkins' bassist, James Iha, has decided to let his whining stand nakedly on its own.
In what some critics have called a "brave" move, Iha has released a debut solo album, Let It Come Down, filled with basic love songs. Most of the eleven tracks sound like scraps from the Carpenters' cutting room floor: Iha croons '70s-style ballads of romance and longing full of sappy sentiments, such as "The sound of love is oceans far away" (from "Sound of Love") and "We're lovers dear, and we're honestly together somehow and tied with silver string" (from "Silver String"). Iha's music lacks the bite that makes the Pumpkins' lyrics palatable, and his prose is about as sophisticated as an eighth-grader's diary. So, yes, he is brave to sing this stuff publicly.
His clumsy juxtaposition of "half smile, country mile, angel child" (on "Country Girl") smacks of hokiness, but it's better than his attempt to sing Partridge Family-style scat ("ba ba bam bamp") on "Jealousy." The only truly good song on the album is "Winter," a haunting tune with a simple melody that sounds like a modern-day nursery rhyme.
Occasionally Iha orchestrates some nice harmonies with his guitar and an accordion, but not nearly often enough to sustain the album. Most of the material here would be better off on a Hanson CD; at least then it could be excused as sincere adolescent sentiment. Here it's just fodder for self-pitying adults.
-- Liesa Goins
Will Bernard 4-Tet
Will Bernard, the former guitarist for the quirky San Francisco jazz combo T.J. Kirk, shows dynamic bluesy chops with his new band's first release, Medicine Hat. But Bernard's true talent lies in composition. The Will Bernard 4-Tet, featuring Rob Burger on Hammond B-3 organ and accordion, John Shifflett on acoustic bass, and Scott Amendola on drums, wouldn't know a conventional melody if it bit into one. The songs on Medicine Hat follow a musical map that only a madman could design.
The sound here is mostly in a blues and funk groove, with the B-3 lending a dramatic urgency to the proceedings. Though Bernard's playing is clean and fluid, his generous use of wah-wah combines with the guttural organ to create a grimy, back-alley vibe. Amendola is quite agile with the sticks, creating snare-drum sonatas and unconventional rhythms that lead to obscure conclusions. The open sound of the bass creates a warmth that leaves the harmonies room to wander.