Customer Reviews

West Is the Future

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If I had to pick a favorite on this albumn it would have to be "Ten Thousand Lakes." I'm originally from Minnesota and it really makes me sad and home sick when I listen to this song. But thats what listening to music is all about, generating an emotion response right? Kid Dakota are a perfect addition to the Chairkickers Label. Give these guy's music a listen, you will not be disappointed.

Congratulations, Kid Dakota. Congrats, indeed. For once again, you have created an album that made me cry. This album, along with So Pretty, really defines a new type of genre that I really hope catches on. It's definitely rock, but also a tad of country thrown in for good measure. Nah, that's not a very good explanation. It's really rather difficult to explain the sound of Kid Dakota. Just buy it and find out, I guess. If you're new to Kid Dakota, I suggest you start by purchasing So Pretty, which probably is a better overall record. But only barely. And by barely I mean by a hair. And by a hair I mean by a hair on a balding man's head who just got a haircut. *spasms with excitement* Man, this is good stuff. I just hope it gets on the radio. More and more people need to buy this album. Yes, I'm talking to you. Buy this CD now. It's a necessity to human existance. Well, human sanity, anyway.

From the first few seconds of opening track "Pilgrim" with it's skittering flurry of cocktail lounge snare drum and ride cymbal leading to tight spaghetti western guitars one might think they are being met with little more than a new millennium, indie label version of the once mighty and mighty clever Wall of Voodoo but so much more is to follow..."Homesteader" features excellent harmonies nearly washed away by a wave of distortion and a queasy flange effect during the refrain underpinned by crushing power chords alternating with the gentle strumming of the verses. Here I am at once reminded of both Black Sheets of Rain era Bob Mould and Harvest Moon period Neil Young by the arrangement and execution of the music. This album is a sly, articulate mixture of post punk & country-folk the likes of which music lovers are rarely treated to. Vocalist/multi-instrumentalist Darren Jackson's voice is reminiscent of Rufus Wainwright in terms of tone with the phrasing of Ben Folds doing a darker, more subdued Jeff Buckley (come to think of it Christopher McGuire's drumming is extremely similar to that of Matt Johnson on Buckley's full length debut, Grace). Having said this, once you have heard it you will forever recognize it and want to hear it again. I could continue to go on about each song individually but that would waste space. The subject matter tends to lean towards brief tales of remote, rural life which theoretically should be peaceful even sublime, gone terribly wrong. These short bursts of narrative could be happening anywhere and nowhere simultaneously. Spiritual, philosophical and political concerns are sometimes vaguely, sometimes directly alluded to but it never overwhelms. The production is crisp and flawless throughout (deftly using generous reverb, the occasional sample and atmospheric sound effects and paying close attention to depth in the mix) and creates an overall mood of desperate cold enshrouding a kernel of hope. The subtle, spare use of piano cascading like snowflakes into a churning pool of overdriven guitar on "Winterkill" is a perfect example of the instrumentation complimenting the melody. The melodies are the sort that you kick yourself for not thinking of. "2001" is by far my favorite song and features an ominous, gargling analog synthesizer line coupled with the most revealing and idiosyncratic lyric of the set. Every few years an artist/group comes along and delivers a collection of this quality. Everyone who enjoys alternative rock should own this record. Everyone.

William Schaff's provocative cover art wonderfully illuminates two essential questions:

First: how can user fees for social services be justified in third world countries? It is obscene that the poorest citizens of the globe are expected to pay for health care or education. Asking them to share a portion of the costs merely shifts the burden - and responsibility - from national governments to those least able to manage.

Second: Whither Kenya? President Kibaki's bold initiative to remove fees and make primary education free to all students was indeed visionary - not to mention just - but it has run into the obvious problem, lack of funding. Now that the Ministry of Health has followed suit, offering free basic services in public clinics and pharmacies, one shudders to think of the impact on Kenya's fiscal and bodily health.

Schaff may not have the answers, but this articulate and profound contribution has certainly refined the terms of the debate.