Customer Reviews

Wherever I Am I Am What Is Missing

5 star:		(4)
4 star:		(3)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Outer space has never looked so good as when lying on Earth's grassy topsoil, sparkling with chips of mica and quartz. Laika have managed to capture that sound, taking a more melodic journey towards alien territory, leaving behind only trace elements of the inner city, training their eyeballs and telescopes on the night sky instead, and their hearts and minds towards inner space. With lyrics like "I look for the silvery moon, but there's no one but me and my lonely key, a bare bulb rented room," and "believed in a young man, that's where I went wrong, now I'm in the gutter and I ain't got long," this is one of Margaret Fiedler's most personal explorations. Whether the lyrics are about her or she speaks from another's perspective, she's looking further inside.

This is a simpler, more melodic album, a new texture of sonic wizardry creating space and sparkles within Laika's bustling soundscapes. Margaret's also singing more, her sticky whisper making room for a sensual croon. As usual, "Girl Without Hands" is another memorable opener. It croaks and creeps from your speakers, growing into a twisted vine of fragrant blooms with a poisonous hook at the center. Margaret's eerie chorus of "home safe & sound" sneaks into your system like a drug, addicting you to the song. "Leaf By Leaf" floats on lush pillows of synths and percolating beats, as lovely as "Glory Cloud" from Good Looking Blues. "Dirty Bird" is a stellar example of Laika's lonely magic, haunting you with Margaret's bereft chorus of "what went wrong/shame on...", as Rob Ellis's busy drumming and Guy Fixen's shimmering synths uplift the downtempo.

This is what Laika do best - organic electronica: live drumming mixed with sampling wizardry, synths and the occasional guitar effect. Guy and Margaret add in some new elements this time, like the funky bassline around which "Alphabet Soup" shimmers. "Diamonds & Stones" tosses a Carribbean backbeat behind Margaret's sorrowful sing-song tale of another relationship gone awry ("gave him my hips, offered my lips, stop your cryin' child"). It's business as usual with "Fish for Nails," but with a beat so large it crashes through your speakers, and a synthesized sample of Margaret's voice that weaves its way through the song like an alien sex kitten. Yet her lyrics speak of desolation: "all is ash in my mouth, I can't live here anymore."

Not every song on this album is an exploration of hopelessness. "King Sleepy" spreads some hope, "we can be hurt a piece at a time, 'til the curtains of night draw back with the light." And "Leaf By Leaf" glows with lovely imagery: "gliding by on water wings, leaf by leaf, starlings sing..." But, as evidenced by the title of this album, "Wherever I am, I am What is Missing," taken from a Mark Strand poem, hope is hard to come by. Laika may dazzle you with sampled effects, make you wanna tap your toes or shake your bon-bon like you're in some lunar spaceport cafe... but there's a human soul at its center. And we humans are notoriously questioning beings. Who am I? Why am I here? Where do I fit under the stars, above the earth?

I've enjoyed the music of Laika for quite some time. I own a copy of each of their albums so I thought I'd point out what's new in Wherever I am . . . , and what's stayed the same.

Returning are the playful, sometimes frantic drum patterns in unorthodox time signatures, spooky distant-sounding keyboard, reverberating marimba or vibraphone (or whatever that is), added-in vinyl hiss and pop, and Margaret Fiedler's intensely personal lyrics.

She's foregone the dense rapping style of previous outings and uses her very lovely mellow singing voice to deliver her simple lyrics. She even sounds very "pop" as she warbles about broken hearts on "Alphabet Soup." The lyrics easily fit into the booklet whereas they had to be crammed in on the first two album's liner notes.

The CD packaging is new: dual-fold plain white textured canvas, with a pocket for the booklet, sparsely decorated with rough sketches of human figures. It's very nice compared to a jewel case. And it's an apt analogy for a lot of the contents: the textures of drums as the canvas upon which rough song ideas are hastily rendered. Well, maybe that's a bit harsh. The songs aren't so much rough, but sparse and preliminary. Too much of the time it seems like she's singing to a drum accompaniment. As with "Dirty Bird," the songs have a promising beauty about them but end quickly without expanding on it. The album therefore just flies by in under 42 minutes.

I still give Wherever I am . . . 4 stars because their music is no doubt more rewarding than 99% of the tripe played on the radio. And Laika makes you feel cool just for knowing about them.

If you've been following Laika like I have you'll definitely want Wherever I am . . . But if you're new to the band I would suggest Good Looking Blues ("Badtimes" is so amusing) or Sounds of the Satellites ("Spooky Rhodes"! ) You won't regret venturing spaceward with Laika.

A smooth, sensual trip-hop group supplied this disc of wonderful, though background-music sensibilities. A counterpoint to Portishead's sluggish, depressive state, Laika's crisp, offbeat drum patterns navigate proper female vocals through these spinning celebrations. Pattern-driven though it may be, the experience is immersive enough to enjoy in the moment but repeated listening can prove underwhelming.

Everything from the often poetic lyrics to the languorous ambient synth lines to the trademark foundation of skittering, high BPM grooves screams vintage Laika. Unfortunately, four albums into a career and Fielder & company have nary sought or finagled a single improvement over--or substantial deviation from--the exemplary Silver Apples of the Moon.

On the weaker moments, such as the Debbie Harry-esque chorus of "Alphabet Soup", it's evident that here lies a studio band with little idea how to grow out of or undercut the arch components of its sound. Knowing the group's capabilities only makes the missed opportunity for surprise that much more disappointing. Still the same strong, repetitive bass and drum tracks over which Fielder sings the same controlled minor key melodies she's been furtively piping since 1994. Still sneaky and certain with their grooves not in standard time (check the slinky and sinuous 7/8 of "Leaf by Leaf"). But ten years after perfecting their songwriting formula, the songs don't titillate and I find my mind wandering. The cast isn't motivated to meet their previous accomplishments, and the comfort level effortlessly evinced here will only lead the trip-hop fan back to Portishead's Third to recall the thrill of discovery and invention for established artist and expectant listener alike.

I've enjoyed the music of Laika for quite some time. I own a copy of each of their albums so I thought I'd point out what's new in Wherever I am . . . , and what's stayed the same.

Returning are the playful, sometimes frantic drum patterns in unorthodox time signatures, spooky distant-sounding keyboard, reverberating marimba (or whatever that is), added-in vinyl hiss and pop, and Margaret Fiedler's intensely personal lyrics.

She's foregone the dense rapping style of previous outings and uses her very lovely mellow singing voice to deliver her simple lyrics. She even sounds very "pop" as she warbles about broken hearts on "Alphabet Soup." The lyrics easily fit into the booklet whereas they had to be crammed in on the first two album's liner notes.

The CD packaging is new: dual-fold plain white textured canvas, with a pocket for the booklet, sparsely decorated with rough sketches of human figures. It's very nice compared to a jewel case. And it's an apt analogy for a lot of the contents: the textures of drums as the canvas upon which rough song ideas are hastily rendered. Well, maybe that's a bit harsh. The songs aren't so much rough, but sparse and preliminary. Too much of the time it seems like she's singing to a drum accompaniment. As with "Dirty Bird," the songs have a promising beauty about them but end quickly without expanding on it. The album therefore just flies by in under 42 minutes.

I still give Wherever I am . . . 4 stars because their music is no doubt more rewarding than 99% of the tripe played on the radio. And Laika makes you feel cool just for knowing about them.

If you've been following Laika like I have you'll definitely want Wherever I am . . . But if you're new to the band I would suggest Good Looking Blues ("Badtimes" is so amusing) or Sounds of the Satellites ("Spooky Rhodes"! ) You won't regret venturing spaceward with Laika.

...it's not coming out of my listening rotation for a long time. Every song is followed by an equally listenable, great-feeling-inducing song. I only knew of one track by Laika, "Looking for the Jakelope" from a compilation album, then I came upon this. WOW - a diamond in the rough is what this album is. Can't praise it enough. End of story!

**EDIT** One year later - STILL let it run it's course when one track comes on...I turn shuffle off immediately.

Fourth proper album from this brilliant electronica duo, Laika weave aspects of funk, acid jazz, rap, dub, ambient, and traditional rock into a unique and impressionistic electronic driven musical tapestry. This latest effort sees Margaret Fiedler and Guy Fixsen scaling back the sound a bit; largely absent are the the guitars and horns of earlier releases such as "Good Looking Blues". The album on first listen seems rather minimal, with songs driven primarily by bass and percussion, seemly devoid of the rich production of earlier releases. Though, the album definately rewards on subsequent listens, as the layers of sound become apparent with repeated listenings. Fiedler's voice is in the forefront on this release and lyrically the songs seem to be more personal. All ten tracks are fantastic, but the last track - "King Sleepy" - is a truely moving piece of music, and an example of how Laika is in a league of it's own in electronica. A sad piece, Fiedler sings over a bass line that seems to be out of time with itself, "with aches and fears sighs and tears...we can be hurt a piece at a time."

With every new Laika the odds of having another great album seem to get slimmer, but they managed yet again. As always, 1 or two tracks fall out of favor soon, but the other are excellent.
Main difference this time is the sound. This cd sounds way better than the previous ones. Hard to put a finger on it, but it is more open, spacious, etc. I like it better, although it takes away some of the charm of the earlier works. So, if you're new to Laika, save this one for later. To everyone else: highly recommended.

The band Laika stands on it's own. Heard them on Pandora and have gotten 3 of their CD's, this one is the best and the other two are still really good. It's jazzy-trip hop with a mix of some great sounds. What an awesome band! I'm glad I found them.