Amnesiac.
Recorded during the same sessions as their previous record, Kid A, Radiohead continue their experimental electronica phase with Amnesiac. The hope of expectant Radiohead fanboys wanting a return to the sound of The Bends or OK Computer is extinguished in the opening track, “Packt Like Sardines In a Crushd Tin Box”, an Aphex Twin like, sound-effects-heavy, vocally monotonic, electronic tune. While there are a few exceptions, such as the more traditional/conventional “Knives Out”, Amnesiac combines elements of electronica and jazz, the highlight of which is “Pulk/Pull Revolving Doors”: an intrusive, claustrophobic track whose effect is achieved by distorting Thom Yorke’s vocals to give an unsettling robotic feel to his abstract lyricism. The themes discussed on Ambesiac range from post-suicide consciousness, treatment of celebrities by tabloid media perpetuated by the public’s desire for gossip and, perhaps most importantly, criticism of those in power and their disregard for human life, coming at a time when Tony Blair and George W Bush were waging their “war on terror”.
Pause.
Aphex Twin remarked that due to its abstract nature, electronic music isn’t made to be talked about, just to be listened to. In which case I’ll keep it short. Four Tet’s Pause is a superb album that juxtaposes elements of folk, downbeat ambient electronica and uptempo hip-hop with the mundane sounds of office life. A personal favourite: “No More Mosquitos”. The sci-fi feel of the track conjures imagery of the insects, along with most of humanity, having been exterminated by an invading alien force. If only.
Vespertine.
Designed for the Napster age of music, where material was downloaded on lower quality formats than physical media, Björk’s first album of the new millennium, Vespertine, is as intimate a record as you could possibly wish for. Sonically minimalist, Björk utilises instruments and sounds that would not be diminished from being downloaded, creating a typical fusion of genres: electronica, ambient techno and trip-hop, scattered with orchestral and harp arrangements. This record is to be listened to through headphones, lying in bed alone as Björk poetically reflects on aspects of her sexuality, her introverted nature and her (then) current relationship, passionately and sensually coercing the words from her “darkest pit”, accentuating every exhale of breath.
Asleep in the Back.
On their debut album, Asleep in the Back, Elbow attempt to differentiate themselves from the Britpop culture that dominated alt indie rock for much of the previous decade. Owing more to the trip-hop artists of the 90s, Elbow at times produce a darker sound than expected with early Radiohead-esque tracks such as “Can’t Stop”, though the blueprints for The Seldom Seen Kid can be seen in “Red” and “Scattered Black and White”. While Britpop largely saw the UK through rose tinted glasses, Guy Garvey comments on his experience of growing up in a small, forgotten, Northern town and the tribal, ritualistic, city centre Saturday night pursuits that occur throughout Britain. His poetic lyrics emit a certain empathy and compassion: the melancholic romance of a couple coping with their withdrawal together on (the terrifically-titled) “Powder Blue” is truly heartwarming stuff. A tremendous beginning to Elbow’s career; an album that approaches the heights, musically at least, of their Mercury prize winning record The Seldom Seen Kid.
Labor Days.
Aesop Rock’s third album, as the title would suggest, concerns the concept of work, criticism of American capitalism, anti-establishment ideals and philosophical contemplation on behalf of this listener. Aesop’s complex lyricism is laced with metaphor and obscure reference points: historical and geographical, as well as pop-culture and literature references that range from The Catcher in the Rye to Airplane!. The lyrics are clearly understood by Aesop himself, however I consider it highly unlikely that any single person can comprehend the entire album alone. This is the reason behind the philosophical contemplations mentioned earlier, as I was forced to consider Wittgenstein’s thought experiment of whether we could understand a lion even if it could speak. My conclusion was also no, we couldn’t. There was, however, one track that served as an exception in that it is easily interpreted, “No Regrets”: the story of introverted Lucy, who lives her dream of being an artist and dies without regret. The moral of Aesop’s fable being the old Confucius adage: “choose a job you love and you’ll never have to work a day in your life”. Understated due Aesop’s lyrics are producer Blockhead’s quite simply incredible beats; once you’ve given up trying to understand Aesop, sit and appreciate Blockhead’s input on a quality hip-hop record.
Back to the Culture 