JOE LALLY – THERE TO HERE (DISCHORD)
Against expectations it is Joe Lally that has created the best music of any Fugazi members post the going on its hiatus. No mean feat considered he is most definitely considered “the quiet one.”
Happily the album is a departure from the sound of Fugazi and a display of player exploring both his own songwriting abilities and soughting adventure in the performance and execution of his instrument.
Through the history of rock music seldom have there been many interesting bass players making interesting music. Despite being an essential cog in some of the most magnificent machines he was never quite the squeaky wheel he deserved to be.
The calm and tempered pace with which the music is delivered offers a fresh degree of depth as the atmosphere achieved is one of silent menace and an eerie pre-storm excursion. With the breathing and lack of sonic destruction the words/lyrics come piercing through as the subject and content proves less ambiguous.
Joe Lally comes over as one of the best kind of social engineer musicians. For once here are lyrics of concern and occasionally condemnation that do not taste tainted or forced. There is a truly organic feel to the delivery as the drive feels a natural one as his vocals and playing heartily compliment one another. On “Sons And Daughters” he even finds the voice and confidence to lay out an accapella track.
As an album this is a sharp snapshot of the current state of play with regards to social climate and attitudes and the fear that comes with being part of the Bush-era, still enduring the post 9/11 era of hostility that still remains more than five years later.
The pick of the tracks come in the form of the truly bouncy “Lidia’s Song” that eventually pulls together with a closing hook that is scarily strangling. Likewise the title track that comes with a sense of external feedback and devastation is a towering achievement and expertly captures the tone of the entire album. It concludes with “All Must Pay” which offers the sense that “we still have a long way to go.”
All in all this album is a magnificent achievement, truly astounding to hear a bass player from this era of rock music producing such an inventive and creative stand alone body of work. Only Mike Watt can match such a feat. I cannot imagine Flea could do the same.
Thesaurus moment: roar.
Joe Lally
Dischord
Against expectations it is Joe Lally that has created the best music of any Fugazi members post the going on its hiatus. No mean feat considered he is most definitely considered “the quiet one.”
Happily the album is a departure from the sound of Fugazi and a display of player exploring both his own songwriting abilities and soughting adventure in the performance and execution of his instrument.
Through the history of rock music seldom have there been many interesting bass players making interesting music. Despite being an essential cog in some of the most magnificent machines he was never quite the squeaky wheel he deserved to be.
The calm and tempered pace with which the music is delivered offers a fresh degree of depth as the atmosphere achieved is one of silent menace and an eerie pre-storm excursion. With the breathing and lack of sonic destruction the words/lyrics come piercing through as the subject and content proves less ambiguous.
Joe Lally comes over as one of the best kind of social engineer musicians. For once here are lyrics of concern and occasionally condemnation that do not taste tainted or forced. There is a truly organic feel to the delivery as the drive feels a natural one as his vocals and playing heartily compliment one another. On “Sons And Daughters” he even finds the voice and confidence to lay out an accapella track.
As an album this is a sharp snapshot of the current state of play with regards to social climate and attitudes and the fear that comes with being part of the Bush-era, still enduring the post 9/11 era of hostility that still remains more than five years later.
The pick of the tracks come in the form of the truly bouncy “Lidia’s Song” that eventually pulls together with a closing hook that is scarily strangling. Likewise the title track that comes with a sense of external feedback and devastation is a towering achievement and expertly captures the tone of the entire album. It concludes with “All Must Pay” which offers the sense that “we still have a long way to go.”
All in all this album is a magnificent achievement, truly astounding to hear a bass player from this era of rock music producing such an inventive and creative stand alone body of work. Only Mike Watt can match such a feat. I cannot imagine Flea could do the same.
Thesaurus moment: roar.
Joe Lally
Dischord
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