RECORD WOES: WORK ALL DAY, WALES ALL NIGHT

lushandmeilyr

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Last week I picked up Origami, the five disc Lush vinyl box set. I really only wanted Split, and since I have not spotted it under $75 for over a decade I decided that I could spend a few more bucks and get all five and a concert ticket. I would have gotten two tickets but I worked on record store day, so I was late to the party and they only had one left for the box set purchasers. I also did not get the new Lush EP, because they smartly postponed the release until today. I, however, smartly did not call to reserve my copy, so when I got to the record store after work they had sold out. Now I have nothing to listen to and have to wait some more. Working stiffs are so privileged. I should just quit and write D&D character sheets for food. So, instead of reviewing my most anticipated release of the year so far, I’m going to write on hipster/chamber pop.

Meilyr Jones – 2013

Meilyr Jones released 2013 last month. The pluses are it is fantastically intricate, great care was taken with writing, and his voice is pretty good. He has that whole “avant garde pop” thing going on. The first song is dancey and bombastic. The second has a harpsichord and sounds more like a less funky Van Morrison. The whole album kinda sounds like less funky 60’s non-rock & roll rock & roll.  Yes, what you read. People talk about “Don Juan” like it’s the best track on the album, but we all know that means it’s probably the most boring.

“Passionate Friend” sounds like fun movie music. The whole album kinda sounds like fun non-modern movie music. Modern movie music usually all sounds like doo-doo. The next two tracks are super toned down reductions. “Rain in Rome” sounds like auto tone created the whole song. It stops a lot and skips like a bad youtube connection or mp3 purchased from itunes. There is applause in the background to thunder and one might sense it may be symbolic. “Strange Emotional” is a very typical 60’s song but is also very revived sounding, which is probably a result of the deeply expressive singing.

The rest of the album is just more of the same. There is some good style changes and variety, but it’s very dense and filling. “Be Soft” is probably the best track because it features richly textured multi-layered instruments and beautiful reverb. Interestingly, there are some bad pops on the vocals. How could someone miss that in mixing? It must have been intentional.

“How’d I do, fellas?” “Oh, great. Just in time, too. We just maxed out the time. Better move along.” *whispers* (what? the quiet parts bloody suck? just throw some reverb on them and let’s get going! i have to get to the dog show! no, i don’t want to listen to it. you lock up… and get that record to the press, it’s late already.  what? prince is dead?) “What!?  Chyna!?”