Ys - Joanna Newsom

Joanna Newsom is quite an acquired taste for many. Namely her singing - this makes her a very polarising artist. Either you love her, or you hate her. Well, she's certainly got one of the most unique voices in the business - instantly recognisable after hearing it once. An American harpist, she's a pioneer in avante-garde modernism. Think of her as a female Bob Dylan with a harp, if you will.

So far in her career, she's released two albums - The Milk-Eyed Mender and Ys. Both rather distinctive in their design, as well. The Milk-Eyed Mender was primarily a stripped down effort - just a raw performance by Newsom and her harp.
Ys, on the other hand, was Newsom accompanied by a full orchestra. The songs on Ys were also radically different from The Milk-Eyed Mender - the lengths, for one thing. Ys consists of five songs that span across nearly an hour, as opposed to her previous effort, where the songs were of standard lengths. Quite a different step for her.

I personally prefer Ys over Milk-Eyed Mender, just because I'm a sucker for orchestra done well. :P
I also believe that her vocals also improved from her previous album - much easier for new listeners.

I'm just going to give this album one overall score, as opposed to rating the tracks individually. It's just something I can't do with this album - whenever I listen to it, I end up listening to the whole thing. Also, this album is more something that deserves lyrical analysis - not exactly my forte, but I really do enjoy the music, despite my difficulty in describing each song individually.

01 - Emily (12:07)
This is my favourite track - I think the arrangements here probably tip it towards the top. It's also a song that I personally enjoy all the way through - not a dull moment.
Starts off low-key - and I mean really low-key. Some quiet pizzicato strings give us a hint as to what is to come. The strings finally show themselves at 0:50, and what follows is beautiful, in my opinion.
I really can't comment on the different sections - everything flows so smoothly and softly. The song just glides through, while Newsom croons over the top of everything. The lyrics however, are definitely the highlight. Newsom has an amazing mastery over words.

And, Emily - I saw you last night by the river
I dreamed you were skipping little stones across the surface of the water
Frowning at the angle where they were lost, and slipped under forever,
In a mud-cloud, mica-spangled, like the sky'd been breathing on a mirror

Beautiful. The amazing thing is that she isn't trying to be pretentious, unlike many bands I've heard.

02 - Monkey & Bear (9:29)
An interesting little bit of overdubbing with her voice takes place at the start of the song. For some reason, this always makes me think of that children's song - Teddy Bears' Picnic. Don't let that put you off, though, haha. Just some nostalgic connection there.

03 - Sawdust & Diamonds (9:54)
This song is a good showcase of her abilities on the harp. Much of this is just her and the harp - one of the less orchestrally orientated songs.

04 - Only Skin (16:53)
This song contains all elements of the album, as it should, being the longest track. There are solo harp sections, and beautiful orchestral parts.

05 - Cosmia (7:15)
The shortest track on the album happens to be one of the most beautiful as well. Simply not much more to say, really - I've described the album's sound as a whole already.

Despite how I think I've made it sound (ie. very samey throughout) I personally find it very engaging throughout. However, this definitely isn't something that one can just leap into - like I said earlier, it really is an acquired taste. Something that needs to be relistened to perhaps months after the inital taste. Once you start to enjoy it, however, it's one beautiful masterpiece. The album as a whole leaves an impression, but doesn't actually leave any actual distinctive traces in your mind - it's purely mood. A strange feeling, really. It's memorable in a different sense than most music, and that's what in turn makes it memorable to me.

Probably the only song I would recommend anyone to start with who has an open mind would be Emily (Part I) (Part II). If you thoroughly enjoy that, the rest of the album would be heavily recommended.

7.8/10

Sing To God - Cardiacs

Now, I love Cardiacs. I think they're the most underrated band in the world - and possibly the most unique. Hailing from England, their music is classed mostly under the genre "pronk." That is, progressive punk. However, Cardiacs frontman, Tim Smith prefers to either call themselves psychedelic or pop. Personally, I haven't heard anything as far removed from pop as this, but, okay...
The leader of the band, Tim Smith is regarded as a musical genius by many musicians, and has influenced a great many, despite his relative unknownness among the general population. A crime I say it is, a damn crime.
The first album of theirs that I'm going to review is one from 1995 - their seventh album, as it happens.

This monster of a double album was their second album after the departure of most of their classic lineup from the 80s. Officially, the band was now known as a quartet, as opposed to the classic lineup of six members. The band on Sing To God was Tim Smith (vocals, guitar, keyboard), Jim Smith (bass, vocals), Jon Poole (guitar, keyboard, vocals) and Bob Leith (drums, vocals).

Now, before I get into the songs themselves, just take a good look at the album cover art as shown above. Clearly no normal people are behind the conception of this album. Let that be a forewarning as to what is to come.

Disc 1

01 - Eden On The Air (2:21)
And the very beginning of this insane album is... calming chimes. They quickly fade away, then came back again, now sounding a bit more synthesised. Then Smith starts singing, accompanied by piano. At certain vocal intervals, an odd chorus joins him that sounds like children on helium. The chimes and the weird chorus give this a real psychedelic feel. This pattern continues until a sad sounding chord progression comes into, accompanied by a keyboard synth. Smith moans over top of this for a short time, then the song returns abruptly to what it was before. This repeats again, and the keyboard fades out.
7.8/10

02 - Eat It Up Worms Hero (2:33)
And now RAWK comes in. Quite a contrast to the previous song. Cardiacs punk roots come in. Then there's a trippy proggy couple of seconds before the verse comes in. There are so many random parts to this, it would be too messy and take too long to describe. Soon, weird dissonance comes in at the chorus, which consists of Smith's muffled yelling through what sounds like a megaphone. Trippy bells, not so dissimilar from the previous song linger in the background throughout.
And now RAWK comes back, but this time it serves as a fadeout. Jesus Christ, over already? However, the erraticness hasn't finished yet - a strange piano interlude comes in at the end, that foreshadows the next song. It ends in a weird, short burst of noise.
8.0/10

03 - Dog Like Sparky (4:54)
For as absurd as these lyrics are, this song is damn catchy.
Brother, sis, we'll never ever sing like Barky
We wanna be dog-like Sparky
No feet for me and suck red upon my belly
We wanna be dog-like Sparky
Yeah, that's right... O.o
In one section, Smith's ex-wife Sarah comes in, and sings with him. I don't know what section, as is usual with Cardiacs songs.
This is definitely one of their more melodic songs - asthetically talking here. Sarah Smith helps in that regard - pleasant voice.
An interesting keyboard/guitar solo punctuates the second half of the song. The effects on the keyboard again give this a slightly psychedelic sound.
The tempo speeds up faster and faster towards the end of the song, where it does out with a bang.
Scarily enough, this is one of their more normal songs...
8.7/10

04 - Fiery Gun Hand (5:13)
The beginning to this song actually sounds normal, like a rock song. Then a typical Cardiacs riff comes in, and then Smith starts singing over an industrial-sounding bass riff. The main riff comes in and out periodically. Then, suddenly, what the hell is this? Screaming guitars that sound like controlled feedback. Yeah.
A random little spurt of music then pops in at the end - I don't know how to describe it. Then the previous sections repeat.
The little musical part from earlier comes back in, but far more developed this time. Probably my favourite part of the song. It's over too soon.
Suddenly, ooo, guitar solo? Believe it or not, these aren't terribly common in Cardiacs songs. This echoes of Buckethead, I think, ever so slightly. If I'm to draw comparisons.
Circus style comes in near the end, helped by the keyboard tone used here. Saxophone is audible in the mix now as well - harking back to the days of classic Cardiacs.
Another small solo at the end, and then a solo keyboard section (again, small) closes the song. One hell of a ride.
7.9/10

05 - Insect Hoofs On Lassie (3:01)
Wow, a normalish chord progression at the start here? Unusual. This is again probably one of their more accessible songs, but that doesn't mean a hell of a lot. Weird backing vocals are abound here again. Also an unusual use of triplets in parts in here - must be hard as hell to play live.
An awesome little keyboard solo, I guess, comes in two little sections throughout the second half. Love it. Song fades out on the second run. Friggin hell, this song goes by fast.
8.6/10

06 - Fairy Mary Mag (3:45)
I really don't know how to describe the intro to this. It's just a weird atmosphere. Very thick.
Smith then starts singing over a thankfully sparse arrangement - just keyboard on what sounds like a choir patch.
Now, who the hell is singing this next part? Doesn't sound like Smith at all. I really don't know.
Then what feels like the bulk of the song kicks in, even though we're now halfway through. Oh wait, now it's the choir patch + singing again. Some weird choices in structure here, and this is considering Cardiacs when they're normal as well.
The song then ends with apparently 40 seconds left. However, these remaining seconds provide a little random intrumental.
7.3/10

07 - Bellyeye (4:09)
The bass in this song gives it a jangly feel. Quirky. I would consider this another of their more accessible songs. Just all-around enjoyable. Of course, it's full of around nine or so individual ideas/sections, but it still manages to keep itself focused.
8.0/10

08 - A Horse's Tail (3:48)
Okay, this song is just... impossible to go through. There's too much in it, for God's sake. What appears to be the verse has about four completely different ideas in it. This song is just on speed. There is a focused section around the middle area of the song. And then, after that...
Jesus Christ, that scared me originally. Just the tone of the keyboard there. Sounds evil. A freaky chord progression to go with it.
The song cools down towards the end, and fades out on some guitar riffage.
7.7/10

09 - Manhoo (5:00)
A trippy intro here. Then acoustic guitar - gives an impression of a stripped down Cardiacs song. I really enjoy what feels like the pre-chorus in this one. Chorus is good as well - this song is a nice relief from the previous one. Definitely one of their more focused ones. However, there's still some funky instrumentation abound in this, as well as ideas. Perfectly palatable, though.
However, there is one WEIRD part at 2:31 in this. What and who the hell is that "singing"?? Things take a turn for odd in the section half of this song, actually. I take my previous statement back now, haha. I guess the odd sections of this song could be lumped together as the bridge. Apart from the bridge, it's perfectly palatable.
8.8/10

10 - Wireless (8:22)
And now a monster of a song. Starts off with some synth effects, and then what appears to be the songs main theme, on keyboards.
The atmosphere of the riff carries through the first two verses, and then a new section! Wha-wha-wha-WHAT?? Doesn't last for long, as expected. Just an odd chorus, as per custom now. Then a weird percussive interlude takes place. Apparently this is played by scissors, of all things. They actually credited someone with playing scissors on the album, believe it or not.
The main riff slowly comes back during this, and now we're nearly five minutes into the song. Geez this goes by fast. That's a very common thing I've found about Cardiacs songs - they just fly by.
Another weird interlude takes place - some weird speaking in the background. Something about seawater and spouts? Shrug. The scissors are prominent again during this. And then silence by the speaker. Eventually, even the scissors stop, and there's pure silence.
Then some epic sounding synths come in, almost like a movie soundtrack. It actually sounds beautiful. An unexpected turn, to say the least. And then, with that, the first disc ends.
7.0/10

Disc 2

01 - Dirty Boy (8:55)
I love this song. Probably their most normal rocky song as well. Just distortion surrounded by synth backing in parts. And the whole thing is essentially one massive, ever-changing chord progression. Simply mindboggling, when looking at it from a musical perspective. Smith sings over much of the song - must be hard to remember when playing live. The constant movement of the song is what keeps me listening - I can listen, captivated for five minutes without realising. There is one section towards the end that catches my ear everytime - where what appears to be a sustained note by Smith holds for around 2.5 minutes, until the songs end. This song is hard and fast until the end - one of my personal favourites from the album, despite its length.
9.1/10

02 - Billion (0:42)
This is short, but it sticks in my mind. They seem to have a short song like this on every record, I find. Just Smith singing over some trippy keyboard.
6.8/10

03 - Odd Even (3:19)
Another acoustic song. Probably number two for me from the album. I just love the melody and chord progressions in this. I think it's catchy, but I can't be sure. Another of their more accessible songs, though, I reckon. Towards the end is a funny little keyboard solo. I would probably class this song under psychedelic folk, really. A bit different from their other stuff, yet still their signature touch remains on it.
9.0/10

04 - Bell Stinks (1:19)
This riff is quite different, but so damn awesome. Most of the song consists of this riff, with variations, apart from a random little synthy part around 2/3rds in.
7.0/10

05 - Bell Clinks (2:55)
This really feels like their punk roots coming into the fore. Incredibly fast-paced. Really, there's not that much more to say about it. Apart from that experimental riff that in around the halfway mark. Sounds like something Mr Bungle would do. The song then comes back to its "normal" self.
7.0/10

06 - Flap Off You Beak (3:45)
Piano? Somehow, I feel this echoes Odd Even, slightly. It just has that feel to it. Anyway, this is a rather jangly song, helped by the bass in that regard, and the guitar riff. A fun listen, but nothing ultra-special.
6.6/10

07 - Quiet As A Mouse (1:28)
This "song" scares me. It's just some random voices saying random gibberish, with some freaky noises in the background. A scary old British woman and an ultra trippy ending make a ****ed up song. I can't really rate this song fairly, tbh, since it's not really a song.
?/10

08 - Angleworm Angel (2:25)
Fast-paced muted chords and an anthemic chorus give this song another punkish feel. Incredibly fastpaced - it's over before you know it.
7.0/10

09 - Red Fire Coming Out From His Gills (2:15)
This reeks of their earlier work. The main riff is probably one of my favourites off the album. It just has an indescribable epic feel.
7.6/10

10 - No Gold (3:32)
Trippy intro - piano reversed. Then comes a verse with a string quartet? Okay... well, this is certainly a prime example of their psychedelic edge. Smith's voice in this song is much less abrasive than usual, which provides a pleasant listen, amidst the strangeness.
8.4/10

11 - Nurses Whispering Verses (9:54)
The first impression of this song is dark, from the intro. Random synths then come in, and then a trippy guitar (or keyboard?) riff comes in. Then the first verse starts at 1:30. Quite a buildup.
The main riff has some alien quality to it. Something about the tone of that guitar/keyboard.
A prechorus and chorus pass by - my favourite sections, incidentally. Similar to Dirty Boy, those parts.
Now the song descends into a mess of sections - impossible to separate. There's an awesome Arabic vibe going on from 3:52 onwards. The song builds back up, slowly, until climaxing at a main riff variation at 4:45.
The song then fades out around 6:30. Random whirring and synth effects take place. This continues until the song's end.
7.3/10

12 - Foundling (5:28)
The beginning sounds like the start of a jam session. The keyboard here sounds like an accordian, strangely enough. This song feels very chill - it's much slower than the usual Cardiacs song. Synths are clearly the main star in this song. It echoes the intro track to the album, in parts - makes sense, really.
It continues on in this vein until the end - a conventional song structure, for once.
7.0/10

So, not every song is a winner on here, but it's certainly a strong album. However, I wouldn't recommend listening to it all in one go - it's a little overwhelming.

Recommended songs for those new to Cardiacs are Dog Like Sparky, Insect Hoofs On Lassie and Odd Even.

Overall album score: 7.1/10

Nursery Cryme - Genesis

So, my first thought to myself when considering making this blog was what album to review first? I have decided to go with a "safe" album that I like almost the entirety of - Nursery Cryme, by Genesis.

The year was 1971, and Genesis had just become the shape that would be forever cherished among prog fans as easily their best. Peter Gabriel (vocals), Steve Hackett (guitar), Tony Banks (keyboards), Mike Rutherford (bass) and Phil Collins (drums). This combination was just amazing, pure and simple. Their creativity at this point was at an all-time peak, and this showed throughout all four of their albums together.

So, anyway, Nursery Cryme. Consisting of seven tracks, it's a prime example of how to do prog well in the 70s. I shall examine it now, track by track, for your reading pleasure. :P

01 - The Musical Box (10:33)
With a length of 10:33, one has got to wonder at the decision of having this as the opener. Not exactly the best way to settle an audience down into an album, with a monster like this. However, I shall go down on record as saying that this is one of the most interesting ten-minute-plus songs I've heard.
The song starts out with some signature acoustic work of Genesis - three guitars being played at the same time by Banks, Rutherford and Hackett. Probably the most beautiful part of the song, in my opinion. Beautiful harmonising by Gabriel and Collins here.

At 1:28, however, the tone changes - things take a subtle turn for a more dramatic feel. Just under the surface, the tension has increased. Gabriel comes in with flutework that compliments the guitars amazingly well - flutes work unbelievably well in bands, alongside guitars and drums. Should be used more often, haha.

3:40 is where the distortion kicks in, and what can be seen as probably the bulk of the song starts. Solo time for Rutherford here. Amazing how he's able to produce an interesting solo above a relatively static chord progression.

A little cool-down period, and then another solo kicks in. Same chord progression here, but more it definitely feels epic, I think. More interplay between instruments here. Some people may consider nearly two minutes of a solo a bit excessive - and I don't honestly blame them. However, this goes by incredibly fast, in my opinion.

Another soft section enters at 7:40. I think I'm seeing a pattern here...
The transitions here are tastefully done, btw - everything fits.

The final section starts at 8:36 - keyboard time for Banks, and it's clear that this is the climax of the song - as it should be. Can't really think of anything much more to say here - great interplay between the guitar and keyboard near the very end. Goes out with a bang.

And thus ends probably the best ten minutes of Genesis' career - I consider this to be their best song, even above Supper's Ready from Foxtrot - their other masterpiece.
9.4/10

02 - For Absent Friends (1:49)
And now we go from a long to a short song. Quite a pastoral song - echoes their previous work. Collins' debut as a lead vocalist on a Genesis song. Pleasant - a song that I don't skip when listening.
8.7/10

03 - The Return Of The Giant Hogweed (8:14)
This is one of their "heavier" songs - don't go thinking of comparisons with heavy metal or anything, though. Abrasive, perhaps, is a better word. This song details the story of the invasion of England by hogweed (a invasive weed, for the uneducated :P). By the song's end, they rein supreme over the human race.
Quite possibly a contender for the awesomest song title ever, it's an amusing listen. Banks' keyboard work is prominent throughout the mix, and provides an interesting listen throughout. Another song where I don't get bored, although it's probably not the most likeable song on the album. The most quirky on the album, I would say.
7.5/10

04 - Seven Stones (5:13)
My second favourite on the album, and the most-listened song as a result - since it's shorter than Musical Box. :P
One word - beautiful. Mellotron work here is just breathtaking, and it really does create a soundscape to behold (haha, get to actually use the blog's title. Wasn't sure if I would fit it in.)
Highlights include the incredibly simple yet beautiful mellotron solo at the end of the song, and the chorus. Just... listen to that chord progression! Simply brilliant - chord progressions are some of the things that catch my ear in music. An epic performance by Gabriel as well.
9.2/10

05 - Harold The Barrel (3:03)
I guess this is another humourous song - short and jangly, it's a fun listen. One thing to note in this song is the bass - sounds like Rutherford is having fun in this one.
7.4/10

06 - Harlequin (2:58)
Another song where I love the chord progression. Haunting. Another example of the pastoral sound of Genesis - just quiet acoustic work. This is mainly a duet with Gabriel and Collins, and probably my third favourite off the album.
8.8/10

07 - The Fountains Of Salmacis (7:55)
The closer for the album, it is a good representation of the whole album, as it rightfully should. A fine conclusion, but I don't find myself coming back to this song as much as I do to the others. Based in mythology, as per custom of 70s prog, I personally lump it together with Harold and Hogweed. The rest are right up there. I don't mean to say that they are bad songs, it's just that I don't actively seek them out to listen to.
7.7/10

So, this is one of the few albums that I can listen to the entirety of, and never get bored. That's quite an achievement - well, I think it is. :P
A good example of classic 70s British prog, it's an essential part of any prog collection. Overall, Genesis' best album, and their most consistant.

For those new to prog, and need an easy introduction to Genesis' prog days, Seven Stones, Harlequin and For Absent Friends are recommended from this album.

Overall album score: 8.4/10

Introductory Post

G'day there, I'm Xivalvi, here to take you on a mystical journey through the realms of music.

...

Okay, yeah, I'm reviewing stuff. Musical stuff. In-depth, though, and from primarily a musical perspective. I'll also probably be noting "new" discoveries of mine as I explore the vast world of music, and bringing them to attention. So, if anyone apart from my friends is reading this, welcome, and enjoy reading my totally awesome and thought-provoking... uh, thoughts.

Oh, and leave comments - that's an order.

Bows, and leaves stage.