(Elektra)
Taking the music scene by storm in true supergroup fashion, Oysterhead is bound to raise eyebrows. Be it in disdain or in delight is really going to matter on the type of person sporting said eyebrows.
If these eyebrows find themselves pierced and on the face of those with a tendency to wear patchwork corduroy pants, it will no doubt be in delight, as Oysterhead presents what may be the greatest combination in recent jam-oriented music history. That's right, that softly crooning voice heard here belongs to none other than Phish mastermind Trey Anastasio; that wicked slap bass sound, to Primus frontman Les Claypool. Even those who fancy themselves new-wavers have something to celebrate with the return of Police drummer Stewart Copeland to the popular spotlight.
Actually, new-wavers probably aren't going to like this at all, as Oysterhead's songs cannot deny their jam influences, all meandering around the five-minute mark. But don't do this album the disservice of pigeon-holing it into such a limited framework: presents the most innovation Anastasio or Claypool have ever offered. The musicianship presented here shows that this power-duo is not content to simply flash its chops with stoned jams set to send many a bleary-eyed hippie twirling. This album presents three musicians with talent of virtuoso proportions, who also have the brains to push their art fearlessly forward. Soloing is tempered, to the point and simply excellent.
Phish fans beware: Trey is definitely second-wheel in this act. Claypool clearly dominates the sound and style, from insane yet strangely relevant lyrics ('Army's on Ecstasy' and 'Shadow of a Man') to even stranger melodies and harmonies. Anastasio does his part, however, to temper the Primus in Claypool, resulting in a softer, more friendly sound then Claypool might have reached on his own. A few songs definitely have Anastasio's signature all over the sheet music, but they are arguably the weakest tracks. Oysterhead succeeds most with the daring Claypool brings to the mix.
The mere mention of 'Trey' can send hundreds running to the record store and just as many to the can in a nauseous display of disgust, but those who feel a gag reflex coming on may do themselves a favor by checking out this album when it comes out Tuesday. You may be pleasantly surprised.
(Matador)
Ideally it would be best to write this review without using the words 'Pavement' or 'Malkmus,' but that's just not going to happen. In fact, as an experiment, word usage will be completely unfettered.
Preston School of Industry is the second Pavement fragment to come from the Post-Pavement Era (Yea, in a world where 'post-rock,' 'emo-core,' and 'shoegazing' are considered acceptable musical terms, the notion of a 'Post-Pavement Era' should be quite agreeable.). Led by Pavement co-founder Spiral Stairs (a.k.a. Scott Kannberg), Preston School of Industry is releasing its first album All This Sounds Gas much in the wake of the debut solo release of Stephen Malkmus'Pavement's other co-founder and lead man'even though it could easily be argued that Malkmus' debut solo release was actually Pavement's Terror Twilight back in 1999. Make no mistake about it; Malkmus was always the ultra-hip pooh-bah, while Kannberg became his little helpmate.
Back in the early '90s, Pavement was so widely seen as an innovative force in rock that its style quickly became highly influential. Understandably, many bands latched on to the Pavement sound and therefore it wore out quickly, leaving Pavement with not much room to grow.
And so by this point in the Post-Pavement Era, time has sufficiently teased the curiosity of fans and critics who want to find out what Kannberg's voice has to say after remaining overshadowed by Malkmus for the better part of a decade.
Unfortunately, they aren't going to find many new developments. With only minor changes, unsurprisingly sounds like late Pavement (even though Kannberg only had two songs on its last two albums). For the uninitiated, this means that the album has some laid-back grooves, several mid-tempo jams, and a couple of upbeat rockers. The songs are given disheveled arrangements in order to counterbalance their overall clean sound. (Again, we're not talking about early Pavement.) As expected, you'll find plenty of little hooks scattered throughout the loosely structured jangly pop/rock tunes. While at one point there used to be an edge to this style, there no longer is. Not to say that Kannberg can't still work well within this framework. At its best the album is often straightforward and catchy, and it easily avoids being homogeneous. However, at its worst, well... at least he tried.
In eleven swings, Kannberg hits the nail on the head four times, misses six times, and glances off the nail hitting himself in the thumb once. The question remains: is the nail helping to eventually construct something interesting, or is it a nail in his own coffin?
(Desert Storm)
The world of mainstream hip-hop welcomes yet another talented rapper who knows what it takes to make it in the rap business today. J. Jackson, a.k.a. Fabolous, has released his debut album, .
This album is the first to be released under the Desert Storm Record label. Headed by DJ Clue and Duro, Desert Storm Records has just recently hooked up with Elektra Records. Duro, who has produced songs for the likes of Mariah Carey and Janet Jackson, and Clue worked with other well-known producers, such as Rick Rock, Rockwilder, Timbaland, and Just Blaze, to create this catchy, bass-beating album.
You may recognize Fabolous from the hit single 'Supawoman' by Lil' Mo. The first single off , 'Can't Deny It' featuring Nate Dogg, has also been getting quite a bit of airtime and has done well in the eyes of the masses. The album also features collaborations with other top artists in the hip-hop world, including Ja Rule, Lil' Mo, and Jagged Edge. With names like these on your debut CD, you cannot go wrong.
Like most rap albums, the casing is adorned with Fabolous showing off his expensive name brand clothes, etc. The songs are splattered with talk of cars, women, and money, but, like most rap albums, once you listen, you are hooked.
Fabolous and the Desert Storm Record label are off to a great start. They have created an album of songs well suited for the likes of MTV, the radio, and the listeners' ear. The CD is everything hip-hop, with a little bit of Fabolous flair. Look for many more hit singles from this artist; 'F-A-B-O-L-O-U-S' has landed in the rap community with a bang.
