| | Clouddead CD Clouddead Discography of CDs
Culled from a series of limited 10" releases, Clouddead's eponymous debut isn't so much a fully formed album as it is a well-executed exercise in seasick, proggist psychedelia. With background textures that rival Boards of Canada in pastoral, tree-lined opacity and an obvious predilection for boggy atmospherics, Clouddead handily distances themselves from the rest of their hip-hop brethren. Indeed, this is something more considered and sinister -- less about wayward braggadocio than it is about keeping your doors deadbolted at all hours of the night. Even their less-is-more approach to vocalism eventually starts playing tricks on your mind; when lyricists Dose and Why? emerge, it's usually to puncture the pleasant fog of some dulcet, wavering sample. The whole album reads like that; the sonic equivalent of your first legitimate drug trip as narrated by two jittery but triumphant kids who can't bear to keep their choice hiding place a secret any longer. While it's perhaps a tad overlong, Clouddead doesn't suffer from any shortage of great ideas. It's menacing, it's enthralling, and it's one of few modern-day records (hip-hop or otherwise) that honestly doesn't sound like anything -- or anyone -- else. ~ Mark Pytlik
Recording information: Above The Bakery, Cincinnatil, OH (01/1999-02/2000); Anticon Chalet, Oakland, CA (01/1999-02/2000); Cortelyou Place, Cincinnati
Clouddead: Doseone, Why?, Odd Nosdam.
Additional personnel: Illogic, DJ Signify, Sole, The Wolf Bros., Mr. Dibbs, The Bay Area Animals.
Clouddead Music | List Price | $11.98 (You save $1.59) | | Category | Rock/Pop Albums, R&B CDs, Rap, Urban Soundtrack, Instrumental, Experimental Rock, Underground/Alt Rap, Rock | | Label | Mushroom | | Orig Year | 2001 | | All Time Sales Rank |  82692  | | CD Universe Part number | 5064105 | | Catalog number | 206 | | Discs | 1 | | Release Date | May 21, 2001 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Personnel | Why
DoseOne
Odd Nosdam
Also: Sole, Mr. Dibbs, DJ Signify, Illogic |
Clouddead Songs | 1. | Apt. A, Pt. 1 |
| 2. | Apt. A, Pt. 2 |
| 3. | And All You Can Do Is Laugh, Pt. 1 |
| 4. | And All You Can Do Is Laugh, Pt. 2 |
| 5. | I Promise Never to Get Paint on My Glasses Again, Pt. 1 |
| 6. | I Promise Never to Get Paint on My Glasses Again, Pt. 2 |
| 7. | Jimmybreeze, Pt. 1 |
| 8. | Jimmybreeze, Pt. 2 |
| 9. | (Cloud Dead #5), Pt. 1 |
| 10. | (Cloud Dead #5), Pt. 2 |
| 11. | Bike, Pt. 1 |
| 12. | Bike, Pt. 2 |
|
Clouddead Review
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Purchase Clouddead CD To buy, Click on price to add to cart | Broken Social Scene You Forgot It In People CD (2002) (Import) Canada
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Nothing less than an indie-rock milestone, this is what happens when a number of musicians from the Canadian post-rock scene (including members of Godspeed You Black Emperor, A Silver Mt. Zion, and Do Make Say Think) abandon their extended-jam conceptualizing in favor of short, optimistic, pop-oriented songs. Things start out in a jazzy, bass-heavy space before morphing into "KC Accidental," a guitar-layered track that sounds like the Allman Brothers covering Sonic Youth's "Teenage Riot." Catchy hooks triplicate alongside hand clapping, fuzz guitar, and Brendan Canning's whispered vocals on "Stars and Sons," while the mellow, acoustic "Looks Just Like the Sun" gives way to the twangy neo-Tropicalia and cockeyed (but uplifting and cohesive) experimentalism of "Pacific Theme."
Emily Haines (of the Metrics) lends a vocal to "Anthems for a Seventeen Year-Old Girl," which ends in a roundelay of swirling violins and banjo. "Cause = Time" is an even more tuneful brother to "Stars and Sons" that's so good, by the time the mournful, ...
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The most artistic hip-hop has usually relied on a rapper's ability to transmit to listeners an eye-level view of his surroundings (and possibly comment on them), but what are a group of rappers to do when those experiences -- on a video shoot, no less -- apparently include the following, as cLOUDDEAD claim?: "Two small girls and a handful of dressed men walk a cage full of goats across a basketball court." ("Rifle Eyes," their response to 9/11, is only slightly more bizarre.) The only question is whether this trio of subunderground ...
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Two years in the making, and combining two of the best underground hip-hop artists of the early 2000s, this collaboration between MF Doom and Madlib has been appropriately dubbed MADVILLAINY. With both men known for their stunning soundscapes, rhyming skills, and schizophrenic personalities, the duo decided to have Madlib concentrate on the beats and let Doom handle ...
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This Montreal ensemble's fiery debut is marked by surging guitars, soulful strings, driving drums, brilliant bass lines, and the quavering vocals of married couple Win Butler and Regine Chassagne. The group's song structures careen through a vast territory of musical and personal history, with lyrics warm with memories of childhood neighborhoods and deceased loved ones, resulting in an alternating current of joy and sadness.
Favorably compared to the Flaming Lips, Mercury Rev, and Broken Social Scene, the Arcade Fire's sound seems to come from a lifetime of listening to the Cure, Talking Heads, Elvis Costello, and many others--even ...
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| | Spike Jones Omnibust/60 Years Of "Music America Hates Best" CD (2002)
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Omnibust/60 Years of Music America Hates Best pairs two of Spike Jones' Liberty albums from 1960 on one disc. Omnibust is a largely spoken word parody of television programming that takes a swipe at Lawrence Welk, children's programming, commercials, soap operas, and the then-popularity of detective show theme music. "I Search for Golden Adventure (In My Seven Leaky Boots)" manages to parody adventure shows and Martin Denny's "The Quiet Village" at the same time, while "The Wonderful World of Hari Kari" revisits the Asian stereotypes that Jones employed a decade earlier with his hit "Chinese Mule Train." Although recorded after the breakup of Jones' City Slickers, his old cohort Doodles Weaver returns to reprise his performance of the "William Tell Overture" in "A Mudder's Day Sport Spectacular." 60 Years of Music America Hates Best is a more pointedly musical effort on which Jones and his studio crew lampoon a variety of 20th century popular songs and styles, replete with his trademark ...
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The Sounds embrace the decades-old bands that have inspired them to an unhealthy, cover band-like extent -- they pose for photographs as if they're Blondie, and they both look and play the part, with black T-shirts, faded jeans, and snappy three-minute songs with trebly keyboard vamps and tightly wound guitar riffs. But the thing you cannot take away from the members of this Swedish group is that they know how to write and play songs that fit into their favorite era without the sense that specific songs are being cloned. More than that, the group has a bright, singular personality in powerful lead singer Maja Ivarsson, who has a multi-dimensional voice of her own -- her Debbie Harry isn't nearly as obvious as the guy from the Hives' Mick Jagger, for instance. If you value fun over originality -- and you should, especially when it comes to guitar bands at this point -- the Sounds' debut will serve its purpose. It's over with in 40 minutes, and it plays out like a collection of A-sides. If a legion ...
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Informed by the breakup -- both professional and personal -- of Bob Wratten and Annemari Davies, the gossamer Her ...
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