"OUTSIDES" (EP)
JOHN FRUSCIANTE
Composed, Produced, Arranged and Performed by John Frusciante
Released August 27, 2013
To those who tend not to keep a close eye on these sorts of things, it would appear as if guitarist John Frusciante fell off the face of the Earth after departing his beloved stint in Red Hot Chili Peppers, and for the second time at that. While he has remained under the radar, Frusciante has also remained productive and prolific as he has steadily released a series of EPs containing the sort of experimental, avant garde music that we would never hear as part of a Peppers' album. "Outsides," Frusciante's latest, while running only around 20 minutes, provides us with the tye of music we could spent hours upon hours travelling through.
The EP's opening track "Same" is a 10 minute wonderment as the odd timed rhythms, and constantly shifting melodics provides the framework for Frusciante's interstellar guitar work, which shows how completely in sync he is with his instrument. This is not flamethrower playing as he was accustomed to during his heroic final period with Red Hot Chili Peppers but it is no less jaw dropping as he effortlessly keeps up with every single (and seemingly random) chord change, soloing beautifully into the atmosphere. "Outsides" continues with two relatively shorter tracks that are no less head spinning and demanding of your fullest attention. Where "Breathiac" is reminiscent a Frank Zappa-esque Synclaviar based sound collage, "Shelf" inexplicably combines Tangerine Dream styled synthetics, drum and bass percussiveness, mumbled spoken words sections, new wave via hip-hop beat patterns with Frusciante's angular guitar work phasing through it all. Somehow, someway it all works.
"LOVE IN THE FUTURE"
JOHN LEGEND
Executive Producers: John Legend, Kanye West and Dave Tozer
Released September 3, 2013
"This is a new year for love/Love in the future/Not the love I lost..." intones crooner John Legend not over a piano but a rusty sounding electric guitar in the opening moments of his gorgeous new album, the first in a set of subtle surprising sonics contained within a 16 track song cycle of blossoming new love and romance. From beginning to end, "Love In The Future" possesses everything we already adore about Legend, from his lush production, uniquely emphatic vocals and songs that are so richly composed that they already sound like standards.
What helps to set this beautifully composed, produced, arranged and sequenced album apart from works of other balladeers, in addition to Legend's classiness, are the unexpected studio touches that augment the songs appropriately depending on the lyrical theme. "Made To Love" combines moody synthetics with African drums and vocalizing. The slowly strutting "Who Do We Think We Are" combines an old school sample of Jean Knight's classic "Mr. Big Stuff" with a cameo by current "Mr. Big Stuff" himself, Rick Ross. And then, there's "Asylum," which holds the very outre electronic shadings that again suggest that John Legend has some tricks up his sleeve that he still has not gotten around to revealing yet.
If you plan upon purchasing this album, this DJ highly recommends that you go for the Deluxe Edition which boats four more songs, bringing up the package to a whopping 20 tracks, more than enough to keep us all sustained and satisfied until his next release. But, if I were to catch Legend's ear to offer him a suggestion that I am certain he is just waiting with bated breath to hear, I would urge him to step out onto the edge and delve into riskier musical waters and just make that FREAKY album that I have been feeling is resting inside of him somewhere. Like the wonderful Alicia Keys, I am wishing for John Legend to upend expectations and perhaps even upset his own fan base by making something downright bizarre. Make your "Journey Through The Secret Life Of Plants"!! It's time, my brother. It's time!!
But until that time, should it ever arrive, we have "Love In The Future," another creative high point deserving of whatever success it should receive.
"MGMT"
MGMT
Produced by MGMT and Dave Fridmann
Released September 17, 2013
First things first. If you are expecting a 2013 version of "Kids" or "Electric Feel" on the third release from MGMT, you will not find it. And in stead of being disappointed and remaining to wait for the band's return to the dance floor, it's time to finally understand that that particular musical ship has long sailed and will most likely not return.
MGMT is the latest band to find themselves caught within a precarious artistic trap. If they only repeated the formula of their first album, "Oracular Spectacular" (released January 22, 2008), then MGMT would have been completely written off as one-trick ponies incapable of discovering new musical territories to conquer. But, in defiantly going against expectations and desire to reproduce versions of the very songs that brought them fame and fortune, like they accomplished with their challenging second album "Congratulations" (released April 13, 2010) then they risk alienating the very fans who championed them in the first place. For me and my musical sensibilites, I am most thankful that MGMT decided for the latter path as they have become a musical entity that is impossible to pin down. Their self-titles third album is no exception.
The album's opening track "Alien Days" could be a signal for everything to come throughout the album as the entire work feels like some odd transmissions from Mars! Vocals, melodies and the poetic patchwork lyrics are all obscured through waves and layers of electronic dissonance but if you do stick with them, you will indeed unearth sonic treasures as evidenced by the ironically titled "Cool Song No. 2," as well as the nearly vaudevillian "Plenty Of Girls In The Sea," the appropriately melancholy "A Good Sadness," and the dreamy synthetics of "Mystery Disease." For those of you put off by MGMT's musical restlessness, I urge you to try and stick with them. For those who desire musical curve balls, then this album will undoubtedly be a perfect fit for you!
"OCEANIA: LIVE IN NYC"
THE SMASHING PUMPKINS
Concert film Directed by Milton Lange
Audio Produced by Bjorn Thorsrud and Barry Summers
Released September 24, 2013
If MGMT is the latest band that continues to challenge audiences to re-think the artist's musical/creative trajectories, then The Smashing Pumpkins, and leader/songwriter/guitarist/keyboardist/singer Billy Corgan especially have continued to challenge audiences to re-think perceptions of what a band actually is.
As the fan community still grumbles about the validity of The Smashing Pumpkins as a continuing musical unit although founding member/guitarist James Iha, original bassist D'Arcy Wretzky and world class drummer Jimmy Chamberlin have all departed, Corgan has valiantly soldiered onwards as the sole original member, gradually joining forces with drummer/wunderkind Mike Byrne, bassist/vocalist Nicole Fiorentino (who is also a member of the darkly romantic alternative rock trio The Cold And Lovely) and guitarist gunslinger Jeff Schroeder. As much as I will always...ahem...adore the original four members of the band, I am by no means a "Pumpkins purist" as I truly believe that this new incarnation is an even better musical force than the original, much like how the ever evolving King Crimson, led by sole original member Robert Fripp for instance, finds itself only growing stronger each times new musicians enter the fold.
The fan community generally began to feel more as I did with the release of the stunning concept album "Oceania" (released June 19, 2012). Now, we arrive with "Oceania: Live In NYC," the official live document which encapsulates ferociously performed Pumpkins' classics ("X.Y.U.," "Cherub Rock," "Hummer" and others), the entire "Oceania" album, a David Bowie cover tune and even one explosive and time shifting new track entitled "The Dream Machine." Any doubts about the validity of The Smashing Pumpkins as a musical force or even the validity of the new band members should be, at long last, put to merciful rest upon listening to and viewing this powerful performance, which you can purchase in a variety of formats (2 CD/1DVD or 1 DVD or 1 Blu-Ray with standard and 3D versions or even as a digital download...phew!).
Yet another misconception about The Smashing Pumpkins, and Billy Corgan in particular, is also eradicated with this new release. Throughout the CD and film, we do not witness Corgan as the ego-maniacal Svengali putting his poor hired hands through their paces at malevolent and metaphorical gunpoint. We are seeing the full collaborative and cooperative participation of four individuals working as a team to create musical alchemy as best as possible...i.e. a band!
As the inimitable "Pumpkin King" Billy Corgan prowls and presides over the full proceedings with his trademark dark presence and towering guitar riffs, drummer Mike Byrne showcases with punishing precision that the once thought impossible feat of even trying to step into Jimmy Chamberlin's drum throne is not only possible but a throne where he can blaze his own percussive path. Nicole Fiorentino, with her McCartney-esque sense of melodicism combined with unquestionable rumbling force, proves why she is correctly considered to be the best bassist of the band's history. But for me, the MVP of this set is Jeff Schroeder, who the fan community have lovingly re-christened as "The Shredder"! Don't let Schroeder's quiet demeanor fool you as he is an incredible and constantly surprising guitarist to behold. His lead work contains superior flash and whipcrack sting and his atmospherics are blissfully enveloping, making him the absolutely perfect guitarist to join forces with Corgan, often to spellbinding degrees, as evidenced on tracks like "My Love Is Winter" and the epic, suite-like "Oceania." And if you are still unable to feel the musical unity when the band performs the tone poem "Wildflowers," with Corgan, providing his best vocal of the show, surrounded and supported by Fiorentino, Byrne and Schroeder all on keyboards and backing vocals, then I don't even wanna know ya!!
"THE 20/20 EXPERIENCE-PART 2"
JUSTIN TIMBERLAKE
Executive Producer: Justin Timberlake
Released September 30, 2013
As promised, the second half of Justin Timberlake's mammoth selling "The 20/20 Experience" has arrived and now that the two halves have become a whole, I can say that this album is easily the pop masterpiece of 2013. Feeling like an epic double album, if the first disc housed a mythical Side One and Two, then this new installment finally brings us Sides Three and Four, and what a relentless ride it is. Unlike the first disc, which was filled front to back with bright, blossoming romance, this second disc is a slightly darker, lustier, sweatier and decidedly more carnal affair thta feel slike you are at the full epicenter of a booming nightclub with Timberlake as your Grand Master of Ceremonies.
The album's first six tracks, while not squelching a modicum of melody and harmonics, mostly courtesy of Timberlake's meticulously arranged and performed vocals, are fully designed to get you moving and making you slaves to their uncompromising rhythms as hypnotically conceived by Timberlake and his right hand man, Timbaland. Also as with the first set, the songs are lengthy with the heavy breathing "True Blood" clocking in at nearly 10 minutes. These are not songs in search of an editor, dear readers and listeners. These are songs that illustrate how closely Timberlake has been paying attention to the likes of James Brown, Prince and George Clinton as these tracks all ride the groove until they just cannot be ridden any longer. "Take Back The Night" continues Timberlake's audio tribute to the legacy of Michael Jackson and Quincy Jones as the "Off The Wall" aesthetics soar through the clouds.
By the arrival of the blusey "Drink You Away," the album downshifts into more turbulent romantic waters as the rose colored optimism of the first album gives way to more troubling realities and dark insecurities. With titles like "Amnesia," "Only When I Walk Away," "TKO," and even "Murder," I would not be surprised if one were curious if there was trouble in J.T.'s personal paradise. But remember, all of the songs on both albums were written and recorded at the same time, truly making the two albums work together as terrifically as they do.
If "The 20/20 Experience" were a movie, then "Not A Bad Thing" would be the warm concluding track to play over the ending credit scroll. And what a "movie" this album has been!!!! From something I would typically never have given a second thought,m let alone a first, Justin Timberlake has proved with tremendous ability, talent, skill and artistry that pop music need not be mindless, disposable, fad laden pap. It can be luxurious entertainment that you just cannot get enough of!!
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