Awake in Slumberland and Marketing Steve Albini
Awake in Slumberland was recorded by Steve Albini. Say it with me now, Awake in Slumberland was recorded by Steve Albini…the(!) Steve Albini.
Being able to attach the phrase, “recorded by Steve Albini,” has become almost a right of passage for most punk/alternative/noise bands. It is always used as a promotional piece to push a new single, EP, or LP, but it is mostly inconsequential regarding the quality of the music – not of the recording.
Albini has recorded thousands of albums, but does not consider himself a producer. Sure, there is an “Albini sound” which usually features the vocals lower in the mix and most musicians revere, or at least respect him for his role in the 80s independent scene, his anti major positions, and his cheap recording rates. That reverence and experience cannot be overstated because although he says he just records the music he clearer influences the direction of the album. Thus, promoting that Albini recorded your music is noteworthy, but should not be used as an indicator of quality music, especially for a punk, alternative, or noise band. Nor should his work on a particular album be used to attempt to manipulate listeners. Albini’s role recording any particular album should be made known, but as a side not rather than a main selling point. His breadth of recording projects is just too large to indicate a band’s quality.
Of course Albini’s prodigious output and often stellar work should be applauded. And there are exceptions in which Albini recording a particular record should definitely be made known. The first example that comes to mind is his work on Joanna Newsom’s Ys because of Joanna’s style of music. Harp-centric folk tunes that focus heavily on Joanna’s chirping vocals is not a style you associate with the former Big Black front man and thus his role in the project becomes something of importance and interest.
As for Awake in Slumberland it has a lot to like, but its placement in between styles ultimately hurts the LP. That being said there seems to be a promising future for the trio. The band definitely wants to do something different, but has decided to stretch the genre in terms of length rather than achieving a full sonic assault.
On tracks such as Bones, The Return, and Mad A they veer into pounding sounds that I wish were extrapolated upon, created more often, and made louder. I guess my major desire left unfulfilled by the record is the desire for pure noise. Bones and Math both begin to play with the idea of loud, attacking, and abrasive news, but the band seems to shy away from running with the idea and going over the top. The closest they get to really assaulting the ears is on Mad A when then eight minute track spirals into overlapping, increasingly exasperating sounds. They also start to play with interesting and abrupt affects deep into the sprawling track, The Return. However, for the most part they tend to stay closer to traditional alternative/punk than its noise rock sister. The resulting sound is probably more agreeable with more people, but if you’re going to make a record in a (still) fringe genre you might as well just go for it – make it loud, make it scary, and make it fun.
Of course there are many positives. It’s aggressive, the drums achieve a great, full and pounding sound throughout, and no song should be labeled as filler. In addition, the female vocals, whether they are singing under other vocals (Mad A) or taking lead (The Swan, The Return) are always enjoyable.
In the end, I find a lot of promise in The Time of the Assassins and I hope as they develop as a band they don’t shy away from more abrasive, louder, and increasingly challenging sounds – track length is not necessarily as effective in challenging a listener as is attacking them with sound. Take a cue from Steve Albini and Big Black.
The Time of the Assassins – Bones
A side note: the Assassins’ music seems like it would lend itself well to a potentially devastating live performance and they’re touring the States starting Friday. The tour dates are as follows:
Apr 25 – Mr T’s Bowl – Highland Park, CA
Apr 30 – Que Sera – Long Beach, CA
May 01 – The Knitting Factory – Hollywood, CA
May 05 – Dipiazza – Long Beach, CA
May 15 – The Roxy Theatre – West Hollywood, CA
May 18 – Angels Road House – Yucaipa / Apple Valley, CA
May 25 – Luna Lounge – Brooklyn, NY
May 26 – Trash Bar – Brooklyn, NY
May 28 – Asbury Lanes – Asbury Park, NJ
May 29 – Rock Star Bar – Brooklyn, NY
May 30 – Lit Lounge – New York, NY
