Intensive Care
Fairy Tales from the Island
(Self-release; 2009)
4.5/10
Intensive Care’s first full-length album, Fairytales from the Island, fails to enchant.
Despite a combination of proficient musicians, Intensive Care’s desire to create pop songs out of nervous structures doesn’t work.
Their self-proclaimed “mad scientist arrangements” are offensive mishmashes. Most begin on experimental and dark notes only to jump into upbeat melodies that lack conclusion.
While there are moments here, the songs don’t hold together. The first track, “Tales of Sarah Jane, the Golden Horse,” is reminiscent of Cold Play’s Viva la Vida, while “Wandering Man” is clearly influenced by The Beatles’ Sgt. Pepper.
Unfortunately, the songs do not live up to their predecessors. Despite Intensive Care’s potential, Fairytales from the Island is missing the magic.
Trial Track: “Tales of Sarah Jane, the Golden Horse”
– Candace Roscoe
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Bob Dylan
Christmas in the Heart
(Columbia; 2009)
7.5/10
Living musical deity Bob Dylan has taken the Christmas complication and turned it into a charitable collection of yuletide standards (all royalties will be donated to Feeding America).
Dylan rarely strays from the usual interpretation. Christmas in the Heart may be unimaginative, but Dylan is paying homage to a long-standing tradition of carols, hymns, and holiday songs.
Dylan’s worn voice plays both against him and with him though out the album.
“I’ll Be Home for Christmas” and “Have Yourself a Merry Little Christmas” benefit from the lonesome vocals of Dylan.
But it’s on tradition carols like “Hark The Herald Angels Sing” and “O’ Come All Ye Faithful” that the coarseness is most apparent.
A compilation that isn’t aimed as a cash grab, Christmas in the Heart has it’s heart in the right place.
Trial Track: “Must Be Santa”
– Brennan Neill
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Sufjan Stevens
BQE
(Asthematic Kitty; 2009)
7/10
Stevens’ eighth release is the soundtrack to a home-movie styled documentary, about the division of colourful New York City neighbourhoods, Brooklyn and Queens by the decrepit artery of an expressway.
The soundtrack, composed by Stevens and preformed with a 36-piece orchestra, showcases jumpy woodwinds grappling with regal brass and plucky piano chords.
Highlights include “Interlude I: Dream Sequence In Subi Circumnavigation,” a track that is both eerie and dreamy, climaxing into a frantic and erratic beat, and the aptly named “Traffic Shock,” where the album changes gears for one song into a classically composed tune fed into a pulsing beat machine.
Exquisitely composed, this album truly underlines the exceptional musicianship of Stevens.
Trial Track: “Movement III: Linear Tableau With Intersecting Surprise”
– Kelly Malfara
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Velvet Underground & Nico
Velvet Underground & Nico
(Verve; 1967)
With the guidance of Andy Warhol, New York’s The Velvet Underground, joined by the super model and actress Nico, have released their self titled debut.
The album could be easily be split into three; Lou Reed’s pop tracks, Nico’s vocal touch, and Reed/John Cale’s experimental art pop.
Reed has a certain knack for writing catchy unconventional pop songs. “I’m Waiting for the Man” is a song written about a drug deal in Harlem.
Nico provides the vocals for three tracks and the backing for “Sunday Morning.” Her detached delivery and smokey voice is a perfect contrast to the sometimes rambling style of Reed.
The album has an experimental edge as songs break down and the ring of Cale’s viola cuts through the noise. “Heroin,” a song about the addiction users face, descends into screeching hopelessness.
Three distinct sections, one great album.
Trial Track: “I’m Waiting for the Man”
– Brennan Neill