Mark Kozelek has been putting out great music for a long time, from the early Red House Painters' output all the way to his recent "Ghosts of the Great Highway" under his new band's banner, Sun Kil Moon. This effort is one of two solo albums he recorded after RHP disbanded, and probably the quirkiest and most ambitious of both albums.4/5(19). Jan 10, · Armed with a guitar and his voice alone, Kozelek essentially turns What's Next to the Moon into an acoustic folk/blues album.
Mark Kozelek needed a change. Over the course of four years and six albums in the '90s, the Red House Over the course of four years and six albums in the '90s, the Red House What is a clean break order in divorce frontman penned enough slow, open-hearted tunes to satiate even the most severely-afflicted melancholic patient. But they were so pleasant that most of us were koozelek to overlook Kozelek's numbing consistency-- or, at least, we couldn't bring ourselves to criticize such an apparently delicate man.
Kozelek, after all, was addicted to drugs by the age of ten. Tenpeople! I think he has the right to bleed onto every record, if he so desires. The "hate" part came inwhen label head Ivo-Watts Russell wanted to edit the long guitar jams on Songs for a Blue Guitar. Kozelek didn't yield, and took the record to Supreme Recordings, which released the album as it was. Unfortunately, not everything was resolved by this maneuver. InRed House Painters recorded Old Ramonwhich will finally see release in late April through Sub Pop after years of being tied to contractual obligations with the now-defunct Supreme.
So Kozelek needed a change. But Rock 'N' Roll Singer hardly sounded like a change. And while the covers may seem unusual to some mmoon, they're no surprise to those aware of Kozelek's history with odd remakes; in the past, he's refashioned the likes of Kiss, the Cars, and Yes, to name a few.
Cock tye, meet your new partner: wuss folk. Surprisingly, though, Kozelek makes the hard classics sound introspective simply by placing their lyrics in a plaintive musical context. If there's one positive remark to be made about What's Next to the Moonit's that it sheds revelatory light on the subjective nature of lyrics.
Yet, that might be the only truly positive remark this album deserves. Sure, Kozelek's voice is still smooth and sad, and his guitarwork is still deft, yet modest. But these are standard factory settings. Once again, he's made music that just about everyone would describe as "pleasant. Suddenly, "Love at First Feel" isn't about statutory rape, but about a falling in love in how to make homemade rolls from scratch of reason.
And "Bad Boy Boogie" is the fatalistic admissions of a helpless rebel, not the sexual boasts of a misogynist. Fooled me. Not that some sentiments here don't seem written for Kozelek. And other times, the lyrics just don't fit Kozelek, as hard as he tries to sensitize them. In the liner notes to his latest part-covers album, Johnny Cash wrote, "I worked on these songs until it felt like they were my own. Instead, these tracks seem to have been nxt on less than most "MTV Unplugged" sets.
There whas a couple high points: the bluesy title track, which sounds like a cut from Mark Lanegan's infinitely more successful covers album, I'll Take Care of You. But overall this is Red House Painters lite, with one of Kozelek's most vital yo his confessional honesty-- entirely absent. Now he really needs a change if he wants to keep our interest.
A big change, like reinterpreting his own songs as testosterone-fueled arena rock. Skip to content Search query All Results. Pitchfork is the most trusted voice in music. Share on Facebook Share on Twitter Open share drawer.
Jan 10, · Surprisingly, though, Kozelek makes the hard classics sound introspective simply by placing their lyrics in a plaintive musical context. If there's one positive remark to be made about What's 6/ Jan 02, · Provided to YouTube by The Orchard Enterprises What's Next To The Moon · Mark Kozelek What's Next To The Moon ? Badman Recording Co. Released on: Jan 10, · What's Next to the Moon Lyrics: Tied my baby to the railroad track / Train rolling down the line / Givin' that woman just one more chance / To give it .
That would typically be a less than surprising depiction considering the terrain, both sonic and emotional, that he has tread throughout his career. Kozelek , on the other hand, has made an art form of it, and he does nothing less than that on this mesmerizing transmogrification. A whole album of them, however, is startling. If you knew nothing of the songs' geneses, they could easily be mistaken for Blind Lemon Jefferson or Leadbelly covers, or perhaps something from the folk revival, Fred Neil or Leonard Cohen a KCRW radio executive, in fact, insisted the title track was a Cohen song when Kozelek played it first during a live appearance, several years before.
But in no way do they recall their creators. It sometimes takes dozens of listens, even if you know the band's oeuvre well, before the connection clicks and the ingenious logic of Kozelek 's arrangements reveals itself.
The transformation, though, is dramatic, and not the novelty-ish one that it easily could have turned into. Kozelek literally turns the melodies inside out, and extracts a poignancy that even Angus and Malcolm Young and Bon Scott probably had no idea existed in them. When he began, Kozelek might not even have realized. The album was a happy accident, songs remembered from his youth that evolved, sometimes over several years, to the form they take on the album.
And there is not a hint of irony to be found throughout. It can momentarily seem eerily perverse when you consider the source -- when you realize, for instance, that the shimmering, downhearted folk tune you are listening to is actually "Bad Boy Boogie. Like a reverse version of Bob Dylan and the Band 's The Basement Tapes, What's Next to the Moon turns songs that were loose, irreverent, and even silly or one-note in their original readings into songs of timeless beauty and depth, their passions, pains, and torments made agonizingly palpable.
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