Cassettes Won't Listen - Evinspacey
Jason Drake the mind behind Cassettes Won’t Listen had his business head screwed tightly on when naming this album. Before its release the publicity around the album was already rife. Kevin Spacey, who the album was named after, felt it necessary to issue a cease and desist letter which in situations like this is a PR persons dream. As the industry insiders would say, ‘any publicity is good publicity’.
The album actually has nothing to do with the actor at all. Drake explained in interviews that the name was originally meant to allude to the open space he was acclimatizing to after moving from Brooklyn to Southern California. It also wasn’t the first time he’d been on the receiving end of a cease and desist letter as he’d previously pissed off Guns N’ Roses after making remixes from Chinese Democracy and mixing them with Ludacris acapella takes, all before the G n R album had it’s official release.
Evinspacey the album (nothing to do with an actor of a similar name) is the follow up to the 2008 album Small Time Machine which garnered a fair amount of attention for Drake after he decided to turn his bedroom hip hop making machine into something more elaborate after including live instruments and picking up the mic.
His latest offering is an electro indie affair incorporating hip hop beats and a vaguely Death Cab for Cutie style vocal (in tone not in lyrical content) smothered in squeaks and spacey synth sounds. The best songs on the album in my opinion ('Wave To The Winners', 'The Night Shines & Stuck') all have slightly dark undertones and are surrounded by slightly more generic summery pop songs like the first single ‘perfect day’.
It’s a decent release and a large step towards Drake becoming further established as an electro pop artist. Personally I’d like to see him pushing more boundaries and breaking more rules in his music. I think then we might see his next album making much larger strides into our collective consciousness.
Purchase and listen
It’s just rock and roll. Don’t get tangled in the mic cord of categorizing killer bands. Cleveland, Ohio’s Puffy Areolas flirt with heavy, overdriven psych psychosis, clattering Stooges boogie, a little of skronk’s deranged clang, as well as the hyper-compressed, trebled-out wheezing of shitgaze (or whatever it’s called this year). But ultimately it’s dudes with guitars, playing to a backbeat. [read more]
I’ll be honest, when I heard a band named The Ketamines were releasing a debut EP called Line By Line, I was a little bit apprehensive. Add to this a debut album called Spaced Out, and I was expecting some horribly tedious, trippy nonsense by some bores who think drug references are cool. But these Calgary-based garage-rockers have surprised me. Their ragged debut EP may not be perfect, but it is promising and, crucially, fun. [read more]
Since the early days of electronic sounds, the best purpose for them has been the subject of argument by plenty of musicians: should we create sounds that couldn’t be created before, or produce a refined and clinical version of what was already being produced in analog? The Black Ghosts choose to do the second, and to good effect: When Animals Stare, the second full-length album from duo Theo Keating and Simon William, is an archetype of electro-pop. [read more]