Courtney Barnett - 'Sometimes I Sit and Think and Sometimes I Just Sit' Review

'Put me on a pedestal and I'll only disappoint you'. A modest metaphor perhaps for Courtney Barnett's new found stardom, and claims from some quarters that she is one of the best young song writers around. One thing is for certain, she doesn't disappoint!

One of my favourite albums from last year was Sun Kil Moon - 'Benji'. Mark Kozelek has an incredible story telling ability, with his work creating beautiful imagery. I found that album to be like nothing I had heard before. Like reading a book... where the words you read create a constant flow of images in your imagination. Of course, Mark Kozelek is a lovely guitar player too, with his melodies complimenting the stories he told so perfectly.

Courtney Barnett musically is a million miles away from Sun Kil Moon, yet she shares the deadpan, self-conversational style. 'Pedestrian at best' represents this best, with Courtney Barnett ranting in what is essentially a passionate monologue of dis contempt of the life of a female twenty-something.

'I like you, despise you, admire you, what are we gonna do when everything all falls through?
 I must confess, I've made a mess of what should be a small success, but I digress, at least I've tried my very best I guess'.

Courtney Barnett talks, sings, bellows, shouts her way through the record.

This style of songwriting does require a subtlety. We seem to be in an age where spoken word, or even open-mic style singing and performance is more popular. However, I find the majority hugely cringy. Partly my reason for not liking popular artists like Ed Sheeran, who even takes it one step further and raps *vomits*

'You should never cut your hair, because I love the way you flick it off your shoulder'

'And I know you love Shrek, cause we've watched it twelve times'.

Wake Me Up - Ed Sheeran.

Courtney Barnett has these moments of somewhat mundane thoughts spiraling out of her mouth and I guess you could aim the same criticism at her. I suppose I feel her lyrics are more witty, or if not witty then clever, building imagery or reflecting on something wider. Perhaps like early Arctic Monkeys and Alex Turner. But it is fair to say, it is a fine line.

"Jen insists that we buy organic vegetables, and I must admit I was a little skeptical at first. A little pesticide can't hurt"  - Dead Fox, Courtney Barnett

My favourite moment of this album is the deeply sentimental 'Depreston'. A story of house hunting in the suburbs, in a place she doesn't want to be. A tale of growing up, flying the nest and financial strain. She picks out the details of a bungalow she is viewing, perhaps mocking materialistic obsession and petty characteristics that she questions the importance of.

"I can't think of floorboards anymore, whether the front room faces south or north."

Musically like Real Estate and lyrically like Conor Obest, I have read elsewhere. I couldn't put it better myself...

There is some musical prowess on the album too. Seven minute long, reverb guitar solo heavy 'Small Poppies' is a post break up self examination with Courtney Barnett bellowing out "I used to hate myself, but now I think I'm alright". Other catchy hooks appear on 'An Illustration of Loneliness (Sleepless in New York)' & 'Dead Fox', but I do feel it's the lyrical content which offers the most pleasure.

A pyramid stage slot at Glastonbury will expose Courtney Barnett to the UK later this year and I believe she'll be far more known come July.

8/10

Here is the the punchy single 'Pedestrian at Best':

Father John Misty - 'I Love you, Honeybear' Review

'Father John Misty'. The name is possibly the worst thing that Josh Tillman has created. Everything else is gold...

Josh Tillman, the ex drummer of Fleet Foxes, created Father John Misty back in 2012 after an array of solo releases in his own name. A folk-inspired singer songwriter, from Maryland, USA. His music is as bold as his lyrics are witty and at times, hysterical. They say the best works of art evoke a variety of emotions and this album does just that.

'I love You, Honeybear' the album's opener, is a stunning track that sums up the strength of the vocals throughout. Tillman's voice is layered with his own harmonies, with on-point 'ooh's' and 'ahh's' complimenting the warm melody.

The lyrics are where this album comes to life the most, however. He sounds bitter, angry and self-loathing throughout, with any positive outlook on life or compliment of another smothered in satire,sarcasm or humour to balance it up. At times, the lyrics come across as a stream of thoughts just passing their way through his head, with no process of filtering out the stuff you think, but don't say.

"I've brought my mother's depression
You've got your father's scorn and a wayward aunt's schizophrenia"

His lyrics have the habit of making you smile or think deeply before making you chuckle. A hard skill; as most attempts to be funny yet respected as a musician go horribly wrong, or just cannot be taken seriously at all. 

"The Night Josh Tillman Came To Our Apt." & "Nothing Good Ever Happens At The Goddamn Thirsty Crow" take one night stands and relationships and give comical, but relatable lyrics. The former begins with three lines of admiration and appreciation for his temporary lover, before the inevitable guilt and resentment kicks in with cutting, harsh jibes at the woman he spent the night with. Suddenly, he can't stand everything about her.

"And now every insufferable convo
Features her patiently explaining the cosmos"

"Strange Encounter"touches on these ideas too, with desperate, passionate vocals of self-hatred and self-despair, bellowing: " I swore I would change". "The Ideal Husband" follows with yet more admissions of mistakes and regrets.

"Bored in the USA" is sad, honest, thought provoking and beautifully sung.

"Now I've got a lifetime to consider all the ways
I've grown more disappointing to you
As my beauty warps and fades
I suspect you feel the same"

Every song here has a sentiment to dwell on, whether you laugh, cry or both. It delivers the honest and bitter self- realisation of life's disappointments, worries and fears but also things that just really grind your gears in 21st century America. It's from this, Josh Tillman brings the laughs and jokes and metaphorically shrugs his shoulders through life with a smirk on his face.

Josh Tillman has made an album which is as impressive as his beard and that takes some serious patience and ultimately, talent and skill.

9/10

Other album reviews:

Will Butler - Policy: 7.5/10

Here is the album opener:

Noel Gallagher's High Flying Birds - 'Chasing Yesterday' Review

With Beady Eye gone, Noel is the last Gallagher standing to fly the flag. Despite being his 'High Flying Birds' with various random but cherry picked musicians (The Zuton's bassist?!), this project is mainly a solo one with the luxury of being able to sing every tune he writes. You get the feeling he relishes the fact he is in complete control of the entire record making process nowadays. The self titled first effort in 2011 was a fabulous album and one that further cemented himself as an iconic songwriter. His live performance of that album was effortless, recalling a memorable night at the o2 arena, London.

So three and a bit years on, after an EP/Record Store day release here and there, he is back with the second High Flying Bird's album. It's a fair comment to say you know what you are going to get with a Noel album. Above all, a solid one. One that has a number of 'proper' tunes, with proper lyrics and a proper melody. That might sound basic, but that automatically puts him ahead of a large proportion of new artists who lack the skill to combine those elements. Wishy-washy indie rock is a thriving genre. Royal Blood's Mike Kerr can play the bass guitar damn well and damn hard, but
"Hey little monster, you know it's all ok
I'm gonna love you, no matter what you say" - Little Monster - Royal Blood

is a classic example of having one element (tune/melody) but not the other (lyrics). With Royal Blood's success, maybe you don't need to tie them all together anymore. Perhaps that's why mainstream rock music is in decline. Noel very rarely (if at all), fails to fuse his skills as a songwriter and a musician together so elegantly.

I like the production of everything he creates. His music feels loved, and it sounds uplifting and melancholy at the time with an effortless feel . 'The Dying of The Light', 'Riverman' & 'Ballad of The Might I' all reflect this and are highlights of mine.

Some might say (sorry, had to!) his music is a tad 'samey'. Chord heavy, rolling bass, verse-chorus-verse. 'We know we can't go back' might be guilty of this, yet it is listenable. My theory would be if you don't like that style, you probably don't like his music, nor Oasis'. An album being 'samey' is a dangerous criticism. True, some 'samey' albums can sound dreadful, but some can go on to be masterpieces. 'It This It' - The Strokes has a consistent sound through its entirety and is one of the best albums of the 21st century. The Beatles also receive the same treatment from some parts, yet their music is still played 50 years on. 

'Listenable' is a odd adjective to describe music on face value, but I think Noel personifies that trait. It's not setting the musical world alight stylistically and it has its moments of routineness but it's an enjoyable listen and one that his fans will immerse themselves in.

In a music world of blending genre's and stylistic innovation being necessary to get recognition, Noel has laughed in its face and done what he always has. 

7/10

Other album scores:

Ghost Culture - Ghost Culture: 7/10

Here is an acoustic version of  'The Dying of The Light' which is a song Noel has had knocking about for a few years before appearing on this album: