Here’s another jazz-infused psych-pop excursion from J. Fernandez’s Memorize Now EP. Like “Cosmic Was” before it, the Rhodes-laden “Close Your Eyes” is too singular to fit neatly into a specific musical lineage. The music tumbles all over an interior realm, rarely settling into one place for long, beholden to the whims of its creator’s imagination. As Fernandez tells Impose, the project is inspired in part by prosopagnosia, the inability to recognize faces:
The Velvet Underground’s self-titled third LP is getting a “super deluxe” reissue for its 45th anniversary, and part of the bonus material is an entire unreleased album the band recorded in 1969 to get out of their contract with MGM. As Pitchfork reports, much of the material later ended up on VU swan song Loaded and Lou Reed’s Transformer. The box set contains 65 tracks over six CDs in total. Two of the other discs are a stereo remaster by MGM house engineer Luis Pastor “Val” Valentin and the so-called “Closet Mix,” described by Reed as recordings that “get directly to somebody, unfiltered… it’s like sitting across from you.” Disc 3 is a “promotional mono mix,” disc 4 is the lost album, and discs 5 and 6 are live recordings from VU’s shows at The Matrix in San Francisco on November 26 and 27, 1969.
There are lots of punk, indie, and heartland rock reference points to toss around when you’re describing Philly rockers Restorations. New single “Tiny Prayers,” though, reminds me of one band in particular, and that band is the recently reunited Constantines. “Tiny Prayers” surges like that band’s signature track “Young Lions” as refracted through the bleeding-hearted stadium punk of bands like the Gaslight Anthem. The noise swells and relentless rhythm are amplified by the emotional torrent that’s coursing through all of LP3. Listen below.
Adjusting that now. Sorry for the misprint; we got faulty information.
You’re right, and that would definitely fit with the climate change motif I’m picking up.
That’s fair. I should have noted that she doesn’t really have much competition. La Roux was OK. Elusive Chanteuse was OK. Ariana Grande’s album was strong — better than Mariah’s IMO, even if Mariah’s had more character. Love “Chandelier” but didn’t really care for Sia’s album. Shakira had at least one great single (“Empires”) but her album was stuffed with so much filler. Sheezus was more interesting to me conceptually than as actual music. If we’re expanding this beyond female pop stars, I probably need to spend some time with 5 Seconds Of Summer’s LP as I wrote on them when they only had an EP out. Sam Smith’s album was not what I hoped it would be. Ed Sheeran’s “Don’t” is growing on me, but c’mon, Ed Sheeran did not make the year’s best pop album. Loved the Bleachers album, which I covered in this column, but I wouldn’t classify it as “pop” in the same sense as the rest of these. I continue to ride for Coldplay’s Ghost Stories, which I think ranks with their best work, so I guess that puts them in this conversation. Beyoncé wipes the floor with Tove’s album, but yeah, it’s a 2013 release.
It’s kind of crazy to think about someone paying hard-earned money for a new Train album, but then again I’m kind of surprised it didn’t debut at #1.
They do literally wear blue collars there
Oh, thanks for pointing that out. Here in Ohio the news about young Andrew hasn’t reached us yet!
You can at least hear it now: http://www.stereogum.com/1706261/stream-julian-casablancas-the-voidz-tyranny/mp3s/album-stream/
Yeah, I was really looking forward to seeing them in Columbus again.
Although to be fair, even though RTJ2 might be better than any of those other records, it’s not going to vie for a #1 debut like the rest of them, which is partially what I mean by “major.”