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The new record, which is out in April and is called Yankee Hotel Foxtrot, is not very much like the other Wilco LPs in terms of aesthetics. I do not know their first LP A.M., but I do know Being There (the double LP) and Summerteeth. I like both of those records, but more for individual songs than the LP altogether as a whole. The darkest parts of Being There (like "Sunken Treasure" off of the second disc) are all over the new LP. The new one is full of shards of odd noise, radio frequencies, disembodied voices, tinkling distant out of tune pianos and guitars, some songs have chopped-up sounding drums (think "Airbag" by Radiohead), a couple have processed drums, there's all kinds of odd effects on the guitars, keyboards, and vocals... and there's also a lot of 'clean' sounds, delicate jazz chords, strings, beautifully recorded organs and acoustic guitars...
The whole album feels like it is in love with *sound* and *texture*. Every song is different...a few are more old-school Wilco ("Kamera", "Pot Kettle Black"), but they are the minority. The lyrics are far more abstract than anything on the previous two records.
I don't think this record will alienate fans of old Wilco, but this is the *new* Wilco, and I think there will be a lot of people much like myself who just sorta was okay with them in the past going "holy shit! this record is brilliant!". It's a bit like the jump Radiohead made between The Bends and OK Computer...it doesn't really SOUND like Radiohead, but there is a certain vague connection between the two that makes sense to me.
I don't really know how to talk about this LP because though it sounds like a lot of different things, I don't really know any other LPs that are quite like Yankee Hotel Foxtrot.
For a detailed description of YHF by a Wilco fan, check this out.
If any of you want a copy of the album, and can't get it online, email me, and I shall send you a copy.
[ 26-12-2001: Message edited by: Flux = New X-Mas ] |
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