The music industry has a funny way of rooting out irrelevancy after a short period of time. One-hit wonders occasionally pop up on VH1 or the occasional radio station, but there is little veneration for artists that do not show an ability to make their work either enduring or consistent. Many artists these days are lucky to remain in the spotlight two years after their peak of recognition. And even if they still maintain a following, most of them can be found touring tirelessly and playing fan favorites in order to keep their fan base and themselves afloat. Jarvis Cocker and Steve Albini are both names that seem synonymous with the ‘90s, one as a musician and the other as a producer. They also serve as one of the rare cases of enduring recognition among music figures that were active in the ‘80s and ‘90s; Cocker was one of the integral figures of the vital Brit-pop movement in the mid-‘90s with Pulp, and Albini has produced dozens of classic albums by artists that include Nirvana, the Pixies, and the Auteurs. That Cocker and Albini will always receive royalty checks and festival invitations is irrelevant to their current standing though, as they have both shown no urge to settle down and cease their level of production. Cocker jumped right into a solo career after Pulp was put on hiatus in 2001 and Albini has averaged producing dozens of albums each and every year; it is simply indication of their shared commitment to music, which is an appreciation that fame has taken away from many artists.

Considering their similar musical ideologies and years of experience, one would assume that collaboration between Cocker and Albini would be ideal. Sure, Cocker’s fashionably witty Brit-pop is not the usual, gritty style of rock that Albini is accustomed to, but he has proven himself to be an eclectic producer on more than one occasion with a diverse resume that includes albums by Low, Jon Spencer Blues Explosion, and Smog. Also, his excellent work with Plush does not stray far from Cocker’s stylistic territory, as it features sweeping orchestral arrangements over deeply reverberating British vocals that tend to subtly incorporate more pop elements than anything else. 2008’s Pitchfork Music Festival was the meeting point for Cocker and Albini, with the two finding common ground immediately due to their plethora of experience. The duo headed to Albini’s Electrical Audio recording studio and began work on what would be Cocker’s second solo album, Further Complications. Predicting what this one would sound like before its release was a common practice despite the fact that Cocker has held a consistent style throughout his entire career. If anyone were to adapt to a new style, one would assume that it would be Albini as the producer, right? Surprisingly, Cocker is the one who appears to have adapted more to Albini’s guitar-based approach, rather than vice versa. Consequently, the album is filled with gems and miscues that appear to sway dramatically either way, which unfortunately enables the album to lag behind Cocker’s other material due to his previously accustomed consistency.

The collaboration between Cocker and Albini on Cocker’s second solo album, Further Complications, is reminiscent of another interesting one-album partnership that took place in the summer of 1977. When Leonard Cohen and Phil Spector came together for Death of a Ladies’ Man, it marked the partnership between one of the greatest songwriters of the era and a producer whose reputation within his occupation was practically unmatched at the time. The result, as most critics agree today, was hardly a disaster and featured a handful of great songs, but Spector’s producer role actually ended up becoming too influential on the album’s sound. Cohen had an individualistic style with his poetic lyrical approach and minimalistic musical content that was true to his own persona. Spector sacrificed Cohen’s trademark ability for a sound that was more depictive of his own interpretation of success, which was his densely layered “Wall of Sound.” In a few decades or so, after Cocker gets properly recognized as one of the most important songwriters of the ‘90s, the analysis of Further Complications may be resoundingly similar. Albini’s strengths are occasionally Cocker’s weaknesses, as one of Cocker’s appeals has derived from idiosyncratic lyrics that were simultaneously witty, erotic, and analytical. His music – a flashy display of glam, Brit-rock, and synth-pop – supplemented the approach well with its ardent flexibility, making this transition to a harder vein of rock on Further Complications very suggestive.

The title track alone is indicative of Cocker’s somewhat awkward transition into heavier material. Clouded in a haze of distortion, a repetitive electric guitar rings out menacingly as Cocker emits his familiar swagger. The straightforward guitar riff and basic rhythm section are fun the first time around, but the lack of intricacy or even a decent hook makes concentrating almost a chore. The chorus is simply a slight variation of the chorus with some ooh-ing and ahh-ing in the background, providing little reason to listen beyond the first or second chorus. Cocker’s vocals are flamboyantly exceptional as usual, but there is little to supplement his lovable demeanor here. “Angela” suffers similarly, regurgitating a similar song structure with a lack of variation that eventually sounds more discordant than captivating or angsty, as was the probable intent. The difference between songs like “Further Complications”, “Angela”, and the monotonous “Fuckingsong” to previous hard-rocking Cocker solo efforts like “Don’t Let Him Waste Your Time” and “Fat Children” is the lack of melodic sustainability and lyrical wit. The lyrics, structure, and musical content contain no surprise or durability; these songs play more with the audible emission of angst than anything else, lacking substance in all the necessary places. Cocker has always been a songwriter who has been receptive toward mood as much as lyrical content and instrumentation, so lackluster efforts like these should come as a surprise to any fan of Pulp. While fun for the first few go-arounds, even the two instrumentals in the psychedelic “Pilchard” and brassy “Homewrecker!” lose their appeal due to an overemphasis on one singular style or structural theme. Even if we were to push comparisons to Pulp aside, there is no denying that some of the songwriting here is lazy.

Fortunately for the album, it would be hard for a leading man of Cocker’s caliber to create a complete disaster. In fact, once some of the clutter is pushed aside, Further Complications actually boasts one of the best songs Cocker has released to date in the infectious “I Never Said I Was Deep.” This is where the Cocker-Albini collaboration shines with the trickling guitars, sporadic keys, and bursts of brass. The songwriting is exceptional as well, plying on a chorus that separates itself distinctively and a verse that develops throughout with precise additions on both an instrumental and lyrical front. Cocker’s lyrics are introspective, satirizing the romanticized sensitivity of songwriters in humorously invigorating form. When he proclaims the song’s title during the exceptional chorus, it becomes apparent that this is one of Cocker’s best, including both his solo work and with Pulp. The eight-minute “You’re In My Eyes (Discosong)” is also notable for its insatiable melody and stylistically precise build-up, hearkening back to Pulp’s enjoyable fascination with funk and disco as displayed on tracks like “F.E.E.L.I.N.G. C.A.L.L.E.D. L.O.V.E.” “Hold Still” salvages the album as well due to emphasis on Cocker’s lyrical imagery, a skill that has not faded even slightly since his days with Pulp. The problem with nearly half of Further Complications is that Cocker’s delivery seems too forced as he relies on forcedly volatile distortion and repetition more than memorable melodies and interweaving song structures, which is in stark contrast to his previous material. Further Complications stands out decently enough on its own, but for Cocker it is a disappointment considering the past quality of his releases. 6.5/10

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Jarvis Cocker – I Never Said I Was Deep

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Jarvis Cocker – Hold Still

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For most 12 year olds, life typically consists of school, recess, and who can run the fastest in a game of tag. Ah, when the days were simple and pure. While this also proves to be the conventional age for kids to get interested in music, the ones who pursue it in an artistic form usually find themselves being taught guitar once per week by an aging hippie or a financially desperate college student. Unless they are proclaimed a prodigy, expectations (if any) are minimal. The aspects of original songwriting normally do not peek through until high school at the very least, with maturity and structural theory often being too initially complexing for those in middle or elementary school. I’m sure many of us have seen talent shows where younger kids play competent covers of classic hits; but how often do we actually stumble across a group who entirely writes and plays their own material? Being a skilled guitarist or bassist at that young age is one thing, but being proficient in the field of songwriting is something that is truly rare to be seen. If you are older than 24, the combined ages of the two core members in Tiny Masters of Today is less than your age alone. The sibling duo consists of Ivan, age 13, and his little sister Ada, age 11. Now, before you jump the gun and ignore this post based on their ages alone — give their songs a shot. I was pleasantly surprised.

If I did not do a justifiable job of convincing you to give Tiny Masters of Today a chance, perhaps you will listen to someone more experienced. Is David Bowie credible enough for you? He called their debut EP, Big Noise, “genius” and compared the duo to Suicide and The Shaggs; two underrated acts who varied dramatically in style but resonated similarly in resulting influence. I suppose The Shaggs comparison is entertaining to ponder, as The Shaggs relied on their amateurish take for immediate satisfaction. And while Tiny Masters of Today certainly relies on a sense of lovable inexperience, their level of originality exceeds their age brightly. If Bowie is going to take the time to commend two kids from Brooklyn on their music, it would be safe to assume that it is worth at least a few listens. In fact, Bowie was not the only one who gave the band a thumbs up. Jon Spencer Blues Explosion drummer Russell Simins heard Tiny Masters of Today’s demos on MySpace and was impressed. Hearing that their initial demos were using simple drum loops, Simins contacted Ivan and Ada to express his genuine interest. “Our parents had to talk to him first and make sure he wasn’t some psycho,” said Ada. Simins proved to be beneficial in enhancing the duo’s sound, participating as the drummer during live shows and in the studio. In addition to playing the drums on every track, he also produced Tiny Masters of Today’s debut full-length album, Bang Bang Boom Cake.

Rather expectedly, Ivan plays lead guitar and Ada takes care of the bass work. They both lend in their share of vocals but Ivan is often the prominent force. His voice, however, is entirely indistinguishable between the genders at this point and, in an enjoyable manner, it contributes fully to their original sound. Though I imagine that Ivan will be pressed for luck when his voice starts cracking, his excellent melodic comprehension should allow for future success if handled properly. The band’s presence is certainly reputable enough, amassing over 200,000 plays on MySpace and getting signed to a label (Mute Records) as a result. In addition to Ziggy and Simins, other musicians are appreciative of Tiny Masters of Today as well. Both CSS and Liars have remixed Tiny Masters of Today’s infectious “Hey, Mr. DJ” and a portion of Yeah Yeah Yeahs (Karen O and Nick Zinner) appear on my favorite track from Bang Bang Boom Cake, “Hologram World”. As Karen O takes part in an explosively irresistible chorus with both Ivan and Ada, Zinner’s heavy guitar riffs provides for a blistering wall of distorted sound as the threesome bursts out, “It’s a hologram world, own it!” I may get some sort of backlash for saying this, but I truly believe that “Hologram World” can compete with some of Yeah Yeah Yeahs’ more impressive tracks. It is a fun-filled romp from start to finish.

“Trendsetter” also features another notable guest in Kimya Dawson, the ex-signer of Moldy Peaches. Though it seems like an experimental piece (even from a band like this), it just surprises me how Tiny Masters of Today can transition from style to style throughout Bang Bang Boom Cake without sounding overly hesitant. They even have a song that pokes fun at the “controversial” tag. The droning “Bushy” is a rather encouraging political attempt. Though the song is barely over a minute long and just passably reaps from repetitiveness, at least they are managing to make their subject matter somewhat diverse. As Bush says in the sampled clip, “And to the C students: I say you too can be president of the United States.” Ooh, how ironic! Though I would not be surprised if several critics bash Tiny Masters of Today with their age solely in mind, there is no denying the fantastic quality of songs like “Hologram World”. Though you could easily attribute the success to the addition of Karen O and Nick Zinner, the productive approach could not have been done without the brother-sister duo of Ivan and Ada. From Bowie to Karen O, respectable musicians certainly are not faking their admiration. If they can appreciate such potential, it should not be excruciatingly difficult for many others either.

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Tiny Masters of Today – Hologram World (feat. Karen O & Nick Zinner)

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Tiny Masters of Today – Hey, Mr. DJ (feat. DJ Atsushi Numata)

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Tiny Masters of Today – Trendsetter (feat. Kimya Dawson & Angelo Spencer)

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