Daily Archives: July 28, 2010

Matt Vs. “Murmurs” by Caroline

I promised myself numerous times that I wouldn’t write about any form of J-Pop on this website.

Promises are made to be broken.

Caroline is an Okinawan-American singer/songwriter and “Murmurs” — I think — is her first and only album. When I learned about this information I was greatly disappointed that there wasn’t more music of her’s out there. It’s really too bad because I saw a lot of untapped potential in her, even though “Murmurs” is quite lacking in some areas.

“Murmurs” is slow techno-pop. Synth drums, keyboards, the works, everything you’d expect from a techno/trance album is here.  A lot of the songs tend to be slow and low-key. The easiest comparison I can make here is that Caroline is like a Japanese Imogen Heap. Take that for what you will. Much of the instrumentation, I find, is pretty predictable and serves its purpose. The real point of intrigue is Caroline’s voice.

Caroline sounds like a small person trying to sound bigger than they actually are – puffing out their chest and raising their hands in the air wildly. She has a tiny voice, as most of the Japanese female singers I’ve heard do. It works pretty well. Songs like “Drove Me to the Wall,” especially in the chorus, makes her sound like she’s trying to be powerful but fails and kind of comes off as cute, which I find endearing in an odd way.

Unfortunately besides Caroline’s voice, there isn’t much interesting content in this album. The songs have a great atmosphere to them, but the tone is held throughout the entirety of the album and rarely deviates. A lot of the same tricks are used; the same chord structures, the set of sounds. It has a great set of songs to listen to individually but as a whole comes off as fairly uncreative.

My inner Japanophile wants to really like this album – and, believe me, I do to some degree – but on the basis that I don’t think it actually does anything original, I can’t really recommend it. It’s simple pop music and it doesn’t really need to be innovative, but when all of the songs sound the same and you make it obvious that they do, it’s hard to not get frustrated by that.

WINNER: Matt

WHY: Caroline Lufkin is a good songwriter and “Murmurs” has good songs on it — the problem is that they’re all the same and it just doesn’t work as a whole product.

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John & The Five Most California Albums Possible

With all this Wavves, Best Coast, chillwave talk going around it’s making it really fucking hard to live in California and be happy about the music coming out of here. It’s certainly all got a pretty lazy beachy quality to it, but it’s also not any good at all. So here are five albums that more honestly resemble California than god damn King of the Beach. I’m going to go ahead and leave out anything involving drug usage, as the desire to get fucked up is a basic human drive which is not uniquely Californian.

-Pet Sounds, by the Beach Boys

Well come on, now. Of course this is on here. It’s not on because it resembles California at current date. This album is best thought of as the symbol of California’s image of peace, good times, and pretty girls. It’s also a pretty good collection of songs. I don’t know if you know this, but that Brian Wilson guy’s got a good ear.

-Self-titled album by HEALTH

I prefer to use this album to illustrate learning about California first hand through the people. Starts nice, suddenly unsettling, violent and off-putting while simultaneously pleading for sorely needed attention, lashing out, warped by the leftovers of overdevelopment, unbalanced, and just growing more and more and more, leaving only the dread of finding the tipping point. In other words: noise rock.

-Straight Outta Compton by NWA

An honest confession: I’ve only made it through this album once, and I don’t have plans to do it again. The reason it’s on here, though, is that it only felt right to use the album that is the birth of gangsta rap to use to represent the gang riddled image of Southern California. It’s a vicious, biting thing that happens here, serving as the most recognizable symbol of a culture I’ll never know first hand.

-Evil Empire by Rage Against The Machine

The college student culture is vital to Californian identity in 2010, what with vague outrage and general inaction. Rage Against The Machine is probably one of the better ways to channel that young outrage since they’ve chosen their specific targets, and have their own exposure and mystique. That way, people don’t have to go out and find things that really bother them when they can listen to Zach De La Rocha scream at them over admittedly great music.

-Ice Cream For Crow by Captain Beefheart & The Magic Band

Not the Beefheart album everyone’s heard of, but the most useful for expressing the most natural influence on Californian behavior: the desert. Nothing quite fucks up a mind like persistent heat, and born of people who live their life in that heat is a biologically made dialectical tension, of human needs of belonging with the solitude of the desert. Sooner than later, the heat becomes welcoming, and the mind starts warping bit by bit that oft results in a collection of totems in tribute of the heat. What I’m saying is, the desert does bad things to people, but it’s the kind of beautiful warp of human nature that most great art comes from. It permeates this record start to finish, in it’s tightly composed bizarre nature and rambling storytelling.

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Andrew Vs. “No Más” by Javelin

I’m going to say right off the bat, I really love electronic music. I also can really despise it a great deal of the time. With that now in the air, it’s safe to let you know that I was interested in trying out Javelin’s “No Más”. After a few good listens, I realized that I found an album that was extremely enjoyable and I will definitely listen to it again and again.

Javelin has a unique style, mixing 70s funk beats with specified electronic elements. It mixes up tracks with the occasional go at vocals and produces innovative sounds that were pretty much made to rap over, but still stand by themselves as great songs. The first song “Vibrationz” is a chilled out track when one could find peace while listening to it in a convertible by the beach. However, that’s only how to get the maximum effect out of the song and it’s extremely easy to see its catchiness and overall fun attitude without any of that.

A ton of this album sounds like it came straight out of a mid-to-late 80s video game, making great tunes, and sampling great shit. The tune that powers “Oh! Centra” is reminiscent of a well-written classic video game theme, also probably the easiest area of that song to listen to. The rest of the song is powered by Katamari Damacy / Animal Crossing raps from a squeaky voice. This is a toss-up enjoyment for most people; the voice could come off as annoying, cute, funny, or stupid. I find it that it’s a mix of all of that.

“On It On It” is perhaps the best jam on here. The keyboard sounds that occur throughout the song sound so damn cool, it’s totally hard to dislike it. Then it revs up into full funk status and ends with some interestingly composed vocals. I can’t help but want to dance every time I hear it.

The album progresses from being funk based, to not, and going back again, having nice time coming up with enough variety so it keeps you interested until it ends. It also decides to through some out of place but welcomed acoustics amongst the dancy beats, which I can appreciate if it’s done right.

I really don’t know what else to say. “No Más” is just straight-up fun. I highly recommend it to anyone who enjoys music. A broad stroke, but a very pretty looking one.

WINNER: “No Más” by Javelin

WHY: It’s one of the funnest albums I’ve heard all year. Perfect for summer, fits your lifestyle.

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