Fuck Yeah! Queer Music

fyeahqueermusic:

I think it’s safe to say at this point that the Ani many of us grew up on and love dearly (the self-titled/Out of Range/Dilate Ani) is dead and buried. We probably should have figured this out by Reprieve, her 2006 album, but with her latest, ¿Which Side Are You On?, set to be released January 17, that notion is firmly cemented.

It’s been three years since her last album, 2008’s Red Letter Year, which I enjoyed, but many Ani fans weren’t too big on, I think mostly because she just seemed so happy and content, and it shone through on almost all of the tracks, regardless of their individual mood and lyrical content. ¿Which Side Are You On? also feels like that. Many of the tracks, like “Splinter” and “Unworry” meander merrily along seemingly without point and with no build to any sort of real emotion. They’re like the song equivalent of a content sigh, it’s a feeling yes, but not much of one.

Most of the songs sound like they could have come from her last two albums, Red Letter Year and Reprieve, and this probably has to do with the fact that most of the backing musicians came from those two records. Todd Sickafoose in particular has a very distinct bass style that really helped create the incredible haunting atmosphere of Reprieve, but here sounds a bit aimless. It’s still very good work, but it somehow feels disconnected from the rest of the songs that he’s utilized on, especially when he’s playing stand up bass. “Albacore” is this close to getting to that almost disturbed place that was on Reprieve, but the parts just don’t mesh well in the end, and it sounds like two or three different songs trying to be played at once.

That’s not to say there isn’t brilliant stuff to be found on this album, especially on its second half, which is exponentially better than the first. “J” and “If Yr Not” actually make good on the promise of a build up. “If Yr Not” in particular seems pretty simple on first listen, but about halfway through these killer horns come in like a punch in the gut, along with almost booming drums. And it works just so well that it ends up emphasizing the weakness of a lot of the other tracks. “Hearse” and “Mariachi” sound like vintage Ani, and in the end are the best songs on the album, not because they sound like they could be on one of her earlier records (although the guitar work on “Mariachi” alone makes me want to cry tears of joy), but because they create a specific mood actually set a real, concrete feeling in your chest, which is ultimately, what most of the songs really fail to do.

On that note, I need to address the title track, and the centerpiece of the album (although it’s the third track), “¿Which Side Are You On?” It is Ani’s take on the Florence Reece song made popular by Pete Seeger (who, by the way, plays the opening banjo line, and THAT’S AMAZING) and the Almanac Singers. The original was about supporting unions and banding against employers to fight for rights and wages. Ani’s version is very much a modern take, and very in tune with Occupy Wall Street and the popular 99% sentiment. It’s boldly political and in your face, but not overly harsh. It feels like she is trying to take a page from Seeger’s book and bring people together through music and art for populist causes that benefit the ordinary person. And it’s mostly successful. Obviously, Pete Seeger, she is not, and the song is over six minutes long, jumping through a lot of topics with no real focus other than “these are issues you probably care about, which side are you on?” A little editing would have done wonders and really brought the song into focus with a very clear message. I admire Ani for the effort, but overall it’s reflective of this album as a whole: very close to getting it right, but a little too long, and a little too hazy to be truly effective and excellent.

When it comes down to it, I think I want to like ¿Which Side Are You On? a lot more than I actually do. Make no mistake, there are some truly outstanding songs (“Mariachi” may be one of my favorite songs of her’s ever), but it also contains at least one of her worst (the dated and overly long “Amendment.” “Lost Woman Song” is much more poignant and made the same point twenty years ago, through a more focused lens). Honestly, I just expected more after three years. If you’ve enjoyed Ani’s albums over the past ten years or so, then this is definitely worth the buy; there are at least a few songs that you will really really like that make up for the less stellar tracks. But I think it’s safe to say a lot of the young fire is gone, and we have to learn to live with a happy, mature Ani DiFranco.

Make sure if you purchase the record it’s through Righteous Babe, or at an Ani show. Purchasing an album through the artist is still the best and easiest way to make sure the most of your money goes right back to them.

Reblogging because it’s release day! Yay!

I think it’s safe to say at this point that the Ani many of us grew up on and love dearly (the self-titled/Out of Range/Dilate Ani) is dead and buried. We probably should have figured this out by Reprieve, her 2006 album, but with her latest, ¿Which Side Are You On?, set to be released January 17, that notion is firmly cemented.

It’s been three years since her last album, 2008’s Red Letter Year, which I enjoyed, but many Ani fans weren’t too big on, I think mostly because she just seemed so happy and content, and it shone through on almost all of the tracks, regardless of their individual mood and lyrical content. ¿Which Side Are You On? also feels like that. Many of the tracks, like “Splinter” and “Unworry” meander merrily along seemingly without point and with no build to any sort of real emotion. They’re like the song equivalent of a content sigh, it’s a feeling yes, but not much of one.

Most of the songs sound like they could have come from her last two albums, Red Letter Year and Reprieve, and this probably has to do with the fact that most of the backing musicians came from those two records. Todd Sickafoose in particular has a very distinct bass style that really helped create the incredible haunting atmosphere of Reprieve, but here sounds a bit aimless. It’s still very good work, but it somehow feels disconnected from the rest of the songs that he’s utilized on, especially when he’s playing stand up bass. “Albacore” is this close to getting to that almost disturbed place that was on Reprieve, but the parts just don’t mesh well in the end, and it sounds like two or three different songs trying to be played at once.

That’s not to say there isn’t brilliant stuff to be found on this album, especially on its second half, which is exponentially better than the first. “J” and “If Yr Not” actually make good on the promise of a build up. “If Yr Not” in particular seems pretty simple on first listen, but about halfway through these killer horns come in like a punch in the gut, along with almost booming drums. And it works just so well that it ends up emphasizing the weakness of a lot of the other tracks. “Hearse” and “Mariachi” sound like vintage Ani, and in the end are the best songs on the album, not because they sound like they could be on one of her earlier records (although the guitar work on “Mariachi” alone makes me want to cry tears of joy), but because they create a specific mood actually set a real, concrete feeling in your chest, which is ultimately, what most of the songs really fail to do.

On that note, I need to address the title track, and the centerpiece of the album (although it’s the third track), “¿Which Side Are You On?” It is Ani’s take on the Florence Reece song made popular by Pete Seeger (who, by the way, plays the opening banjo line, and THAT’S AMAZING) and the Almanac Singers. The original was about supporting unions and banding against employers to fight for rights and wages. Ani’s version is very much a modern take, and very in tune with Occupy Wall Street and the popular 99% sentiment. It’s boldly political and in your face, but not overly harsh. It feels like she is trying to take a page from Seeger’s book and bring people together through music and art for populist causes that benefit the ordinary person. And it’s mostly successful. Obviously, Pete Seeger, she is not, and the song is over six minutes long, jumping through a lot of topics with no real focus other than “these are issues you probably care about, which side are you on?” A little editing would have done wonders and really brought the song into focus with a very clear message. I admire Ani for the effort, but overall it’s reflective of this album as a whole: very close to getting it right, but a little too long, and a little too hazy to be truly effective and excellent.

When it comes down to it, I think I want to like ¿Which Side Are You On? a lot more than I actually do. Make no mistake, there are some truly outstanding songs (“Mariachi” may be one of my favorite songs of her’s ever), but it also contains at least one of her worst (the dated and overly long “Amendment.” “Lost Woman Song” is much more poignant and made the same point twenty years ago, through a more focused lens). Honestly, I just expected more after three years. If you’ve enjoyed Ani’s albums over the past ten years or so, then this is definitely worth the buy; there are at least a few songs that you will really really like that make up for the less stellar tracks. But I think it’s safe to say a lot of the young fire is gone, and we have to learn to live with a happy, mature Ani DiFranco.

Make sure if you purchase the record it’s through Righteous Babe, or at an Ani show. Purchasing an album through the artist is still the best and easiest way to make sure the most of your money goes right back to them.

Anal Altar is the one man metal project of Jaden Vile. Queer black metal, as he said, has “finally happened.” Metal, black metal in particular, is a pretty homophobic, misogynist genre filled with macho posturing and not too many redeeming qualities as far as equality and social justice go. That does not mean there aren’t many a queer who enjoy it, and Vile has created a project that sets out to be a little more friendly to the LGBT fans of this genre.

I should say, before I begin this review proper, that I’m not a metal fan, and I’m not knowledgeable on the genre, so I will do my best, but if there’s anything in the review I get wrong, or something you disagree with, please send me a message and let me know! I love learning about new music, even if I’m not necessarily a huge fan of the genre.

Faghammer is noisy, as would obviously be expected from a black metal act, but it’s also noisy in its production. Most of the sounds blend together into almost a static like sound, which makes it hard to differentiate different instruments and tones. On quality headphones, things become more distinct, but not by much. It’s homemade and it shows, which isn’t necessarily a bad thing, but in this case, the final product suffers. I can imagine these songs would blow a room out of the water performed live, though, and I hope Vile gets the chance to do so.

Sound wise, this album is full of thick synth sounds, distorted guitar fuzz, and furious drumming. Vile’s yelps and screams are clouded in reverb and pushed pretty low in the mix, so they haunt the tracks rather than distract from the instrumentals. It’s a pretty interesting technique that I haven’t often come across in metal (especially throughout an entire record), and I would love to hear it utilized in a more polished recorded setting. The drumming is probably my favorite part of the EP, it isn’t all that present, but it sounds big and love and adds a warmth to the recording not otherwise present.

The last track, “Self-Worship” is pretty interesting, in that it appears to be an ambient track of Vile masturbating, and an interview with YoHomo appears to validate that. Aside from the abstract weirdness of the concept, it doesn’t sound that bizarre or creepy. His voice is completely reverbed and there was probably some other effects thrown on as well. And it’s all laid on top of a floaty, ominous, synth track. It’s probably not for everyone, but it’s worth at least one listen.

Overall Faghammer suffers from poor recording quality, but fans of metal and black metal will probably enjoy it regardless. I suggest everyone give it at least a listen through for the experience, and I’m intrigued to see what Anal Altar’s next release will bring.

Check ‘em out:
http://analaltar.blogspot.com/ (fair warning, the header image is probably NSFW)

So, I finally created a sidebar link on the FY!QM main page that links to all the music reviews I’ve done so far. By tomorrow I should have one for artists profiles. New easy way to skip all the reblogged B-52’s .gifs!

Frightened Cellar (a.k.a James Wilson) is one talented guy, and his debut solo album, Destroy The Fear That Forms You is a stark, haunting testament to that fact.

This album is all about piano and voice. It’s lonely in concept, and in execution, but it lends itself to an atmosphere that is hard to replicate in any other way. Wilson has mastered this particular sound and all of its theatricality. His voice is an interesting one, seemingly more suited for a theater than being a singer-songwriter, but it adds to the whole feeling of the album. Destroy The Fear That Forms You is like listening to a cabaret act, or perhaps more accurately, a lonely piano bar player trying to fill an empty room as best he can. He’s talented, and plays to the back of the theater, so to speak, no matter who is watching or what accompaniment he has.

The album opener, “All In A Day’s Revenge,” is probably its best track. It starts with choppy piano chords and ominous vocals where Wilson harmonizes with himself. Hitching breath leads to a musically cathartic chorus, releasing the tension of the verses. Other tracks, like “The Boy Burned” and “Flying On” are poppier affairs. “Flying On” in particular, is a Billy Joel-esque number, infectious, and still heartbreaking. The closer, “Coral Reef Champagne,” incorporates some synth work, which meshes with this overall tone in a jarring way. It’s not unwelcome, but it does catch your attention and creates a stark divide between the piano and synth tones.

Fans of Dresden Dolls or Amanda Palmer, Tori Amos, and other piano-based acts should check out Frightened Cellar, like, now. Destroy The Fear That Forms You is an excellent debut, and it hopefully won’t be long before we hear more new music from James Wilson.

You can find Destroy The Fear That Forms You here:
Frightened Cellar store
Amazon
iTunes

When I first listened to “Close The Door,” the first track off of The Shondes’ latest album, Searchlights, my immediate thought was “Drums! There are drums! And I can hear them!” It is no secret that I absolutely adore The Shondes; they put on a phenomenal live show and are some of the most awesome, social justice minded individuals I have ever had the pleasure to meet. Unfortunately, their previous albums have always left me a bit disappointed, not because the songs weren’t good, they were. A lot of them were great, and they had so much energy and fire when performed live, but that never translated to the studio recordings. The songs would drag, the dynamics were missing, and the drums were so flat and pushed so far down in the mix that it actually became distracting to listen to without seriously messing around with the EQ. But that has finally come to an end. Searchlights is not only is their strongest collection of songs to date, it is a recording befitting their immense talent and passion.

This album sees The Shondes leaning more towards the indie-tinged rock sound pioneered by Husker Du and currently championed by bands like Lemuria. It’s fast paced and the drums (again, which are so refreshingly present) lead a steady charge forward. The rest of the sound is filled out by chunky guitar chords and a treble-y bass tone. “Are You Ready” is a great example. It starts sparse, drums, bass and vocals, and the verses feature short licks that lead into two rhythm parts with the same chords, but in different patterns, filling things out in an unexpected way. My favorite track, “Give Me What You Got,” sounds like it could be a Lemuria song. The bass bounces along in the verses, and the guitar is just jangly enough to harken back to the heyday of riot grrrl. Plus it features a lyric about being seen as a Gargamel. How many bands do you know that can pull a Smurfs reference and not have it be completely ridiculously cheesy and awful? I can’t think of any.

What really sets The Shondes apart from their peers however, is violinist Elijah Oberman. His parts lend an olde world feel to very modern, punk-influenced music. They call to mind folk tunes, regardless of whether or not his lines were influenced by them. He’s never at the forefront, and I think that really helps add depth to their sound. It’s not a gimmick, and the violin is a truly integral part of the band’s dynamic, haunting in the background of many of their songs, giving them a lingering sadness.

Lead vocalist Louisa Solomon is, as always, amazing. She has an incredibly distinctive, and emotive, voice. It’s longing and desperate in many places, and it commands your attention. The title track might be the best demonstration of her ability. She goes from an almost pleading tone, to a yelp in the final chorus, ending in a soft mournful sound. That, combined with the amount of reverb placed on her voice, really adds a huge emotional gut punch to the lyrics. Oberman provides great harmonies on most of the songs, and takes the lead on “All This Weight.” While technically he is not as strong as Solomon, he too has a very recognizable voice that really lends itself to emotion, a natural sadness that really fits in with The Shondes’ sound.

Searchlights, much like its predecessor My Dear One, is a more personal than political album. These are songs about people and relationships, although this is much less angry than My Dear One, which in many ways was the band’s break-up album. Searchlights, however, is more hopeful. There is still pain and sadness here, quite a bit, but you can also see the band building themselves back up again.

Searchlights is available now in a bunch of places, both digitally and in various physical formats. They are also currently on a nationwide tour, so go check them out if they make a stop in your town!

You can get Searchlights here:
http://theshondes.spinshop.com/
Amazon- http://amzn.to/qQRoX9
iTunes

It’s finally here! The self-titled debut from indie rock super group Wild Flag is finally here! Released this past Tuesday, Wild Flag is an exciting debut that not only fills the Sleater-Kinney shaped hole in all of our hearts, but makes an artistic statement all its own, setting it apart from the members’ previous projects.

Wild Flag distills some of the best of mid-90s indie rock and riot grrrl sound into one album. It shouldn’t come as a surprise, given the make-up of the band, but it is still comforting to know that they all still have it, and don’t retread the well worn ground of their earlier bands. Oh sure, it sounds similar to Sleater-Kinney, but it isn’t Sleater-Kinney. There are new dynamics and depths to these tracks. The album kicks off with their first single “Romance” (and if you haven’t seen the video yet, what are you waiting for? Pink Volvos and shenanigans galore!), and it sets the stage well for the rest of Wild Flag. Janet Weiss’s drumming is as driving as ever, and there is no mistaking Carrie Brownstein’s distinctive voice. Rebecca Cole probably plays the largest role in keeping Wild Flag from becoming Sleater-Kinney part two. Her keyboard parts are bright and interesting, and they cut through the familiar two-guitar-no-bass sound.This is perhaps most noticeable on “Future Crimes” (which was first released on a 7” earlier this year), easily the best song on the album. It’s short, and it’s given just enough time for everything to fall into place before ending. The keys are at the forefront, and they match perfectly with short bursts of guitar chords. Dare I say, it’s rollicking.

The dynamic between Brownstein and Mary Timony is the fairly traditional approach of rhythm and lead guitar, respectively. There are some interesting songs, like “Short Version,” which features far more interesting interweaving lines through most of it. But the majority of the tracks are based on fuzzy, dirty guitar chords, with leads over top. Combined with Cole’s key parts, the low end is filled just fine, despite there being no bass player. I adore the guitar tones on this record. They are just the right amounts of 90s grunge, with enough of that riot grrrl jangle to offset them and not make the overall sound too muddy.

Lyrically, the songs tend towards relationships. There is nothing truly outstanding in any of them, but they are all solid efforts enhanced by Brownstein’s signature vocal style, which adds a unique shy desperation to everything.

To sum up: Wild Flag is awesome. If you aren’t listening to it right now, get on that. They’ll begin a country wide tour next month in support of the record, and I highly recommend going to see them if they’ll be in a town by you. Wild Flag is available on iTunes and other digital distribution sites. If you want a physical copy, head over to their Merge Records store and buy directly from the label (or them, if you see them live).

Sometimes context outweighs every other criteria when reviewing an album. Most of the time it’s encouraged to take something for what it is, on its own. How does it stand by itself as a work? In the case of Enio’s latest album, Today, though, that would be doing a huge disservice to the artist and his record.

This summer, Enio got married. Today was written and recorded as a present to his husband, which he later decided to release to the world at large. First, how adorable and awesome is that? Second, though, this provides the crucial context through which this album must be viewed. This isn’t an artist getting married and then writing happy music because they are happy. It’s a wedding present to a partner.

Enio’s latest is a pretty big departure from his past few releases, particularly Immolate and Neon Dreaming, which were huge pop records, filled with warm synths, layered vocals, and big, heart soaring choruses. Today is a low key affair, mostly built on live instrumentation, evoking the singer-songwriter feel of someone like Brandi Carlile or Glenn Hanansard. If it weren’t for Enio’s voice, this could easily have been mistaken for an entirely different artist. The songs meander, taking their time to get to a point. “By Your Side” is a lazy (in pace and feel) love song, opening with a slow organ part and moving to a drum groove and syncopated un-distorted guitar. The layers that marked Enio’s earlier releases is still here, but it’s far more subtle, and these songs work well as an easy, drifting listen.

Lyrically, this is pretty much everything you’d expect from an album written as a wedding gift. It’s kind of cheesy in spots (“We go together like hats and scarves in stormy weather”), and any real depth isn’t there, but it’s full of unbridled joy and love. It’s sensual and sexy in parts, heart wrenching and romantic in others. Mostly there’s just love. Unfiltered, abundant love. Enio’s husband is a lucky, lucky guy.

Today is an album for romantics, for those in love, for those who want to fall. It’s for falling asleep with a smile on your face.

You can get Today or any of Enio’s earlier albums here.

Last week I profiled the relatively new pop duo Hi Fashion. Today they released their first EP, Sprechen Sie Hi Fashion? and it’s a ridiculously fun six tracks.

Hi Fashion is pure electro-pop, completely synthesized with harsh, programmed beats and sharp edged synth pads all around. Vocalist Jen DM and programmer Rick Grandone know exactly what they are and what they want to sound like, and they play it perfectly. Sprechen Sie Hi Fashion? demonstrates everything they’re capable of without overstaying its welcome. Six songs was the perfect length, as this sound can wear on someone pretty quickly if not in a fun club or live performance setting.

After a quick intro track, the first song proper is the previously released single “Amazing.” Featuring speak-sung, deadpan vocals (in the style of a total 90s Valley Girl) and hilarious lyrics like “I don’t give a shit if you don’t like my tits, because I know they’re amazing” and “I don’t give a bung if you say that you’re hung, because you’re probably praising,” this is probably my favorite song of the EP. It’s I don’t give a fuck attitude perfectly fits this musical style, and the wink and nod hilarity is just awesome.

One of the best things Hi Fashion has going for it is their sense of humor. Songs like “Amazing” and “I’m Not Madonna” are seriously funny, but not in a stupid Weird Al kind of way. It’s a smart funny, the kind that knows its audience all too well, and is ready to both honor and mock its influences. In “I’m Not Madonna” Jen DM sings with Madonna’s signature fake psuedo-British accent about being mistaken for Madonna and getting calls about Lourdes missing class, or asked for autographs. The chorus sounds straight out of a early late 80s/90s Madonna track, again, both poking fun and obviously honoring someone who is a huge influence on their sound. It had me laughing out loud and dancing around at the same time.

The other three tracks, while not quite the standouts of “Amazing” and “I’m Not Madonna,” are still all pretty great in their own right. “You Tuk My Luk” is about rival wardrobe drama, and is rather amusing, but musically isn’t too special. “Sonic Boom” features a great use of warning alarm samples, with a background melody that borrows heavily from Middle Eastern inspired music, making it the most interesting song musically, and definitely points to even better things to come from Hi Fashion. “Rumble” sounds like a Dance Dance Revolution track, which isn’t a bad thing, but it is a little predictable.

Overall, Sprechen Sie Hi Fashion?  is a great first release from an insanely amusing and danceable group. It’s fun, funny, and would be perfect for a club, or getting ready for a night out. If you don’t like 90s influenced electro and pop, this EP will not change your mind at all, but if any of that appeals to you, Hi Fashion is a great addition to the collection.

Wild Flag is Portland supergroup of sorts, featuring members from Helium, The Minders, and most notably, Sleater-Kinney. They released this two song 7” for this year’s Record Store Day, and it’s awesome.

Now, it’s hard not to make comparisons to Sleater-Kinney when talking about Wild Flag’s sound. Both Carrie Brownstein and Janet Weiss have such unique and instantly recognizable styles that there is really no use in trying to avoid the inevitable. Yes, Wild Flag kinda sounds like Sleater-Kinney, but they are far from being Sleater-Kinney Part 2. Weiss’s heavy, driving drum beats provide the base for Wild Flag, and also its edge. These songs are no doubt rock songs, but they are mellowed. There is control here, and little of the harshness that was Sleater-Kinney’s trademark. Rebecca Cole’s key work is all smoothed out synth pads, and provides some really interesting melodic moments, especially on “Glass Tambourine.” I thought it was bass at first, until Wikipedia told me they don’t have a bass player. It’s a nice contrast to the many bands that utilize really harsh synths, particularly in rock and punk. The second song, “Future Crimes,” is all rushed vocals and super fuzzy little riffs, with a beat that is driven by snare hits, harkening far more to the riot grrrl and grunge that many of these women first made their mark in. Out of the two, it’s probably my favorite track.

I’m excited to see what will come next for Wild Flag. Hopefully there will be a full-length in the near future, because they are seriously making some good music and this 7” is really just a tease.

Check ‘em out:
http://www.myspace.com/wildflag
http://www.facebook.com/WILDFLAG