Customer Reviews

New Times

5 star:		(6)
4 star:		(3)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

New Times is an entirely appropriate title for this most eclectic of albums from a most eclectic band. The Violent Femmes have changed quite visibly with the exit of Victor DeLorenzo and the entrance of Guy Hoffman on drums. I'll admit it took a few listens for this CD to really start appealing to me. There is a lot of experimental stuff going on here, with individual songs sometimes going off in about three distinct directions over the course of four or five minutes. The overall sound is markedly different in several places from what the Violent Femmes had done up to this point, with drums and deep bass beats often giving rise to a substantive, weighty atmosphere of surrealism and implicit melancholia. The guys have long played around with unique musical jam sessions of high strangeness, but they really indulge themselves on New Times. A number of instruments I haven't even heard of (e.g., noseflute, tranceaphone, theremin, baglama) figure large in the music. Several songs end with extended periods of cacophonous orgies of sound, but the most unusual of all selections is the song Machine. Here, Gano recites unusual lyrics about building a machine to take over the world while something akin to electronic synthesizers pushes the song along; much more than throwaway experimentation, Machine does offer a serious message roiling around in its deep undercurrents of frustration. Agamemnon is another unusual song, ending with Gano literally shouting in the background.

There really are some great songs included on this CD. Don't Start Me on the Liquor is a typically fun Violent Femmes opening number. New Times, Breakin' Up, and 4 Seasons have a modernized yet vintage Femmes sound to them. I'm Nothin' is spectacular, foregoing everything except Gano's voice and guitar in its presentation. When Everybody's Happy reminds me to some degree of Good Feelings from the band's first album; of course, there is a melancholy aspect to this "happy" song on Gano's part. The final three tracks are the best on the album, in my opinion. I especially love Mirror Mirror (I See a Damsel), which evokes a pretty tender message, at least the way I understand it, while really putting the band through the paces. There is both a folk music and polka feel to this one, and the energy and tempo of the song steadily increase as the track speeds its way along toward a frenetic release. Jesus of Rio seems to feature at least three entirely different styles of music and rhythm, making it a quite memorable way in which to conclude this unusual yet somehow compelling album.

Oftentimes coupled with the CD single "Machine", New Times is a Violent Femmes album offering a more industrial approach to folk punk rock. At the same time, none of the original VF flavor is lost - more industrial songs such as "Agamemnon" and "Machine" are countered with classic Femmes such as "Don't Start Me On The Liquor" and "Mirror Mirror (I See a Damsel)".

This is one of the first CDs of the "new", more 90's-like VF. Such transition must not go unnoticed and, therefore, I recommend it to any VF fan out there.

Technically, the Femmes' sixth studio album is no longer new in time, as it's reaching 13 years since its release. However, the SOUND is nothing like what you'll expect to hear. Think of the diversity of "Hallowed Ground" put with tunes that are ten times as bizarre. It's also a little bit less dark than that one. This is the result of guys who are trying something different and do well at it. My favorite track is "Amegmnon." I didn't find this record to be at all disappointing. It is interesting to hear the band use different tempos, styles, etc. There's also "Machine" which attempts a techno-industrial sound and with humorous results, "Mirror Mirror (I See a Damsel)" with completely un-contemporary arrangement. You may not like this record, but you won't find it boring. Unless you think that the artist should have distorted bass all the time, but why would you be here in the first place.

I feel like this record does show the true Femmes as much as stuff like "Why Do Birds Sing?" The difference here is that they are highlighting their quirkiness, and I thought that was part of the charm of the first two albums. And they bring it back on here.

Actually, I give it three and three-quarters stars!

For some reason the personalities of the Violent Femmes band members are produced right out of this album. What you have left is a collection of Femmes' songs without the character of the band members. You get the ingeniously sloppy instrumentation and witty and wonderful lyrics but you don't get them! It's like the Femmes with very little of their soul--which is why "Machine" may be an appropriate title for this collection. It is indeed the Violent Femmes Machine at work again. But where are the guys? The songs hold up alright individually, but as the album lacks the presence of the members and no central theme to hold the songs together, listener fatigue becomes a factor.

"Don't Start Me on the Liquor" is a masterful, classic full-power old-time-blues-influenced tune which, after being cranked up about ten times, stays inside you forever.

"New Times" starts "Good morning. Good morning" and as it is the title cut, I can't understand why it doesn't begin the album. Did they think "Don't Start Me on the Liquor" was going to be a hit single? Great lyrics about modern life and lots of shifts of direction. They even sound like "Yes" in the jam!

"Breaking Up" didn't sustain my interest for many listenings. Vocals are interesting and the band really cuts loose in the middle, but somehow the song just lost steam for me.

"Key of 2" retained my interest, though. A great rocker set in a prison about a prison band...

"4 Seasons" sounds like a throw-away tune brought back to life. The Femmes using a sound effector to create the guitar's sound is apparent on this track, adding to the "Machine" feel. Did they bypass the amp altogether? That should be a Femmes no-no!

"Machine" is interesting in its complete diversion from the typical Femmes direction. All drum machines and repetition. Again my interest waned after several listenings. I would however, love an acoustic jamming version or a feedback-laden electric guitar dominated version of this song. But the Femmes in a Box I just don't go for. Gordon, are you out there?

"I'm Nothing" is a made-for-the-live-acoustic-set Gordon Gano solo effort. Shoud have done "Machine" like this!

"When Everyone is Happy" (but me) is a typical G.G. as loser song. A nice little ballad but not great.

Agamemnon is a great jamming number with an incredible climax. I just hate the chorus! It sounds like something written for a cartoon theme song (and not well at that)!

"This Island Life" is really a nice little song. But it's as if the production is totally lacking depth or texture. It sounds like digital recording at its most heartless. Is it just me?

"I Saw You in the Crowd" is my personal favorite--a rocking, nasty, carnal number with some insane lyrics. I'd buy this CD just to add this song to my Violent Femmes collection.

"Mirror Mirror" doesn't appeal to me. Imagine the Femmes meet Disney. I think it just repeats too much.

"Jesus of Rio" is a classic Femmes tune. Unusual connection of ideas, atypical instrumentation, a build to a climax... Everything you would expect in a masterpiece. And a fitting end to an album--but too bad the whole album doesn't build to this moment.

In conclusion, if you're a Femmes "collector" you'll need some of the songs on this CD. As a whole, it's just lacking personality and direction. Let's hope the Femmes INFUSE their future releases with that one-of-a-kind Femmes character and retain the texture and soul of music not taken over by machines!

If you're new to the Femmes, rush out to get Violent Femmes and Hallowed Ground immediately. Those are the unquestioned masterpieces you'll never regret buying at any price. You shouldn't stop there because the Femmes definitely have a lot to offer with their later work, but you should definitely start there. New Times shows a maturing Femmes stretching out musically. The songs are diverse in style and construction, running a gamut from Gano's solo guitar and voice on "I'm Nothing" to the intense pacing on "I Saw You In The Crowd" to the hilarious electronic experiment "Machine" and the completely unusual "Jesus of Rio." I'm particularly fond of the moral angst and melancholy of "This Island Life." Somehow it all works. Honestly, it took me quite a while to fully appreciate this record. At first listen, I didn't like it very much at all. But it's really grown on me to the point where I consider it easily the best of their post-Hallowed Ground records. I could live without hearing the one song some reviewers here seem to live best, "Don't Start Me On The Liquor," but the rest of New Times has become essential music in my collection. If the idea of the Violent Femmes challenging themselves to expand in directions appeals to you, eventually you'll probably love this record too. On the other hand, if your reaction to later Femmes music is usually "Why can't they make more songs like Blister In The Sun?" don't surprised if New Times goes over your head.

This album is unquestionably the strangest album that the Femmes have made. In some ways, it is also one of the best. Any expectations must be thrown out of the window if you want to listen to this album. Forget melody, forget lyrics, forget everything that came before. This album is a masterpiece in fun. They obviously went into the studio and said, "What can we do that we've never done before?" The result is a wonderful blend of electronica, acoustic instruments, obscure references, and songs that make you think about the world. "Don't Start Me on the Liquor" begins the album and sets the thrashing tone that follows on many of the tracks. "Machine" is a stand-out track for its sheer simplicity of idea - who wouldn't want to take over the world? "Mirror Mirror" combines sound that hasn't been present in earlier Femmes' works - eastern European folk music. The combination of all of the influences on this album makes it a must-have. Though it doesn't typify the Femmes' sound at all, it makes an incredible diversion.

As a huge Femmes fan, i, of course, wanted to have every CD from their catalogue, but i was always a little scared about 'New Times'--there's not much to be found about it, and there was always a used copy of it at the CD store where i worked. Never a good sign . . . but, what the hell, i had to hear it . . . and, boy was i . . . i guess surprised. The Femmes are known to be a stripped-down acoustic trio, but on 'New Times,' they experiment with <gasp> electronica and melodic variences that would make Beck stop and stare. The first few songs are typical Femmish: "Don't Start Me On the Liquor" to "4 Seasons" have some great Femmes moments, even though their intros may sometimes sound a little contrived . . . then "Machine" hits. For all you Soul Coughing fans (like me), this'll be a favorite. For anyone else . . . well, give it a couple shots, it's a really cool track of techno-distortion and by far, one of the most disturbing Femmes songs out . . . god bless 'em! The rest of the songs are good, as well--indeed, they're almost more mellow than usual (a la "Good Feeling")--but the overall atmosphere of the album takes a little getting used to. I do recommend it, though, even just to hear "Jesus of Rio," "Mirror Mirror," and "Machine." Those songs sure are good, man, and they reflect quite a complex side of the Femmes even the most dissecting music fan could appreciate.

I am extremely disappointed... Not with this phenominal cd, but with the idiot critics that consistently maintain the narrow-minded concept that the Femmes will never live up to their first album.
This is a perfect example of how wrong that sentiment is. It opens up with a viscious punch in the junk ("Don't start me on the liquor. I'll drink it all down straight!") that's just as musically complex as it is fun to listen to. The whole album is the classic, bouncy, rhythm heavy Femmes I've come to love. It's far more diverse than their debut (as all of their subsequent cd's have been). Their first cd is more pop-driven, but by no means better.
I am the proud owner of every Femmes album, except Hallowed groud (which is on it's way as I write this), including the Aussie import, ROCK!, and they all rock my socks off.
Buy this. Buy it and love it.

been looking for this cd everywhere gee wiz finally found it we used to have it then we lost everything in a flood so its nice to be able to find some of the little things

If your expecting The Violent Femmes usual nervous guitar playing over Gordon Gano's voice you'll be in for a bit of a shock. The band by this time was dealing with many changes. A new record label and the loss of their old drummer (good riddance) so this album clearly shows off the imperfections of all these new things. The album doesn't show off the true talent or energy that we femmes fans know them for. It does, however, prove that Guy Hoffman is as good drummer (and even better) as Victor. My favorites songs were "Breakin' Up" which showed a more electric side of them and "Machine", a erie sound effect songs that has Gordon saying "he has a machine and he'll take over the world over" over and over again. Truely this CD is for diehard femmmes fans that welcome they're experimenting ways. (People like me:)