Customer Reviews

End of the World Party (Just in Case) [Vinyl]

5 star:		(29)
4 star:		(15)
3 star:		(4)
2 star:		(2)
1 star:		(3)

 

 

I've always enjoyed and respected Medeski Martin and Wood. The veteran New York trio has always been pushing the musical limits of their sound. Jazz, by nature, is a genre that is founded upon experimentation and an embracing of the unfamiliar. And the fact is, MMW have clearly changed their sound from album to album (from all-out acoustic to Hammond Organ funk) while also maintaining a sense of familiarity.

It seems like MMW have released about an album every year for the past several years, which could be arguably good or arguably a mistake. After all, just because a band is prolific does not necessarily mean that their material is superior. However, this is MMW's finest cd. They've joined with one of the Dust Brothers (as producer), which gives the album a very old-school hip/hop vibe (The Dust Brothers did early beats for the Beastie Boys). BUT, couple this with the funky and soulful organ-drums-piano-bass sound that Medeski Martin and Wood are known for, and you have a very progressive album.

In my humble opinion, past MMW albums have been too unfocused, even for a jam-band. Their lengthy songs and their experimentation, while certainly academic and well-skilled, bordered on muddled and sometimes lost cohesion as they progressed. There were certainly gems to be found on each album, but there were also songs that felt like merely side thoughts. For this album, MMW have cut away some (not all, by any means) of the jamming, giving way to a tigther, crisper sound and ultimately a more accessable album. (They've also cleaned out their closet and used virtually everything in there to make sound effects for the album). Hardcore MMW fans may argue that this album is too poppy or non-experimental (or simply that the songs are too short). But listen closely...the guys are still grooving and jamming as hard as ever. After all, that old saying that your English teacher told you before you took an essay exam goes for music too. "It's not the quantity that matters, but the quality."

Mmm. Already I like this better than Uninvisible. I don't like to use the expression "break new ground" with MMW as I think their retro-future-funk sound is too grounded in a well-oiled groove to be considered on the fringes of truly progressive music. But tracks like Anonymous Skulls, Bloody Oil, and New Planet definitely display the expansion of pallette that is to be hoped for with these insane musical communicators. And then there are other tracks like Shine It which bear an almost too-close resemblance to previous outings (in this case Note Bleu, which it could easily be without the extra transitional bars thrown in). But that is me speaking as someone who has listened to far too much MMW. The sexy details that punctuated Uninvisible but were let down by flat tracks that refused to grow are amplified here by well-rounded nuggets of groove that, even if sometimes derivative of the past, never sound stale. All in all a solid outing, thank you boys, and kudos to John King - you really know how to make the stars shine.

This is by far the best MMW-album yet.The music has more grooves and is more funky.But what i like most , is the use of electric piano and some synth too.Now, how long must we wait for a live cd/DVD ?

I'm reasonably certain that I am one of the oldest fans of MMW -- in terms of age, that is. My first introduction to MMW was a couple of years ago with "Univisible" and I was hooked. Despite being a very respectable album (mind-blowing in some instances), I was nevertheless hoping for a tighter album. I got my wish with End of the World Party! This album is solid. It's amazing. OK, there are a few weak spots: the opening piece (a definite homage to Herbie Hancock with a nod to Danny Elfman. Danny Elfman? Uh-huh); Bloody Oil (a weak retread of the outstanding "Take Me Nowhere" from Uninvisible); and the final cut, "Queen Bee," which I might actually crank up during Carnival. Despite these weaknesses, this album is by far the best I've heard in ages. I keep hoping they'll make it down here to New Orleans for Jazz Fest, but until that day, I'll have to be content with listening to them on plastic. I can't think of a better group to make jazz relevant to today's youth than MMW. They are definitely in the vanguard.

I feel like Medeski, Martin, and Wood are at the forefront of where jazz should go. They are taking influences from Hip hop beats, trance music, jazz, electronic, and melting it all together with beautiful taste and style. I think the sound of this album is wickid! I think in "The Dropper" and in "Uninvisible", they didn't quite nail down what they were trying to hit. Those two albums had excellent potential, but failed in my eyes, because they didn't flow well. As an album, "End of the World Party" is a total sucess. It's so easy to listen to all the way through.

...Which is one of the reasons why I love this album and respect it as another notch in MMW's fat belt. After reading a couple of the other reviewers, I felt the urge to actually review this album as a small defense of the End of the World's compositions... Yeah, it's atonality lives on a miniscule plane compared to compositions from the past. And yeah, the 4/4 beat flows through the entire album... and yeah, songs are a "radio friendly" 4 minute average length. BUT, I must say that this is probably their most thematic album. I am not sure if it was intended, but the whole album has a 60-70 horror/comedy feel, which goes with the album title "End of the World Party... (just in case)". It delighted me with some very haunting but almost comical themes, that I have never heard MMW play the likes of before. It is a departure as many times I forgot that MMW wrote all of these pieces, as the textures they incorporated were not from their past, but at many times reminded by their quirky and signifying characteristics. Yeah, the 4 minute songs confine them a little compared to the free and more recent atonal/experimental works like Tonic(live), The Dropper, Uninvisible, and Farmer's Reserve, but it is in the same sense a step away from what they had been doing within the recent years. Generally this album has an eerie quality that seems to follow a storyline throughout. I love MMW from their hard to nail past, as they have a definitive sound, but extrapolated from differing styles of jazz/funk/hiphop, but this latest achievement opened up another door with some of the haunting rock-fused songs like album conclusion piece "Queen Bee", which reminded me of something derived of Whodunnit horror video game, emitting a movin' rock-felt breakdown... almost hinting to Edgar Winter's "Frankenstein". The title track is another piece that eeks out retro-horror-rock, alá the band Smash Mouth. I found a couple songs that play out like previous MMW "cool" grooves commonly played in their history, an example on this album would be "Shine It". Overall, I am attached to this album as it is different from MMW intricate past, which I do love... but I see this album as a successful directional change... bringing something new to my ears. As a bass player, I am really fond of "Bloody Oil" although it may not open up on Wood's expansive abilities, it really impressed me to hear him incorporate double bass harmonics in a rhythmic and deep-pocketed way while holding to the groove to allow Medeski and Martin build the tension. Highly recommend!!! Curious to see how it all plays out live.

After establishing a dedicated following through years of touring, MM&W have consistently found new ways to expand their sound. Collaborating with high profile producers is a fairly recent endeavor. Hip Hop producer Scotty Hard put his personalized stamp on their previous album, 2002's "Uninvisible." This time out it's John King of Dust Brothers fame, co-producer of such landmark albums as "Paul's Boutique" and "Odelay." Not ones to rest on their laurels creatively, MM&W take on the challenge of working with a more mainstream producer and come out with what might be their tightest record yet.

"End Of The World Party" is one of the most focused and intensely grooving albums the trio has ever released. With an average track length of four minutes the tunes are compact vignettes of retro keyboard solos bolstered by fat funky beats. Eschewing their usual roster of guest musicians, this time the group is only joined by avant guitarist Marc Ribot on four brief tracks, where he lays down some searing electric guitar licks. Other than those cuts, the trio is augmented by horns on only one track. And with only two tunes drifting into more atmospheric territory, the album as a whole is one tightly danceable package. Polyrhythmic drumming, thick driving bass and Medeski's indefatigable old school analog keyboard excursions find endless variations to play on one another.

Those familiar with the groups discography and perhaps hoping for more exploratory fare, ala their previous releases, "The Dropper" and "Uninvisible," will likely be somewhat disappointed this time out, as tight grooves dominate here. Those looking forward to smart and tricky beats however will find much to adore in this release. Party album of the year?

I really do like this CD, but it is not my favorite MMW. The guys have taken this album in quite a different direction than any of their previous works which I haven't quite warmed up to yet. One thing that bothered me about this album is that almost every song is about 4 and a half minutes in length with only one exceeding 5 minutes (end of the world party). Other than that, the songs are fresh and funky as one would expect from MMW.

For those new to MMW, might I suggest Shackman, Friday Afternoon in the Universe, or Combustication to hear J. Medeski tear it up on the Hammond which is more subdued on this CD.

Medeski Martin and Wood are one of the most cutting edge bands around. Their albums are amazing and the shows even more so. Every album progresses and this one is the current peak. Taking the jazz foundation from their early albums (Friday Afternoon in the Universe, etc) and blending them with the recently developed nasty funk/hip-hop melange (Uninvisible). They draw on everything with this one, including Marc Ribot's guitar stylings. Their language is unique, yet univerasally understood, you will not be dissappointed!

this album is much darker and more groove oriented than their previous works, which i personally liked a lot. the whole "end of the world" vibe is definitely there.

in an interview, john medeski said, "...[the album]'s really a reflection of our conscious attempt to create a mood, to take the listener on a journey." the band definitely succeeded in their attempt. this album may be their best yet.