Most Helpful Customer Reviews
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42 of 45 people found the following review helpful:
5.0 out of 5 stars
Return to TV on the Radio, September 12, 2006
TV on the Radio gave some serious reinvention to indie rock, with their debut "Desperate Youth Blood Thirsty Babes." Then they sort of dropped off for awhile, apparently to tinker with their future sound.
Well, "Return to Cookie Mountain" is an evolution of what they've done before -- the art-rock sound, the grimy electro, and the rough edges that don't need polishing.This isn't quite "there" enough to be their masterpiece, but TV on the Radio is definitely sounding wonderfully mature.
It starts off with the year's best intro -- drum beats, clashes, and an offbeat horn symphony that cuts itself off, before repeating again. As the jagged electronic beats come on, Tunde Adepimbe begins to croon, "I was a lover/before this war... I'm locked in my bedroom/so send back the clowns..." It's a bittersweet song with a warm, rich feeling.
The closest thing they have to typical rock is the heart-pounding "Wolf Like Me," with its howled bridges and eerie feeling, and the expansive, tinkling, explosive "Playhouses." There's also the rustling, stomping art-rock of "Let the Devil In," the swirling electro-rock, the soul-rock, and the epic bass-rock of the finale "Wash the Day Away."
Don't expect TV on the Radio to really rock out in "Return to Cookie Mountain," since they got recognition for their equally dense debut. The songs that follow are too grandiose, too looped, and too dense to be toe-tappers. The only real flaw is their tendency to sometimes neglect music in place of atmosphere -- although even their failures are fascinating.
And that atmosphere is of a dangerous, beautiful place -- campfires, tribal dances, wild animals and flying over mountains. The repetitive drums, bass and more typical instruments are loaded down with flutes, samples, electronic beats, mellotron, cymbals. It's all tangled into a series of loosely-strung, hypnotic melodies that seem to swirl around on themselves.
But the most hypnotic instrument is the vocals. Adepimbe can be deep and soulful, desperate howls, or higher and soaring; either way, he hasn't got the typical disinterested rock voice. And the jumbled, colourful lyrics are hard to make out at times, and eventually they simple become another repetitive pattern in the music.
TV on the Radio have one-upped themselves with "Return to Cookie Mountain," and yet there's a feeling of unfulfilled promise, hinting that they'll get even better as time goes on.
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14 of 14 people found the following review helpful:
5.0 out of 5 stars
Their best, September 12, 2006
Oh, how I was wrong about this band. Well, that's what two years will do for you.
Brooklyn's T.V. on the Radio have received consistent praise from various magazines and online publications over the past couple of years for their definitive blend of electronica, soul, jazz, a cappella, and indie pop. Their major label debut on Interscope Records, "Return to Cookie Mountain," expands their sprawling sound even further to yield one of the best albums of the year.
The name 'Cookie Mountain' sounds like something from a Mario game. In fact, it is the name of a level in the Super Nintendo title, Super Mario World. The record isn't an exercise in video game knowledge or something that would immediately remind you of a 16-bit musical score, but there are hints of beeps, blips, and scratches from sampling embedded in their music. Overdubs and constant instrumentation prevail; a constant motion, an urgency, much like a video game. Perhaps that is a interpretation of "Return to Cookie Mountain"; a return to their true, cultivated sound once promised on their debut EP, "Young Liars."
What really makes "Cookie Mountain" such a brilliant record is its ability to indulge. However, T.V. on the Radio aren't over-indulgent; their response to their audience is one of patience with long, developed songs. Perhaps I was too quick to dismiss their first full-length album, "Desperate Youth Blood Thirsty Babes" when I purchased it in late 2004. It didn't initially hold my interest, because of other musical pursuits, but it showed a glimpse of what is captured here. Their live act has expanded considerably since then, aiding their evolving sound.
The first track, "I was a Lover" features a looping sample of a trumpet with the shoegaze-like distortion of guitar and synthesized drum beat from instrumentalist and producer, David Sitek. Guitarist and vocalist Kyp Malone jumps in and croons, "I was a lover before this war" pushing the album into familiar yet intriguing territory.
"Province" slowly eases into a beautiful, sweeping piano melody amidst Interpol-like guitar structured verse and chorus. Long time fan of the band, David Bowie, makes an appearance on this track, singing alongside lead vocalist, Tunde Adebimpe.
Jaleel Bunton's percussion initiates "Wolf like Me", the first single, a quick, wild, and expansive song while being still being very contained and poppy.
"A Method" incorporates some of the a cappella elements (amongst whistling and clapping) experimented with on "Ambulance" and their cover of The Pixies' "Mr. Grieves." The song truly shines as an instantly catchy gem, worthy of airplay like the prior track, "Wolf like Me."
"Dirtywhirl" is another standout, beginning softly and then exploding into a soulful vocally driven masterpiece.
Each song distinguishes itself from one another, unfurling without losing the sort of cohesion needed for continuous play.
To compensate for the delayed U.S. release, Interscope has provided three bonus songs, the quirky "Snakes and Martyrs," a slower, more electronic version of "Hours" (El-P Remix), and the low-key groovy "Things You Can Do."
Nearly every print publication has raved about the album: Rolling Stone, Spin, Filter, Paste, and Q. In addition, Pitchfork Media, Stylus Magazine, and Tiny Mix Tapes have given the album some of their highest marks.
The only flaw with the main album is that it may be considered too expansive at 56 minutes. Many of the songs are lengthy and require a dedicated ear. There will be comparisons to Radiohead, but T.V. on the Radio manage to create an entirely original sound. "Return to Cookie Mountain" is dense but a highly fulfilling listen. It may take several weeks for some of these songs to peak, but you will return to the mountain many times.
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8 of 9 people found the following review helpful:
5.0 out of 5 stars
Just watch and listen, December 1, 2006
the name itself, tv on the radio, informs the listener on how to approach listening to this album...several people who I've shown TVOR to wanted instant gratification, the kind of indie music with hooks and dancey beats; the kind of sugar coated radio friendly indie pop/rock that has become mass produced as of late; TVOR seems to actually try to intentionally not make their music instantly accessible. You have to sort of watch the songs as they unfold themselves, and to be patient is well rewarded. Definitely one of the most inspired and artistic bands of late, TVOR is the real thing, not just a band that gets a deal because they sound like Modest Mouse or the Killers, in which record companies know they'll bank off of the "mall punk" type mentality that makes a commodity of music. The real reason why I'm writing this, because I never write reviews or try to push a point of view on someone elese, is because the amazon critic said that "Let the Devil In" and "Province" "kinda suck". Well, Mr/Ms critic, those two songs are two of my favorites that I listen to repeatedly off of an already mind blowing, incredible album. "Province" is uplifting, and explodes at the right moments while the lyrics are captivating (as are all of Adebimpe's poetic inflections). "Let the Devil In" is one of the more energetic and percussion heavy off the album. The beats are hypnotic and have a tribal, primitive angle that compliments the deep bass line that underlies the song; just try not to sing along with the "whoa whoa whoas" while driving in your car, or wherever you listen. Both songs, like every song, is incredible and a sight to behold. TVOR is art as much as it is music, escaping any genre typification or pretense. Just watch and listen, listen and watch. Also, their live show is absolutely amazing; the energy and passion that comes through is infectious. TVOR is really more of an experience than the type of bands that ride on pre-blazed trails and coattails could offer. I couldn't have asked for a better follow-up to Desperate Youth, Bloodthirsty Babes. I really want that Amazon critic to take back those comments on those songs. TVOR is just too incredible.
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