untitled (?)

el marqo de questiano

I'm writing this as I take my first listen to track 5 from Wolf Eyes & Black Dice's self-titled album. Two things off the bat: every one of the seven songs on this LP is titled "Untitled," with two of the tracks having "(rough mix)" attached to their non-names; secondly, Wolf Eyes and Black Dice are two separate noise bands who came together halfway through this decade to craft what some believe is the best noise compilation yet.

I've always been interested in noise rock, but not necessarily noise. Even as open-minded as I am, I'll admit I find it quite challenging to listen to, and although there's some variations I enjoy, they tend to be the more upbeat and - dare I say - conventional-sounding compositions. An example here, from the above-mentioned Black Dice:

Black Dice - Glazin'

You see? There's weird noises; blips, scratches, slides, abrupt snippets of real instruments, electro clashes and the chugging backbeat of leathery scale upon leathery scale of...noise. But there's that bouncy element of fun and light-heartedness overshadowing all of that, and I find that's what's really lacking from the Wolf Eyes & Black Dice album. So then, a few particular things I wanted to touch on concerning the Wolf Eyes and Black Dice combination:

1.) It sounds like Halloween. That's right. If you wanted to soundtrack one of those creepy displays the odd person sets up outside their house for that one all-unholy day of the year, there'd be nothing better to throw on than the otherworldy electronic grumblings of this album. 10 minutes into this 15:13 epic that is track 5, there's that perfect balance of old, creaky swingset and percussion tapped just lightly enough, just menacingly enough, that it would scare away any child even considering a candy grab from the front porch.

2.) Like I said, every track is untitled. Now this makes for a really, really interesting activity that it's a real shame more groups haven't thought of in this wholly-technological age, when everyone and their aunt has an iPod and iTunes. You can name the songs whatever the hell you want. I'm aware some bands do gimmicks like this once in a while, but an entire album? It's genius. So right from the start, I loaded the songs into my iTunes, and decided to name each one what I thought was most appropriate as I listened to it. Kind of like that game where you say the first thing that pops in your head when someone else says something. But with music. My results?

You can see there wasn't exactly Fall Out Boy-song-title-level thinking put into this. It's just what those songs sounded like to me. Some of them are quite obvious, as the tinkling noises in "Diamonds" easily lent themselves to that title, the laser sounds in "Spaceships" accenting that selection, the unnatural moans and groans of "Zombies" making that one an easy choice, and "Geese" approximating just well enough the vibe of track 6.

3.) I'm deleting the entire album from my iTunes and from my hard-drive the minute this song ends. Not to say I don't appreciate noise music, but let me put it this way: I wouldn't throw it on, in any situation really. It's too depressing for long drives. It's too discomforting to fall asleep to. There's much better albums to put on doing things around the apartment. All-in-all, this is something you'd have to be seriously tripped out on drugs to fully - I hesitate to say "enjoy" - tolerate.

Tolerate really is the operative word here. The music isn't danceable - some might not even call it "music" at that. It might even be a totally ear-grating experience for others to listen to, though I found it bearable for the most part. Creativity comes in all forms, but real beauty is obviously in the ear of the beholder. For me, noise still isn't really where it's at, at least done in this manner. But enjoy that Black Dice track, and take the Wolf Eyes & Black Dice LP for a spin if you're feeling experimental...and if you wanna try naming the tracks yourself any different.

the xx | album review

I really can't say anything that hasn't been said about these guys. They're the hottest new thing out of London. They've all only just turned 20 years old. They're seemingly the greatest indie wunderkinds since the Strokes almost a decade ago now. They've been featured everywhere from being named "Best New Music" on Pitchfork, to freakin' sports-centric ESPN. They're the xx (not "double x," just "ex ex").

So I'm not gonna bore you with details about the group. They're young, they're awesome, wise and talented beyond their years, blah blah blah. Guess what? It all comes down to sex appeal, believe it or not. I've been quite averse and wary of the hype surrounding the group for months now, so articles I've read on them are few and far between. The sex appeal may have very well been mentioned (I know for a fact it has on Pitchfork's review, with the site stating that the songs are "mostly about sex"), but maybe moreso as a side effect, than the actual cause of their overall appeal.

Romy Madley Croft, one half of the guy-girl vocalists in the xx, shines as an uninteresting (uninterested?) and disaffected vocalist, flipping between sorry and flirty. She's the mood-swinging girlfriend, who loves you and lusts for you one day, and she's an emotional and apologizing wreck the next. The songs are all so minimal that the vocals are predominant enough so as to give the impression you've simply got the TV turned on to "The OC," but you're in another room. Basically, all you're getting is the dialogue from the show, with some moody music. That's about the easiest way to sum the xx up.

Is that meant disparagingly? Not in the least. I love these guys. Just absolutely head over heels for them. Yes, I was totally wary of the hype in the beginning. Didn't even bother reading the whole review on Pitchfork I don't think. I was sick of hearing that a bunch of minimalist teens were the big thing right now, especially after a summer plagued by minimalist crap being hyped far beyond its expiry date. The problem with all that crap though? The lo-fi aesthetic that seems so necessary nowadays. Barely-heard lyrics. Fuzzed-out guitars. Short and spurt-ish blasts that are gone before you can truly squeeze all the joy out of them.

The greatest thing about the xx? You guessed it: none of the above. When I finally got on their good side, it was from listening to "Heart Skips A Beat" on hypem's Top 20, and then going to the blog featuring that one and hearing "Islands" and "VCR," loving all three. The songs are unequivocally crisp-sounding, the lyrics almost-whispered in many instances, but clearly heard. The guitars and bass are by turns jangling and mood-setting. Aside from the instrumental intro, not a song below 2:30. It's just an impossibly and impeccably good album, especially for a debut, and especially for the age of the curators and performers.

Back to that sex appeal though. It's just oozing here, and it's not in the subtle and sultry ways that older and more mature bands dabble in. This foursome is all about getting it right now, in the most direct way possible. "If you want me/Let me know" is the sentiment echoed so straightforwardly on the most back-and-forth exchange on the disc, "Stars." I read that the xx are influenced by R&B. I unfailingly am unable to pick out hip-hop and R&B when it comes to any form of rock; it all just sounds like good rock music to me, so hell if I think the xx sound like R&B. But I do know nothing makes for betting make-out sessions than throwing on some heartfelt R&B ballads. These kids seem to take that one step further, fleshing out the physical experience over 11 tracks and 38 minutes. It's bedroom rock, if ever such a thing existed.

It's going to be extremely interesting to see where these guys take it from here. They could implode from the pressures and hype and never make another album, let alone one approaching the likable qualities of their eponymous debut. They could add more members, a string section, some industry all-stars, and end up playing the kind of all-encompassing and seizing music that a collective like Broken Social Scene does so effectively. They certainly have the right mindset for that kind of music, and their current tracks certainly have enough quiet space for that kind of arrangement to bring out that little extra in the music.

Final verdict? This may not be a completely awe-inspiring album, or even on the level of some of my favorites. But it's a fun album, in more ways than one. You can throw it on at any time during the day...though it works best at night, whether by yourself and feeling a little lonesome and appreciative of the night, or for those fun nights when you might have someone else with you filling up that lonely space.

Song recommendations? Too many to make. I already mentioned attention-getters "Islands," "VCR" and "Heart Skipped A Beat," but there is actually not one bad song on the album. I mean that. "Basic Space" and "Crystalised" are actually the xx's two singles out right now, and I didn't even mention them yet. That's five really solid tracks up front. I'm on my ninth listen of the album in three days, and nothing's lost its replay value. I mean, just get out and get the whole thing, you can't go wrong. If you're not convinced though, here's the track I initially fell in love with, alongside another standout:

The xx - Islands

The xx - Heart Skips A Beat