Top Albums of 2008: # 1: Portishead: Third

Treble's Top Albums of 2008 and my review of Portishead's Third can be found (click here) on treblezine.com

Portishead
Third
Island
2008

Third is wicked good, but Treblezine's Album of the Year? How could it not be? We have come to expect only the best from Geoff Barrow, Adrian Utley and siren Beth Gibbons, and Portishead delivers on Third. From the start of "Silence" (originally entitled Wicca), the album opens with a sample of Claudio Campos, a Capoeira master, speaking in Portuguese, reciting a Wiccan precept of the Threefold Law which translates: "Be aware to the rule of thirds. What you give will return to you. You have to learn this lesson. You only receive what you deserve…"

We all were a bit shocked, weren't we? I myself didn't know what to expect but I know it would be challenging, timeless and pure Portishead. Besides, I wouldn't want to hear Dummy part deux. Who would? Third is an artistic achievement by a band that's been relatively quiet for ten years. To awaken from their creative sabbatical with this greatness is a gift from up above.

Gone are the now unfortunate clichéd trip-hop beats, which have evolved into futuristic soundscapes that include the tripped-out prog vibes of "Small," moog synths in "Machine Gun," freaked out cacophony of jazz horns on "Magic Doors" and otherworldly rhythms that perfectly back our favorite damsel of despair. If the back beats hint at an era of desolated isolationism, Gibbons angelic vocals brings some sense of struggle to find hope, in the quietly acoustic "Deep Water" as she sings "I'm drifting in deep water/alone with my self-doubting, again/try not to struggle this time/for I will weather the storm…"through the maddening soundtrack that surrounds her every one of her mesmerizing vocalized harmonies. When she croons "Oh can't you see/holding on to my heart/I bleed the taste of life" on "We Carry On," Beth mirrors our every day challenges to find some glimmer of promises in this age of bankrupt idealism.

If Dummy and Portishead were the sounds of the band during the Cold War/Spy era, then songs like "Machine Gun" show Portishead in the middle of sonic air assault. At times Beth Gibbons sounds as if she's embedded on the battlefield, her angelic vocals describing the chaos she sees around her.

Portishead have become one of the most important and influential artists of our generations. So much so that even Thom Yorke and Jonny Greenwood recorded an impromptu cover of "The Rip" as an homage to one of Radiohead's favorite bands. Portishead's Third is more than the album of 2008, this is a snapshot of our unknown future. I imagine Beth Gibbons outside on December 21st, 2012 when I hear the eerie siren-like sound towards the end of "Threads." "I'm always so unsure" is Gibbons once again singing our own insecurities. What will happen tomorrow, next year or here after? Who knows? We will find out together. What I hope is to have Geoff, Adrian and Beth there along to create the soundtrack for our everlasting uncertainty that prevails within us all.

Adrian Ernesto Cepeda
12.19.2008

Top Albums of 2008: # 27: Beck: Modern Guilt

Treble's Top Albums of 2008 and my Modern Guilt review can be found (click here) on treblezine.com

Beck
Modern Guilt
Interscope
2008

Why is Beck such a mystery in 2008? Beck Hansen is one of the most important artists in the last twenty years; he single-handedly molded elements of hip-hop, Latin, folk and rock into mainstream success of Odelay. But ask about Modern Guilt and most will say Beck, who? It's such a shame. Though Modern Guilt may be missing on many 2008 year end lists, here at Treble, we recognize the importance of this ever-evolving artist and his collaboration with Danger Mouse. Modern Guilt is an album that percolates inside and slowly takes you over. Songs like "Gamma Ray" and the title track captivate you with their addicting back beats. But it's the dark lyrics that linger inside: "Misapprehension is turning into conversation/ don't know what I've done but I feel ashamed." It's as if Beck feels claustrophobic inside of his persona and he's looking for a way out from the past that haunt him so. On Modern Guilt, it feels like Beck is slowly stripping away all of his sampled studio gimmicks that made him infamous. I'm looking forward to the next step in the evolutionary phase in Beck's career. Who knows where he's going, but if songs like "Volcano" and lyrics like "I don't know where I've been/ but I know where I'm going…" is any indication, we're starting to see the true Beck coming into light, and what we're hearing is luminous and incendiary.

Adrian Ernesto Cepeda
12.15.2008

Top Albums of 2008: # 49: R.E.M. : Accelerate

My Accelerate review can be found (click here) on treblezine.com

R.E.M.
Accelerate
Warner Bros.
2008

It's been difficult being an R.E.M. fan during these past few years. When I mention this to friends and music enthusiast amigos they roll their eyes in disgust. Since when did R.E.M. get such a bad rap? Don't tell me it's all backlash because of "Shiny Happy People?" I was one of the few who have stood by the band before their critically labeled resurrection on Accelerate. Songs like "Living Well is the Best Revenge" and "Man Sized Wreath" added a much-needed shot of adrenaline that was missing from the R.E.M. of recent years. There were some internal creative tensions that did permeate within this Athens, Ga trio during the last few years, which finally got resolved before Accelerate came to fruition. As a result, Accelerate showcases a rejuvenated R.E.M. that you hear in Mills' vibrant harmonies, Buck's electrified riffs and Stipe's more refined lyrics which come to light on the first single "Supernatural Superserious." The anthem for a teenage geek generation, "Supernatural" is one of my favorite songs of the year. I recall hearing it in Rome during a vacation this past Spring (those Europeans have taste). Michael Stipe sings "Music will provide the light/ you cannot resist" on the fiery finale "I'm Gonna DJ." You hear this flame burn throughout Accelerate, as some songs like "Houston" burn on low while others like "Man Sized Wreath" explode to eleven. Sometimes quiet and often loud, Accelerate sparks a new phase in the life of this dynamic and enduring entity whose future is thunderously bright. Now those same amigos understand why I've stood behind one of my favorite bands after all of these years. Back in the glow of glorious acclaim, this isn't a comeback—Buck, Mills and Stipe have returned to unleash Accelerate and reclaim their mantle of greatness on their road towards immortality.

Adrian Ernesto Cepeda
12.15.2008

Treble's Top Songs of 2008: # 33: Nick Cave & the Bad Seeds: Dig, Lazarus, Dig!!!

My Nick Cave song review can be found (click here) on treblezine.com

Nick Cave & the Bad Seeds
"Dig, Lazarus, Dig!!!"
Dig, Lazarus, Dig!!!
Mute/Anti
2008

"Dig, Lazarus, Dig!!!" is one of the coolest and most surreal singles released this year. In case you haven't heard, Cave said of the inspiration for the song, "Ever since I can remember hearing the Lazarus story, when I was a kid, you know, back in church, I was disturbed and worried by it. Traumatized, actually. We are all, of course, in awe of the greatest of Christ's miracles - raising a man from the dead - but I couldn't help but wonder how Lazarus felt about it." "Dig" is Nick Cave's retelling in the myth of Lazarus set in modern day America. The way that Cave writes it, "Dig" sounds like a Charlie Kaufman-meets-Terry Gilliam scene come to life. Just imagine Lazarus as a cool-ass zombie walking around in the world around us, breaking hearts. But what gets me about the song is the lyric in the chorus, "I don't know what it is, but there's definitely something going on upstairs," as if Cave is sympathizing about this poor soul being taken from the grave and put into this crazy, soulless techno/plastic surgery driven society.

Most of all, I dig this song because of the funky back beats with the heavy guitar riffs and choral backing vocals, along with Cave's distinct, empathically freaked out vocal. Seeing Cave resurrect the legend of Lazarus with his Bad Seeds on stage at the Hollywood Bowl earlier this year is something I will never forget. They are the most dynamically and electric band that I have ever had the honor of seeing in concert. Hearing and seeing Cave will change your life. Just ask Lazarus.

Adrian Ernesto Cepeda
12.09.2008

Treble's Top Songs of 2008: # 42: Review: Death Cab for Cutie: I Will Possess Yr Heart

My Death Cab song review can be found (click here) on treblezine.com

Death Cab for Cutie
"I Will Possess Yr Heart"
Narrow Stairs
Atlantic
2008

I admit, until 2008, I never really was a huge Death Cab fan. My girlfriend would play Plans and Transatlanticism in the car during our dates, and hearing Death Cab in the car was one of those cosmic, kick-in-the-head moments when everything makes sense. Maybe I just wasn't ready to truly listen and appreciate Death Cab like I do this year. When I heard this first single from Narrow Stairs, from the opening piano chords through the long and winding instrumental section, I was hooked. The thing that I grabbed me about "I Will Possess Your Heart" was Ben Gibbard's lyrics and Death Cab's rhythms, as they create a soundtrack that mirrors our current or distant lives. We all can relate to the longing that Gibbard feels when he sings "How I wish you could see the potential/ the potential of you and me…" I'll even admit that I never was a fan of extended instrumental openings to songs, but I love the way that "I Will Possess Your Heart" builds and personifies the rush of approaching the one person that sets your emotions ablaze. It takes time and those moments before our first contact is brought to life at the build up to Ben Gibbard's first vocals.

Yet there is a flip-sided meaning to this song that can be viewed very sinisterly. "I Will Possess Your Heart" might also be a song about obsession, and its multiple meanings make it an instant classic. What makes "Possess" not as ominous as song as say, "Every Breath You Take" is the yearning vocal by Ben Gibbard. Most of us have been there and he brings these emotions of distant love affection to light in this very brilliant song.

Adrian Ernesto Cepeda
12.08.2008

Review: Coldplay: Prospekt's March EP

My review of Prospekt's March can be found (click here) on treblezine.com

Coldplay
Prospekt's March EP
Capitol
2008

Since I was the Trebbler who wrote about Viva La Vida or Death and All His Friends, I think it's fitting that yours truly should be the one who reviews Prospekt's March. Think of this EP as Coldplay's version of Radiohead's bonus In Rainbows disc that was released in that extremely expensive box set that has inexplicably yet to be released on its own. (C'mon Thom, you could learn a little from Chris Martin and his boys, release that bonus disc as an EP already!)

If you're one of the few that has yet to purchase the magnificent Viva La Vida, however, you can pick up a special edition with Prospekt's March added as a bonus disc. It's also available as an EP by itself. Listening to Prospekt's March and thinking back about Martin's comment about retiring after Coldplay's world tour, I can only conclude that it's a mistake. Hearing Viva La Vida and Prospekt, I feel like Coldplay have yet to cement their name and sound in the stratosphere of The Beatles or Radiohead. They are on the verge of the mountain peak that is eternal greatness timeless status, so why give up now? I have a feeling that their next album, if it ever gets made, is going to be legendary.

Okay, maybe the Jay-Z flavored Lost mix isn't exactly what I'm talking about, I could have done without that track, but the rest of Prospekt's March is worthy of inclusion in Viva La Vida. The debate will begin just like with In Rainbows, as to whether or not Coldplay should have added songs like "Glass of Water" and "Prospekt's March/Poppyfields" to their full-length effort. I say `hell yeah,' but I'm the type of musicologist who believes that the greater the number of songs available, the more fulfilling it is for my rhythmic soul. Think about The Beatles' White Album, what if they would have pared down the songs to one single album? It works as a masterpiece, albeit an imperfect one.

Since it's so brief, Prospekt feels like a coda to Viva La Vida. For those of us who didn't want the musical journey to end after "The Escapist," we get more from those sessions produced brilliantly by Brian Eno. I love the way that "Rainy Day" starts with some post-modern noisy rhythms and flows into some soothing strings in the chorus. It's a hopeful soundtrack to yr wet and dreary days. Even the title track sounds like a more optimistic version of "A Rush of Blood to the Head." I simply have fallen for the wall of sound remix of "Lovers in Japan." It sounds like an ode to romantics around the globe. I discovered an aura of positivism that shines throughout the lyrics and sound of Prospekt's March.

I feel like songs like the lyrical version of "Life in Technicolor," the acoustic beauty of "Now my Feet Won't Touch the Ground" and even the piano interlude of "Postcards from Far Away" would have made Viva La Vida an even more memorable album. Prospekt's March is a bold statement from Coldplay it continues all of the themes and sounds they started with Eno's on Viva La Vida. Prospekt's March and Viva La Vida mark the year when Coldplay became more than a multi-platinum band. Berryman, Buckland, Champion and Martin are on the verge of a magnum opus that has the potential of injecting a much needed post modern artfulness into the rhyme-less direction that is contemporary pop music. Don't give up; we need Coldplay now more than ever.

Adrian Ernesto Cepeda
12.05.2008

Review: The Fireman: Electric Arguments

My review of Electric Arguments can be found (click here) on treblezine.com

The Fireman
Electric Arguments
MPL/ATO Records
2008

Having grown up an armchair Fab Four-ologist by reading just about every book on The Beatles, one of the myths that I've seen prevail throughout the years was that Lennon was the one into avant garde and Paul McCartney was the one who wrote the silly love songs. This was furthest from the truth. In reality, while Lennon was holed up in his Mansion with Cynthia and Julia, it was Macca who was the first one soaking in all the creative energies of the psychedelic era of the sixties. McCartney was friends with many artists in the London Underground, including experimental musician John Cage and poet Allan Ginsberg. Paul was the one who got Lennon to record the now infamous "Carnival of Light" song that may finally be released.

Paul has never strayed from these innovative tendencies throughout his solo career and even creating a solo project The Fireman in with former Killing Joke bassist and producer Youth. In 1993 The Fireman dropped their first release Strawberry Ocean Ships Forest and followed another release under the commercial radar with 1998's Rushes. Paul must have been impressed with Youth's production work with Alex Patterson's The Orb because The Fireman was conceived as Macca's foray into ambient dance music sounds. The Fireman wasn't the first time Paul took a dive into the dance floor, as "Ou est le Soleil," one of my favorite tracks from Flowers in the Dirt, must have inspired Macca to delve deeper into DJ culture.

Throughout the nineties Paul's experimentation with The Fireman remained veiled in mystery until 2008 when Paul and Youth finally admitted that they were the duo trailblazing with their dynamic moniker. Even with me being a die hard Macca fan, I have to admit I never cared for The Fireman's first two releases. What was missing from Strawberry and Rushes was the soulful inflection from "Ou est le Soleil." I enjoyed Twin Freaks more, Paul's partnership with DJ and producer Freelance Hellraiser. Macca hired Hellraiser to spin his decks for Paul's 2004 World Tour. McCartney was so impressed with Hellraiser's mixing abilities that he collaborated with Freelance on a double vinyl only release remixed album of Paul's solo song's mashed up by Hellraiser. I'm still waiting for Twin Freaks record to be released on CD.

But instead this holiday season, Macca fans get an even better gift from Sir Paul a new Fireman album. Electric Arguments is the first to have vocals from McCartney himself. This was the main problem I had with the first two Rushes releases. The samples were cool for the first few minutes, but I missed Paul's trademark vocals. Electric Arguments is more than just another experimental venture into dance music, Macca and Youth have evolved from that aspect of their earlier Strawberry and Rushes releases. This time, the dynamic duo have truly collaborated with Youth laying down some grooves, Macca improvising some lyrics like he did on Flaming Pie's "Really Love You" (with Ringo Star and Jeff Lynne). Macca then added more rhythms to their initial recording and gave each track a more song feel. Think of Electric Arguments as thinking man's groove music. Not tracks for the dance floor, a more transcendental moving experience with lyrical wonder brought to you by Paul McCartney.

"Nothing Too Much Just Out of Sight" opens Arguments with a bluesy number that announces how much The Fireman have evolved from their Strawberry days into a resurrected more Electric feel. "Two Magpies" follows with a very acoustic beauty, one of the best solo songs Paul McCartney has ever written and recorded that would fit perfectly on 1970's McCartney or even 2005's Chaos and Creation in the Backyard.

"Sing the Changes" echoes the aura we feel in the word today. I first heard this modern day anthem on L.A. radio station 100.3 The Sound while driving to day job in Pasadena. Unbeknownst to McCartney, it sounds like Paul's lyrics are foretelling the emotions we all felt on November 4th when the world changed for the better.

You may recognize the mellotron that The Beatles used on "Strawberry Fields Forever" recycled with such a vibrant flare on "Traveling Light" which also features one of the tenderest vocals Macca has even record on any album, such a beautiful and moving song as he croons "I'll follow the bluebird to wherever she lies."

"Highway" sounds like an updated ramped up version of "Taxman" with McCartney rocking another number that most certainly could have found a home on last year's Memory Almost Full. I love the electric choir-like vocals towards the end of the song that shine along with Macca shredding his guitar like he famously riffed on Band on the Run. "Light from Your Lighthouse" is a Western pub song turned Gospel acoustic number with Paul taking on an old time preacher that would fit in soundtrack adaptation of Stephen King's "The Dark Tower" series.

"The Sun is Shining" starts off as another acoustic number with birds chirping in the back ground as Paul sings a modern day "Good Day Sunshine." "Dance `Til We're High" is not a club anthem, it's more a song for two new lovers coming together for the first time beyond sight and sound. A theme that Macca revisits on the very romantically tinged "Is this Love?" You will hear Paul sing for the new paramour in his life. It's nice to hear that after all that loss that McCartney's been through that he still believe in the magic of love.

"Lovers in a dream" has a "Ou est le Soleil" feel with a little Orb like ambient atmosphere as Macca adds a bluesy riff that lifts this dream into being just another Strawberry/Rushes sampled groove. I love the way each song flows into another. Paul layers some piano keys and guitar flavor to Youth's chill out vibes on "Universal Here, Everlasting Now." You can feel the beats with Macca's improvisational vocals building to a rhythmic climax as Paul's tender piano keys personify certain calmness after the intense electrified culmination.

Arguments closes with the epic "Don't Stop Running." Paul sings the very poetic "Silent lover/ angel smiling/ don't stop running." (You can hear the addition of the tabla, the Indian instrument the The Beatles made famous using during their peak Revolver and Sgt. Pepper years.) There's a bonus cut 8:00 minutes into "Don't Stop Running" which sounds like a Vangelis/Blade Runner-inspired tune with Macca whispering some backmasting (backward) lyrics in the distance.

I am impressed by the way Fireman has evolved from its early incarnation to this post modern collaboration between Macca and Youth. It was as if these two exceptional musicians finally realized the potential they had in the studio and harnessed their gifted energies into creating something like Electric Arguments that was worthy outside the dance floor and more into our collective consciousness. Electric Arguments will go down as one of the most eclectic and exhilarating albums in Macca's whole extraordinary canon.

Adrian Ernesto Cepeda
12.03.2008