New Pornographers
Electric Version
»
New Pornographers
Electric Version
Matador, 2003
RiYL: The Go-Go's Beauty And The Beat, Beach Boys' Today, Blondie |
I can actually feel the pounding drums of that last tune somewhere deep inside of “The Laws Have Changed,” the third and best track from this album. It takes me back to my sister’s room, back to a time when I thought Brian Setzer and Martha Quinn were cool, back when I thought punk meant Nicolas Cage in “Valley Girl.” It takes me back to the back of the very beginning of my personal musical being. It could be the guitar tones, or the drum tones, or even the skin tones of this pale Canadian supergroup, but something about this music taps into that innocence and exploits it.
Don’t get me wrong. I love this exploitation. In fact, “The Laws Have Changed” is my first nomination this year for the “Most Enjoyable Track of 2003” award. I mean, who can complain about feeling like a happy kid? Shit is great! Banging drums, bumping bass. By the time Neko Case starts singing 20 seconds in, I’m already in a better mood. Once the band reaches the “form a line” chorus, I’m singing out loud like an 8-year old dork who doesn’t know any better. And that, my friends, is what good rock and roll is all about.
Unquestionably, the New Pornographers' biggest asset is its arsenal of gifted melody makers, already showcased on the group’s lighter debut Mass Romantic (2000). Not only do the voices of Carl Newman, Neko Case, and “secret member” Dan Bejar blend beautifully, but their songwriting abilities mesh seamlessly (There haven’t been this many talented songwriters in one room since Brian Wilson ate dinner alone last year. Rim shot!). Each song is blessed with at least one catchy section, typically two or more. Midway through the album, listeners are treated to “Chump Change” and “All For Swinging You Around,” a pair of songs with blinding pop light that best evidence this crew’s uncanny hook-penning skills.
Even better: these guys aren’t afraid to cut loose and rock out. The album opens with the title track, a drum-heavy number with the tumble of The Beatles' “She Loves You,” a song that perfectly announces this new harder-hitting version of the band. The amps are turned up, the distortion pedals switched on, and the energy is infectious. For blessed head banging, head to the ending of “It’s Only Divine Right,” which practically knocks the wind out of the stereo with its spooky Nintendo ("CastleVania I"-era) keyboard lines and squealing distorted guitars.
Still, it’s the innocent vibe of the band that strikes me the most, sometimes to scary effect. To use a horrible word, this music is “quirky,” and therefore has some unwanted side effects. Once while listening to the song “Chump Change,” I felt for a minute as though I were suddenly starring in an episode of “Quantum Leap,” where I was sent to 1982 on a mission to save MTV from becoming absolute crap. Even more oddly, the chorus of “From Blown Speakers” drives me slightly mad each time I hear it because it reminds me of some Reagan-era ballad that I can’t barely remember (anyone with even the slightest idea what I’m thinking of, please email me. I really want to know who sang that song!). Probably most haunting is that crazy monkey on the cover; he’s “Shock The Monkey” scary!
Don’t let my bizarre associations stop you from checking this album out immediately. This is fun, fun, fun stuff -- one of the year’s best albums, no doubt -- and it should carry you blissfully through the summer.
BEN FRENCH | Ben founded NATN in the winter of 1998-1999 with fellow IU alums Troy Carpenter and Jonathan Cohen. During the day time, he's working for Nielsen Business Media, publisher of Billboard. Ben's favorite acts include Bruce Springsteen, The Clash, Sonic Youth, Elvis Costello, Talking Heads, Rolling Stones, and the Beach Boys.