Monday, April 29, 2013

Norma Jean - Meridional



            Meridional gives the impression of two trains barreling down the tracks towards one another—loud, terrifying, unstoppable. Produced by Jeremy Griffith, this album sounds as raw as a knee scraping across pavement, capturing the energy, passion, and emotion of Norma Jean’s live performances with ease. The guitars wail like banshees as every hit of the drums reverberates like thunder across hills. Even the band’s stylized chaos in the form of feedback and white noise is present at full volume, adding still to this record’s pandemonious impression.
            Though the dynamic of the record is unanimously loud, the overall sound of Meridional is rather diverse. Before they began writing, the band went on record as planning to dig “deep into [their] roots musically,”[1] which many fans took as a return to their earlier sound. While there is of course no shortage of Norma Jean’s well-worn heaviness on Meridional, the band also chose to explore the melodic side of their music, and to great effect. Cory Brandan is singing just as often as he is screaming, creating focused melodies that might otherwise be lost in the chaotic maelstrom of music. The songs on the record reflect this kaleidoscope of sound, with almost every tune being a mix of brutality and melody. Tunes like “Leaderless and Self Enlisted” and “Everlasting Tapeworm” help to satisfy the craving for drop tunings and dirty riffs, while the epic “Falling from the Sky: Day Seven” invites the listener into a new and beautiful landscape of spacey-guitars and soaring vocals. In interviews with Exclaim, guitarist Chris Day commented that the approach to the album was all about “attitude,”[2] while Brandan stated that the band wanted “to put some kind of intention behind the music, and not just a cool riff or something.”[3] That intention and attitude have certainly taken full form in this record, where each note, vocal or instrumental, is dripping with truth.


            Another factor that sets this record apart is the band’s variation of time signatures. While a goodly amount of their songs are in the standard 4/4, Norma Jean does not limit themselves to that standard, instead proving to be a cohesive unit through time signature. “Leaderless and Self Enlisted” takes off in 9/8, while “Everlasting Tapeworm” alternates between 3/4 and 4/4. Furthermore, many of those songs, rather that sticking to one time signature, contain a multitude: for instance, “Deathbed Atheist,” predominantly in 5/4, features a chorus that alternates between measures of 4/4 and 9/8. Similarly, in “Blood Burner,” Brandan’s phrase “Until you respect me” is sung over alternating measures of 7/8 and 5/4.
            Such madness may seem pretentious, but the songs on Meridional do not rely on that madness to make them worthwhile. The incredible musicianship of Norma Jean is expressed in every song, but done so in such a way that the beauty and passion of the music is never overshadowed. A great example of this lies in the song “The Anthem of the Angry Brides,” which features a ridiculously fast guitar riff shredding through most of the song. According to Brandan, that “’diddle-diddle-diddle’…fast guitar lick” was “one of the first things we had for [the] record.”[4] Despite being the tune’s foundation, that riff sits quietly in the middle of the mix, allowing Brandan’s violent vocals and the crushing rhythm section of Jake Schultz and Chris Gaines to really steer the song. If anything, that riff acts as a leash, gently leading the listener into one of the most brutal breakdowns on the record.


            While Norma Jean’s exceptional technical skills do allow them to stand out, the value of their songs  ultimately lies in their effective composition, and nowhere is that more apparent than in the lyrics of the record. Brandan’s verse is extremely poetic, and he explores some interesting themes throughout the record, especially the idea of free falling, such as in the songs “Falling from the Sky: Day Seven” and “High Noise Low Output.” Furthermore, the record is overflowing with lines that urge the crowd to sing along. Phrases like “You’re not getting under my skin” in “The Anthem of the Angry Brides” and “We found a better way” in “Bastardizer” perfectly cap the chugging sections of music that churn under them, encouraging the listener to react with both their bodies and their voices.
            This connective ease of the lyrics stems perhaps from Brandan’s subtlety of phrasing. Norma Jean has long been under the “Christian” banner, due to their often obvious references to religion and the Bible. While such an affiliation might turn many listeners off, in Meridional, Brandan continues to explore Christian ideas in his writing without shoving them into the listeners’ ears. His command of language allows every song to feature multiple interpretations: “Bastardizer” could as easily be about gnawing anxiety or a drama queen as it could be about Lucifer. Such ambiguity allows Norma Jean’s music to appeal to a wider range of fans than those that share their religious views.
            While most records simply present us something amazing to listen to, in Meridional, Norma Jean also offers us something to do in the form of a puzzle embedded in their music. Within the record lie three tracks that at first listen seem like filler: “Septentrional,” “Occidental,” and the hidden “Oriental.” Along with the title of the record, “Meridional,” these four words represent the directions on the compass[5], creating a unifying theme of direction; however, none of these directions mean anything without each other, and the same goes for these tracks. Each song begins with an identical percussion part, before developing into a mix of instrumentation and white noise. But, after a little noodling on a music program, when the three tracks are layered, they provide us with another song. With such antics, Meridional encourages not only thinking on the part of the listener, but action, allowing us to take part in the arrangement process, making their music an interactive art form.


            Meridional is unique in that it offers a group of awesome tunes built on even more awesome ideas. Norma Jean’s audacity in their composition and arrangement forces us as listeners into a position of involvement, rather than leaving us to hide in our headphones. By encouraging us to think about the music, we are inspired to put as much thought and soul into our own lives, and if Norma Jean can communicate that message through screaming vocals and feedback-soaked music, they must be doing something right.

Tunes to Check Out:
1) The Anthem of the Angry Brides
2) A Media Friendly Turn For the Worse
3) Leaderless and Self Enlisted

Friday, April 12, 2013

Grand Funk Railroad - Closer to Home


            When I first picked up the bass guitar at age thirteen, my dad took one of his old mix tapes and popped it into our stereo. After a minute of searching, he let the tape play, a punchy little bass line coming through the speakers. “Learn to play this by just listening to it,” he challenged me. For hours I sat in front of those speakers, my fingers tripping along every note until I had mastered that simple yet pivotal riff, the intro to “Nothing is the Same” from Grand Funk Railroad’s album Closer to Home. Fifteen years later, I decided to explore the record that had solidified my love of the bass and of rock ‘n’ roll, and I was not disappointed.
            Closer to Home has the feel of an epic about it, much like Homer’s Odyssey. The sound that this trio puts together is extremely powerful, blending their signature funk styles with rock ‘n’ roll tones. Even the mix is tight, allowing enough of Mel Schacher’s overdrive to come through on his bass without muddying it, while keeping Mark Farner’s guitar at such a level that he never overshadows the rest of the band, even in his leads. All three musicians play as if they plan to wear their hands to the bone, and Farner’s vocals thoroughly explore the ranges of both pitch and attitude.  
            The tune that best captures the epic feel of the record must be “I’m Your Captain (Closer to Home),” the album’s finale. Structured over two movements (hence the two titles), the song relates the incredible yearning a man can feel when he is far from home, as well as the paranoia that he may never be able to return. Lyrically, the song is probably some of Mark Farner’s best work, one that he sees as divinely inspired[1], as he pleads with an imaginary and apparently mutinous crew to allow him to return home: “Everybody, listen to me / and return me my ship / I’m your captain, I’m your captain / though I’m feeling mighty sick”[2]. The first movement reflects Grand Funk’s signature grooving style, the band jamming gently as Farner’s vocals try to quell a coming rebellion. The song then opens up as the second movement begins, Mel Schacher’s bass line driving the song as the band, accompanied now by an orchestra, begins exploring a vast musical space. The band then seems to take a backseat in the second movement, with Mark singing his mantra of “I’m getting closer to my home”[3] while the orchestra slowly develops until the song fades into the horizon. “I’m Your Captain” epitomizes the epic voyage of the entire album, a tale of homesickness that seems an echo of Homer’s Odyssey.[4]



            While “I’m Your Captain (Closer to Home)” might be put on the same level as poetry, the rest of the lyrics on the record unfortunately fall short of such a comparison. This aspect of the writing is generally simple, so much so that it takes more from the record than it provides. Most of Farner’s verse is plain and often clichéd; the lyrics to “Mean Mistreater” almost beat to death the theme of relationship, such as in the line: “Mean mistreater / you make me cry / you lay around / and watch me die.”[5] Furthermore, the words and ideas often seem disconnected, with adjacent lines and lyrics doing nothing to build a picture, evidenced especially in “Sin’s A Good Man’s Brother.” Fortunately for Grand Funk Railroad, Farner’s impassioned vocals and powerful delivery make up in part for the weak writing, as his soulful singing allows the rock ‘n’ roll energy that the band embodies to flow forth in every song, unabated by any lack of imagination.
            With the exception of the power ballad “Mean Mistreater,” the entirety of this record is up-tempo and jamming. Each song showcases Grand Funk’s tight musicianship, with all members playing off of each other’s parts and connecting seamlessly in syncopations and hits. The writing on the record also reflects the way the band members interact, as all instruments are equally showcased in almost every tune, with the bass or the drums driving the song as often as the guitar does. The composition of the songs is evocative of emotion and groove without being ridiculously complicated, allowing the music to communicate its intent without overpowering the listener. Indeed, one of the most endearing facts about this record is that you can tell just by listening that Grand Funk Railroad is having fun with their music, a fact that communicates more strongly than any technical decisions in composition can.
            Nowhere is this groove and energy more apparent than in “Nothing is the Same,” that song that is both so pivotal to my musical development and also my favorite on the record. Immediately, the combined thumping of Mel’s bass and Don’s drums lures the listener in, while Mark’s guitar hook quickly sets in our ears. All three musicians wail on their instruments from start to finish in a jam that plays with traditional song structure, repeating only a few sections while filling the rest out with musical madness. The song alternates between a bobbing groove and a heaving rock, always keeping the listener moving. “Nothing is the Same” is also unique in that it often lays the spotlight on Mel Schacher’s bass playing, ranging from funky walks to crazy runs that would leave Chuck Jones’ Road Runner in a cloud of dust. Mel’s ability to play like a lead while holding the rhythm is exceptionally showcased in this tune, his heavy basslines rivaling the screaming banshee of Farner’s guitar. After one listen, it becomes apparent that “Nothing is the Same” is a three stage rocket that launches the listener far into orbit, leaving him spinning and soaring.


            Closer to Home is a testament to when rock ‘n’ roll offered both consistent, heady musicianship and a rockin’ good time. Because of its incredible energy and thumping grooves, it has been covered relentlessly over the years by countless acts, including well known artists like Gov’t Mule[6] and Monster Magnet[7]. It is an album that holds the record of mine and my father’s musical odysseys, and if you are feeling musically uninspired, give this record a spin and see if one of its many hooks gets embedded in your brain like it did mine.

Tunes to Check Out:
1) Nothing is the Same
2) I'm Your Captain (Closer to Home)
3) I Don't Have to Sing the Blues