4 of 4 people found the following review helpful
on 6 May 2011
Apocalypse is a further refinement of Bill Callahan's special songwriting gift, with songs taking on - according to Bill in a recent interview - an 'expressionist' form. His lyrics are as strange and funny as ever (see 'America'). This also seems to be something of a concept album, with recurring motifs. It's a grower, too, and gets better with each play. Highly recommended.
21 of 24 people found the following review helpful
on 5 April 2011
In some ways "Apocalypse" is less accessible than a few of his other
albums. For most parts it's a stripped down affair, it's occasionally
distorted, and the arrangements are not as gorgeous as those on his
last release "Sometimes I Wish We Were An Eagle" or "A River Ain't
Much To Love", but after a few listens it grows on you, and I think
this holds togheter really well as an album.
A couple of the songs are jazzier than anything he has done before,
for instance "Universal Applicant" and "Bee's", with the flute parts.
Others have those surprising and unusual transitions that Callahan
handles so well; a small change of tempo, an unexpected twist,
a sigh, a whisper,"a couple of hoots, a hello and a f##k all y'all"!
He is one of very few artists that can make something quiet hit
hard, and make sparse arrangements sound like a full orchestra.
"Drover" is one of the standouts, it's the sound of the west
with an acoustic strum and climbing strings. This is a terrain
Calexico has visited a few times, but the prairie has never felt
this close. Nature, as on many of his greatest albums and songs,
is a felt presence on "Apocalypse"; rivers, deserts, horses,
cattle, valleys and mountains.
And as usual he delivers some incredibly clever and funny one
liners, among the grievous parts and the poetry.
The album closer, "One Fine Morning", is a STUNNING song.
One of the most hypnotic and beautiful things he has done.
Togheter with "Baby's Breath", "Riding For The Feeling", "America!"
and "Drover", it stands as the albums finest moment, and if there
ever was a funeral song, you won't find better opening lines than
"One fine morning I'm going to ride out,
just me and the skeleton crew..."
1 of 1 people found the following review helpful
on 20 August 2011
Repeated listening makes this record blossom. Some call the instrumentation sparse, but every single note of every single instrument sounds like it has meaning. For me, it's an incredibly rich album. The lyrics and Callahan's singing are equally compelling. I hardly ever pay attention to the words & meaning of a song, but this album makes me want to understand what it's about. After many listens I still don't fully grasp it, but like the great bedtime stories your parents might have told during your childhood, this record is a tale I want to hear again the second the last note has ended. In short, an amazing record.
on 18 December 2013
That kid who sat at the back of the class, seemingly almost monochromatic except for his Egon Schiele pink-tinged skin? You never heard of him again. You assume he was institutionalized after leaving school for the strange things he was rumored to be doing to the neighborhood pets in his bedroom. Or perhaps he even managed to drift along under the radar for a while until he finally did that hushed-up `something' that got him put away for the rest of his natural days. It thrills my soul to think, that for someone in the world, that kid has wandered back into their consciousness as a bona fide dyed-in-the-wool purveyor of American song. The signs were already apparent on the aptly named `Supper', the penultimate, most accomplished album of Smog's career to that point. The songs were sumptuously crafted, achingly poignant or else chugged-along rockingly, teeming with an abundance of astute observation delivered in his trademark laconic style. After declaring his love for a watercourse, the Smog lifted, and along with it, so did his mood...albeit temporarily, making it easy to forget that this monochromatic, Egon Schiele-skinned kid used to do strange things to his tape recorder in his bedroom.
Callahan has become the sole survivor of Drag City's original roster, standing alone as an enviable testament to their faith in experimental, discordant little upstarts. While it'd be sycophantically ridiculous to say that either of Drag City's two Dans saw in Callahan what he has now become, they clearly foresaw that the ideas that fizzed & popped away behind that blank stare were always going to lead somewhere at least interesting. What IS increasingly interesting, is that this kid who terrorized tape recorders with make-do instrumentation, laying down fuzzy repetitive paeans to Insane Cops looming ominously in rearview mirrors, or the Son of God (who doesn't drip acid and is not, according to Bill "a seminal member of New York's `Go-Wave' scene") has become what might be considered...well, MOR.
Apocalypse follows in the more ornate feel of its two predecessors under his given name, but is more sparing in its production, while also providing the moment most reminiscent of his inaugural output in recent memory. Opening track "Drover" is driven by a galloping acoustic guitar, intermittently kicking-up an ascending violin, which catches-up alongside, before eventually soaring above & beyond it. Similarly "Baby's Breath" is austere and traditional in it's picaresque sprawl, but its with third track "America!" that a bridge between the disparate ends of Callahan's career is presented. In it's grinding, pistoning bass and seemingly half-improvised, arbitrarily-plucked, matter-of-fact lyrics it smacks of Smog's origins: experimentation, riffing and building on a theme.
While on initial listens Apocalypse seems to be lacking the lush palette of its immediate predecessors, like any of his records it's just another stop along a common continent, and even a lesser Bill Callahan album has more going for it than the best most anyone else has to offer. Despite the ominous title, Apocalypse starts seriously, but progressively lightens, especially in its lilting flute-strewn latter half. In final song "One Fine Morning," after meandering around to the realization that he is "a part of the road... The hardest part" and punctuating it with "My Apocalypse," Callahan draws the album to a close by repeatedly singing the Mantra of this release's Drag City serial: "DC 450," making it tempting to surmise this is the epitaph of his recording career. But knowing the unknowable-Bill, you'd probably be wrong.
"Forgotten Foundation" had "Bad Ideas For Country Songs," in recent years good ones have become his stock in trade. While Smog was Sewn to the Sky, Bill Callahan is planted on terra firma, reporting back from among the various manner of life that gambols across its vast expanse. During his migration from Maryland to Texas, while it may not be popularly recognized now, Bill has risen from inauspicious beginnings to effortlessly joining the ranks of "Captain Kristofferson, Buck Sergeant Newbury, `Leatherneck' Jones, & Sergeant Cash".
At ease, Corporal Callahan.
3 of 5 people found the following review helpful
on 14 April 2011
Cant believe there is only a single review of this fine album so far. I agree with most of what the previous reviewer says. It is a grower but all the better for that and the melodies do perforate through after a few listens. Loved the cowboy/western landscape setting for the first and last songs (Drover and One Fine Morning) which book end a wonderful album. Dont believe it is all cowboy based though as these are the only two tracks that are related to that. If there is a theme it is the title. More about gigantic personal upheavals in life than four horsemen rampaging across a prairie. I feel I will still be playing this for a long time to come. Check out 'Sometimes I Wish We Were An Eagle' which is one of the albums of the 21st century.
0 of 2 people found the following review helpful
on 5 May 2011
This album is well worth checking out, the songs are quirky and unconventional and Bill Callahans voice is excellent, stand out track for me is Baby's Breath.