The Album Review Club - Week #196 (page 1316) - Aja - Steely Dan

[Coatigan]

Sticking with a new record out of loyalty due to previous pleasurable experiences with a band is definitely a thing.

Which I wpuld argue streaming has mostly conditioned out of us, as a public.

 

[journolud]

It is not an easily/quickly digestible album. Those types always suffer the 3 listens. I get why, and were it not for my own familiarity with the band, I too might have struggled more with it were it new to me.

But those albums also tend to he the best, you get out what you put in.

There’s no doubt I got more out of this album because I’d heard it before, albeit that I had then set it aside. It’s not uncommon for me for something like this to lay a marker which is ready to bloom after being left to germinate for a while. Or something like that anyway

 

[southamptonblue]

This promises so much but then fails to kick on. Impressive starts to a few songs and then when a big fat ooomph is needed...nothing. Flat. And annoying. Because I want to like it. And then there's the voice. It is very annoying in places and sounds 'forced'. I quite like The Maze. But that's about it.

3/10

swap The maze for The moth...and pretty much same as me (bar his voice is fine)...a few songs that start, and I think, yes this is more like it, then we're back to the floppy blancmange ;)

 

[RobMCFC]

What a night! What a result!

But tomorrow will be a red letter day on here (maybe).

 

[Black&White&BlueMoon Town]

What a night! What a result!

But tomorrow will be a red letter day on here (maybe).

Hit me with your best shot... I'm so happy I could cry and I don't care anymore!

Benatar, Zappa, and Collins for those keeping track. ;-)

 

[LGWIO]

Once again something new and something that didnt really feel like a chore listening to. That said, I did get a little of the one song or similarity between songs across the whole work.
I felt that the whole work had a bit of "body" to it. It made me wonder a little if this is what Muse would sound like with a little more hubris. Like @FogBlueInSanFran I had thoughts of S&G whilst listening but did feel that they needed to perhaps let go (perhaps go a little bit Matt Bellamy) on a couple of occasions to really make this a standout album.
The Maze & Lead,SG my faves on this and its a 7 from the Derry jury

 

[Black&White&BlueMoon Town]

I'm not sure how long ago I downloaded this whole album but it's fair to say that up to now it hasn't caught my imagination in the same way that the two tracks that brought me here in there first place did, those being the Silence and I Know How to Speak, not on the album.

After seeing "I Know How To Speak" released after this album came out, I have always looked at it as "The Maze, Part 2" as the sequel to the initial song, in the infant's POV. It is truly a shame that the song wasn't ready in time for the release of this album to be included, because I truly feel it belongs with these songs.

And notice that the initial guitar chords song just like "The Sunshine"? That is a very relate theme of the whole of the album in a variation of the guitar chords.

I can't remember how I came to those two tracks either but the likelihood is that they were "suggested" to me by YouTube while passing time doing night shifts as a nurse in a care home. Those nights imbued in me a feeling of comfortable melancholy, the combination of the ungodly hour, the sense of being at the dog end of a nursing career that had been spent at the sharp end and having under my care residents seeing out their final days in various stages of, well you know...

So those two tracks got heavy play along with a select few from others as sometimes I like to settle into a mood rather than fight against it. The rest of the album I listened to a few times but was left underwhelmed.

It often happens though with albums that are now favourites that what sounds uninspiring initially can sound very different when revisited some time later. And that is certainly the case with this. I mentioned in the initial comments when this album was introduced that the Silence and I Know How to Speak both edged towards overwrought territory. There is though subtlety on this album too in the shape of the Maze and the Alien/ Sunshine which act as a nice counterpoint.

Yes, you indeed got it too.

The album opens strongly with the Maze right through to the Sunshine. Hopefully I'm not missing any ironic intent with the lyrics of the Gold but as an ode to a relationship that has run its course without sentimentality it's great. And I do think I prefer the original to Phoebe Bridgers version.

Yes, that's exactly what it is. "The Gold" was more a story of the isolation within the SURF in Lead, SD and the alienation that took place between the spouse of the person working within. It is ironic indeed. One thing for another.

I wouldn't say the album sags but it doesn't quite maintain the standard on what would be the second side of a vinyl album (presumably). It's good enough though with the only really low point being The Parts, deliberately low key before the grand ending I expect. It's a great climax but really I Know How to Speak should be tagged on there.

IMO, "The Parts" gives us the touching and honest song of Andy to his wife before the heaviness of "The Silence". As much as many here want to skip over the penultimate song, I don't think the closer hits like it does without THAT song before. That song to me was a brilliant stripped down and personal story on the memories of courting his girlfriend to the point of them becoming parents together. His vocals in that song are the instrument other than the mostly acoustic guitar in the background. That's as exposed and personal as you're going to get from any singer in a band, in my book.

I've explored a little bit of their other stuff through the lazy medium of Spotify top tracks but I don't know if going backwards through their catalogue will offer me much. I've had a few good listens to their most recent though, The Million Masks of God, which with its exploration of themes around death would no doubt see me through a few more night shifts.

Yes, that's a pretty heavy listen too, and you've no doubt picked up on it all.

On that though, a couple of weeks ago I went in for one (I was on the bank so very much employed on a casual basis) with the usual feeling of gloom to be met with new procedures, end of life care and the usual smorgasbord of the issues that usually present themselves with that client group. I knew I couldn't do it anymore and wrote my notice with immediate effect so that I knew that when I left in the morning I wouldn't be back.

Wow, that's pretty powerful and we all get to a certain point, and I can certainly understand that. Most of us are of a particular age looking at decisions just like you have made, and there's many transitions on the horizon for many of us coming up. I salute your bravery in making this big decision.

@Black&White&BlueMoon Town mentioned the lyrics. This is one of those albums (which I probably will get on vinyl) where I would like to have the lyrics in front of me while listening to it. Snippets though stick in my head and Andy Hull's delivery is generally good. It's fair to say that the themes aren't your run of the mill stuff.

Great pick this week, I'm glad I've been "forced" to give it an extended listen. Makes me wonder what else I've previously downloaded that I need to revisit. Scoring wise the first half had it on course for a 9 or 10, for the slight drop off it's down to an 8.

Thanks for the feedback on both your interpretations of the songs and its overall impact. It's these type of reviews I was hoping to read.

Cheers, mate!

 

[Black&White&BlueMoon Town]

This album is definitely more of a piece, than a collection of songs.

Yes, the fact that the songs flow into each other was very deliberate to add to that.

As far as introductions go, the maze nails it. Tells you everything you need to know. The tone, the intent, and the fact you may need to hold your nerve a bit and not rush to a chorus or catchy bit. And there is a lot in the background to focus on.

I think of my first born every time I hear this song, and the joy of being a father for the first time, even if it was close to 30 years ago. You don't forget, you just don't, and then wondering what they are thinking of you in looking back, well, this just captured it all for me like I hadn't considered before...

The rest then follows on, with a fairly consistent mood, marginal increases in intensity here and there, but mostly a subdued cold turkey kinda feel. A strong middle with the sunshine wolf and the mistake all following each other nicely. Maybe a bit too heavy on the finish, after a mellow wind-down with the parts, where I would have happily stopped, myself.

We will just have to agree to disagree on that. I don't think I could imagine where this end with The Parts and doesn't include The Silence. We'll just have to see them play both live to appreciate that. ;-)

I liked their million masks album more, but I enjoyed this, and it is an 8 from me.

I enjoyed that album too, but what that was, the stage was set for that with this.

The Silence >> The Internet as closers for me too, as powerful as both were meant to be.

 

[Black&White&BlueMoon Town]

Im a little surprised by the low scores for Black Mile to the Surface....its defnitely in my top 10 albums of all time, possibly top 5. As was mention a couple of times, it really is one piece of work, and works best listening from start to finish.

I've only been a regular on this thread for 2 album nominations, and it has finally hit me - this thread isn't about the regulars who will chime in and will score a selection, it's about those who are not that come in and add their perspective.

And in this case, I'm so glad you have spoken up, because you have made my selection what I hoped it would be - something I could really learn from.

We travelled from Belfast to Berlin to see them play on the BMttS tour....very small venue, and i literally stood 6-8 feet away from the singer....was an incredible show....they really pull off the dynamics of the music.

I was with you at a similar venue in the US in nearly the front row, mesmerized by the same thing by Andy and the band that had pulled off live that they had put down on the same release, albeit better.

That concert piece on YouTube is really worth a watch, great performance.

Thanks, and that had to be noted for any fans that maybe hadn't seen it, as it really captured the essence of this album as a whole.

If there are any guitar players reading this, check out this video from Michael Palmisano...hes a guitar teacher who does "reaction" videos to songs.....a really good "geeky" review of the performance :-)

I'm not a guitar player, but I think that video alone has made this nomination for me, so I sincerely thank you for adding that!

I really think Michael "got it" as far as what Andy and Manchester Orchestra was trying to capture in "The Silence". A lot of the criticisms about this album has been about the build up within the songs without totally releasing, but I think this video truly captures the intent of this song and much of this album. I can appreciate the "2 to 4" level that drummer Tim Very is starting off at that Michael astutely picks up on. But as Michael notes in the video "so much build and so much restraint" until it hits the 9 at the end (I'd argue 11, but I've seen Spinal Tap ;-), it is a spot on analysis of what Andy is relaying in his preaching during this song. He is his father's son in this song without question.

It hasn't yet been mentioned here, but this song is a conversation between the singer and God, who was "mourning after you" and "didn't need another one to take me down". This had to be the song to end this album, as it sums up the various themes and events as touched upon prior.

Oh, so a 9/10 from me

Cheers, mate, and mostly for that video of The Silence, which has made my week with a submission I didn't see coming. As I learned during my first nomination, those are always the best.

 

[Black&White&BlueMoon Town]

This record was a lot like those novels I started where I couldn’t get past page 68. I’d get either confused or bored even though I felt like there was something to be gained by pressing on because other people had called it brilliant. So I’d go back to the beginning and start over, determined to concentrate, only to get to page 68 again and be just as befuddled as the time before. After a while, you just have to go with your instinct and conclude that the work of art is boring and confusing to YOU, even if it isn’t to others.

I like that comparison, and since the songs all merge together, if you get lost in the music, you sometimes forget how you got from A to page 68. That's intentional here. I'm just glad you are here reviewing my 2nd nomination. ;-)

As noted, “The Maze” has haunted me since I heard it originally and I still come back to it. Those harmonies, even if you call them affected, are simply beautiful. But after this, I am struggling. The Radiohead/Wilco “influence”, if it’s there, is marked only by the echoey drone that hangs in the background of many of these songs. Elsewhere, on songs like “The Sunshine” or “The Grocery” I hear mostly Paul Simon.

That is a good analogy I had not considered with Paul Simon prior, but I DO hear it too. The Sunshine now reminds me of "The Boxer" to cue in our SongCup Thread. Not sure @bennyboy was hearing THAT when he reviewed this. ;-)

On "The Parts", I hear something else, i.e. a song I'd instantly fast forward over in future.

As I've said prior, it's brutally honest and written for his wife. As much as I'd like to have something like that to leave someday to my better half, there's no way I could touch that lyrically.

But like so many records we’ve had on this thread recently, this is a sound not song record, which means you either dig the varietals which are 5 degree turns as the "melodies" shift, or you find this one “song” that’s effectively 49 minutes long and you either like it or not. This makes it hard to pick out tunes. In fact, I thought a lot of this was sound in search of a melody. I can't even claim credit for that line -- my wife said it.

The interesting Part is that there are melodies copied and variances in each of the songs, and with the flow of one to the other, it makes it hard to determine Where I End And You Begin.

We listened to this on an 8-hour drive from San Francisco to Bend, Oregon. She wasn't a fan.

Maybe you should have been listening to this from Rome to Lawrenceville?

Or 40 hours out of Homestake? ;-)

Anyhow, I’m wandering. Thematically, as others have mentioned, I can’t follow the story.

There's more than one story in this. There's the SURF motif of isolation and lonliness of Lead, SD, the story of becoming a father, and the story of life and faith, and there are variations of each in the songs. It isn't an A to Z of those songs you mention below, so there is that deliberate difference.

But that’s not my fault – if you want to draw the listener in, you need to make the narrative obvious from the beginning, and force them to want to hear what happens next, ala “Quadrophenia”, or “The Lamb Lies Down On Broadway” or even, hell, “2112.” I choose these ancient comps deliberately because there’s a reason concept records don’t fly very well anymore in an age of Spotify

Great point that Coatigan explained better than I could after this.

(and this is why the DBTs “Southern Rock Opera” was such an accomplishment, not to mention they were retelling an old story).

I can't wait to see this live in a little over a month from now...

This whining (not whinging – these guys are American) aside, there are bits that stuck out. I did like “The Wolf”.

One of my favourites. Don't ever let 'em tell you that I never found... you and me and nothing in-between. A big song about Faith.

I do love the cover of the record. And I didn’t hate it. There's something here, I think. I just don’t think other than the opener I’d want to hear it again, because I'm not sure the time spent would be worth the payoff.

Give it some time, hopefully you'll come back to it. I DO think this is a "frame of mind" album, and even I have to tread lightly when playing this on a road trip with my better half, and she has even seen them live (albeit humouring me and ABC wasn't exactly coming to town!).

 

[FogBlueInSanFran]

I like that comparison, and since the songs all merge together, if you get lost in the music, you sometimes forget how you got from A to page 68. That's intentional here. I'm just glad you are here reviewing my 2nd nomination. ;-)


That is a good analogy I had not considered with Paul Simon prior, but I DO hear it too. The Sunshine now reminds me of "The Boxer" to cue in our SongCup Thread. Not sure @bennyboy was hearing THAT when he reviewed this. ;-)


As I've said prior, it's brutally honest and written for his wife. As much as I'd like to have something like that to leave someday to my better half, there's no way I could touch that lyrically.


The interesting Part is that there are melodies copied and variances in each of the songs, and with the flow of one to the other, it makes it hard to determine Where I End And You Begin.

Maybe you should have been listening to this from Rome to Lawrenceville?

Or 40 hours out of Homestake? ;-)


There's more than one story in this. There's the SURF motif of isolation and lonliness of Lead, SD, the story of becoming a father, and the story of life and faith, and there are variations of each in the songs. It isn't an A to Z of those songs you mention below, so there is that deliberate difference.

Great point that Coatigan explained better than I could after this.

I can't wait to see this live in a little over a month from now...

One of my favourites. Don't ever let 'em tell you that I never found... you and me and nothing in-between. A big song about Faith.


Give it some time, hopefully you'll come back to it. I DO think this is a "frame of mind" album, and even I have to tread lightly when playing this on a road trip with my better half, and she has even seen them live (albeit humouring me and ABC wasn't exactly coming to town!).

Wonderful comments. Thank you for taking the time and the nomination. I would be interested in others of their records too — there is something special in “The Maze” I’d like to find more of.

Now though — it’s onto LCD Soundsystem live!! A few ciders in me, a gorgeous night in central Oregon and hopefully many selections from my favo(u)rite post-2000 record “Sound of Silver”!

Edit: there were four, plus Losing My Edge, Dance Yrself Clean, and — of course — Daft Punk Is Playing At My House. What a band. Best dance band this millennium IMO.

 

[threespires]

Pushed for time but it's pretty much been said by others.Think @Coatigan makes the most pertinent point that this album doesn't lend itself to our format that well. I'm surprised by some of the reviews suggesting not enough going on, arguably the opposite at times. Carrying off melodrama well musically and lyrically without descending into cliche and twatty bombast is easier said than done and in the wrong hands some of this, especially the lyrics, could crash and burn. I think to pull off an album like this you have to mean it but there's are fine line to walk to avoid coming off as a bit of a tool. Andy Hull stays the right side of the line for me.

For me this is an 8 but part of me wants to give it an extra point for the way MO have tried different things throughout their career, but that would be a bit naughty. So I'll compromise with 8.5/10.

 

[RobMCFC]

A Black Mile To The Surface – Manchester Orchestra

The overall sound of this album reminded me very much of two albums we’ve listened to on this thread – both nominated by Coatigan. A long time ago there was Painting of a Panic Attack by Frightened Rabbit and more recently Clarity: Phoenix Sessions by Jimmy Eat World. I knew he’d like this, and I’m not surprised to see his score. People will no doubt be unsurprised to see my score.

In my review of both of those records, I made the same comment: the guitars don’t ring or buzz. There’s something about the overall sound that is softened and perhaps unnatural. There’s no groovy bass or Hammond swells or guitar solos. It does indeed sound a bit like Coldplay. However, reading journolud’s thoughtful review reminds me that what I might want from an album doesn’t necessarily fit every circumstance where you might want to listen to music.

There are elements to enjoy here. What the album does do well is achieve that nice balance of sounds and the space between them. Looking at the lyrics on paper (well, the screen), they do seem to be thought out, but I find a lot of the words pass me by as I listen on the bus.

In various reviews, I’ve seen this pigeonholed as Americana and folk. Well, if you take the intended story that lies behind the lyrics I agree, but musically it’s definitely not. Other than occasional mentions such as “That gold mine changed you” and the vague description of a journey from “Rome to Lawrenceville”, the lyrics represent a narrative that is so obfuscated that it could only have been a story set in somebody’s head that they didn’t translate too well to the lyric sheet. I’m totally with Foggy in that it’s not the listener’s fault if they don’t get it.

“The Maze” is a good start – I can hear the piano here and similarly on “The Gold”, I can hear the guitar but it feels too restrained, and to borrow a phrase from GoatersLeftShin, templated. I think the best section of the album is the change of tack represented by “The Moth” and then “Lead, SD”, the melodic softness and gentle shuffle of “The Alien” leading directly into “The Sunshine”. “The Grocery” has a stronger narrative than the other songs here, assuming I’ve understood it right and that it’s about a frustrated guy gunning people down in a grocery store. But again, I had to pour over the lyrics on that one because it’s not obvious from the vocal delivery. I enjoyed the closer, “The Silence” for it’s feeling of space between the notes.

The bottom line is that this is an album where I can appreciate the craft, and there are some moments I enjoy, but on the whole, it’s not for me. It’s one of those albums where despite the good intentions, it comes off sounding a little like a 1000 other bands with not much to differentiate it from the crowd. 6/10.

 

[RobMCFC]

As we wait for the last few votes of this week to play out, get ready for what’s coming ……

 

[BlueHammer85]

Manchester Orchestra - A Black Mile To The Surface

Unfortunately this Indie/Rock genre doesn't tend to fair well on here - which is a shame.
Having known 'I Know How To Speak' very well- I had high hopes and it did not disappoint.
so many beautiful tracks - 'The Maze', 'The Gold, The Alien' and 'The Silence' all just lovely well crafted tracks.
It's a shame this doesn't touch the soul for some and whilst many would consider these songs 'depressing' or 'boring' I find them uplifting and stirring at such a deeper level.
Certainly one of the best bands/Albums i've heard from in recent years.

9/10

Pick of the bunch : The Maze

Bonus Point: The

 

[BlueHammer85]

The Maze & The Silence

 

[journolud]

Manchester Orchestra - A Black Mile To The Surface

Unfortunately this Indie/Rock genre doesn't tend to fair well on here - which is a shame.
Having known 'I Know How To Speak' very well- I had high hopes and it did not disappoint.
so many beautiful tracks - 'The Maze', 'The Gold, The Alien' and 'The Silence' all just lovely well crafted tracks.
It's a shame this doesn't touch the soul for some and whilst many would consider these songs 'depressing' or 'boring' I find them uplifting and stirring at such a deeper level.
Certainly one of the best bands/Albums i've heard from in recent years.

9/10

Pick of the bunch : The Maze

Bonus Point: The

Bonus point The Mystery? Goes back to check.

Agree with your sentiments about the album and the type of music generally.

 

[Coatigan]

A Black Mile To The Surface – Manchester Orchestra

The overall sound of this album reminded me very much of two albums we’ve listened to on this thread – both nominated by Coatigan. A long time ago there was Painting of a Panic Attack by Frightened Rabbit and more recently Clarity: Phoenix Sessions by Jimmy Eat World. I knew he’d like this, and I’m not surprised to see his score. People will no doubt be unsurprised to see my score.

In my review of both of those records, I made the same comment: the guitars don’t ring or buzz. There’s something about the overall sound that is softened and perhaps unnatural. There’s no groovy bass or Hammond swells or guitar solos. It does indeed sound a bit like Coldplay. However, reading journolud’s thoughtful review reminds me that what I might want from an album doesn’t necessarily fit every circumstance where you might want to listen to music.

There are elements to enjoy here. What the album does do well is achieve that nice balance of sounds and the space between them. Looking at the lyrics on paper (well, the screen), they do seem to be thought out, but I find a lot of the words pass me by as I listen on the bus.

In various reviews, I’ve seen this pigeonholed as Americana and folk. Well, if you take the intended story that lies behind the lyrics I agree, but musically it’s definitely not. Other than occasional mentions such as “That gold mine changed you” and the vague description of a journey from “Rome to Lawrenceville”, the lyrics represent a narrative that is so obfuscated that it could only have been a story set in somebody’s head that they didn’t translate too well to the lyric sheet. I’m totally with Foggy in that it’s not the listener’s fault if they don’t get it.

“The Maze” is a good start – I can hear the piano here and similarly on “The Gold”, I can hear the guitar but it feels too restrained, and to borrow a phrase from GoatersLeftShin, templated. I think the best section of the album is the change of tack represented by “The Moth” and then “Lead, SD”, the melodic softness and gentle shuffle of “The Alien” leading directly into “The Sunshine”. “The Grocery” has a stronger narrative than the other songs here, assuming I’ve understood it right and that it’s about a frustrated guy gunning people down in a grocery store. But again, I had to pour over the lyrics on that one because it’s not obvious from the vocal delivery. I enjoyed the closer, “The Silence” for it’s feeling of space between the notes.

The bottom line is that this is an album where I can appreciate the craft, and there are some moments I enjoy, but on the whole, it’s not for me. It’s one of those albums where despite the good intentions, it comes off sounding a little like a 1000 other bands with not much to differentiate it from the crowd. 6/10.

10/10 for consistency mate ;).

 

[RobMCFC]

Unfortunately this Indie/Rock genre doesn't tend to fair well on here - which is a shame.

10/10 for consistency mate ;).

We all like different things, that's accepted.

It just seems to me that music as exhibited by these albums is music with the handbrake and straightjacket on.
I generally prefer music with the handbrake off and the artist at least struggling to get the straightjacket off.

There are albums that feature dreamy soundscapes and ponderous moods that I love, but what such albums have that these albums don't are moments of sublime musicianship and hair-raising shifts of tone. I know I always use this as a yardstick, but Pink Floyd's "Shine on You Crazy Diamond" and "Comfortably Numb" are great examples of generally moody and broody tracks (with the benefit of warm analog synths/keyboards rather than cold, modern Casios) that are electrified by those guitar parts.

Whilst this album is certainly not bad, it's too flat for me. If you don't need this kind of musicianship, that's why you like it. If you do need this kind of musicianship, like me, you are probably less impressed.

 

[Coatigan]

We all like different things, that's accepted.

It just seems to me that music as exhibited by these albums is music with the handbrake and straightjacket on.
I generally prefer music with the handbrake off and the artist at least struggling to get the straightjacket off.

There are albums that feature dreamy soundscapes and ponderous moods that I love, but what such albums have that these albums don't are moments of sublime musicianship and hair-raising shifts of tone. I know I always use this as a yardstick, but Pink Floyd's "Shine on You Crazy Diamond" and "Comfortably Numb" are great examples of generally moody and broody tracks (with the benefit of warm analog synths/keyboards rather than cold, modern Casios) that are electrified by those guitar parts.

Whilst this album is certainly not bad, it's too flat for me. If you don't need this kind of musicianship, that's why you like it. If you do need this kind of musicianship, like me, you are probably less impressed.

Both straightjackets and handbrakes have significant parts in society.

I think it is completely fair not to find anything interesting in one or the or the other. But to describe one as having something the other doesn't is not imo. Myself included. There is a different kind of intensity, emotion, and excitement to it, but it IS there. I've been fortunate enough to be able to get carried away and invested in both the obvious with full pn energy, and the subtle with a different kind of energy.