The Album Review Club - Week #194 (page 1303) - Ants From Up There - Black Country, New Road

threespires said:
I am too thick to work out which Joseph I'm being compared to but most of them are wrong un's Barton, Stalin, Goebbels etc so I can't see it's a good thing!

To your main point I think when older folks play their original material it is often either hugely enjoyable in a "rage rage against the dying of the light" kind of way or basically a bit dispiriting . It's a minority of the time where one of those two things don't come into it at all and the age of either music and performer are irrelevant, especially in rock or pop. I don't know the dynamics of the original performances of these songs but in this case i don't get a sense of either of those two extremes - just a relatable band in terms of age (to me) playing their songs.
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The carpenter one?

Guess it depends on how 'young' the music is at the time.
 
Coatigan said:
The carpenter one?

Guess it depends on how 'young' the music is at the time.
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Doh. The problem with spouting stream of consciousness bollocks as I do is I can't remember what I've said more than two posts back! I'd already forgotten about my belt sander ramble :-(

Yeah, there's bands from that era and style of music where theres just no way band and song can age well together.
 
Of all the musical genres, this album is pretty much slap bang in the middle of the one I like least. I'd heard a couple of their songs before and was expecting more of the same and I wasn't disappointed.

I am not sure why I don't like this genre, I think that partly the guitar playing feels a bit predictable with the angst or it ends up being a slow-ish ballad-type with a feeling of "you don't understand me'. I can't help but feel I've heard it before. It sounds very 'template-y' to my ears. It could be Green Day or a million other similar bands playing it and I just don't really like this genre. Sorry! :(

All that grumpiness and negativity, I didn't dislike it and could hear some decent songs on it. I did like the off riff/hook and it's clearly one of the better examples of this genre and I can certainly appreciate it. However, I don't think I will come back to it.

I'm glad I've listened to it though, it's always good to hear albums from other genres even if it's one you're not keen on.

I can't give it a high mark, but it also doesn't deserve a low mark.

6 from me.
 
With the exception of the Budos band, to date Coatigan’s nominations tend to be quite ‘contained’ by which I mean there is very little excess in them in any particular aspect. This presents a challenge because I think music with more obvious excess whether it’s melodic, rhythmic, lyrical or in the instrumentation used it is much easier to get a reaction (good or bad) in 3 listens whereas something like this often lacks immediacy. So, I understand why some people consider it bland and some of them may continue to think that after repeated listening, however I personally think it has grower quality.

Ignoring the lyrics for a moment, rightly or wrongly this has the type of guitar and vocal sound I often associate with the kind of bands that annoying American college kids listen to whilst chugging away (beer chugging not amp chugging). It all ends up sounding a bit juvenile and I'm including some quite big bands in that category. As such it’s not a type of sound I listen to that much, but credit to Jimmy EW as any similarities to stuff I can’t normally be bothered with is more than offset by lots of other good qualities and as I've already said I think this has aged well.

As already mentioned, I like how it starts with it’s just waking up type vibe and then springs into the most well-known of the songs. There are several pretty well-crafted songs on this album sufficiently distributed around that whenever it starts to get a bit formulaic (for me something like Crush) something more interesting comes to the rescue. My experience was the more I listened to it, the more I noticed enjoyable little elements be it an aspect of the harmonics or something about the bass tone. I do think it begins to flag in the second half but then picks up and finishes strongly particularly with Clarity and the closer which I think comes nicely full circle to the tone of the opening track.

The addition of the video and the whole lockdown context made me further predisposed to it including the whole unpretentious likeability of the performance. I didn't even mind that when Jim Adkins chats he sounds like he's trying to sell you the best value used Chevrolets in the Greater Phoenix area :-)

I was going to give this 7.5 but then I found out that you can get a very reasonably priced (by Fender standards) Signature version of that lovely Telecaster Thinline he plays. I can’t justify buying one myself because I’m bobbins but that, and the video likeability factor and the fact I'll be happy to revisit this, means I can give it an extra half point.

8/10

I'm halfway through the Futures: Phoenix session and that's good too.
 
Coatigan said:
Other choices included a dutch jazz album (but Rob bloody went and ruined that one on the day), and I just don't think you guys are ready for Crawler yet, although one day that Will happen.
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Keep meaning to say, I now disagree about Crawler and it should be a pick sooner rather than later. This is a bit rich from someone who took a few listens to get it, but the way I look at it is that you're never going to stop the one listen and 'it's crap' situation occurring but I think there's enough people on here who will find something in that first listen to play it again and then we're away. It's an album that imo (a) will generate some really good discussion about it's style, musicianship and themes and (b) is too good not to be heard. If someone sacks it off after a single listen then it's their loss.
 
threespires said:
With the exception of the Budos band, to date Coatigan’s nominations tend to be quite ‘contained’ by which I mean there is very little excess in them in any particular aspect. This presents a challenge because I think music with more obvious excess whether it’s melodic, rhythmic, lyrical or in the instrumentation used it is much easier to get a reaction (good or bad) in 3 listens whereas something like this often lacks immediacy. So, I understand why some people consider it bland and some of them may continue to think that after repeated listening, however I personally think it has grower quality.

Ignoring the lyrics for a moment, rightly or wrongly this has the type of guitar and vocal sound I often associate with the kind of bands that annoying American college kids listen to whilst chugging away (beer chugging not amp chugging). It all ends up sounding a bit juvenile and I'm including some quite big bands in that category. As such it’s not a type of sound I listen to that much, but credit to Jimmy EW as any similarities to stuff I can’t normally be bothered with is more than offset by lots of other good qualities and as I've already said I think this has aged well.

As already mentioned, I like how it starts with it’s just waking up type vibe and then springs into the most well-known of the songs. There are several pretty well-crafted songs on this album sufficiently distributed around that whenever it starts to get a bit formulaic (for me something like Crush) something more interesting comes to the rescue. My experience was the more I listened to it, the more I noticed enjoyable little elements be it an aspect of the harmonics or something about the bass tone. I do think it begins to flag in the second half but then picks up and finishes strongly particularly with Clarity and the closer which I think comes nicely full circle to the tone of the opening track.

The addition of the video and the whole lockdown context made me further predisposed to it including the whole unpretentious likeability of the performance. I didn't even mind that when Jim Adkins chats he sounds like he's trying to sell you the best value used Chevrolets in the Greater Phoenix area :-)

I was going to give this 7.5 but then I found out that you can get a very reasonably priced (by Fender standards) Signature version of that lovely Telecaster Thinline he plays. I can’t justify buying one myself because I’m bobbins but that, and the video likeability factor and the fact I'll be happy to revisit this, means I can give it an extra half point.

8/10

I'm halfway through the Futures: Phoenix session and that's good too.
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Not entirely sure I know what you mean by 'excess', but think I get your point overall. And mostly agree. Most of the albums I tend to like, have been growers, there wasn't an immediacy to any even for me. Recently saw Fog's tv alter-ego Loudermilk say, you are not Supposed to like an album the first time you listen to it, and I found myself concurring.

The budos nomination was as safe as they get imo. What do people here like? Zeppelin, and bluesey rock. It has both. What can't people here ever agree on? Vocals. It has none. Couldn't have been any safer, right!

Interesting that you've gone for Futures. It is both a better and worse album than this one imo. Better in the sense it has better songs. Worse in the sense, it has a core of four excellent songs (work, pain, polaris, 23), and the rest is quite ok filler. Unlike this one, I prefer the studio recording to the seasion, myself.
 
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Coatigan said:
Not entirely sure I know what you mean by 'excess', but think I get your point overall. And mostly agree. Most of the albums I tend to like, have been gowers, there wasn't an immediacy to any even for me. Recently saw Fog's tv alter-ego Loudermilk say, you are not Supposed to like an album the first time you listen to it, and I found myself concurring.

The budos nomination was as safe as they get imo. What do people here like? Zeppelin, and bluesey rock. It has both. What can't people here ever agree on? Vocals. It has none. Couldn't have been any safer, right!

Interesting that you've gone for Futures. It is both a better and worse album than this one imo. Better in the sense it has better songs. Worse in the sense, it has a core of four excellent songs (work, pain, polaris, 23), and the rest is quite ok filler. Unloke this one, I prefer the studio recording to the seasion, myself.
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Excess is probably the wrong word, I used it to indicate lack of restraint but that probably doesn't help either! I suppose I'm saying it's not trying to dial in up to 11 (or even 10) in any particular aspect. I think it's quite a restrained record, almost polite, and whilst that would normally be considered an insult, it isn't meant to be in this case.

No real reason for Future specifically was simply the next one that was offered up. Am watching the lockdown recording session but might have a listen to the studio recordings at some point; think you might be being a bit overly harsh on the other tracks but then have only listened to it once.
 
threespires said:
Excess is probably the wrong word, I used it to indicate lack of restraint but that probably doesn't help either! I suppose I'm saying it's not trying to dial in up to 11 (or even 10) in any particular aspect. I think it's quite a restrained record, almost polite, and whilst that would normally be considered an insult, it isn't meant to be in this case.

No real reason for Future specifically was simply the next one that was offered up. Am watching the lockdown recording session but might have a listen to the studio recordings at some point; think you might be being a bit overly harsh on the other tracks but then have only listened to it once.
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I am a sucker for subtlety, that much is true.

Maybe harsh, on my part in futures. Maybe that my expectations after Clarity and Bleed American were high, and the novelty wearing off. It is a good album, I just feel it is carried by a handful of songs. But then this one has no such 'stand-out' handful, so maybe the strength of those songs works against the rest.
 
A weird album for me.Nothing good and nothing bad bar the singers voice.
Might sound daft but a unique album in this sense.
Going for a 5 a point off due to the singers voice.
 
After a few listens, I got a bit of Biffy Clyro here too, which was a band I knew nothing about but enjoyed some songs of when I first encountered them here. Similarly, I hear enough hooks and clean production but kind of wonder what the point is as the vocalist emotes but doesn’t really say much whereas I found the best BC stuff moved me to think a little.

The opener is pleasant enough if a trifle dull, but Lucky Denver Mint, whatever this means, has a kick in the ass (arse) backbeat that I enjoyed (splashy high hats and snappy snare fills are my thing). Reading about the cryptic title I found out it’s about a coin (uh, okay) but also KROQ in LA broke it big. A quick diversion to my time in LA in the early 90s where radio was still a thing and KROQ was pretty much where I heard just about everything I liked.

The next two are solid enough power pop filler but I am starting to notice a pattern of kind of banal lyrics and guitar that’s holding things together. Then comes A Sunday — hmmm, well God rested on Sunday and maybe Jimmy Eat World should have too. Not my favo(u)rite. Crush steals Sum 41’s guitar but isn’t as funny lyrically (what does “Simple discourse keeps you clean” mean? Cuz the singer seems to think this important).

But then comes 12.23.95 (you Brits must be irritated by this very American title), which is a change of pace that I actually found really interesting. Odd guitar effects, a Xmas song, heartfelt feelings expressed simply — cool. Ten I found similarly off-kilter, but not as interesting. I hear the guitar crunch disappearing for a bit but it comes back on Blister (“the West Coast has been traumatized” — I’m not sure by what, but he’s probably right — perhaps he was anticipating the rise of Donald Trump) — more my speed, this one. As is Clarity, which brings back the hooky, crunchy wall of noise (despite a lame and unnecessary guitar solo). The closer sounds like Yes — I CANNOT be the only one who hears this — and is therefore a bit of all right to finish.

All this seems a bit of a music class exercise and I wish the lyricist thought a little more before committing words to paper. But there’s enough here that I’d pick 3-4 to listen to again, despite the nagging flaws, so I’ll go 6/10. Not bad at all.
 
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FogBlueInSanFran said:
After a few listens, I got a bit of Biffy Clyro here too, which was a band I knew nothing about but enjoyed some songs of when I first encountered them here. Similarly, I hear enough hooks and clean production but kind of wonder what the point is as the vocalist emotes but doesn’t really say much whereas I found the best BC stuff moved me to think a little.

The opener is pleasant enough if a trifle dull, but Lucky Denver Mint, whatever this means, has a kick in the ass (arse) backbeat that I enjoyed (splashy high hats and snappy snare fills are my thing). Reading about the cryptic title I found out it’s about a coin (uh, okay) but also KROQ in LA broke it big. A quick diversion to my time in LA in the early 90s where radio was still a thing and KROQ was pretty much where I heard just about everything I liked.

The next two are solid enough power pop filler but I am starting to notice a pattern of kind of banal lyrics and guitar that’s holding things together. Then comes A Sunday — hmmm, well God rested on Sunday and maybe Jimmy Eat World should have too. Not my favo(u)rite. Crush steals Sum 41’s guitar but isn’t as funny lyrically (what does “Simple discourse keeps you clean” mean? Cuz the singer seems to think this important).

But then comes 12.23.95 (you Brits must be irritated by this very American title), which is a change of pace that I actually found really interesting. Odd guitar effects, a Xmas song, heartfelt feelings expressed simply — cool. Ten I found similarly off-kilter, but not as interesting. I hear the guitar crunch disappearing for a bit but it comes back on Blister (“the West Coast has been traumatized” — I’m not sure by what, but he’s probably right — perhaps he was anticipating the rise of Donald Trump) — more my speed, this one. As is Clarity, which brings back the hooky, crunchy wall of noise (despite a lame and unnecessary guitar solo). The closer sounds like Yes — I CANNOT be the only one who hears this — and is therefore a bit of all right to finish.

All this seems a bit of a music class exercise and I wish the lyricist thought a little more before committing words to paper. But there’s enough here that I’d pick 3-4 to listen to again, despite the nagging flaws, so I’ll go 6/10. Not bad at all.
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An interesting read that I can see pretty much all of. Apart from stealing sum41 which it predates by at least two years. The rest, yeah totally fair and I like the observations. Incidentally the christmas song is for me the only one on the album I'm not that keen on, found your take on it intriguing.
 
Coatigan said:
An interesting read that I can see pretty much all of. Apart from stealing sum41 which it predates by at least two years. The rest, yeah totally fair and I like the observations. Incidentally the christmas song is for me the only one on the album I'm not that keen on, found your take on it intriguing.
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Yeah, I didn't mean they copied them, and I wasn't sure which came first, but I could have chosen a number of bands with not dissimilar sounds (Lit, Offspring e.g.) -- not stealing, just similar.

I don't know why that Xmas song was so interesting; would be curious how they created those (guitar?) loops.
 
Coatigan said:
I am a sucker for subtlety, that much is true.
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Hang on, I never said it was subtle ;-)

It's been a fun pick for me cause I haven't quite found the right (positive) adjective to describe it. Albeit very different I had a similar issue with Rocks. I might give up on trying and join the 'shite' 1/ 'genius' 10 school of reviewing.
 
FogBlueInSanFran said:
I don't know why that Xmas song was so interesting; would be curious how they created those (guitar?) loops.
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I was going to be fatuous and say is the song about being excited that in two days time Santa is going to bring another delay pedal :-) Like you I quite liked the song and it does seem popular with their fans other than the bah humbug Scottish ones.

I've decided the best way of describing this album for me is "the acceptable face of emo".
 
Hmmmm...

3 listens in now and I'm still of the opinion that this is really not my bag.

It's the music to the tv series 'Friends'. Which I fucking hate. Badly acted, scripted by hundreds and quite bland. Oh my God...see how one of them suddenly 'smokes'. The horror of it all.

It's the music to the 'Friends' generation. The girls who had a certain haircut, the girls who thought the nasally tall one who voices a giraffe was 'sensitive' and the boys who thought that the two daft lads in it were funny. See how they move in together. Watch how they use facial expressions to convey a complete lack of acting talent. Stare in awe at how 4 such gormless individuals can afford to live in central Manhattan.

Now gasp at how their acting careers plummeted after the show finished. And the winner of the best actor goes to...none of them. Obviously.

Oh yes...the album.

Although not dull, nothing really happens. The blokes voice is probably the most inoffensive voice in the history of music. And yet annoying in a lot of places. And also very samey. It sounds like he's moaning about everything.

The music washed over me, pleasant enough in the background but I don't listen to music that way...I want it to jump out at me, a loud chorus here, a guitar solo there. This does nothing like that. Ever. It's full of whiney vocals and same old same old guitar work.

Any positives? All very talented musicians. I like the drumming on a few songs. The guitar on Your New Aesthetic is not bad. Believe In What You Want has a very strong start...hmmm...very recognisable...and then the whole song drops a level when the inoffensive singing starts. Goodbye Sky Harbour. Jam session filler alert.

I'd have loved to have my ears suddenly pricked up by something when it was blaring around the house yesterday but apart from the Believe In What You Want/No One Knows start nothing else did.

It's nothing to get all riled up about but the whole album just drones on and on and on and on and...you get the picture.

Bit like this review.

4/10
 
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