Jess Lipworth review

Jess Lipworth - Meandering Through (originally posted at www.thesilentballet.com)

Score: 3/10

Part of Jess Lipworth’s “blurb” on MySpace reads “more spaces less clutter.” Whether he just really digs Feng-Shui room arrangements is yet to be seen, but his sentiments about “space” seem to permeate through his debut album, Meandering Through. The album is a collection of beats, glitches, and field noises, which, I’ll be honest, seems to induce lethargy upon listening. Lipworth’s record label, VU-US is also home to Library Tapes side-project Forestflies, and the parallels between the two are uncanny. Like Forestflies, this album “stretches thin,” in fact, and it’s one of the few records that, after listening to it thoroughly over the past few weeks, I find it hard to remember what actually happens in it.

The beats appear to be recycled liberally, as while browsing Lipworth’s MysSpace and listening to “The Bird Sanctuary,” I was amazed to find that the track in question was actually far more interesting than I remembered it to be. I was soon disheartened when I realised I was playing two tracks at once. “The Bird Sanctuary” played in perfect time with Lipworth’s 'new' track on Myspace, “Summer Storm [edit].” Of course, this could just be coincidence, but if the beats are, as I suspect, at least similar, it hardly grants the listener with either change and to be honest, insulting, that this record barely develops from the following elements: slow ambience, glitchy beats, “meandering” synth noises, another layer of drum beats, “melodic” breakdowns, and occasionally Lipworth will employ a sample (though bear in mind when this happens, it won’t really add much to the music, it’s more of a case of “Oh, here’s a pointless sample”).

I will resist the urge to end that list with “Profit!”, because to be frank, neither the listener nor Lipworth can gain from this regurgitation of same-old ideas. Lipworth influences include Boards of Canada and Prefuse 73, obviously it isn’t fair on Lipworth if I compare him to these luminaries, but let’s pretend I’m a heartless, unfair reviewer (no doubt Lipworth fans will already think I am, but bear with me). Prefuse 73’s 2003 “outtakes” album, Extinguished: Outtakes, provides a far more fruitful listen, and considering the album is almost a collage of scrappy ideas, not all of which were worked into the final record, One Word Extinguisher, if Lipworth is really influenced by Herren, he should already know that innovation is key, as opposed to repetitive and droll beats with the odd sample thrown in. However, if this idea has really passed him by, as Meandering Through suggests, I’ll reiterate it here:

No one likes a bore.

After several listens of Lipworth’s album, I’ve come away thinking that Henri Bergson was right when he proposed the idea of “durée,” as I feel like I have wasted a good chunk of my life on this record, when in actuality I’ve probably only wasted a few hours. Although I don’t intentionally mean to insult Lipworth, or anyone that enjoys his music, I genuinely can’t see anything of interest in this album; it’s dull, drippy, dire and any other words you can think of that begin with “d” and suggest boredom.

Eaten by Tigers review

Eaten by Tigers - Solstice (Originally posted at www.thesilentballet.com)

Score: 7/10

Eaten By Tigers' debut EP, 2007’s Entropy, scored rather favourably with The Silent Ballet last year. As an assurance that said EP is “really good,” the only criticism reviewer, James Ould, could offer up was that “During each track a concurrent melody is played throughout that almost acts as the missing vocals… it’s this method that could cause tedium on a longer time span.” Having been handed EBT's 2008 release, Solstice, I hope to evaluate whether the band has progressed musically and if Ould’s concerns of tediousness are beginning to show in the sophomore release. So, let’s carry on and avoid the usual introduction of basic biography, as to reiterate my point about The Silent Ballet’s readership skills on the internet; I’m sure you know you how to use the search button if you really, really want to know Eaten by Tigers' backstory.

So, how does Solstice differ to Entropy? Well, for a start the tracks are no longer as fleeting. The EP opens with a definite starting point, aptly named “Prelude,” which encompasses Eno ambience and glitchy beats; on first listen, it’s not dissimilar to cLOUDDEAD album opener “Apt. A, Pt.1.” The transition between “Prelude” and “Solstice” is seamless, and when compared to Entropy, the EP functions a lot less like a collection of demos and more like a regimented and solid piece. The addition of vocals is welcome, with Ould’s criticism seemingly quelled as both “Prelude” and “Solstice” feature hushed utterances. However, the quartet seem to slip back into old habits with third track “Reflections at 40,000 Ft.” While I can’t fault this composition in terms of its clear display of musical skill, it feels like a pale revival of ideas already executed in Entropy. Thankfully, EP closer “Dedicious” hints that Eaten By Tigers can progress even further, with an excellent ensemble of those glitchy computer noises everyone seems to love, acoustic guitar, and violin.

I’m sure you’ve all been holding your breath waiting to hear Solstice to see if Ould’s premonition of tediousness may be correct, so hopefully I can put an end to your sleepless nights, irritable behaviour, and general on-edge lifestyle by letting you know that Solstice does not slip into tedium. Eaten by Tigers have clearly upped their creative output, and they have offered the listener an exquisite array of sounds specifically suited to sooth your worried palette. Worry not, reader, Eaten by Tigers are obviously improving all the time.