So far, quite good! Skilled songwriting, nice production, punchy lyrics that play between scathing critique and fun. "Finest Worksong" and "Strange" serve as fun bookends for a section heavy in political commentary and interesting composition, with the latter being a weak foray into surf rock that's still nice to listen to. The songs between are great.
"It's the End of The World ..." is a huge standout so far, very very high-energy and exciting. Quite punk.
"The One I Love" is an ugly look into misogyny that's effective and well written. This sort of song only works 50% of the time, this is in the good half.
"Fireplace" is interesting! Cool lyrical escalation, fitting into the broader theme of the record. Very good sax(?) solo!
"Lightin' Hopkins" is dense and exciting. Nice bass, great drumming, cool structure, interesting lyrics.
"King of Birds" is fantastic. Beautiful, experimental, what this album has been leading up to.
That is, until "Oddfellows Local 151" hit me in the gut with a brutal conclusion of this criticism of Reagan-era "American Exceptionalism" with an extremely real look into reality vs idealism. Can't help but interpret this as asking the question "what do we do with our veterans, and native americans?"
Overall, highly enjoyed this album. It's very clear that grunge took heavy inspiration from this sound, a sound that itself is a great mixture of UK rock, country, and blues. Super impressed, giving this a 4/5.
Tl;dr: This is a first impression that could not have went better, I think.
"Speed Trials" is a haunting opening, with brilliant lyricism and a unique, whispered delivery.
"Alameda" is far more blunt, with more complex composition and accusatory projections hurled towards an unfortunately relatable "You". "You" don't want to get better, "You" want to bring everyone down with you, all while strutting your shit.
"Ballad of Big Nothing" is, sonically, the largest song by far. It's, to me, about the granting of empty platitudes to somebody hurting that comes from a place of ignorance and a savior complex. "You can do what you want to!" can feel remarkably patronizing and useless.
"Between the Bars" is remarkably soft and remarkably evil. Elliot Smith's voice is masterfully comforting on a song that is written as anything but. The enabler's (or 'drug' itself's) warm blanket is remarkably tempting, but it is a cold comfort.
In a faux-triumphant breaking out, "Pictures of Me" sees Elliot valiantly dropping the "You"phemasims and replaces it with I. Except, what's what wrong with I? 'I' challenges the listener (and lies to himself) that the 'pictures of me' doesn't show the full image. It's other peoples' fault I'm like this! You're romanticizing MY struggle! What a fantastic change of pace that still has that cold sting found across the entire record.
In the following song, the subject of the album has successfully pushed everyone away, becoming "No Name No. 5". At last. Heartbreaking.
"Rose Parade" is an arm outstretched to our protagonist. It's hard, but we're all human.
"Punch and Judy" and "Angeles" are the extreme temptation to enter back into that vicious cycle, due on one hand to the inherent struggle of it all, and the other to that warm comfort from before. That temptation and often inevitable relapse is...
Here. "Cupid's Trick". It bounces between a hazy malaise and extreme energy from somebody who can barely muster beyond a base-level exhaustion, only bolstered enough by the high to barely shine behind the psychedelic and heavy guitars in the foreground. The protagonist is finally taking control back, and is thus completely and totally trapped and lost in that fake euphoria.
It's always at a time like "2:45 AM" when somebody has the smallest chance to make the decision to get real help, and face responsibility. It's daunting, it's hard.
Then, after a time, there's the smallest chance that you wake up and feel better. When you "Say Yes" to the part of you that wants to be better. There's the smallest chance that you find yourself, and people that want to be around you unconditionally. I'm so glad this gut-wrenching record ends with this ray of hope.
The instrumentation, the vocals, and the vulnerability throughout this record is masterful and emotional. 5/5.
Very fun and extremely funky, with commentary that bounces between goofy, politically charged, and uplifting. Remarkably indulgent and rich, although the songs are a bit too long (admittedly, less an issue with the record and more with the way I listen to records). It's not willing to get silly, and really turn every single musical idea up to 11. I haven't listened to much funk beyond stuff released post-2000, and this is far more committed to the vibe than most of what I've heard. Handcuffs's lyrics feels a little creepy to me, though. And the album reaches such critical funk by the end that the bass turns into a fart and the chorus devolves into "gagagooga" (which is honestly extremely peak and I love it). 4/5!
Earnest, well-written, nostalgic, and well-performed rock music. A pleasant listen, perfect for a summer drive through a city you grew up in.
Side 1: A cheesy grand space-opera that hits on the ethos of rock and roll in a fun and extravagant way. 4/5
Side 2: Decent. 3/5
In my humble opinion, simply one of the best albums ever made. Have heard this album a million times, will not miss any reason to listen again.
Occasionally decent songwriting, but marred with poor production and fluff. A couple songs that are fun enough but don't stand under any real scrutiny.
