Real Emotional Trash

by

Stephen Malkmus and the Jicks

Edit

Long story short--another excellent effort from Malkmus, in what's becoming a very rewarding solo career, more focused on pure songwriting and musicianship than his first gig (it's hard to believe that the # of Jicks discs is creeping up on the # of Pavement discs. Of course, that discounts all the b-sides, singles, outtakes, Peel sessions, etc. But I digress...)

Anyway, yes, this album is a little bit of a grower. Yes, some of the songs are quite long. But as one of the earlier comments suggested, the Jicks make the run-time worth it, and once you become familiar with some of the songs' twists and turns, tracks like 'Hopscotch Willie,' 'Baltimore,' and the glorious title track become the highlights of the album. Don't confuse the term 'jam' with endless, pointless solos. In each of the more discursive tracks, malkmus uses his instrumental prowess (and the newly amped-up Jicks, thanks to Janet Weiss) as a bridge to take the song from point A to B, rather than as mere navel gazing. So settle in and get familiar with these songs, the trip is worth it.

The shorter songs are just as nice, relying more on killer melodies, touching lyrics, and inventive arrangements to establish a variety of moods, from the somber "Cold Son" and "Out of Reaches" to the peppy and smitten "Gardenia."

Finally, I'd be remiss if I didn't expound just a little bit on the Jicks' new secret weapon, the aforementioned Ms. Weiss. While I sometimes wish her drums were brought up in the mix, and her skin-pounding isn't quite as musical as in some of her best efforts (I'm particularly fond of her work on 'the Hot Rock'), this isn't that kind of record, and her fluent fills and enthused bashing add a fluidity to the rhythm section that Malkmus hasn't had since before Gary Young left the reservation. Throw in her charming backing vocals, and the MVJ (most valuable Jick) award is hers. Somehow, the sound of malkmus dueting with a softer, more sympathetic voice adds a level of resonance to the lyrics, as on the closer "Wicked Wanda" (where, coincidentally, malkmus swipes the ping-ponging vocal from Liz Phair's "Flower" ["Every time I see your face, I think of things, unpure, unchaste..."]).

Like I said above, long story short--this is a damn fine album, and a very rewarding listen, if you're ready to put just a little time into it.

This is the second SM release in a row that's disappointed me. This one might be even less a fun affair than Face the Truth. With the exception of a few outstanding cuts---the title track, Cold Son, Gardenia, Hopscotch Willy---most of these songs plod along for far too long, brimming with guitar squiggles that sound like lukewarm leftovers from Pig Lib. I hate to say it, since I admire SM so much, but it almost seems like he's biding his time for the inevitable Pavement reunion. The thing is, I don't see them having nearly as much cachet as, say, the Pixies; the music hasn't aged quite as well.

In short, Real Emotional Trash just isn't much fun. I'm not nostalgic for Pavement; I don't even listen to those records anymore, frankly. I'm nostalgic for the eponymous disc, and Pig Lib---far superior records. Heck, Malkmus's vocals even sound a little drowsy, though the lyrics are much improved from the last record.

When I first heard this record, it almost seemed as though I'd already heard it before. It's exactly the record you expect it is, from the hearsay and the reviews.

Recipe for next disc: all songs less than four minutes, guitar solo moratorium.

I'll always listen to what Malkmus gives us next, but I'd love to hear a solo double record, a la Frank Black's "Teenager of the Year." Make it fun again, please.