Stephen Malkmus and the Jicks: Pig Lib (2003) (Stephen Malkmus in general)

Member Name: Adammico

Product:	Stephen Malkmus in general
Date:	24/04/03 (102 review reads)
Rating:

Advantages: Eclectic, Most Consistent Recording of Malkmus' Career, Extremely Clever

Disadvantages: Not Pavement (for those wanting to hear Pavement 2), Not as Off-Kilter As His 2001 'Solo' Work, May Require A Patient Ear

Background on Stephen Malkmus:

He looks much like THE SKATEBOARDER, Tony Hawk. In other words, he's a tall wiry dork with an infusion of WASP. His personality and manner is much like a suburban mall rat that everyone likes, but no one really understands him. He's a mad slacker genius.

In the early 1990's, he helped form Pavement. To the uninitiated, the band is complete slop. They admittedly could not play their instruments well and Stephen not a great technical singer. However, they made original jaded melodies that were jagged due to lifting Sonic Youth's noise elements with quirky and smirk-worthy lyrics.

During that decade, Pavement was THE indie band. Although many critics believed that they would be the next Nirvana and break from that label, they never expanded outside their cult base. Outside of never having the marketing machine that major labels use to promote albums, I will never understand why this band was never embraced by a larger audience. Regardless, their music, devoted cult following and 'darling' status in the indie community helped influence countless other bands.

While working with Pavement, Stephen was also a founding member of a band called the Silver Jews. Although they also received critical props, he never considered more than a side band. Initially, he was credited as 'Hazel Figurine', but his involvement with the Silver Jews was no more than as a contributor and shortly fazed himself out of the project.

As years passed, they softened their sound and as a result, loss the edge that was so initially endearing to Pavement fans. The records were more difficult to create and clearly reached the 'end of the run' as a band, so they dissolved in 2000. Technically, they no longer worked as a band after announcing their hiatus after touring in late 1999.

On His 'Own':

When the band announced hiatus in 2000, Stephen also announced th
at he worked on his solo project. It was released the following year to more critical praise and modest sales. Personally, I found the album too unfocused and not as endearing as any of Pavement's recordings. Hell, he used intros in many of his songs that were just very misplaced. However, he kept his charm, but it was empty/ The album (although recorded the Jigs) had no sense of a band's presence and played somewhat hollow. Regardless, I still enjoyed the album due Stephen's return to freshness following the somewhat tired offering, 'Terror Twighlight' last created with Pavement.

The Jicks:

Several months ago, I read that he was recording an album, while finally crediting the Jicks. Needless to write, I was very curious about how it would sound. The Jicks are Stephen Malkmus (Guitar and Vocals) Joanna Boelme (Bassist) and Jim Rourke (Percussion) among other guests including Elastica's Justine Frischmann (in tour).

Would it have a solo Stephen Malkmus feel?
Could he retain the sonic freshness redeveloped from his self-titled release?
Is this band capable of supporting him and if so, would the Malkmus signature sound be raped?

Pig Lib:

Genres: Post Rock/Indie Rock/Prog Rock/Jangle Pop/New Wave

The Tracks:

'Water and a Seat' has a mid period Pavement flavor. It features a chilled instrumental introduction that builds a little noise and introduces a spastic Malkmus vocal delivery. He's still gifted with lyrics that can be best compared to as a Beck (except he's done this before Beck) and David Byrne (from The Talking Heads and solo) hybrid. The song is maddening, yet very tuneful. The instruments sound like a mix of Pavement and 'Siamese Dream Era' Smashing Pumpkins (in their mellower moments). The track is a great intro because the song incorporates a solid overview because it sets an appropriate tone for the album.

'Ramp of Dea

th' is a softly-sung ballad that does not distinguish itself musically, but is sung beautifully by Stephen. It's naked emotion without an ounce of the strange.

'(Do Not Feed) the Oyster' finds the middle ground between the above-mentioned tracks. The band only subtly changes the music until the end and it sounds like it's performed live. It's sung much like the former track, but adds the quirkiness used in the latter.

'Vanessa From Queens' is welcomed because the tempo has finally become more upbeat. This song is the most dynamic on this record so far. The band seems very comfortable and frequently shifts gears. They use background electronica, electronic organ with multiple guitars. Malkmus is at his serious and laugh out loud funny(dry and witty). His voice is better than ever, but is used sparsely as compared to the previous songs.

'Sheets' came from nowhere. It's indie infused with funk and creates an entirely different sound. Stephen is just shout and spouting somewhat distorted vocals that are just insane. It progresses and jams a little continuing in the infrequent vocal structure used in the last song.

'Animal Midnight' initially sounds like 'Vanessa', but lyrically and vocally (for the most part) is an extension of 'Ramp of Death' during the 1st half, but progresses with mild electronic element fusions more active jangly guitars. During an extended jam, it builds and holds on to its climax that just intoxicates much like a Pink Floyd piece (with a completely different sound).

'Dark Wave' somehow (in a welcome way) plays like a neo-New Wave track. The introduction could have been used on an early Car's CD, but it becomes a Jicks song once they build and throws out many lyrics in a heartbeat.

'Witch Mountain Grave' works the standard Stephen ballad, but there is more of a band sense here than ever with Paveme
nt. It sounds like Stephen's ego helped create a true band sound and not a solo effort. Anyway, this song basically follows the blueprint created by 'Animal Midnight', but does not build as high.

'Craw Song' mixes what has become the Jicks signature sound (on this album) only a little. However, there are so many little gimmicks thrown in that it's very enjoyable. Also, it's much tighter because it does not evolve into a jam. Lyrically, it's amusing because it involves a hetero/homosexual love square (four parties).

'1% of One' is a nine minute+ epic. Never have I previously heard him involved such an extended song. This band can certainly jam harder and more consistently than Pavement ever did. It progresses as a lot more gradually than the previously mentioned jammy portions of the songs mentioned. However, at 7 minutes the steepness of the progression is much greater and works itself out rather quickly after it reaches its climax. Those songs acted as teasers and adequately prepared me for this. I absolutely love this creative use of sequencing.

To close, they shocked me with 'Us'. It initially sounds like early R.E.M. with harmony, but the arrangement is so fluid and much more complex than R.E.M. at the time. If there is a single on this album, this would be it.

Determination:

The Jicks are magic. Pig Lib may not immediately satisfy as a fling (or an immediat sonic experience), but courts and haunts your psyche until you become completely intoxicated. This is the most consistent record that Malkmus has recorded and deserved a much better than #97 debut (and likely peak) in U.S. album sales. Those of us fortunate enough to be exposed, should feel privileged for the good fortune. The general public can continue buying Madonna or Avril Lavigne, knowing that any song worth listening to (or not) will be played every two hours on the radio.

(edited to fix a typo a
nd formating breaks)

Summary: