BREAK TIME IS OVER THE BREEDERS — ‘All Nerve’
THE GOOD: American alt-rockers the Breeders return with the classic “Last Splash” lineup for a fifth full-length album.
THE BAD: No.
THE NITTY GRITTY: The Breeders only made five albums? Yeah, I thought there were more too, but “Safari” was an EP, the Amps was another Kim Deal thing that SOUNDED like the Breeders, and there are a lot of B-sides.
“All Nerve” isn’t the second coming of “Last Splash.” The new record isn’t as instantly catchy, and the songs visit some murky places. However, it’s just as powerful. The Deal sisters have matured, and despite the fact they can still crank out something as punchy and infectious as “Nervous Mary” and “Wait in the Car,” the more intensely emotional moments such as “Dawn: Making an Effort” come more naturally these days.
However, “more emotional” doesn’t mean “mellowed out.” “All Nerve” does breathe, drums go down-tempo in spots, and there are brief silences. Yet these songs are still razor-sharp and can’t be contained.
BUY IT?: Yes.
DAVID BYRNE — ‘American Utopia’
THE GOOD: Ex-Talking Heads frontman David Byrne comes back with his first proper solo outing (collaborative albums NOT included) in 14 years.
THE BAD: “Utopia” may NOT be perfect, but at least the 66-year-old musician still takes chances.
THE NITTY GRITTY: The record is part of a larger multimedia project called “Reasons to be Cheerful,” which hopefully brings optimism to our tumultuous times, yet the music stands on its own.
Byrne brings together elements from his past, such as island rhythms (“Every Day Is a Miracle”), dark new wave (“Bullet”) and intense, body-shaking grooves (“Everybody’s Coming to my House”). The new musical combinations work for the most part, and while there may be a few lyrical hiccups along the way, “American Utopia” does what it sets out to do.
That is, the songs make us FEEL the world around us, while bringing on a few smiles, a couple of somber moments and some food for thought to ponder after the final notes fade out.
BUY IT?: Surely.
EELS — ‘The Deconstruction’
THE GOOD: Eels, that would be singer/songwriter Mark Oliver Everett and whoever else showed up this time, comes back with its (his) 12th.
THE BAD: Despite a four-year break from music, Everett immediately retreats to his comfort zone. Don’t expect any shake-ups. Not “bad” if you’ve remained a fan since the man was simply known as “E” back in the early ’90s.
THE NITTY GRITTY: You get the usual mix of soft, intimate songs and beat-heavy tracks, all featuring Everett’s knack for catchy melodies and copious amounts of self-reflection. Expected touches include ghostly choirs floating in and out of the room at various times, subtle patches of funk, moody strings and the occasional burst of sunny (don’t be fooled — Everett still has issues) pop.
In other words, you’ve been here at least 10 times before. And “Deconstruction” peaks early. The first half is quite good; the second half drags a little. Still, every Eels record has its memorable bits. Swing by if you’re feeling melancholy or listless.
BUY IT?: Your call.