On the Shelf 98: Gogol Bordello
Sep. 1st, 2013 03:36 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
bedsitter23I can't help comparing Gogol Bordello to the Pogues. Both bands started with 2 relatively unheard albums (The Pogues on import-only, Gogol on a small indie label) that took a traditional style of music and added a punk element to make a sound that still sounds revolutionary as on the initial listen.
These were followed (also thanks to an exciting live show) by two albums that were quickly embraced by the greater alt-rock community. Then, the problematic fifth album came in. Like Hell's Ditch, Trans continental Hustle just lacked something. It wasn't as fun and wasn't as original, and despite what seems like a dream producer match-up (Joe Strummer for the Pogues, Rick Rubin for Gogol), it seemed like the formula had finally run dry.
Of course, we can't say what the Pogues would have done next (the band's sixth and seventh album were without their lead singer Shane MacGowan, and although i give them pretty sympathetic reviews, they were hardly essential. Meanwhile, Shane's solo work has never really appealed to me).
As for Gogol, album#6 bring the band back to where you want them to be. The album was recorded in El Paso, and there is an added element of Tex/Mex, with the band easily incorporating elements like a mariachi band and Americana.
The standard two-line review of the album is that Rubin tried to record the band as a studio album group and producer/mixer Andrew Scheps (usually found producing acts like Adele, Bon Jovi, Lana del rey, Jay Z and Metallica) captures them as a live band on an album.
I am not saying it isn't true, but it's a bit simplistic. What has happened is that most of the songs here wouldn't sound out of place on Multi Kontra Culti vs Irony in that songs are propelled by violin, guitar, accordion, and sax; Hutz's lyrics sound more like personal tales than Top 40 sound-writing; and songs are less verse-chorus-verse (though still certainly anthemic), but are free to go whereever the song leads, which means wild instrumentation breakouts and spontaneous shouting.
It is what the band does best, and Multi-Contra was where I fell in love with this band, and this is the first time I have had GB in constant rotation like this since that second album.
On a non-musical side, you may already know Hutz is being sued by an ex-Gogol guitarist and is accused of stealing money, as well as making contracts (such as one with Coca-Cola) that were favorable to him by cutting other members out. We will see howthat plays out and what effect it has on the band.
These were followed (also thanks to an exciting live show) by two albums that were quickly embraced by the greater alt-rock community. Then, the problematic fifth album came in. Like Hell's Ditch, Trans continental Hustle just lacked something. It wasn't as fun and wasn't as original, and despite what seems like a dream producer match-up (Joe Strummer for the Pogues, Rick Rubin for Gogol), it seemed like the formula had finally run dry.
Of course, we can't say what the Pogues would have done next (the band's sixth and seventh album were without their lead singer Shane MacGowan, and although i give them pretty sympathetic reviews, they were hardly essential. Meanwhile, Shane's solo work has never really appealed to me).
As for Gogol, album#6 bring the band back to where you want them to be. The album was recorded in El Paso, and there is an added element of Tex/Mex, with the band easily incorporating elements like a mariachi band and Americana.
The standard two-line review of the album is that Rubin tried to record the band as a studio album group and producer/mixer Andrew Scheps (usually found producing acts like Adele, Bon Jovi, Lana del rey, Jay Z and Metallica) captures them as a live band on an album.
I am not saying it isn't true, but it's a bit simplistic. What has happened is that most of the songs here wouldn't sound out of place on Multi Kontra Culti vs Irony in that songs are propelled by violin, guitar, accordion, and sax; Hutz's lyrics sound more like personal tales than Top 40 sound-writing; and songs are less verse-chorus-verse (though still certainly anthemic), but are free to go whereever the song leads, which means wild instrumentation breakouts and spontaneous shouting.
It is what the band does best, and Multi-Contra was where I fell in love with this band, and this is the first time I have had GB in constant rotation like this since that second album.
On a non-musical side, you may already know Hutz is being sued by an ex-Gogol guitarist and is accused of stealing money, as well as making contracts (such as one with Coca-Cola) that were favorable to him by cutting other members out. We will see howthat plays out and what effect it has on the band.
