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THE RECORD EXCHANGE REVIEW: THOMAS ON SQUID’S ‘COWARDS’

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March 10, 2025 - The Record Exchange Blog - by - No Comments

Artist: Squid
Album: Cowards
Reviewer: Thomas Metzger

Squid’s music always seems to have a sense of unease, and I think that is one of their strong suits. And can you blame them? In the state of the world today, it’s no surprise that the music coming out of them is so carefully considered. On their newest album Cowards, they pull from real life feelings of anxiety and uncertainty about where our world is headed. A comparison can certainly be made to Radiohead, a band that Squid have cited as “one of the best to ever do it,” according to an AMA (Ask Me Anything) on Reddit. Their new album definitely has moments akin to that of Hail to the Thief or In Rainbows, yet has a more modern feel and timeliness to it, lyrically as well as sonically.

Opener “Crispy Skin” is a tight krautrock drumbeat packed with angular and scratchy math-rock guitar sounds, combined with tinkling synth textures and driving bass lines. The rare drummer/singer Ollie Judge sings about an alternate world of normalized cannibalism, and whether one can resist to participate in a society of evil assimilated within itself. The texture within these tracks also emits a feeling of anxiety: dense, every part thoughtfully considered and well-fit that it’s easy to miss on the surface. Hints of jagged guitar throughout the album give a sort of twitchy feeling, like you feel like you’re being followed. The track “Blood on the Boulders” slowly builds from the quiet into a full-on freakout. Layered vocal lines and guitar parts toward the end of the track give it a heady, dizzying feel until it quickly cuts back to the quiet and unease, sucking you of your air supply in an instant.

“Building 650” sings about being an outsider in an unknown space, undercut by eerie dual-guitar lines and brass horns.“ The character Frank is an evil guy that the protagonist can’t seem to part ways with. “Cro-Magnon Man” has an underlying anger and tenseness to it, like one wrong move and you will awaken the beast within. The title is in reference to the first early humans to settle in Europe after the Ice Age and the idea of the caves they lived in. Bassist Laurie Nankivell says, “Caves are always referred to and explored by psychologists as being representative of our mind, what we repress and what we can’t deal with.”

“Fieldworks I” and “Fieldworks II” are almost a refreshing breath of air in the middle of the bleak reality that Squid have created on this album. A light harpsichord line repeats throughout as Judge sings about being free from “twisted bones.” Once Part II kicks in, we get a taste of somewhat tribal percussion before Judge’s gentle voice serenades over a beautiful guitar melody.

The later half of the album I would describe as more dramatic than the first. “Cowards” starts off with a mesmerizing collage of airy synth tones and brass horn, very Animal Collective-esque. Once the rest of the band kicks in, the scene shifts from what feels like an open field of fresh air, to all of a sudden a sort of slow-motion-style movie death, as the group introduces a light yet dramatic touch of brass horns and strings; very beautiful, and I feel it is the climax of the album. It makes sense reading that this was the first song they wrote for this album, as not only is it the title track, but I feel like the track that best represents the album.

“Showtime!” wakes us back up from the dramatic end to the title track. Jagged slap-back guitar grooves over a hypnotic drum groove, as the band slowly crescendos to an electronic middle section, as the synth arpeggio slowly ramps up in speed, guitar patterns circling around a “Weird Fishes/Arpeggi”-style drum pattern, until we eventually reach the last track “Well Met (Fingers Through the Fence).” If “Cowards” and “Showtime!” were the dramatic peaks of the album, “Well Met” is the closing act, painting an auditory collage over rattling percussion and slinky vocal melodies, almost sung with a childlike whimsy, featuring additional female vocalists. They sing about the mundane repeating cycle of housing and urban development, longing for the “grass between their toes.” It is a satisfying ending to the dramatic montage of sound that Squid delivers on this album.

Overall, Cowards paints a bleak picture of a future where morality is questioned, and we become overwhelmed to the point of hopelessness. I’m not sure if you can call Squid one of the more underrated post-punk bands out right now, but they have certainly become one of my favorites with each passing release. Through their dramatic instrumentation and lyricism, each album seems to expand further into a feeling of general restlessness and suspense, unsure of where society is headed, and Cowards seems to be a well-crafted next chapter in the story.

Favorite tracks: “Crispy Skin,” “Building 650,” “Cro-Magnon Man,” “Cowards”
RIYL: Krautrock, Radiohead, angular guitars, math rock

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THE RECORD EXCHANGE REVIEW: THOMAS ON JEFF PARKER ETA IVTET’S ‘THE WAY OUT OF EASY’

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February 10, 2025 - The Record Exchange Blog - by - No Comments

Artist: Jeff Parker ETA IVtet
Album: The Way Out of Easy
Reviewer: Thomas Metzger

Jeff Parker has had quite a storied career: a Berklee College of Music grad and possibly best known as the guitarist for the post-rock band Tortoise (check out TNT if you haven’t – incredible album). However, his talents aren’t reigned in by Tortoise, as Parker is, in my opinion, one of the more underrated jazz guitarists and band leaders out there today. Parker made one of my favorite solo jazz guitar albums ever with his use of atmospheric textures and loops on 2021’s Forfolks, and also has fronted (led?) groups such as the New Breed in 2016 and now, the ETA IVtet. 

Rounding out the ETA IVtet are Anna Butterss on amplified double bass, Jay Bellerose on drums and percussion and Josh Johnson on alto saxophone and electronics. (Check out their solo stuff, too, it’s all good). The Way Out of Easy is actually a live recording of the group, recorded at the now shuttered ETA in Los Angeles. According to their Bandcamp, the group “evolved from a band that played mostly standards into a group known for its transcendent, long-form (sometimes stretching out for 45 minutes or more) journeys into innovative, often uncharted territories of groove-oriented, painterly, polyrhythmic, minimalist and mantric improvised music.” This is where the ensemble cut their chops across the years, and it shows on this recording. 

Opener “Freakadelic” is a sparse and groovy Parker piece, originally written in 2012, that in this rendition is like a potion of lounge jazz mixed with sonic exploration and electronic elements. Across its 23-minute runtime, it never really gets to a full-blown freakout, but still leaves the listener right on the edge of their seats waiting for what will happen next. The track never feels out of control or meandering, but rather tightly knit, the musicians never overstepping one another with what they decide to play. Every note matters.

The sudden closure of the ETA venue must’ve certainly had an impact on the group. This was their home for playing for many years, and you can certainly feel their emotion throughout the album, such as the opening notes to “Late Autumn,” where Parker takes center stage with his signature fingerpicking and harmonic sound, eventually layering background textures overtop – very Forfolks-esque. Slowly the ensemble joins in, and soon you are transported to a space ripe for deep thought, again sparse, but in a way where the sum of everyone’s parts creates a unique sonic texture and a beautiful feel that I can best describe as Miles Davis’ In a Silent Way meets Brian Eno’s Music for Airports. It leaves room for reminiscing on the past, something I’m sure the group felt when the ETA closed.

Overall, this album is rich with ambiance and moods, venturing deep within the psyche of the group without ever getting into anything too freaky for most people to enjoy. Each member has a unique playing style that, combined, is meditative and sonically rich. Perfect for night drives, smokey jazz clubs and deep meditative thought. 

Favorite tracks: All of them!

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THE RECORD EXCHANGE REVIEW: THOMAS ON NEIL YOUNG AND CRAZY HORSE’S ‘RAGGED GLORY’

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November 18, 2024 - The Record Exchange Blog - by - No Comments

Artist: Neil Young and Crazy Horse
Album: Ragged Glory
Reviewer: Thomas Metzger

Neil Young has never been a stranger to trends in music. From the introverted acoustic folk of Harvest to the puzzling rockabilly of Everybody’s Rockin’, Young has proven the need to constantly change and adapt to the wider music landscape.

Enter the ’80s, where you can argue that Young was lost. He released a string of records that performed poorly and left fans confused, so much so that his label, Geffen Records, actually sued him for nearly $3.5 million, citing that he was releasing uncommercial and “musically uncharacteristic” records. The rest of the ’80s would not be kind, with Young releasing a flopped movie as well as becoming entangled in more lawsuits and poorly performing records.

All this would be a lot on anyone, even Neil Young. But it wouldn’t be long before he would return to form with the hit single “Rockin’ in the Free World,” a fairly simple but catchy song where Young sings his despair over simple open guitar chords, distortion turned up. It would not only be a precursor to what would become known as grunge, but also provide a glimpse into his next album that would launch a comeback for Neil, Ragged Glory.

Neil Young is often credited as the “Godfather of Grunge,” with “Rockin’ in the Free World” adopting a grungy crust of tone and attitude. Ragged Glory brings back his famous Crazy Horse backing band to deliver what I would argue is one of the best early grunge albums. It takes the developing sound of grunge and puts a Neil Young spin on it. Opener “Country Home” is more upbeat in tone than you would expect on most grunge or alternative albums at the time, but the distorted guitars mixed with Young’s classic open-chord progressions give his classic songwriting a fresh sound.

The track “F*!#in’ Up” is my contender for one of the best grunge songs of all time (yeah, I said it). The drop-D guitar riff and pissed-off attitude from Young comes through in his vocal delivery and a blistering guitar solo that could’ve easily fit on the radio alongside other bands like the Melvins or Nirvana. You can feel the angst coming through the main riff that is sure to get stuck in your head for days after you first hear it. 

Midway through the album we get the track “Love To Burn.” This is another barnburner from Young and Co., with extended guitar jams and classic lyrical work from Young. This is an example of an ever-elusive “grunge-song-about-love,” where he sings about taking a chance (“ON LOVE!”), only later in the song to regret the choices he made. 

As with most alternative albums from that era, perfection is not often worried about. You could argue the backing vocals on “Farmer John” are goofy and could’ve maybe used another take, but I think they are a great representation of the ethos of the era, that it doesn’t have to be perfect. I think the mindset of alternative music at the time was not to worry too much about getting “perfect” takes, and to instead just get your message across. I think Young was pissed off about his place in the music world, and he needed an outlet to let out his anger. Luckily for him, he just happened to be pissed off at the right moment in time. This album would be a shining moment in Young’s discography, and also earn him some “cool points” among the alternative scene. 

While different in sonic characteristics and attitude than his usual output, Ragged Glory is a fun and unique moment in Young’s discography. It’s one that mixes his classic songwriting style with the attitude and sounds of the late-’80s underground, and the result is a home run. While he might be known more for his folky sound, this album shows that he is not afraid to get rowdy and turn the volume up to 11. If you’re a fan of ‘90s alternative rock, I would implore you to give this album a chance. I think you’d be surprised. 

RIYL: Nirvana’s Nevermind, grunge/’90s alternative rock, loud guitars

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THE RECORD EXCHANGE REVIEW: THOMAS ON MDOU MOCTAR’S NEW ALBUM ‘FUNERAL FOR JUSTICE’ AND TREEFORT HALL SHOW

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October 28, 2024 - The Record Exchange Blog - by - No Comments

Artist: Mdou Moctar
Album: Funeral for Justice
Concert: Treefort Music Hall, October 19, 2024
Reviewer: Thomas Metzger

ALBUM REVIEW:

Mdou Moctar’s newest album Funeral for Justice is a pyrotechnic, explosive modern-day blend of Saharan blues and Jimi Hendrix, with tracks about brutal government regimes and family tradition. 

Mahamadou Souleymane, better known as Mdou Moctar, is a Tuareg songwriter/musician from Niger. He made his first guitar himself, using spare pieces of wood and bicycle cables. However, the small village of Agadez he grew up in did not allow secular music, so he had to practice in secret. His practice sure paid off, as you can argue he is one of the most talented, interesting guitar players out there right now, with constant comparisons to Jimi Hendrix.

Lightning fast solos, chugging 6/4 grooves and lyrics about his home village were prominent on his last full length album Afrique Victime. Funeral for Justice takes those points and turns the amplifier up to 11. “Funeral” has Moctar singing about oppressive government coups and the longing of freedom for his people while shredding these absolutely face-melting solos, especially on the track “Imouhar,” meaning “brother(s).”  The track opens with a subdued Saharan Blues riff, and group vocals come in singing:

 “Imouhar, you know this indeed we have a written history/Written in books and the whole world knows it.” 

Then, the track opens up as an explosion of electric guitar hitting you square in the face. After pleading to his people to not abandon their traditions, Moctar erupts into another mind-bending solo, now using his guitar to assert his frustration and persuade his people. Moctar does not hold back. You know exactly what he is feeling.

The songs on Funeral for Justice are inherently political, mostly inspired by the Nigerian government being taken over by a violent, right-wing military coup back in 2023 while touring for Afrique. It was because of this coup that Moctar and his band couldn’t return to their home country, and were afraid for the lives of their loved ones. The final track “Modern Slaves” shows Moctar yearning for peace and safety for his home, singing, “Oh world, why be so selective about human beings?/ My people are crying while you laugh.” 

Moctar’s feelings about oppressive regimes on this album are relatable to anyone who has gone through it: the longing for peace and stability, and the uncertainty of what will come next. While Funeral for Justice is a cry for help and for freedom from the abuse of fascist powers, Moctar will also release Tears of Injustice in 2025, which features an entire rerecording of the album on acoustic instruments, in what Matador Records describes as “the sound of grief” and “the meditative mirror-image to the blistering original.”

CONCERT REVIEW:

While Moctar’s studio albums do a good job demonstrating his talent on guitar, where he truly shines, in my opinion, is in the live setting. 

Fast-forward to October 19, 2024, Treefort Music Hall: Can and Neu playing over the house PA, providing just a small snippet of the classic sounds of the past that Moctar and Co. have adopted into their playing. While there were many events happening around the Treasure Valley that night, those who chose to see Moctar were delivered an amazing performance. 

The lights go out, and a tape-loop recording consisting of chicken roosts and background wind and conversation plays over the house speakers. Moctar and his band stroll out on stage, dressed in Nigerian garments and huge white scarves. Very nonchalant, not saying much to the crowd. Just a simple smile and wave. Mdou Moctar is a man of few words, but needless to say, his playing does the talking for him. 

And then, the tape loop ends and the band launches into the opening track of Funeral for Justice, and in an instant, we are 0 to 100 mph. Moctar’s fiery guitar chops light up the crowd, myself included. 

While the similarities of Moctar and Hendrix are apparent, Moctar has formed his own style and path of guitar playing, borrowing the stylings of Saharan blues legend Ali Farka Touré and mashing them together with raunchy blues riffs played at the speed of light. Listening or watching him solo with no pick is enough to make even the most seasoned of guitar vets go “Holy s***!” 

While Moctar may be across the world playing shows night after night, he certainly hasn’t forgotten about his people. The passion and intensity he puts in every single riff, jam and song is felt across the entire room. 

And just like Hendrix had Mitch Mitchell and Noel Redding laying the foundation for Hendrix to go crazy, Moctar’s backing band – rhythm guitarist Ahmoudou Madassane, drummer Souleymane Ibrahim and bassist/producer Mikey Coltun – were putting in work, laying the steady 6/4 grooves for Moctar to release his anguish and frustration through his guitar. Drummer Ibrahim pounds those drums and provides an awesome mix of rock, blues, disco and Afrobeat rhythms throughout his playing. Guitarist Madassane provided the tight rhythm guitar, and bassist Coltun spawned thunderous bass that you could feel in your entire body.

It surely can’t be easy laying the foundation for a player like Moctar to do his thing, but his band members make it look so easy. With someone like Moctar taking the lead, the band needs to be rock solid and grounded, and they very much were. Songs can spin off into extended, krautrock-meets-Saharan-blues-style jams, where Moctar takes the lead and plays like his life depends on it. And in a way, it does. 

About halfway through, we launch into another explosive jam. Surprisingly, about midway through the 6/4 shred-fest, the beat switches to a 4/4 disco/funk groove that couldn’t be resisted by the crowd. It was a nice foray into a style that we maybe don’t often associate with Moctar, but could be reminiscent of late-era W.I.T.C.H. (We Intend To Cause Havoc) albums. 

After about an hour and 15 minutes of face-melting solos, the band exits the stage, the crowd screaming and clamoring for more. Moctar returns to the stage, solo. The crowd loses it. He slowly picks up and tunes his guitar, and in this moment of anticipation and “what will happen next,” I have never heard Treefort Music Hall so quiet. No barware clinking, no background conversations; you could hear a pin drop. Everyone was waiting in awe at what he would do next.

After the rest of the band returns, they launch into a final, atomic-level explosion of a jam, Moctar taking to the front of stage. He knows what the crowd wants, and he is feeding off it. Running both hands up and down the neck of his Olympic White Fender Strat (similar to Hendrix), Moctar shreds his most intense performance of the entire night. He wants the crowd to remember this show, and boy will it be hard to ever forget.

While Funeral for Justice is great on a nice turntable and speakers, truly nothing compares to seeing Moctar live. The jams get more intense, and the energy in the room is irresistible. The face-melting solos blasting the noggins of everyone inside Treefort Music Hall that night will linger on in the minds of everyone who was there, and I truly feel bad for anyone who wasn’t there to experience it. Moctar is a once-in-a-lifetime talent, one that I will drop everything to go see if they come to town, and so should you.

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THE RECORD EXCHANGE REVIEW: THOMAS ON THE SELF-TITLED DEBUT FROM LA LOM (THE LOS ANGELES LEAGUE OF MUSICIANS)

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September 30, 2024 - The Record Exchange Blog - by - No Comments

Artist: LA LOM
Album: The Los Angeles League of Musicians
Reviewer: Thomas Metzger

When LA natives Zac Sokolow (guitar), Jake Faulkner (bass) and Nicholas Baker (drums/percussion) first got together in 2019, they were tasked to provide background music for five nights at the famous Roosevelt Hotel in Los Angeles. However, they soon found that their talents deserved more than to be a backdrop. 

LA LOM (the Los Angeles League of Musicians) come from a rich tapestry of family history and culture: Sokolow’s background performing in his father’s Argentinian bluegrass band, Baker’s mother embracing Latin and Mexican radio and Faulkner learning on his father’s guitar while being raised in Venice, Italy. These roots all seep their way into their self-titled debut album. Starting off with “Angels Point,” it includes reverb-drenched, spaghetti-western guitar that you’d find in a Morricone movie set to a groovy cumbia beat that will bring you back to those hot summer days.

The track “Ghosts of Gardena” includes beautiful string interludes, which then trade bars with the romantic lead guitar from Sokolow. “Figueroa” has almost a sense of ghoulishness, yet is still uptempo enough to keep your feet dancing. Either track could easily fit in the intro of a Tarantino movie. 

The production of this album is also very vintage sounding. Lots of surfy-style guitars doused in reverb and tremolo, like on the song “Lucia,” mesh well with the light piano and strings. The lofi sound of the record gives it a warm feeling, which only complements the romanticized nostalgia, as well as providing a fiery contrast for the performances throughout the duration of the album. 

“‘72 Monte Carlo” picks up the pace with its pounding and tribal drums, paired with a slick lead synth that might just get stuck in your head if you have the song on repeat. 

The track “Moonlight Over Montebello,” with its slow, swinging beat and groove under backlit strings and slide guitar, is a track that is just aching for a dance partner.

Although they may have gotten their start providing background ambiance, this album is anything but. While largely instrumental, it still deserves your attention, as the performances are fiery and soulful. While summer might be over (for now), the debut full-length from LA LOM is the perfect album for when you’re nostalgic for old summer days, or to feel the warm sunshine when it is the dead of winter. It’ll be back before you know it.

Favorite Tracks: “Lorena,” “‘72 Monte Carlo,” “Moonlight Over Montebello” 
For fans of: Hermanos Gutierrez, cumbia, Latin jazz, BadBadNotGood, Morricone and/or Tarantino movies

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