So, a catch-22 arose as I read Pitchfork's review of the Sebastien Grainger album. If the self-appointed zeitgeist of interweb music reviewers was to herald the album as fantastic, I would be noticeably irritated--to the point that I might kick a series of doors, setting off said doors' alarms, and subsequently being arrested for mischief. The droning masses of wicked-hip indie kids who are always a step ahead of the rest ("The Acorn is sooooo 3.75 months ago, get with it") might then swallow up Grainger and his Mountains counterparts and step on my toes at the next show with their gritty Vans and Chucks. Conversely (get it?), if Pitchfork was to dismiss the album as drivel (specifically in comparison to DFA1979), I might be enraged to have what I believe to be one of the best albums of 2008 torn to shreds. Furthermore, having it done at the hands (or dirty, sweaty, fingers) of some asshole who interned at Spin and is a level 87 vegan is infuriating. After reading the review I was relatively pleased, however, with Joe Colly's tendency to tread the line separating the two.
The album certainly does showcase Grainger's "command of melody" and "works best at its most straightforward." That being said, I believe the entire album is rather straightforward. Colly writes it himself that the album "ventures down a more conventional rock path" -- that is what I find so novel and refreshing about Grainger's music.
Overall, I find the album to be one of the most earnest in recent memory. As you listen to tracks like "Niagara" and "I'm All Rage," one can sense the passion and sheer fun had by Grainger and The Mountains in the studio (the former is said to have been recorded during a night of many alcoholic drinks) and on the stage (although the latter is not actually a live recording, it certainly captures the tenacity of a live Grainger show).
Yes, DFA1979 certainly was a rather significant and groundbreaking band. However, neither Sebastien Grainger nor Jesse Keeler will ever "escape the shadows of their former glory" if critics insist upon comparing their current projects to DFA1979. With his album, Grainger aims to achieve a different aesthetic. To begin with, his solo work is devoid of the abrasively sexual lyrics. He has matured considerably and sings of more than pushing in and pulling out. DFA1979 was a dance-punk band that did not spend much time pondering anything outside the realm of booze and sex--what else do early 20-something males have to think about anyway? To gain a better perspective on Grainger's new musical and spiritual mentality, I advise at least a quick read of Exclaim's November piece on him (which, by Exclaim standards, is one of their finer articles).
Ultimately, I find that as per usual, Pitchfork has missed the mark. To put it simply, Grainger's album is one of the finest albums I have heard all year and despite listening to it several times a week since first downloading an advance (don't fret, I purchased the vinyl from Grainger himself at the album release show), I have yet to even slightly tire of it. That being said, a rating of 5.8 is more than a low blow--it's a fucking drop-kick to the nuts. Fuck you, Joe Colly--but, thank you.
