Manufactured Happiness

What if they were really Milli Vanilli?Several weeks ago a suitcase was picked up at a flea market in Australia that could have potentially been the sort of thing that would have caused the guy on Antiques Roadshow to gush from every orifice: It was thought to contain Beatles memorabilia, including heretofore unheard recordings. The speculation was that the suitcase had been the property of a man who had worked as a roadie for the band, as well as had spent time working in some capacity in the recording studio. He was reportedly killed by police in 1976. In L.A., not Sydney. Subsequently, a “Beatles expert” came to the conclusion that the contents of the case were not “authentic.” While aspects of the story would lend themselves to novelization by, say, Kinky Friedman, it raises another point, this about how musicians are generally perceived by listeners.

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Guided By Voices – Half Smiles Of The Decomposed

Guided By VoicesHalf Smiles Of The Decomposed (Matador)

Well, so long and thanks for all the fish. Bob Pollard closes the books with this album on Guided By Voices, and this is either a bitter-sweet farewell or long overdue exit depending on which camp you fall into. If you’re an indie snob purist, you’ll write this album off like every other one since Under The Bushes Under The Stars (or if you’re kind, Mag Earwhig). Slavish fan-boys (like me) will shrilly impose this album on all their long-suffering friends. But to the point: has Uncle Bob and his boys over-stayed their welcome? Well, ahem – maybe.

Like most of GBV’s post-lo-fi days, Half Smiles Of The Decomposed has its ups and downs. Yes, there’s filler; yes, there’s goodness. However, unlike recent albums like Earthquake Glue or Isolation Drills, there doesn’t seem to be any fruitless search for a hit. Their own early critical success has hemmed them into an indie circle-jerk; the mainstream can’t hear them, the critics are still pissed at them for Do The Collapse. Pollard realizes this, I think. Thus the reason for the breakup.

So how’s the album? Like I always say about recent GBV albums (Earthquake Glue is the exception—excellent for anybody): pick it up if you’re a fan. If you’re not, this won’t sway you. And wait for Pollard’s solo ouput. I have a feelng he’s saved some of the best stuff for Act 2.

MP3s available from Matador and gbv.com.

Interpol – Antics

InterpolAntics (Matador)

Interpol’s 2002 debut, Turn On The Bright Lights, was one of the year’s best albums. The moody, propulsive guitars and cryptic lyrics of the down-and-out four-piece propelled them into the limelight and critical acclaim. The question is, does their new album, Antics, rest on its laurels?

Antics begins with the sweet sounds of a Sunday organ on “Next Exit,” a plodding, slow-dance hymn about returning to a home that’s become strange place. The entire album seems to be treading awkwardly over old ground, specifically in the land of star-crossed romances. Lyrics like “Feast your eyes I’m the only one / control me console me / cause that’s just how it should be done” (“Narc”) and “The anatomy of kisses and a teacher who tries / who knows I will disappear” (“Take You On A Cruise”) make this a perfect album to play while sorting through yellowed love letters.

The bluntly love-addled lyrics may border on tacky, but Paul Banks’ vocals give them a nervy and self-conscious quality. Sprinkled throughout the album are new wave strings and bittersweet choral harmonizing.

While the album maintains Interpol’s signature taut sound—the drumplay of Sam Fogarino providing a bouncy punch, with Dan Kessler’s guitar skipping around Carlos Dengler’s meaty and relentless bass lines—the overall feel is more subdued than on Bright Lights. Antics lends itself more to quiet introspection. Interpol, while not exactly boldly going where no band has gone before (“A Time To Be So Small” is off of an early EP), certainly can’t be accused of making a cookie-cutter album.

Slick as they sound, Interpol has actually moved away from the frantic, high-speed gloss of their debut, going as far as to toy with feedback on several tracks, notably the delicious finale to “Public Pervert.” The only sore spot is the cheese of “Not Even Jail.”

Flying in the face of a sophomore bomb, these pretentious New York kids have clearly established that they know how to rock. Will this satisfy their swelling fan-base? All the cool kids think so, but the only reason Interpol has reached so many ears in the first place is because everyone and their scenester brother has picked up on the fact that NYC bands are a hot ticket.

It can be tough to sort through all the ultimately forgettable acts out there. But it’s safe to say that Interpol is doing justice to NYC. And who really cares about New York when you’re experiencing great music?

Hayden: Boy of My Dreams

Hayden: simple, irresistible melodies accompanied by wistful, often elegiac lyricsHayden at the Knitting Factory

September 13, 2004, New York

“The Internet is dead. It’s over,” a gray-haired writer for New York’s Daily News informed me as we sat on the Knitting Factory floor waiting for Hayden to start playing. “It was great for five years, but then it imploded. Now it’s just spoiled 23-year-olds talking to each other.”

I disagreed. “I think there’s still some good writing on the web. Blogs are an interesting world.”

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