Record #442: Kings Kaleidoscope – Becoming Who We Are (2014)

becoming who we areOnce upon a time, the Church was the center of all high art. Most important musical and artistic works during the Renaissance were commissioned by the Church to announce the mysteries of the Divine.

But over the last few hundred years, things have changed. Christian art is now the realm of cheap, oversentimental schlock that sells on sentiment alone.

Kings Kaleidoscope has had enough of it.

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Record #441: Herbie Hancock – Mwandishi (1971)

mwandishi

In the late ’60s, jazz was undergoing a sea change.

After decades of decrying electric instruments as too urbane for jazz, a number of jazz musicians started to gravitate toward them. Miles Davis led the charge, as he usually did. In a Silent Way was met with confusion and disappointment.

But nevertheless, it changed jazz forever.

Herbie Hancock was there too, beside Chick Corea and Joe Zawinul. The three pianists, fascinated with these newfangled electric pianos and synthesizers, shaped much of Davis’ vision through his electric period.

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Record #439: Grizzly Bear – Painted Ruins (2017)

painted ruins

Any time I find myself in a conversation about how modern music is garbage, I always bring up Grizzly Bear. Veckatimest is a flawless record that deserves to be listed next to albums like Pet Sounds and Odyssey and Oracle. It was a breakthrough that netted them an invitation to tour with Radiohead.
Grizzly Bear might have been doomed to live the rest of their career in the shadow of one perfect record, but the records that have followed have been similarly glorious.
Shields saw the group exploring sparser arrangements and a more measured composition. But, the record had a hard time maintaining the bliss of the first few tracks. The last half slowed the tempo down to dangerous levels, and the record ended up being a little forgettable.

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Record #437: Deftones – White Pony (2000)

It seems fitting that in 2017, a year that saw me obsessively dive into the Deftones’ catalogue to determine if I like them or not (spoiler: I really, really, really, really do), it’s fitting that my last purchase of the year would be White Ponythe record most people regard as their magnum opus.
Listening to the melodic, shoegaze-influenced alternative metal of Koi No Yokan or Gore, there’s very little to suggest that Deftones was ever a rap-metal group. That trajectory is thanks to White Pony, the record that eschewed the nu-metal of their peers and becoming one of the best alt-metal bands in the business.
This change was in large part due to the group’s new emphasis on atmosphere and melody. Songs like “Digital Bath,” “Knife Prty,” and the eternal “Change (In the House of Flies)” made great use out of a quite-loud dynamic that became the blueprint for many of the group’s best songs. “Rx Queen,” “Teenager,” and the first half of “Pink Maggit” saw them using a quieter palette than ever before. “Teenager” even had electronic drums and acoustic guitars!
While there are no raps on this record, the band hadn’t completely shed their nu-metal skin. Some of the riffs are still drenched in hip-hop swagger—”Elite” in particular. But even these songs haven’t aged as poorly as most of their contemporaries. While songs like “Freak on a Leash” and “Nookie” sound like embarrassing time capsules, most of  White Pony sounds practically modern.
Which is good news, because I can’t stand rap rock anymore.