Trey Anastasio: Traveler

     So, the first thing listeners, especially Phish fans, must do before listening to Traveler, is to wash away any preconceived notions about what Trey Anastastio "should" sound like.  If not, it will surely be a disappointment.  Trey has always used his solo records to pursue his musical interests independent of Phish, and this time is no different.  For Traveler, the jam band jedi opted to release an unapologetically studio based album as he delves into his own version of indie pop.  Throughout the album, Anastasio offers up concise, catchy, tunes that are good, but may rub his fanbase the wrong way.  

     For quite some time now, Trey has been showing a proclivity to the indie scene, so Traveler should come as no surprise to Phish fans familiar with Trey's solo forays.  Traveler's songs are often poignant, very apropos for his current life.  Anastasio uses many of the brass and vocals typical to his solo records, but was also able to get his indie rocks off by working with indie icons such as The National and Mates of State.  The resulting sound is a slightly more haunting, spacious sound, not often found in his other solo work.  The indie-ish use of effects and textures give much of Traveler a dreamier sounds then his previous solo work, while still holding firmer to the ground than Phish.  Despite this, Trey is not afraid to bring his funk, most evident in the driving, "Pigtails," a song, which, per usual, has sub-par lyrics, bobs heads.  Another highlight is Anastasio's unbelievably funky take on the Gorillaz classic, "Clint Eastwood," which melts and molds its way through electrofunk, rock, and rap. All enhanced by Jennifer Hartswick's beautiful, soulful, voice.

     Phish fans, be not afraid, there are plenty more YEMs to be had. Traveler is for Trey. One thing that has made Phish so great is their ability to experiment with sound, and try new and different styles.  While this sound will not work for Phish, it does work well for Trey.  Those who are able to set aside their thoughts of what the album should be will be able to see Traveler's pleasant results.

 

 

Little People: We Are But Hunks Of Wood

     Way back in 2006, the English based DJ, Little People (AKA Laurent Clerc) released his debut masterpiece Mickey Mouse Operation.  While the album's dark thematic sound was raved by critics, poor promotion and Clerc's own malaise pushed the record, and his career off to the side. However, the ever growing musically accessibility of free internet radio resurrected Little People, as fans began to once again hear his unique sound.  Now, many years later, Little People comes out with his Sophomore effort, We Are But Hunks Of Wood.

      With its opening "Marzipan Children," Little People blazes a new trail for himself.  Gone are the minimalist drum and bass loops of the past, exchanged for a sweeping digital sounds.  The samples are virtually non-existent throughout the album, as that was his overlying problem with his previous work, along with the genre in general.  The album is far heavier on full electronic sounds and layered arrangements. The sweeping textures throughout We Are But Hunks Of Wood result in a far fuller, more complex, sound.  The basic tenants of Little People are present throughout the album, as it still waxes moody and emotive. We Are But Hunks of Wood simply expounds on Clerc's rookie effort, and shows a beautiful maturation.  We Are But Hunks Of Wood shows a revitalization of a brilliant DJ's career, as well as a beautiful set of mercurial electronic music.  As Laurent Clerc finds his sound and style, the electronic world can groove easy knowing that the wildly talented wunderkind is back.

Poolside: Pacific Standard Time

 

     Most artists endeavor to release albums that push the envelope or break new ground.  Musicians always seem to be striving for their own respective "Sgt. Peppers."  Such is not the case with Poolside, a Los Angeles based duo who came together to record their first LP, Pacific Standard Time, this summer.  The two partners came together, self-reportedly while drunk, to release a breezy summer album that does nothing but go along with a lazy Los Angeles afternoon.  

     Many critics would probably pan this album as an unimpressive example of the already over saturated chillwave genre.  To those critics defense, Pacific Standard Time's dancey synth beats, and simple vocals caked effects, is nothing that has never been done.  The formula is all pretty standard.  Chastising a chillwave band for oversimplifying, however, shows a definite misunderstanding of the goal of the genre, and especially Poolside.  These guys are not Pink Floyd; the listener does not crawl inside the structure of the album and slowly dissect it.  Rather, Pacific Standard Time is an accompaniment to another activity.  It is the background soundtrack of whatever setting and proceeding the listener to which the listener is doing, be it cleaning the house, or relaxing on a Los Angeles beach.  The languid disco beats are damn good, and the entire album is driving and engaging.  The easy mood of Pacific Standard Time makes the album approachable to all listeners. 

     After all is said and done, Poolside is a lazy L.A. duo who know their strengths and limitations. Instead of reaching for a level they cannot possibly achieve, the band sticks to what they know: head-bobbing, languid, tunes about girls and sunsets.   While the album itself may not be genius, the thematics of Pacific Standard Time are brilliant, as the band clearly achieved what it set out to.

Lupe Fiasco: Food and Liquor II: The Great American Rap Album

     Lupe Fiasco represents a new era in rap music.   Where transparency and bluntness were once the benchmarks of the hip-hop scene,  Fiasco seems to gravitate towards the abstract.  Instead of plain story telling he uses perverse analogies and lively imagery to convey his message of injustice and redemption.  After a disappointing sophomore album (even admitted by Fiasco, himself), the Chicago based rapper returns with Food and Liquor II:  The Great American Rap Album. 
     Musically, Food and Liquor sees a mellower  Lupe Fiasco.  Outside of his standard forays into rock, the album evokes a moody emotive vibe, rich in texture and layers of sound.  It results in a seemingly more mature rapper, able to wait for his moment.  Throughout Food and Liquor, Fiasco implores different instruments and samples to create a full sound that shows his progression as an artist.
     Lyrically, Fiasco continues to remain on the lunatic fringe of the hip-hop world.  Food and Liquor shines brightest when the artist allows himself to leave subject behind and use his imagery to paint the picture of the song.  Unlike the majority of credible rappers, Fiasco is not a great storyteller, but rather a great wordsmith who uses semantics as the subjects main conveyance.  Truthfully, Food and Liquor flounders most when Fiasco tries to stay on subject, as often his songs build up into too simplistic of a climax.
     Food and Liquor II shows a step up for Lupe Fiasco, but still not where critics originally thought he could be.  He teeters on the brink of genius, only to pull himself back.  As Fiasco progresses through his career,  he may be able to find the tact that helps him blast off, but until then the world can take pleasure in the fact that Food and Liquor II:  The Great American Rap Album, is pretty good.