Post reviews of IKE here

[diesel]

http://www.amazon.com/Eisenhower-Slip/d ... F8&s=music

amazon review:
Sometimes a band comes along that you can't help but champion-. THE SLIP are the real deal.This is indie-rock at it's best. Their latest (and greatest) album is called Eisenhower 11 tracks of brilliantly wrought, well, BIG ROCK. The stuff of heroes...and the heroes in this case are guitarist/vocalist Brad Barr, his bro and drummer Andrew Barr and bassist Marc Friedman. It's a lot to put on the shoulders of these 3 Boston-and-Montreal-based lads, but they brought it on themselves, what with their epic sound and their reaching for more, etc...
The band entered Q-Division Studios in Boston with co-producer Matthew Ellard (Elliot Smith, Billy Bragg & Wilco, Morphine) and later with sound engineer and co-conspirator Drew Malamud (Stars, Metric, The Dears), emerging with an album of classic proportions - drawing from roots as diverse as the Beatles and Led Zep to Built To Spill, Flaming Lips, Wilco, etc...

The first 3 tunes set the tone - from the kick off "Children of December," with its spiraling melody and fast talking delivery, through "Even Rats" - a super-charged, arena-rock racecar for your impersonal post-apocalypse, (the track has already been featured in Sony Playstation2's top-selling "Guitar Hero" video game, earning the band legions of new fans worldwide), to the languid and beautiful epic "If One Of Us Should Fall," or the intimate lullabye of "Suffocation Keep."

Eisenhower is, dare we say it, a classic - undeniably great and gallant, it takes our everyday, mundane feelings and elevates them to profundity- in essence, doing what true poetry does. And, not to mention, just being amazing rock n' roll. Gordon Matthews

[tim]

http://www.austinist.com/archives/2006/ ... uesday.php

In today's vast wasteland of hot new bands, it could be argued that the first and most effective method of whittling could be asking one question: "Are they from Canada?" If the answer is yes, you have to at least listen to one song before dismissing them. The Slip do indeed lay their heads in the Montreal area, tour with Lovely Feathers, and get referred to as "innovators of pop" quite frequently, but fear not music purist: despite all those things, Eisenhower is without a doubt one of the most interesting albums of the year for a Canadian band. It's not faux vintage melancholy, it's not a trick-or-treating version of the Unicorns, and it's not a collective. "Airplane Primitive" brightens the veneer nicely: it's not hard to hear Wilco, a Perfect From Now On-era Built to Spill and perhaps even a smidge of those classic rock tunes you only listen to when you're driving to work, because you love Allman brothers guitar solos when you're alone. Plus it's always nice to know that Canadians have harmonicas, too, and they aren't abusing them.

http://www.qromag.com/Reviews/Album_Rev ... isenhower/

The Slip, a Boston trio known for their enthralling live act, turn in their jazz hats for radio-rock caps on their first album for their new label, Bar/None Records. As a result, fortune has certainly been shining on the band lately, winning "Best Live Act" at the Boston Music Awards and Guitar Hero featuring their upcoming track, "Even Rats". They're also touring the nation, starting in the West with The Lovely Feathers, and eventually finishing in the East opening for My Morning Jacket. Jim James has even said they were "taking what we know of music and trying to twist it to a different place." Eisenhower isn't a sell-out album, it's a bust-out album, and these eccentric anthems will surely turn The Slip around the corner on their alt-jazz past to better things.
With a smooth rock panache, The Slip feel like a normal, radio-friendly rock band on the surface, but any deeper, it's obvious that there's much more going on. Their production is the key that turns the lock. Eisenhower was pieced together by the band themselves along with Matthew Ellard and Drew Malamud, who between them, have worked with Wilco, Metric, and the late Elliot Smith. The way their anthem "Even Rats" starts out with sliding, blipping guitars and pattering, metallic drums before diving into the slower, stadium-core riffs is an example of how both accessible and atypical the album is.
There's an array of drum experimentation on Eisenhower, such as on "Airplane/Primitive", where the beat seems to careen over itself on a loop. Andrew Barr's rhythms are the foundation of the rest of The Slip's "primal energy" - typically a frenetic trip-rock pace that makes any guitar effects sound more intelligent. "The Soft Machine" is built on in-between half-beats that turn the song into a higher energy, more-compelling lap around the alternative pool. Drums aren't the only instrument being developed from their old sound, though.
Uncommon guitar arrangements make up about a hundred of The Slip's multi-faceted sound. "Life In Disguise" is a jumbled acoustic track with cardboard box drums, but the melody steals the show like something the Goo Goo Dolls would do if they were actually cool. The synthesizer in "Mothwing Bite" plays off the alt-country pace smoothly and the vocals comfort before the distorted solo kicks in. There are plenty of eccentric moments like this throughout Eisenhower.
While The Slip's jazzy sound was often ignored before, Eisenhower should change that, and with touring, spotlight the trio's abilities to transform modern rock into something beyond. It's obviously already gotten them a lot of attention, which is well-founded, and if Jim James thinks it rocks, c'mon, so should you.

http://www.perfectporridge.com/

THE SLIP, the contemporary avant-rock trio from Boston, MA who prefer their name spelled in all caps, release their first studio recording since 2002, EISENHOWER.
We'll be honest; we've had 2002's Angels Come on Time in our iPod for years but rarely listen to it. At the time we bought it, the group was being compared more to Phish and Widespread Panic (bands we were REALLY into at the time, although that's a pretty fuzzy memory in itself), than the indie rock comparisons of Built to Spill, Wilco, My Morning Jacket, etc. of today.
EISENHOWER is less jazz and jam and more melodic rock. True, the group tours like mad and releases multiple live albums, but there's superb songwriting here.
"Airplane/Primitive" is a catchy rock number that goes all "Layla" on us with a slowdown at the 3 minute mark but quickly regains control before blowing up any mobsters. "Life in Disguise" touches on folk and is probably where all this Wilco comparison crap is coming from.

http://www.smother.net/reviews/items/pu ... nhower.php

Indie rock that rests close to the old stuff that Dinosaur Jr. put out years ago; The Slip rarely will mask their melodic approach in anything other than straight-forward alternative rock. Churning guitars that crank out the goods are hugging the line right next to nifty analog synths and easy-going drumming. The vocals are easy on the ears as well. I like the dashes of power-pop influence that give it a sort of Elvis Costello feel.

[Dan]

i love how the first quote/review speaks of them as canadians. as if they lived in boston still he wouldn't even listen to them....

[tyler]

AWESOME AWESOME AWESOME.

definitely my favorite Slip studio album, nearly unseats the two Alive albums as my favorites by them of any kind. Suffocation Keep might be my favorite song of this year. i was worried that the studio would water down their skills but i don't think that's the case (well except with Brad's vocals in a few places). but, i am not disappointed. i am impressed. good job Brad, Andrew, Marc, and everyone else.

[Phrazz]

All these reviews are wonderful, and quite hilarious in places. "arena-rock racecar", "because you love Allman Brothers guitar solos when you're alone" (hmmm, really?), "Canadian band" (yeah, whatever), "higher energy, more-compelling lap around the alternative pool", "the production is the key that turns the lock."

More about that one: whoever says this album is overproduced is smoking crack. The layering is masterful and the quality is superb. I don't feel like the lyrics or the notes are squeezed in any way--but there is plenty of playing around ... you could say the same about Led Zeppelin (but you'd be smoking crack). This is heavy-duty production, but not Over the Top by any means. There's no drippiness or ooze, but there is rain falling down and you're gonna get wet. I like the studio versions as fresh originals...they don't sound contrived or static at all. Matthew Ellard & Co. did a remarkable job and I think we should give thanks for such intense and dedicated work.

But in comparison with Does and Gecko, certainly I can see how the uneducated ears out there will try to say there's too much production time put into this. I'd say just enough. But we all have opinions.

Now Brad's voice is way better these days (training helps, eh?...but so does experience, should it not?), but on Eisenhower, Ellard makes his voice chime with a bell-like quality that cuts through the music like a knife through hummus. I can hear the lyrics clear as day on this album, which helps when I sing along in the car.

Of course the studio versions are going to have some restraint...the live versions always rock more. But these are quintessential standard reference points...the "base" if you will...of the song foundation and this is why I must have every studio album even if I have 17 versions of a song from various shows. It is the litmus test to see how much acid we ate.

Yeah, I miss the spooky sound of Brad through the horn, but I think they toned this down for the album also as a reference point.

I've heard the CD now 15 or 20 times, and still have not grown tired of these versions. I keep hearing new layers and sounds each time and I can't recall too many albums I could hear that many times and not get bored with it (maybe Axis Bold as Love...shit...did I just compare Hendrix with The Slip??? ).

And I like Mothwing Bite a lot and maybe it's got some pop sensibilities, but this is a likely candidate for the single, so that makes sense.

I'll go back and read Sam No. 2's long missive since that has more food for my brain.

-Rock onward and upward,

Phrazz

[hoby]

Hey Pat,

Your comments triggered a few thoughts:

I will say though, there is a lot of restraint on this album. You don't really hear anything huge out of Marc and there are no long bridges.... our little jazz band has definitely made the move across the bridge to more of a new indy type sound...

Yes, I had the same impression. Lots of restraint. You've got to listen underneath the "gloss" for evidence of just what monsters these players are.

If one of us should fall - Pam and I almost made this song our wedding song, we love it.. from the moment we heard it NYE 2002 (the night I asked Pam to marry me)... but WTF is up with that WOOO HOO HOO shit at the beginning of the song... it's unneeded and the first time I heard the album version online, I actually stopped the track, cause it ruined it... by the end of the song, I love it again, but up until the middle I'm sooo filled with venom because of that 80's bullshit at the beginning of the track... I can honestly say if that wasn't there, this song would be perfect, but for now, I'll stick with the version on Liveelectric....

The first time I heard it my head literally spun towards the speakers and my first reaction was exactly the same: WTF?!?! Why is that there?!?! But I have to admit, it doesn't ruin the tune for me. I can't help but imagine all those lighters waving back and forth in the arena, though.

As for the LiveElectric version, I remember saying to a friend that I thought that was one of the best vocals I ever heard from Brad, and I still think the raw, honest emotion on that version is much more powerful than the polished take on the studio cut.

Soft Machine - Good, but almost a little too warm feeling. I like the cold somber versions of it... I'm glad they put it on, but it will always be one of those tracks that will be much better live...

I think that will become the norm for BAM. These (and future) great studio versions will only hint at the gigantic cloud of awesome that emanates from them live.

The Original Blue Air

Reminds me of old Yes tunes from the early days.

hoby

[hoby]

Well done, Phrazz.

More about that one: whoever says this album is overproduced is smoking crack.

"Very-produced" rather than "over-produced." The mix is what makes the difference in situations like this. It's clear that there were countless conscious decisions made during this production, decisions pointed towards a single goal. And they succeeded gloriously. It's a thing of beauty.

I like the studio versions as fresh originals...they don't sound contrived or static at all. Matthew Ellard & Co. did a remarkable job and I think we should give thanks for such intense and dedicated work.

Yes!! That's how it feels to me as well. Listening to these versions is so much fun because even as familiar as they are, these feel like fresh tunes rather versions of old tunes.

But in comparison with Does and Gecko, certainly I can see how the uneducated ears out there will try to say there's too much production time put into this. I'd say just enough.

"Too much" squeezes the life out of a track. That is most certainly not what happened here. These tracks are VERY much alive. For me, it's a not a matter of too much or enough, it's a matter of what choices were made. There's LOTS of good choices made here.

Also, I don't think it would be correct to describe those earlier albums as "under-produced" or "not-produced or "less-produced." There were lots of careful decisions made during those earlier sessions as well - lots of production. The decisions were made at a different point in the arc of this band's story, with different goals and different options available.

Now Brad's voice is way better these days (training helps, eh?...but so does experience, should it not?)

Has Brad been taking lessons? That's great news, because training can help him preserve that voice.

, but on Eisenhower, Ellard makes his voice chime with a bell-like quality that cuts through the music like a knife through hummus. I can hear the lyrics clear as day on this album, which helps when I sing along in the car.

I think that's where some of the best decisions were made. The vocals are great throughout. Even the "yeah, wooooh" in "If One Of Us... Even if you don't think it fits, it's really well-done.

Of course the studio versions are going to have some restraint...the live versions always rock more. But these are quintessential standard reference points...the "base" if you will...of the song foundation

It's always interesting to hear the way the band wants a tune to be heard "for posterity."

and this is why I must have every studio album even if I have 17 versions of a song from various shows. It is the litmus test to see how much acid we ate.

I've heard the CD now 15 or 20 times, and still have not grown tired of these versions. I keep hearing new layers and sounds each time and I can't recall too many albums I could hear that many times and not get bored with it

This for me is the biggest indicator of how great this record is. I've been listening to it non-stop, over and over again. And I can't wait to hear it again.

(maybe Axis Bold as Love...shit...did I just compare Hendrix with The Slip??? ).

Sure, why not?

And I like Mothwing Bite a lot and maybe it's got some pop sensibilities, but this is a likely candidate for the single, so that makes sense.

I still can't get behind this one as the single. Even though this is the tune I'd never heard before and it is quite enjoyable, it doesn't strike me as exciting as these new versions of tunes I've heard hundreds of times. But that's just me.

hoby

[Guest]

Mothwing bite is a catchy tune (and yeah, Dan, I agree with you that it's a new version of Little Brian) but to me it really doesn't give me anything that i really wanted to hear. the slip is capable of so much and to limit themselves to a song like mothwing bite is somewhat disappointing. i've heard better songs by much worse bands. that said, limiting themselves in other ways really makes this album work.

[SpaceIsThePlace]

Im not too sure if I love the album yet. I guess upon reflection I really do like it but theres things about it that keep me from being agog over it like I have been over other Slip albums. Its way over produced for my tastes and that really hurts its honesty in my eyes. Its hard for something to remain as honest and emotional when its been pored over for hours in a studio being tweaked and perfected and pro-tooled. These songs have been a part of me for a long time now and I have grown up with them. Its weird to see them pinned down in a studio and 'definitive' versions created. I cant help but feel like the songs are some what dead now that theyve been laid to tape. Its like how some free jazz and free improv musicians shun recording not only because it is compleatly contrary to the ethos of improvisation but also because the music ceases to grow and live and be organic. Maybe Im wrong but I really cannot help but feel a little loss with this album not only as obviously we are now losing our little secret band but that we are losing these songs as well. There is a precedent set with Round Room of songs continuing to change and grow after they have been recorded but those are different circumstances. Ah... but anyway...

Children of December and Even Rats... CoD is an awesome tune and I do like this version especially Brad's use of a chorus(?) pedal on the bridge. The bridge is so intense live with Brad climbing the monitors and everything but on tape, its a lot more subtly rocking, I guess. Ive heard that song way too many times to really make any kind of critique of it. The vocals are a little over produced. Its very dense and lush, yes but it lacks the emotional weight that so many live versions have. Same thing with Even Rats...they couldve done so many things with this song in the studio and I think they did too much. Too much candy as it has been put earlier in this thread. The beatbox intro is kinda lame. The edge of the song has been readily dulled by symphonic synth swells and 'rockin' out' posturing. Way too processed. The vocals on this cut arent that bad tho. If One Of Us Should Fall is ok. The piano is a nice touch. The 'yeahs' and 'oohs' are kind of embarassing. Again I think the production detracts from the emotion and rawness of the song. But there is a nice Beatles-esque vibe to this cut. Airplane/Primitive is one of my favorite cuts on the album. The vocal layering is more successful here giving it a very Built to Spill feel. I do wish the first section was kept instrumental because it gave the 'airplane....primitive' vocal section much more power. Suffocation Keep....I love this song so much. I really cannot express how much I love this song. The album version is very good. I love the strings. The vocals are much too much up front and center in the mix though and I miss the vocal distortion. It sounds like they have been fixed up with Pro-Tools as well which is somewhat dissapointing. Also this is the once instance on this album where I dont like Androo's drum sound. It just needs more depth and to be a little higher in the mix. First Panda is very cool... The whole seperating the intro bit really reminds me of how all jams on Live Phish releases are seperated from the song and labeled ie Tinley Park jam. This makes it easier to be skipped and makes the song itself a little more accessible for the adulated masses. Soft Machine is a solid cut on the album. This is one of the more successful uses of synth on the album. The theremin-like lines are very beautiful and is that organ or some other keys I hear supporting the chord progression? Very Flaming Lips. Life In Disguise is the most SMMD of the album. I like this cut alot. The vocal processing works a little bitter hear although they still sound very detached. The Strings and horns again lend a Beatles feel although it does also feel Wilco-ish. Mothwing Dust is Little Brian, a tune that was on Brad's myspace for a while as an instrumental. I liked the instrumental better. This version sounds like Weezer which isnt really a good thing. Perhaps it could grow on me in a live setting, ala 46 Days or 7 Below. The Original Blue Air... I love this intro and Im very glad it made it to the album. The marimba is a nice touch. Paper Birds... I love this song so much and I feel like this is the album's centerpiece. It survives the studio compleatly intact. The studio acoutrements, ie strings and synth-y noises, dont detract from the grandiosity and sheer wonder aparent in this song.

Compared to the other albums, theyve come such a long way. Brads voice has improved ten fold. They use the studio to so much better effect. The sound has certainly matured but has it lost its roots is the question on my lips,

[Colin]

i love how the first quote/review speaks of them as canadians. as if they lived in boston still he wouldn't even listen to them....

pretty good point, and maybe true. with all these bands like stars and broken social scene, people know great music comes out of canada. maybe moving was the managers idea?

[diesel]

no, theres hotter girls in montreal. yeah i said it.

[torph]

http://www.stylusmagazine.com/reviews/t ... nhower.htm

"dishwater"? ouch...

[appleofmyeye]

Diesel said: no, theres hotter girls in montreal. yeah i said it.

You haven't been to So Cal baby ;}

[appleofmyeye]

That review was quite pretentious, no? Sounds like the dude had some pre conceived notions about The Slip. But what do I know.

[SamNo.2]

Ahem.....

".........music criticism can become a pissing contest between pompous, condescending "music snobs," nursing secret, (and not so secret), inferiority complexes."

This is what I'm talking about. That Stylus magazine review is full of purple prose and $20 words asto make almost incomprehensible, not too mention downright nasty. Sometimes, obnoxious "critics" will trash an album just to differentiate themselves from the pack. But then it becomes more about THEM, than about the actual music under review.

So don't fret folks. Besides, visit this page and see for yourself whether this review is consistent with Stylus Magazine's "mission statement."

http://www.stylusmagazine.com/mission.php

Who the fuck ever heard of Stylus Magazine anyway...? That's got to be the gayest name for a magazine I've ever heard.