Though 2012 was a bit slow initially, I have tried to pick
up on my new music purchases in recent months. The month of May alone saw three
releases by three of my favorite gals (or gal fronted groups) in the biz, and
so I was quick to snatch those up as soon as they were available.
Unfortunately, 2012 seems to be the year of the formula, as all
three of these talented artists have put out pleasant but predictable albums,
which stand up nicely against the rest of their catalog, but do little to
broaden their artistic scope. For most fans that’s just fine. As I’ve said often
in the past, you can’t reinvent the wheel every time, and yet in the realm of
“alternative” music, one does tend to expect a bit of progression from the
artists they follow. And I don’t say that with judgment, condemnation or even
disappointment, because all of these are enjoyable releases, they’re just not a
release to knock your socks off and, again, that’s completely understandable,
acceptable and marketable.
So let’s dive in…
Best Coast – The Only Place: Of the three, this was the one
I anticipated the most, and as a result has been my biggest let down. And I’m
not going to blame my anticipation so much as I am Bethany Cosentino’s lyrics,
which to put it evenly, are stupid. Yes, they were simplistic bordering
childish on Crazy for You, but coupled with the lo-fi-retro fuzz that covered
much of that album, and the youthful exuberance in the performance of the
songs, it was mostly endearing, sometimes touching (and yeah, sometimes just
dumb). But on The Only Place, with indie-wunderkind Jon Brion on production,
the musical upgrade, sounding more professional (for better and worse),
sounding more mature (ditto), begs for the same in the lyrics department. I
mean Jon, ultimately you’re in charge, so what the heck, man? It’s like George
Lucas trying to cover up bad acting with eye-popping special FX. Wrong again. Anyway,
through much of The Only Place, Cosentino seems to be whining about this and
that, from boys (of course) to her newfound popularity to life in general. And
again, two years ago that was awesome, but now it’s simply played, something
for the last record and, as I said above, independent music begs a bit of
progression with each release. And musically that’s certainly the case. The
fuzz is harnessed and corralled for more aesthetic appeal, the jangle is
enhanced and brought to the forefront, the bass and drums are crisp, the vocals
are pristine and lovely – it’s just too bad they don’t have anything worth
saying. And ultimately, that’s not a deal breaker for The Only Place, because
melodies are easy to hum, but it is a disappointing distraction.
Beach House – Bloom:
Saying “to have one Beach House album is to have them all” may be a bit of an
overstatement, but it’s not completely without validation. From their 2006
debut to the recent Bloom, low key, dreamy music and rich, wistful vocals have
been a signature sound that came out of the gate fully formed and has only been
improved upon as songwriting skills have developed. This means that any one of
their four albums could easily be “the one” depending on which set of songs
you consider the strongest. At this point in the game, for my money, that batch
came with 2010’s Teen Dream, but Bloom is nothing to sneeze at, and repeat listens
(per always with these guys) will unveil more hidden beauty that wasn’t obvious
at the last spin. In truth, Bloom is a bit of a grower, and it’s the similarity
that hampers the immediacy; which isn’t to say that this is Teen Dream 2.0,
because it isn’t, as Bloom stands on its own with enough flourishes here and
there to prove that this record is of another time, but the formulaic feel
cannot be denied. So if you’re a fan listen to it, and if it doesn’t grab you,
put it down for a bit, and pick it up again – you’ll be blown away, because
Bloom is another shimmering masterpiece, with everything to love that Beach
House has brought us before.
Regina Spektor – What We Saw from the Cheap Seats: Four or
five years ago, I’d have eaten glass for Regina. And that means I can refer to
her on a first name basis. I of course came on board with most of the rest of
the world with 2006’s Begin to Hope, and while I don’t love every bit of that
album, the songs I do love make up for my more indifference to the rest, and
were enough to make me explore her previous output and, at one point, become a
bit borderline obsessive. As an artist, Regina has certainly developed in terms
of production quality and accessibility of material, whereas 2004’s Soviet
Kitsch was nothing short of piano punk, 2009’s Far found her dabbling not only
in more full-band outings, but in electronic sounds and dead up pop posturing.
What was never lost in this transition was her ability to put every day, or
more accurately, dirty, starkly realistic, even disturbing life situations, to
beautiful, though playfully quirky music. What We Saw from the Cheap Seats
maintains that level of “this really is reality,” and Best Coast’s Cosentino
could learn a thing or two from Regina about how to tell your tale in an
authentic yet poetic way. Musically, Cheap Seats is a bit of a step back, and I
don’t mean melody or performance-wise, but a bit more minimalist, while still retaining
elements of the progressions she made on the past two albums. So there are full-band
arrangements, electronic noodling and studio manipulations that make this an
album difficult to reproduce in a live setting (unlike most all of her early
output). The problem, if one can consider it that, is that Regina falls back to
a few past tricks that longtime fans will find familiar, perhaps endearing. Her
vocal drum fills are certainly fun and the guttural manipulations (that’s
really the best term I can come up with) on songs like Open have become a bit
of her trademark, but at the end of the record, there are no memorable moments.
Every song is lovely, every song is perfectly written, every song is moving and
touches you somewhere on an emotional level. But none of them bowl you over,
rip your heart out and kiss you full on the mouth at the same time like on
previous efforts. And ok, another Samson would be trite, I get it, but one
can’t help but want to be assaulted in that way again (though Far’s Laughing
With came super close), and while Cheap Seats does deliver some wonderful
moments, none of them go to bed with you. Perhaps another listen at another
time will reveal what I’m hoping for, but for now, What We Saw from the Cheap
Seats maintains Regina’s status as an excellent pianist, vocalist and
songwriter, but she didn’t break my heart in the process.