The Album Review Club - Week #145 - (page 1923) - Tellin' Stories - The Charlatans

I found myself confused by these EPs, simply because I had very different reactions to what were essentially quite similar songs in tone and style.

However, with my new-found understanding of what emo is, I can say I don’t think I am an emo person by nature and that is part of it. Aside from never really having been a big fan of expositional angst I also like my thoughts to be neatly packaged and articulated rather than, to use Coatigans phrase, being half-baked or not fully formed ideas. This runs counter to the general ethos here and the valid argument that the world is already full of men who are completely underbaked when it comes to expressing their emotions.

So that probably explains why some parts of it didn’t land with me and I found it quite a confusing listen at times. There’s a fine line between confessional songs that open up and are honest about some of the struggles of the human experience and descending into cliched semi-nihilism and self-pity. Sometimes I felt they went back and forth across that line within the same song let alone across the album! Passing Through A Screen Door is a good example of a song that has some fantastic simple direct lyrics about fears and insecurities side by side with lines that made me roll my eyes.

All that’s not to say I didn’t like significant aspects of it. Overall, I enjoyed much of the music and thought melodically they were pretty strong, I thought the additional instrumentation particularly on Volume 2 was well done too.

In terms of the acoustic versus the originals, sometimes they worked better and other times I preferred the original. Examples of acoustic versions that I thought were very successful were There, There and Washington Park Square (arguably the most successful recasting). Songs like Cardinals I thought were better in their original form.

My initial hypothesis is that the more intimate/individual relationship driven the song is, the better (perhaps unsurprisingly) the acoustic rearrangements work. Once the theme becomes a bit more universal the energy of the originals works better. Not sure that theory holds up to scrutiny but within the scope of a few listens that’s where I got to.

Also, IMO, the slower tempos and quieter dynamics on the Burst and Decay versions help the vocal performances. My appetite for the archetypal vocal delivery that’s prevalent on the originals, extends to about 3 or 4 songs at a time. The restraint required on the acoustic versions actually makes them more rather than less emotionally engaging to me.

I could discuss other songs I liked or didn't but you probably get my general view.

Maybe I am just an archetype of an emotionally distant Brit Englishman but with a bit of explanation I did appreciate what was being attempted. Emo is just a corner of the music world I had never really had cause to think about or visit so for me this was a well worthwhile nomination and I’m giving it 7/10.
 
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threespires said:
I found myself confused by these EPs, simply because I had very different reactions to what were essentially quite similar songs in tone and style.

However, with my new-found understanding of what emo is, I can say I don’t think I am an emo person by nature and that is part of it. Aside from never really having been a big fan of expositional angst I also like my thoughts to be neatly packaged and articulated rather than, to use Coatigans phrase, being half-baked or not fully formed ideas. This runs counter to the general ethos here and the valid argument that the world is already full of men who are completely underbaked when it comes to expressing their emotions.

So that probably explains why some parts of it didn’t land with me and I found it quite a confusing listen at times. There’s a fine line between confessional songs that open up and are honest about some of the struggles of the human experience and descending into cliched semi-nihilism and self-pity. Sometimes I felt they went back and forth across that line within the same song let alone across the album! Passing Through A Screen Door is a good example of a song that has some fantastic simple direct lyrics about fears and insecurities side by side with lines that made me roll my eyes.

All that’s not to say I didn’t like significant aspects of it. Overall, I enjoyed much of the music and thought melodically they were pretty strong, I thought the additional instrumentation particularly on Volume 2 was well done too.

In terms of the acoustic versus the originals, sometimes they worked better and other times I preferred the original. Examples of acoustic versions that I thought were very successful were There, There and Washington Park Square (arguably the most successful recasting). Songs like Cardinals I thought were better in their original form.

My initial hypothesis is that the more intimate/individual relationship driven the song is, the better (perhaps unsurprisingly) the acoustic rearrangements work. Once the theme becomes a bit more universal the energy of the originals works better. Not sure that theory holds up to scrutiny but within the scope of a few listens that’s where I got to.

Also, IMO, the slower tempos and quieter dynamics on the Burst and Decay versions help the vocal performances. My appetite for the archetypal vocal delivery that’s prevalent on the originals, extends to about 3 or 4 songs at a time. The restraint required on the acoustic versions actually makes them more rather than less emotionally engaging to me.

I could discuss other songs I liked or didn't but you probably get my general view.

Maybe I am just an archetype of an emotionally distant Brit Englishman but with a bit of explanation I did appreciate what was being attempted. Emo is just a corner of the music world I had never really had cause to think about or visit so for me this was a well worthwhile nomination and I’m giving it 7/10.
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That is an excellent review that I think really 'gets it' for lack of a better term, and really makes the discussion interesting. There are songs by other bands, where I would for example dislike the beginning and end, but rhe middle section could be one of may favourite passages of music. And have friends not fussed about the middle but like either end. And yes at times I'd feel man I wish they just made that into a song on its own and kept it simple, but then,,would it really work the same, would it even have come about through that type of process? Really enjoyed reading that, and probably could branch off into separate examples and chats with a lot of what you said.
 
I've listened to both versions now, and I think I prefer the originals. I'm not a big fan of acoustic sets, they seen to trickle along, with no real sense of purpose. They also lose any semblance of original anger/ angst etc and replace it with mellow soothing nothingness. In my opinion anyway.

I'll take Washington Square Garden as an example. It's full of drums, guitars and singing in a suspiciously high voice. It's very generic of whatever it's "pigeon hole" is. I still have no idea. Kiddie rock? It washes over me with a sense of "been there, heard that before, a thousand times, maybe more"...great lyric right there...

Neither versions resonate with me unfortunately. I think I prefer the originals. Just.

4/10 for the acoustic.
 
Burst and Decay – The Wonder Years

I thought that The Wonder Years was a TV series – it is, but it turns out that they are also a band that I’d not heard of.

I think this was a good selection because it was pretty much different than everything that has come before. I listened to both volumes and whilst, once again, it’s not 100% up my street, I did find quite a lot to admire.

First up are the arrangements – it may be a cliché to say that the acoustic presentation allows the songs space to breathe – but this is one of the albums where it’s so true. The acoustic instruments are complemented by some other instruments that are placed tastefully in the mix – the organ in “A Song For Ernest Hemingway”, the clarinet (or sax? or oboe?) on “Coffee Eyes”, and the strings on several tracks including “Cardinals” and “We Look Like Lightning”.

On “I Wanted So badly to be Brave”, there some delicate fingerpicking, a few nice changes and the backing vocals work really well.

Dan “Soupy” Campbell (great name) has a decent voice, and I quite like what he does on these songs: the emotionally fragile delivery (where he sounds like he’s trying to sing without waking up people in his house), then switching to Mr Angry (where he sounds like he’s trying to wake up the whole street!) It sounds like a lot of effort has gone into the lyrics. I agree with threespires when he says that “Passing Through A Screen Door” features some fantastic lyrics that lay bare Campbell’s insecurities. This was the song that I thought worked best on first listen and it remained so on subsequent listens.

I think I prefer the 2nd EP overall, but there are also some decent performances on the first, particularly “A Song For Ernest Hemingway”, “Coffee Eyes”, “Cardinals” and “Dismantling Summer”.

It’s interesting listening to everybody’s selections on this thread and comparing the songs to those that I like, seeing what works for me and what doesn’t. It helps give you an appreciation of the different approaches to songcraft. I could say that the songs here don’t have any middle 8s, crafty bridges or singalong choruses, but that’s not the point. This album demonstrates that some well thought-out lyrics, with verses and choruses that seem to blur, is an approach that can work for songs where the vocalist is baring his soul.

The acoustic arrangements, the vocals and the lyrics combine to make for an engaging listen, and this is worth a 7/10.
 
This band is quite a bit like Blink-182, but less sex-obsessed, with less of a sense of humo(u)r (though early on in their days some of their song titles suggest they have one) and with fewer hooks. I went back and listened to the original versions of these songs and think that would have been a better way to introduce myself to the band. There’s a lot of fireworks (though some misfires too) and energy, and sometimes noise and crunch can do at least a reasonable job of covering up lack of melody, or enhancing an inferior one. I disagree with Rob pointedly on this topic — acoustically, the thinness of the melodies has no place to hide, so you’re left with the arrangement (pleasant enough) and the vocalist, who sounds less nasal but enough like my boy Tom DeLonge to think that maybe this was a rip-off (listen to the not-on-this-record “Dynamite Shovel” or “You Made and Want To Be A Saint” and tell me otherwise).

Of the acoustic numbers, “Cardinals” was really the only one that grabbed me on its own first time through. After listening to the original versions, the acoustic ones began to open up, like a good cabernet does after a bit. Generally the tunes fare better electrified, especially “There There” — I’m a sucker for the chorus and the bridge(s) on that one — and “Don’t Cave Me In”, yet another Blink-y one.

So I gave this an above-average effort on my own to get to know the band beyond this acoustic context, and I came away feeling they’re basically okay. Were this the electrified versions and on a single release it’s a 6. As they are, I wouldn’t miss them if I never heard them again, but I would happily hear a few of these songs again if I chanced upon them. That’s a 5 but — again, my apologies, all — I also docked a point (like a live record) for being a collection of previously-released songs. 4/10.

Incidentally to me this is not emo but an east coast facsimile of SoCal 90s surf post-punk, just darker.
 
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BURST AND DECAY

Another band I’ve never heard of before, that after listening to both EPS I really like.I’m not sure I’ll like the loud ‘shouty stuff ‘ on their other recordings as much ,but I’m really enjoy this.I get Robs comparison with Adam Duritz vocals ,CC are a band I really like,
I think the lead singer sounds like Dan RIchmond the lead singer of the Ashtray Hearts.Musically I think they’re a bit like more like Blink 182 and Jimmy Eats World and a bit like one of your previous nominations Everclear.But certainly on these EPs a lot more melodic, lyrically they sound a bit all over the place but I like my melancholy so this is right up my street.
Cardinals was obviously influenced by early REM and is one my favourites on here along with ‘Don’t Let me Cave in’ on the first EP and ‘Washington Square Park’ on the second.

Good choice



8/10
 
Well I consider myself a bit more knowledgeable about EMO but not that much to be honest. It feels like you can make a case for any number of bands to be EMOish and there would seem to be a thin line between some of the more delicate indie pop and EMO. I had googled it and found a list of bands on wikipedia who are considered emo, most of whom I'd never heard of and almost completely never heard. I was looking for certain bands names who I thought were emo but then weren't on the list, Manchester Orchestra spring to mind and I had to check and found references elsewhere to them being part of the genre. And then others saying they weren't.

It's a label that can feel a bit negative in my view, and my visualisations probably get it totally mixed up with goth kids and over emotional types. But then I wonder wouldn't the Smiths be the ultimate emo band? Luckily I'm not expected to write a thesis on this.

I listened mainly to the acoustic EP, the other one once and maybe that isn't enough but it wasn't as much to my taste. I found the vocal so so, definitely better when not pushed to his limits but liked some of the songs. A Song For Ernest Hemingway is a solid opener and then that bit at the end which has you wondering is this the band saying this is what we are really about. If so, don't be. There, There was OK but I loved the start to Coffee Eyes and although it seemed to lose it's way a little it found it again and set us up nicely for Cardinals which is a great song, maybe I should listen to the fuller version of that.

I didn't like Don't Let Me Cave In so much with the lyrics getting a bit mopey, and that is going to be the criticism of emo isn't it? Next two songs OK and overall not a bad listen but isn't going to stick in my memory. I suspect as well that if I explored them further I wouldn't find too much to get excited about but I'll probably do the lazy spotify top tracks thing later just to make sure.

Are Blink182 the kings of emo? I agree with the comparison that @Mancitydoogle makes. I'm familiar with them from the phase my then teenage son went through and when he got himself his first guitar it was Blink songs he taught himself. Nowadays his musical tastes have matured into country, some of which if emo is for the young mopers is certainly for the old mopers isn't it? That probably totally unfair generalisation out of the way I go 6 for this, occupying that not great but not awful territory, fine if it comes up randomly but unlikely to be turned to.
 
The Wonder Years - Burst & Decay

+++

Finally I’m caught up! Managed to give this a good few listens (Acoustic EP) although could argue it’s far from acoustic with so many additional sounds.

It’s a nice album, shares alot of similarities with my nominated soundtrack album ‘Once’ (If anyone wondering where they’ve heard vocals like this or even songs) - nice harmonies, melodies and often building to a rapturous crescendo especially in ‘Cardinals’, ‘Dismantling Summer’ and ‘Coffee Eyes’ - love songs that do this.

Emo to me is Indie with more self deprecating lyrics or just lame lyrics. This avoids that just I feel.

A couple of average jangles that don’t really go anywhere . But not much else to be critical of. I enjoyed, and if I had the time in my life I’d give this and the Wonder Years in general more of a listen.

7/10
 
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BlueHammer85 said:
The Wonder Years - Burst & Decay

+++

Finally I’m caught up! Managed to give this a good few listens (Acoustic EP) although could argue it’s far from acoustic with so many additional sounds.

It’s a nice album, shares alot of similarities with my nominated soundtrack album ‘Once’ (If anyone wondering where they’ve heard vocals like this) - nice harmonies, melodies and often building to a rapturous crescendo especially in ‘Cardinals’, ‘Dismantling Summer’ and ‘Coffee Eyes’ - love songs that do this.

Emo to me is Indie with more self deprecating lyrics or just lame lyrics. This avoids that just I feel.

A couple of average jangles that don’t really go anywhere . But not much else to be critical of. I enjoyed, and if I had the time in my life I’d give this and the Wonder Years in general more of a listen.

7/10
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As I've been catching up with the scores myself, I have included your recent scores in the totals for the last few albums.
 
Think this has been quite an interesting pick in the sense that often, ignoring scores, there is consensus on what the relative strengths and weaknesses are in terms of songs and other aspects. Whereas here there's quite a bit of divergence on which are the better tracks, if the melodies hold up enough, which songs translate to the acoustic and whether the acoustic works versus the originals.

As for the emo piece I think it's interesting that there's clearly no simple demarcation line which is fine by me because the only people who probably really care about that are people trying to flog you stuff.
The general trend to sub-genre the hell out of things does my head in. My 15 year drew me into a conversation about the 'shoegaze' piece he's working on, after luring me into some interesting discussion about Robin Guthrie, it becomes clear this 'shoegaze' discussion is simply a pretext to explaining why one flanger or chorus isn't enough and can he borrow some cash please.
 
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