Last weekend I was listening to Enon's High Society with the idea I'd post a review of it here on my blog. Music blogs typically report on the newest, usually not-even-released albums, but I'd rather discuss the stuff I'm listening to and why I like it (or don't).

I listened to each track of the album, and when I was finished, I couldn't really figure the album out because it seemed like it was several different records. The John Schmersal tracks served up a couple musical styles, and those sung by Toko Yasuda seemed totally different. So I didn't post.

Earlier today on good hodgkins he wrote about the same album and said pretty much the same thing, although he identifies only two different styles (Dayton-rock and bass-driven dance-punk) and closes his review with: "This is one of my favorite albums of the decade."

Anyway, here's what I wrote, unedited from that listening session:

Tracks:

Old Dominion -- Pretty much straight up rock with a strong guitar driving the song. A great start to the album.

Count Sheep -- Slower song, more electronic stuff going on in the background. Sharp drums, slow extended guitar parts. Dark feel.

In This City -- Upbeat dancy drums, nice bass and synthesizer melodies in the background really compliment Toko Yasuda's voice. Surprising pop sound after the first two more rock numbers with John Schmersal on vocal.

Window Display -- Another Schmersal tune very much in the Pavement, lazily sung indie-rock mold.

Native Numb -- Strange vocal process effect as another instrument, dark, heavy song. More solid drumming driving the song. Lots going on in the background.

Leave It To Rust -- More mellow song, like Count Sheep with a nice melody.

Disposable Parts -- The second upbeat dancy drum song sung by Yasuda with synthesizers and the processed vocals. Definately a different style than the other songs.

Sold! -- Almost sounds like The Cars with solo vocals to start the song, and other instruments coming in as the song progresses.

Shoulder -- Lots of synthesizer effects, droning guitars and a strong beat backing up Yasuda. Slower than her other songs on the record.

Pleasure and Privilege -- Punk, britpop sound. Great driving drums and loud guitars behind Schmersal's shouted lyrics (and screaming).

Natural Disasters -- Slacker indie sound like Window Display. Not as loud or driven as much of the record.

Carbonation -- Reminds me a bit of Love and Rockets for some reason maybe because of the way Schmersal is singing and the bass driving the song. Great lyrics.

Salty -- Third upbeat dancy song sung by Yasuda, but more rock than dance. Reminds me of a more techno version of Magnapop.

High Society -- More of the slacker indie sound. Maybe it's more about the strength of the vocals in the mix and the slower beat and more acoustic sound that's making me think Pavement. This one has a bunch of strings in it too, and a Morphine-esque saxiphone.

Diamond Raft -- Slow song with a synth loop pulling the song along. Ends before it really begins.

Instruments:

Excellent drumming, nice mixture of guitars, synthesizers and lots of effects. Yasuda has a striking voice. Schmersal can sing straight up rock, punk, as well as slacker-indie.

Overall:

Great record, but quite varied in style. If the songs were in a different order you might think you were listening to three (or four!) different bands.

Anyway, I don't think it's one of the best of the decade like Ryan does, but it's pretty damned good if you can get past the variety of styles.