I thought I'd need a long break from music after the particularly draining task of finishing Of How a World Is Built, but I can't help it: when the creative drive grabs you, there's no way to stop it (without driving yourself crazy, that is).
Thing is, there were actually two projects in my queue as I finished that album. To one side, there was a totally abstract and electronic project I wanted to start, based on ideas I had been collecting while working on the album. It would sort of mash-up the styles of electronic music that I have been listening, while crossing it over with other stuff, such as my fascination with TV and radio vignettes. At the other side, though, was the extremely tempting idea to remake, from scratch, one of my older albums.
Right now, I'm about halfway into the latter project. I'm honestly surprised: I see a lot of potential in this work, and I'm eager to get it done. Basically, I took the songs from Musics for Highways, which consisted originally of MIDI songs recorded straight from the Windows General MIDI FM synthesizer, and rebuilt them entirely using the technologies and software I've employed on my two previous albums. I am not treating this as a "remake", as a "new edition" of the album: I'm treating this as the "actual make", as if the previous recording was a mere early draft, a prototype, a rough sketch. What I like about those songs are the naïvety, the lack of pretension, the directness of ideas, and how well they matched the concept of highways and roadtrips. Maybe, just maybe, I'll get one or two tracks recorded soon and published for a preview. For now, just wait anxiously for the release of Oversteps, by Autechre.
Thursday, 25 February 2010
Sunday, 21 February 2010
Commercial music
I have a couple of "side interests" that wax and wane in my life, with indeterminate frequency. They range from "pretty ordinary" to "somewhat exotic", from the things that could be mentioned in a friendly chat, to things that would be seen as pretty bizarre, even if there's nothing wrong with them. One such interests is in adverts. It's a somewhat contradictory interest, though: I have never studied advertising, I watch almost no TV at all, read few magazines and almost never listen to the radio. My interest, however, stems mostly from childhood memories, when the TV and the radio were much more present in my life. Once in a while I start hunting for old adverts and jingles that spark a wisp of nostalgia in me, and quickly my interest broadens towards advertising in general.
Recently, I reached a pretty radical paradigm shift, compared to the thoughts I had as a teenager. I have no shame in recognising advertising as an art, though I admit that's a dangerous statement. Dangerous because it's bound to be interpreted in a multitude of ways. Many people think advertising is the beating heart of the consumerist capitalism, that promotes poverty and the destruction of the planet and so on and on. Others think that it's downright sacrilegious to think of an advert, something designed to SELL, as a work of art. Both are empty arguments. The former, because I don't necessarily become a proponent of the evils of capitalism by cherishing one of its elements (and people who think so should start looking beyond the surface of things); and the latter deserves some more discussion.
Let's imagine an advertising jingle, since the main focus of this blog is music. A jingle is commissioned by a company in order to make money, in this case, by selling a product. Some people feel disgusted by that. I say: do you know all those works by so called "classical" composers, which today are performed by expensive orchestras, played in concert halls and recorded by fancy record labels with big names? Those works were also commissioned by rich and noble people, and their goal was also to make money. The only difference, here, is that those composers were not selling anything other than their own talent. But you see, the fact that those works were made for money does not mean that those works can't be works of art. Money and art are not mutually exclusive, unlike many people think. The more "romantic" music enthusiasts think that music must be made exclusively with passion and inspiration, and money should be left aside. That's NOT how the business works; and when I mean "business", I mean, yes, all those artists that are heard and loved for decades, NOT just the media fads.
Also, a jingle is not a product put out in a matter of seconds. Writing a good jingle takes a great deal of talent, of sensitivity, of vision and great skills. Think about it: a regular song can use 3 or 4 minutes and repeated listens to sink into your mind. A jingle has half a minute to do much more than that! A jingle needs to grab you right from the very first seconds, and keep the message in your mind for the rest of the day at least. Sounds easy?
Of course there are many low quality jingles and adverts, that try to get by solely on repetition and exaggeration. But there are adverts that leave a strong impression for years afterwards. There are things that I remember clearly and cherish even after 15 years! Does that mean I am a brainless sheep, follower of mass media? Or does it mean that there are incredibly intelligent, talented people working in that medium? I'm just stating facts here, but there are renowned artists that have worked in adverts. Speaking of Brazil alone, film-maker Fernando Meirelles, director of City of God (one of my favourite films), The Constant Gardener and Blindness, has directed TV adverts. Musicians and famous and respected as Antônio Carlos Jobim and João Gilberto have composed and performed jingles.
You'll say that they have "sold out". Sold out for what? Meirelles's feature films also give him money; Jobim and Gilberto's songs also gave them money. Besides, they were not openly and blandly selling off their image for a product; they were merely being professional artists. We may notice a difference there: it may be extremely annoying when a famous celebrity accepts to sell his image, but what's the matter if the artist truly puts his heart and soul into his work, even if it's just to sell something? In that vein, I remind you that Tom Waits, of all people, has done voiceover work for an advert; in fact, an advert for Purina dog chow (which you can watch HERE). Oh, Waits fans will want to kill me for that one, but I say, what's the matter? Waits does a brilliant job, in an entirely professional way. If he has decided to never do that kind of stuff again, it's for his own principles; doesn't mean the WHOLE act is rotten. Need more examples? What about Frank Zappa and Captain Beefheart offering their music and voice for Luden's Cough Drops? Watch HERE. Amazing work!
Notice, though, that I'm not saying that all artists should be forced to accept their songs used in commercials, or anything; this is a business that requires respect. If someone doesn't want his work or image associated with advertisement (like Tom Waits), he has to be respected. What I am defending, though, is the vision of advertisement as a form of art. And, as with every form of art, you gotta learn to appreciate it.
Recently, I reached a pretty radical paradigm shift, compared to the thoughts I had as a teenager. I have no shame in recognising advertising as an art, though I admit that's a dangerous statement. Dangerous because it's bound to be interpreted in a multitude of ways. Many people think advertising is the beating heart of the consumerist capitalism, that promotes poverty and the destruction of the planet and so on and on. Others think that it's downright sacrilegious to think of an advert, something designed to SELL, as a work of art. Both are empty arguments. The former, because I don't necessarily become a proponent of the evils of capitalism by cherishing one of its elements (and people who think so should start looking beyond the surface of things); and the latter deserves some more discussion.
Let's imagine an advertising jingle, since the main focus of this blog is music. A jingle is commissioned by a company in order to make money, in this case, by selling a product. Some people feel disgusted by that. I say: do you know all those works by so called "classical" composers, which today are performed by expensive orchestras, played in concert halls and recorded by fancy record labels with big names? Those works were also commissioned by rich and noble people, and their goal was also to make money. The only difference, here, is that those composers were not selling anything other than their own talent. But you see, the fact that those works were made for money does not mean that those works can't be works of art. Money and art are not mutually exclusive, unlike many people think. The more "romantic" music enthusiasts think that music must be made exclusively with passion and inspiration, and money should be left aside. That's NOT how the business works; and when I mean "business", I mean, yes, all those artists that are heard and loved for decades, NOT just the media fads.
Also, a jingle is not a product put out in a matter of seconds. Writing a good jingle takes a great deal of talent, of sensitivity, of vision and great skills. Think about it: a regular song can use 3 or 4 minutes and repeated listens to sink into your mind. A jingle has half a minute to do much more than that! A jingle needs to grab you right from the very first seconds, and keep the message in your mind for the rest of the day at least. Sounds easy?
Of course there are many low quality jingles and adverts, that try to get by solely on repetition and exaggeration. But there are adverts that leave a strong impression for years afterwards. There are things that I remember clearly and cherish even after 15 years! Does that mean I am a brainless sheep, follower of mass media? Or does it mean that there are incredibly intelligent, talented people working in that medium? I'm just stating facts here, but there are renowned artists that have worked in adverts. Speaking of Brazil alone, film-maker Fernando Meirelles, director of City of God (one of my favourite films), The Constant Gardener and Blindness, has directed TV adverts. Musicians and famous and respected as Antônio Carlos Jobim and João Gilberto have composed and performed jingles.
You'll say that they have "sold out". Sold out for what? Meirelles's feature films also give him money; Jobim and Gilberto's songs also gave them money. Besides, they were not openly and blandly selling off their image for a product; they were merely being professional artists. We may notice a difference there: it may be extremely annoying when a famous celebrity accepts to sell his image, but what's the matter if the artist truly puts his heart and soul into his work, even if it's just to sell something? In that vein, I remind you that Tom Waits, of all people, has done voiceover work for an advert; in fact, an advert for Purina dog chow (which you can watch HERE). Oh, Waits fans will want to kill me for that one, but I say, what's the matter? Waits does a brilliant job, in an entirely professional way. If he has decided to never do that kind of stuff again, it's for his own principles; doesn't mean the WHOLE act is rotten. Need more examples? What about Frank Zappa and Captain Beefheart offering their music and voice for Luden's Cough Drops? Watch HERE. Amazing work!
Notice, though, that I'm not saying that all artists should be forced to accept their songs used in commercials, or anything; this is a business that requires respect. If someone doesn't want his work or image associated with advertisement (like Tom Waits), he has to be respected. What I am defending, though, is the vision of advertisement as a form of art. And, as with every form of art, you gotta learn to appreciate it.
Monday, 1 February 2010
Of How a World is Built: Officially released
The album is now finished and released. As usual, it's available for free download, both on its official page and on its Jamendo page. Download right now!
Wednesday, 30 December 2009
The place of emotion in music
I've been willing to talking about this for a long time, but it always seemed like a foreboding task. It's not a complex argument, but it's difficult to deliver it the right way.
The topic of "Emotion" in music always baffled me, somehow. It might seem strange, since emotions are extremely intuitive, and everyone knows what they are. That's exactly the problem: everyone seems apt to talk about emotion in music, because they know emotions so well. But talking about emotions in PEOPLE is different from talking about emotions in music. "Emotions in people" are clear and intuitive because emotions are IN the people, they come from within them. Emotions are not IN music. Music has no emotions, they don't express emotions -- it's the ARTIST that uses music to express their emotion, if he wishes to. This line of reasoning may sound clear and obvious, but many, many people don't follow it.
Go out and see how many people talk about how "emotional" a particular song is. Go and read the opinions of who think someone's playing or singing is "emotional". I ask myself: how is a listener able to objectively detect that? That would imply that music can deliver distinct, unambiguous emotions by itself. So, that means we only need to find the correct combination of musical and sonic properties to deliver one specific emotion. That way, we effectively transform music into a language, free of ambiguity and obscurity. And... there are problems. Firstly, art doesn't have to be a form of one-way communication: it's not a lecture, not a lesson, it's not the artist telling the audience how it's supposed to react. Music, as well as any form of art, can be interpreted differently by different people, and in my opinion, THAT is what should be encouraged. The audience should fill in the gaps with their own perception, turning art into an almost interactive experience; yes, interactive, since the art "changes" as the audience changes their perception. So, making music an unambiguous language is an obstacle for that. Secondly, different cultures around the world have adopted different musical systems, which means that one musical piece would NOT be interpreted the same across those different cultures, even if the artist truly, really wanted that. So the "language" of music is a social construction; it is restrictive, alienated people outside that culture and diminishes the possibilities of innovation and originality. In short, it sucks.
Unfortunately, that's how music has been progressing since... well, forever. Certain combinations of chords and melodies are perceived as "emotional", and quickly they become clichés; tired, annoying, ineffective clichés. Is THAT what we want from music? Now you see why 20th century classical music sounds so "crazy"?
Oh, no, but I'm getting it wrong, right? Emotion in music does not come from certain notes or chords: it comes from the energy, the spontaneity, the "feeling" of the artist. Oh, well. Again, I could question how "energy" and "spontaneity" could be unambiguously detected by the listener, but actually I wouldn't have a very strong point. However, recorded music nowadays is NOT AT ALL what most people think it is. Any piece of music you hear nowadays most likely has been a product of painstaking, tiresome, cold and calculated studio work. Dozens of takes are recorded, lots of effects are applied, even complete takes are edited all the way to Hell and back, things are chopped, spliced together, and so on and on, to the point where there is hardly anything "spontaneous" going on. With that, it's hard to tell if an artist is truly "expressing" himself, because the bigger worry is with making the whole thing sound RIGHT. So, we have no way of telling whether one particular part of the performance is pure human emotion or pure fakery. The only way you can tell is by intuition. Either you know the artist well enough to recognise his habits and know what they mean, or you're most likely guessing.
And yet, even with all that effort going into making the recording sound "right", we enjoy those recordings. To us, it doesn't matter how many dozen edits there are, or how many dozen takes were recorded, or which instruments are playing in each track. Music, even almost completely drained of "spontaneity", is still enjoyable. How come?
The truth, as I see it, is: emotion is not in the music. Emotion comes from within YOURSELF. The music merely provokes you, and it's YOU who concocts those emotions. That's why music works differently in different people, to the point where certain pieces of music can cause wildly different effects and provoke radically different emotions in different people. And that, my friends, is one of the things I like THE MOST about music.
So, the next time you're talking about how "emotional" a song is, don't be surprised if I dismiss your opinion entirely -- it tells more about YOU, as a listener, than about the music, which is what I'm more concerned about.
The topic of "Emotion" in music always baffled me, somehow. It might seem strange, since emotions are extremely intuitive, and everyone knows what they are. That's exactly the problem: everyone seems apt to talk about emotion in music, because they know emotions so well. But talking about emotions in PEOPLE is different from talking about emotions in music. "Emotions in people" are clear and intuitive because emotions are IN the people, they come from within them. Emotions are not IN music. Music has no emotions, they don't express emotions -- it's the ARTIST that uses music to express their emotion, if he wishes to. This line of reasoning may sound clear and obvious, but many, many people don't follow it.
Go out and see how many people talk about how "emotional" a particular song is. Go and read the opinions of who think someone's playing or singing is "emotional". I ask myself: how is a listener able to objectively detect that? That would imply that music can deliver distinct, unambiguous emotions by itself. So, that means we only need to find the correct combination of musical and sonic properties to deliver one specific emotion. That way, we effectively transform music into a language, free of ambiguity and obscurity. And... there are problems. Firstly, art doesn't have to be a form of one-way communication: it's not a lecture, not a lesson, it's not the artist telling the audience how it's supposed to react. Music, as well as any form of art, can be interpreted differently by different people, and in my opinion, THAT is what should be encouraged. The audience should fill in the gaps with their own perception, turning art into an almost interactive experience; yes, interactive, since the art "changes" as the audience changes their perception. So, making music an unambiguous language is an obstacle for that. Secondly, different cultures around the world have adopted different musical systems, which means that one musical piece would NOT be interpreted the same across those different cultures, even if the artist truly, really wanted that. So the "language" of music is a social construction; it is restrictive, alienated people outside that culture and diminishes the possibilities of innovation and originality. In short, it sucks.
Unfortunately, that's how music has been progressing since... well, forever. Certain combinations of chords and melodies are perceived as "emotional", and quickly they become clichés; tired, annoying, ineffective clichés. Is THAT what we want from music? Now you see why 20th century classical music sounds so "crazy"?
Oh, no, but I'm getting it wrong, right? Emotion in music does not come from certain notes or chords: it comes from the energy, the spontaneity, the "feeling" of the artist. Oh, well. Again, I could question how "energy" and "spontaneity" could be unambiguously detected by the listener, but actually I wouldn't have a very strong point. However, recorded music nowadays is NOT AT ALL what most people think it is. Any piece of music you hear nowadays most likely has been a product of painstaking, tiresome, cold and calculated studio work. Dozens of takes are recorded, lots of effects are applied, even complete takes are edited all the way to Hell and back, things are chopped, spliced together, and so on and on, to the point where there is hardly anything "spontaneous" going on. With that, it's hard to tell if an artist is truly "expressing" himself, because the bigger worry is with making the whole thing sound RIGHT. So, we have no way of telling whether one particular part of the performance is pure human emotion or pure fakery. The only way you can tell is by intuition. Either you know the artist well enough to recognise his habits and know what they mean, or you're most likely guessing.
And yet, even with all that effort going into making the recording sound "right", we enjoy those recordings. To us, it doesn't matter how many dozen edits there are, or how many dozen takes were recorded, or which instruments are playing in each track. Music, even almost completely drained of "spontaneity", is still enjoyable. How come?
The truth, as I see it, is: emotion is not in the music. Emotion comes from within YOURSELF. The music merely provokes you, and it's YOU who concocts those emotions. That's why music works differently in different people, to the point where certain pieces of music can cause wildly different effects and provoke radically different emotions in different people. And that, my friends, is one of the things I like THE MOST about music.
So, the next time you're talking about how "emotional" a song is, don't be surprised if I dismiss your opinion entirely -- it tells more about YOU, as a listener, than about the music, which is what I'm more concerned about.
Saturday, 5 December 2009
Of How a World is Built: PROGRESS!
In spite of the worry and bother brought forth by the closing of the semester (which was lot less dire than in previous semesters, I'll admit), the album has been coming across nicely. Most of the instruments have been recorded, and only the last track has several tracks yet to be recorded or written -- but I'm in a pretty good pace, and I'm quite satisfied with the palette of sounds I've assembled. So, in short, hooray!
Notice: recording all parts is not the entire job. There's a lot of mixing and tweaking job to be done, and a bit of "post-processing" and addition of effects which will be made in a later stage. I've still yet to hear these tracks in close detail, to determine whether they sound good enough, and I'll leave that for after the last track is entirely recorded. But yeah, the parts remaining are relatively few. I dare say I'm about 85% finished with the album, and if everything goes fine, by early next year, I'll have it out.
One problem? I'm still undecided on the visual artwork. I have a few ideas running in my head, and I don't know in which one I should invest. This is for later, it's true, but I feel like being so into the album should help me to choose. Maybe I should focus exclusively on the music instead.
Anyway, I already have plenty of plans of things to do after this album. But I won't get ahead of myself: I really, really want to make the best job I can do with this record, and make it as good as I can, in terms of sound. The material here truly demands a lot of attention to detail, and I don't want to rush things.
Notice: recording all parts is not the entire job. There's a lot of mixing and tweaking job to be done, and a bit of "post-processing" and addition of effects which will be made in a later stage. I've still yet to hear these tracks in close detail, to determine whether they sound good enough, and I'll leave that for after the last track is entirely recorded. But yeah, the parts remaining are relatively few. I dare say I'm about 85% finished with the album, and if everything goes fine, by early next year, I'll have it out.
One problem? I'm still undecided on the visual artwork. I have a few ideas running in my head, and I don't know in which one I should invest. This is for later, it's true, but I feel like being so into the album should help me to choose. Maybe I should focus exclusively on the music instead.
Anyway, I already have plenty of plans of things to do after this album. But I won't get ahead of myself: I really, really want to make the best job I can do with this record, and make it as good as I can, in terms of sound. The material here truly demands a lot of attention to detail, and I don't want to rush things.
Thursday, 22 October 2009
Annotated Discography: Ween (part 9)
First off, I'm cheating: I started playing the album BEFORE I came here to post. Why? I didn't really plan to post, but I decided to DO something and make my first post after, what? two months. TWO months. Anyway, the album:
Shinola, vol. 1
This is an "assorted bits" album put together by the band, apparently supposed to be the first in a series which currently contains only one instalment. Another "hilarious" joke from the band? I'd guess not: they're probably amassing more material for a second volume. This album comprises left over tracks from several sessions, a few new tracks and altered versions of songs released on other alternate releases. I don't want to go in details here because, honestly, it doesn't matter. What matters is the music. And in terms of music, this is probably their most inconsistent to date. "Duh, it's an odds and ends album!", you say. Well, but these are odds and ends with wildly varying quality, I say. QUALITY, see?
So, anyway, I've only heard the first track so far. Tastes Good on th' Bun, as far as I can tell, is a Pure Guava outtake. Surely sounds like it, and, well, for it to have been left off from an album like that, you can guess what it sounds like: meandering, pointless, and trying to pass itself off solely on its "quirkiness" and whacky sense of "humour". GOODNESS, does this overstay its welcome. Alright, NOW we're going fully real time. Off we go with...
... Boys Club, a parody on overly "gay" pop tunes. Yeah, you could guess that. Okay, the sound they're getting is really convincing and funny, with an EXTREMELY "slick" production, squeaky backing vocals, a groovy chord progression and a fun vocals impression by Gene Ween. Again, it probably goes on for about 20 iterations of the chorus too many. Am I noticing a trend there? Oh, well, it's not a bad effort at all. Now, I Fell in Love Today, a... blues send-up? Very slow and plodding, an insistent guitar line, and with a "soulful" vocal delivery. Yeah, so the joke is a lot more subtle here, but we're still trudging on "obvious pastiche" territory -- which already sets the standards lower than those on the three previous albums. Okay, so Quebec had two obvious parodies at the start, but then it turned the table completely around with Transdermal Celebration (man, what an AMAZING song, that! Can I stop this album and put that song on instead?... no?). Oh, I like the effect on the guitar solo here! It's a shame that we only get so little of those clever guitar effects on songs like these! Ok, guys, I already heard you can do a pretty good imitation of this stuff, now can we PLEASE go on? Which sessions did this get culled off? This is not a new one, is it?... oh, Wikipedia says it is. Crap! You'd better set the standards higher now!
Hm, now it's Big Fat Fuck... ok, I asked for too much. This was released before on an Internet "release" called Craters of the Sac, and that version was seven minutes long. WHAT?? Ok, so this track is at least actually amusing in a way: it doesn't try to be anything other than gross, and not only in terms of lyrics. The whole song sounds slowed down, especially the vocals. Sort of goes back to The Pod, but with actual humour. Yeah, it's gross, repetitive, moronic humour, but it's at least imaginative. Wouldn't want to hear this for seven minutes, though, please, no. And it stops, and we're off into Gabrielle, a Thin Lizzy parody as far as I read. And it's great! It's catchy, tuneful, energetic, and they get a really good sound going with a neat vocal impression and a hooky chorus! Finally, it's getting really good! I like the lyrics, too: it doesn't go out of its way to shove the "joke" in your mouth, and it works even better because of that. "Nobody's perfect, baby, and I'll always love you anyway"? Darn yes! Simple and effective. Great guitar solo, too. Fun playing around with the tremolo effect, too! Yeah, I just like it that much, and I don't even need to say this is the best track here so far.
And now, we go into Did You See Me?, and from the first seconds I can already tell this is going to be something else entirely: slow, strummed acoustic guitar playing those cliché "mysterious" chords, probably pulled from 70's Rush albums. The bass comes in -- ok, they're going for a Pink Floyd vibe, it seems, and so far they're nailing it to a tee. Haha, from the FIRST note I can already tell Dean has got his David Gilmour mode 100% engaged. I'm loving it!
... guys, please, I have already heard this album several times before. I'm only speaking like this for literary effect.
Okay, this just IS Pink Floyd: the string-y keyboards are on, the heavy guitar is doing its thing and the drums are heavier. And the whole song is heavier now! Wow, we're pretty much back in the 70's in less than two minutes. So far, no vocals, and this thing RULES! Ok, it's quiet now, and the vocals are in. Encoded, muttery vocals, and with a weird, bubbly effect going on underneath, like something out of an early Residents album. I like the vocal melody. Ok, this is the best song so far. Well, now we're into Genesis territory. Maybe not Genesis, but they're doing something hilarious, which Mark Prindle calls "Medieval rock" break which is a 100% apt label. Funny as hell! DOO-DOO-DOO! DOO-DOO-DOO! Doo-doo-doo-doo-doo, DOO! Great stuff. Now with the acoustic guitar coda. Awesome. Apparently this came from the The Mollusk sessions, and it's up to par. It is outtake-ish, but perfectly up to par.
How High Can You Fly?, and we're still on the 70's, with a hum-along guitar melody, and a VERY tremolo heavy vocal singing the song title over and over. The guitar melody sounds like something they wrote for White Pepper, but ended up replacing with the far superior Flutes of Chi. The spoken voice is also great. This is moronic humour, but it's inventive, and far better than the first four tracks. I like it. Transitions are in, and from the first seconds I can tell it's a parody on "adult contemporary", and they do an amazing job at nailing the airy, reverb-laden sound and cheesy keyboards. Great stuff! Colour me impressed, guys! This is really good stuff! And even the song itself is quite catchy. Great guitar work, as usual. And now, it's Israel, probably the most bizarre piece in here. But this is the GOOD kind of bizarre: not the thing supposed to shock and awe you, but the thing to leave you genuinely puzzled. On surface, it's a parody of soft, cheesy jazz music, with a melody played on saxophone and sounds of sirens, applause and the guys impersonating preachers. And there are backmasked speeches! Okay, hold on...
No, they're just fragments of the normal speeches played backwards. Yeah, I never checked it before, and only did now for documentary purposes! The synthesized "doo doo" sound is extra funny! I like this track. Its oddness is sort of captivating. The voices repeating "Israel Israel Israel" at the end is weirdly hypnotic. Now, it's The Rift, which opens up with "sci-fi" sound effects and gives way to a strangely groovy drum pattern. It's very slow and "spacey", and the vocal melody is sort of catchy. The lyrics are silly. Oh, shut up, already. This crap is almost 6 minutes long. Is it part of the point to leave me so uninterested? Okay, I can see you have your "ooooh, yep!" in place. And the guitar effects and the sci-fi noises. That's okay. Now just go away already. Good, it's going away. Finally. Now let's move on.
And we're into Monique, the Freak. Right away, it's great: a Prince parody, with a solid groove, a sticky guitar riff, those clean guitar strums and, ick, those vocals are so spot on. So spot on it's sick. And a vocoder on the chorus. Of course! Perfect. It's already fun as hell. The lyrics are so moronic and so spot on, it's hard not to get along with it. Ah, and I LOVE the backing vocals! Brilliant stuff. The whole thing just gels together and works wonders. And again, that Vocoder. Brilliant. Yeah, but NOW is the great part, the instrumental break with that awesome guitar riff. And the guitar solo. Yeah, the guitar solo! Great sound, great playing! This would go on for 10 minutes on Craters of the Sac, and it could as well go on here! Ah, and the backing vocals on the break! Also great stuff. Really, this is great from start to finish, alright. You know? I can almost say this track is too short, even at nearly 6 minutes, and even with that great guitar work near the end. But they kept the best for last! At least best in terms of humour, because Someday might be one of the very, very best comedy pieces in their whole catalogue. And I say comedy in a GOOD way: good musical comedy is not easy to make, and this is fantastic. The imitation of cheesy, starry-eyed, Disney-esque romantic ballads is spot on for the first half, but then it's BRUTALLY deconstructed after that: atrocious "chorus", dumb lyrics, a deeply intoned voice speaking back the chorus lyrics, and the whole thing is off! Amazing. And given that twist alone, the absolute stupidness of the whole song comes to life, bringing along with it pretty much every other song in the genre. Even the "orchestration" near the end becomes brilliantly, pathetically hilarious. And, EVEN still, the song is beautifully written. It's definitely not a joke for the sake of the joke: it's well constructed humour.
Anyway, that's an amazingly strong ending for the album, with two fantastic tracks back to back. I still hold Did You See Me? as an easy favourite, and everywhere else, well... it's a mess, you can see. Though the low points are almost all at the beginning of the album. Don't know if that's good or bad... Either way, this album is a necessity for Ween fans, while casual fans need only to fish out the best tracks in here and dump the rest, I guess... Feel free to disagree. I'm here to be disagreed with!... sort of.
Shinola, vol. 1
This is an "assorted bits" album put together by the band, apparently supposed to be the first in a series which currently contains only one instalment. Another "hilarious" joke from the band? I'd guess not: they're probably amassing more material for a second volume. This album comprises left over tracks from several sessions, a few new tracks and altered versions of songs released on other alternate releases. I don't want to go in details here because, honestly, it doesn't matter. What matters is the music. And in terms of music, this is probably their most inconsistent to date. "Duh, it's an odds and ends album!", you say. Well, but these are odds and ends with wildly varying quality, I say. QUALITY, see?
So, anyway, I've only heard the first track so far. Tastes Good on th' Bun, as far as I can tell, is a Pure Guava outtake. Surely sounds like it, and, well, for it to have been left off from an album like that, you can guess what it sounds like: meandering, pointless, and trying to pass itself off solely on its "quirkiness" and whacky sense of "humour". GOODNESS, does this overstay its welcome. Alright, NOW we're going fully real time. Off we go with...
... Boys Club, a parody on overly "gay" pop tunes. Yeah, you could guess that. Okay, the sound they're getting is really convincing and funny, with an EXTREMELY "slick" production, squeaky backing vocals, a groovy chord progression and a fun vocals impression by Gene Ween. Again, it probably goes on for about 20 iterations of the chorus too many. Am I noticing a trend there? Oh, well, it's not a bad effort at all. Now, I Fell in Love Today, a... blues send-up? Very slow and plodding, an insistent guitar line, and with a "soulful" vocal delivery. Yeah, so the joke is a lot more subtle here, but we're still trudging on "obvious pastiche" territory -- which already sets the standards lower than those on the three previous albums. Okay, so Quebec had two obvious parodies at the start, but then it turned the table completely around with Transdermal Celebration (man, what an AMAZING song, that! Can I stop this album and put that song on instead?... no?). Oh, I like the effect on the guitar solo here! It's a shame that we only get so little of those clever guitar effects on songs like these! Ok, guys, I already heard you can do a pretty good imitation of this stuff, now can we PLEASE go on? Which sessions did this get culled off? This is not a new one, is it?... oh, Wikipedia says it is. Crap! You'd better set the standards higher now!
Hm, now it's Big Fat Fuck... ok, I asked for too much. This was released before on an Internet "release" called Craters of the Sac, and that version was seven minutes long. WHAT?? Ok, so this track is at least actually amusing in a way: it doesn't try to be anything other than gross, and not only in terms of lyrics. The whole song sounds slowed down, especially the vocals. Sort of goes back to The Pod, but with actual humour. Yeah, it's gross, repetitive, moronic humour, but it's at least imaginative. Wouldn't want to hear this for seven minutes, though, please, no. And it stops, and we're off into Gabrielle, a Thin Lizzy parody as far as I read. And it's great! It's catchy, tuneful, energetic, and they get a really good sound going with a neat vocal impression and a hooky chorus! Finally, it's getting really good! I like the lyrics, too: it doesn't go out of its way to shove the "joke" in your mouth, and it works even better because of that. "Nobody's perfect, baby, and I'll always love you anyway"? Darn yes! Simple and effective. Great guitar solo, too. Fun playing around with the tremolo effect, too! Yeah, I just like it that much, and I don't even need to say this is the best track here so far.
And now, we go into Did You See Me?, and from the first seconds I can already tell this is going to be something else entirely: slow, strummed acoustic guitar playing those cliché "mysterious" chords, probably pulled from 70's Rush albums. The bass comes in -- ok, they're going for a Pink Floyd vibe, it seems, and so far they're nailing it to a tee. Haha, from the FIRST note I can already tell Dean has got his David Gilmour mode 100% engaged. I'm loving it!
... guys, please, I have already heard this album several times before. I'm only speaking like this for literary effect.
Okay, this just IS Pink Floyd: the string-y keyboards are on, the heavy guitar is doing its thing and the drums are heavier. And the whole song is heavier now! Wow, we're pretty much back in the 70's in less than two minutes. So far, no vocals, and this thing RULES! Ok, it's quiet now, and the vocals are in. Encoded, muttery vocals, and with a weird, bubbly effect going on underneath, like something out of an early Residents album. I like the vocal melody. Ok, this is the best song so far. Well, now we're into Genesis territory. Maybe not Genesis, but they're doing something hilarious, which Mark Prindle calls "Medieval rock" break which is a 100% apt label. Funny as hell! DOO-DOO-DOO! DOO-DOO-DOO! Doo-doo-doo-doo-doo, DOO! Great stuff. Now with the acoustic guitar coda. Awesome. Apparently this came from the The Mollusk sessions, and it's up to par. It is outtake-ish, but perfectly up to par.
How High Can You Fly?, and we're still on the 70's, with a hum-along guitar melody, and a VERY tremolo heavy vocal singing the song title over and over. The guitar melody sounds like something they wrote for White Pepper, but ended up replacing with the far superior Flutes of Chi. The spoken voice is also great. This is moronic humour, but it's inventive, and far better than the first four tracks. I like it. Transitions are in, and from the first seconds I can tell it's a parody on "adult contemporary", and they do an amazing job at nailing the airy, reverb-laden sound and cheesy keyboards. Great stuff! Colour me impressed, guys! This is really good stuff! And even the song itself is quite catchy. Great guitar work, as usual. And now, it's Israel, probably the most bizarre piece in here. But this is the GOOD kind of bizarre: not the thing supposed to shock and awe you, but the thing to leave you genuinely puzzled. On surface, it's a parody of soft, cheesy jazz music, with a melody played on saxophone and sounds of sirens, applause and the guys impersonating preachers. And there are backmasked speeches! Okay, hold on...
No, they're just fragments of the normal speeches played backwards. Yeah, I never checked it before, and only did now for documentary purposes! The synthesized "doo doo" sound is extra funny! I like this track. Its oddness is sort of captivating. The voices repeating "Israel Israel Israel" at the end is weirdly hypnotic. Now, it's The Rift, which opens up with "sci-fi" sound effects and gives way to a strangely groovy drum pattern. It's very slow and "spacey", and the vocal melody is sort of catchy. The lyrics are silly. Oh, shut up, already. This crap is almost 6 minutes long. Is it part of the point to leave me so uninterested? Okay, I can see you have your "ooooh, yep!" in place. And the guitar effects and the sci-fi noises. That's okay. Now just go away already. Good, it's going away. Finally. Now let's move on.
And we're into Monique, the Freak. Right away, it's great: a Prince parody, with a solid groove, a sticky guitar riff, those clean guitar strums and, ick, those vocals are so spot on. So spot on it's sick. And a vocoder on the chorus. Of course! Perfect. It's already fun as hell. The lyrics are so moronic and so spot on, it's hard not to get along with it. Ah, and I LOVE the backing vocals! Brilliant stuff. The whole thing just gels together and works wonders. And again, that Vocoder. Brilliant. Yeah, but NOW is the great part, the instrumental break with that awesome guitar riff. And the guitar solo. Yeah, the guitar solo! Great sound, great playing! This would go on for 10 minutes on Craters of the Sac, and it could as well go on here! Ah, and the backing vocals on the break! Also great stuff. Really, this is great from start to finish, alright. You know? I can almost say this track is too short, even at nearly 6 minutes, and even with that great guitar work near the end. But they kept the best for last! At least best in terms of humour, because Someday might be one of the very, very best comedy pieces in their whole catalogue. And I say comedy in a GOOD way: good musical comedy is not easy to make, and this is fantastic. The imitation of cheesy, starry-eyed, Disney-esque romantic ballads is spot on for the first half, but then it's BRUTALLY deconstructed after that: atrocious "chorus", dumb lyrics, a deeply intoned voice speaking back the chorus lyrics, and the whole thing is off! Amazing. And given that twist alone, the absolute stupidness of the whole song comes to life, bringing along with it pretty much every other song in the genre. Even the "orchestration" near the end becomes brilliantly, pathetically hilarious. And, EVEN still, the song is beautifully written. It's definitely not a joke for the sake of the joke: it's well constructed humour.
Anyway, that's an amazingly strong ending for the album, with two fantastic tracks back to back. I still hold Did You See Me? as an easy favourite, and everywhere else, well... it's a mess, you can see. Though the low points are almost all at the beginning of the album. Don't know if that's good or bad... Either way, this album is a necessity for Ween fans, while casual fans need only to fish out the best tracks in here and dump the rest, I guess... Feel free to disagree. I'm here to be disagreed with!... sort of.
Sunday, 23 August 2009
Annotated Discography: Ween (part 8)
I feel like I should apologise for the long delay between last post and this, but you know what? Screw it. There's nobody to apologise to, since nobody reads this, and I have my own good reasons to not have posted since then. It certainly hasn't got to do with me being bored with this or not wanting to do this review. Though I have to admit I'm not as excited as I was at the beginning. Yet, strangely enough, I do intend to start another series once I'm done with Ween. Though I was thinking of doing something different... Well, who knows. Let's focus on Ween for now. Today's record is Quebec. It's the third great Ween record in a row, and it seems to follow a more "serious" trend. Some tracks are blatantly parodic and humorous, some tracks are subtly parodic and humorous, and other tracks give me no reason whatsoever to believe they're either of those two things. The band is still all over the place with band homages and style pastiches, the songwriting is still brilliant and the performances convincing, most tracks are wicked good, and, hey, I seem to pick up a vibe of honesty from a few songs here. Maybe it's just wishful thinking: the last two albums were so endearing and good that I WANTED to get a glance at the real faces of the two guys. What would be the problem? They are not a novelty outfit after all. I'm all for making music for fun and enjoyment, but nothing should hold you back from pouring a bit of REAL blood and sweat over your songs.
But once again, let's go in depth. I'll hit play now and get writing.
They open up with It's Gonna Be a Long Night, a very direct and obvious Motörhead parody. They've done that before with Stroker Ace, but I think the parody is even more straight and clear this time around. The strained screaming on one note is very reminiscent of Ace of Spades, and the gruff, fat guitar sound is purely Motörheadesque. GREAT song, and great album opener. Of course, its greatness is a bit compromised by it being TOO similar to Motörhead songs and having little of Ween's own unique style on it. I don't know, it's a brilliant song and I'm enjoying it a lot, but it's sort of like a way to wake you up before the REAL show. It's a short tune and it's just ending now. Awesome. Zoloft is on now, and I think this is the first time Ween goes bossa nova. Notice: this is AWFULLY fake bossa nova, with a dull, electronic drum beat, airy pad chords, and the whole song is concocted for purely humorous effect. DON'T think that João Gilberto and Antônio Carlos Jobim are recognised as a geniuses for making music like this, guys! To be honest, I think this is a weak song. It's not terribly catchy, it's not terribly well crafted, and singing about antidepressants is nothing new, is it? Now, those backing vocals in the end, that freaks me out. Why? BECAUSE IT SOUNDS LIKE SIGUR RÓS. Really, the first time I heard that, I was going WTF -- these guys listened to Ágætis Byrjun or what? Man.
Transdermal Celebration is on now. I'm absolutely mad about this song. It's so good it's sick; amazing work here, guys. Everything is insanely catchy, from the vocal melodies all the way through the great guitar licks and embellishments. The wacky sci-fi tale told with over-the-top words and terms is great stuff too. They even made a video for this song that pretty much TELLS, visually, what they're singing here. I love it; if I had to make a super-ultra-condensed compilation of awesomeness with the best Ween songs, this would be one of my first picks -- along with every track from The Mollusk, of course. That guitar riff and bookends the song is beautiful as hell, by the way. Now, it's Among His Tribe, one of the big question marks in this album: a quiet, folksy, hushed song, with lyrics without a single hint of irony or mockery. I don't see what they could possibly be making fun of here, though some of those electronic sounds seem not to belong there at all. Faced with this song, I have no choice other than to take it for what it seems to be, and it is a very pretty song. Nice song, though sometimes I barely notice it at all.
Side B opens with So Many People in the Neighborhoor, one of those songs that can lure people into thinking of Ween as an actual novelty act. Silly sounds, non-existant melody and repetitive, inane lyrics. I don't enjoy it much, to be honest, but the chaotic "instrumental" breaks are pretty impressive and fun, with how they weave distorted, buzzing sounds and distorted, undecipherable vocals. I don't know what else to say about it -- it's ending and I sort of like it. Tried and True, now that one is far more impressive, drawing influence from acoustic, slightly country-influenced pop. That descending guitar line is pure brilliance, and the lyrics and singing and over-the-top and pompous enough to be non-serious but without being obnoxious. Though I have to be frank, I can't stand the use of the word "smell" for comedic purposes. Other than that, I like this song a whole lot, especially the guitar work. That sitar imitation is used for very good effect. Now, Happy Colored Marbles goes back to the semi-novelty camp, this time with a "toy organ" and marimbas, silly vocals and "out there" lyrics. At least the song is really catchy, and the slow tempo and unsettling sounds are creepy at JUST the right amount. The explosive, climactic ending is awesome! Great concoction of sounds, and a great effect caused by the sound of "real" instruments breaking out of the fake, electronic "toy" sound. That moment alone makes the song worth it. To close the side, it's Hey There Fancypants, a very straightly-played ragtime. I can't stand the kind of song they're imitating here. Really, just hearing the lyrics makes me want to die -- I HATE this kind of stuff, and even though I appreciate how well written and performed this song here, I don't like the song at all. Of course I don't put the blame on Ween -- I'm not that stupid. Still, eh. If I could cut out one track from the album, I wouldn't hesitate before choosing.
Anyway, we move to side C with Captain. This time, we're all the way back to 70's "art rock", slow, very echoey, desolate, plaintive and repetitive. It builds very slowly, laying element over element; first the guitar line, then the repeated vocals, the chimes, then the lead guitar, and so on. As tempted as I am to compare this to Pink Floyd, it's not similar to Pink Floyd at all -- I'm not sure what band it is similar to. But yeah, I'm familiar with the kind of vibe they're trying to create, and it's a very good effort. Those slowed down vocals are too jarring, but I like the lead guitar, and the song isn't trying too hard to show it is a pastiche. The balance of elements is just right, and the strings at the end are a VERY nice touch. And now it's Chocolate Town, a bit of country pop or whatever the hell you call this. VERY, VERY nice song, catchy, tuneful and poppy. The lyrics are obviously silly, but the vocal efforts by Gene almost make them resonant. Either way, great song, and now we come up to I Don't Want It, a... love ballad. Played ABSOLUTELY straight. Well, perhaps a bit TOO straight, since they lay down most romantic ballad clichés and nail then down perfectly. But know what? This song is GORGEOUS. If it was written by any other band, it'd probably be my favourite ballad ever. But since this is Ween, I can't shrug off the fact that they're probably doing it just for fun. But HOW can this be "fun"? It's sad and gut-wrenching! No sense of "parody" can twist the inherent beauty of this song, not even ending almost every line with a little "ah", as in "I'd lie in your arms if I could-ah". And that guitar solo in the end is the band's crowning achievement of beauty. I love it dearly. And it's immediately followed by The Fucked Jam. This is probably the band's most idiotic instrumental ever, but then again, Ween KNOWS how to make "idiotic" become a compliment. It consists of a dull drone of electronic drums and a buzzing bass drone, and on top of that they put a layer of SOMETHING... I don't know what it is, it's SOMETHING. It seems like some random, senseless vocal blabbering encoded into a buzzy, annoying synth drone. The very quick inflections of that synth surely do sound like vocal noises. And that's all that goes on for three minutes. Actually, not quite: they add those false endings here and there, exactly to make you unsure whether the song has ended or not. And since this closes side C, the effect is vastly improved. It's a funny song, but perhaps a bit TOO novelty.
Then, we get Alcan Road. What's the matter with this song? It's five minutes long, and I can barely hear anything at all. It's got wind sounds, slow droning bass notes, some other echoey effects and a "mysterious" guitar line. Really, I have no idea to say here. It IS a pretty beautiful song, but I don't quite know what to make of it. Weird. Anyway, let's go on to The Argus, which has a sort of British fantasy prog-folk vibe already from the beginning. "Yesterday we lost our lives, tomorrow we were born". Yep. It's very calm and pleasant and jangly in the beginning, and the melody is actually very catchy. Once again this falls into the category of "obviously, but not obnoxiously humorous". I love that instrumental break: it's SO 70's British fantasy rock! The mood shift afterwards is also really neat, all full of fairground flutes or calliopes or whatever those are called, and the ending is also very beautiful. This song is a nice example of how well Ween can mix clever, subtle humour with actual, honest beauty. But now, we get to the closing song, If You Could Save Yourself (You'd Save Us All), which now goes to glammy, bombastic hard rock ballads, complete with verses sung over a very hushed and quiet background. I could never be sure of how much of this song is actually serious and how much it isn't, because as much as it's clearly a parody of a very well known style, there's a tinge of honesty here. Or maybe it's just personal bias of mine? Either way, I REALLY like this song. I guess that particular line in the last stanza is the only thing that hints at obvious humour, but otherwise this song actually is quite gut-wrenching. The vocal delivery is amazing, and the songwriting is honestly impressive. I love this song, and the bombast and heavyhanded delivery is actually completely understandable and justified for a band that is known for being so self-aware and humourous. It's so good, I actually wish to hear more like this from them!
Either way, that was Quebec, another excellent Ween album. As for the next ones to be reviewed, do not expect so much praise. But THAT is for later.
But once again, let's go in depth. I'll hit play now and get writing.
They open up with It's Gonna Be a Long Night, a very direct and obvious Motörhead parody. They've done that before with Stroker Ace, but I think the parody is even more straight and clear this time around. The strained screaming on one note is very reminiscent of Ace of Spades, and the gruff, fat guitar sound is purely Motörheadesque. GREAT song, and great album opener. Of course, its greatness is a bit compromised by it being TOO similar to Motörhead songs and having little of Ween's own unique style on it. I don't know, it's a brilliant song and I'm enjoying it a lot, but it's sort of like a way to wake you up before the REAL show. It's a short tune and it's just ending now. Awesome. Zoloft is on now, and I think this is the first time Ween goes bossa nova. Notice: this is AWFULLY fake bossa nova, with a dull, electronic drum beat, airy pad chords, and the whole song is concocted for purely humorous effect. DON'T think that João Gilberto and Antônio Carlos Jobim are recognised as a geniuses for making music like this, guys! To be honest, I think this is a weak song. It's not terribly catchy, it's not terribly well crafted, and singing about antidepressants is nothing new, is it? Now, those backing vocals in the end, that freaks me out. Why? BECAUSE IT SOUNDS LIKE SIGUR RÓS. Really, the first time I heard that, I was going WTF -- these guys listened to Ágætis Byrjun or what? Man.
Transdermal Celebration is on now. I'm absolutely mad about this song. It's so good it's sick; amazing work here, guys. Everything is insanely catchy, from the vocal melodies all the way through the great guitar licks and embellishments. The wacky sci-fi tale told with over-the-top words and terms is great stuff too. They even made a video for this song that pretty much TELLS, visually, what they're singing here. I love it; if I had to make a super-ultra-condensed compilation of awesomeness with the best Ween songs, this would be one of my first picks -- along with every track from The Mollusk, of course. That guitar riff and bookends the song is beautiful as hell, by the way. Now, it's Among His Tribe, one of the big question marks in this album: a quiet, folksy, hushed song, with lyrics without a single hint of irony or mockery. I don't see what they could possibly be making fun of here, though some of those electronic sounds seem not to belong there at all. Faced with this song, I have no choice other than to take it for what it seems to be, and it is a very pretty song. Nice song, though sometimes I barely notice it at all.
Side B opens with So Many People in the Neighborhoor, one of those songs that can lure people into thinking of Ween as an actual novelty act. Silly sounds, non-existant melody and repetitive, inane lyrics. I don't enjoy it much, to be honest, but the chaotic "instrumental" breaks are pretty impressive and fun, with how they weave distorted, buzzing sounds and distorted, undecipherable vocals. I don't know what else to say about it -- it's ending and I sort of like it. Tried and True, now that one is far more impressive, drawing influence from acoustic, slightly country-influenced pop. That descending guitar line is pure brilliance, and the lyrics and singing and over-the-top and pompous enough to be non-serious but without being obnoxious. Though I have to be frank, I can't stand the use of the word "smell" for comedic purposes. Other than that, I like this song a whole lot, especially the guitar work. That sitar imitation is used for very good effect. Now, Happy Colored Marbles goes back to the semi-novelty camp, this time with a "toy organ" and marimbas, silly vocals and "out there" lyrics. At least the song is really catchy, and the slow tempo and unsettling sounds are creepy at JUST the right amount. The explosive, climactic ending is awesome! Great concoction of sounds, and a great effect caused by the sound of "real" instruments breaking out of the fake, electronic "toy" sound. That moment alone makes the song worth it. To close the side, it's Hey There Fancypants, a very straightly-played ragtime. I can't stand the kind of song they're imitating here. Really, just hearing the lyrics makes me want to die -- I HATE this kind of stuff, and even though I appreciate how well written and performed this song here, I don't like the song at all. Of course I don't put the blame on Ween -- I'm not that stupid. Still, eh. If I could cut out one track from the album, I wouldn't hesitate before choosing.
Anyway, we move to side C with Captain. This time, we're all the way back to 70's "art rock", slow, very echoey, desolate, plaintive and repetitive. It builds very slowly, laying element over element; first the guitar line, then the repeated vocals, the chimes, then the lead guitar, and so on. As tempted as I am to compare this to Pink Floyd, it's not similar to Pink Floyd at all -- I'm not sure what band it is similar to. But yeah, I'm familiar with the kind of vibe they're trying to create, and it's a very good effort. Those slowed down vocals are too jarring, but I like the lead guitar, and the song isn't trying too hard to show it is a pastiche. The balance of elements is just right, and the strings at the end are a VERY nice touch. And now it's Chocolate Town, a bit of country pop or whatever the hell you call this. VERY, VERY nice song, catchy, tuneful and poppy. The lyrics are obviously silly, but the vocal efforts by Gene almost make them resonant. Either way, great song, and now we come up to I Don't Want It, a... love ballad. Played ABSOLUTELY straight. Well, perhaps a bit TOO straight, since they lay down most romantic ballad clichés and nail then down perfectly. But know what? This song is GORGEOUS. If it was written by any other band, it'd probably be my favourite ballad ever. But since this is Ween, I can't shrug off the fact that they're probably doing it just for fun. But HOW can this be "fun"? It's sad and gut-wrenching! No sense of "parody" can twist the inherent beauty of this song, not even ending almost every line with a little "ah", as in "I'd lie in your arms if I could-ah". And that guitar solo in the end is the band's crowning achievement of beauty. I love it dearly. And it's immediately followed by The Fucked Jam. This is probably the band's most idiotic instrumental ever, but then again, Ween KNOWS how to make "idiotic" become a compliment. It consists of a dull drone of electronic drums and a buzzing bass drone, and on top of that they put a layer of SOMETHING... I don't know what it is, it's SOMETHING. It seems like some random, senseless vocal blabbering encoded into a buzzy, annoying synth drone. The very quick inflections of that synth surely do sound like vocal noises. And that's all that goes on for three minutes. Actually, not quite: they add those false endings here and there, exactly to make you unsure whether the song has ended or not. And since this closes side C, the effect is vastly improved. It's a funny song, but perhaps a bit TOO novelty.
Then, we get Alcan Road. What's the matter with this song? It's five minutes long, and I can barely hear anything at all. It's got wind sounds, slow droning bass notes, some other echoey effects and a "mysterious" guitar line. Really, I have no idea to say here. It IS a pretty beautiful song, but I don't quite know what to make of it. Weird. Anyway, let's go on to The Argus, which has a sort of British fantasy prog-folk vibe already from the beginning. "Yesterday we lost our lives, tomorrow we were born". Yep. It's very calm and pleasant and jangly in the beginning, and the melody is actually very catchy. Once again this falls into the category of "obviously, but not obnoxiously humorous". I love that instrumental break: it's SO 70's British fantasy rock! The mood shift afterwards is also really neat, all full of fairground flutes or calliopes or whatever those are called, and the ending is also very beautiful. This song is a nice example of how well Ween can mix clever, subtle humour with actual, honest beauty. But now, we get to the closing song, If You Could Save Yourself (You'd Save Us All), which now goes to glammy, bombastic hard rock ballads, complete with verses sung over a very hushed and quiet background. I could never be sure of how much of this song is actually serious and how much it isn't, because as much as it's clearly a parody of a very well known style, there's a tinge of honesty here. Or maybe it's just personal bias of mine? Either way, I REALLY like this song. I guess that particular line in the last stanza is the only thing that hints at obvious humour, but otherwise this song actually is quite gut-wrenching. The vocal delivery is amazing, and the songwriting is honestly impressive. I love this song, and the bombast and heavyhanded delivery is actually completely understandable and justified for a band that is known for being so self-aware and humourous. It's so good, I actually wish to hear more like this from them!
Either way, that was Quebec, another excellent Ween album. As for the next ones to be reviewed, do not expect so much praise. But THAT is for later.
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