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(02/26/14 3:27am)
Released: 2/25/2014
5/7
When asked to describe what Beck sounds like, a single answer is hard to come by. One could point to Beck’s 1994 hit single “Loser”, which encompassed '90s alternative folk and hip-hop into a delightful little tune that served as an anthem for the cultural underground while simultaneously propelling Beck into the mainstream. One could also point to Beck’s 1999 album Midnight Vultures, a party record that combined soul and funk into his repertoire of genres.
Beck has a wide array of sounds, and describing these sounds can be harder than it first appears. Beck’s twelfth studio album Morning Phase, points us towards to direction of finding the answer. Made as a companion record to his 2002 folk album Sea Change, Phase is a brooding and mournful record highlighted by acoustic guitar, string orchestration and a very somber Beck Hansen.
From beginning to end, Morning Phase brilliantly demonstrates Beck’s growth in maturity as a songwriter, not just from his “Loser” days, but even from Sea Change. It’s always great hearing Beck blend genres into an alternative piece that wins over fans and critics, but it’s how Beck opens up his soul for listener’s to peer into that truly supplants him as one of the best of our time. Beck does exactly that on Morning Phase. He masterfully grasps the concept of struggling through the day, and then beginning all over again as the opening instrumental “Cycle” would suggest. “Cycle” blends straight into “Morning” which continues the theme, “But can we start it all over again? This morning, I’ve lost all my defenses,” Beck croons to the tune of acoustic guitar and a heavy drum beat.
Beck reaches the most endearing part of the cycle in the album’s pinnacle, “Waves”. Detached from a somber string orchestration by Beck’s father, David Campbell, Beck contemplates surrendering to the ‘waves’ and being carried away, presumably into society. However, Beck’s repetition of the word “isolation” at the end of the song suggests that he has opted to continue going against the waves, likely to the warm affection of the hipster fan-base he built in the 90s. As a finale to Beck’s cycle, “Waking Light” progresses through the ways to meet the morning, going from laying down in the waking light, to resting your eyes in the waking light, and finally, to opening your eyes with waking light.
At this point, the cycle of Morning Phase is complete, and it is time to talk about what we have learned from Beck. To the casual listener, we have just heard Beck beautifully relate his personal struggles into a universal metaphor for taking on the day. But based on Beck’s wide use of different genres in his career, we know that he is a very experimental guy, which begs for the possibility that one day Beck really, really did not want to get out of bed in the morning, and decided to capture that feeling in song. Could losing all of his defenses in “Morning” simply mean that somebody pulled the blankets off him? And does choosing isolation over waves simply mean that Beck hit ‘snooze’ on his alarm a few times to sleep instead of getting in the shower? Cooler heads prevail at the end of the album as Beck remembers that he has stuff to do today, and decides to open his eyes to waking light. So there you have it. When asked to describe Beck’s sound, the best answer would be that he sounds like the great feeling you get when you hit the ‘snooze button’ and can sleep for nine more beautiful minutes.
(02/13/14 11:29pm)
Released: 2/4/2014
7/7 stars
They did it. We Are Augustines frontman Billy McCarthy overcame some of the worst personal tragedies one can endure, and along with multi-instrumentalist Eric Sanderson, created a tear-jerking indie rock album highlighting the emotional despair of these tragedies, and ending on notes of optimism and perseverance. The story that so desperately needed to be told had been told in Rise Ye Sunken Ships. So now what comes next for the duo? Add British drummer Rob Allen to the band? Great! Get rid of that silly "We Are" in the name? Sure. But now what? It's time for a walkabout.
Although self-titled, another fitting name for Augustine's sophomore LP would be that of standout track "Walkabout." The term walkabout refers to a rite-of-passage for Australian Aborigine men in which they wander the wilderness for months at a time on a spiritual journey of self-discovery. In essence, Augustines takes listeners on a similar journey, with the familiar blend of heartache and hopefulness that so accurately defines this band. "Walkabout" begins with a sorrowful McCarthy hitting high notes that were absent from the last record, and describing the feelings of losing oneself, "I walked out into the breeze to be quiet with the storms inside." Soon, a more uplifting blend of piano and acoustic guitar come in, and McCarthy returns to his usual howl that has rightfully earned him comparisons to Springsteen. As the song progresses faster, McCarthy croons, "it's over now, this walkabout. It's been so long, come home please," as a brilliant ensemble of strings, percussion, and backing vocals joins in on the ballad, having been methodically placed there by the band's gem, Eric Sanderson. "Walkabout" ends as McCarthy returns to the high notes, recognizing that the journey is over, the introspective war has been won, and it's time to come home.
If a simple listen or two of Augustine's first record didn't get fans hooked, it was the experience they were treated to at their live shows, which often left McCarthy without a voice, fans without hearing, and some venue workers with a good amount of sweat to mop off the stage. Making live performances even more powerful and memorable was kept in mind on Augustines, which includes sing-along anthems that would make even The Gaslight Anthem jealous. Songs like "Nothing To Lose But Your Head" and "This Ain't Me" feature choruses that just beckon for anyone within earshot to sing along at the top of their lungs. The exceptional percussion of Rob Allen on tracks such as "Don't You Look Back" and "Hold Onto Anything" will have listeners pounding their heads and clapping along as if they're making the rhythm themselves.
"Intro (I Touch Imaginary Hands)" sets the walkabout theme of the album as the first track on Augustines, while "Cruel City" evokes a tropical sound, revealing how McCarthy's trip to Kenya last year influenced his songwriting. "Weary Eyes," "Kid You're On Your Own", and "Now You Are Free" maintain a crowd-pleasing Augustines sound while helping to progress the story of persevering. "The Avenue" goes heavy on both strings and McCarthy's high notes, both of which are very welcomed additions to the band's second LP. Augustines is also highlighted by "Highway 1 Interlude," a meticulously constructed instrumental orchestrated by Sanderson.
After producing a sound on their first record that was compared to the likes of Bruce Springsteen and Arcade Fire, along with a live show that has been noted as U2-esque, Augustines needed to bring a sophomore album that was larger than life to the table. One that could make "album of the year" lists and propel the trio into huge venues that their sound commands to be in. Augustines has done exactly that.
They did it again.