Some of you may recall I sorta reviewed CS Luxem about a year ago, but had to tap out due to a migraine. I always felt bad because, while I’m sure few people know of my existence, I felt like I shorted folks. I found out he released a new album in February and wanted to check it out. Some of the stuff I noticed that night definitely come out here, but no one came here for a recap of an incomplete review. I certainly got brought more lucidity (hyuk!) to what was otherwise lost in brain fog.
CS Luxem knows how to fuse together styles like ambient, doo-wop, and avant garde and pair it with the surreal and surfer elements. This is most apparent in “Goat Ghost”, “Feed the Dog”, “Space”, and “Heal Support”. It’s refreshing to see something so ambitious that is, for the most part, effectively pulled off with deft. Admittedly it still reminds me of bands like 10 CC and The B-52’s as they were both avant garde in their own ways and pulled it off just as well.
At times, though, the hodge podge of creativity gets problematic as certain elements vie for dominance and the basic elements suffer. This is most apparent when whimsical seems to take priority. One of the worst offenders is “Own Way” where more focus is placed on percussion and being odd that it has no substance. At times, though, it seems as if lacking substance is the point, but then I hear songs like “Hot Corn Girl” where the echo effect overpowers the vocals and– while I suspect the drowning out of lyrics is intentional –sacrifices the lyrics so the listener is left missing out on what should be just as considered just as important if it’s included in a song. It is most apparent when part of the lyrics seemingly allude to myths about Persephone and the Corn Maiden, but can’t be fully made out due to a wall of echo. What is there is left an incomplete idea that sounds interesting but loses effectiveness as a song.
Then again, lyrics may not be a real concern for CS Luxem, as I found most of the songs lacking in this part. Songs like “Let Me Go On” and “Space” clearly have lyrics, though it feels like they aren’t complete ideas expressed in the songs and we’re to focus on everything but what the vocalist sings. If that is the intent I have to question why lyrics exist and aren’t instrumentals, as quite a few songs would be enhanced without them. At times, though, the songs strike a balance with whimsy, sincerity, and lyrical content. Songs like “Spider Webs” and “Symptoms” really present the more sincere approach to lyrics that seem to dance with the song and express a full idea before succumbing to the oddity.
Despite seemingly torching my copy of the album I feel there is much to enjoy from Symptoms. While at times it lacked sincerity CS Luxem promises an experience where the listener can lose oneself in the juxtaposition of avant garde stylings with deceptively mundane rock.
It’s that time again where I release 4 songs that best describe this month. Those who are new to this I pick 4 songs from music released in the particular time, in this case March of this year. These 4 songs I feel capture the emotion of the month. I don’t look at which songs I like, or genre, or anything of the sort. It’s all about the music and capturing the mood.
Now that I got some of that out of the way, here’s what I picked for this month. Hint: apparently I was obsessed with lots of layers this month.
Not only is the story behind this band an interesting one, but the music on this album is impressive. Seriously, if you get a chance check out their backstory and the rest of their album. Much of the album is like this, but the idea of everything working together to create one big complex work is rather striking.
Moby “The Tired and the Hurt”
Moby is one of those artists who is able to mix a lot of genres together and, even if you don’t like it, at least appreciate the complexities. I feel like this month was one of those months with “layers” where it seemed simple but as you look at it look at how things got processed in a weird way. I think this song captured that aspect.
Dorothy “Ain’t Our Time to Die”
This is another one of those songs that struck me but in a different way. Rather than being focused on being layered in composition this one I felt was layered in emotions.
Lucy Dacus “Yours & Mine”
While this song wasn’t layered in ways like the others, but I felt it captured the vibe of this month of trying to address feelings directly, even if the execution of it was complicated.
If you want to check out what I picked in previous months you can check out these posts or go to my YouTube playlist.
Posted in Soundtracks by Me
Tagged art pop, blues rock, electronic, hard rock, indie rock, march, march 2018, music, psychedelic pop, rock, soundtrack, synth pop
I am one of those people who live under a rock and need to desperately fix it. When I decided to look into what the local scene (or at least local to me) offered I found Orphans of Doom, and as an extra bonus they released a new album back in January. I went in search of it, and one purchase and download later have an album to review.
After I listened to the album I couldn’t help but feel this band was slightly familiar. I felt I had heard them in a basement show back in the day, so much so I checked my notes from that time just to make sure. Unfortunately it doesn’t seem to be the case, which doesn’t really bode well. They stay true to the stoner genre but so much so that if played with other bands like Kylesa in a playlist I don’t feel I could pick them out unless they were very particular songs (more on that in a moment). That aside those who absolutely love the genre will find the tug of war between ambient, alternating slow and driving tempos, and spoken word. Songs that really stick out in this regard are “Excension” and “Harvest”.
I will give Orphans of Doom credit there are particular songs where they deviate from typical stoner genre fanfare and delve more into prog. Songs like “Kakegoe” and “Cephalopod” really explore more extreme ends, be it experimenting with ambient to induce a further dreamlike state or driving rhythms reminiscent of traditional Japanese drumming to induce frenzy. I think exploring those concepts further and exploring musical transitions more to develop those ideas will set it apart from other stoner music I’ve heard.
There are times, however, the experimentation isn’t quite realized in the song. Part of this may be because the transition between powerful drumming and ambient isn’t really developed or doesn’t exist so the jump between the two ends up awkward. Moments of “Cephalopod” are like this, which is a shame because what should lull the listener deeper into the song as if entering the realm of the eponymous creature ends up jarring and awkward. I also see this in “The Return of Supertoad” albeit the transitions and tempos are still awkward at times though more thought is put into transitions than on other tracks. There are times, however, the union between the concept and what’s actualized in the song don’t work out entirely. I felt “Mythical Sleep” epitomized this. It didn’t really make sense and I couldn’t tell if this was a calculated move or not and, if so, what purpose it served. It seemed like more about bravado of technical skill than artistic integrity. When it does come together, though, I feel like there’s promise. The best examples are “Ghosts” and “Pleasure Delayer”, where the “diddling” ends up being the theme and transition that brings the song together.
Overall I think Orphans of Doom has potential, but they will need to find their voice a bit more and commit to it. I see moments where they want to take their sound into a more prog direction and certainly have the skill but it’s drowned out by desire to adhere to the stoner genre in a way that I’m unsure behooves them. It ultimately creates a sound that is muddled and can seem too focused on what may sound cool, but not necessarily come together cohesively. I think those into the genre will appreciate it for what it is and enjoy the album for its aesthetics.
CS Luxem broke the monotony of ambient music in the night with their combination of music and social awkwardness. While it seemed odd it came together for an interesting show that provided the only fresh air that was in The Replay Lounge by that part of the night.
Luxem provided a nice break from all the ambient music with their combination of doo-wop paired with a strong bass line. Adding off-key vocals and some synth elements to the mix does max it interesting, though at times it felt a little hokey. I felt like at times there was too much in the mix that it was a bit of overkill, such as too strong of a bass line or too much reverb that seemed to serve no purpose. On a more positive note they remind me of a grittier 10 CC.
As I’ve said with other bands that night I’m giving some leeway about their performance as I couldn’t see the stage thanks to a tight crowd. I’m going to give them even more leeway because I started to feel ill and left in the middle of their set. I feel because of that they didn’t get a fair review without it, especially when I left it seems they really started to play their finer songs. What I did get to note was while sometimes over the top musically CS Luxem also delivered equally goofy stage antics. At times it came off a part of the act, but it also felt a little contrived as if trying to mask something.
The audience enjoyed the antics, though, and showed it with lots of cheering. Sadly this section is pretty sparse, which adds to why I’m giving them leeway. It’s not their fault, but at least the audience got to enjoy them.
As I’ve said CS Luxem combines doo-wop and synth with goofiness. What little I did review shows that while a bit rough around the edges can provide something unique and a bit reminiscent of 70’s and 80’s music. I hope to give them a more complete review in the future.
Audience Interaction- 1
Brownie Points- 0.75
Posted in electronic, music, review, rock
Tagged alternative rock, april, doowop, music, replay lounge, review, rock, synth