Skip to main content

Andrew W.K. - You're Not Alone (Red/Sony, 2018)

In 2001, 17 years ago, Andrew W.K. released the absolute masterpiece known as I Get Wet. Two years later he released the lukewarmish The Wolf. Then things got real weird. Close Calls with Brick Walls followed three years later but only in Japan, as AWK was temporarily barred from releasing music in North America under his own name due to a recently-resolved but still hazy legal dispute involving Steev Mike and a dispute over the ownership of AWK's name, likeness, image, etc (don't go down that rabbit hole, I urge you). In the interim AWK released a J-pop cover album, a solo piano improvisation album, and an album of Gundam themes, along with some odds and ends here and there, but You're Not Alone is his first return to the party anthems of his first two albums. Sorta. How does it stack up to I Get Wet? Well it's almost twice as long, with about the same number of songs (there 3 spoken word motivational speeches dotted throughout the album), some tracks pushing into the 5-6 minute range. So, like Close Calls, things have gotten bloated, if not so much experimental. Remember "Don't Stop Living in the Red" off IGW? Every song on You're Not Alone tries to be that - piano-drive, anthemic, thunderous, slightly portentous and slower and kinda flat. There's such a sense of trying to make every song its own self-contained epic that hearing one after another after another becomes a slog. There's some bangers on here for sure - "Music is Worth Living For", "I Don't Know Anything", "The Party Never Dies", "Break the Curse" - but now everything has become a bit more leaden, a bit too serious. I'm glad AWK is "back" and doing his thing again but this doesn't hit the same highs.

Comments

Popular posts from this blog

Eartheater - IRISIRI (Pan, 2018)

Eartheater first came on my radar (and many others) with 2 Hausu Mountain tapes in 2015. She makes glitchy, disorienting music, combining electronics and synthesized percussion with voice, guitars and who knows what else. The whole thing is a confusing stew, kind of reminiscent of Inga Copeland but I would say even more detached from "song". Didn't do much for me.

Kevin Drumm - Jury Prize (Karl Schmidt Verlag, 2018)

Here's a new kd album on Tom Smith's Karl Schmidt Verlag label that's very much the opposite of some of the kd we've heard earlier this year - namely, it's loud as fuck. There's one 53-minute track here, "Schmickedtwice (Jury Prize)" and it sounds as chaotic and unhinged as anything from Drumm, certainly a return to the noisy Sheer Hellish Miasma days but sonically on par with analog Merzbow. Recorded this year though so not an old recording. It sounds like there's vocals buried way deep, somebody screaming through the TV static, maybe even some percussion? This one's a heater.

Albums of the Year 2017 // New Releases

//40 Migos Culture (300 Entertainment) //39 Kyle Dixon & Michael Stein Stranger Things 2: A Netflix Original Series Soundtrack (Lakeshore) //38 Unsane Sterilize (Southern Lord) //37 Hans Zimmer & Benjamin Wallfisch Blade Runner 2049: Original Motion Picture Soundtrack (Epic/ASG) //36 Ricardo Villalobos Empirical House ([a:rpi:r]) //35 Brockhampton Saturation II (Question Everything Inc./Empire) //34 Fire-Toolz Drip Mental (Hausu Mountain) //33 Clams Casino Instrumental Mixtape 4 (no label) //32 Yves Tumor Experiencing the Deposit of Faith (no label) //31 Lil Yachty Teenage Emotions (Virgin/EMI) //30 Thriftworks The Feather and the Sword (no label) //29 Paul White & Danny Brown Accelerator (R&S) //28 Keiji Haino, Jim O'Rourke & Oren Ambarchi This Dazzling, Genuine "Difference" Now Where Shall It Go? (Black Truffle) //27 Nazoranai Beginning to Fal...