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THE VINYL WORD: GOGOL BORDELLO'S ALBUM 'PURA VIDA CONSPIRACY'

July 16, 2013 - On Sale , The Vinyl Word - by - No Comments

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Internationally renowned gypsy punk rock group Gogol Bordello return with their sixth full-length album Pura Vida Conspiracy. Produced by Andrew Scheps, the new album was recorded in El Paso, Texas at Sonic Ranch Studios and is a powerful collection of 12 surging new songs.

The album’s title is derived from a Spanish slang phrase for “pure life,” which is a theme that resonates throughout the new material.  The disc’s opener, “We Rise Again,” introduces the album’s limitless, all-embracing themes instantly, centered on a chorus of “Borders are scars on face of the planet.” The new songs are infused with ideas rooted in Eastern philosophy but also search for a means of joining fragmented parts and persons, and of creating a worldwide consciousness.

“For me music is a way to explore human potential,” frontman Eugene Hutz says. “And that’s my main interest in life – human potential. Everyone knows there’s something inside of us that we’re not using. How do we get it? How do we reach it?  Every single person knows that there’s something and nobody knows what it is. So at one point I said to myself, I’m gonna get down and get it.”

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THE VINYL WORD: 'CELESTIAL' BY ISIS

July 9, 2013 - On Sale , The Vinyl Word - by - No Comments

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The now-classic debut full-length Celestial highlights ISIS‘ roots in metal and hardcore while displaying the experimentation with post-rock and ambience that they would become best known for. Accurately described by Decibel Magazine as “a transitional record between the band’s early work and the post-metal benchmarks such as Oceanic … the elements of the greatness are present, but rawer, more direct.” Initially surfacing in 2000 following the larvael stages of formative EPs, Celestial was ISIS’ first release with the (then newly-solidified) lineup that would last them through a decade until disbanding in 2010.

With chugging sludge, expansive doom, droning metal and a nuanced yet vital use of keys, samples and noise, Celestial at times borders on completely devastation, but gracefully shifts into passages of sheer beauty. ISIS came into their own with Celestial, mastering the flow of sonic dynamics between “loud” and “quiet”, smoothly bringing sparse elements into an otherwise oppressively heavy sound.

This unique and varied album of nearly an hour’s length was their first captured by engineer Matt Bayles, who subsequently recorded ISIS‘ following three long-players. Aaron Turner’s artwork has been fully reimagined from the original elements, and the double LPs are housed in a gatefold jacket with printed innersleeves containing flood-black interior printing. Out of print for years, Celestial is finally available again with newly remastered audio, carefully crafted specifically for vinyl by longtime cohort James Plotkin. 

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THE VINYL WORD: NICK DRAKE'S ALBUM 'BRYTER LAYTER' AND OTHER RECOMMENDATIONS!

July 2, 2013 - On Sale , The Vinyl Word - by - No Comments

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With even more of the Fairport Convention crew helping him out — including bassist Dave Pegg and drummer Dave Mattacks along with, again, a bit of help from Richard Thompson — as well as John Caleand a variety of others, Drake tackled another excellent selection of songs on his second album. Demonstrating the abilities shown on Five Leaves Left didn’t consist of a fluke, Bryter Layter featured another set of exquisitely arranged and performed tunes, with producer Joe Boyd and orchestratorRobert Kirby reprising their roles from the earlier release. Starting with the elegant instrumental “Introduction,” as lovely a mood-setting piece as one would want, Bryter Layter indulges in a more playful sound at many points, showing that Drake was far from being a constant king of depression. While his performances remain generally low-key and his voice quietly passionate, the arrangements and surrounding musicians add a considerable amount of pep, as on the jazzy groove of the lengthy “Poor Boy.” The argument could be made that this contravenes the spirit of Drake’s work, but it feels more like a calmer equivalent to the genre-sliding experiments of Van Morrison at around the same time. Numbers that retain a softer approach, like “At the Chime of a City Clock,” still possess a gentle drive to them.Cale’s additions unsurprisingly favor the classically trained side of his personality, with particularly brilliant results on “Northern Sky.” As his performances on keyboards and celeste help set the atmosphere, Drake reaches for a perfectly artful reflection on loss and loneliness and succeeds wonderfully.-allmusic

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THE VINYL WORD: BOSNIAN RAINBOWS' NEW SELF TITLED ALBUM

June 25, 2013 - On Sale , The Vinyl Word - by - No Comments

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Even outside the Mars Volta stuff for which he’s known, Omar Rodriguez-Lopez has funnelled his creativity into a vast range of solo projects and other aliases. From 2004’s folky quasi-Dutch solo debut to his collaborations with experimental icon Lydia Lunch, Rodriguez-Lopez works like a man who has been told the appointed hour of his death.
Yet rather than use his booster-pack of creative freedom to go even further towards the asylum, ‘Bosnian Rainbows’ finds Omar in controlled, more conventional territory than he has been in a while. There’s structure, sub-four-minute songs, melody. It’ll never be Nick Grimshaw’s Record Of The Week and it’s still prog, but it’s a punky prog that at least feels like it is actively trying to make friends with you.

This new post-Mars Volta start sees a fresh bunch of collaborators, too; chief among them singer Teri Gender-Bender of Mexican garage punks Le Butcherettes. While her previous act was in the style of Jon Spencer’s Boss Hogg or The Von Bondies, here she’s given free reign to indulge her inner Grace Slick, drenching the songs with the sort of intense melodies that implore you to throw the tape recorder suicidally in the bath, Fear And Loathing style, when the songs reach a dramatic peak (which is often). By the end, ‘Mother, Father, Set Us Free’ is the full hundred-candles-on-an-altar-at-midnight, total-eclipse-of-the-everything send-off. ‘Eli’ starts out with about as much foreboding as you can fit into six minutes. Creepy hypnotic focal point ‘The Eye Fell In Love’ sits halfway between Heart and various cooler things that pretended they weren’t influenced by Heart.

At the same time, there’s a poppy sweetness that fills in around the basic sense of dread. ‘Turtle Neck’ could be taken from Melody’s Echo Chamber’s whimsical debut. ‘Morning Sickness’ marks the moment where Omar’s guitars give way to synths, the kick drum takes control and you’re left with svelte, sexy disco – it’s practically Glass Candy’s Johnny Jewel.-NME

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THE VINYL WORD: PORTUGAL. THE MAN + DANGER MOUSE = WICKED AWESOME

June 5, 2013 - The Vinyl Word - by - No Comments

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The collaboration between Portugal. The Man (band) and Danger Mouse (producer) on the Alaska group’s eighth full-length album was one of those things that made perfect sense as soon as it was announced. P.TM frontman John Gourley and company have always been open to experimentation, always had the musical chops and always exhibited a Danger Mouse-ian undercurrent of gloom, but in recent years they’ve has struggled to find an edge. So who better to refine and congeal the strengths of a stylistically diverse group such as Portugal. The Man than a genius producer who has worked with everyone from Cee-Lo to MF Doom to James Mercer to The Black Keys?

Part of what makes the Danger Mouse/P.TM collaboration work is that Gourley’s natural progression as a songwriter plays right into Danger Mouse’s own strengths. Beginning with 2009’s The Satanic Satanist, Portugal. The Man’s music has skewed toward nebulous, life-affirming proclamations, evoking things like the sun and giving off a general sense of positivity. There’s nothing wrong with this, but there wasn’t a great deal that differentiated The Satanic Satanist, 2010’s American Ghetto and 2011’s In the Mountain in the Cloud, especially considering 2008’s ominous and hard rocking Censored Colors. On Evil Friends, the first album the band has taken an extra year to make, the songs are markedly darker, more sinister and more fun than anything we’ve heard from the band perviously. — Paste

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